MyGenie ECO 500 Powerful Suction Adjustment: :::Easy step-by-step operation with vocal guidance or tone confirmation.Dust Bin could be washed by water.Very Quiet, at 50 dB Auto Cleaning Mode: Spot Cleaning ModeEdge Cleaning ModeScheduling Mode SUITABLE FOR MANY FLOOR SURFACES:Here is what Others Are Saying About MYGenie ECO 500Auto Floor Cleaner August 6, 2012Your basket has been updated, what would you like to do now? 4.5" Full Wide VGA Display Front-Facing Camera with Gesture Shot and Soft Light 1.2 GHz Quad-Core Processor With a solid performance, snug design, and sensational price point, the LG Leon™ LTE packs a punch. Carrying over some of LG’s exclusive high-end features, this smartphone is made to impress—so what are you waiting for? A Sweet New Take on Android™ Android™ 5.0, Lollipop provides the newest, most advanced user interface yet. Packed with new features, it brings new look and feel to your mobile device with its new Material Design style - and makes your user experience more satisfying than ever.

Get all the fixings for your LG mobile phone (accessories sold separately). GSM 850/900/1800/1900 MHz, LTE Bands 2/4/12, UMTS Bands 2,4,5 5.11" (H) x 2.55" (W) x 0.43" (D) 16M Color TFT, 854 x 480 pixels 4.5" (FWVGA) Up to 10 hours * Up to 11.7 days* 8 GB (3.48 GB usable) Support up to 32 GB** Actual battery time may vary depending on network connectivity and application use. microSD cards sold separately. 5 MP HD Rear-Facing Fixed Focus Camera and Full HD Camcorder with LED Flashvax 6140 pet vax multifunction vacuum cleaner VGA front-facing camera and camcordereureka 431f optima bagless upright vacuum cleaner filter Up to 2560 x 1920* (2560 x 1440 default)mammuthus vacuum cleaner

Take selfies with a simple hand gesture.** Screen will illuminate a soft light around the photo preview for well-lit selfies.** Hold the shutter button to take multiple shots quickly.* Tap the shutter button, tap the screen, use your voice, or press a volume key to take Up to 1920 x 1080* (1280 x 720 default) Pause & Resume Recording Pause and start in record mode for one continuous video file. Take still shots while recording video. Choose to take a picture/video 3 or 10 seconds after you press the shutter/record Include location information with photos and videos. Available only on rear-facing camera or camcorder Available only on front-facing camera or camcorder T-Mobile 4G LTE Network*,** Use Wi-Fi® to improve voice and data coverage. Share a data connection with other compatible wireless devices** Headset, hands-free, object push, advanced audio distribution, audio/video remote control, human interface device, and phone book acces

USB and Bluetooth® Tethering Share your phone’s Internet connection with your computer.** Connect your phone to your PC to manage multimedia content and apps. A-GPS For Enhanced Location Accuracy T-Mobile’s 4G LTE Network not available everywhere Depends on network availability. Additional carrier charges may apply USB cable required (included). With Touch Lock and Resume Play Function; supports 3GP, 3G2, and MP4 formats Customizable Video Screen Ratio Subtitle Settings, and Video Auto Off Function With Sleep Timer: supports AAC, AAC+, eAAC+, MP3, WAV, FLAC, AMR, M4A, MIDI, and Ogg Organized by song, album, artist, genre, favorites, playlist, and folder Transfer files or synchronize with Windows® Media Player.* USB cable required (included) Prevent interruptions from notifications. Double tap the screen to put your phone to sleep/wake it without picking it up or pressing the Power/Lock Key. Create a 3 to 8 point tapping pattern for security and direct access to the home screen

with more than 86,000 possible combinations Write or draw on nearly any screen and schedule memos to appear at certain times using calendar inputs or when the user reaches predetermined locations via GPS Adjust keyboard height and layout Support for Phone and Keyboard Input PC-like office suite app for viewing and editing documents, presentations, and spreadsheets Show the dialer and other frequently used features right on the home screen for quick H345 Reviews - page 2 View H345 Product Support FIND AN AUTHORIZED STORE NEAR YOU Visit an Authorized RetailerLast week’s episode was a Leone movie, I saw someone remark on Twitter—outsized drama, heightened style, breathless suspense, posturing galore. It’s a horror show. All my fears come to life on the screen, and things too horrible for me to have contemplated. My only consolation is that Jesse lives, if you can call slave labor living—but while there’s life, there’s hope.

Everything else is in ruins, on all sides. Everyone reaps the grim, bloody harvest of entertaining the fantasy that there’s a way forward from the first fateful decision—that some further decision, down the road, can bury that first wrong turn. Tragedy doesn’t work that way. Director Rian Johnson gives us space to contemplate where we’ve been and where we’re going, with scenes like the flashback to Walt and Jesse’s first cook at the end of that same desert road. As Walt climbs up a hill rehearsing the first of many lies (“Bogdan’s got a bug up his butt… a stick? He’s demanding that I stay and look over his system and I cannot get out of it”), Skyler is looking forward to a bright future, with a baby name she likes and a nine dollar eBay profit on that crying clown figurine. That call holds all the promise she and Walt hold onto—children, wealth. And it’s surrounded by all the peril that overtakes them—criminality, deception. When it fades, pieces by piece, only to return as the wreckage of the shootout, the tragic arc is drawn as clearly as a Sophoclean chorus could do it.

Only without a single sound. And then the parade of my worst nightmares begins. What’s fascinating, if you can manage to peek between your fingers long enough to see, is Walt’s maelstrom of reactions and responses to the complete disintegration of any endgame he envisioned. He is willing to give up everything to save Hank, offering Jack all $80 million that’s buried underground. This is Walt at his most human, sacrificing his dream and his identity for the family he always claimed to be his highest priority. But it’s also Walt at his most deluded, thinking that he can get the upper hand in this situation with money, with negotiations. Jack was never going to let him live. So he dies with his honor and his identity intact, scorning Walt’s entreaties to lie, beg, promise them anything to live. He’s been transformed by his pursuit of Heisenberg into the lawman he always wanted to be. When Walt reveals Jesse’s hiding place and coldly nods at Jack’s cheerful “Good to go?” he’s a force of pure vengeance.

It’s not enough that Todd gets to torture Jesse (remember what I said last week about how he’s the scariest motherfucker in the room?). Walt twists the knife that he’s left sticking in Jesse’s gut for months now. It’s the demonic completion of what Walt almost was brought to confess in “Fly” (not coincidentally, also directed by Johnson). “I watched Jane die,” Walt tells him. “I could have stopped it, but I didn’t.” Not only is this Walt the torturer, but it’s also Walt the liar—the liar that Jesse has called him repeatedly ever since he lost faith. Walt is saying: I never loved you. I never cared about you. It’s always been only what you could do for me. And because Jack magnanimously decides to give Walt one barrel (“My nephew respects you… also, I’ll be honest, you caught me in one hell of a good mood”), the horror doesn’t end there. That barrel allows Walt to cling to the hope of salvaging something of what he worked for. That barrel—I’ll say it—is the one prepared for Walt since the first time a barrel appeared on this show to make a dead man disappear.

He obligingly goes about gathering the acid and cutting off his limbs. Faced with a wife who knows it’s all over, who has been forced to bury her last remaining hope of keeping her children innocent and ignorant, and a son who is still in shock, he has only his old tricks. “I negotiated,” he lies. “Everything will be fine,” he bluffs. “We can have a fresh start, whole new lives,” he wheedles. And when Skyler finally stands up against this force of destruction, he reveals that he understands nothing at all. “What the hell is wrong with you?” he roars. When he takes Holly—well, my friends, if you’ve been holding out for Walt to return to some semblance of humanity, this is surely the last straw. In that moment, Holly is either all the family he’s got left, or she’s a hostage. Either way it’s the kind of desperation that is untethered from reality or morality. Yet if anything can penetrate to the person that Walt was before this all started, up on that rise talking to his wife about grabbing a Venezia’s pizza (“It’s a frontrunner for sure,” he enthuses about the name), it’s this bundle of actual innocence in a pink hat, staring up at him from the KoalaKare changing station.

And people, it does. He knows when she calls out for her mama that he cannot make her into a pawn or a goal. She is pure potential. He has not ruined her—yet. She deserves a chance. So when he calls Skyler, who listens stonefaced along with her sister and the police, and says the most vicious, unforgivable things to her that he’s ever let fly—that it’s her fault, that she is paying the price for her disrespect, that she’s done nothing but undermine him, that she is a stupid bitch, that she’s going to get what Hank got if she crosses him—it’s a pose. It’s true in the sense that he’s enraged and lashing out and needs someone to blame that nothing remains of the works that he built to make the mighty despair. But he’s also playing a part, giving her freedom. He’s weeping at what he is having to do to cut that final tie. And at what he is killing in himself to do it. Load the barrel in the vacuum cleaner repair guy’s van, and it’s off to that whole new life he’s been talking about for so long, that castle in the sky he painted for Jesse and then for Skyler.