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Cu Chulainn 2 anni fa Who is going to care what Reed has to say. I forgot about Howland. Good call. Adrian Colley 2 anni fa Howland Reed was at the Tower of Joy and is still alive. Finally someone who points out the brilliant soundtrack. Great video. 3 Erin Parsons 2 anni fa Personally I think the reason why Sansa didn't tell Jon is because she knew Ramsay would try to trick him. Sarah of House Dayne 2 anni fa I guess it was also beneficial that they joined the fight near the end, because if they had joined the fight at the beginning, i think Ramsay's war tactics would have still prevailed, but since they waited, they had the element of surprise and they could still surround Ramsay's forces. Also Starks saying cool things and walking away is becoming one of my favorite things:P Erin Parsons 2 anni fa Personally I think the reason why Sansa didn't tell Jon is because she knew Ramsay would try to trick him. Also if Ramsay knew the actual size of Jon's army he could have made a new plan and defeated him with tricks just like he would have if the Knights of the Vale didn't show up Josh Phoenix 2 anni fa Great episode. Poor Wun Wun BrotherCumute 2 anni fa Where do you watch the Episodes of GOT. Sarah of House Dayne 2 anni fa I watched the episode when it was released.
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€ť Legend trips involve, as is semantically obvious, traveling to a specific location attached to a legend in the hopes of witnessing some kind of phenomena as if in the legend itself. Such journeys clearly mark themselves as, in Ellisâ€™s (1989) phrase, â€śostension itselfâ€ť (208). Carl Lindahl (2005) noted, â€śSuch legend quests constitute a sort of ostensive play, an improvised drama in which the players, visiting the site of a haunting or the scene of a crime,. both recreate the storied events and simultaneously expand the tale by adding their experiences to the core narrativeâ€ť (165). There are at least two issues related to legend tripping that are relevant here. On the one hand, each new legend trip addsâ€”through ostensionâ€”to the narrative core attached to the location by engaging and replicating the legend itself. Much like graffiti, a truly terrifying encounter at a legend site ensures a kind of legendary immortality to the trippers. They go on fearsome expeditions to check-pointsâ€”broken-down railroad bridges, grave markers, chapels, tunnels. On their daring trips to the unknown spirit underground, they challenge the dead to appear and tell how they perished. (327) While certainly the prime directive of legend tripping is to have a â€śscary experience,â€ť such experiences also bring their own local history to life, whether in the form of communication with the spirit world (in a kind of â€śunlivingâ€ť history) or through a concrete and tactile experience of the space. Or, assuming a mantle of skepticism, particularly through the use of night-vision cameras, the team experiences historical properties without the aid of electric lights, thereby re-creating an experiential analogy of living conditions of the past. Returning to Bill Ellisâ€™s work on the legend trip, clearly the primary intention of such undertakings is to have a fright, either through what Degh has called the â€śgeneral scary conditionâ€ť (quoted in Hall 1973, 172) of the location itself or through actual contact with spirits.
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With the prosecutor on his feet, trying to raise more objections, Mr. Kerby had both his hands out trying to calm the courtroom. The instant that was explained, the defendants set up a howl not heard before nor probably since. They held out their hands beseeching Mr. Kerby. One of the women nearly collapsed over the jury rail. The man began rending his clothes, I mean rending in the Biblical sense. â€śJudge, judge, no, this is not right, you are a man of honor, you are a wise and fair man, let them go. I, Witold Lakatosz, king of the Gypsies, tell you they will come back, they will be here. €ť â€śNo, now bail has been set,â€ť Mr. Kerby said. â€śI can get this money, I can have it for you in two hours.