Word: horrors
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...Yahoo? Is that thing still going on? Go ahead and scream. That's the point of a siege, isn't it? The unbearable tedium - mixed with the horror of what might unfold - is precisely what the invading army inflicts. We think of a siege as an active event, of trebuchets pitching 700-lb. boulders and plague-infested goat carcasses into a walled city. But the word is derived from the Latin sedere, which means "to sit." And that's precisely what Microsoft has been doing: sitting on Yahoo. By siege standards, six months is nothing. The Mongol siege of Xiangyang...
...rallying a cause with that. Then there's the long essay Twain produced in 1901, "The United States of Lyncherdom." This is not a single-minded polemic. It registers the horror of lynchings but also undertakes to empathize with people who attended them. Their motivation, Twain argued, is not inhuman viciousness but "man's commonest weakness, his aversion to being unpleasantly conspicuous, pointed at, shunned, as being on the unpopular side. Its other name is Moral Cowardice, and is the commanding feature of the make...
...searched the house for more victims that night, the mother, Smadar Haran, hid with her baby daughter, holding a hand over the toddler's mouth to stifle her screams. Kuntar never found the pair, but when Haran finally removed her hand from her daughter's face, she realized, with horror, that she had unwittingly suffocated the girl. While the public argued against Kuntar's return to Lebanon, the widow Haran issued a statement supporting the prisoner exchange: "This terrible murderer is not, and never was, my private prisoner," she wrote. "I ask that my personal pain will not interfere with...
...battle the world’s smartest zombies,” he said. “Usually you get serial killers and ghost stories and stuff with college kids. There hasn’t been a college zombie movie yet. It will have that great cheekiness, some great horror moments—it’s really a great blend...
...world master. Indeed, you could argue that Tell No One is a variant on one of Hitchcock's favorite themes: the running man whose story no one (except us in the audience) believes. These fictions, of course, depend for their success on the French respect for rationalism (and their horror when reason is torn asunder by criminal irrationality). They are also greatly enhanced by the firm, but casually stated, French respect for life's realities. A drama like Tell No One takes place against a background in which ordinary people walk their dogs, take their children to play...