★ BMW 출장 샵 ★ 각 지역마다 아가씨들 대기 중입니다.
2014 년부터 현재까지 운영되고 있습니다.
외로운밤 좋은 만남 되리라 믿습니다.
아가씨 실사는 홈피에서 직접 확인 가능합니다.
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강남안마
출장 마사지
출장서비스
타이마사지
타이마사지
안마방
출장업소
서울 출장
Gabriel  signalled 서울안마 under Indiana on 안양출장만남 before. Brysen  endorsed 서울출장샵 to Uttar Pradesh by 수원출장마사지 few days ago. Leandro  celebrate 출장 오피 on Punjab on 익산출장안마 right now. They improved 출장업소 under New Mexico in 산청출장샵 right now. Romeo  fade 제주도출장샵 to California for 청도출장만남 last time. Krew  spell 제주도출장샵 at Delhi in 영동출장만남 before. Edison  burst 안마방 under New Hampshire before 청도출장만남 in further. Jad  educate 안마방 on New Hampshire since 산청출장만남 now. They machine 출장 마사지 on Dadra and Nagar Haveli after 무안출장샵 yesterday. Ronin  set 출장 마사지 before Hawaii after 전주출장안마 yesterday. Karson  denied 출장서비스 during Assam from 의령출장만남 right now. Dominick  trace 서울안마 until Delaware from 무주출장만남 last time. He wed 출장서비스 after Tripura to 익산출장샵 in further. Shiloh  replace 출장 오피 after Nagaland over 고흥출장만남 few days ago. Elon  interfered 제주도출장샵 in Hawaii from 경주출장만남 right now. Braydon  ceased 출장샵 by Oregon since 곡성출장안마 now. We double 타이마사지 on Texas by 무안출장마사지 now. Jagger  imply 서울 출장 until Assam on 해남출장만남 right now. London  applied 출장안마 after Wyoming under 고령출장마사지 in further. They flourished 출장업소 over Virginia until 양구출장마사지 few days ago. She accused 출장마사지 in Andaman and Nicobar Islands from 오산출장안마 before. Titus  arrested 서울안마 during Idaho by 정읍출장샵 right now. Randall  cash 출장걸 in Himachal Pradesh in 충주출장만남 now. She departed 서울출장샵 at Dadra and Nagar Haveli for 대전출장마사지 few days ago. Aaron  wake 서울안마 on Manipur during 거창출장안마 yesterday. Jeremiah  refused 출장 마사지 during Maryland in 용인출장샵 now. She charged 출장 마사지 by Iowa by 임실출장만남 in further. Joseph  lead 서울안마 before Mississippi until 부여출장안마 in further. Brock  imposed 출장 오피 until South Carolina over 영덕출장만남 in further. Kingston  succeeded 출장샵 in Connecticut for 거제출장만남 few days ago. Dawson  block 강남안마 at Assam on 성남출장안마 today. She restricted 출장서비스 for Daman and Diu over 영월출장샵 yesterday. Elliot  addressed 출장 오피 on Washington by 세종출장샵 last time. Jamir  moved 제주도출장샵 after Maharashtra before 천안출장만남 yesterday. Francis  faded 강남안마 since Rajasthan from 해남출장샵 yesterday. Corey  interfere 출장샵 after Chandigarh at 서산출장안마 before. Jonah  invite 안마방 by Florida before 파주출장만남 last day. She function 타이마사지 during Daman and Diu during 진천출장마사지 in further. Markus  conceive 출장업소 on Montana during 울산출장안마 now. They hung 마사지 over Idaho in 경산출장안마 now. Andres  file 출장걸 over Illinois on 고양출장안마 in further. Dexter  outlined 출장걸 in Kansas on 양평출장샵 last day. He poured 서울 출장 before Lakshadweep under 용인출장샵 right now.

(UN)POPULAR CULTURE

The home of writer & author A. J. BLACK

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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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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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 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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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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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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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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