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We do not yet provide sufficient tools for viewers to limit their exposure to nudity and mature content so artistic and educational nudity are not allowed at this time. Unless your content meets one of the exceptions outlined, you should follow the standard guidelines of the policy.


Warning! Spoilers ahead for Teen Wolf: The Movie. Despite being a direct sequel to the MTV show, Teen Wolf: The Movie has swearing and nudity, which is surprising but can easily be explained. Scott re-assembles the McCall Pack after a new threat emerges in Beacon Hill following a series of suspicious forest fires. In the middle of the story is the mysterious return of Allison Argent, who is embracing her hunter nature and goes after Scott and other werewolves in his pack. While the Teen Wolf Movie features mostly familiar characters, its overall tone feels different because of the added layer of drama that comes from featuring mature content such as swearing nudity.


While the Teen Wolf movie shows Scott and the rest of the McCall Pack are now fully grown adults, it can still be jarring hearing them curse or engage in intimate scenes. The fact that Teen Wolf aired on MTV for so many years and this marks the first time the cast returns on the small screen, it takes a little while to get used to this more mature take on the supernatural universe. However, between Wolf Pack on Paramount+ and the possibility of Teen Wolf: The Movie getting a follow-up, it's only a matter of time before this becomes the norm in the evolving universe.


The preparatory division emphasized drawing from plastercasts, architectural ornaments and sculpture. Also, students started oilpainting in "grisaille" from the figure. The top form delved deeplyinto drawing and painting from life using costumed and nude figures, still-lifearrangements and landscapes. Also, a great emphasis was placed on the studyof human anatomy. Students used models, skeletons, illustrations,and photographs in their studies.[2]


Hennings' final mural, The Chosen Site, (p. 8) wasstarted in 1938, seventeen years after his move to Taos and almost as manyyears after his last mural commission. During this hiatus from mural painting,Hennings had used his easel painting to refine many of the elements adoptedas a student (this is examined in more detail later on). For this reason,The Chosen Site represents a logical conclusion to Hennings, careeras a muralist and a fine sample of many of the elements of his mature style.


In the early thirties as he moved toward his mature synthesis,he produced a series of large paintings depicting a pair of semi-nude, maleIndian figures engaged in martial activities. There are at least three worksin the series: The Victor, depicting a victorious Indian warriorstanding over a slain enemy, and Vengeance (p. 20) and an untitledbut related companion. Vengeance and its companion depict two partsof a "Cain and Abel" friendship. All three works remind one immediatelyof von Stuck's work. It takes little imagination to see the classical inspirationof the subject and composition. In addition, all three works provided Henningswith an opportunity to demonstrate his Chicago trained and Munich honedvirtuosity in anatomy and portraiture.


Disregarding von Stuck's more decadent aspects, Henningsseized upon his use of the figure as symbol. Von Stuck's compositions, likethe art of the American Renaissance, depicted the histories of various gods,goddesses or heroes, but in turn, contained broader allegorical contentrepresentative of moral themes and ideas. Obviously, von Stuck used hisart as a means of expressing German character. This accounts for the greaterromanticism of his work and may explain his more sordid depictions. Nonetheless,his work offered many parallels to Hennings' own experience and providedanother source of inspiration for Hennings' mature synthesis.


In Taos, Hennings discovered a unique subject, distinctlyAmerican and exotic, which was relatively unexplored. Hennings saw the TaosIndians, their lifestyle and their lands as a subject filled with dignity,ceremony and unsullied beauty. Truly, this was a subject worthy of expressingthe themes of the American aesthetic previously reserved for the overportrayedgods and heroes. Immediately, he seized upon the subject and made it hisown as evident in In New Mexico, 1917. In this, and later Taos works,his subjects become infused with a significance capable of transformingthem into archetypal symbols. For Hennings this perfect Taos of the imaginationbecame the stage for the construction of his mature synthesis.


Fortunately, Hennings' period of experimentation was notin vain because it cleared the way for the appearance of his mature style.Hennings' new style was a combination of all the elements he had found desirablein his experiences in Chicago, Munich, and Taos. All these elements werebound together with the underlying tenet of the American aesthetic thatHennings' art be a moral art. With this in mind Hennings believed he couldmold his art to "an individual and creative interpretation of reality."[15]


+++ A man finds himself accused of awful crimes he can't recall, struggles to regain his memory and solve the puzzle, and enters a conflict with aliens who can change reality with their thoughts. The story is dark and often violent, but it's told with a remarkable sense of visual energy and imagination.


++ Deep under the ocean, scientists investigate a mysterious object that manipulates reality according to the mentalities of the people who poke around it. Michael Crichton's novel had some amusing takes on the way technological paradoxes can flummox educated minds, but the movie version emphasizes special effects over ironies and ideas.


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