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We can’t fix all of the problems our species has created. I usually only scroll through Twitter briefly, so I have no idea what people are saying. I’d buy up a bunch of property to house refugees and hire humanitarian-minded developers to build practical but comfortable and sustainable housing. And not property in some wasteland like North Dakota. Something nice, in someplace like Florida, preferably right next to some gentrified, racist Republicans just to spite the bastards. As a bonus, I’d give the resettled families the option of having a picture of Donald Trump’s face painted in their toilet bowls, so that, every time he spouts out a bunch of lies and fearmongering, they can shit in his mouth. I’d buy out Consol Energy and everyone else involved in fracking, and rebuild their companies from the ground up to produce renewable energy. First priority would be to build labs to make these awesome biofuels, with priority to aviation customers, because I’m an aviation guy, and I want to be able to travel and go to air shows without feeling guilty, dammit. Second priority: solar panels for every apartment complex in America. And if corporations try to interfere, I’ll kick them in the nuts. Okay, so I know genetic engineering is a touchy subject, and I respect that.

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All his men have deserted him and Meli and Davos are with Jon now. At least we can always be thankful that our mods aren't THAT bad. Stephen basically said in a French interview that GoT was too weird an uninteresting for him and made little sense. Reading that, although it is sort of cool in a way, really grated me the wrong way. Jon Snow is dead So it will happen in episode 2 then. Seems to me they're doing their triggering on another audience that SJWs. A surprising amount of that footage is either from this first episode or from scenes that will seemingly happen in the next. In other words: There is so much more from this season’s storylines that hasn’t even been hinted in any of the released footage. The Maesters just want to protect the realm and it's people. They also control most of the flow of information and have huge influence on what lords do. It was him the whole time, he was the author of the realm's pain.

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And when you did “Suburbia,” Roger Corman told you that your film had to have sex or violence every 10 minutes. How did you negotiate what you want to put in the film with that sort of P. . Barnum mandate? I wasn’t happy with that, but I was at least aware enough to know that if I didn’t do what he asked, that he would either do it anyway or tell me to go away. And mind you, that was at a point in my career where I really did want to establish myself as a narrative director. I mean, I had done “The Decline of Western Civilization,” and it was the most written-about film of that year. So I reluctantly had that scene where the girl gets her clothes torn off. And I reluctantly killed the little girl—very badly, by the way—with the dolls at the beginning of “Suburbia. I did that, you know. I also knew: in order to keep going as a director, I had to do what he asked me to do.

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After all, the robot that racked up the most points, in the least amount of time, took nearly 45 minutes to complete a series of eight tasks that my kindergarten-age daughter could probably accomplish in 10 minutes. And, all due to respect to my human offspring, that's not a compliment. DRC-Hubo, the triumphant, 5-foot 9-inch humanoid robot fielded by South Korea's Team KAIST, spent most of its time on the open-air challenge course—a long stretch of dirt leading to a mock facility about the size of a single-bedroom apartment—doing nothing, in one place or another. It started its competition-winning run strong, by driving about as well as a person might, and getting out of its modified Polaris utility vehicle more quickly, and with fewer awkward starts and stops, than any other robot at the event. Then DRC-Hubo dropped down onto its wheeled knees, rolled slowly up to the closed door that represented the entrance to the simulated facility, and froze. For long minutes the most capable robot in the DRC prepared for the daunting task of turning a handle, and pushing a door. Eventually, it did both of those things, and the crowd in the stands at the Fairplex erupted in cheers. Anyone just arriving at the event—making their way up the escalator, or grabbing a hot dog before heading out to the seats—might have heard that roar and imagined robots vaulting over rubble, or bashing through a concrete wall. But the DRC's threshold for cheer-worthy feats was considerably lower. One humanoid model collapsed in the opening seconds of the competition, and kept falling until its team pulled it off the course. Another humanoid tipped over while exiting the Polaris, and damaged itself so grievously that it literally bled, leaving behind a pool of oil for DARPA staffers and team members to scrub away.

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The American version takes itself more seriously: Its tone is a double bass, not a flute. Underwood’s cool, inscrutable wife, Claire (Robin Wright), is still ruthlessly pursuing her own agenda as well as her husband’s. She remains an enigma even as she reveals more and more disturbing secrets from her past. (Her perfectly organized closet is on the verge of self-parody — 50 shades of slate. There are some welcome newcomers, especially a congresswoman, Jacqueline Sharp (Molly Parker), who is an ambitious former soldier who becomes an Underwood protegee and, like everyone else in his poisoned orbit, soon discovers that Underwood expects his people to cast aside principle and pursue his grand plan. There are few starry-eyed depictions of government anymore; cynicism is the currency of choice. And there are many variations on the theme. “The Americans,” the show about Soviet moles in the Reagan era, is more complex and inventive than “House of Cards,” and it begins a second season on Feb. 26. The next day, “Scandal,” Shonda Rhimes’s frothy, over-the-top West Wing telenovela, returns to ABC with new episodes, and it is a campy, escapist romp. “House of Cards” is “Scandal” for naysayers and misanthropes, and that’s actually quite cheering.

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She said “Dany and Arya and Tyrion”. Having read the books I asked “What about Jon? She said he was boring-never said anything and she could not stand the wall scenes. I understand. Before the show started I wondered how they could possibly show Jon as we book readers know him. During last year’s off-season, I asked several unsullied friends and coworkers why they were so convinced that he wasn’t staying dead (no one bought what HBO was selling). The near-unanimous answer was, “Because otherwise they don’t have a show. I doubt anyone would have given that answer during Seasons 2 or 3. That’s around the time his popularity skyrocketed with unsullied viewers, too. You see people griping about screen time and episode counts and who gets the biggest set pieces all the time. I’d argue that there’s somewhat of a difference between wanting your fave on top and grasping to dismiss any textual clues that elevate the importance of their “competitors,” though.

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