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What are some facts about the Red Room?

Life in the Red Room Mrs. Grant hung a large Grant family portrait in the Red Room to show visitors that life had returned to normal following the divisive Civil War. President Rutherford Hayes took the oath of office in the Red Room. The Red Room was Jacqueline Kennedy’s favorite State Floor room. A watercolor of the room, recently redecorated, adorned her 1962 Christmas card.

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Life in the Red Room

For lonely Senators and Congressmen living in Washington, D.C. in 1809, Wednesday night was no ordinary weekday evening. The White House welcomed them to Wednesday Drawing Rooms, a regular social occasion that sometimes attracted as many as 200 guests to the White House for a relaxed evening of food, music and conversation hosted by the flamboyant Dolley Madison and her reserved husband, President James Madison.

Guests were often wowed by Dolley’s eccentric style. Her head turbans accented with ostrich feathers made quite a fashion statement. Dolley’s warm personality made her guests feel comfortable as they ate ice-cream in the State Dining Room or enjoyed music in Dolley’s parlor, the Red Room. Dolley decorated this parlor in “sunflower yellow.” Beautiful drapes adorned the walls and yellow silk covered the furniture.

By placing a piano and guitar in this room, Dolley created a central place for entertaining. Dolley’s Wednesday Drawing Rooms opened the doors for socializing between members of opposite political parties. Before President Madison took office, Washington political social life was largely segmented.

Political opponents would often not speak to each other and hostesses rarely invited political opponents to the same event. No invitation was required to attend Dolley’s Wednesday Drawing Rooms. This approach mixed Washington social life like never before. These gatherings gave the president an opportunity to persuade others of his ideas, including his case for going to war against Britain.

The Madison’s White House parties ended on August 24, 1814 when the British invaded Washington and burned the White House. The Madisons never again lived at the President’s House and their successors, James and Elizabeth Monroe, moved into the rebuilt White House in 1817.

• The Red Room received its name in the 1840s.
• The room’s small size and vivid color scheme has made it a favorite place for presidents and first ladies over the years.
• More than 100 years after Dolley Madison changed Washington social life, the Red Room became the site for more social change.
• Very shortly after her husband’s inauguration in 1933, Eleanor Roosevelt hosted the first of many press conferences for women reporters in the Red Room.

Because women reporters were excluded from the president’s press conferences, Mrs. Roosevelt’s press conferences erased a social taboo and opened the doors of the White House to women reporters. While she knitted, Mrs. Roosevelt discussed cooking and housekeeping topics with the women reporters, who dressed in white gloves and hats as if they were attending an afternoon tea.

What is a red room in Luther?

Descriptions of these Red Rooms are nearly identical to how they’re depicted in Luther: The Fallen Sun – viewers pay to watch a livestream of a person being tortured or killed, with some sort of chatroom function to allow them to interact with the torturer. Talk of Red Rooms first surfaced online in the early 2010s.

What is the dark web?

Dark web definition – The dark web is the hidden collective of internet sites only accessible by a specialized web browser. It is used for keeping internet activity anonymous and private, which can be helpful in both legal and illegal applications. While some use it to evade government censorship, it has also been known to be utilized for highly illegal activity.

Who created dark web?

When and Why Was the Dark Web Created? – The dark web is known to have begun in 2000 with the release of Freenet, the thesis project of University of Edinburgh student Ian Clarke, who set out to create a “Distributed Decentralised Information Storage and Retrieval System.” Clarke aimed to create a new way to anonymously communicate and share files online.

What do they do in the Red Room?

From Wikipedia, the free encyclopedia

Red Room
Interior of the Red Room Art by David López
First appearance	Black Widow vol.1 #2 (June 1999)
In-universe information
Locations	Russia
Characters	Natasha Romanova Yelena Belova Winter Soldier
Publisher	Marvel Comics

The Red Room is a fictional location appearing in American comic books published by Marvel Comics, The Soviet training facility was created to produce highly specialized spies, including Black Widows Natasha Romanova and Yelena Belova, In the Marvel Cinematic Universe (MCU), the Red Room appeared in Agent Carter, Avengers: Age of Ultron, and eventually became a flying fortress in Black Widow,

What is the story of the Red Room?

Summary – A main character chooses to spend the night in an allegedly haunted room, coloured bright red in Lorraine Castle. He intends to disprove the legends surrounding it. Despite vague warnings from the three infirm custodians who reside in the castle, the narrator ascends to “the Red Room” to begin his night’s vigil.

Initially confident, the narrator becomes increasingly uneasy in the room. He attempts to conquer his fear by lighting candles, but keeping the candles lit in the draughty room becomes an ongoing battle, Each time a candle is snuffed out, the narrator’s fear and paranoia increases. He begins to imagine that the drafts are guided by a malevolent intelligence,

As the narrator’s fear intensifies, he stumbles onto a large piece of furniture (possibly the bed ), and ricochets off the walls in a blind panic, hitting his head and eventually falling unconscious, The caretakers, who find him in the morning, feel vindicated when the narrator agrees that the room is haunted.

What is the Red Room in 50 Shades of GREY?

The One Thing We HAVE To See In The ‘Fifty Shades Of Grey’ Trailer, our number one source for all things movie scoop, the first trailer for the (duh!) eagerly anticipated “Fifty Shades of Grey” movie will be out this Thursday, July 24. We’ll give you a second to adequately react to this news.

1. After months of nothing but, “Fifty” book readers likely have about a zillion things they want to see in the trailer – like Jamie Dornan’s face, Jamie Dornan’s shirtless torso, any sex scene, a riding crop – but there’s one thing they absolutely have to show E.L.
2. James’ passionate fan base, lest they want a riot on their hands.

And that thing, ladies and gents, is the Red Room of Pain. What’s the Red Room of Pain, you ask? And why is it so important? Well, in a nutshell, it’s the sexual, pain-and-pleasure torture dungeon that pretty much everybody has in their house, except Christian Grey’s version is red.

It also happens to be the place where nine-tenths of the super-sexy stuff in “Fifty” goes down, because Christian greatly prefers this room to his actual bedroom. (We’ll let the movie reveal the reasons behind this particularly intriguing psychosis.) In real life, the Red Room has become so popular that hotels are debuting their own (less racy, of course) versions to entice fans to, erm, open up their minds, and a British dominatrix actually that couples can rent for the night.

Basically, to say that the Red Room has become an iconic staple for “Fifty” fans is an understatement. Bey’s little Insta-peek ended with Christian opening up the door to a locked room, so we hope this means that the RRoP will finally make an appearance this Thursday.

What was the Red Room for each person?

Netflix It was Olivia’s reading room, Theo’s dance studio, a family room for Shirley, Steve’s game room, Nell’s toy room, and even Luke’s treehouse.

How accurate is the movie Luther?

Ray Fiennes as Luther In Luther, the NFP Teleart and Thrivent Financial for Lutherans’ film starring Joseph Fiennes, the story of German monk Martin Luther’s journey to what is now referred to as the Protestant Reformation is told. The film begins with Luther’s entrance into the realm of late medieval Roman Catholic monasticism, moves to his struggle with faith, tells of his trip to Rome, his teaching at the University of Wittenberg, his scathing writing against the abuses of the Church, and the ensuing struggle to reform the Western Christian Church.

The film portrays Luther’s struggle in captivating fashion and fared well when released internationally in 2003. But as with any other film production portraying historical events, one must ask how accurate the film Luther is in its portrayal of Martin Luther, the Catholic Church, and the events surrounding the Protestant Reformation of the early 16 th Century.

This post will examine several facets of the film Luther in an attempt to show the level of veracity within the film’s portrayal of the historical events surrounding the life and work of Martin Luther. First, the general similarities between history and film will be explored, showing that the film generally does an excellent job portraying Luther, the Church, and the central events of the Reformation with general accuracy and equanimity.

Second, several key differences between the historical record and the film will be explained. It shall be argued however that these differences do not greatly affect the overall message and portrayal of Luther, the Church, or the message of the Reformation and that the Luther film does an admirable job of telling the historical story in an entertaining fashion.

The basic chronology of the film Luther is one that is affirmed by modern Luther scholarship. The basic contours are accurate: that Luther, the Augustinian Monk and teacher of theology at the University of Wittenberg, protested the sale of indulgences and wrote the Ninety-Five Theses in 1517, challenged the authority of the Church to forgive purgatory with pieces of paper, appeared before the Diet of Worms to defend his written works, including The Freedom of the Christian, The Babylonian Captivity of the Church, To the Christian Nobility of the German Nation, and dozens of other treatises and writings, was taken into hiding by his elector Prince Frederick at Wartburg Castle where he worked to complete a translation of the New Testament into German, and continued to protest the theology of the Roman Catholic Church through the Diet of Augsburg in 1530.

Thus the plot and storyline of the Luther film do portray accurately a basic chronology of Martin Luther’s attempts to reform the Church. Similarly accurate is the film’s portrayal of the Roman Catholic Church. There is of course an ongoing debate amongst scholars concerning the condition of the Catholic Church during the Late Middle Ages preceding the Protestant Reformation.

Many scholars look at such documents as The Statement of Grievances Presented at the Diet of Worms 1521 by the German Estates and see strong evidence for what the film portrayed as abuses within the Church of Rome. The writings of Erasmus testify further against the abuses of the Church shown in the film, especially the corruption of the office of the Bishop of Rome that Luther testifies against after having seen Warrior Pope Julius whilst in Rome.

1. Within the context of the film, the Catholic Church is portrayed as rather corrupt, though not inexorably so.
2. When we are introduced to Cardinal Cajetan and Alexandar, the Church is portrayed not as entirely beyond reform, for there are Catholics who desired reform, much in the same way that the historical record attests to the Humanist movement’s calls for a Church reform.

While perhaps a modern Catholic theologian would argue that the Catholic Church was not as corrupt as Luther eventually portrayed her to be, there were indeed abuses that needed to be corrected, and the Luther film does portray the Church in need of reform.

While the Church was actually headed by three different Popes, Leo X, Hadrian VI, and Clement VII during the time period represented, the portrayal of the office of the Pope is accurate within the film in that Pope Leo X is the only papal figure shown and is shown at the chronologically appropriate times,

Furthermore, the Church is portrayed as highly hierarchical, rank with practices such as the veneration of the saints and the selling of indulgences for the freedom of souls in purgatory, activities that modern historians as well as the Luther can attest to.

Thus, while the details of the veracity of the portrayal of Roman Catholic Christianity within the Luther film remain to be discussed below, it can be argued that the general picture of the Catholic Church as shown in the film is accurate, for even loyal Catholics such as Erasmus were saying that the Church was in need of some form of reform in the Late Middle Ages.

In keeping with what seems to be the theme thus far, the general portrayal of German Christianity in the movie seems to be accurate for the period. As inferred in the movie, the condition of the German state was often one of conflicting interests and bureaucratic maneuvering in Luther’s time.

• During the period shown, the Holy Roman Empire was ruled by an Emperor Charles V, who was elected by the Princes of Germany, including Luther’s elector, Prince Frederick the Wise of Saxony.
• Prince Frederick was in fact the benefactor of the University of Wittenberg, where Luther is shown to have taught in the film.

The Late Medieval Germans were indeed eager to gain the grace and salvation offered them by the church and would go to great lengths to do penance and work their way out of purgatory, as examples such as Seybald Schreyer and the film demonstrate. The film records Luther as arguing that “through the laws of the Pope and the doctrines of men, the consciences of the faithful have been miserably vexed and flaged”—scholars record similar statements made by Luther, and while one cannot simply give Luther’s arguments unqualified acceptance, he is commonly understood to be attesting to at least some of the feelings of the common folk of Germany.

• The film’s portrayal of the German Christians may indeed be a simple portrayal of a simple people, and thus it seems sound enough to accept the general premise of Luther’ s portrayal of German Christianity as well.
• With regard to the theological themes and beliefs presented in the film, there seemed to be a certain amount of ambiguity concerning actual content that one might expect from a non-documentary film.

Luther is portrayed as seeking a God of mercy and grace, even declaring at the burial of the young Thomas that “God is mercy”. Fiennes speaks several times as Luther in the Wittenberg Church, where he elucidates the main themes of Luther’s developing theology of the Cross.

Fiennes as Luther says, “Terrible, unforgiving, that’s how I saw God. Punishing us in this life, committing us to purgatory after death, sentencing sinners to hell for all eternity, but I was wrong. Those who see God as angry do not see Him rightly If we truly believe that Christ is our savior, then we have a God of love So when the devil throws your sins in your face and declares that you deserve death and hell, then tell him this: ‘I admit that I deserve death and hell, but what of it? For I know one who made satisfaction on my behalf.

His name is Jesus Christ, Son of God. Where He is, there I shall be also.'” Later in the Wittenberg church Fiennes speaks Luther’s theology against relics and indulgences and preference for Christian love: “We obsess over relics, indulgences, pilgrimages to holy places.

Yet all the time there is Christ. Christ here, in every corner, in every hour of the day. He isn’t found in the bones of saints, but here, in your love for each other In his sacraments, and in God’s Holy Word if we live the word by faith. If we life in love and service to one another, we need fear no mans judgment.” 12 Many of the theological themes developed and portrayed in the Luther film, while historically Lutheran, are often placed within the film in dialogue or chronology that may not match the best historical standard for their delivery.

Luther’s dialogue with Karlstadt in the classroom concerning the primacy of the Bishop of Rome, the damnation of the Greek Christians, the power of the keys given to St. Peter in Matthew 16:18, the infallibility of church councils, and salvation outside the church seems to have roots in a historical discussion, but one that appeared in writing not in the classroom, though it can be argued that Luther may have also elucidated similar remarks during the Theses debate.

1. Similarly the portrayal of Luther’s speech before the Diet of Worms, a highly climactic point in the film, remains generally historically accurate, while leaving room for interpretation and critique within the general debate concerning the events.
2. Finally, it must be mentioned that many of the characters within the Luther film played important historical roles in the development of Luther’s theology and the growth of the Protestant Reformation, including Johann Von Staupitz, Pope Leo X, Prince Frederick the Wise of Saxony, Spalatin, Aleandar, Emperor Charles V, and of course, Martin’s wife Katherine Von Bora Luther.

Thus by focusing on the general feeling given by the film and the overall portrayal of the basic chronology of Luther’s reform movement, the essential contours of the Roman Catholic Church, and the fundamental feelings of German Christianity during the late Middle Ages, it seems that the Luther film does a praiseworthy job in giving an accurate picture of the situation and events of what is now known as the Protestant Reformation as it began in Germany.

• In taking account of theological issues, both Evangelical and Catholic, the general outline of the respective positions is provided for in the Luther film, though with the ambiguity of a film and in more of a summary than in a word-for-word context.
• Having surveyed the general contours of the story shown in Luther, along with the basic theology, characters, and portrayal of the historical setting, let us now turn to parts of the film that are in contrast to what the historical records seems to indicate concerning the events surrounding the Protestant Reformation of the 16 th Century.

Firstly, one should note that the chronology of events in the Luther film are at times confusing and that certain events that are generally deemed rather important have been left out of the storyline. Secondly, we must consider the mysterious lack of certain key reformation-era figures within the film.

1. Finally, one must investigate the portrayal of both Catholic and Lutheran theology.
2. In all of these areas there are differences between the way the German Reformation under Luther transpired and the way in which the Luther film characterizes those events and ideas.
3. Any attempt at summing up the events of several decades of history will undoubtedly leave some events out of the record, whether the summary appear in book or film form.

This is certainly the case with the Luther film. While there were plenty of historical events not included in the film, the event of chief importance that failed to appear was the famed Leipzig Debates, where Luther and Karlstadt debated Catholic Professor John Eck of the University of Ingolstadt.

While the relative importance of this debate may be argued amongst scholars, the debate is viewed by some as putting Wittenberg theology and the persona of Martin Luther in the forefront of many of the German common folk’s minds as champion of the common folk, if not in their hearts as well. In the film, the printing of pamphlets seems to be given the role of increasing the popularity of Luther’s theology.

The use of pamphlets was certainly a large part of how the Reformers got their message out —yet the Debate of Leipzig was a focal event for many people and the film fails to show the events there or even allude to them. Further the film confuses chronology, or at least confuses the audience, with events following the First Diet of Augsburg and Luther’s meetings with Cardinal Cajetan leading to the Diet of Worms.

The film portrays a span of three crucial years of Luther’s work and writing that is not clearly differentiated or explained in the film. Further the delivery of Exsurge domine in the film was far simpler than the historical record seems to indicate; however it ought to be noted that by simplifying the delivery, the film tied up plenty of potential storyline loose ends surrounding the papal bull.

In a film titled Luther, one would expect the primary character to be Martin Luther and indeed it is; however, in looking at the context of the Protestant Reformation, one cannot neglect the role of other reformers and theologians. The film mentions two other prominent Wittenberg theologians, Andres Karlstadt and Phillip Melanchthon, though in a manner that seems to be in passing when Luther isn’t around and is perhaps less historically accurate than one would like,

In the film, Luther has a young companion priest with him, Ulrich from Utrecht. The historical record does not seem to indicate a companion of such importance by this name for Luther as is portrayed in the film. Additionally, other reform movements are not referred to at all in the film, though this can perhaps be excused simply because of the scope of the film and the primacy of Luther on this point.

The role of the papal nuncio Aleander in the film has been modified to fill the void of arch-villain, and his character plays an enlarged dialogue role in the film, even partially playing the historical role of an official of the Archbishop of Trier named Eck during the Diet of Worms, though this can be chalked up to the dramatization of the scene.

• The previously mentioned character modifications may be easily explained when considering the importance of Luther to the film and the need for a streamlined narrative.
• However, two men who had immense roles in the development of Luther, his theology, and the Reformation movement are somehow missing from the film: John Eck of Ingolstadt and Erasmus of Rotterdam.

Eck was Luther’s primary opponent and arch-villain for much of the early reform movements, including the aforementioned Leipzig Debates. To not include his character is to avoid an entire facet of the early reformation movement, including the issue of Luther’s potentially radioactive association with the late John Huss.

1. Similarly perplexing is the exclusion of Erasmus, the Catholic Humanist whose ideas of Church reform and publication of the Greek New Testament were highly influential for Luther.
2. While Luther and Erasmus weren’t fellow reformers in the strict sense, Erasmus was an influential precedent for Luther to follow in seeking reform for the Church.

In the exclusion of John Eck and Erasmus, the Luther film likely does the largest disservice to its historicity, not including two men who in many ways helped shape Martin Luther into the reformer that he became. In any movie or adaptation of historical events for the general public, it seems that one can assume the dialogue and themes, as important and critical as they may be, will be modified in some sense—so too with Luther,

• As argued earlier, the general counters and perspectives of the Catholic Church and Martin Luther are portrayed in the movie in a way that generally represents the historical record in as accurate as fashion as possible.
• However, there are instances of what could easily be seen as overstatement or over-dramatization of the events that were evident in the film.

The events surrounding the Diet of Worms, while not necessarily historically inaccurate, demonstrate in the film a certain dramatic twist that seem historically unlikely, irrespective of whether or not Luther uttered the famous words at the end of his refusal to recant at the diet—”Here I stand, I cannot do otherwise.

1. God help me.
2. Amen.” One misses in the movie the fact that Luther gives his speech in German and then again in Latin—an important fact given Luther’s positions on the priesthood of every believer and his belief in the importance of having the Bible in the language of the people.
3. Other events, such as Luther’s banishing Karlstadt from Wittenberg and survey of the death of peasants, while possibly historical, seem more rooted in conveying the general theme of the unnecessary deaths of so many during the Revolt of the Common Folk.

Catholic belief and practice is similarly left open to ‘cinematic’ exaggeration, as the scenes in Rome and behind closed doors may well demonstrate. This is not to say that there was not corruption within the Catholic Church or that the events and perspectives portrayed are not factual—only to say that the film interprets certain instances and circumstances in a light that may not be charitable and altogether historical, however probable the interpretation may be.

Perhaps the greatest liberty that the film takes is in its conclusion, where the presentation of the Augsburg Confession before Emperor Charles V in 1530 is portrayed as the victory of the Reformation and that with the presentation the Reformers changes within the Church were solidified. This was hardly the case as the presentations at Augsburg in the film are not only simplified, but much of the Protestant Reformation occurred after Augsburg; further the Catholic response and the Council of Trent occurred after Augsburg as well.

Given these criticisms, what can be said for the historicity of Luther ? In judging the accuracy of the film from a historical and contextual standpoint, perspectives and analysis will undoubtedly differ. This is but an introduction to the historicity of the Luther film, for a complete study of the film would entail a complete study of Luther, something that no one scholar has yet been able to accomplish.

However in viewing the film the case can be strongly made that the basic outline and themes of the film remain historically accurate in as far as we can tell from our modern perspective. As has been demonstrated above, this is not to say that there are not issues of historical obfuscation or inaccuracy—these issues abound in plenty.

Yet given the information that we do have, it seems that the film Luther does an admirable job portraying Luther, the Catholic Church, and the contextual setting of the Protestant Reformation of the 16 th Century correctly in the short time allotted to the events portrayed.

Sources Hendrix, Scott H. Luther: Abingdon Pillars of Theology, (Nashville: Abingdon Press, 2009), Ix-x. And Fiennes, Joseph. Luther, Online.2003. Thrivent Financial For Lutherans. http://www.youtube.com/watch?v=gSOJ3UaiJRI Strauss, Gerald. Manifestations of Discontent in Germany on the Eve of the Reformation.

(Bloomington: Indiana University Press), 52-63. Rummel, Erika. The Erasmus Reader: Praise of Folly. (Toronto: University of Toronto Press, 1990), 156-168. Martin Luther: Confessor of the Faith, Robert Kolb. (Oxford University Press, Oxford.2009), 37-40. Oberman, Heiko A.

1. Luther: Man Between God and Devil,
2. New Haven: Yale University Press, 2006), 356-358.
3. Bainton, Roland H.
4. Here I Stand: A Life of Martin Luther,
5. New York: Meridian, 1977), 36-38.
6. And Luther, Martin.
7. Three Treatises: To the Christian Nobility of the German Nation, Trans.
8. Charles M. Jacobs.
9. Philadelphia: Fortress Press, 1970), 8-25.

Hendrix, Scott H. Luther: Abingdon Pillars of Theology, (Nashville: Abingdon Press, 2009), 7-8. Fiennes, Joseph. Luther, Online.2003. Thrivent Financial For Lutherans. http://www.youtube.com/watch?v=gSOJ3UaiJRI Rittgers, Ronald. Late Medieval Popular Piety.

1. Lecture. Valparaiso University.
2. September 5, 2011.
3. Bainton, Roland H.
4. Here I Stand: A Life of Martin Luther,
5. New York: Meridian, 1977), 143.
6. Fiennes, Joseph. Luther,
7. Online.2003.
8. Thrivent Financial For Lutherans.
9. Http://www.youtube.com/watch?v=gSOJ3UaiJRI Fiennes, Joseph. Luther,
10. Online.2003.
11. Thrivent Financial For Lutherans.

http://www.youtube.com/watch?v=gSOJ3UaiJRI Luther, Martin. Three Treatises: To the Christian Nobility of the German Nation, Trans. Charles M. Jacobs. (Philadelphia: Fortress Press, 1970), 18-25. Bainton, Roland H. Here I Stand: A Life of Martin Luther, (New York: Meridian, 1977), 67.

1. Olb, Robert.
2. Martin Luther: Confessor of the Faith,
3. Oxford: Oxford University Press, 2009), 39-40.
4. Luther, Martin.
5. Three Treatises: The Freedom of the Christian,
6. Trans.W.A.
7. Lambert (Philadelphia: Fortress Press, 1970), 266-276.
8. Hendrix, Scott H.
9. Luther: Abingdon Pillars of Theology,
10. Nashville: Abingdon Press, 2009), 8.

Oberman, Heiko A. Luther: Man Between God and Devil, (New Haven: Yale University Press, 2006), 24. Oberman, Heiko A. Luther: Man Between God and Devil, (New Haven: Yale University Press, 2006), 36-38. Bainton, Roland H. Here I Stand: A Life of Martin Luther,

1. New York: Meridian, 1977), 129-138.
2. Bainton, Roland H.
3. Here I Stand: A Life of Martin Luther,
4. New York: Meridian, 1977), 224-228.
5. Bainton, Roland H.
6. Here I Stand: A Life of Martin Luther,
7. New York: Meridian, 1977), 82-93.
8. Rittgers, Ronald.
9. Propaganda War. Lecture.
10. Valparaiso University.
11. October 3, 2011.
12. Bainton, Roland H.

Here I Stand: A Life of Martin Luther, (New York: Meridian, 1977), 78-140. Bainton, Roland H. Here I Stand: A Life of Martin Luther, (New York: Meridian, 1977), 114-124. Rittgers, Ronald. Revolt of the Common Folk. Lecture. Valparaiso University. October 5, 2011.

1. And Bainton, Roland H.
2. Here I Stand: A Life of Martin Luther,
3. New York: Meridian, 1977), 78-92.
4. Luther did have a strong supporter named Ulrich von Hutten, who was a knight and humanist who wrote against Rome (See Bainton, Roland H.
5. Here I Stand: A Life of Martin Luther,, 101.).
6. Oberman, Heiko A.
7. Luther: Man Between God and Devil,

(New Haven: Yale University Press, 2006), 36-38. And Bainton, Roland H. Here I Stand: A Life of Martin Luther, (New York: Meridian, 1977), 141-144. Bainton, Roland H. Here I Stand: A Life of Martin Luther, (New York: Meridian, 1977), 78-92; 121-126. Oberman, Heiko A.

Luther: Man Between God and Devil, (New Haven: Yale University Press, 2006), 98-99; 123-124. And Kolb, Robert. Martin Luther: Confessor of the Faith, (Oxford: Oxford University Press, 2009) 37-39. Bainton, Roland H. Here I Stand: A Life of Martin Luther, (New York: Meridian, 1977), 144. Hendrix, Scott H.

Luther: Abingdon Pillars of Theology, (Nashville: Abingdon Press, 2009), x; 10-11.

Is it illegal to look at the dark web?

Is it legal? – Using Tor or visiting the Dark Web are not unlawful in themselves. It is of course illegal to carry out illegal acts anonymously, such as accessing child abuse images, promoting terrorism, or selling illegal items such as weapons.

Is it OK to go to dark web?

How to stay safe on the dark web – We would generally advise against browsing the dark web, as even if you have good intentions, it’s easy to stray off the beaten path, and suddenly encounter illegal materials, sites or malware. If you do choose to visit the dark web, though, there are a few precautions you should take to stay safe:

Always use an anonymous browser like Tor, and keep your security settings at the maximum value, even if this limits your browsing experience. Doing so will protect you from malicious scripts and payloads that can leave your device vulnerable to attacks. Never download or buy anything on the dark web. Like the regular web, the dark web can contain malware – but unlike the regular web, there are no sites that are guaranteed to be safe. Avoid downloading anything, and definitely don’t download anything you’re not 100% certain is legitimate. Some dark web shops may be legitimate, but making a purchase is not worth the risk. System and software updates are designed to keep you safe, so install them! Using the dark web can expose you to malware that will take advantage of any lapse in your updates, and exploit weaknesses that have been patched out of your operating system or other software. Navigate from directories. Following a known file structure will keep you within the same website, and away from anything you aren’t expecting. Avoid following any links. Threats are commonplace on the dark web, and you could easily stumble on something illegal. It pays to be alert when it comes to clicking links. Use a VPN to protect your connection. A VPN such as Hotspot Shield is designed to inhibit malware, and will help protect your device from threats when browsing. It uses encryption and IP address masking to keep your sessions secure and anonymous, while also providing added malware protection by blocking known infected sites.

While there’s no way to ensure all your information stays protected while browsing the dark web, putting protective measures in place can help. To find out more information and methods to protect yourself online, with a member of the Sota team today. : What is the dark web (and how can I stay safe on it)? – Sota

Is the dark web harmful?

Is the Dark Web Dangerous? – The dark web is a common gathering place for hackers and other cybercriminals, which can make browsing the dark web a risky activity. Visitors to the dark web should exercise extreme caution when downloading files, as they may infect your devices with viruses, malware, trojans, ransomware or other malicious files,

What happens if you go on the dark web?

Is it illegal to access the dark web? – It is not illegal to visit the dark web. But you can face criminal charges if you use the dark web to sell or purchase illegal firearms, drugs, pornography, stolen passwords, hacked credit card account numbers, or other items.

Can police track you on the dark web?

FAQ: About deep web and dark web – Regular internet browsers like Google Chrome or Safari should suffice for browsing the deep web. But Tor is the best option for both the deep web and the dark web as it instantly deletes cookies, browsing history, and other data for you.

No matter what browsers you choose to use, the best practice is to always use a, which gives you an additional layer of privacy and security. In theory, the deep web is safer than the dark web. The deep web is just that part of the internet that is not indexed by search engines. The dark web is dubbed as a hotbed for illegal activity.

That said, if you’re just browsing on the dark web, it should be as equally safe as doing so on the deep web. Yes, the police can still track you on the dark web if they need to, although it’s extremely hard to do so. The Tor browser you use to access the dark web can mask your identity and location.

1. The average user won’t be able to identify you on the dark web, but the authorities can still track you down with high-level technologies.
2. That is, if you give them a good enough reason to.
3. The dark web is deeper than the deep web.
4. Its nature as a hub for anonymity means it hides away from public access and scrutiny.

ExpressVPN is your best bet for browsing the dark web. It gives you an additional layer of encryption and anonymity—backed by a strict no-log policy. Try it yourself and get a full refund within 30 days if you’re not satisfied. : Deep web vs. dark web: What’s the difference?

What happens if you go on the dark web without VPN?

While you can access the dark web without a VPN, it’s risky. You need Tor to enter the deep web, and Tor nodes are public, so connecting to one automatically raises red flags for your ISP. You could be subject to additional scrutiny or even an official investigation.

Why did the Red Room take girls?

It’s a multi-faceted reason. Traditionally, the Red Room operatives were trained from childhood to be spies and assassins. Well first there’s the allure of the beautiful woman – they have the option to use their charms to gain access and influence by becoming the lovers and companions of their targets.

Why is the Red Room important?

The red-room can be viewed as a symbol of what Jane must overcome in her struggles to find freedom, happiness, and a sense of belonging. In the red-room, Jane’s position of exile and imprisonment first becomes clear.

Why do people put photos in water in a Red Room?

“Stranger Things” Fans Want to Know What the”Red Room” Is – Charlie Heaton Stranger Things Netflix By now you probably know that season 3 is filled with a bunch of Easter eggs that, Most of them are references to pop culture from the time era, but others are references to the kind of technology (or lack thereof) that existed back then. The show’s producers tried to keep it as true to the 80’s as humanly possibly.

1. That means they went back in time to an era where the iPhone and Instagram were all nonexistent.
2. Sadly, instant selfies weren’t a thing back then.
3. Now, you can take and view a photo in just seconds.
4. If you didn’t exist in a world without camera phones, then you’re probably confused as to what was doing in those scenes where he’s in a dark room surrounded by photos and a dim red glow.

It’s okay, you aren’t the only one. One brave soul decided to ask about the purpose of the “red room” on Reddit. “In Stranger Things, we frequently see Jonathan go inside this to ‘refine’ his photos or something. I don’t quite understand what happens here,” the user wrote.

• He puts the photo in water, and somehow this makes it more clear? An example is in the first season when he refines Barbara’s photo and sees a little bit of the Demogorgon.
• Is this an old film technique, and if so, what is it called?” wrote the fan.
• The “red room” is actually a darkroom, something people used back then to develop photos.

Before digital cameras, people developed photos by processing them in chemical baths in rooms with minimal light. A darkroom would help ensure that you didn’t damage your camera-film, which was usually light-sensitive. Darkrooms aren’t totally nonexistent, but they’re definitely outdated.

What happens in the Red Room of pain?

Fifty Shades of Grey author E.L James, whose real name is Erika Leonard, had more influence than most writers over the way her racy book was transformed into a movie. But there was one scene that she was particularly concerned about. “I was most worried about the scenes in the Red Room.

I wanted them to be tasteful and erotic,” she says. “That was a journey, but we got there in the end.” The Red Room, for those novitiates to the cult of Fifty Shades, is the room where the moody millionaire Christian Grey indulges his appetite for less mainstream boudoir behavior. Leonard was worried that it would come off looking like a cheesy dungeon, so she gave quite specific instructions to the production design team.

“She actually had these things drawn up,” says producer Dana Brunetti. “She literally had drawings of them that she gave to our production designers.” The design team was headed up by husband and wife David and Sandy Wasco, who weren’t inexperienced in this area; they worked on Pulp Fiction, which features a memorable character known as the gimp, who’s into bondage.

Erika was able to do a little doodle on an eight and a half by eleven piece of paper,” says David. “She said, ‘This would be where the spanking bench would be, this would be where the sofa would be.’ And we used that.” The Wascos knew the Red Room would be the most challenging set to design. “We really anguished over that the most,” says David.

“We had to,” adds Sandy. “You could interview everyone that read the book and they’d have a different version of it.” The Wascos met with experts—dominants and dominatrices, who have wealthy clients “just like Christian Grey,” says David. “It was much more sophisticated than anyone going through the internet is led to expect—much more respectful.” From these consultants, the design team learned such useful tips as using leather on the floor, because people spend a lot of time kneeling.

So we ended up with real leather, and with shoe tacks that were brass every two inches,” says David. They used leather on the bed, with no sheets, because—after all—the bed’s not for sleeping. If Leonard was in charge of the room’s layout, director Sam Taylor-Johnson had some strong feelings about the finishes.

She told the designers she wanted something dumbfounding. “She was always mentioning Kubrick movies. She wanted this room to be something that you’d never forget once you saw it,” says Sandy. “She wanted it to be more related to a high end stable. So was built in brown, with brown leathers, and brown burled woods and other woods, versus the black that you see that’s more common.

It was pretty.” If it sounds odd to call a room where floggings might take place ‘pretty’, then the way the designers talk about the equipment will seem equally unusual. “The items that we ended up making were very bespoke, and very beautiful,” says David. Most of the furniture and implements—the custom-made stirrups, horse saddle chair, and the beds were custom made and shipped from England.

Extremely soft ropes had to be ordered and dyed red. “People couldn’t keep their hands off the stuff,” he adds. “Some of them are tails and fuzzy. They’re really fun.” Read next: Sex Scenes Make Up One-Fifth of Fifty Shades of Grey

How did the Red Room start?

The Red Room dates back to the late 1930s – The Red Room is known for producing skilled, bloodthirsty assassins called “Black Widows.” (Yes, even though Natasha is known as Black Widow, she’s not the only one of her kind.) In the comics, the origins of the Red Room date back to before the Cold War, when young girls were recruited (or kidnapped) by KGB agents from the Moscow organization Department X, who brainwashed them into becoming resilient assassins.

How does the Red Room end?

Result: The Red Room Academy is destroyed. Dreykov is killed. Antonia Dreykov and the other Black Widows are freed from their brainwashing.

Why did the Red Room only use girls?

It’s a multi-faceted reason. Traditionally, the Red Room operatives were trained from childhood to be spies and assassins. Well first there’s the allure of the beautiful woman – they have the option to use their charms to gain access and influence by becoming the lovers and companions of their targets.

How did the Red Room get girls?

Training Young Girls – “Training young girls to be what, assassins? Seems like the Russians would want to train grown men.” “Women are often overlooked, taken for granted. They can slip easily through a man’s defenses.” ― Peggy Carter and Johann Fennhoff The Red Room’s Black Widows were all handpicked by the leaders of the program based on their genetic potential as infants; some of these girls were orphaned or abandoned, while others were literally taken from their families by the Red Room, either through bargaining or force.

1. The girls chosen for the Red Room are put through strenuous daily training, including hand-to-hand combat training, acrobatics, weapons training, and tactical skills.
2. Occasionally, two girls are chosen to violently spar against each other; weakness is not tolerated and the loser is killed by their opponent.

The girls are forced to watch video projections such as Snow White and the Seven Dwarfs, however, the videos are full of subliminal messages including “Instill,” “Fear,” and “Pain,” slowly brainwashing the girls. During sleep, all “students” have both their hands handcuffed to the bed frame to prevent attempts of escaping.

1. The girls’ training also includes intense ballet dance lessons, where their instructor ordered them to repeat their routine over and over again, so they can become unbreakable.
2. Many times, when the girls are trained in the use of firearms, they would use actual people as shooting targets for practice.

The training is so brutal that approximately one in twenty of the girls in each generation ended up surviving to become fully-fledged Black Widows, due in part to Dreykov ‘s insistence that the program eliminate defects.

What lesson did you get from the story Red Room?

The Red Room is a symbol for the heart. Both are red and filled with chambers. Just as the Red Room can be filled with both light and darkness, our hearts can be filled with the same. Christian tradition teaches that humans are cursed to be inherently sinful and tempted by evil.

How did the Red Room start?

The Red Room dates back to the late 1930s – The Red Room is known for producing skilled, bloodthirsty assassins called “Black Widows.” (Yes, even though Natasha is known as Black Widow, she’s not the only one of her kind.) In the comics, the origins of the Red Room date back to before the Cold War, when young girls were recruited (or kidnapped) by KGB agents from the Moscow organization Department X, who brainwashed them into becoming resilient assassins.