Heckler & Koch MP5A2 with "tropical" wide handguard - 9x19mm Colt Law Enforcement Carbine The Colt Law Enforcement Carbine is used by bank robbers during the opening heist in "Pilot" (S1E01). Later in the episode, Riggs also takes a carbine fitted with an ACOG scope from his trailer and uses it in a hostage rescue. Colt Law Enforcement Carbine LE6920 - 5. 56x45mm Riggs has the barrel of the Colt LE to his forehead in "Pilot" (S1E01). A closeup on the rifle in Riggs' tariler. Riggs uses the carbine in "Pilot" (S1E01). Heckler & Koch HK416 SWAT officers carry the Heckler & Koch HK416. Heckler & Koch HK416 with 14. 5 inch barrel - 5. 56x45mm The carbine is carried by a SWAT officer in "Pilot" (S1E01). Spike's Tactical Compressor In "Can I Get a Witness? " (S1E08), Riggs uses an AR that resembles a Spike's Tactical Compressor. In "Can I Get a Witness? " (S1E08), Riggs readies Spike's Tactical Compressor. In "Can I Get a Witness? " (S1E08), Riggs fires the AR. "MG-10" (FN F2000 Tactical) In "Surf N Turf" (S1E02), a special rifle designated as the "MG-10" and manufactured by Stonehill Industries is used throughout the episode.
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SEASON 9 • EPISODE 11 "Iconic Eats" Original Air Date: Jan 01, 2017
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Back in jail she is hog-tied and subjected to torture by over-the-top guards and spiteful trustees, while the other prisoners get reduced food rations for the escape, and have to perform manual labour 'til they drop because of Matsu's stoic refusal to confess. To what, one might ask? Rather than having any sympathy for her plight and perhaps thinking that she ought not be tortured by male guards, the other prisoners turn on her also. Sugimi, fearing that Matsu still has too much information on him, enlists another prisoner to kill her. This woman doesn't quite finish the job; Matsu escapes again and this time systematically knocks off all those on her list, finishing with Sugimi. The end. Is it as "thought provoking" as some suggest? Is it that "Sugumi (sic) represents the post-war Japanese power structure, which the movie argues is at its core corrupt and misogynist, build on shady bargains and the oppression of women"? Or is it a simply a tale of a wronged woman wreaking revenge, peppered with gratuitous nudity and WrestleMania tomato-sauce violence, to which it's very convenient to attach symbolism?
En su repertorio como cantante no hacía únicamente tango, también agregaba temas mexicanos e internacionales. Su vida privada y sentimental fue intensa y movida, luego de su divorcio con Sergio Kogan, se casó con su secretario Julio Chapira y, unos años más tarde, con el cineasta Jorge D'Arnell. En México actuó en diecinueve películas, las dos primeras de 1948: Ahí vienen los Mendoza y Calabacitas tiernas; la última en 2005, Club eutanasia. Pero la más recordada fue sin duda, Susana, carne y demonio, dirigida por Luis Buñuel en 1950. A principios de la década del sesenta, regresó a la Argentina. En sus primeros espectáculos participó acompañada por mariachis. En 1964, fue requerida por René Mugica para hacer dos films: El octavo infierno, Cárcel de mujeres, con Leonardo Favio y Lautaro Murúa y El demonio en la sangre, con Ubaldo Martínez y Ernesto Bianco, curiosamente, ambas películas fueron producidas por su ex marido Sergio Kogan. Realizó, además, algunas presentaciones en Caño 14 con el acompañamiento de Héctor Stamponi, con quien grabaría un par de discos de larga duración y a quien conocía muy bien porque ya la había acompañado en México, cuando era la orquesta de otra gran triunfadora en ese país en los años cuarenta, Amanda Ledesma.