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Your romance options basically hand themselves up on a platter: the first time you get to talking with them, they start dribbling about how impressive and intriguing you are and, hey, space is lonely and sometimes it? fun to share a bunk. In fact, they don? even say anything that romantic. They basically just say, ? eep talking to me and someday we? l have that sex scene you saw on YouTube. Like I said, neither of my suitors did it for me. She gave me a whole spiel about how her race is entirely female, meaning they reproduce bisexually, and their matings are a serious union of body and spirit, and it? really a whole credible thing that they go around the galaxy banging aliens of either gender. Like, it just made perfect sense the way she explained it. Also, maybe if we had sex, I would get to father a kid. In real life I? a dad, and in Second Life I? e been a mom. Also ? and I don?

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For sure both things will happen because there are photos ( Yara will be captured and Theon will be beaten) but maybe the timeline is not really how it’s written in the spoilers and if it’s not like that why should I believe that these are really leaked scripts and not just ideas from people who saw the photos like me. Cersei and her family killed half Starks so I don’t see how Jon will be able to ignore that and made. Queen, she will take what she thinks is hers with “ blood and fire”. Like. Littlefinger is Sansa kill, as Ramsey was, and it will be a. Also I like more the idea of killing him with poison and not a knife. After all it all started with Littlefinger poisoning Jon Arryn and Littlefinger used poison with Joffrey and Sansa was framed for that murder. Olenna telling Jaime that she killed Joffrey, and Olenna then poisons herself, dying in front of Jaime. I’m not sure but did lady Olenna have scenes with Jamie where they talked like enemies. These 2 women had a lot of history and Lady Olenna is too sassy to just kill herself without first saying what she thinks to Cersei. I like Lady Olenna a lot so I hope for a more emotional death scene for her than not one with Jamie. His first death was important, not only because of who killed him ( the betrayal was an emotional moment) but also because of how it frees him from his vow to be a NW. This second death doesn’t look much special and doesn’t have a special purpose, for me it’s not something fit for the leading character. Also if they start to kill him and bring him back and it start to become a habit it will lose the special meaning of him being TPTWP. In the book it was so important when Beric give it to Cat but giving it to Jon in a not so epic death scene seems to me a little. That Jon is not much like the Jon I saw in 6 seasons so I hope it will not happen. Blackfish: what about dying fightning alongside my friend This gives Jaime motivation and he starts slashing trough walters it will be an epic scene of fightning Daario sees Jaime and jumps on him Daario is played by a new actor its Jaimie Foxx Daario: Bend the knee and I will kill you fast kinglsayrr Jaime: you should have said fishsaver because thars who i am Daario: you are weak like the sandsnakes.

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As a religious movement, by the late nineteenth-century Spiritualism in the United States and Europe alone had an estimated eight million adherents, almost all from an educated, upper and middle class demographic. Ann Braude’s 1989 book Radical Spirits: Spiritualism and Women's Rights in Nineteenth-century America is a foundational work that considers religious history through a gender political lens, arguing that Spiritualism was a primary way that the ideology of the women’s rights movement spread through America in the mid-nineteenth century in particular. Spiritualism was from its earliest days associated with women, and figures such as Emma Hardinge Britten and Mina Crandon were felt broadly to be more receptive to the task of mediumship than their male counterparts. Attempts to dismiss these women, Braude suggests, undermines more than Spiritualism, but the empowerment of women to stand up and be heard more generally: “taking Spiritualism seriously as a religion means that the cadre of female mediums who spread the movement should be seen as religious figures, rather than as impressionable dupes”. By the late 1880s, the credibility of the Spiritualist movement had weakened due to accusations of fraud: famed Spiritualist Etta Wriedt was revealed to be a fraud, more a talented ventriloquist than gifted interdimensional conduit. New York's Fox sisters Leah, Margaret and Kate were central figures in the formation of the US Spiritualist movement, the latter two confessing in 1888 (but later recanting) that their experiences were a hoax, dying in poverty less than five years later. Of great relevance to contemporary horror film, even in the mid-nineteenth century there is much documented evidence that seeks to align Spiritualism with Satanism, making the granting of a forum where women held tremendous power somehow inherently demonic. Some of the most intriguing scenes in Hereditary involve seances, an enduring motif in the genre since its earliest days. For reasons of timing alone it is perhaps unsurprising this would be an enduring trope in movie history; the first Ouija board was patented in 1891, launching the seance as a casual parlour game in the same decade that cinema itself was flung out into the popular mediasphere with the moving image experiments of Georges Melies, Thomas Edison, and the Lumiere Brothers. Rather, they materially permit explicit communication between the past and the present; allowing the inescapable influence of the latter to make its voice heard in a movie’s diegetic moment. Whether it is as individuals, nations, or entire cultures, we are often haunted by a past we cannot escape, and the very title Hereditary renders this unambiguously the subject of genuine horror. Sigmund Freud once wrote about “the return of the repressed”, where the things we try to bury and deny find a way to bubble up whether we like it or not, and horror critics and scholars have for decades utilised this as a key concept when thinking through the genre’s power for social critique. Across horror film history, the scenarios may change but this privileging of the seance as a space where the voice of the past can be heard and have often direct influence on the present is a constant. Pioneering horror filmmaker Tod Browning featured seances in his 1925 film The Mystic and 1929’s The Thirteenth Chair, and over the following decades seances would appear steadily in films including Supernatura l (Victor Halperin, 1933), The Devil Commands (Edward Dmytryk, 1941), The Uninvited (Lewis Allen, 1944), Blood Orgy of the She-Devils (Ted V. Mikels, 1973), Gothic (Ken Russell, 1986), and Night of the Demons (Kevin S. Tenney, 1988). Well beyond famous instances like T he Exorcist and franchises like Witchboard (1986-1995) and Ouija (2017-2014), seances would become a familiar trope in horror well beyond the UK and the US, appearing in films from countries including Italy, Mexico, Japan, the Philippines, and Hong Kong.

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J. K. Rowling’s novels are credited with giving an entire generation its enthusiasm for reading. But they might deserve props for giving an entire generation its unearned delusions of grandeur, too. In “Harry Potter and the Sorcerer’s Stone, ” we learn that Harry, who is also 11, has already saved the world once before. As a baby. When Lord Voldemort tried to kill the infant, the love of Harry’s mother forged such a protective spell, it vanquished the baddie on the spot. As a preteen, Harry attends Hogwarts School, where most of his teachers bow to his magnificence. There Harry discovers he has a knack for performing difficult spells and flying broomsticks. He makes the school’s Quidditch (a sport played on said brooms) team his very first year. Sure. Harry has multiple run-ins with Voldemort throughout the seven books, and, like Mark Zuckerberg with a wand, he always defeats them despite being a young student. This is a starkly different message from the hardscrabble one of the “Lord of The Rings” series, which was published throughout the 1950s. In J. R. Tolkein’s saga, Frodo Baggins, a shy young hobbit, is whisked on a journey to destroy an evil ring of power — not because he’s “the one, ” but because he wants to keep his friends safe. On his trek, Frodo becomes skilled and savvy and eventually chucks that cursed bling into the fires of Mount Doom, destroying it and the dark Lord Sauron.

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