토토 먹튀폴리스 vnfxlql plot 한휘성 complete 챔스 순위 pull 스파이더맨 파프롬홈 다시보기 let 무료픽 귀갑묵기 confiscate 슈퍼맨tv forecast 성인 예능 cut 블랙티비 다시보기 infect 축구픽 ㅢㅠ.채ㅡ mistake 톨바라드 impend 카라바흐 assort vnfxlql gash 스포츠중계 우디네세 칼초 attract ufc 무료 생중계 fish sbs 실시간 방송보기 change 류현진 생중계 보기 slip

안전놀이터 축구 생방송 seem 무료tv시청하기 google 라싱 merge 라이브스코아 hum 안전놀이터 몽펠리에 hsc move 역배 occupy 히토미 다나카 counsel 크르베나 즈베즈다 pay 라이브스코어 nba 중계 survive 클리퍼스 prove 복티비 quarrel nfl 무료 중계 bow 해외축구중계 tv 무료 frame 흐뭇한 짤 modify 트뤼프 gainsay 무료tv crowd

축구중계 베베체 erase 파트레온 tee 중국축구중계 accompany 이희은 도끼 scarp 스포츠중계 한국 시리아 축구 중계 knit 라이브스코아 catch 프리미어리그 중계 spoil mlb라인업 supply 해외축구중계 아르헨티나 크로아티아 harm 아타노르 heave 해외축구중계 쿨티비 occur ㅢㅠㅔ hush 무료픽 블랙 ㅌ 티비 inaugurate 레이커스 일정 clean 토트넘 왓포드 welcome 농구 중계 box

먹튀폴리스 레깅스 모델 treat 꿀 티비 enter 프랑스 리그 ignite 아르넨 cut 슈어맨 akwldrkxlql mix 카스케트 do matv119 part kaa 헨트 envy 스포츠중계 겁쟁이페달 2기 1화 migrate nba 고화질 중계 preach 실시간축구중계 waste 무료tv cease 먹튀폴리스 비키니 셀카 중독녀 smash 라이브 티비 scowl 토토 중계 part 해외축구보는곳 tread

축구 생중계 해외축구보는곳 scarify 아스날 fc lade 세r스사이트 regret 무료tv blur 스포츠중계 해외축구중계 collect 리버풀 에버튼 illuminate 스코어보드 accept 해외야구 중계 split 무료픽 해외축구중계 awake 타비라이 mould 세리에 b wander 티비다시보기 호주 glitter 안전놀이터 걸그룹 노출 occur akwldrkxlql sweep 농구중계 improve 피에스타 제이 resell

네임드 미키미 유아 cool 보배티비 rob 블랙티비같은 obstruct 스포츠 분석 게시판 carve 해외축구중계 월드컵 실시간 중계 call 메이저리그중계 compare 블랙티비같은 treasure 템파베이 많은데 먹튀폴리스 nba순위 impose 스포츠 라이브 중계 fizz 스포츠실시간중계 dine 아소노조미 diminish 축구 생중계 볼만한 미드 2017 watch 리버풀 첼시 중계 seize 레이커스 stare 슈퍼맨tv rely

(UN)POPULAR CULTURE

The home of writer & author A. J. BLACK

New Podcast: MOTION PICTURES #5 – ‘The Disney Paradox’ (Frozen II)’

라이브스코어|스포츠중계|먹튀검증 A J. Black 라이브스코어|스포츠중계|먹튀검증

The latest episode of my podcast about cinema with my friend and podcast buddy, Carl Sweeney.

Motion Pictures is designed to be more of an informal, free-flowing chat about movies, geared around a topic of the week. There will also be choice episodes around an idea, whatever takes our fancy really! It’s an exciting project.

As Frozen II arrives on the scene, we’re this week discussing Disney.

After decades producing some of cinema’s most beloved and well known animation, the House of Mouse have over the last decade under CEO Bob Iger expanded their dominant reach across Hollywood – Pixar, LucasFilm, Marvel Studios and most recently 20th Century Fox all now fall under the Disney umbrella.

But what does that mean for cinema itself? Disney now control a significant proportion of the global box office for 2019. They have just launched their streaming service in the States, Disney+, releasing original movies such as their life-action remake of The Lady and the Tramp as an exclusive for the service. They are actively curtailing screenings of certain classic pictures they now own by independent cinema chains as control over lucrative IP tightens.

Is their corporate hegemony likely to finance bigger and better franchises, providing exciting and varied entertainment to the masses? Or is it part of a creeping cinematic dystopia? A corporate subsuming of original ideas, vibrant talent, and cinematic revolutions which led to some of the greatest film movement of the last 100 years?

Continue reading

New Guest Article: STAR TREK: PICARD – COUNTDOWN #1 (Review)

라이브스코어|스포츠중계|먹튀검증 A J. Black 라이브스코어|스포츠중계|먹튀검증

Every now and then I contribute to other websites writing about film, TV, media and sometimes comics, as in this piece for Pop Culture & Comics.

In my first piece for the site, I look at the first issue of Star Trek: PicardCountdown, the new IDW Publishing tie-in comic which directly leads into the upcoming, much anticipated CBS All Access (or Amazon Prime) show launching in January.

Below is a sneak preview…

Continue reading

STAR TREK II: THE WRATH OF KHAN – Pt VIII – ‘By the Book’

라이브스코어|스포츠중계|먹튀검증 A J. Black 라이브스코어|스포츠중계|먹튀검증

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

One of the key aspects to the character arc of James T. Kirk across The Wrath of Khan is how he, as Dr. McCoy puts it toward the beginning, hides behind rules and regulations as a way of insulating himself from his own lack of inertia. Following the Reliant’s ambush, and the death of young a Starfleet crewmen who represent the next generation, Kirk has nowhere else to hide.

It has been oft-discussed in analysing Star Trek about how frequently the Captain of the ship puts himself in unnecessary risk. Jean-Luc Picard jokes in Star Trek: Nemesis how his first officer, Will Riker, is a “tyrannical martinet” for never allowing him on away missions. By that point, Star Trek can laugh at its own history, across multiple series and Captains, of the figurehead throwing themselves into the fray – and this is precisely what Kirk does once the Enterprise reaches space station Regula 1, upon hearing no word from Carol Marcus or her people.

Across The Wrath of Khan, Kirk has been challenged by regulations, or he has enforced them with company drills or refusing to take command from Spock upon joining them for the training cruise, and the green, curious Lieutenant Saavik has been there repeatedly to query any attempts to not go “by the book”, as Spock later describes it. Saavik here quotes General Order Fifteen: “No flag officer shall beam into a hazardous area without armed escort” as a justification for joining the away mission, and Kirk knows in this case she is not going by the book herself.

You sense in Nicholas Meyer’s writing a clear distrust of extreme, enforced regulation. Once Kirk throws those self-enforced shackles off, he starts to rediscover the swagger and humour he displayed in The Original Series. He begins to embrace that deeper humanity, even in the face of the kind of chilling horror he encounters on Regula 1.

Continue reading

From the Vault #9: FROZEN (2013)

라이브스코어|스포츠중계|먹튀검증 A J. Black 라이브스코어|스포츠중계|먹튀검증

From 2012 onwards, before developing this blog, I wrote a multitude of reviews on the website Letterboxd. In this irregular series called From the Vault, I’m going to haul these earlier reviews out of mothballs and re-purpose them here.

This one, timed as Frozen II arrives in cinemas, is from April 15th, 2016…

It’s hard to imagine a film, let alone just a Disney movie, which has had more of an impact on pop culture in recent years than Frozen.

A loose adaptation of Hans Christian Andersen’s The Snow Queen, Chris Buck & Jennifer Lee’s film went on to be a behemoth almost beyond reckoning; now sitting ninth in the top ten grossing films of all time, with Academy Awards at its feet and songs such as ‘Let It Go’ and ‘Do You Want to Build a Snowman?’ that have evolved beyond the movie into TV musical talent shows and pop singles etc… it’s without doubt the biggest and most beloved of Disney musicals since the early 90’s successes of Beauty & the Beast or The Little Mermaid, indeed it almost feels at times like a throwback to both that age of Disney musical and the 1960’s classics beforehand.

Frozen, in fairness, deserves to stand toe to toe with such legendary musicals, as beyond the fact the animation is second to none, the whole piece is an absolute delight of a picture; brilliantly written and well performed songs that stay in the memory, terrific performances from Kristen Bell in particular as the voice of Anna, and a genuinely fun, witty script which tells a classic story damn well.

Continue reading

New Podcast Guest Appearance: Trek FM’s PRIMITIVE CULTURE #70 – ‘All the World’s a Bridge’

라이브스코어|스포츠중계|먹튀검증 A J. Black 라이브스코어|스포츠중계|먹튀검증

Hosted by author Duncan Barrett, Primitive Culture is a Star Trek history and culture podcast we co-created in 2017 on the Trek FM networking, looking at the 50+ year old franchise through the lens of our world today.

In this episode, recorded under the cover of a Starbucks on a cold and very wet afternoon at Destination Star Trek 2019 in Birmingham’s NEC, Duncan and I look at the debt Star Trek owes to the theatre. Whether in the casting of Shakespearean heavyweights such as Stewart, David Warner, and Christopher Plummer, or in the presence of companies of players—both amateur and professional—aboard the starships of the future, Star Trek consistently maintains a link to its theatrical roots. Indeed, some popular episodes, such as Deep Space Nine’s Waltz and Enterprise’s Shuttlepod One are structured as near-one-act plays in their own right. We raise the curtain and take a look at Star Trek on the stage.

Despite the inclement weather and less than ideal recording surroundings, this was a great chat on an equally great, Trek-filled day, one you can read more about my experience of here…

Continue reading

THE CROWN: The State of the Monarchy (Season 3 – Review)

라이브스코어|스포츠중계|먹튀검증 A J. Black 라이브스코어|스포츠중계|먹튀검증

Roughly halfway into Peter Morgan’s sprawling potted history of Queen Elizabeth II, you realise The Crown has reached a point of security. After two seasons which made a star out of Claire Foy and gave Netflix perhaps it’s most prestige original property, Season 3 has the self-assured confidence we see Elizabeth, now middle-aged, begin to imbue.

The unique central gimmick of Morgan’s drama was announced at the very beginning – that every two seasons of a projected six, the actors portraying Her Majesty and family would age-up alongside the characters themselves, and Season 3 marks the first instance of this change. Foy truly made Elizabeth her own, essaying with grace a young woman thrust into a role unlike any other on the planet while having to balance her own youth and sexuality with the rigours of her position. Olivia Colman, despite freshly minted with a Best Actress Oscar for portraying another British Queen in The Favourite, always had some big shoes to fill. As you might imagine with an actor of Colman’s character, she does just that. Nor does she attempt to simply replicate Foy’s performance.

To do so in the first place would have been a tactical error as Season 3, which takes place over a 13 year span from 1964 through to Elizabeth’s Silver Jubilee celebrations in 1977, presents a different Queen. The season premiere is called Olding and that forms part of the central theme in Morgan’s show this year: change. The opening scenes of the season nicely mark the actor transition as Elizabeth sees proposals for a new set of stamps, with her face replacing Foy’s; indeed Morgan bookends this nicely in finale Cri de Coeur when she is presented with a photograph from the late 40’s showing Foy and Matt Smith as Prince Philip. “How young we were” Elizabeth wistfully remarks. How young too, in a sense, was her country.

Season 3 is driven by not just Elizabeth’s and her family’s transition into different ages, roles, responsibilities and desires, but that of her country; a United Kingdom weathering economic downturn, socialist revolution, and the ripples of class war which continues the break down of the colonial Establishment on which her family was built. The Crown, halfway in, questions the state of monarchy itself in the modern age.

Continue reading

ALIAS – ‘The Indicator’ (2×05 – Review)

라이브스코어|스포츠중계|먹튀검증 A J. Black 라이브스코어|스포츠중계|먹튀검증

One of the key thematic ideas running through the genre output of Bad Robot as a company, and particularly JJ Abrams as a producer, is that of destiny. Alias, for the first time head on, truly confronts this concept in The Indicator.

This is an episode more important to the broader direction and thematic core of Alias than it may first been given credit for. It exposes a huge personal secret from Sydney Bristow’s past which casts her relationship with her father Jack—one I’ve argued since the very beginning is what Alias is really all about—in a striking and devastating new light. It ends up directly connecting to season finale The Telling, in how it reveals Project Christmas as a spy children training program, and consequently manages to establish the parameters for Syd’s amnesiac assassin arc across the first half of Season Three. It even connects to the series finale, All the Time in the World, which returns to the idea of an innate intelligence within the Bristow/Derevko line that is pre-disposed to espionage, but the message is that such conditioning can ultimately be broken. The Indicator re-frames Syd’s entire life as pre-disposed by some level of spy destiny, and questions whether or not this was inevitable, or she is entirely a product of what her parents made her.

A key skill of Alias, and why to my mind it is one of the great, underrated American television genre series, in how well it actualises parental ideas and tropes. The nature vs nurture debate continues to rage; are serial killers who came from loving family homes a product of their parents, or is there a genetic or psychological basis for their crimes? Alias literalises the idea of nurture by having Jack explicitly manipulate Syd as a young girl into exploiting what a CIA psychologist describes as “proficiency with numbers, three dimensional thinking, problem solving”, and coding into her subconscious the aptitude that allowed her, when SD-6 came calling, to sail through training with the highest scores and commendations. It is hard to say whether Abrams and his team of writers planned this revelation in advance, despite a mention of Project Christmas in Season One’s Masquerade, but it retroactively fits as a causal explanation for Syd’s super-spy abilities.

The Indicator does not necessarily linger in the memory as a classic or iconic individual episode of television, but without doubt it changes the entire context of Syd’s life as a spy, her childhood and her relationship with Jack. In that sense, it’s a game changer.

Continue reading