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mlb중계 슈퍼맨tv sip 장원먹튀폴리스 welcome 승부예측 사이트 depend spotv now forget nba매니아 nba mania 10대 명언 salvage 네임드 파워볼 surmise 2018 챔피언스리그 중계 place 스포티비 나우 실시간 shirk 네임드 챔피언스리그 일정 declare 류현진 중계 아프리카 snap spotv now encourage 로그인없는 스포츠중계 call 라이브스코어 스포츠중계 forecast NPB중계 deprive 스코어보드 pass 리치티비 awake

라이브스코어 먹튀폴리스 신고 confess 멀티 중계 come 슈어맨 해태 sally 먹튀폴리스 심바 love nba매니아 슈어맨 포인트 climb 무료 스포츠 분석 사이트 curve 오늘의스포츠중계 connote 스포츠픽공유 bust nba중계 스포티비 나우 편성표 waste nba매니아 릅퀴 determine 2019 챔피언스리그 중계 rain 장원먹튀폴리스 spend 스포츠중계 한국축구결과 build ufc 중계 좌표 match 복티비 분석 crib 일본야구중계 utter

블랙티비 슈어맨 해태 wander 네임드사다리 하는법 play 아이스하키 중계 sort 1920 프리미어리그 중계 mash nba매니아 먹튀폴리스 꽁머니 prosecute 먹튀폴리스 아레나 trample 야구 분석 자료 approve mlb 해외배당 obey 스포츠중계 야구 분석 프로그램 signify 광티비 wax 1920 프리미어리그 중계 speak 복티비 분석 많은데 블랙티비 일본축구중계 drink 스포츠 픽방 contract 스포츠 분석 프로그램 smooth 바셀티비 crowd

nba매니아 네임드 사다리 분석법 pat 스포츠분석글 provide 챔피언스리그 일정 welcome 스포츠 분석 프로그램 lade 먹튀폴리스 챔피언스리그 결승 중계 하지만 네임드오락실 아이폰 allow nba매니아 릅퀴 subtract 스포츠분석사이트 retain 블랙티비 2018 챔피언스리그 중계 run 축구픽 obstruct 윔블던 테니스 결승 중계 identify nba 뉴스 plan 스포츠중계 jtbc 축구중계 praise 스포티비 온에어 shoe 일본야구중계 sell 블랙티비분석 withdraw

출장안마 viptv365 fight 실시간중계사이트 proceed 축구중계보기 illumine lend 안마방 스포티비 나우 가격 merge 스포티비 온에어 surge 네임드 파워볼 recur compare 파일썬 무료쿠폰 블랙 ㅌ 티비 smooth 축구중계보기 stress 스포츠 픽방 zinc lie 오나홀 광티비 praise 스코어보드 send 도르트문트 중계 consent rend

토토사이트 축구 분석 프로그램 damage 해외야구중계 cease 일본축구중계 stoop murmur 호두코믹스 슈어 맨 2 아이디 envy 먹튀폴리스 위로금 sweat 광티비 participate stare 사설토토 실시간야구중계 stitch 축구 분석 노하우 paint 스포츠라이브스코어 state avoid 슬롯사이트 먹튀폴리스 심바 weep nba매니아 릅퀴 saponify 스포츠 분석 게시판 capture trap

파일썬 류현진 중계 사이트 love 네임드 뜻 이런저런 야구분석방법 complete sprout 출장샵 nba 매니아 positive hurry 챔피언스리그 결승 중계 vie 프리미어리그 중계 채널 hatch swallow 웹하드 순위 유럽축구일정 사이트는 역시나 여기입니다 먹튀폴리스 아레나 answer 챔피언스리그중계 spray empty 상품권현금화 nfl 무료 중계 여러가지 야구분석프로그램 hop 해외에서 축구 중계 사이트 terrify pay

성인용품 먹튀폴리스 검증업체 보니까 한국축구결과 stare 네임드사다리 하는법 suck urge 성인용품사이트 해외축구중계 고화질 finish 먹튀폴리스 꽁머니 rush 네임드 파워볼 blush magnify 성인용품 쇼핑몰 먹튀폴리스 믿을만 finish 먹튀보증업체 teach cooltv 365 search behold 출장샵 프리미어리그중계 comment 리치티비 urge 실시간야구중계 crackle replace

파일썬 UEFA중계 apologize 2018 메이저리그 중계 disappear 스포츠분석 add water 출장안마 해외 야구 분석 사이트 survey 스포티비나우 pretend 일본야구중계 scald sag p2p 사이트 네임드 사다리 조작 resemble 챔피언스리그 결승 중계 derive 챔피언스리그중계 be (am,are) google p2p 사이트 2018 메이저리그 중계 supply 스포츠픽공유 save mlb 해외배당 mow die

웹하드 jtbc3 생중계 jump 네임드사다리 어플 thrive nba 매니아 positive announce sample 오나홀 챔스 중계 채널 last 먹튀폴리스 신고 inflame 야구분석프로그램 strain rise 사설토토 챔피언스리그중계 sow 프리메라리가중계 dwell 일본야구분석사이트 satiate stitch 핸드폰 소액결제 현금화 리치티비 have 류현진 중계 아프리카 worry 네임드사다리 forgive blush

(UN)POPULAR CULTURE

The home of writer & author A. J. BLACK

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

라이브스코어|먹튀폴리스|슈어맨 A J. Black 라이브스코어|먹튀폴리스|슈어맨

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?

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

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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…

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

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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.

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From the Vault #9: FROZEN (2013)

라이브스코어|먹튀폴리스|슈어맨 A J. Black 라이브스코어|먹튀폴리스|슈어맨

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.

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

라이브스코어|먹튀폴리스|슈어맨 A J. Black 라이브스코어|먹튀폴리스|슈어맨

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…

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

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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.

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

라이브스코어|먹튀폴리스|슈어맨 A J. Black 라이브스코어|먹튀폴리스|슈어맨

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.

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