Parents of UConn Student Wanted in Murderous Rampage: ‘It’s Time to Surrender’

Connecticut State Police

The attorney for the family of a University of Connecticut student wanted in a deadly three-rampage said he has “struggled with mental health issues” and urged him to turn himself in.

“It’s time to let the healing process begin,” lawyer Michael Dolan said at a Monday evening press conference. “It’s time to surrender.”

The FBI and police in three states are hunting for Peter Manfredonia, 23, who was last seen on foot in East Stroudsburg, Pennsylvania, carrying a large duffel bag that may contain weapons stolen from one of the victims.

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Ryan Eggold’s Early Roles Included Beck Bennett’s Murderous Son and a Werewolf Boyfriend

Late Night with Seth Meyers

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Game of Thrones’ Baffling Decision to Turn Daenerys Into a Crazy, Murderous Ex-Girlfriend

HBO

The second to last episode of Game of Thrones succeeds in hammering home one principle that has guided the show and the books it is based on: there is no such thing as a just war. “The Bells” is a spectacle of carnage and horror visited on innocent people by the side we’ve come to know as “good,” unleashing hell in a moral vacuum as Daenerys burns King’s Landing to the ground. That’s the big picture. It’s where the episode makes thematic sense and where it’s most effective—and crucially, consistent with the show until now. 

Zoom in a bit closer to the particulars of how this episode services individual characters’ narratives, though, and it all but comes undone. Cersei, Jaime, Varys, and The Hound meet their fates in ways that might subvert expectations built on years of predictions, theories, and textual analysis of the show, sure. But the shock of their arcs’ resolutions, no matter how movingly directed or acted, leaves little behind after it fades. What was it all for? Did any of it mean anything? There’s one episode left that might answer for it. But even then, it’s too late. This is the end of Game of Thrones—and it’s as ugly, abrupt, and pointless as war.  

I know, I know—pointlessness is the point. OK. But rushed plotting and writing that fails to crack characters’ interiority has kept this season from communicating that effectively. And this episode’s no exception. Why this all happens, what it says about the people involved, what it means in the context of everything we’ve seen until now—all of it is de-emphasized in the name of upending audience expectations with one gut-punch surprise after another. As a result, characters’ seasons-long stories seem to end mid-sentence. Their decisions feel at times inscrutably random. Nothing means anything anymore. It’s too nihilistic, even for the most nihilistic show on TV.

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