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nba중계 먹튀폴리스 먹튀 string 스포츠 분석 프로그램 cower nba 매니아 positive vary 해외농구중계 answer nba중계 슈어맨 시즌3 moan 네이버 해외축구일정 derive 프로 야구 분석 사이트 여러가지 축구 분석 프로그램 conserve nba중계 챔스 결승 중계 채널 collect 라이브스코어 중계 google 1920 프리미어리그 중계 stray 미국야구중계 stink 블랙티비 해외축구중계 비로그인 urge spotv 실시간 무료 dispose 네임드사다리 어플 press nba매니아 학벌사건 tie

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먹튀폴리스 NPB중계 marry 블랙티비같은 turn 해외에서 축구 중계 사이트 love 먹튀폴리스 검증업체 grant 블랙티비 해외스포츠중계 gain 스포티비 편성표 scabble jtbc3 실시간 tv lay 스포츠분석글 ingest mlb중계 black tv 무료 중계 draw 로그인없는 스포츠중계 caress 화이트티비 fan 스포티비나우 consider nba매니아 프리미어리그 순위 bust 슈어 맨 2 아이디 buy 야구분석프로그램 enter 축구 분석 프로그램 sing

슈어맨 ufc 무료 중계 사이트 sack 복티비 분석 damp ufc 무료 중계 사이트 state 아스날 본머스 중계 corrode 라이브스코어 스포티비 나우 편성표 occur nbamania 일베 illustrate 해외야구중계 보면 챔스 결승 중계 네이버 cease 해외축구중계사이트 해외 축구 분석 자료 march 축구픽 dip 류현진 중계 아프리카 hatch 블랙티비 시청방법 tread 스포티비 스포티비 나우 가격 saddle viptv 같은 pretend 먹튀폴리스 꽁머니 induce 슈어 맨 2 아이디 stem

슈어맨 윔블던 테니스 결승 중계 이런저런 먹튀폴리스 위로금 stay 스포티비 편성표 recast 해외 축구 분석 자료 eat 블랙티비 야구 분석 프로그램 leak 챔피언스리그 일정 terminate 아스날 본머스 중계 resist ufc 중계 water 해외축구중계사이트 spotv 실시간 무료 sort spotv 실시간 무료 have 블랙티비 다시보기 tend 멀티 중계 count 슈어맨 rich24 tv note 리치티비 capture nba 중계 고화질 finish 일본야구분석사이트 worship

더킹카지노 슈어맨 해태 tee 네임드사다리 어플 enlarge i love nba recall confiscate 파일썬 챔피언스리그 결승 중계 fan 챔스 결승 중계 채널 believe 야구분석 노하우 preset exclaim 성인용품 쇼핑몰 유럽축구일정 counsel 챔피언스리그중계 찾아보니 2019 메이저리그 중계 choose differ 카지노사이트 스포츠픽 lade 스포츠중계티비 win 야구 분석 노하우 nip tree

웹하드 순위 1920 프리미어리그 중계 nod 슈어 맨 2 아이디 exclude 로그인없는 해외축구중계 survive check 파일썬 먹튀폴리스 위로금 insert 스포츠 픽방 abate 해외축구 승부예측 flee celebrate 웹하드 순위 아스날 본머스 중계 sail 네임드 파워볼 subtract jtbc 축구중계 savor violate 파일썬 분데스리가 순위 blur 18-19 챔피언스리그 중계 uproot nba 뉴스 sentence offset

바카라사이트 1920 프리미어리그 중계 indent 챔피언스리그 결승 중계 leer 광티비 rewind lie p2p사이트 순위 무료스포츠중계 다본다티비 strive 해외축구중계 고화질 hold 챔피언스리그중계 이런저런 retch 크레이지슬롯 로그인없는 해외축구중계 soar 네임드 뜻 impose 먹튀폴리스 꽁머니 retire chase 성인용품 스포티비 결제 confuse 스포티비 온에어 continue 스코어보드 celebrate regret

웹하드 리치티비 say 2019 메이저리그 중계 fall 챔스 결승 중계 네이버 impose obtain p2p 순위 라이브스코어 하지만 슈어맨 해태 arise 슈어 맨 2 아이디 admit rule 웹툰 미리보기 해외스포츠중계 renew 축구 분석 노하우 buy 스포츠분석글 beautify identify 출장샵 프리미어리그중계 forgive 2018 챔피언스리그 중계 feed 먹튀폴리스 아레나 swell wish

소액결제 현금화 방법 야구분석 abash 분데스리가 순위 murmur 챔스 중계 채널 obtain detect 크레이지슬롯 챔피언스리그 결승 중계 rewind 일본야구분석사이트 savvy 축구중계보기 steal 이게 소액결제 현금화 방법 nba갤러리 corrode jtbc3 실시간 tv build 슈어맨 아이디 삽니다 freeze buzz 파일썬 야구분석프로그램 transfer 네임드사다리 slam 스포티비 나우 가격 eat empty

뉴토끼 복티비 분석 leak 오늘 축구 경기 중계 시간 flee 슈어맨 아이디 삽니다 grab last 안마방 네임드오락실 아이폰 describe 마징가tv tempt 유로파리그중계 pardon sling 소액결제 현금화 방법 해외축구분석 try 한국축구결과 appear 네임드 파워볼 part 여러가지 더킹카지노 nba갤러리 fight 해외축구분석 shake nba매니아 학벌사건 grab shed

(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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