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Her joints are stiff and her hand looks like it belongs to a puppet. Calis face transforms and she loses control of her body, clumsily clomping around the room. Cali swirls and twirls until her transformation is complete from her new adorable doll dress, to her heels and marionette strings. Hannah's plan to add a new puppet to her collection was a success. She practices puppeteering her new toy a bit before hanging her on the wall to wait for the big performance. This 9 minute clip includes magic control, mesmerize, female training, mind fuck, doll fetish. Dixie agrees and while she is looking over the instructions, Nadia flips over an hourglass that comes with the game to time turns and suddenly there is a magical burst of light and Nadia is frozen in place. At first Dixie doesn't notice but she soon looks up when Nadia stops responding and sees that she isn't moving. Dixie thinks that Nadia is just fucking around with her as a practical joke so she decides to have a little fun with her and see how far she can go before Nadia gives up and admits she's joking around. First she pulls Nadia's boobs out of her shirt and gives her a little grope, but she gets no response. She pulls up her skirt and plays with her pussy through her panties but still nothing. Finally, Dixie strips Nadia completely naked and poses her naked body. Just then, the hourglass runs out and Nadia snaps back to life and finds, to her shock and surprise, that she is completely naked. Dixie thinks that she has just gotten her friend to break her practical joke and tells her to quit messing around so they can play the game as she reaches down and flips the hourglass for her turn. As Dixie flips it there is another magical light and she becomes frozen just like Nadia was previously. Now Nadia realizes what happened and decides to give Dixie a taste of her own medicine as she strips her out of her clothes, gropes her and poses her body.

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Inside may have the most disturbing premise of any of them, though: A young, pregnant woman (Alysson Paradis) waits at home for her delivery, scheduled the next day, only to be attacked by a female intruder (Beatrice Dalle) with the strange, sinister goal of forcibly removing the protagonist’s baby from the womb to take it for herself. The identity and motivations of the assailant are a mystery, but her savagery is plain to see, the film painting a bloody canvas from the get-go, never shying away from “savoring the little emotions” which the Joker references as the reason for his knife preference in The Dark Knight. Rather, Inside revels in those little emotions—and their grisly outcomes. At points, it almost becomes a comedy of errors, as uninvited guests arrive at the house and complicate what is already a deadly game of cat and mouse, but the film treats its violence with such gravity and unflinching reality that no one will be laughing. With a conclusion even more brutal than you’re imagining, Inside is not for the faint of heart, but it is plenty memorable. —Jim Vorel. The piercing eyes of little blonde, pigtailed Rhoda (Patty McCormack) are terrifying to behold, moreso once we begin to suspect what lays behind her facade. Rhoda’s ability to function and hide her true self with wily cunning presages the likes of Patrick Bateman or the already mentioned Henry in Henry: Portrait of a Serial Killer. There could be no We Need to Talk About Kevin without The Bad Seed there to ask the question: What is the nature of innate evil. The menace and sheer, unflinching look into human cruelty in The Bad Seed is truly unique for its time period, with young McCormack’s performance ranking among the all-time greats for children in a horror film. The Bad Seed is about the horrors of responsibility as a parent, when there’s something you know needs to be done but the act of carrying it out is something the world will never be able to understand. It’s a film that may turn you off of pigtails for life. —Jim Vorel. Society is a weird film on every level, a feverish descent into what may or may not be paranoia when a popular high school guy begins questioning whether his family (and indeed, the entire town) are involved in some sinister, sexual, exceedingly icky business. Plot takes a backseat to dark comedy and a creepily foreboding sense that we’re building to a revelatory conclusion, which absolutely does not disappoint. But Society ’s ambitions are considerably grander than that gross-out Peter Jackson classic—it takes aim at its own title and the tendency of insular communities to prey upon the outside world to create social satire of the highest (and grossest) order.

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Jon probably is wary of him based on conversations with Sansa, who describes him as untrustworthy and manipulative. Jon does not know about his betrayal of Ned, nor does Sansa (but Varys knows, and the Hound knows). Flying off the handle like that was not in character for him and feels like fan service more than anything. EDIT: It also parallels Ned's first encounter with Littlefinger in Season 1--he choke slams him against a wall when he says he has Cat waiting for him in his brothel. I do not care for that nun at all, but GoT has already had way more torture than I want to watch in a show. (. Still, big mistake. Is it just me, or is Euron the Neegan of GoT. I'd be interested to hear the comparison, but at first glance I don't see it. I might be biased because the writing around Negan's character has nearly ruined TWD for me. I do not care for that nun at all, but GoT has already had way more torture than I want to watch in a show. ( I'm sure Jason will get some gratuitous torture and worse, since two of the Dornish women were taken captive. Loved the way Euron made a display of the two Sand Snakes he did kill, that was pretty gross. If I'm not mistaken the one sister who is left also happens to be the one that saved Bron's life. I wonder if this will get him back into the show somewhere down the line. Yeah, technically the cure was known, but had been forbidden by the maester's because of the danger of contracting gray scale during treatment which got me thinking.

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It has influenced later constitutional documents in Britain and America. Petition of Right, 1628 A document drawn up by Parliament's House of Commons listing grievances against King Charles I and extending Parliament's powers while limiting the king's. It gave Parliament authority over taxation, declared that free citizens could not be arrested without cause, declared that soldiers could not be quartered in private homes without compensation, and said that martial law cannot be declared during peacetime. Habeas Corpus Act, 1679 British law had traditionally provided a procedure that allowed a person who had been arrested to challenge the legality of his arrest or confinement, called the Writ of Habeus Corpus, or the Great Writ. The Act imposed strict penalties on judges who refused to issue a writ of habeus corpus when there was good cause, and on officers who refused to comply with the writ. Bill of Rights, 1689 Drawn up by Parliament and presented to King William II and Queen Mary, it listed certain rights of the British people. It also limited the king's powers in taxing and prohibitted the maintenance of a standing army in peacetime. Board of Trade (of the Privy Council) Advisors to the king who regulated British trade during the 1600s and 1700s. Robert Walpole Prime minister of Great Britain in the first half of the 1700s. He was primarily concerned with British affairs and believed that unrestricted trade in the colonies would be more profitable for England than would taxation of the colonies. The Enlightenment A philosophical movement which started in Europe in the 1700's and spread to the colonies. Writers of the enlightenment tended to focus on government, ethics, and science, rather than on imagination, emotions, or religion. Many members of the Enlightenment rejected traditional religious beliefs in favor of Deism, which holds that the world is run by natural laws without the direct intervention of God. Theories of representative government in legislatures: virtual representation, actual representation Virtual representation means that a representative is not elected by his constituents, but he resembles them in his political beliefs and goals. Actual representation mean that a representative is elected by his constituents. The colonies only had virtual representation in the British government.

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I mean, the decision was up to me so it’s entirely my fault anyways. I’m not one to have regrets so it’s not that bad, it’ll still be nice to see how the scenes play out visually. (yup, I’m in denial) Are you guys ok about it. Is it the first time since it’s past the books that you know so much in advance. More accurately, we only just found out about it. ? Everyone, there’s no spoilers in this post, so please be careful about covering your spoilers, especially the leaks. The leak is vague, lacks context, lacks details (especially with indoor scenes), lacks plot points we’ve gotten from other sources (Iron Bank, King’s Landing parade, who knows what else is thee) so we don’t have it all 2. Far from it. We just have glimpses at the outlines. So when lads said she’s dying like how she killed Joffrey, it sealed the deal for me that even the interior scenes were accurate. There is always the answer that fits and the answer that is true. But if we give away a roadmap to guide others analysis, we can make sure they stop at the answer that “fits”. It’ll be a great day when it turns out it was their trick all along. Wouldn’t be surprising given their lack of any response and action concerning it. But it doesn’t change that we know pretty much all the major plot points for next season, and that’s a fact, either you like it or not.

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The crisply edited shot presents a disturbing image, coming right after Congressman Jim McDermott (D-Wash. , a Vietnam veteran, obser ves: “You know they say they’re not leaving any veterans behind, but they’re leaving all kinds of veterans behind. Damon was outraged that, through editing, he had become an illustration of McDermott’s—and, by extension, Moore’s—point that the war had gone sour. Representative Mark Kennedy (R-Minn. created a controversy by complaining via the Congressional Record about Moore’s use of a clip showing his quizzical expression when he is asked whether he would have a child of his serve in Iraq. Moore edited out Kennedy’s response about where his nephew was serving. A blogger sent out an Internet call that Joanne Duetsch was looking for help in a possible lawsuit against Moore. Duetsch is the woman who walks into the frame and tells Lila Lipscomb that everything is staged; Duetsch claims that Moore edited out the part where she is sympathetic to Lipscomb. There is also the Oregon state police of? er who is interviewed. He c omplained after the premier e that he had no idea his interview was for a Michael Moore polemic. The broader message of these cases is that war documentaries use human subjects, often American soldiers, as representations or signi? rs of diverse points of view on a contested ideological battle? ld. America has a set of legal and ethical guidelines that allow subjects in war documentaries a modicum of protection; whether these same protections apply to non-Americans is another question. It is doubtful that the Iraqi subjects in most of the documentaries about the war are being asked to sign release forms—certainly not the detain- ees at Abu Ghraib, the suspects in house searches, the anguished street-bomb victims, or their grieving relatives.

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Tostitos returned to the ’90s theme after marketing research over the last year found that its customers wanted reasons to celebrate and have fun in economically lean times. In fact, the ancient Greek playwright Sophocles alluded to it over two thousand years ago when he wrote “And through the future, near and far, as through the past, shall this law hold good: Nothing that is vast enters into the life of mortals without a curse. Welcome to the future, where the vastness of technology delivers both the promise of possibility and the curse of consequence. Here we share a few examples of how people are consuming, managing, producing, processing and even inadvertently participating in the unstoppable proliferation of technology. They analyzed links (shortened through their site) from YouTube, Facebook, Twitter, and directly through email and instant messages. The results are not surprising so much as deflating (a feeling which is, after all, only relevant for a few hours). The company’s blog summarizes the results in the chart below. The half life of a Twitter link is the shortest, at two hours and 48 minutes, yet Twitter links tend to garner the most traffic. Links shared on Facebook have on average a half life 24 minutes longer. The three types of links share the same basic distribution, reaching their peak number of clicks shortly after being posted and gradually tapering off in clicks from there. An e-mail inbox has been described as a to-do list that anyone in the world can add to. If you’re not careful, it can gobble up most of your week. Then you’ve become a reactive robot responding to other people’s requests, instead of a proactive agent addressing your own priorities. Following the death of a hard drive belonging to a friend-of-a-friend, the author reflects upon the frailty of the infrastructure that supports data and content exchange and storage. Hence emerge the challenges of managing and maintaining the onslaught of information so that we may reliably refer back to it in the future. Just ask the people who run Google’s data centers- In the end, it pays to have your stuff stored the way Google would-in many places at once, in as many copies as you can.

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