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It was - he didn't know how long ago, maybe an hour, maybe more, maybe less - from when that hooded bastard had clipped callipers to them and fired electric shocks into them. He was remembering the movie, The Silence of the Lambs, which he had seen some years back, and again more recently on television with Ashley. A girl, a senator's daughter, had been kept In the bottom of a well by the serial killer who skinned his victims. He couldn't help it; he was shivering, trying to focus his thoughts, determined, somehow, to survive. After spooning him tinned stew and bread, his captor had sealed his mouth again with duct tape and he had to breathe just through his nose, which was partially blocked. He sniffed, suddenly panicking that it was getting completely blocked. Sniffed again, harder, deep, rapid sniffs, setting his heart racing. The place smelled dank, musty, there was still a faint reek of engine oil. He was lying on a hard surface and something sharp was digging into the base of his spine, hurting like hell, getting worse by the minute. I haven't done everything in life to end up here. No way. No absolutely no absolutely no, no no fucking way. In again, pulled his arms in tight, tight, tight, out, in, out. He pushed against his bonds, constricted, pushed again, constricted. His nostrils filled with the reek of engine oil now; he was lying face down in the slimy stuff, but it didn't matter, because at least the pain in the base of his spine had stopped.

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We know how Robert felt about Targaeryens. So IMO it's more likely that Robert co-signed the murders of Rhaegar's entire family by the Lannisters, or he ordered it himself. If there can be no rewriting of the dynastic rules of Westeros, there will NEVER be another Stark at Winterfell. If Jon and Dany have a child, that child will be a Targaryen. If Sansa or Arya have a child, who is legitimate, that child will belong to the father's house and by definition not be a Stark, like Jon. (If Sansa stays married and has a child by Tyrion then there is either a Lannister or Targaryen at Winterfell depending on which fan theory ends up being true). Arya could end up marrying anyone, or more likely no one at all, pun intended. Bran, the only surviving male heir, presumptively cannot sire children. Even if he could, as the 3ER he shows no interest in mundane human affairs, as evidenced by his brush off of Meera. Rhaegar was killed by Robert at the Battle of the the Trident, this was the decisive battle of the war. Taking the place of the injured Robert, Ned leads the rebel forces to King's landing. Tywin Lannister, who had stayed neutral, shows up to King's Landing with his army before Ned gets there. Tywin sacks King's Landing and Rhaegar's children are killed. Jaime is Aery's last bodyguard and kills him because he can hatch his wildfire plan. As Jaime says, Ned could have taken the throne at this point, honestly it isn't like Robert even wanted the throne.


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In sacred rituals and myths values are portrayed not as subjective human preferences but as the imposed conditions for life implicit in a world with a particular structure. 140 THE INTERPRETATION OF CULTURES III The sort o f symbols (or symbol complexes) regarded b y a people a s sa cred varies very widely. Elaborate initiation rites, as among the Austra lians; complex philosophical tales, as among the Maori; dramatic sha man istic exhibitions, as among the Eskimo; cruel human sacrifice rites, as among the Aztecs; obsessive curing ceremonies, as among the Nav aho; large communal feasts, as among various Polynesian grou ps-all these patterns and many more seem to one people or another to sum up most powerfully what it knows about living. Nor is there commonly but one such complex: Malinowski's famous Trobrianders seem equally concerned with the rituals of gardening and those of trade. In a complex civilization such as that of the Javanese -in which Hinduistic, Islamic, and pagan influences all remain very strong-one could choose any of several symbol complexes as reveali ng one or another aspect of the integration of ethos and world view. But perhaps the clearest and most direct insight into the relation between Javanese values and Ja vanese metaphysics can be gai ned through a brief analysis of one of the most deeply rooted and highly developed of their art forms which is at the same time a religious rite: the shadow-puppet play, or wajang. The shadow play is called so because the puppets, which are flat cut outs of leather, painted in golds, reds, blues, and blacks, are made to cast large shadows on a. A banana tree trunk lies horizontally in front of him into which the puppets, each of them fastened to a tortoiseshell handle, are stuck. As the play progresses, the dalang takes and replaces char acters from the tree trunk as he needs them, holdi ng them up in either hand over his head and interposing them between the light and the screen. From the dalang's side of the screen-where traditionally only the men were permitted to sit--one sees the puppets themselves, their shadows rising up dominant on the screen behind them; from the r verse side of the screen -where the women and children sit-one sees their shadows only. The stories dramatized are mostly episodes taken from the I ndi aji. First, there are the gods and goddesses, headed by Siva and his wife Durga. As in the Greek epics, the gods are far from uniformly righteous, are marked by human frailties and human passions, and seem peculiarly interested in the things of this world. Second, there are the kings and nobles, who are, in theory, the ancestors of the present-day Javanese. The two most important groups of these nobles are the Pendawas and the Korawas.

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critically acclaimed mini-series Heaven and Hell: North and South III for ABC-TV. Wagner has starred in two other popular series: Switch, with Eddie Albert, and It Takes a Thief, with Fred Astaire, the latter earning him an Emmy Award nomination. Wagner also starred with Jaclyn Smith in Windmills of the Gods, the top-rated mini-series based on Sidney Sheldon? best-selling novel; with Angie Dickinson in the mini-series Pearl; with Audrey Hepburn in Here a Thief, There a Thief; with Lesley-Anne Down in Indiscreet; and with Elizabeth Taylor in There Must Be a Pony, which he also executive produced. Sir Laurence Olivier chose Wagner to star with him in the television adaptation of Tennessee Williams? play, Cat on a Hot Tin Roof, in which Wagner co-starred with his wife, the late Natalie Wood, who played Maggie the Cat. He also starred in This Gun for Hire, Danielle Steel? Jewels and To Catch a King. Additionally, he tours the U. . with his wife, Jill St. John, breaking house records starring on stage in A. . Gurney? play, Love Letters, including a sold-out three week engagement at the Royal George Theater in Chicago.

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Like these claims don't seem to mean a lot in reality. If only there was some way to unite the dragon people and Starks, hmmm. The Boltons are in charge, it doesn't seem as if people are banging down the door in support of Rickon Stark. Not saying you're wrong, I guess I just don't quite see your pov. To me, lineage is feted as important but when everyone can just kill someone and seize power, how is it important. Some other family murdered the eldest Stark and his mother. As a viewer of the show the lineage doesn't seem important at all - not as important as killing your way to the top. Weren't Dani and her shithead brother claiming themselves rightful heirs to the throne at the beginning of the show. GoT has to spend a lot of time on motivation, and a lot of that time on stuff that doesn't make immediate sense to people who haven't lived under feudalism. It's like if we were watching a show about street racing, of course we're going to see all of the times that people were speeding or driving in the wrong lanes or whatever. We're just seeing all of the exciting events condensed for the sake of the story. Worth remembering that the possibility of ressurection in this world has been shown from the end of season 1, with Khal Drogo, but since then it's been shown to come at a heavy cost. If Jon's being brought back from the dead has a fundamental impact on the character then it's worthwhile. Like if the lineage was that important, surely all the people desperate for the rightful kings of the north to be in power would be the ones hunting down Rickon to put him back in the throne. I had a much more interesting vision of it in my head, but it turned out to be a big-ish hut amount the rest of the huts all sitting in a dusty, flat valley.

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blocks and a 19. 9 PER (player efficiency rating). His impact on the defensive end as the league’s premier rim protector is quite high, too. “A few of us around the league are fortunate to have rim protection. There’s just a scarcity of tall players with length who have mobility,” Lindsey said. “Coaches always like players who can contribute to the bottom line without the ball. To that point, Lindsey certainly is happy Gobert is improving offensively and becoming a better free-throw shooter, but he acknowledged that his 24-year-old big man’s primary responsibility is on the defensive end. As a bonus, Lindsey noted that Gobert is a willing and capable passer and that he rebounds once every 2. minutes, which is an elite rate. They have high hopes that the Frenchman will continue to improve, as his footwork and positioning have through work with assistant coach Alex Jensen and his strength through Utah's training staff and P3 sessions, but the Jazz are satisfied with the player he is right now, too. Considering his attitude, his commitment to Utah and the Jazz, and his unique skill set, that was more than enough to convince the organization to lock him up long term. “Look, if nothing else changes substantially with his game, we were willing to commit as long as he understood we wanted him to be who he is,” Lindsey said. “It’s not an expectation for him to score a bunch of points. He can certainly help the bottom line by being the backbone of the defense. Not that they need any validation, but the Jazz can feel better knowing at least one coach and league executive sees Gobert for what he’s worth.

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