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With Sansa staying sulky-silent and looking at Littlefinger smirking at the back of the room. I think she wants to be acknowledged and have her input respected. Littlefinger didn't think they would follow Jon and was trying to get her to stand up (obviously for his own agenda). Good to see the continuation of the series after over a year. But I think Jaime will kill Cersei and this will save Tyrion. He'll carry on the Lannister name, have children with someone. Loved the scenes between Jon and Sansa, the Hound continues to be one of the most interesting characters for me and there's now a brilliant tension between Jaime and Cersei, with both of them seemingly having little trust for the other. You know it's not an actor playing a role, he's just there because he's Ed Sheeran. I mean its not like they need Ed to boast the numbers watching. Nice to see the producers now putting in celeb cameos rather than respecting the story. No other reason to have that scene than to throw in Ed Sheeran. Maybe next week we'll get Oprah in there somewhere. With only 12 eps to go now, I thought they'd put the show into gear and get a move on with stuff, but no, let's have shots of Sam pouring out chamber pots. It was funny last season when we saw her, but now it's getting stale. The actors are acting differently, Cersei and Jaime's argument on the map came off as whiney more than anything else, not like their previous interactions.

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The abuses came to widespread public attention with the publication of photographs of the abuse by CBS News in April 2004. Wikipedia. Although I appreciated both books, Ronson's writing appeals to me more; his humour and understatement in detailing US atrocities creates a deeply uncomfortable discordance. Despite the overwhelming material that surfaced regarding the torture in Abu Ghraib, only 11 U. . soldiers were charged with crimes related to the scandal. The documentary Standard Operating Procedure further explores these photographs. The documentary was not available on Netflix in the U. . but was available in other countries. I was looking through some of my old research stuff today and was reminded of this, an Abu Ghraib themed photoshoot for Vogue Italia by Steven Meisel called 'State of Emergency', and for extra tastelessness they put it in the September 2006 edition on the 5th anniversary of 9'11. Is an ambiguous term that was coined by United States defense officials during the early days of the Global War on Terror back in the early 2000s. It was developed as a way to more accurately describe the practices used to obtain vital intelligence from detainees in a more mild manner. These techniques were used primarily by intelligence groups like the Central Intelligence Agency (CIA) at locations such as Bagram Air Force Base (Afghanistan), Guantanamo Bay (Cuba), Abu Ghraib prison (Iraq), and undisclosed CIA black sites around the world. Much like torture, the primary goal of these practices is to psychologically break the individual being interrogated so that they divulge sensitive intelligence.

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As we have come to expect from Nad Spiro, Invisible Ink beggars label or description. Five colossal jams of eternally-fuzzy, ethereal dirge that are powered by the interlocking bass guitars of Leah Buckareff and Aidan Baker, who set loose a wave of monstrous grinding bass riffs amidst a fog of beautiful, swirling electronic effects. Desire also marks the first Nadja album to feature a live drummer in place of the drum machine programming that has driven the band's previous recordings, and the difference in the band's sound is apparent from the first crushing beats of album opener 'Disambiguation'. The organic drumming here takes Nadja's music into new realms of spacious jazzy exploration, dubby rhythms and cavernous psychedelia, while also delivering some of the band's most grooving, crushing hypno-bliss yet. Desire also stands out from the rest of the Nadja catalog for it's bizarre artwork that Aidan commisioned from his friend The Reverend Aitor. Aitor's bright, bold lines and textured magic marker artwork gives the gatefold jacket we've presented this disc in the look of a twisted children's book on acid, with weird images of chickens, trees growing through chairs, and more. Neo-folk and new-wave styles are combined to give the most pessimistic and heavily stylised release to be found in the Naevus catalogue. Layered acoustic guitars and bass that sounds like reverberating shipping rope are blended with stentorian vocals and and thunderous drum machine to create claustrophobic and relentless slabs of sound. This expanded edition restores the artwork that was originally intended for the album and adds six bonus tracks, including the original version of the longstanding live favourite 'No, Remember' and cover versions of songs by Laibach and Kirlian Camera. Unavailable for years, Old Europa Cafe presents the definitive edition of this classic Naevus album. What Nam-Khar offers up here are nine very different pieces of ritualistic music, each with the common thread of bringing you to a place of both focus and isolation. The subtle use of traditional instrumentation creates small vacuous pockets for the listener to move into, which are then juxta-positioned with slightly harsher, more industrial sounds. These are then all neatly sewn together with ice cold drones, warm bass sounds and synth sweeps. With its short stabs and metallic sounds, the music can sometimes feel cold, unsettling and edgy. Tracks such as Shidak (re-shaped) could easily soundtrack the nightmare segment from a film, where the drones pull you stumbling through dark corridors, treading uncertain footsteps with a feeling of anxiety, never knowing what shapes are hiding out in the shadows, or what lies just around the corner.

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In 25 Black African Film Makers, pp. 6985, 185194. New York: Greenwood Press, 1988. Spass, Lieve. Cameroon. In Th e Francophone Film: A Struggle for Identity, pp. 226231. Manchester: Manchester University Press, 2000. Interviews with Jean- Pierre Bekolo and Jean- Marie Teno in Questioning African Cinema, pp. 217238, 301316. Minneapolis: University of Minne-sota Press, 2002. Portuguese African Cinema: Historical and Contemporary Per-spectives, 19691993. In African Filmmaking: North and South ofthe Sahara, pp. 158166. Edinburgh: Edin-burgh University Press; Bloomington: Indi-ana University Press, 2006.

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Even having never seen Tilly before, it was obvious to me that the filmmakers were pulling a classic dowdy-down job on this actress. Made up to look like a more bookish, more fashion-conscious Ally Sheedy, Tilly never gets her take-off-the-glasses-and-let-down-my-hair-and-suddenly-the-lovestruck-hero-can-see-what-he’s-been-missing-all-along moment. Even someone as primed to buy into the movie’s mopey puppy love as I was couldn’t believe that Cryer didn’t toss Moore over at the first opportunity in favor of this obviously stunning girl with the baby doll voice whose adolescent hostility masks a heavy thing for him, even if she wasn’t the star of the picture. For me, Tilly was the most memorable attraction in No Small Affair, so naturally I assumed Hollywood wouldn’t have a clue what to do with her and that I’d probably never see her again. Tilly, Tim Robbins and Jon Cryer in No Small Affair But she showed up the same year as Gina Srignoli, a mobster’s widow who strikes up an unlikely romance with bow-tied, stuffed-shirt cop Henry Goldblume (Joe Spano) on Hill Street Blues, and this time she got to turn up the spigot full blast on the sweet-tempered sexuality and slightly tarnished innocence that would become one of her hallmarks. The relationship between Gina and Henry remained fairly guileless and bittersweet, largely because of Henry’s self-awareness that he could never reconcile his work with the criminal element that came attached to his interest in her. But what is interesting even this early on is how aware Tilly is of the possibilities within the ostensibly limited range of the bimbo mob moll. One of the persistent myths of Tilly’s career is that she specializes in busty, sexy, brainless twits (just as persistent as the myth that presumes these twits are an extension of her own personality. But the great personal signature on her hallmark character type is that Tilly never plays Gina, or any of the other similar types of women she has played in her career, as a hopeless idiot. She’s simply too smart an actress to take that relatively easy, low road, something that was evident even this early on. One gets the sense that Gina, as does Olive Neal in her Oscar-nominated performance in Bullets Over Broadway, is keenly aware of her physical attributes and the places they might take her, and she is as in control of using that image to her advantage as one could be. The fates of both Gina and Olive are both unfortunate, and it’s a tribute to Tilly’s talent (and the writing of both roles) and our empathy with her as a performer that they should carry with them such a sting. As I said, many have made the mistake of condescending to Tilly as an actress, taking their cue from that voice and her unmistakable comfort with her body and her image to presume that the effusiveness of her characters, their occasional shallowness, is representative of her limitations as an actress or worse yet, her own intelligence. Such a presumption is, of course, as dumb as presuming that Gregory Peck could have held his own in a courtroom, or that if she wanted to Barbara Stanwyck could have seduced any man into killing for her. Tilly’s version of the sex bomb is one in which she delights in her own effect on men—one gets the sense that she’s affected in the same way she affects them—and that it never occurs to her that she may not be perceived as smart along the way.