Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co.
AMERICAN TARGET SHOOTER Josh Lakatos faced a conundrum.
By Aria Alamalhodaei In 1999, the average person in Great Britain was captured on closed circuit television (CCTV) nearly 300 times per day.
 The unregulated adoption of surveillance technologies, along with deindustrialization and austerity-driven economic policies, have compounded to produce a massive shift in the social topography of British urban life.
The Washington Post somehow obtained "Access Hollywood" footage from 2005, where Trump talked in graphic terms about how easy it was for celebs like himself to seduce women, even saying, "Grab them by the p***y.
You can do anything." The Post says Trump was recently married to Melania at the time the conversation was recorded on a bus near the "Days of Our Lives" set.
There are various ways that director Matthew Vaughn wanted to push the envelope as a homage to the Bond franchise.
The vicious henchwoman Gazelle (Sofia Boutella) and her sword legs are a terrific example.
 The film chronicles the lives of two migrants, Nigerian-born Okwe (Chiwetel Ejiofor) and a Turkish woman named Senay (Audrey Tautou), who live and work in London.
When I recently interviewed Matthew Vaughn about his fantastic spy homage, I had to ask him about the decision to end the movie on an anal sex joke. Vaughn explained that Eggsy (Taron Edgerton) is told that when he saves the world, he’ll get more than a kiss. I can’t wait to hear the discussions people have after Fifty Shades of Bloody Grey.
And the way that he explains it, the joke is rooted deeply in the decisions of the Bond franchise.
Fractured laboring classes—service workers, those circulating in underground or survival economies, and undocumented laborers—proliferate amidst the parallel growth of militarized state borders and domestic immigration detention centers.
The historical devaluation of racialized and migrant life endures as surplus to capital’s imaginative zone, with many (poor, brown, without papers) unevenly yoked between invisibility, surveillance, and the law.
Rather, gendered violence and the creeping gaze of the surveillance camera are imagined to be discrete forces, occupying different territories of control—the former specific, targeted, and private, and the latter omnipresent, non-discriminating, and public.