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Ada yang berusaha jual tiket di bawah harga normal, enggak tau deh itu tiketnya valid ato enggak. Kali ini di pintunya dijaga sama mbak-mbak yang sebenarnya cukup kece kalo saja dia biarin saya masuk. “Hi, this is for media partner and invitation only. Nimbang-nimbang nekat lanjutin bohong apa enggak yaa. Akhirnya saya pasrah nyerah dan bilang kalo nama saya enggak ada di dalam daftar. Ngeri juga kali kalo ketahuan bohong dan ujung-ujungnya di- ban dari arena haha. Seneng aja bisa lihat pemandangan yang gak bakal ditemuin di Indonesia. Sama seperti di negara asalnya, di Kuala Lumpur sepertinya WWE sudah menjadi tontonan keluarga. Penonton asingnya juga enggak cuma dari Indonesia, ada yang dari Singapura, Filipina, ampe Cina segala. Pemasukan banget tuh, bayangin kalo taun depan Indonesia ngadain juga. Saya makin semangat meski duduk di Retractable Area yang enggak deket-deket amat dari ring, karena barisan di depan saya kosong dan kursinya tepat menghadap depan ring. Dan asiknya, di kalangan penonton sepertinya ada satu unwritten rule yang yah, sama-sama tahu lah: Enggak boleh nonton berdiri kecuali saat Entrance Superstar dan saat victory celebration. Mereka masang John Cena melawan Bray Wyatt sebagai match pertama, billed it as the Wrestlemania Rematch. Show WWE itu bergantung kepada penonton, dan crowd Malaysia cukup gokil dengan chant nya. Kebayang deh kalo di Indonesia pasti bakal ada chant yang lebih gilak dan kreatif lagi semacam “Wasit goblog! haha. Tau gak gimana kalo lagi ada di tempat umum yang berisik terus pas kita ngomong tautau mendadak sepi dan kita jadi tengsin sendiri karena suara kita terdengar jelas dan garing sekali.

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. he begins to see and touch the pods) he has to defer to Dr. Kaufman, the ultimate reality specialist. If Kaufman sees and touches them, then they are real, they are there--because he will know the difference between the real and the vividly imagined and whether the pod thing is an actual unknown alien plant or a pile of clothes overgrown with some basement fungus. Thus Kaufman--and by extension psychiatry—are the keepers of the gates of Hell, gently labeling each new demon that tumbles out of their patient's minds. Only they--the doctor of doctors so to speak-- can validate (and thus incorporate into social reality) an external phenomenon such as people not being themselves for real (rather than just symptoms of some schizophrenic break--the sort of thing for which electro-shock actually does work wonders). Miles sees Kaufman as his intellectual superior—therefore he trusts that Kaufman is still Kaufman, and that Kaufman can repair any crack in reality that Miles himself cannot. And since the vines are creeping up the pyramid from the base (in Miles' direct experience) Kaufman will be among the last to go. The phones are in the hands of the pods, as are the cops. It’s well known that Siegel’s original ending was of Miles screaming “And you’re next! right into the camera, his blurry, sweaty, bleary face taking up the whole screen. It's so traumatic that even Manger’s enforced FBI epilogue doesn't fully lay the anxiety it causes. But the sad fact is, Siegel’s pessimistic ending was the more realistic. There is simply no way humanity can triumph in the face of such unstoppable non-violence. This Gandhi knew, and this is also known by anyone who's had to watch as his hip downtown block is overrun by families and investors looking to get in on 'the hot new neighborhood' until all the cool stores are priced out and all that remains are banks and chain stores (i. . like every other 'dead' place).

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Waters and Matt Rose's new comic-book adaptation will. T he From Dusk Till Dawn duo of Quentin Tarantino and Robert Rodri-. Thomas Harris' upcoming novel Behind the Mask, as well as Outlander. The 1 3th Apostle, about an Internet murderers’ club, from a Paul Mar-. DeMonaco script. 20th Century Fox picked up U. . release rights to. Glenn Standring’s New Zealand vampire epic Perfect Creoture. he lat-. Liebesman is directing New Line’s Texas Chainsaw Massacre prequel. The Cottage (title will change) is a new WrongTurn-esque entry from. Britain, starring Jennifer (Phantom of the Opera) Ellison and Dexter. Fletcher. A domesticated zombie reverts to its old flesheating. Fort, to be followed by The Prophecy and The Siege. Jay (Ladder 49) Hernandez and Derek (Reeker) Richardson star in Eli.

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Some claimed a crossbowman put an iron bolt through his eye, but this version seems suspiciously similar to the way Meraxes met her end, long ago in Dorne. Another account tells us that a sailor in the crow's nest of a Myrish galley cast a grapnel as Vermax was swooping through the fleet. One of its prongs found purchase between two scales, and was driven deep by the dragon's own considerable speed. The sailor had coiled his end of the chain about the mast, and the weight of the ship and the power of Vermax's wings tore a long jagged gash in the dragon's belly. The dragon's shriek of rage was heard as far off as Spicetown, even through the clangor of battle. His flight jerked to a violent end, Vermax went down smoking and screaming, clawing at the water. Survivors said he struggled to rise, only to crash headlong into a burning galley. Wood splintered, the mast came tumbling down, and the dragon, thrashing, became entangled in the rigging. When the ship heeled over and sank, Vermax sank with her. Whatever actually happened, the maester recounting the story did NOT say that the grapnel explanation was biologically impossible and that the only way it could have happened was a bolt to the eye, so it is implicitly accepted in the canon that a grapnel is at least capable of wounding a dragon. The dragons in the Dragonpit (other than the one that was crushed when the dome collapsed) were killed by spears, swords, axes and pitchforks. And again, as depicted on the show (S5E9) and in the books (ADWD), Drogon was injured by hand-thrown spears in the fighting pit in Mereen. What is clear throughout the books (and supported by previous depictions in the show) is that dragons have thick, hard scales that are difficult to pierce (but by no means impossible). Other dragons can claw or bite through the scales and are thus the best counter, but conventional weapons with enough force are capable of doing so as well. As for scorpions in particular, they were deployed in Mereen in ADWD to try to take down Drogon if he were to return to the city. They were deployed against Meleys in TPATQ at the battle of Rook's Rest. They are not a guaranteed way to take down a dragon, but using them is an accepted strategy in the canon and is thus generally consistent with the show's use of the weapon.

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She is introduced at the beginning and is the only character to be developed in any psychological detail. We understand immediately from the attention paid it that hers is the main story line. This style of legend performance is also re-created in the film Meatballs, where Bill Murray tells the story of “The Hook,” which I discuss in the previous chapter. 8. Barnes (1966), in an earlier piece, offered a slightly different interpretation of these campus urban legends. While I certainly anticipate the context of the word’s usage will have been self-evident, I now want to nail down a more concrete understanding of the term. Further to the point, in this chapter, I want to discuss the 1992 Bernard Rose horror film Candyman as a concrete example of this theory. In the next chapter, I open this discussion out even further to discuss the reality TV series Most Haunted. But before I get too ahead of my self, as I argue later, Candyman not only demonstrates that film is ostensive behavior but also privileges the ostensive debate within its diegesis. Ostension The term ostension, at least within folkloristics, refers to the presentation (as opposed to the representation) of a legend text (Degh 1995); instead of a legendary narrative being told (i. . represented through storytelling), it is shown as direct action (i. . presented). The term originates from the Latin ostendere, meaning “to show,” but its current academic usage can be traced back to St. Degh and Vazsonyi’s focus was primarily on various forms of “copycat” crime; murderers who used previous stories about murderers (often drawing on popular-culture accounts) as templates for emulation and improvement on their “killing records” (Degh 2001, 434). Parallel to Degh and Vazsonyi, Sylvia Grider was also looking at how Hallowe’en legends become ostensive (cited in Ellis 1990).

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