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2010, 2012, 2014. It turns out that Thom has been talking about the D400 as a successor to the D300 quite a few times since as early as 2008; that was some 5 years ago: Personally, I have stated several times that it is my personal opinion (which could be wrong, of course) that the D7000 is the merger of the D90 and D300S. Nikon has discontinued the D200-D300-D300S product line over a year ago when they could no longer sell any EN-EL3e-based products in Japan as their safety regulations tightened in November, 2011. Again, that is merely my personal opinion, not based on any insider info from Nikon. The problem with rumors is that they generate false expectations, and when they don't pan out, disappointment and sometimes major disappointment. However, I believe he does so as someone who's watching the camera industry and is making an analysis of what he would expect Nikon to do; I don't believe he tends to claim internal knowledge of release dates, though I could be wrong. Just as I'm happy to speculate here, so long as it's clearly speculation it should be harmless. Not commenting on the quality of the rumour posted by Nasim (I follow rumour sites as well, with a probability filter firmly in place; I'm happy if photo. et prefers to stick to other topics so as to avoid confusion) - I'm just making the distinction. One of my very favorite things to do is look at the pictures others post. I can't tell everyone how frequently I have been inspired by these pictures. I frequently read the comments attached to the pictures so I can see if others are seeing what I am seeing or to understand how they believe the shot could be made better. Every month or so we all ought to go to the gallery section of this site and search D100 just to remind ourselves how great talent trumps technical innovation every time. I have owned digital SLRs since the D100 and quite a few of them at that. I have never owned a camera that was not far more capable of capturing beauty or news than I am.

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She just stares at him coolly and tells him his instructions are awaiting him, there shall be no more dalliances with this dragon. It’s a heartbreaking scene, mostly because of the lack of emotion she shows and Daario having nothing but emotion. He blames Tyrion, and she says this isn’t Tyrion, it’s her decision (it’s Tyrion’s) and Daario pleads with her. “Let me fight for you,” he says. But Tyrion knows Daenerys really does have a single-minded purpose, and Cersei didn’t: Cersei wanted the power, but she loved her children so much she allowed her enemies to get at her through them. When you love someone, they will become your greatest weakness. And Daenerys can’t afford any weaknesses right now. “You’ll get the throne,” says Daario. “I hope it brings you happiness. He tells her that he pities the lords of Westeros right now, for they have no idea what’s coming for them. And we realize what she just didn’t wasn’t some tough love act to save Daario’s life — she truly never loved him the way he loved her. Tyrion says this is all happening right now: all she’s ever wanted are ships, armies, and dragons, and now she has all of them. “You’re in the great game now,” he tells her. “And the great game is terrifying. .

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And a short-term itinerary was better than none at all. They would go to Rosewood and find a brilliant solution. After a minute, Grace rose and followed Jacobs down. He had opened the medicine cabinet and was rummaging along the shelves. The cap flew off and a cascade of white pills rattled across the linoleum, washed up against the motionless form of Knotts, got stuck in the congealing blood. Grace was not much in the way of parsing scientific theories, but he seemed to be missing a vital link, some key component. A person is not a mosquito, she thought of saying, but in the end, she knelt over Knotts’s body and began to pick through his satchel. It doesn’t last more than an hour, hour and a half, anyway. We just need to get beyond them. He was already smearing the stuff down his arms. “Take off your vest. . The moon was pale and heavy in the sky, fat as a dogtick. Their progress went undetected, although Grace had no position as to whether it was due at all to the DEET. The west entrance already stood open, a dark gaping maw.

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Chances are you know Wilson’s work, even if you don’t recognize his name. A longtime contributor to both Playboy and the New Yorker (among many other magazines), the octogenarian is known for cartoons that reveal a twisted, if not downright macabre, sense of humor. Cannibalism and other atrocities are commonplace in Wilson’s single-panel drawings, which are populated by people and monsters rendered in his signature doughy style that makes it seem as if the characters’ flesh is melting off their bones. The film — whose slightly hyperbolic title refers to Wilson’s delivery as a cyanotic, or “blue,” baby, i. . not breathing — centers on interviews with Wilson, who demonstrates his working methods, revisits his childhood home in Evanston, Ill. and reminisces about his parents’ alcoholism, as well as his own (and his subsequent rehab). Testimonials as to Wilson’s creative genius are provided by such celebrities as Lewis Black, Stan Lee, Roz Chast, Guillermo del Toro, Bill Maher and Stephen Colbert, who credits Wilson with the earliest introduction to what the satirist euphemistically calls “dark humor. The movie is generously illustrated with examples of Wilson’s work, which live up to that description. Fears of all kinds — childhood nightmares, ecological disasters, the horrors of war and garden-variety existential dread — are all addressed in Wilson’s art, which is often quite profound and always very, very funny. As Black, a comedian known for his own dark comedy, puts it, if you don’t “get” Gahan Wilson, there could be something wrong with you “as a person. You might as well go back to knock-knock jokes, Black suggests, and work your way back from there. Humor, as the film makes clear, is easier to recognize than to define. One of the most illuminating digressions in the film occurs as Jaffe and his camera tag along during one of Wilson’s weekly visits to the office of New Yorker cartoon editor Bob Mankoff, who’s shown critiquing Wilson’s preliminary sketches and half-formed ideas (along with those of several other of the magazine’s contributors, both regulars and aspirants). Mankoff’s comments can be blunt, if genially delivered, and it’s clear that the vast majority of potential cartoons never see the light of day.

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Though the report doesn’t mention it, one excellent tool available is 2006’s “The Travis County Greenprint for Growth,” a conservation planning initiative of the Trust for Public A primary reason for initially designating the East Austin growth corridor was to encourage new regional development to move away from the Edwards Aquifer and the city’s Drinking Water Protection Zone. The Green Line, in theory, could prove a powerful driver in achieving this environmental goal. However, there’s no Save Our Springs Alliance or Hill Country Conservancy for the Eastside. The Cap Metro report notes that the Land. (See “How Green Grows My County? Dec. 14, 2007. The “greenprint” identifies high-priority areas to preserve or to acquire as parks, before they are lost to development. Highlighted are conservation opportunities in far eastern Travis County, along the floodplains of the Colorado River and its tributary creeks. Envision Central Texas and the Trust for Public Land are currently creating greenprint maps for the full five-county region, including Bastrop County. Rail vs. Roads Check the numbers There’s an ironic subtext to Capital Metro’s Green Line report: Rail transit is being held to a higher standard of investment scrutiny than are roads, which are also wildly expensive. But it’s a safer bet that tolls can pay back construction costs (if not ancillary and opportunity costs) in a way the transit fare-box never will. The financing discussion in the preliminary review only identifies more than 20 potential pots of money and a willingness among regional entities to discuss how they might partner. Once a financing plan is crafted, the CAMPO Policy Board would vote on whether to officially put the project in its 2030 (soon to be 2035) long-range regional transportation plan.

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As a result, the Overlords agree to let them see them, but not for another fifty years, two generations. This then is the second plot point, which occurs 20% of the way through the story, a little short of where you’d expect it. We are no longer as creative as we once were, and culturally we have stagnated. And the time finally comes when the Overlords reveal their physical selves, and a strange sight they are, and yet immediately recognizable. They are the very image of Satan, red skin, horns, and pointed tail, leathery wings. However, since they had shown their goodwill through the years, little was made of their “coincidental” resemblance to an ancient symbol of evil. At the mid-point of the novel, we get a true reversal. At a party, guests play a game similar to a Ouija Board. One of the participants asks, “Which star is the Overlords’ home? And the answer they get back is “NGS 549672. Only one of the guests realizes that this is a database entry for a star forty lightyears away in the constellation Carina. This person then starts making plans to stowaway on the next Overlord spaceship to their home. The Overlords have subdued the humans up until this point, but now one of them is on the hunt to find out more than the Overlords wish them to know. Just before the three-quarters point, one of the earthlings stows away on the Overlords’ spaceship and leaves earth with them. His journey there and back will take eighty years, Earth time, but just a few months in relativistic time above the rocket traveling at close to the speed of light.

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And if a billionaire raises his hand and says he wants become president without facing any primary-season opponents, the media parts like the Red Sea and prepares a seat for him in front of an eager television host. So Schultz does pose an electoral threat for Democrats, even if his bid ultimately fails. Over the past two years, Democrats from all ideological persuasions have begun to unite around a leftist agenda on universal health care, gun control, economic redistribution, and climate change. While there are serious disagreements about how these policies would be enacted, the party has largely turned its back on the triangulation and incrementalism of the Clinton years and promoted bold progressivism as an antidote to Trumpism. A Schultz candidacy would erase that neat binary in a general election. chultz has center-right instincts. He believes that the two parties have made it difficult for Americans to talk about—and therefore fix—divisive social issues like racism, and sees private industry as both an engine of change and a safety net for workers. The question is whether his positions—few though they may be at this stage—are broadly popular. Polling shows majority support for universal health care and taxing the rich, while almost no one thinks the national debt, Schultz’s hobbyhorse, is the most important problem in America. And that’s about all we know about Schultz’s platform. Despite having formed a political team months ago, he has no policy proposals whatsoever—including about how to pay down the national debt. ather than treating him as a potential spoiler, Democrats should portray Schultz as emblematic of everything wrong with Trump’s America. His opposition to taxing the wealth, support for cutting entitlements, and belief that plutocrats can solve the country’s pressing problems make him the perfect villain. At the same time, they can fully bury the specter of the Clintons and move on as a new kind of party. If they don’t, they’ll leave themselves vulnerable to a regression; now is the time to inoculate the party against a resurgence of outdated liberalism, one that’s friendly to corporations and squeamish on social issues.

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For that alone, it escapes the absolute lowest reaches of this list. It's the one time the film feels like its characters actually want something. Thor is more staid, with director Kenneth Branagh loading up on majestic monologues and poetic storytelling. It's Marvel ’ s first movie where the villain boasts the charisma that characters like Magneto and the Joker have. Sure, Thor's redemption story is fun, and it's cool to see his friends help him out. But, really, this movie lives because of Loki’s sinister spirit. He’s doing an incredibly noble thing, but he’s also destroying the only way for him to return to the love of his life. The middle section of this movie — which is basically a buddy comedy about Tony Stark and a little kid — is as loose and freewheeling as anything Marvel has made. But the actual story is horribly bland, with a third act that struggles to tie everything together. (Come to think of it, lots of Marvel movies are saddled with undistinguished endings. . It doesn't hurt that funnyman Paul Rudd plays the lead, or that the film ends with its best sequence, a big superhero battle that takes place entirely inside a little girl's bedroom. But at its best, Ant-Man is a rollicking good time. But Swinton didn’t cast herself, nor did she make any executive decisions about how writers reworked the original comic book character for the film. What she was responsible for — the joy and wonderment that pulsates through her portrayal — she overdelivered on, again and again.

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