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However, because Ramsay planned and helped fake the deaths of the Stark boys alongside Theon, the Boltons are well aware of their survival, although the series still had him learn this information later through his deception of Theon. The dialogue in this episode does not make it explicitly clear, but Roose Bolton actually had to obtain Ramsay's legitimization from King Tommen and the Lannisters as reward for House Bolton's help in defeating the Starks. The letter which Roose hands Ramsay, however, has the wax seal of House Baratheon of King's Landing on it (a stag and a lion, combatant), thus there was no change of procedure in the TV version, and here Roose also had to obtain it as a royal decree. Ramsay then personally killed Ser Rodrik: when Rodrik held up his open hand as a gesture of surrender, Ramsay cut his arm off at the elbow. Second, the ironborn who occupied Winterfell did not make any deal of surrender with Ramsay - Theon allowed him to enter, thinking incorrectly he is a friend, after watching his force slay the besiegers. Geographically this is true, but it is also very resource-poor, and hit the hardest by the years-long winters of their world. It has neither the gold of the Westerlands nor the fertile fields of the Reach. The North is also one of the least populated of the Seven Kingdoms. The North's vast size but desolate landscape is one of its strengths. Back in Season 1, Cersei advised Joffrey that the North is too large for an outside force to easily occupy (the Lannisters had to make internal allies, the Boltons). Thus while the North is very large there are not many people or resources in it. It is still by far the largest kingdom by land area. Littlefinger confidently puts the blame on Marillion. Robin and Sansa (still disguised as Alayne Stone) support Littlefinger's version. Marillion is brought by Mord, severely battered and mutilated, and claims that he killed Lysa. Since the entire Vale hates Marillion, and the three guests were personally insulted by him, they are satisfied with Littlefinger's lies, even though it is very visible that Marillion does not confess of his free will. Lord Yohn Royce comes to the Eyrie, accompanied by Lady Anya Waynwood and more nobles from the Vale. They do not come to inquire about Lysa's death, but to remove Littlefinger from his office as Lord Protector and take Robin to foster at Runestone. Sansa remembers that Lord Yohn saw her twice, at Winterfell and at King's Landing.

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It was apparent that high-tech involvement in the initial meeting process did not mediate the insecurities, the need for approval, the desperation, the vulnerabilities, the fear or experience of rejection and failure, and so on, that real people with real bodies and minds have in negotiating a potential intimate relationship. Several dynamics of relationships were highlighted, including the observation by some of the women that “women have the upper hand” in the online dating experience, at least in the screening process. They enjoyed the fact that they can be independent and the pursuer and be in control and have power. Sex was often seen as a commodity and a bargaining chip in the dating game, which gave the women power. Dating deception” was also highlighted, as were lies and manipulation on the part of both the women and the men, which counterbalanced some of the shifting power dynamics within the couples, much as often happens in traditional dating scenarios. Most of this deception did not seem malevolent, but rather attempts to allow the other person to see how they “really” were beyond aspects of their true identities and professions. Still, the bottom line, as in traditional first meetings, was that chemistry and spark (the sexual component, although it was rarely articulated as such), along with shared interests, were what everyone seemed to be seeking. Of particular note was the discovery that actively looking for romantic partners was not a high priority for most young singles, and that significant numbers of those seeking relationships were not even dating very frequently. The reader is referred to these online reports for statistics on current committed-relationship and partner-seeking status among Internet users, as well as comparison data on where first meetings took place among those who are married or in committed relationships (only 3% met through the Internet). et, online dating sites have been affecting how we date early in the 21st century, according to these reports. Still, among those who have actually tried it, a slight majority feels it is not dangerous, although many others believe it involves some risk. Yahoo! Personals and Match. om were found to be the most popular dating sites among those who took part in the survey. More than half of the respondents said they had mostly positive experiences with online dating, while less than a third reported mostly negative experiences. (I know of no comparable data with respect to offline dating with which to compare their experiences, although anecdotal stories suggest that it might be similar. The young seemed to have the most favorable responses in general. The authors noted that, although deception is certainly a possibility as in offline encounters, it “seems to be the exception rather than the rule” (p. 2), despite the fact that most people said they believed that a lot of people lie about their marital status.


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Lee's association with Hammer Film Productions brought him into contact with Peter Cushing, and they became good friends. Lee and Cushing often than not played contrasting roles in Hammer films, where Cushing was the protagonist and Lee the villain, whether it be Van Helsing and Dracula respectively in Horror of Dracula (1958), or John Banning and Kharis the Mummy respectively in The Mummy (1959). During this time, he co-starred in The Hound of the Baskervilles (1959), and made numerous appearances as Fu Manchu, most notably in the first of the series The Face of Fu Manchu (1965), and also appeared in a number of films in Europe. With his own production company, Charlemagne Productions, Ltd. Lee made Nothing But the Night (1973) and To the Devil a Daughter (1976). By the mid-1970s, Lee was tiring of his horror image and tried to widen his appeal by participating in several mainstream films, such as The Private Life of Sherlock Holmes (1970), The Three Musketeers (1973), The Four Musketeers: Milady's Revenge (1974), and the James Bond film The Man with the Golden Gun (1974). The success of these films prompted him in the late 1970s to move to Hollywood, where he remained a busy actor but made mostly unremarkable film and television appearances, and eventually moved back to England. The beginning of the new millennium relaunched his career to some degree, during which he has played Count Dooku in Star Wars: Episode II - Attack of the Clones (2002) and as Saruman the White in the Lord of the Rings trilogy. Lee played Count Dooku again in Star Wars: Episode III - Revenge of the Sith (2005) and as Johnny Depp's character's father in the Tim Burton film, Charlie and the Chocolate Factory (2005). On 16 June 2001, he was created a Commander of the Order of the British Empire in recognition of his services to drama. He was created a Knight Bachelor on 13 June 2009 in the Queen's Birthday Honours List for his services to drama and charity. In addition he was made a Commander of the Order of St John on 16 January 1997. - IMDb Mini Biography By: Lyn Hammond and Sidhartha Shankar Spouse (1) Gitte Lee (17 March 1961 - present) (1 child) Trade Mark (5) Deeply melodic basso voice Frequently plays imposing, menacing villains Roles in Hammer Horror films More often than not sports a beard. Especially in recent years Towering height and slender frame Trivia (135) Turned down Donald Pleasence's role as Dr. Sam Loomis in Halloween (1978) (He later remarked that this was his biggest mistake). One of the few actors who has portrayed three different Sherlock Holmes characters: Sherlock Holmes, Mycroft Holmes and Sir Henry Baskerville. A distant cousin and frequent golfing partner of Bond creator Ian Fleming, Lee was the author's personal pick for the role of Dr. No (1962) in the first 007 film. The role, of course, went to actor Joseph Wiseman, who was brilliant.


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The claim arises from an agreement Bedini was to produce acts for the new vaudeville circuit last season, that amount having been advanced him. Keith from week Commenced Trial Wednesday Syracuse, June 14. The suit of the Shuberts against the Keith interests for an accounting of the profits, alleging half interest in the local Keith vaudeville franchise, was put over from Monday until today. E. F. Albce, Lee Shubert, Joseph Rhinock and Maurice Goodman, among others, returned to New York Monday night, but returned this morning. Ben Heidingsfelt, a Cincinnati attorney, was also present. The outcome of the court action is somewhat puzzling to insiders in one way if no settlement Is arrived at. If the Shubert contention is upheld, the matter of the new Keith house here will figure. Keith vaudeville was formerly presented In the Grand, an upstairs Shubert house. When the new theatre was built the shows were transferred. The new house was financed without the Shuberts participating. In the event of the latter winning in court, half of the cost of the new theatre might be a matter for consideration before any profits could figure. All told, there appears to be about 60 per cent less houses open on the Keith books this summer than af the same period last year. The Keith's southern time booked by Jules Delmar at present is sup- plying about three weeks' work for acts, as against about seven weeks' at the same time last year. The two named will stop thl Notice to thii last week in June. The Its Failed to Appear in Answer to A complaint has been tiled against Harry Carroll and Carlton Hoagland, vaudeville producers, by the Bennett Twins, former members of the Harry Carroll Revue, for railroad fares alleged due the act while members Carroll of the revue. A study of local conditions is just as necessary for the booking his Judgment. LIGHTS' CIRCUS The week's route for Fordham Repeats FeaGave ture of Last Season Said program at prosperity is to return to vaudeville next season.


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He looks up at me, begging me to let him go with his puppy-dog eyes. Then it hits me; I finally realize what’s wrong here: I forgot to get kibble for Rufus. Patrick Winters Patrick Winters is a recent graduate of Illinois College in Jacksonville, IL, where he earned a degree in English Literature and Creative Writing. He has been published in the likes of Sanitarium Magazine, The Sirens Call, Trysts of Fate, and other such titles. You can find out more about Patrick at his homepage. He has had over two dozen dark fiction pieces published the world over; forthcoming anthology credits include The Refuge Collection: Hell To Others, Between the Tracks, and Semi-Colonic Irrigation, alongside names such as Clive Barker, Ramsey Campbell and Christopher Golden. He’s in a relationship with a photographer and seems to have adopted her cat. You can find out more about Matthew at his homepage. And February is (Drum roll please) Women in Horror Month. Yes, this is the time for all you female horror writers (myself included) to tell everyone what amazing horror writers you are. I’ve been writing seriously since 2012 (wow, time sure flies), but I had no clue that there was a month dedicated to horror writers until I joined the Horror Tree crew. I know, shocking, right, considering I’m a female horror writer. Well, this year, I have decided to write something for this special month. Well, I want to talk about how you shouldn’t let self-doubt stop you from writing those dark and disturbing stories just because you’re a woman. Often when a person thinks of a horror writer, they automatically assume it’s a man. So, when a woman steps forward and tells the world that she loves writing horror, she is likely to get some funny looks. Because I’m a woman who loves pink (I wear it a lot), who bakes, watches Barbie films and musicals, and has a huge (and I mean huge) collection of cuddly toys, people are often gobsmacked when I tell them that I write horror stories. Obviously, they assume I must write chick lit or that romance stuff, but I don’t want to write about a girl with relationship dramas and blah blah blah. No, I want to write about a girl being possessed and murdering her entire family.


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