The most terrifying elements are largely left to the imagination.
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Harry's wand endures, though much is left to the imagination.
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Nothing was left to the imagination, and I was totally humiliated.
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Well, when there are paddles involved, there isn't much left to the imagination.
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Necessary for what is always left to the imagination — the continuation of civilization, maybe.
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Some information is really cool to know, but is better left to the imagination.
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However, to the casual filmgoer, there is a lot that can be left to the imagination.
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"There&aposs not actually much left to the imagination when the resulting look is so uncannily disturbing."
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Nothing is left to the imagination here, and it's definitely not going to be everyone's cup of tea.
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What Remains of Edith Finch is perhaps best left to the imagination, then, after that first essential experience.
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There are multiple death scenes, some left to the imagination, others placed in the foreground of the shot.
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This time, the leaked images reveal the entire phone's front and back, leaving pretty much nothing left to the imagination.
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With much left to the imagination, my younger self who fancied herself the next Nancy Drew kicked into high gear.
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Hardly anything else was left to the imagination Saturday in a game that strained even the lax preseason standards of watchability.
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By the time Samsung's Unpacked event for the Galaxy S9 rolls around, there will be very little (if anything) left to the imagination.
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Prior to Phil Schiller's breakdown at today's Apple event, there wasn't much left to the imagination thanks to months worth of leaks and rumors.
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But this year, little has been left to the imagination as leaks have continued to spring up over the course of the past few months.
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While it's difficult to predict what's in store for Bella Hadid in 2017, there was nothing left to the imagination in her New Year's Eve ensemble.
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How the first two lunar colonists end up faring is left to the imagination, although given the film's conclusion, one must imagine Friede and Helius happy.
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At the end of the movie when Bonnie and Clyde are gunned down by the law in a hail of bullets, nothing is left to the imagination.
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Little is left to the imagination in Caroline Waight's gruesomely graphic translation — a hand here, a foot there, and has anyone seen where I put that head?
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These are two questions, among many left to the imagination, that allow the viewer to create the "specificity" that is informed by the individual's cultural perceptions and biases.
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With each iteration we rotate 90 degrees, so that everyone sees the work from three sides and misses it from one, a completed picture left to the imagination.
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Even Samsung admitted that we already knew what's coming; we'd seen so many leaks for the company's new flagship Galaxy S10 phones that there was little left to the imagination.
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The vibe is like a dark fairytale crossed with Industrial Revolution-era London, complete with hissing pipes and strange mechanical contraptions, with uses that are best left to the imagination.
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One section may at least help put a few rumors to rest about Facebook's role in the 2016 presidential campaigns, though, of course, much is still left to the imagination.
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AGs' recusal decisions "are shrouded in mystery, often not made public and the reasoning left to the imagination," according to a report last month by the Project on Government Oversight (POGO).
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It was mentioned that there would be cross platform play and perhaps even the ability to bring saves to other platforms, but how that would work was left to the imagination.
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But with the particular stripe proportions and layout, uniform-style garments, and prominent chest patches, there's not actually much left to the imagination when the resulting look is so uncannily disturbing.
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Gwen Stefani wore a transparent gown with strategically placed silver sequins for her duet with Blake Shelton that called to mind Beyoncé's little-left-to-the-imagination Met Gala dress of 2015.
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While it would be great fun to know some of Babe Ruth's true distances, those numbers are left to the imagination, and to the claims of various observations, some more reliable than others.
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"But with the particular stripe proportions and layout, uniform-style garments, and prominent chest patches, there's not actually much left to the imagination when the resulting look is so uncannily disturbing," it added.
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While much is left to the imagination, the sound of skin slowly peeling off of a man's body is not one I ever thought I would experience, nor do I wish to ever again.
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But I think there's an impulse with video games in general and sequels in particular to literally portray what is best left to the imagination, which often comes at the price of focus and momentum.
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The Baker home, in particular, is a gorgeously grotesque place, where simply wandering around and looking at things — cages whose use is best left to the imagination, or disturbingly bloodstained bathrooms — can foster a powerful sense of dread.
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Pride and Prejudice is worth examining closely because there are countless possible readings of its subtext, little corners of characterization left to the imagination in the gulf between what characters say and how they actually behave in the story.
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Yoshida: In the end, I believe the interpretation of these themes within the raid is left to the imagination of each of the players experiencing the content; I feel it might be a bit tasteless for me to give you a generalized answer.
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Some of the world's most famous club nights were barely recorded at all, and while I think a lot of that stuff is probably better left to the imagination, I'm also quite proud of having documented British club life as it was in a certain time and place.
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In our review, Andrew Webster praises the nauseating detail of the scenery: The Baker home, in particular, is a gorgeously grotesque place, where simply wandering around and looking at things — cages whose use is best left to the imagination, or disturbingly bloodstained bathrooms — can foster a powerful sense of dread.
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Although sound in graphic novels is usually left to the imagination of the reader, Powell excels at representing music, from the gospel of Mahalia Jackson to Martha and the Vandellas' anthemic "Dancing in the Streets" drawing musical notes into the background to demonstrate how central certain songs were to maintaining morale.
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"Where the refunding was interesting was that the Treasury confirmed that a 2-month bill would be introduced later this year, but the key operational detail of when such a bill would settle was left to the imagination of market participants," Aaron Kohli, interest rates strategist at BMO Capital Markets wrote in a research note.
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Rolling Stone. Retrieved on 2010-09-30. Andrew Murfett of The Sydney Morning Herald expressed a negative response towards its sexual content and stated "Little, if anything, is left to the imagination here".Murfett, Andrew (October 21, 2010).
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Audio porn is pornography which specializes in the acoustics medium. As it inherently provides that much is left to the imagination, being a subjective experience, as of 2019 it has become largely the purview of female producers and is increasing in popularity.
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Feeling guilty, he leaves the village but the guilt never leaves him. Finally deciding to own up to his act, he returns to the village and the story ends there. It's left to the imagination of the viewer on whether Praneshacharya owns up or not.
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In reference to Shakira's texts in English, the journalist wrote: "While her Spanish-language albums sparkled with elegant wordplay, this record is rife with cliches, both musically and lyrically. [...] For Anglophone Latin lovers, Shakira's lyrics are best left to the imagination." Elizabeth Mendez Berry. "Shakira. Laundry Service".
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The clown tells the children the story of Ali Baba and the Forty Thieves that's an allegory of the heist they just pulled off. Wolf #4 starts laughing uncontrollably as the bemused sheriff and detective look on. How the story unfolds from there, is left to the imagination of the viewer.
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Several aspects of the Rover device were not explained, presumably left to the imagination of the viewer. The name "Rover" was only used once in the entire series, in the episode "The Schizoid Man". The novel The Prisoner: Number Two by David McDaniel, based upon the series, uses the name Guardian.
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Newcomers to the series and die-hard fans alike will find plenty to obsess over." The A.V. Club gave it a B and said, "Dissing Crackdown 2 for its lack of narrative is too easy. A videogame shouldn't articulate everything. Games should be mysterious; something should always be left to the imagination.
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The strain on the power system causes it to explode, and the Queen to explode with it. Dean and Elayna wake up on a beach, and they share a kiss, just before the shadow of a large flying animal descends upon them, the two having apparently only made it to another alternate world and not to Dean’s original Earth. Their fate is left to the imagination.
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That's about right for a movie about obsession, one with no resolution except waiting for the other thud to drop... Much of the movie takes place in dark interiors. The love-making scenes are steamy, seemingly passionate; risqué not pornographic. Happily, a little something is left to the imagination. Though after a while you're itchy to get out of the bedroom, or the old high school staple, the car.
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The genre began to emerge in the second half of the nineteenth century, along with the development of book illustrations that depicted "pregnant" moments in a narrative. One of the earliest problem pictures is John Everett Millais' Trust Me, which depicts an older man demanding that a young woman hand him a letter she has received. Either character might be uttering the words. The significance and content of the letter is left to the imagination.
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Onslow Ford and Matta became close friends, meeting and traveling frequently. They developed an ongoing dialogue about their ideas on art and metaphysics. They were also inspired by the 1937 exhibit of Mathematical Objects in Paris in which one aspect of the Mathematical Object was visible while another aspect was left to the imagination of the viewer. In 1938, André Breton invited Onslow Ford to join the Surrealist group in Paris and attend their meetings in Café deux Magots.
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The characters of Futaba and Misaki are quite realistic (while virtually every other person is a certified nutjob), and the former's state is examined from day one. As such, the effects on the sufferer are an important part, especially early on. This includes the physical aspect, which is presented realistically but a few parts are left to the imagination. The gradual romance between Futaba and Misaki, and to a lesser degree Misaki and Futaba, though now very awkward indeed forms a loose central structure.
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Maud Allan as Salomé; in the New York performance, "the head itself was left to the imagination, but none of the caressing was." The orchestra began the 1910s with a premiere of a different sort. After a January 1 Carnegie Hall reprise of their Midsummer Night collaboration with Ben Greet, on January 20 their second performance of the new decade introduced dancer Maud Allan to the New York audience. Although American-born, Allan had begun her dancing career in England and Europe, and this was her first American appearance.
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Did they meet by accident, both intent on the tsar's downfall? The author does not tell us, and yet this is a question to be solved in order to determine the interpretation of the work. The principal charm of the story lies in so much being left to the imagination, but, in order to render the plot somewhat clearer, a few words as to the action on the stage may not come amiss. Many centuries ago, a wizard, still alive today sought, by his magic cunning to overcome the daughter of the Aerial Powers.
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The origin of the name "Buck's Pocket" has been variously attributed to the presence of large herds of deer, the legendary death of a buck who leapt from Point Rock after being trapped by Cherokee, and a man named Buck Berry who used the area to hide from the draft during the Civil War. A persistent story dating from the 1940s holds that unsuccessful Alabama politicians go to Buck's Pocket after being defeated at the polls. When specifically they go and what activities they pursue while there is not specified, but left to the imagination.
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Benton continued to keep his hand in politics and issues that mattered to him throughout his career, designing the poster that current Sheriff Bob Braudis used in his last campaign in 2006. Starting in 1989 and continuing off and on until 2003 he worked as a jailer for the Pitkin County Sheriff Department. He was still on the roster at the time of his death. Tom spent much of his "art" time creating monoprints and paintings that were an extension of his earlier work with perhaps a bit more left to the imagination of the viewer.
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Clockwise from top: Ken Curtis (Festus), James Arness (Matt), Amanda Blake (Kitty), and Milburn Stone (Doc) in 1968 The back stories of some of the main characters were largely left to the imagination of the viewer. Matt Dillon spent his early years in foster care, knew the Bible, was a wayward, brawling cowboy, and was later mentored by a caring lawman. In a few episodes, he mentions having spent some time in the army. Kitty Russell was born in New Orleans and reared by a flashy foster mother (who once visited Dodge), although her father visited Dodge on one occasion and wished to have her return to New Orleans.
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Two Czars were Satinists. Alfred Aardvark, simultaneously the greatest and most reviled of the Huns, became a bogeyman to frighten both small children and Czars. Tostig Zhukovski, ironically a scion of a family that originally came to prominence by battling the Satinist Gorean hordes, ended his reign in a dramatic fashion by falling into a vat of molten bronze while mounted on his favorite horse (it is left to the imagination on how he is mounted, keeping in mind he was known as Tostig the Perverted). This also had the effect of conveniently providing his equestrian statue for the top of the imperial palace, the Gremlin.
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In 2009 The Times called it the "most Wildean" adaptation of the novel, boasting "perhaps the best Dorian" and mentioning that John Gielgud "steals the show, having of course been given the most beguiling lines by Wilde". This version accentuates the gay subtext of Wilde's novel more than other versions; e.g. when Dorian wants Alan's help in the disposal of Basil's body, it is strongly suggested that the two had a sexual relationship in the past and when Dorian's seduction attempt fails, he apparently threatens to expose Alan as a homosexual. In the novel and other adaptations the precise nature of Dorian's hold over Alan is mostly left to the imagination of the reader or viewer, respectively.
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While much of Constance's story is left to the imagination, there are some hints in the newly decorated attic that give guests some insight into the character. A series of wedding photographs can be seen among various gifts and ceremonial trappings, and as guests pass each photo the heads of Constance's former grooms disappear while the number of pearl necklaces around Constance's neck grows. In the last photo, Constance holds a rose while posing next to her groom George Hightower. This echoes the portrait (in the stretching room) of a much older Constance holding a rose as she sits atop the tombstone of her late husband George, whose stone bust has a hatchet lodged in its head.
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Instead of focusing on the character and the entire narrative, MTV style of editing or post-classical editing is focused on each individual set-piece In films from the 1940s and 1950s, less was left to the imagination. If someone was going from one room to the next, they were shown walking out of one door, closing that door, across the way opening the next door, walking through it and ending up on the other side. Today, it is not uncommon to show someone leaving one place, and arriving at the next, without showing precisely how the character did so. Essentially, it allows the narrative to jump from one scene to another, while still telling an understandable story.
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The enigmatic scene provides no explanation for the figure's pose: Théophile Gautier (1811–1872) commented that the young man could be shipwrecked on a deserted island, or be a shepherd who has lost his flock. Ultimately, any explanation for this scene is left to the imagination, leading to comparisons with Surrealist art in the twentieth century.Prettejohn In examining the influence of German aesthetic theory on French art, critic Elizabeth Prettejohn finds that the roundedness of form and "flawless" modeling of flesh would have met with Johann Joachim Winckelmann's approval as an exemplar of the beautiful. Prettejohn compares the figure's almost circular pose and sparse framing with that of Leonardo da Vinci's Vitruvian Man.
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Typically open-ended, these scores, whether performed in public, private or left to the imagination, leave a lot of space for chance and indeterminancy, forcing a large degree of interpretation upon the performers and audience. > In some cases [event-scores] would arise out of the creation of the object, > while in others the object was discovered and Brecht subsequently wrote a > score for it, thus highlighting the relationship between language and > perception. Or, in the words of the artist, "ensuring that the details of > everyday life, the random constellations of objects that surround us, stop > going unnoticed." The event-score was as much a critique of conventional > artistic representation as it was a gesture of firm resistance against > individual alienation.
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In his review for The New York Times, critic Mordaunt Hall described the film as a "sensitive production" that was "intensely interesting" and "tender, charming and whimsical". Hall credits the film's success to the direction of Richard Wallace and the performances of Beryl Mercer—reprising her role as the elderly charwoman in the original 1917 New York stage production—and the young Gary Cooper. Hall praised Wallace's realistic depictions of London and the charwomen, and noted the Paramount audience's response of laughter and applause to several scenes. Hall also described the screen adaptation by John Farrow and Dan Totheroh as "a capital piece of work in blending the Barrie lines with scenes that were left to the imagination in the play".
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Snotser was an extremely high-voiced member of Dustin's construction crew. Initially left to the imagination of viewers as he was merely an offstage voice for many years, Snotser was finally seen in the closing seconds of the first episode of the "treehouse season" during Den TV. The rest of the cast (and the audience) had been awaiting his arrival for the whole day, yet D'Arcy, Dustin and Soky submissively exited for home, leaving the audience to think that Snotser would remain an unseen, offstage character. However, as that day's edition of The Den was about to conclude, Snotser entered the empty studio, accompanied by apologies for his late arrival. His appearance revealed him to be a rotund pink pig.
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An unusual aspect of the sculptures is that both figures are missing their respective weapons, the bow and arrow and the spear. The omitting of the weapons was intentional, as the artist preferred that they be “left to the imagination while attention is focused upon the bold lines of the musculature of both man and beast, as well as the linear patterns of the horses’ manes and tails and the figures’ headdresses.” Despite the fact that the weapons never actually existed, many theories have existed over time as to their supposed whereabouts. Some believe that they were taken as part of an elaborate prank, while others are under the impression that their removal was a show of respect after the events of September 11, 2001.
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Smasher/Devourer is the secondary antagonist in the story and is also the name of a song on the album. From the description given in the album's booklet, the Smasher/Devourer is a large robot with an "egg- like frame" and "its arms are actually weaponry for protection": no further information on its design is given and what the machine really could look like is left to the imagination, but the description recalls the design of ED-209 from the RoboCop movies though the design is mostly influenced by the Terminator. It was originally created by humanity to serve as law-enforcement but was re-programmed by the Securitron. The machine is last mentioned in the booklet's page for the song "Descent" and its status after that is unclear.
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It feels sometimes like not too much is left to the imagination in terms of what's there." The use of this filming technology, rather than a traditional green screen backdrop, allowed the Mandalorian filmmakers to avoid challenges that would be associated with the reflection of the green screen against the Mandalorian's reflective helmet and armor costume. Imagery was projected onto 360-degree LED walls, which not only provided photorealistic sets for the actors to perform against, but also allowed the reflections that appeared on the Mandalorian's cosutme to reflect the setting around him as if it were a real-world location. Cinematographer Greig Fraser said: "When you're dealing with a reflective subject like the Mandalorian, the world outside the camera frame is often more important than the world you see in the camera's field of view.
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