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After all, on a personal level, Loras's entire family seems to know that he is secretly a homosexual but none of them seem to care - as opposed to being staunch religious conservatives who would disown him for it, even if he kept it private (i. . for all we know, unlike in the Reach, noble families from the Vale of Arryn might be inclined to disown a homosexual son even if they merely found out about it in private, and it wasn't even public knowledge). Nonetheless, in Westeros only Dorne is highlighted as being quite openly tolerant of homosexual behaviors, in contrast to all of the other kingdoms. The TV series was therefore put in a somewhat difficult position: the producers wanted to more prominently portray homosexual characters from the novels such as Renly and Loras, but they didn't really have any in-universe terms to describe homosexuals in these invented TV-only scenes. It is possible to just interpret the characters' words on the subject as that they consider Lancel having sex with Cersei to be negative because it was adultery - but this would be a minor retcon, as the actual intent of the scriptwriters is fairly clear. This cannot be easily reconciled with the statements also made about Lancel and Cersei. In the novels, there are several other examples of first cousin marriage within the nobility of Westeros: Olenna Tyrell was born Olenna Redwyne, and her daughter Mina (Mace's sister) married Paxter Redwyne - Olenna's own nephew and Mina's own first cousin. Even House Stark has practied first cousin marriage, in the not too distant past: Eddard Stark 's own parents Rickard and Lyarra were first cousins once removed. Treating Lancel having sex with Cersei as strange because she is also his first cousin is applying contemporary cultural standards which do not exist in Westeros. Three or four other female leaders were only blink-or-you'll miss cameos (either non-speaking or only mentioned). Maege Mormont, a major secondary character in the novels who was one of Robb Stark's major commanders in the Northern army, was reduced to a non-speaking background cameo in Season 1, who disappeared entirely by Season 2. They were not simply omitted due to time constraints, but replaced with male characters - particularly in the case of Larra Blackmont, whose male counterpart in the TV series has speaking lines. Only one of the bonus videos mentioned this, but it might have been due to miscommunication among the writers, given that it wasn't mentioned on-air when the Dornish appear in Season 4 or Season 5.

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But with an almost Trumpian act of self-absorption, he instead placed his political survival above all else. The Spy Who Wasn’t On a steamy Sunday last July, at about half-past noon, a caravan of unmarked SUVs exited the FBI’s Washington, D. . field office, an eight-story concrete building that exudes all the charm of a supermax prison. The cars moved swiftly across the city; speed was critical. There were indications that the target, who had canceled the lease on her apartment and packed her belongings, was about to take flight. ust before one o’clock, the SUVs turned off Wisconsin Avenue and into a parking lot at 3617 38th Street NW, a low, red-brick apartment building near American University. Armed agents in bulletproof vests filled a narrow corridor outside apartment 208. Inside, Maria Butina was watching the Wimbledon men’s final on TV and preparing for a long drive in a U-Haul truck to South Dakota. Having just graduated from American University with a master’s degree in international affairs, she was about to start working as a consultant in the cryptocurrency industry. Her boyfriend of five years, a 57-year-old Republican activist named Paul Erickson, would be traveling with her to his home in Sioux Falls. Everything was boxed up,” Erickson told me. “The last thing to do was to pack the electronics, to unplug the TV and the internet. Denied bail out of fear she might run to the Russian Embassy, or jump into an embassy car, she was charged with violating Section 951 of the U.

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And one can’t help noticing that within art photography there has been a return to surface, and more specifically to emulsion. For instance the National Gallery of Victoria held an exhibition earlier this year called First Impressions, which featured the work of twelve Australian artists who work in the medium of the photogram. She completed a residency here at the Museum last year and she began working with the photogram as a medium in 1995 during a collaboration with the ANU School of art’s Anne Brennan at the Hyde Park Barracks. The photogram is not like an ordinary photo, it doesn’t consist of the snapping of an anterior scene, its technical assemblage is not one of a shutter-blade vertically slicing through a cone of light projected by a lens, and thereby excising an instant from time and space. It is rather a residue of an event — the optical and chemical event of an object touching photo-paper. The photogram has a different relationship to time and history than the photograph, it doesn’t grant the present information, knowledge, detail or anecdote about the past; rather it is a generalised presence of the past still physically present within the now. Crucially, the photogram isn’t a record of a separate object as a photograph is, it doesn’t even look much like the object that produced it, rather it is a record of a tactile event, and the event of object and shadow meeting on a sensitive surface persists in its record. The photogram is a physical performance which is perpetually taking place in the image. A dynamic understanding of what is past and what is present in these works questions our Western notions of linear time. Indeed what we find in Photograms is that the past has often become congruent with the present. Many contemporary indigenous artists have take part in this shift. Much recent indigenous photography has attempted to call the past forward to bear witness to the present. This is an attempt to magically conjure the still living presence of her ancestors into the now. They fantasise that the Library portraits are not just historical images—dead, gone and in the past—but ghosts, still revenant and with agency in the present.