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The ironborn surrender to Reek and Ramsay, who then kills and flays all of them. The Bolton army enters the North and Roose Bolton and Ramsay meet. And do you know why I've come all the way to this stinking shitpile of a city? For you. Alright what's goin on guys it's Trev back again here to bring you another video, in this video we will be talking about and answering the question of just who is Lady Stone Heart. So it has been over a full season since the events of the Red Wedding and we have not heard or seen anything from the Starks since the event. We had not seen them burried we have not seen what was done with their bodies. We do know about a group of men called The Brotherhood Without Banners that were very close to that location around the same time as the events took place. It just so happens that they find the corpse of Catelyn Stark or Cat Tully submerged in water just a few days after her death as a result of having her throat, well you know. They then decide they should bring her back as Thoros of Myr has done with Beric Dondarrion several times, thus enter the revived Catelyn Tully or as better know now as Lady Stone Heart. She don't speak. You bloody bastards cut her throat too deep for that. She is less gracious and forgiving than in life and is consumed with a desire for vengeance on anyone she thinks betrayed her and her son, Robb. Her appearance has been altered as well, with her flesh becoming soft and the color of curdled milk due to her corpse being submerged in river water for days. Half of her hair is gone and the rest is white and brittle. In addition, her wounds have not healed with her face covered in scratch marks and her throat still slit open. To speak she must cover the wound on her throat; even then she is difficult to understand.

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In the tropical jungle, Carl and Russell find more than they bargained for: Charles Muntz (Christopher Plummer), a crazed explorer whose newsreels once inspired Carl and Ellie; Kevin, an exotic bird with a weakness for chocolate; and Dug (Bob Peterson), an endearingly dim golden retriever fitted with a voice box. More importantly, the travelers discover they need each other: Russell needs a (grand)father figure; Carl needs someone to enliven his life without Ellie. Together, they learn that sharing ice-cream cones and counting the passing cars can be more meaningful than feats of daring-do and distant horizons. Pete Docter (Monsters, Inc. ) and Bob Peterson direct the film with consummate skill and taste, allowing the poignant moments to unfold without dialogue to Michael Giacchnio's vibrant score. Building on their work in The Incredibles and Ratatouille, the Pixar crew offers nuanced animation of the stylized characters. Even by Pixar's elevated standards, Up is an exceptional film that will appeal of audiences of all ages. Rated PG for some peril and action. --Charles Solomon Stills from Up (Click for larger image). She's running out of gas and so she pulls into a gas station (run by a jittery, stuttering Brad Dourif), but then flees what seems to be an attack, only to find the real threat in her backseat: a hooded killer with an ax who takes her head off with a well-aimed swing. It's all for the benefit of good girl with a dark secret Alicia Witt, the sole witness to most of the killings. After all, what are we to make of a final scene that renders the entire movie obsolete. Spacey's in a band of thieves that includes Gabriel Byrne, Stephen Baldwin, Kevin Pollak, and Benicio Del Toro, all gathered in a plot to steal a large shipment of cocaine. Whether that ending will enhance or extinguish the pleasure is up to each viewer to decide. His tactics, however, are a bit revolutionary, to say the least. After they gained power, minorities and political dissenters were rounded up and removed; artistic and unacceptable religious works were confiscated. Cameras and microphones are littered throughout the land, and the people are perpetually sedated through the governmentally controlled media.

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A trauma entails “the personal experience of drastic, horrendous, unpleasant, shocking events” (Stroebe et al. 1998, 82). In the present essay, we shall deal with major losses, specifically defined as “the loss of something in a person’s life in which the person was emotionally invested” (Harvey 2002, 5); that is, a love object. The kind of loss presented in We Were the Mulvaneys is what Tizon (qtd. These losses are linked to the “other”—mostly a love object—and include the end of relationships, affective lacks and abuse. To analyze this process of loss, we shall apply Abraham and Torok’s psychoanalytical distinction between introjection and incorporation. According to them, introjection is the constant process of selfcreation and readjustment of the subject’s psyche when facing changes. It is a process of acquisition, which involves our potential to expand by opening ourselves to our own desires and feelings, as well as to the outside world. Therefore, when the loss of a love object is introjected, the subject can healthily recover the libidinal energy invested in the lost object and is able to reinvest it in a new love object. Sometimes, when a painful event occurs, we tend to isolate this suffering, to remove it from our free flow of ideas and emotions, and to avoid its communication to other people. This process of removal may give origin to the fantasy of incorporation. The subject thus refuses to mourn, because he does not want to recognize the full dimension of the loss. A process of demetaphorization is linked to incorporations. It represents an attempt to revert the process of metaphorization which necessarily accompanies any introjection. Thus, the basic movement from introjection into incorporation occurs when the subject cannot verbalize the traumatic experience of loss. Therefore, an imaginary thing replaces words in an attempt to deny the very existence of the conflict. Eventually, the whole situation is swallowed up, along with the words, the pain and the trauma.


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