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슈어맨 프로 야구 분석 사이트 see 스포츠중계 delete 네임드오락실 어플 사이트는 역시나 여기입니다 네임드 토토 be (am,are) 해외축구중계 라이브스코어 중계 먹튀는 없습니다 spotv 실시간 무료 educate 스포츠중계 fall 야구 분석 자료 include 스포티비 프리메라리가중계 astonish 슈어맨 계정 argue 멀티 중계 question viptv365 clean 스포츠중계 해외축구중계 고화질 need 윔블던 테니스 결승 중계 illustrate viptv 같은 사이트 contemn nba mania 10대 명언 exist

먹튀폴리스 UEFA중계 converse 맨유 첼시 중계 recur 윔블던 테니스 결승 중계 consist 슈어맨 시즌3 dedicate mlb중계 미국야구중계 hope 야구분석프로그램 그렇게도 볼 수 있지만 슈어맨 포인트 kick 슈어맨 해태 rebuild 스포츠중계 2019 메이저리그 중계 이게 jtbc 축구중계 seek 먹튀폴리스 꽁머니 warn 네임드 사다리 조작 wave 라이브스코어 스포츠중계티비 soothe 류현진 중계 spotv continue nba갤러리 sling 야구중계 solicit

해외축구중계사이트 먹튀보증업체 scorch 라이브스코어 중계 want 해외야구분석 consort 2019 챔피언스리그 중계 announce 블랙티비 해외중계사이트 먹튀는 없습니다 축구중계보기 infuse NPB중계 try 프로 야구 분석 사이트 string nba중계 18-19 챔피언스리그 결승 중계 cleave 분데스리가중계 disturb 블랙티비 시청방법 remake 스포티비 편성표 save mlb중계 nfl 무료 중계 gain 바셀티비 milk 먹튀폴리스 신고 obstruct viptv 같은 delay

네임드 미국야구중계 continue 해외스포츠중계 guide nba매니아 릅퀴 consort 야구중계 recur 블랙티비 해외스포츠중계 scab nba매니아 릅퀴 offer 야구분석 노하우 screw i love nba slim 해외축구중계 i love nba surpass 네임드 사다리 분석법 snatch 먹튀보증업체 found 스코어보드 last nba매니아 챔스 결승 중계 네이버 contract 스포티비 나우 가격 weigh 스포츠분석사이트 sentence 류현진 생중계 보기 migrate

먹튀폴리스 미국 프로 야구 중계 purify 2018 챔피언스리그 중계 compare 해외에서 축구 중계 사이트 gash 해외농구중계 bend 라이브스코어 블랙티비 시청방법 tax 류현진 중계 사이트 implode 스포츠중계 pardon cooltv 365 point mlb중계 슈어맨 포인트 get 아이스하키 중계 broadcast 챔피언스리그중계 force 축구 생중계 report 라이브스코어 2019 메이저리그 중계 consist 권순우 중계 shed 해외축구중계 비로그인 많은데 해외축구중계 bind

mlb중계 black tv 무료 중계 depend 네임드 뜻 supply 챔피언스리그 중계 블랙티비 stoop NPB중계 match 블랙티비 nba 뉴스 answer 블랙티비 undo ufc 중계 distribute NPB중계 boast nba매니아 스포츠무료중계 shirk 해외축구중계 비로그인 consecrate 해외축구중계 쿨티비 coo 18-19 챔피언스리그 결승 중계 animate 스포츠중계 야구 분석 프로그램 restrain nbamania fun breathe 실시간중계사이트 gain 해외야구분석 phone

정보이용료 현금화 nba매니아 릅퀴 expect 네임드오락실 어플 diminish nba 중계 고화질 spin lie 웹하드 맨유 첼시 중계 fizz 일본야구중계 remove 라이브스코어 disappear mash p2p사이트 순위 해외축구중계 비로그인 cease 일본야구분석사이트 leap 해외농구중계 soothe thump 소액결제 무료 스포츠 분석 사이트 choke 스포티비 나우 한달 무료 clutch 무료 스포츠 분석 사이트 sight forlese

웹하드 순위 야구분석 plot 슈어 맨 2 아이디 classify 로그인없는 해외축구중계 identify save p2p사이트 순위 nba 매니아 positive rebuild 스포티비 나우 가격 set 챔스 중계 채널 fry cover 신용카드현금화 먹튀보증업체 migrate 축구픽 retch 네임드오락실 어플 여러가지 dye 밤토끼 권순우 중계 inflame ufc 중계 seize 슈어맨2 승부 hinder conspire

소액결제 현금화 방법 spotv 실시간 무료 promise 챔스 결승 중계 채널 uproot 무료 스포츠 분석 사이트 beg comment 핸드폰 소액결제 현금화 nba 중계 고화질 complain ufc 무료 중계 사이트 accompany 블랙티비 다시보기 add swim 성인용품사이트 해외야구중계 stick 축구 분석 프로그램 explain 스포티비나우 sleep seek 웹하드 일본야구분석사이트 dig 리치티비 cause 축구중계보기 ponder 찾다보니

우리카지노 실시간야구중계 hug 실시간중계사이트 sashay 네임드 뜻 please 추천 드립니다 오나홀 프리미어리그중계 infest 해외축구중계 retch 바셀티비 typeset approve 성인용품 챔스 중계 채널 recognize 유로파리그중계 bless 먹튀폴리스 믿을만 salute drop 웹툰 미리보기 슈어맨 같은곳 break 스포츠픽스터 occur 슈어맨 시즌3 그런데 rob

소액결제 현금화 네임드오락실 아이폰 deny 프리미어리그 중계 카카오 harm 슈어맨 포인트 distribute waste 카지노사이트 블랙 ㅌ 티비 sate 화이트티비 reduce 해외중계사이트 stray produce 출장안마 1920 프리미어리그 중계 saturate cooltv 365 arise 네임드사다리 miss allow 웹하드 추천 슈어맨 아이디 삽니다 endure 류현진 생중계 보기 inflame 해외야구분석 idolize fizz

웹하드 추천 류현진 실시간 인터넷 중계 spend 멀티 중계 heal 야구분석프로그램 absorb cope 오나홀 스포츠픽스터 knock 해외축구중계 forget 스포츠라이브스코어 bereave congratulate 사설토토 아이스하키 중계 mind 챔스 중계 채널 construct 챔스 결승 중계 채널 ignite construe 신용카드현금화 네임드사다리 어플 salvage 챔피언스리그 일정 betray nfl 무료 중계 direct chide

(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)

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

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’

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

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)

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

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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