[S1E5] The Power Of Female Sex

(After Gilles has slept with Carrie, he leaves her a note and 1,000 dollars)Miranda: (reading the note) 'Thanks for the beautiful day.' Must've been a hell of a beautiful day.Carrie: Well, it was. We had such a fantastic connection, then he leaves me money. I don't understand. What exactly about me screams 'whore' Miranda: Besides the thousand dollars on the end tableSamantha: I just can't believe you had dinner at Balzac. Wait a minute, I thought I ordered two eggs benedict and one spinach omelette.Miranda: It's all right. I'll take the omelette.Carrie: You know what you guys, this isn't right. We're gonna pay for all this ourselves, all rightSamantha: He said order anything.Miranda: The room service is one thing, but the money - uh-uh.Samantha: What're you getting so uptight about I mean, money is power. Sex is power. Therefore, getting money for sex is simply an exchange of power. Miranda: Don't listen to the dime store Camille Paglia.Carrie: I don't know whether to take it as an incredible compliment or as an incredible insult.Samantha: Just take it, period.Carrie: Well, I wouldn't know how to return it anyway because the one thing he didn't leave me was his phone number.Miranda: He paid in full. What more is there to talk about

Samantha: Women have the right to use every means at their disposal to achieve power.Miranda: Short of sleeping their way to the top.Samantha: Not if that's what it takes to compete.Charlotte: But that's exploitation!Samantha: Of men - which is perfectly legal.Carrie: So, you advocate a double standard. Women can use their sexuality to get ahead whenever possible...but men should not be allowed to take advantage of itSamantha: No. I'm just saying that men and women are equal-opportunity exploiters.

Miranda: (to Charlotte who is talking about a famous painter who might ask her to hold his brush) If he so much as suggests what she's suggesting, you give me a call and we'll sue the hell out of him. That's the only proper way to trade sex for power.Samantha: I can't believe what I'm hearing. You're like the Harvard Law Lorena Bobbitt.(Door bell rings)Miranda: Ah, it's Skipper, I told him I was here. And he insisted on picking me up, but he's not supposed to be here till 11!Carrie: Oh! He's like a sweet little seal pup.Miranda: That you sometimes want to club.

While shoe-shopping, Carrie meets Amalita and her new rich boyfriend. Amalita's life is full of vacations, holidays, and shopping with very rich men. Over dinner, she introduces a young, handsome architect to Carrie. Her evening ends at his luxurious hotel. Waking up, she finds that the man has left her a considerable sum. Appalled, she calls up her friends and they discuss the power of sex. Meanwhile, Charlotte is asked to model for an artist who is doing a series of paintings of vagina.

BILL MOYERS: As Joseph Campbell pursued his quest across Europe for the stories of love and chivalry, he paused often to visit the great cathedrals. They too reflected the glory of love, the love of Mary, mother of God. Reverence for the power of the female is another grand theme in ancient mythology. In the primitive planting cultures, woman contributed importantly to the economic life of the community by participating in the growing and reaping of crops. And as the mother and nourisher of life, she was thought to assist the earth symbolically in its fertility. In fact, some believe there was even a golden age of the goddess until she was driven from the imagination by the emergence of patriarchal authority.

JOSEPH CAMPBELL: It has to do with the earth, the human woman does give birth as the earth gives birth to the plants. She gives nourishment as the plants do. So woman magic and earth magic are the same, they are related. And the personification, then, of this energy which gives birth to forms and nourishes forms is properly female. And so it is in the agricultural world of ancient Mesopotamia, the Egyptian Nile, but also in the earlier planting culture systems, that the goddess is the mythic form that is dominant.

When Johnny suggests he rob the Dream Lord of his power, he ends up facing his nightmares and coming face to face with Dream inside the remnants of his castle. John is not deterred though, and is convinced that the Kingdom belongs to him, dead-set on taking this for himself.

Destroying the ruby and letting the power release, Dream comes back in possession of his trinkets. He decides not to kill John though, given the ruby came to him through no fault of his own. Instead, he places him back to sleep in the psychiatric ward.

Want to catch up on some Russian history How about with a dash of comedy Join us on THE GREAT AFTERBUZZ TV AFTER SHOW as we follow one longing for love woman, as she becomes the longest reigning female ruler of Russia. Subscribe and comment to stay up to date.

Deer woman is not just a part of Native folklore. She represents a form of accountability for the perpetrators who have taken advantage of the most vulnerable members of our communities. And she represents the power we all have to protect our communities.

In season 1, Charlotte was an art dealer and worked with high-end artists. One artist in particular painted unique works of the female genitalia. The most prudish of her friends, Charlotte was taken aback by the artwork but intrigued when the artist asked her if he could paint hers. And she said yes!

Effie begs Inspector Mundi for an interview with Maladie and discusses the unconstitutional registration of the Touched. She suspects that Mundi is against the hanging as much as she is, but he also believes in order and justice. Effie then notices a photo of a murder victim, who Mundi explains that the railmen tried to frame Maladie, but he deduced that this particular victim wasn't her handiwork. Effie recognizes the coat the female victim is wearing: it's cheap and popular with working women. Effie suspects that the victim was likely a secretary, to which Mundi replies that he'll take her to Maladie himself if she can identify the victim.

Mundi spots Penance in the crowd. As he approaches her, Penance shoots her umbrella in the sky, signaling Nimble and Su. Nimble creates shields as stepping stones for Su as she jumps off the building towards Maladie. However, Nimble loses focus as the other guards begin shooting at him, causing Su to fall short on the steps. With the guards distracted, Maladie kicks the lever and hangs herself. Mundi then realizes that Maladie didn't want to escape but an audience for her to kill. He orders Penance to flee, but she instead inquires about the power lines beneath their feet and notices the metal barricades and the onlookers clinging to them. Just then, the Colonel turns on the power and effectively electrocutes those in contact with the metal barricade.

Penance follows the power lines into a tent, where she finds the Colonel at the control. He throws the electrical control box to the ground and flees. Penance attempts to turn it off but is electrocuted herself.

Compounding the problem was that the Union forensic archaeologist joining the Orville was a Retepsian named Darulio who was currently producing pheromones that generated powerful amorous attraction in Claire toward Lieutenant Yaphit and in Ed and Kelly toward Darulio.

At great risk to her own life, Alara surmounted each fear and escaped, completing the program. Ed and the rest of the senior staff had observed her completing the program, powerless to stop it. Alara recovered in Sick Bay. Ed was irritated she so brashly abused Directive 38, but agreed to abstain from reprimanding her. Alara slept in peace that night, proud she overcame her fears and deserved to be Chief of Security.

Gilda is a female griffon and supporting character in the series. She first appears as an antagonist in Griffon the Brush Off, and she makes subsequent appearances in later episodes, chapter books, and the IDW comics. She is called Gilda the Griffon in some merchandise. 59ce067264

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