Sentences with phrase «story than the power»

Could there be a greater threat to the stakes of a story than the power to just get a do - over no matter what?

Not exact matches

The day after this story posted, an Amazon spokesman got back with a link to this post by evangelist Jeff Barr which claimed that Amazon cloud customers use 77 % fewer servers and 84 % less power than busineses that run their own data centers.

«Our purpose was to do more than just collect and relay news; it should also, ethically, advertise the analytical and computational powers of the Bloomberg terminal by highlighting its capabilities in each news story.

The same yearning to reach ever higher inspires today's entrepreneurs — and there's no better example of the power of aspirations than the success stories from our Hot 500 list.

Even if you're answering these questions only for yourself, your co-founders, or the guy sitting next to you on the plane (hey, he asked), your company's origin story has more power than you might imagine.

(For instance I'm fairly confident that promiscuity is sinful, especially when it comes from a place of lust, but I'm less convinced that my committed same - sex friends are sinning by expressing their love physically any more than I am sinning when my wife and I express our love physically — even though I think we can be if we are acting out of lust or as a means of asserting power over one another, but that is another story).

A story has more transformative power than a doctrinal statement or an ethical code of conduct.

Religious ambiguity, rather than verbal brilliance, is the source of the story's power.

I believe in the power of the blood of Jesus but now this leaves me afraid to admit it, for I'm already pegged as superstitious and into magic — seems no different than the boogyman stories my once conservative church tried to lay on me, that my protection is in their oversight, that if I leave them my life would be destroyed, and more — we must be careful in our ernest seeking after truth that we don't become what we have despised and that we don't put on others our perspectives and understandings.

It is vulnerable because it lacks «plausibility» in a culture that defines women's identity and story in terms of love and attraction rather than power, thought and accomplishment.

Burning talking bush's, walking on water, flying monkey's (wait that's the wizard of OZ) all to me are silly stories but if people want to believe than more power to them....

Jews are thus especially puzzled that depictions of the Crucifixion story would point to anyone other than the person who wielded all the power and executed people with equanimity.

Well, perhaps some say they are spiritual but not religious because it is somewhat better received by churchies than if we say that their god and church and everything they believe is one giant man - made power - grab delusional fantasy story that causes incredible suffering around the world.

Narrative ministry, so to speak, finds no more receptive audience than a group of young people, particularly a group of high - powered, pressured children and adolescents who have not frequently experienced the joy and luxury of having stories told to them.

The power of story has more power than creeds and ethical codes.

Seriously, i think that there is a bigger grab for power than what is being relayed by the media in their emotional stories regarding women's rights, and poor families suffering from devastating illnesses.

Humans crave order and power over their environment and their fellow creatures and what better way than to threaten them with unprovable stories and then kill them when the don't acquiesce — because YOU are right an god is on YOUR side.

Recognizing that their critique has rendered images of God no longer absolute, feminists have discovered that the religious power structure is reluctant to admit that patriarchal symbols for God are culturally influenced (as if God really were male) or contingent (as if use of a feminine symbol to point to a nonrepresentable God is more inadequate or idolatrous than use of a male symbol) To read Mary Daly or Naomi Goldenberg, to consider Rosemary Ruether's demasculinizing of the Gospel stories or to ponder the renewed attention to «goddess» theology and the development of a lesbian theology is to see the basic language of theological discourse upset and transformed.

To his contemporaries he was certainly a man anointed by God with the Spirit and with power; a man who went about doing good; a chasid or Jewish saint; perhaps a prophet, «like one of the prophets of old,» or even «more than a prophet,» perhaps the prophet, «like unto Moses»; («Prof. David E. Adams» Man of God (1941) is a study of the Old Testament pattern used repeatedly in biographies and presupposed in stories of holy men in the Old Testament and in related literature.

Man created stories about gods because he did not understand the world around him, even the christians believed that the world was the center of the universe 400 years ago, but as man gained knowledge religions had to rethink their dogma to jive with the facts, in order to hold onto the wealth and power they covet more than anything else, period.

If Ross occasionally plays loose with the facts, he remains true to the core of the story, and many of the racetrack scenes evoke more sharply than ever before on film a sense of the surpassing grace and power of the running horse, the sound of rolling thunder of the hooves and a sense of the precarious, perilous nature of the jockeys» existence as they bound along hell - fired at 40 miles an hour, monkeys on a stick, wind - sheared and often screaming at each other in the din.

There's a unique healing power to writing your birth story, of not having an audience, of getting raw and going to the deep places, rather than just sharing the version suitable for light conversation.

On this call, API founders Lysa Parker and Barbara Nicholson talk with Lu about how: — our «flaws» are actually pathways to raising resilient, secure, connected kids; — without an awareness of how our story drives our fears, our kids re-enact it; — without self - understanding and empathy, parents then tend to manage rather than engage, control rather than connect, in a chronic practice of «defensive parenting»; — we can turn our old wounds to new wisdom and free our kids from repeating our stories; — the gift of our anger, fear, doubt, chaos, anxiety, struggles, and conflicts is that they can shed compassionate light on our old wounds and we can use this light to «heal» our inner conflicts, and pave our path for ourselves and our kids; and — doing this paving work «keeps our light on»... and our children's light on, and teaches them the power of forgiveness, humility, and humanity.

They tend to break more news, provide a greater diversity of stories and are often more effective in holding power to account — and having the determination to stick with a story — than their Radio and TV equivalents.

There, a little more than two hours southwest of Houston, the Victoria Advocate has covered the story of Hurricane Harvey and the storms that have followed while dealing with loss of power, no water and a displaced staff.

Today, Reuters published a story on the power struggle:» Democrats won a majority in the upper house Senate for the first time in more than 40 years in the Nov. 4 election, but three Democratic senators refuse to back fellow Democratic Sen. Malcolm Smith as majority leader without concessions.

Aside from the Republican debate, in New York City this week the big story was Legionnaire's disease — and it was a story with more sticking power than Mr. de Blasio might have hoped.

Perhaps unsurprisingly given the paucity of success stories, rather than concentrating upon their record in power, the chief emphasis of Labour's misguided strategy has been to scare voters with the prospect of the elections returning a Conservative led coalition government.

When the aerobic fuel system power is weaker than the aerobic engine power then, yes, here it's another story.

More than discovering new natural beauty products, I love to discover the stories that brought passionate individuals to build their green beauty brands and put their soul into formulating, handcrafting and delivering the power of Mother Nature to your bathroom shelf.

Most of the story is set at a small nuclear reactor in California and centers on a free - wheeling cameraman, the chief engineer at the reactor, a man who truly believes that nuclear energy is a safe and efficient form of power, and a female reporter who is trying to prove that she is better suited to hard news than the never - ending stream of fluff pieces she is handed.

Despite this the story takes itself more seriously than it has for a long time, which seems completely at odds with the camp presentation and magical lightning powers.

John Wick: Chapter 2 La La Land A Brave Heart: The Lizzie Velasquez Story A Most Violent Year Adult Beginners Adventures of Power Afternoon Delight Alex of Venice All The Light In The Sky Amy Animal Kingdom Attenberg Avengers: Age of Ultron Bad Turn Worse Beats Rhymes & Life: The Travels of a Tribe Called Quest Bellflower Big Game Birdman Black Blue Ruin Blue Valentine Bones Brigade: An Autobiography Boyhood Brick Mansions Butter C.O.G. Ceremony Charlie Countryman Child of God Cop Car CXL Dark Places Dawn Of The Planet Of The Apes Deadfall Don Jon Don't Think Twice Drive Dumb and Dumber To Embers Escape from Tomorrow Foxcatcher Frank Miller's Sin City: A Dame to Kill For Fubar: Balls to the Wall Fury Godzilla Going the Distance Gone Girl Grey Gardens Gridlocked Guardians of the Galaxy Holy Motors Holy Rollers Hungry Hearts Hunt for the Wilderpeople I Am Chris Farley Imperial Dreams In the Blood Inherent Vice Inside Out Iris Jack Goes Boating Jackass 3 Jersey Boys Joan Rivers: A Piece Of Work Joe Jurassic World Just Jim Kaboom Kill the Irishman Klovn: The Movie (Klown) Let Me In Liberal Arts Life Itself Live Die Repeat: Edge of Tomorrow Lola Versus Louder Than a Bomb Lucy LUV Mad Max: Fury Road Maggie Man of Steel Maps to the Stars Melancholia Men, Women, & Children Miami Connection Middle of Nowhere My Life Directed by Nicolas Winding Refn Nature Calls Nightcrawler Nighthawks Oddsac One & Two Only God Forgives Peep World Pincus Pricecheck Prince Avalanche Rabbit Hole Raze Robot & Frank Rosewater Rubber Rudderless San Andreas Save the Date Scream 4 Sleepwalk With Me Smashed Snowpiercer Somewhere Southpaw Spring Breakers Star Wars: Episode VII - The Force Awakens Submarine Sun Don't Shine Take Shelter Take This Waltz Teenage Mutant Ninja Turtles Terminator Genisys The Amazing Spider - Man The Bastard Sings The Sweetest Song The Cold Lands The Comedy The Equalizer The Expendables 3 The Fault in Our Stars The Gambler The Girl The Girlfriend Experience The Grand Budapest Hotel The Hateful Eight The Hunger Games: Mockingjay - Part 1 The Kids Are All Right The Kings of Summer The One I Love The Raid The Rambler The Revenant The Rover The Second Mother (Que Horas Ela Volta?)

Rating: 7/10 — better than average, and scoring points for the deftness of its characterisations, Cardboard Gangsters tells an overly familiar tale with verve and no small semblance of rugged style; some may find the Irish accents impenetrable at times, but the gist of the story (and individual scenes) shines through, making this easier to follow than expected, and shot through with moments of quiet power.

Their bickering is what made Marvel's original outing so striking (it was an origins story for two characters rather than one), so the writing team of Christopher L. Yost, Christopher Markus and Stephen McFeely — none of whom worked on Thor — do well to continue his cod - Shakespearean struggle for power.

It doesn't have the power of the opening section, but then, middles are always difficult to handle: the story of a hero's origin is almost always more compelling than the rest of the story.

Keeping the story to a rather anonymous «Suffragette» rather than focusing on Emmeline Pankhurst etc works well and when sections from history do appear (such as Emily Davison's death) it adds an extra power.

I had a very political day and a half when I caught in succession Frieda Mock's «Anita: Speaking Truth to Power,» about Anita Hill; «The World According to Dick Cheney,» directed by R.J. Cutler and Greg Finton; Alex Gibney's marvelous «We Steal Secrets: The Story of WikiLeaks»; and Richard Rowley's eye - opening «Dirty Wars,» which follows reporter / whistle - blower Jeremy Scahill's investigations into covert military operations conducted by the United States in more than 70 countries, including some that are supposed American allies.

I hope the show works out better than this trailer is making it look, because the Versace story has everything — fashion, sex, celebrity, power, fin de siècle extravagance, and not just murder but SERIAL murder.

These story introductions, I will admit, bothered me too, until I gave it some thought and came to the realization that, by framing the entire tale as if narrated by an old Tonto many years after the fact, that there is indeed a plausible explanation other than just Depp's star power.

Despite being a game where you have to dig in mines which sounds really boring at first, it offers a lot more than simple digging experience and features a metroidvania type of progression system where you can get new power ups as you progress further in the story.

As characters live, die, or lay in mortal peril, we sense the danger mentally rather than emotionally, and without that element — when the characters are more fun to watch than to feel empathy with — we lose that essential power to the story.

Shotgun Stories was made around the same time as World Trade Center, but Shannon's eyes have a weariness in the former that's quieter than the zeal powering his work in the latter and some of his other, showier parts.

For starters, it's a lot more uplifting than most sci - fi fare, eschewing the usual doom - mongering for a story about the power of optimism and perseverance that also doubles as one heckuva recruitment video for NASA.

But revisiting the film, I was irked less by any perceived preening desire to be «authentic» than I was absorbed by the power of its story — though the movie's one go - for - broke stab at regional poetry, a black - and - white squirrel - centric dream sequence scored to a chorus of chainsaws, still falls completely flat.

It's a modernised reworked origin story using a different source of how the team gained each of their powers as well as all team themselves being notably younger than their more traditional counterparts.

In this age of clean energy and turning everything from gas to electric power, what better time than now to share this story?

And since the movie hinges more on his portrayal than on Chan's performance, the plot becomes convoluted very quickly and lacks the concise power of Quan's simpler and much more effective story.

Olsen's telepath, whose powers are numerous and a little vague, invades the headspace of our heroes; a less overstuffed film might have treated these mind games more abstractly, rather than simply sending Cap and company through Nightmare On Elm Street versions of their origin stories.

A couple of scenes especially with Terrence Howard have more significance to Winfrey's star power (in both the eyes of her audience, and specifically Daniels) than to the rest of the story.