#Anti HBO The Penguin

[quirkyrahne28]

HBO’s The Penguin hates women unless they’re conventionally attractive. Prove me wrong.

Oh, you don’t believe me? Well here’s Sofia Falcone and Carla Viti in the comics, and there’s the actresses the show is using. (No hate to the actors btw, I’m just making a point.)

Sofia Falcone in the comics. Big. She’s tall. Beefy. Has big, red hair, and has a Roman nose.

Sofia Falcone in the show is played by a skinny, conventionally attractive woman. She’s shorter, and has a straight nose.

Carla Viti in the comics. Stocky, heavy, round. She is FAT. Fats not a bad word or a bad thing.

And… here’s who they hired. Notice something off? You’re right, she’s skinny and “prettier” by bs Hollywood standards.

I see so many people talk about how much they love Sofia bc she’s crazy and violent, and apparently breaking gender stereotypes while doing it. And I don’t think there’s anything wrong with conventionally attractive female characters being violent and evil and playing roles more reserved for male characters. But the fact that apparently the show has a problem with women doing that and being an important character UNLESS they’re “pretty” is very telling.

So yeah, as if I needed more reasons to stay away from Reevesverse, and I already had so many, it also hates women that aren’t “pretty”. Which is already an issue with most comics, but this is somehow doing WORSE than comics in that regard.

And the worst part? NO ONE GIVES A SHIT. Comic bros rant whenever a white character is made black, and then others jump at defending the race lifts. But when women who are either buff or fat are made skinny, no one cares. Not the comic bros who want 100% accuracy, and not the more progressive fans who should be want more body diversity. But no, everyone is too distracted by the shiny keys of Sofia being violent, crazy, and hot being jangled in front of their face, that they don’t notice this blatant and obvious disrespect of women. This show doesn’t love women or break stereotypes like people think it does. But everyone seems to either not see it because they’re distracted, or they simply don’t care about women that aren’t “hot”. Either way, it’s frustrating seeing everyone falling for this.

I can’t… I just can’t do this shit, my guy.

[reysfinn]

the penguin writers were too scared of sofia gigante and they couldn’t handle her so they didn’t want her to succeed her revenge.

[themovieblogonline]

HBO’s The Penguin offers a gritty, masterfully crafted journey into Gotham’s criminal depths, expanding on the mythos introduced in The Batman (2022). Developed by Lauren LeFranc, the series delves into Oswald "Oz" Cobb's struggle for dominance following Carmine Falcone's death. This exploration of power, betrayal, and raw ambition sets a new benchmark for crime drama on television, thanks to LeFranc’s nuanced storytelling, captivating characters, and Colin Farrell’s unforgettable performance as the titular Penguin. https://www.youtube.com/watch?v=DQghiGQi6Lo Colin Farrell is incredible: Colin Farrell’s transformation into Oz Cobb is nothing short of spectacular. Farrell sinks into the role with an intense physicality and menacing charisma, bringing humanity to Oz without undermining his ruthless edge. The prosthetics and make-up, already lauded in The Batman, are paired with Farrell’s immersive approach, enhancing Oz’s grotesque, intimidating presence. His portrayal goes beyond just embodying a gangster’s rise to power; he captures a character driven by trauma, shaped by Gotham’s unforgiving streets, and desperate for validation. The result is an emotionally complex anti-hero who oscillates between vulnerability and viciousness, anchoring the series with magnetic appeal. Setup: The series opens with "After Hours," a high-stakes pilot that sets the tone for the intrigue, danger, and betrayal that define Oz’s world. The assassination of Falcone creates a power vacuum that every criminal in Gotham wants to exploit. Oz’s impulsive murder of Alberto Falcone kick-starts his tumultuous journey, immediately plunging him into the perilous game of survival against more seasoned players. Each episode, from "Inside Man" to "A Great or Little Thing," constructs a narrative web rich with tension as Oz navigates through deadly alliances and shifting loyalties, establishing him as a cunning force who dares to challenge Gotham’s most dangerous families. Millioti and Feliz shine: Cristin Millioti’s Sofia Falcone is another standout character. Her portrayal of Carmine’s deeply flawed daughter is both haunting and heartbreaking, conveying the scars left by her father’s brutal legacy. Sofia is haunted by her time in Arkham and her brother’s violent death, and her descent into madness adds layers to the story, presenting a powerful contrast to Oz’s brand of survival. Millioti’s portrayal lends depth to a tragic character who might otherwise have remained a one-dimensional foil, creating a dynamic of mutual dependence and competition with Oz that intensifies the tension between them. Rhenzy Feliz as Victor “Vic” Aguilar also leaves a lasting impact. His character’s arc, as Oz’s reluctant but loyal protégé, is deeply moving, depicting the sacrifices and moral compromises young Gothamites face in this merciless world. Through Vic, The Penguin subtly examines class and survival, adding a sense of empathy to the underworld’s brutal landscape. The chemistry between Vic and Oz offers a surprising emotional counterpoint to the relentless violence, showing how loyalty and ambition can intertwine to tragic ends. Excellent writing: All of the writing is meticulous, creating a narrative that builds and maintains suspense while also allowing for introspective moments. Each episode is layered with intricate plotting, showing not only the immediate, explosive consequences of Oz’s actions but also the ripple effects that disrupt the lives of everyone involved. The pacing is deliberate, allowing tension to simmer before bursting into violence, a rhythm that keeps viewers on edge. The slow, tense evolution of Oz’s drug empire through his partnership with Sofia, and his complex maneuvering against the Falcones and Maronis, highlights LeFranc’s skill in unfolding a crime saga that is as emotionally engaging as it is thrilling. Fantastic visuals: Visually, The Penguin excels in creating a moody, atmospheric Gotham City. The cinematography is dark and stylish, capturing Gotham’s decay while offering moments of stark beauty that remind audiences of the city’s layered personality. The use of lighting, shadows, and color palettes enhances the tension, with seedy locations like the Iceberg Lounge and derelict parts of the city serving as backdrops to Oz’s dangerous ventures. The bleak aesthetic adds weight to the narrative, reinforcing the sense of despair and moral ambiguity that pervades Gotham’s criminal underbelly. Supporting performances: The show also explores family trauma and mental health with sensitivity, particularly through Sofia’s flashbacks and Oz’s relationship with his mother, Francis (played by Deirdre O’Connell). Francis, though suffering from dementia, embodies a powerful presence in Oz’s life. Her character is both a nurturing and controlling figure, haunting Oz with unresolved pasts that fuel his ambitions. O’Connell’s portrayal is compelling, especially as her character’s health declines, forcing Oz to confront painful family secrets. These moments offer a rare vulnerability to the hardened mobster, grounding the crime epic in a deeply personal struggle for identity and belonging. Clancy Brown’s turn as Salvatore Maroni provides a formidable antagonist for Oz. Brown brings a gravitas that makes Maroni’s few scenes impactful, especially as the power struggle between Maroni and Oz intensifies. Maroni’s character adds historical weight to the series, reminding viewers of the criminal empires that existed long before Oz’s rise. His interactions with Oz highlight the dangers of ambition in Gotham, as Maroni’s pragmatic ruthlessness clashes with Oz’s raw desire for respect. The resulting conflict is brutal and devastating, propelling the story to its dramatic peak. A tense finale: The finale, "A Great or Little Thing," is a masterstroke of narrative closure and emotional impact. Without delving into spoilers, the episode brings Oz’s journey full circle, cementing his place in Gotham’s hierarchy. This climactic episode delivers visceral action and poignant moments, encapsulating the cost of Oz’s ambition. It is a fitting end to a series that delves deep into the heart of Gotham’s criminal psyche, leaving the door open for future stories in this compelling universe. Overall: The Penguin stands tall as one of the finest crime dramas in recent television history. LeFranc’s storytelling, combined with Farrell’s powerhouse performance, crafts a mesmerizing portrayal of Gotham’s underworld. With its complex characters, atmospheric visuals, and relentless tension, The Penguin offers a definitive look at the dark allure of crime and ambition. This series is not just a spin-off but a testament to how spin-offs, when crafted with such care, can elevate and expand the worlds they belong to. HBO has delivered a true triumph with The Penguin, one that will captivate audiences and leave them eagerly awaiting the next chapter in Gotham’s story.

[conflagrate]

Autumn 2024 Anime + TV Season

Summer was very average. Top shows 1. Katsute Maho Shojo 2. Terminator Zero 3. Ramen Akaneko 4. Mayonaka Punch 5. Shoshimin Series

Jeeez it’s the last season of the year already, I hate time. Season's started a few days early as well...

Must Watch: SAO GGO S2, Blue Lock S2, Kamonohashi Ron S2, Raise no Tanin ga Ii, Natsume Yujincho S7, Uzumaki, Tower of God: Kobousen [7] Sounds Interesting! Hope It Doesn’t Suck!: Ao no Hako, Dandadan, Hoshifuru Okoku no Nina, Ao no Miburo, Chi: Chikyu no Undo [5] 3episode Taste Test Needed: Goukon ni Ittara, Amagami-san’chi, Trillion Game, Negapoji Angler, Kekkon Surutte Hontou Desu ka, Magilumiere, Mahou Tsukai ni Narenakatta, Haigakura, Tono to Inu, Yokai Gakko Do I Have To…? (No I Don’t): Kinokoinu, Kimi wa Meido-sama, Touhai (mahjong anime...the last one sucked), Kagaku x Bouken Survival, Ranma 1/2 (really just why????), Tsuma Shogakusei ni naru, Puniru wa Kawaii Slime Sequel/Spinoff/Remake Hell: Tensei Kizoku S2, Prince of Tennis, Kenshin, Danmachi V, Ooi! Tonbo S2, Bleach, Maou-sama Retry R, Ao no Exorcist, Nanatsu no Taizai, LL Superstar S3, MF Ghost S2, Seirei Gensouki S2, Dragon Ball DAIMA, Shangrila Frontier S2, Arifureta S3, Kamierabi GOD.app S2, Rezero S3, imas Shiny Colors S2 Light Novel/Isekai/Villainess/Mecha/Sentai/Harem/Magical Girl/Cross Dressing/Video Game Hell: Nageki no Bourei, Rekishi ni Nokoru Akujo ni Naruzo, Acro Trip, Hitoribocchi no Isekai Koryaku, MechaUde, Sayonara Ryusei Konnichiwa Jinsei, Party kara Tsuihou, Saikyo no Shienshoku, Yarinaoshi Reijo, Maou 2099 Expected Load: 9-10

TV & Streaming

I’m so irregular & inconsistent with my TV watching hahaha

Disney+/Hulu: The Bear S3, Only Murders in the Building S4*, The Old Man S2* Netflix: Anti-Hero, The Perfect Couple* Apple TV: Pachinko S2*, Bad Monkey*, Slow Horses S4* HBO: House of the Dragon S2, The Penguin* BBC: Sherwood S2, The Jetty, Daddy Issues* Gameshows: Only Connect S20* Others: Yaiteru Futari (ytv), Shrink (NHK), Colin From Accounts S2 (Binge), Ayahiro (MBS), Chaser Game W S2* (TV Tokyo), Occhan Kitchen* (TVer)

Total series completed: 7 Ongoing: 8 Full-length films watched: 25

Network season gets into full-swing soon. Hope a lot of them suck! (so they don’t suck my time away...)

Disney+/Hulu: Only Murders in the Building S4*, The Old Man S2*, Interior Chinatown(?), Star Wars: Skeleton Crew(?), Rivals(?), La Máquina(?) Netflix: The Lincoln Lawyer S3, Heartstopper S3, The Perfect Couple*, Territory(?), Black Doves, Arcane S2 Apple TV: Disclaimer, Bad Sisters S2, Silo S2, Before(?), Pachinko S2*, Bad Monkey*, Slow Horses S4*, The Savant (if it makes 2024 airdate) HBO: The Penguin*, The Franchise, Dune: Prophecy Amazon Prime: The Devil’s Hour S2, Cross(?), Ryu ga Gotoku: Beyond the Game(?) BBC: Daddy Issues*, Ludwig(?), The Listeners(?), Lockerbie(?), Miss Austen, SAS: Rogue Heroes S2 [if it airs in 2024] ITV: Joan, Ruth(?), Playing Nice(?) CBS/Paramount+: Tracker S2, NCIS S22(?), Matlock, Curfew, Lioness S2, Landman(?) ABC: Will Trent S3, High Potential, Dr. Odyssey(?) NBC/Peacock: Brilliant Minds(?), Teacup(?), Hysteria!(?), The Day of the Jackal Gameshows: Only Connect S20* Others: Chaser Game W S2* (TV Tokyo), Occhan Kitchen* (TVer), From S3 (MGM+), Generation Z (Channel 4), Sweetpea (Sky)

*ongoing

I despair. Hope loads of these suck!🤭

[pinkiepiebones]

if you have the time or are up to it, maybe some zsasz posting?

i would love to hear your thoughts on the parallels between zsasz and some of the 'anti batman' characters like Hush and Prometheus considering they all share the same origin story essentially!

hope youre doing good, thank you so much for being one of the best people on the site /srs

I'm honestly always up for Zsasz posting it just takes me a bit longer because I get so angry thinking about how he's been done so dirty and if there is any justice in this cold and empty universe he WILL appear in HBO's Penguin show because you canNOT have Iceberg without Victor's final days. And, like, I would fucking adore seeing a Matt Reeves take on Zsasz. I have optimism that he wouldn't make Zsasz another gun-toting fuck. I think Nicholas Hoult could play him. We already know he looks good with scars and a shaved head (he was Nux in Mad Max Fury Road).

And I'm really sorry to say this but I just don't know 'enough' about other villains go give you a feasible answer. I mean, basically, with exceptions for the truly "inhuman" sorts like Ivy and Croc, I believe Zsasz regards everyone else in Arkham as a potential tally mark. Their own origins and motives do not matter to him; what he sees and hears is a cacophony of gore and rot begging for the divine release he and only he can offer. Zsasz's vision is permanently stuck in a filter of, like, Italian zombie horror, where he is the Final Girl doling out righteous retribution to the diseased hordes. He's a brilliant monster that can't be reasoned with (though as you've no doubt seen in my writing I do like glimmers of the wretch he once was to peak through now and again because I get a delicious schadenfreude out of the idea that Zsasz is not suffering from his delusions but rather has wrapped himself tightly in them to hide from and excuse his horrific crimes...)

💖💖💖

[laresearchette]

Friday, January 17, 2020 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: LITTLE AMERICA (Apple +) DIARY OF A FUTURE PRESIDENT (Disney +) GEORGE OF THE JUNGLE (CBS All Access) LASSIE (CBS All Access) MR. MAGOO (CBS All Access) AMERICAN HOUSEWIFE (CTV) 8:00pm REAL TIME WITH BILL MAHER (HBO Canada) 10:00pm

WHAT IS NOT PREMIERING IN CANADA TONIGHT FRESH OFF THE BOAT (ABC Feed) CHARMED (Premiering on January 19 on W Network at 8:00pm) HOPELESSLY IN LOVE: ANNA NICOLE SMITH & LARRY BIRKHEAD (Premiering on January 25 on Lifetime Canada at 8:00pm) DYNASTY (TBD - Netflix Canada)     THE DAUGHTER STALKER (TBD)

NEW TO AMAZON PRIME/CRAVE/NETFLIX CANADA/CBC GEM:

AMAZON PRIME JUST ADD MAGIC: MYSTERY CITY ROB DELANEY: JACKIE RUSSELL PETERS: DEPORTED TROOP ZERO

CRAVE TV ALL IS TRUE ALMOST NAKED ANIMALS (Season 3) BAD BOYS BURY MY HEART AT WOUNDED KNEE A FAMILY DIVIDED OM NOM (Season 3) SPIDER-MAN: FAR FROM HOME THE STANFORD PRISON EXPERIMENT THREE IDENTICAL STRANGERS A THOUSAND TIMES GOOD NIGHT TOUCHED WITH FIRE

NETFLIX CANADA ARES HIP HOP EDUCATION NAILED IT: GERMANY SEX EDUCATION (Season 2) TYLER PERRY’S A FALL FROM GRACE

CURLING: GRAND SLAM OF CURLING: CANADIAN OPEN (SN) 1:00pm: Draw 11 (SN) 5:00pm: Draw 12 (SN1) 9:00pm: Draw 13

FIGURE SKATING: CANADIAN TIRE NATIONAL SKATING CHAMPIONSHIPS (TSN/TSN3/TSN4) 2:30pm:: Ice Dance Rhythm Dance and Women’s Short Program (TSN5) 7:30pm: Pairs Short Program and Men’s Short Program

NBA BASKETBALL (TSN/TSN4) 7:00pm: Wizards at Raptors

NHL HOCKEY (SN) 7:30pm: Penguins at Red Wings (TSN3) 8:00pm: Lightning at Jets

marketplace (CBC) 8:00pm: In a hidden camera investigation, producers go under cover at one of the anti-vaccination movement's biggest rallies in Washington, D.C., to reveal the business behind the false claims.

SPENCER'S BIG 30 (CTV Life) 8:00pm: Chef Spencer Watts demonstrates how to make an Indian feast for the whole family.

YOU CAN’T ASK THAT (CBC) 8:30pm: Groups of individuals with the same disabilities are asked awkward, inappropriate, and uncomfortable questions in an attempt to challenge the assumptions of life with a disability.

THE NATURE OF THINGS (CBC) 9:00pm: Sifting through a mountain of salt science for a grain of truth about the war on sodium declared by health experts in 1977.

SNOWCOMING (City) 9:00pm: A famous NFL quarterback returns to his hometown to celebrate his high school football coach's retirement. While in town, he rekindles a romance with his former sweetheart.

ALL IS TRUE (Crave) 9:00pm: After the renowned Globe Theatre burns to the ground, William Shakespeare returns to Stratford, where he must face a neglected family and a painful past.

FRIDAY NIGHT DINNER (BBC Canada) 9:00pm/9:30pm:  Adam is finally recognized for his musical talent, but is overshadowed when Jonny arrives home and announces he's gotten married. In Episode Two, when Adam stays with his parents all week, he begins behaving like a little boy again; Jim finally passes his driving test -- after 15 attempts.

TIES THAT BIND (Super Channel Heart & Home) 10:00pm: Investigating a murder of the owner of a restaurant that hires ex-cons; Mariah and Cameron try to fit in at their new school with unwanted help from Jeff and Rachel.

OFF THE GRID ON THE BEACH (HGTV Canada) 10:00pm (SERIES PREMIERE): A couple want to escape the sounds of New York City and find a sustainable vacation home north of Sydney, Australia; a couple seek a home on the beach in Belize where they can spend time together without distractions.

CBC ARTS: EXHIBITIONISTS (CBC) 11:30pm: Shary Boyle creates a special print at NSCAD; an artist makes photos and sculptures with taxidermied butterflies.

[redantsunderneath]

I'm the wrong person to chime in on this because I've read far too many comic books, and as a result I am really less interested in consistency an more interested in seeing what unusual places they'll push the recombining archetypes of different characters into. This movie, which really pushes hard into the realm of "here's this pop crime thing you know, doesn't it kind of look like maybe it cold be a little like it’s one of the Batman tropes,” takes some loose liberties, sure, but I kind of see what function the Riddler is occupying here. Unlike the Penguin who is a Dick Tracy villain and not the Penguin in any salient way.

QAnon is more downstream of Ong’s Hat than not and the loose homology of what used to be more politically agnostic anti-authoritarian conspiracy theories with the foundational ARGs and adjacent kayfabe-narrative forms is worth a think. The Lost Experience (made by Hollywood liberals 15 years ago) was all about maverick individual agents asking questions and solving puzzles to get to the root of a utopian organization that wanted to solve the future of the world by killing 30% of the population (the BBC Utopia series which would try to kill bigger numbers using a vaccine ripped this off, I think) - what does this sound like now? The idea of a made up story online that makes you solve puzzles turning into a magnet for real crazies (who don't even believe it when the creator says it's not real) is a thing that's happened multiple times. The online puzzler whose narrative aligns with that of and incites the alienated online depenants' apophenia for direct praxis feels natural?

But the Riddler specifically… I mean the story comes out of Year Zero (with the flood and everything), but there's a vibe in the Riddler’s depiction that goes back to Hush where an elaborate plan is aimed at Bruce Wayne specifically and got picked up again after Y0 in the War of Jokes and Riddles where the Internet is used to reach out to create havoc and undermine the current corrupt power bases. The big weird factor in this is the existence of Rorschach as a character in ostensibly the same universe who gets sorted in the more recent iterations as an idea virus that spreads out and causes domestic terrorism (see the Watchmen HBO show and Tom King’s maxi series, which has a very similar component having to do with masked catwalk gunmen) who is essentially equivalent to the Question, at the root of which character is something similar to the Riddler with a personality valance flipped (modern Riddler is kind of a nerfed Clockwork Orange’s Alex to the Question’s Travis Bickle).

I can't really argue persuasively for this, just say that this went down OK when I was watching it. The idea that, as a cartoonish thing, I can accept that a Zodiac killer approach to goading the authorities on with puzzles, and Batman trying to avert large-scale mayhem in the city (which is a Riddler thing x3 at least) by solving everything in time kind of worked. Yeah, the lack of proper joie de vivre is maybe a problem - one expects a more impish come on - but this hasn't been consistent at all over recent history. Part of the thing is any Bat villain expectation for the GP is going to be mostly defaulted to the Adam West show version (except for the Joker, and maybe Two Face and Mr. Freeze) and Jim Carrey didn't really work against that image at all.

What begins with a journey and ends with a charge?

For those who haven't seen it: The Batman portrays the Riddler as a heavily-alt-right-coded creep. He's Angry About the Injustices of the System, Man, and he's got a small legion of (apparently all-white-and-male) social-media followers who are really into guns and other tacticool military gear, and he plots with them to Take Action in a way that feels very QAnon / Jan. 6 / The Storm / whatever-you-want-to-call-that-thing.

My feelings about this are twofold:

1) My inner fanboy is mad, because that's missing the point of the Riddler, 100%.

...I mean, this is a matter of personal preference. Like every goddamn Batman character, the Riddler has been a whole lot of not-very-similar things over the years.

But the best portrayals of the Riddler, in my opinion, are the ones where he's an absolutely archetypical Batman baddie -- which is to say, completely driven by his own neuroses and foibles. He doesn't care about politics, he doesn't care about the wider world at all, he doesn't even care about being effective, he cares only about showing off how smart he is and having high-stakes puzzle-hunt fun. Making him an avatar of a topical cause celebre feels like a tremendous insult, even more than it would be for any other Batman villain (except Scarecrow, I guess).

These days, of course, lots of people channel their neuroses and foibles into political movements. So yeah, I get it, there's something there. But I feel strongly that the Riddler should be a throwback to a better world, a more individualistic world where you channel your neuroses and foibles into wearing a ridiculous outfit and writing cryptic crosswords, where the crime is just a PR stunt for the overwhelming essential force of your personality.

I am also a big fan of that Neil Gaiman comic with the Riddler giving a TV interview -- the one where he laments contemporary comic grittiness, and yearns for the days when supervillainy was gentlemanly and corny and fun and ultimately kind of softball. So seeing a Riddler who revels in carnage and destruction and death, for the sake of Making a Change, is also unpleasant on that front.

2) So the really weird thing here is that there's nothing explicitly alt-right, or right-wing at all, about The Batman's Riddler. He doesn't talk about race or gender; he doesn't talk about wokeness; he doesn't talk about Things Having Been Better Back Before; he doesn't even have a demonized outgroup, apart from the Rich and Powerful. His political speeches, which are pretty vague in their content, could come straight from the mouth of a Marxist. He wants justice for the little guy, and he's willing to do violence to get it, blah blah blah. All the right-wing coding is done with cultural cues: the white-male-ness of his following (and his own self), the love of tacticool shit, the vaguely-Kantbot-like discursive affect.

(In fairness...he apparently doesn't believe that Gotham's new black lady mayor will be any less corrupt than Gotham's old white guy mayor. But no one in his position would have any reason at all to think that, except for someone terminally poisoned by the modern leftist flavor of demographic thinking.)

It's jarring, when you stop to think about it, in this particular cultural moment. Because, as far as I can tell, the only thing that makes him a villain rather than a hero -- according to the prevailing social script, I mean -- is the cultural coding. If he were black instead of white, if he were pushing his followers to use baseball bats and bricks instead of rifles, he could be someone from one of the fringier parts of Black Lives Matter...and then everyone would be talking about how He Sure Has a Point Even If He Goes Too Far, just like they did with Killmonger from Black Panther.

Have we lost the ability even to pretend that it's something other than "Who? Whom?"

[aion-rsa]

Batman: Caped Crusader Could Be the Spiritual Successor to The Animated Series

https://ift.tt/eA8V8J

Batman: The Animated Series is often lauded as the best encapsulation of the Bat mythos ever put on screen. And for good reason: no other movie or TV show has ever captured the essence of the Dark Knight quite like the noir-inspired ’90s cartoon that turned Gotham into an art deco nightmare full of criminals, monsters, and laughing fish.

That series, which was spearheaded by Bruce Timm, Eric Radomski, Paul Dini, and Alan Burnett, went on to spawn a whole universe of animated DC TV series, including Superman: The Animated Series, Batman Beyond, Justice League Unlimited, and others. It also introduced us to the lovable anti-hero (then villain) Harley Quinn as well as established the definitive origin story for Mr. Freeze. Not to mention that the Batman: TAS film, Mask of the Phantasm, has been named one of the best Bat movies ever made.

But since the series ended its run in 1995, no other Batman show has quite captured the magic of storytelling, art style, or so clearly translated the world of the ’30s comic books that first gave life to the character. HBO Max and Cartoon Network think they’ve got the winning formula, though.

A new animated series, titled Batman: Caped Crusader, will see the legendary Bruce Timm team up with J.J. Abrams and The Batman director Matt Reeves to “once again reinvent Batman and his iconic rogue’s gallery with sophisticated storytelling, nuanced characters, and intense action sequences all set in a visually striking world,” according to a press release. For Timm, this will be his first time working on a proper Batman series since Batman Beyond ended its run in 2001.

While the networks shared few details at the time of the announcement — like if Kevin Conroy will be back to voice the Dark Knight — Timm, Abrams, and Reeves teased in a joint statement that the series “will be thrilling, cinematic, and evocative of Batman’s noir roots, while diving deeper into the psychology of these iconic characters.”

So far, Caped Crusader sounds a bit like a spiritual successor to Batman: The Animated Series, down to the “noir roots” it wants to evoke. To complement the statement, Warner Bros. also released the first promo image for the new series, which itself evokes a classic image from Batman: TAS, down to the familiar font:

Timm’s art direction and writing for the ’90s series was heavily influenced by the pulp novels that inspired the character, such as the adventures of The Shadow, The Phantom, and Dick Tracy. And the world he designed for his animated Caped Crusader was meant to look like the crime-infested cities where these crime fighters operated. It’s an art style that was meant to make the setting feel timeless, both clearly in the past but also set in the time period of the kids watching the series at the time.

But the poster also depicts a slightly different Batsuit, with much longer ears adorning the cowl, suggesting this won’t be a 1:1 recreation of The Animated Series, but something new that will also harken back to the earlier cartoon. The poster is also clearly meant to evoke the cover of Detective Comics #31, a classic Batman story from the late ’30s, which hopefully means we’ll get a version of the Dark Knight vs. Nocturna vampire episode that never got made for The Animated Series.

For now, the creators are describing Caped Crusader as a “new world,” which makes sense considering Reeves’ involvement. The director has already been tapped to create a new path for the Dark Knight on the big screen, introducing new versions of classic villains like the Riddler, Penguin, and Catwoman as well as a new Bruce Wayne in Robert Pattinson. Reeves is likely helping to do the same for Caped Crusader.

We’ll bring you more on Batman: Caped Crusader as we learn it.

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The post Batman: Caped Crusader Could Be the Spiritual Successor to The Animated Series appeared first on Den of Geek.

from Den of Geek https://ift.tt/3hCd1ze

[themovieblogonline]

HBO’s The Penguin offers a gritty, masterfully crafted journey into Gotham’s criminal depths, expanding on the mythos introduced in The Batman (2022). Developed by Lauren LeFranc, the series delves into Oswald "Oz" Cobb's struggle for dominance following Carmine Falcone's death. This exploration of power, betrayal, and raw ambition sets a new benchmark for crime drama on television, thanks to LeFranc’s nuanced storytelling, captivating characters, and Colin Farrell’s unforgettable performance as the titular Penguin. https://www.youtube.com/watch?v=DQghiGQi6Lo Colin Farrell is incredible: Colin Farrell’s transformation into Oz Cobb is nothing short of spectacular. Farrell sinks into the role with an intense physicality and menacing charisma, bringing humanity to Oz without undermining his ruthless edge. The prosthetics and make-up, already lauded in The Batman, are paired with Farrell’s immersive approach, enhancing Oz’s grotesque, intimidating presence. His portrayal goes beyond just embodying a gangster’s rise to power; he captures a character driven by trauma, shaped by Gotham’s unforgiving streets, and desperate for validation. The result is an emotionally complex anti-hero who oscillates between vulnerability and viciousness, anchoring the series with magnetic appeal. Setup: The series opens with "After Hours," a high-stakes pilot that sets the tone for the intrigue, danger, and betrayal that define Oz’s world. The assassination of Falcone creates a power vacuum that every criminal in Gotham wants to exploit. Oz’s impulsive murder of Alberto Falcone kick-starts his tumultuous journey, immediately plunging him into the perilous game of survival against more seasoned players. Each episode, from "Inside Man" to "A Great or Little Thing," constructs a narrative web rich with tension as Oz navigates through deadly alliances and shifting loyalties, establishing him as a cunning force who dares to challenge Gotham’s most dangerous families. Millioti and Feliz shine: Cristin Millioti’s Sofia Falcone is another standout character. Her portrayal of Carmine’s deeply flawed daughter is both haunting and heartbreaking, conveying the scars left by her father’s brutal legacy. Sofia is haunted by her time in Arkham and her brother’s violent death, and her descent into madness adds layers to the story, presenting a powerful contrast to Oz’s brand of survival. Millioti’s portrayal lends depth to a tragic character who might otherwise have remained a one-dimensional foil, creating a dynamic of mutual dependence and competition with Oz that intensifies the tension between them. Rhenzy Feliz as Victor “Vic” Aguilar also leaves a lasting impact. His character’s arc, as Oz’s reluctant but loyal protégé, is deeply moving, depicting the sacrifices and moral compromises young Gothamites face in this merciless world. Through Vic, The Penguin subtly examines class and survival, adding a sense of empathy to the underworld’s brutal landscape. The chemistry between Vic and Oz offers a surprising emotional counterpoint to the relentless violence, showing how loyalty and ambition can intertwine to tragic ends. Excellent writing: All of the writing is meticulous, creating a narrative that builds and maintains suspense while also allowing for introspective moments. Each episode is layered with intricate plotting, showing not only the immediate, explosive consequences of Oz’s actions but also the ripple effects that disrupt the lives of everyone involved. The pacing is deliberate, allowing tension to simmer before bursting into violence, a rhythm that keeps viewers on edge. The slow, tense evolution of Oz’s drug empire through his partnership with Sofia, and his complex maneuvering against the Falcones and Maronis, highlights LeFranc’s skill in unfolding a crime saga that is as emotionally engaging as it is thrilling. Fantastic visuals: Visually, The Penguin excels in creating a moody, atmospheric Gotham City. The cinematography is dark and stylish, capturing Gotham’s decay while offering moments of stark beauty that remind audiences of the city’s layered personality. The use of lighting, shadows, and color palettes enhances the tension, with seedy locations like the Iceberg Lounge and derelict parts of the city serving as backdrops to Oz’s dangerous ventures. The bleak aesthetic adds weight to the narrative, reinforcing the sense of despair and moral ambiguity that pervades Gotham’s criminal underbelly. Supporting performances: The show also explores family trauma and mental health with sensitivity, particularly through Sofia’s flashbacks and Oz’s relationship with his mother, Francis (played by Deirdre O’Connell). Francis, though suffering from dementia, embodies a powerful presence in Oz’s life. Her character is both a nurturing and controlling figure, haunting Oz with unresolved pasts that fuel his ambitions. O’Connell’s portrayal is compelling, especially as her character’s health declines, forcing Oz to confront painful family secrets. These moments offer a rare vulnerability to the hardened mobster, grounding the crime epic in a deeply personal struggle for identity and belonging. Clancy Brown’s turn as Salvatore Maroni provides a formidable antagonist for Oz. Brown brings a gravitas that makes Maroni’s few scenes impactful, especially as the power struggle between Maroni and Oz intensifies. Maroni’s character adds historical weight to the series, reminding viewers of the criminal empires that existed long before Oz’s rise. His interactions with Oz highlight the dangers of ambition in Gotham, as Maroni’s pragmatic ruthlessness clashes with Oz’s raw desire for respect. The resulting conflict is brutal and devastating, propelling the story to its dramatic peak. A tense finale: The finale, "A Great or Little Thing," is a masterstroke of narrative closure and emotional impact. Without delving into spoilers, the episode brings Oz’s journey full circle, cementing his place in Gotham’s hierarchy. This climactic episode delivers visceral action and poignant moments, encapsulating the cost of Oz’s ambition. It is a fitting end to a series that delves deep into the heart of Gotham’s criminal psyche, leaving the door open for future stories in this compelling universe. Overall: The Penguin stands tall as one of the finest crime dramas in recent television history. LeFranc’s storytelling, combined with Farrell’s powerhouse performance, crafts a mesmerizing portrayal of Gotham’s underworld. With its complex characters, atmospheric visuals, and relentless tension, The Penguin offers a definitive look at the dark allure of crime and ambition. This series is not just a spin-off but a testament to how spin-offs, when crafted with such care, can elevate and expand the worlds they belong to. HBO has delivered a true triumph with The Penguin, one that will captivate audiences and leave them eagerly awaiting the next chapter in Gotham’s story.

[conflagrate]

Summer 2024 Anime + TV Season

Again I say. TIME STOP FLYING.

Anime

Spring was a pretty good season. Everything’s better when there’s Yuri- I mean Yuru Camping...

Top shows 1. Dungeon Meshi (cour 2) 2. Yuru Camp S3 3. Hibike! Euphonium S3 4. Tonari no Yokai-san 5. Bartender

Shows completed: 8

Coming up is a Hot summer, hot hot summer~

Must Watch: Yami Shibai S13 (SOBBB), Tower of God S2, Na-Nare Hana-Nare [3] Sounds Interesting! Hope It Doesn’t Suck!: Dungeon no Naka no Hito, Elf-san wa Yaserarenai (FOOD PORN???), Shoshimin Series, Bye Bye Earth (it’s Tow Ubukata!), Make Heroine, Ramen Aka Neko, Delico’s Nursery, Maarui Kanojo (why so many fatty girls anime??), Monogatari (I only watched bits & pieces of this over the years will I undersetand anything?) [9] 3episode Taste Test Needed: Tasuketsu, Tasogare Outfocus, Kono Sekai wa Fukanzen Sugiru, Tensui no Sakuna-hime, Nige Jouzu no Wakagimi, Shikanoko, ATRI, Katsute Maho Shojo [8] Do I Have To…? (No I Don’t): BokuTsuma, Russian thing, 2.5jigen no Ririsa, Cardfight Vanguard, Wistoria, 0saiji Start DDash Monogatari, Isekai Suicide Squad, Isekai Moriarty thing (does this really exist?) Sequel/Spinoff/Remake Hell: SHY S2, Oshi no Ko S2, Megami no Cafe Terrace S2, NieR S2, Kinnikuman, Kimisen S2, Sengoku Youko, Fairy Tail Light Novel/Isekai/Villainess/Mecha/Sentai/Harem/Cross Dressing/Video Game Hell: Maou-gun, Shinmai Ossan, Gimai Seikatsu, Parry anime, Giji Harem, Senpai wa Otokonoko, Hazure Waku, Grendizer U, Dahlia, Mob kara blah, Isekai Yururi Kikou, Isekai Shikkaku, Koi wa Futago de Warikirenai, Nazeboku Idol/Vtuber/AI/Musical Hell: Vtuber nanda ga, Mayonaka Punch (BUT I might give it 1-2eps)

Expected Load: 7-8

I hope to drop as many as possible (as usual). I might also watch Geass if I have the time...

TV & Streaming

Not much going on in spring & summer, plus my favourite comfort show got cancelled....

What I Watched Disney+/Hulu: Tracker, X-Men ’97, Shogun, The Acolyte*, The Bear S3* Netflix: Baby Reindeer, Anti-Hero* (TBS) Apple TV: Sugar, Dark Matter, Presumed Innocent* HBO: House of the Dragon S2* CBS: NCIS S21, NCIS: Hawai’i S3 ABC: Will Trent S2 BBC: Blue Lights S2, The Responder S2 NHK: Fune wo Amu Others: The Chosen S4 (app)

Total series completed: 13 Ongoing: 5 Full-length films watched: 25

What I will Watch Netflix: Tokyo Swindlers(?) Disney+/Hulu: Only Murders in the Building S4 Apple TV: Slow Horses S4, Sunny, Presumed Innocent*, Lady in the Lake(?), Pachinko S2, Bad Monkey HBO: House of the Dragon S2*, The Penguin(?) ITV: Joan

Hope we get a sleeper hit like Baby Reindeer this season!

[karingudino]

New Movies This Week: ‘The Little Things,’ ‘Palmer’ and More

Audiences who really feel like their film choices have been just a little mild on precise film stars this previous month get a lift of A-list vitality this weekend, between the Justin Timberblake small-town ex-con drama “Palmer” on Apple TV Plus and Netflix’s feel-good “Penguin Bloom,” wherein a disabled lady performed by Naomi Watts bonds with a child magpie.

However the actually starry choice is Warner Bros.’ “The Little Things,” a big-budget serial-killer thriller starring three Oscar winners: Denzel Washington, Rami Malek and Jared Leto. With many theaters nonetheless shut, the studio launch will debut concurrently by way of streaming on HBO Max.

Those that admire such depth (and don’t thoughts risking a drive-in or megaplex go to) may wish to contemplate A24’s buzzy midnight film “Saint Maud.” In the meantime, the home-bound crowd can discover their frights on demand in Iranian chiller “The Evening.”

Smaller distributors proceed to push worldwide Oscar submissions, with Russia’s “Pricey Comrades!” and Japan’s “True Moms” now obtainable by digital cinemas. And as late-arriving Oscar hopefuls go, British drama “Supernova” is a treasure, starring Colin Firth as a homosexual man who’s deliberate a highway journey together with his longtime associate (Stanley Tucci) earlier than dementia makes such a bonding expertise too tough.

Right here’s a rundown of these movies opening this week that Selection has reviewed, together with data on the place you’ll be able to watch them. Discover extra films and TV reveals to stream here.

The Little Issues Courtesy of Warner Bros./Nicola Goode

Accessible in Theaters and on HBO Max

The Little Issues (John Lee Hancock) Distributor: Warner Bros. The place to Discover It: In choose theaters and HBO Max The bug-eyed psycho is all the time good for fun, or a shudder, or one thing in between. It’s all about underplaying the overstatement. You’ve bought to cue the viewers to see that he’s cuh-cuh-crazy, however you’ve bought to do it with simply sufficient finesse to go away them pondering, “Is all of it an act?” Jared Leto is aware of the way to give a state-of-the-art efficiency because the sort of diabolical screw-loose sleaze you like to detest. He anchors the very best sequence in “The Little Issues” (a police interrogation), although one other approach to put that’s that the scene raises the bar to a spot that the remainder of the film can’t match. — Owen Gleiberman Read the full review

Saint Maud Studiocanal

New Releases Solely in Theaters

Saint Maud (Rose Glass) Distributor: A24 The place to Discover It: In choose theaters Glass is sparing along with her shocks, however is aware of the way to make them depend, like sudden voltage surges within the fritzed, unstable equipment of her narrative, each leaving the protagonist just a little extra anxiously broken than earlier than. A meek, devoutly Christian palliative nurse, with an open wound of a previous and what she believes is a better calling for the long run, Maud is like Carrie White and her mom Margaret rolled into one unholy holy terror; as performed with good, blood-freezing depth by Morfydd Clark, she’s a style anti-heroine to cherish, shield and recoil from, typically suddenly. — Man Lodge Read the full review

Supernova (Harry Macqueen) CRITIC’S PICK Distributor: Bleecker Avenue The place to Discover It: In choose theaters, adopted by digital on Feb. 16 British writer-director Macqueen pitches [the treatment of dementia] excellent in his delicately heart-crushing sophomore function, thanks in no small half to the ideally matched star duo of Colin Firth and Stanley Tucci: As a longtime couple determining the way to stay — or not — below dementia’s ever-encroaching shadow, their joint thespian grace and reserve tackle an undertow of raging, disorganized despair. “Supernova” is beguilingly modest by design: basically a two-man chamber piece twisted into the winding type of a British highway film, the place nothing can transfer too quick, lest we attain the shore too quickly. — Man Lodge Read the full review

The Evening Courtesy of The Evening, LLC

New Releases on Demand and in Choose Theaters

Pricey Comrades! (Andrei Konchalovsky) Distributor: Neon The place to Discover It: In virtual cinemas now, then VOD and Hulu on Feb. 5, How do you commemorate a shameful historical past lengthy suppressed? A method is to render it in black and white photos so stark there’s nowhere for the disgrace to cover, a feat achieved with beautiful readability by Konchalovsky’s perversely stunning and coldly livid “Pricey Comrades!” Meticulous and majestic, epic in scope and tattoo-needle intimate in impact, this scrupulous recreation of the lead-up to and aftermath of the Novocherkassk bloodbath six a long time in the past is excoriating proof that not all filmmakers are made sloppy or slipshod by anger. Some are made ever extra righteously, icily exact. — Jessica Kiang Read the full review

The Evening (Kourosh Ahari) Distributor: IFC Midnight The place to Discover It: In theaters and on demand Demons of the thoughts come alive in a cavernous Los Angeles resort in “The Evening,” a scary and classy psychological horror thriller by Iranian American director Kourosh Ahari. That includes wonderful performances by Shahab Hosseini and Niousha Jafarian as a married couple with a child daughter and a frayed relationship, this predominantly Farsi-language manufacturing sneaks up on viewers and delivers a knockout closing act. Ahari’s spectacular function debut is certain to fulfill style followers and has the emotional heft and fashionable manufacturing values to draw discerning normal audiences. — Richard Kuipers Read the full review

Savage State (David Perrault) Distributor: Samuel Goldwyn Movies The place to Discover It: Accessible on demand and digital It could possibly be argued that “Savage State” finally appears worse than it actually is just as a result of the opening scenes of this era drama are so deceptively promising. However, actually, writer-director Perrault has nobody guilty however himself. Regardless of any good will he may generate throughout his intriguingly offbeat first-act set-up, he actively encourages his visually splendid however dramatically fuzzy movie to steadily devolve right into a gonzo mashup of gothic melodrama, Wild West survival story, and voodoo-flavored supernaturalism, with a facet order of slasher-movie tropes and a sprinkling of kinky intercourse insinuations. — Joe Leydon Read the full review

Softie (Sam Soko) Distributor: Icarus Movies The place to Discover It: At BAM virtual cinema “The place are you going?” asks the younger son of Boniface Mwangi. “I’m going to topple the federal government,” Mwangi says with a twinkle, although he’s not joking: A liberal-minded photojournalist turned activist turned unbiased candidate within the violent quagmire of Kenyan politics, he’s determined to inform his kids straight, in case he by no means will get to inform them in any respect. As loss of life threats mount from opposing forces, he isn’t ashamed to confess that he places politics earlier than household. In precept, it’s noble. In follow, it’s unattainable for all involved, as this good, attention-seizing documentary reveals in even-handed element. — Man Lodge Read the full review

True Moms (Naomi Kawase) Distributor: Movie Motion The place to Discover It: Choose a virtual cinema to assist There are cinephiles who’re transported to aesthetic nirvana by Kawase’s eco-spiritualism, and there are critics who flee her cinematic ashram. Neither will probably be wholly glad with “True Moms,” the director’s contemplation of motherhood and adoption, which is her most plot-driven however least visually lustrous movie but. Adapting Mizuki Tsujimura’s novel helps impose extra of a story framework than is usually present in Kawase’s oeuvre, though the movie’s mixture of genres — from marital drama to teen romance to social commentary — don’t gel. — Maggie Lee Read the full review

A Girl’s Work: The NFL’s Cheerleader Drawback (Yu Gu) Distributor: 1091 The place to Discover It: Accessible on demand In the event you do a job, you have to be pretty compensated for it. That’s a simple and uncontroversial assertion, and but as confirmed by “A Girl’s Work,” the Nationwide Soccer League believes it doesn’t maintain true for workforce dancers, who’ve toiled for many years as de facto volunteers. Director Yu Man’s documentary considerations two of the ladies who, starting in 2014, filed class-action fits to problem this case which, particularly within the age of #MeToo, stands out as egregiously nasty and discriminatory. — Nick Schager Read the full review

Palmer Courtesy of Apple TV Plus

Unique to Apple TV Plus

Palmer (Fisher Stevens) The place to Discover It: Apple TV Plus Justin Timberlake doesn’t make films fairly often, so when he does, there’s often a great motive. Within the case of this feel-good unconventional-family drama, it was virtually actually the themes of redemption and acceptance that moved him, and gosh darn if “Palmer” gained’t have the identical impact on that a part of the nation hesitant to embrace liberal message films. Cheryl Guerriero’s script depicts how residents of a conservative, predominantly Christian city react to a 7-year-old boy (Ryder Allen) who wears ladies’ garments, performs with dolls and loves nothing on this planet greater than a TV present known as “Sky Princesses.” — Peter Debruge Read the full review

Discovering ‘Ohana Jennifer Rose Clasen/Netflix

Unique to Netflix

The Dig (Simon Stone) The place to Discover It: Netflix An homage to such movies as “Howards Finish,” this light and virtually painfully well mannered British drama unfolds in 1939 on the cusp of World Struggle II, and it moderately poetically locations the turbulence of the then-present battle throughout the perspective of the millennia of human expertise that got here earlier than. The characters can really feel the looming menace of struggle, they usually absolutely keep in mind the price of the earlier one, and but they’re humbled by the invention of a remarkably intact seventh-century Anglo-Saxon ship. On the middle of this unhurried but partaking mission are two meticulously calibrated performances from Carey Mulligan and Ralph Fiennes. — Peter Debruge Read the full review

Discovering ‘Ohana (Jude Weng) The place to Discover It: Netflix Weng’s “Discovering ‘Ohana” begins on a great observe and continues that feeling by most of its story, which focuses on a tween woman and her household trying to find buried treasure whereas reconnecting with one another and their Hawaiian heritage. Paying homage to journey films like “The Goonies,” “Dora and the Misplaced Metropolis of Gold” and “Tomb Raider” with out blatantly mimeographing them, this family-friendly, character-forward function from Netflix charms in addition to entertains. But by the point the primary hour has ended, a slight fatigue encroaches on the bubbling enjoyable and it begins to lose its manner. — Courtney Howard Read the full review

Penguin Bloom (Glendyn Ivn) The place to Discover It: Netflix There’s a world wherein the wistfully expressive Naomi Watts could be among the many boldest actors working right this moment, like her contemporaries Charlize Theron and Nicole Kidman. However for each daring “Luce” or “Whereas We’re Younger,” Watts appears to have a tame “Penguin Bloom” on her résumé: middling initiatives with predictable beats. Nonetheless, it’s because of Watts’ measured efficiency that Glendyn Ivin’s based-on-a-true-story movie — a couple of not too long ago disabled Australian lady studying to navigate her new actuality — largely avoids the pitfalls of dated and offensive inspiration-porn films of yore that provide nothing however uplifting fodder to the able-bodied. — Tomris Laffly Read the full review

Beneath Zero (Bajocero) (Lluís Quílez) The place to Discover It: Netflix

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Source link

source https://fikiss.net/new-movies-this-week-the-little-things-palmer-and-more/ New Movies This Week: ‘The Little Things,’ ‘Palmer’ and More published first on https://fikiss.net/ from Karin Gudino https://karingudino.blogspot.com/2021/02/new-movies-this-week-little-things.html

[huma888podcast]

Aural Assembly: Artistic Statement

Aural Assembly: Echoing Life-Worlds

Interdisciplinary research requires not only the transgression of different fields of study, but can be viewed as the very questioning of the relation of subject and object, self and other, of concept and affect, in the active pursuit of knowledge and understanding.

Pairing the exploration of ephemerality as a way to engage and expand the relationship of interdisciplinarity, with soundscapes in a non-narrative and non-linear style, a podcast can become not only the discussion of a subject by means of words and discourse, but an (albeit short) engagement with relationality and aurality as epistemology itself. Recording soundscapes of our direct environment, pairing these with elements of found sounds, recordings of media or occasional poetics creates the fruitful tension of inference and interferences: at once an argument or idea is carried forward (to infer) in the modes of listening and sense-making as logocentric animals trying to gauge and utilize, to understand and categorize sound; while the idiosyncrasies of sound, its incidental and fleeting nature in the cycles of occurrence, reoccurrence and rhythmic breakages create interferences and epistemic-noise. Aurality that disregards “sense” for the current timespace of listening, unique and again living only in relation of subject and object, turning ephemeral, dissipating once the experiences cease to occur but binding in a transformative mode of kairos.

In creating different “Assignments” the group explored the ability of sound-making and recording as a means to engage with each other's life-worlds. That is, the active and sounding environment of one's own individual hearing and listening (passive/active), shimmering between specificity and everyday similarities. The group’s makeup creates a unique line of interferences/ inferences: taking up the theme of research and life during the CoViD 19 pandemic; listening through different levels of lockdown and protests across the political spectrum; hearing three different countries and through four different sonic approaches; listening to each other and understanding each other stretch over space, positionality and academic backgrounds. This might sound like interference as in a simple game of broken telephone, trying to echo and reiterate common themes and auditory cues, but it also builds a different relation to a shared life-world and mutual aural existence. For instance, we went from childhood memories to experiences of colorism, mothering and loss to political outrage within the span of two creation cycles.

Our aim is not only to create an intimacy within our group and our individual works, but to explore sub themes within the overarching focus on soundscapes during the pandemic, and in so doing resonate with the listeners of the podcast. Taking up these different relationalities, sounds (and soundscapes) as non-verbal communications of lived timespace can bridge the divides between us as powerful actors, creating a living narrative for listeners to follow. The self will always be inscribed in the recordings, incidents and editing might flow apart or together in the listening experiences of the audience, with their own relation being born in the process of encountering the piece at hand. In these movements the idea of static messages becomes alleviated and transformative: the affective nature of sound, the shaping of pure energy paired with the ability to communicate distilled emotion and situatedness via sounds, creates an active knowing for us and the listeners in turn. In creating a cohesive fifteen-minute experience while also enlarging this with our research work in the form of a Tumblr, padlet and soundcloud sites, references and textual resources become available while giving the listeners the agency to deepen and completely transform their own trajectory – giving the possibility to create their personal  “podcast” of sorts.

Post-scriptum: in entering the editing process for this 15 min montage, we came upon more than one ethical crisis. What had first been delineated as spaces, started to feel like rifts, then chasms. Questions of collectivity came through in questioning leadership, representativity, agency and choice. What does it mean for us to highlight violence? When does editing out become harsh, brutal even? Are we sublimating dissonance when advocating for unity? What does letting go mean for in fact wanting to hold on, tighter? We spoke louder across these distances, as if asking the same question over again: can you hear me. For some of us this has begun to feel like so much more than a project. It is about life under COVID. It is assembly, and it is dispersal.

What you are listening to is ultimately one take among many.

Subtheme Jayanthan Sriram: Breathing in Times of CoViD

As an academic working on olfaction and the epistemic value of smells, working with sound encompasses the making and disintegration of these relations via ephemerality. Following a modal anthropology as proposed by Francois Laplantine, while olfaction and smelling things break the relation in a mode of internalization, the inextricability of sounding-self and sounding-other(ness), sound and listening perpetuate similar delimitations of hearing and sounding, being in sound, sound itself and dealing with the eventfulness of something that is mostly regarded as the antithesis to knowledge formations of visuality and written language.

The exploration of olfaction via sound becomes an issue of translatability. A common denominator of sound and smell, however, is the air we breathe. The simplicity of an autonomous action, one that builds the very essence of bodily existence, becomes messy and contested during the pandemic and beyond. As protests for Black Lives repeat the dying words of those lives taken by executive force, “I Can't Breathe” turns to the disillusioned notion of those that feel their freedom pressured and their sovereignty questioned by lockdown regulations. Air and the common air we breathe becomes a contested field: The medium of an airborne virus and therefore the probable health hazard, the lived necessity taken by racist actions and the perceived source of defiance against the confines of state regulation and obscure power interested in leaning into conspiracies against white and western supremacy. Can a recording of this struggle for breath make sense of the times, or serve as the mere invitation for understanding the divides that have taken a different turn during a pandemic? Can a moment like the one we are living, that attacks the very nature of relating to one another, bring insight into connections of communities and society that have been under attack all along?

List of audio used:

Spoken excerpt: Wilkerson, Isabel (2020), Caste - The Lies That Divide Us. London: Penguin Books. p. 18.

Excerpts of Anti-COVID Regulation Demos: https://www.youtube.com/watch?v=yr1YyrolRZY (Courtesy of Spiegel TV) and https://www.youtube.com/watch?v=Zf7fRGI_7eo (Courtesy of BILD)

Recordings of Guitar and Voice by Jayanthan Sriram

Excerpt from The Simpsons “Boy-Scoutz´n the Hood” (1993) and “Lisa´s Rival” (1994). Courtesy of FOX.

Excerpt of “Lil Diamond Boy” by Lil Yachty from Lil Boat 3.5 (2020). Courtesy of Capital / Quality Control.

Excerpt of “Many Jewels Surround the Crown” by Prurient from Bermuda Drain (2011). Courtesy of Hydra Head Records.

Excerpt of “Sleeping In” by Jesu from Terminus (2020). Courtesy of Avalanche Records.

Excerpt of “Between The World and Me” (2020), directed by Kamilah Forbes. Courtesy of Warner Media / HBO

Subtheme Amanda Gutierrez: Walking as a collective in Times of CoViD

Voice over:

Judith Butler's text, Gender Politics and the Right to Appear (2015), informed my work about the meaning of collective walking in the public space as a political alliance. In her book, Notes Toward a Performative Theory of Assembly, she exposes the concept of "we" as a collective body that spatially voices the challenges of exclusion that have been experienced under conditions of oppression. For Butler, the performative action of taking public space as an act of resistance and solidarity reads as follows:

Each "I" brings the "we" along as he or she enters or exits that door, finding oneself in an unprotected enclosure or exposed out there on the street. We might say that there is a group, if not an alliance, walking there, too, whether or not they are anywhere to be seen. It is, of course, a singular person who walks there, who takes the risk of walking there, but it is also the social category that traverses that particular gait and walk, that singular movement in the world; and if there is an attack, it targets the individual and the social category at once. (2015, p. 51-52)

Thus, the idea of "walking with with" is a crucial tool for collective recognition and a performative act of enunciation, an act of speech that we can exercise in space. As a filmmaker, the virtual space could be an extension of the public space, an intersection that I am trying to find in these soundscapes.

However, how can we do it from the interior of our houses? Keeping us safe from being infected by a virus?

I did this performative exercise, please join me interacting with the sound:

Experiment on aural performance, can be heard in the minute 12:17 on the soundtrack.

Subtheme Koby Rogers Hall: Life and Death in Reproductive Labour

In the seminal book Mapping Vulnerability: Disasters, Development and People, the authors argue for an interpretation of disaster as a complex process that is socially, politically, environmentally and economically constructed, as opposed to an event caused by an external agent (Bankoff, Frerks & Hilhorst, 2013). Correspondingly, the concept of “structural vulnerability” is used within the social sciences as a method to analyze the varying capacities of communities to deal with hazards, based on their social positionality; vulnerabilities result from an individual’s position within local hierarchies and broader power relationships. This approach to vulnerability differs greatly from others that seek to naturalize an individual’s ability to cope as a result of internal causes. 

(Henaway, 2020)

MY WORKING WILL BE THE WORK.

- Mierle Laderman Ukeles, Manifesto for Maintenance Art

The soundscapes work of the past four months has been an experiment in sounding, listening, and wondering, of being heard in a time of being unseen. As Dwayne Donald (2012) unravels in his work on a decolonizing research sensibility, our stories are held in tension as they display relationality and difference around difficult concerns. “The line which a story follows is not straight, logical, step by step. It varies from life to life. Most often, it zigzags, as if seeking out the spot for a breakthrough” (Novak, 1978, p.53).

In this year since my first child’s birth, a year of pandemic, of public outcry, of climate crisis on an ever-consuming scale, the violence of inequities for those of us who recognise them well have been forced to the forefront of our being. They say this economic crisis is ‘different’, in that it will set mothers back a generation between care work and the loss of any employment gains (Cohen, 2020; Adams-Prassl, 2020). As I do another load of diapers in what is essentially a broken laundry machine – having been asked to bear far beyond its load capacity - I am reminded of how my dreams of late feel so disjointed, and that disruption feels so familiar. “Everything I say is art is art. Everything I do is Art is Art.” (Ukeles, 1969, p.2).

The rage in the quietude is palpable. And so in sounding with my colleagues across locations, in conversing across ‘tasks’ we have given each other, I see the juxtaposition of our daily reproductive lives and labour. There are gaps between two sounds, two spaces, and we are left to negotiate in relation to this empty space. We are asked to “hold these understandings in tension without the need to resolve, assimilate, or incorporate” (Donald, 20102, p.534). The distances I feel from the people I organise with are felt stronger and stronger every day – mothering and organising, worker and consumer, the privilege of working and so feeling remotely. These distinct fields are not only removed from one another, but they further vulnerabilise us, structurally, by making the vast expanses already between us viscerally clear. When Judith Butler asks if precarity can be a unifying force, what do we risk losing in this assumption of unity? What are these soundscapes ‘trying to do’, if not be seen, then heard? Are we, am I, in fact grievable? (Butler, 2015, p.47).

A distanced visit with a friend and organiser tells me of ‘essential workers’, immigrant and migrant workers, demonstrating daily during the pandemic because they have to. In their words, “I have to be here, otherwise people will let me die.” (Henaway, in conversation, June 2020). Linda Tuhiwai Smith asserts that we need to think of research methodology as resistance, “a thoughtful engagement with these contradictions by providing a way to plan, conceptualize, strategize, and make cogent various forms of resistance to the logic of colonialism.” (1999, p.38) For those of us who are made to feel expendable, the ones who show up when the shit hits the fan, we know who we are – this is a moment of dignity and overflowing rage. With death comes endings, and as the contours of this world face their own forms of decay, there are those of us at the edges who find comfort in this, knowing that we breathe life anew.

Sub-theme Raphaëlle Bessette-Viens: feeling around

“What does your life sound like?” I asked you. “It sounds a bit like this, here, listen …” And when we listened to each other I felt my boredom, anxiousness and loneliness was shared. Some of us thought it was an ideal period to work, others felt too dispersed to concentrate properly. Micro social spheres; partners, children. A few times we shared being surrounded by collective appearing bodies; some skeptical or paranoid when they disbelieved the existence of the virus, some out of collective outrage when black bodies continued being assaulted by police officers.

Fear. Around me concern for sustaining life amidst an overwhelmed medical system co-exists with the perpetuation of fear of the ‘stranger’ (Ahmed, 2014): police violence, the criminilization of anti-islamophobic organisations, the expulsion and chasing of undocumented persons into invisibility. Being inside, feeling non-apparent. The aggregation of bodies that collect together in order to state their existence (Butler, 2015), to which I belong to, is in intermission. Spilling over. There was a protest and I saw all those familiar faces I hadn't seen in a while and walked and screamed and sang with them. Anger and happiness overlapped.

Affective contagion (Stewart, 2007, p.16). When I heard you say you were feeling anxious, and that you were having a hard time with distanced communication, it made me feel it was okay to say it too. I edited-in my piece that I gave back to you, to signify it. Did you hear it? Echoing. “... hmm that reminds me of”; the surfacing of a thought or a memory. Hearing your child made me think of me as a child and then I learned about your childhood. I heard the sounds of our bodies in our confined spaces, in relation with others in this space, in relation with the exterior world by mediation, being called-in to your world with your voices. Our echoes felt like intimate refrains: “(…) repetition that underscores, overscores, rescores in a social aesthetics (…)” (Stewart, 2010, p.339). We worked together, as Guattari suggests, with ways closer to the ethico-aesthetic than of scientificism (1995). Aggregating, week after week, our soundscapes and our thoughts, we practiced our attunement to one another, to our collective. “What does your life sound like right now?”

List of references

Adams-Prassl, A.,  Boneva, T., Golin, M., Rauh, C. (2020). Inequality in the Impact of the Coronavirus Shock: Evidence from Real Time Surveys. Cambridge-INET Working Paper Series, (18)

Ahmed, S. (2014). The Cultural Politics of Emotion (2nd ed.). Edinburgh: Edinburgh University Press.

Bankoff, G., Frerks, G., Hilhorst, D. (Eds.). (2013). Mapping Vulnerability: Disasters, Development and People. New York: Routledge.

Bertelsen, L., Murphie, A. (2010). An ethics of everyday infinities and powers: Felix Guattari on affect and the refrain. In Gregg, M., J. Seigworth, G. (Eds.). The affect theory reader (1st ed. pp. 138-157). London and Durham: Duke University Press.

Butler, J. (2015). Gender politics and the right to appear. In Notes Toward a Performative Theory of Assembly (pp. 24–65). Cambridge, MA: Harvard University Press.

Cohen, P. (2020, Nov. 19). Recession with a Difference: Women Face Special Burden. New York Times. Retrieved from https://www.nytimes.com/2020/11/17/business/economy/women-jobs-economy-recession.html

Donald, D. (2012). Indigenous Métissage: a decolonizing research sensibility. International Journal of Qualitative Studies in Education, 25(5), 533-555.

Guattari, F. (1995). Chaosmosis: An Ethico-Aesthetic Paradigm (Bains, P., Pefanis, J., Trans.) Sydney: Power. (Original work published 1992)

Jenkins, H., Ford, S., Green, J. (2013). Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: NYU City Press.

Henaway, M. (2020). The Borders that Define our Vulnerability. Terms, semi-annual program. Leonard & Bina Ellen Art Gallery, Concordia University. http://ellengallery.concordia.ca/programming/online/terms/?lang=en

Howes, D. (2003). Sensual relations. Engaging the senses in culture and social theory. Ann Arbor: University of Michigan Press.

Howes, D. (ed.) (2005). Empire of the senses. The sensual culture reader. Oxford & New York: Berg.

Laplantine, F. (2015). The life of the senses, Introduction to a modal anthropology (Furniss. J. Trans.). London: Bloomsbury. (Original work published 2005)

Novak, M. (1978). Ascent of the mountain, flight of the dove: An invitation to religious studies. New York: Harper & Row.

Reynolds, S. (2011). Retromania. Pop culture's addiction to its own past. London: Faber and Faber Ltd.

Smith, L.T. (1999). Decolonizing methodologies: Research and Indigenous peoples. Dunedin, New Zealand: University of Otago Press.

Stewart, K. (2007). Ordinary affects. London and Durham: Duke University Press.

Stewart, K. (2010). Afterword, Worlding refrains. In Gregg, M., J. Seigworth, G. (Eds.). The affect theory reader (1st ed. pp. 339-353). London and Durham: Duke University Press.

Ukeles, M.L. (1969). Manifesto for maintenance art, 1969! Proposal for an exhibition: “care”, 1969.

Voegelin, S. (2010). Listening to sound and silence. Towards a philosophy of sound art. London, New York: Continuum.

[opukblog]

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