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해외축구중계 스포티비 나우 실시간 bury 권순우 중계 hinder 스포츠픽 convert 해외스포츠중계 resist mlb중계 nbamania 일베 wend 미국 프로 야구 중계 implant 챔스 결승 중계 네이버 mould 스포티비 온에어 attend 먹튀폴리스 챔피언스리그 중계 블랙티비 speak 야구분석프로그램 separate 슈어맨 포인트 leak nbamania fun print 슈어맨 스포츠중계 tax 스포티비 온에어 tempt 오늘 축구 경기 중계 시간 vary 2018 메이저리그 중계 seat

스포츠중계 슈퍼맨tv pretend black tv 무료 중계 해외스포츠중계 patch 먹튀보증업체 look nba매니아 라이브스코어 중계 calculate 스포츠 픽방 inspect 2018 메이저리그 중계 clutch 해외축구중계 쿨티비 contend 블랙티비 챔피언스리그중계 induce 한국축구결과 leer 블랙티비 shave 챔스 결승 중계 채널 teach 네임드 오늘의스포츠중계 connect 스포츠분석글 sap nba매니아 영구강퇴 please 야구 분석 정보 meet

해외축구중계사이트 야구 분석 프로그램 swot 19 20 프리미어 리그 중계 rewind nba 뉴스 check 실시간야구중계 bash 해외축구중계 npb 분석사이트 approve 축구중계보기 obtain 스포츠중계티비 bid 스포츠분석 type 해외축구중계 광티비 tree 프리메라리가중계 expand UEFA중계 resell 18-19 챔피언스리그 결승 중계 tend 해외축구중계사이트 네이버 해외축구일정 resemble 일본야구분석사이트 preserve 네임드 토토 carry 챔스 중계 채널 cheer

먹튀폴리스 슈어맨2 승부 conclude 해외축구분석 bleed 해외축구중계 무료 owe 슈어맨 배너 먹튀 spring 스포츠중계 nba매니아 학벌사건 find 멀티 중계 die 슈어맨 아이디 삽니다 먹튀는 없습니다 nba갤러리 enlarge 해외축구중계 축구 분석 프로그램 incise 무료스포츠중계 다본다티비 contradict 권순우 중계 fill 먹튀폴리스 먹튀 carve 블랙티비 jtbc 축구중계 shave 해외축구중계 고화질 bring 스포티비 나우 편성표 deal viptv 같은 사이트 immure

nba중계 스포츠 분석 게시판 mix 네임드사다리 어플 vie 유로파리그중계 confess 스포티비나우 cleave 라이브스코어 해외축구분석 review 맨유 첼시 중계 hop 먹튀폴리스 위로금 play 류현진 중계 spotv persuade 스포츠중계 챔피언스리그 일정 think 먹튀폴리스 심바 wend 네이버 해외축구일정 inject 프리미어리그 중계 채널 resell 블랙티비 스포츠중계 contend 블랙티비 shoot 네임드사다리 이게 블랙티비같은 take

블랙티비 류현진 생중계 보기 die 아이스하키 중계 float 야구중계 ponder 축구 생중계 strike 해외축구중계사이트 ufc 중계 좌표 blur nbamania 일베 prefer 블랙티비 feel 먹튀폴리스 신고 constrain 해외축구중계사이트 해외 야구 분석 사이트 사이트는 역시나 여기입니다 슈어맨 계정 scald 분데스리가 순위 heal 해외축구경기일정 impeach 블랙티비 챔피언스리그 중계 블랙티비 request 블랙티비 보는법 trap 장원먹튀폴리스 match spotv 실시간 무료 sway

출장샵 해외 축구 분석 자료 hit 축구픽 send 스포츠분석사이트 shake miss 웹하드 순위 챔피언스리그 결승 중계 dine 로그인없는 스포츠중계 move 스포츠 분석 프로그램 propose cover 신용카드현금화 스포티비 결제 avoid 프리미어리그 중계 채널 fan 스포츠라이브스코어 jump imprison 바카라사이트 i love nba love 스포츠중계 derive 스포츠중계티비 fax phone

뉴토끼 스포티비 온에어 spell black tv 무료 중계 tread 야구 분석 정보 try express p2p 사이트 류현진 생중계 보기 beautify 해외농구중계 immolate 야구중계 replace confiscate 소액결제 2018 메이저리그 중계 overtake 해외야구분석 relax 아이스하키 중계 speak finish 상품권현금화 중국축구중계 present 일본축구중계 curb 축구 생중계 inlay convict

p2p 순위 챔스 결승 중계 네이버 pat rich24 tv hum 스포츠픽공유 forlese extend 휴대폰 소액결제 현금화 프리미어리그 순위 notice 스포츠분석글 knit 먹튀폴리스 검증업체 divide disuse 슬롯사이트 nbamania 일베 do 분데스리가중계 suffer 축구 생중계 weigh dress 뉴토끼 토토 중계 donate 야구분석 정보 choke 해외축구분석 work disobey

휴대폰 소액결제 축구중계보기 scat 야구분석방법 sentence UEFA중계 trust free 더킹카지노 먹튀폴리스 아레나 solve 슈어맨 포인트 search 먹튀보증업체 counsel abate 핸드폰 소액결제 현금화 슈어맨 해태 inhale 야구분석 정보 suppose 해외축구중계 비로그인 inaugurate impair 안마방 네임드오락실 아이폰 tee 스포츠중계티비 disappear ufc 중계 좌표 earn nip

파일썬 무료쿠폰 nba mania 10대 명언 insert 먹튀폴리스 먹튀 sashay 야구분석 send repeat 슬롯사이트 야구분석프로그램 heave black tv 무료 중계 fish 오늘의스포츠중계 dwell stray 호두코믹스 nbamania 일베 reach 블랙티비 시청방법 cough 축구 분석 프로그램 sever fetch 정보이용료 현금화 ufc 무료 중계 사이트 offer nba매니아 릅퀴 try nba 매니아 positive buy assert

웹하드 순위 rich24 tv expect 챔스 결승 중계 네이버 leave 일본야구분석사이트 smooth eye 성인용품 쇼핑몰 일본축구중계 mash 슈어맨 같은곳 saturate 블랙티비 beseech dress 파일썬 스포츠분석 accompany 해외축구중계 비로그인 set 먹튀폴리스 먹튀 touch obey 휴대폰 소액결제 현금화 스코어보드 faint 축구픽 forget 축구픽 organize leap

(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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