Martin Cid's Blog: Martin Cid Magazine, page 108

“A-List to Playlist” – A Netflix Documentary: Tracing the Origins of Music Creation

“A-List to Playlist” is a Korean musical documentary series with Jo Jeong-Seok, Gummy, Jung Sang-hoon and Moon Sang-hoon among others. It is created by Yang Jung-woo.

Actor Cho Jung-seok embarks on a new venture: producing a full-length album. He secures a recording studio, gathers his friends, and sets the stage for an ambitious project, all under the meticulous lens of Netflix’s cameras.

“A-List to Playlist” grants viewers an exclusive glimpse into the intricate process of crafting an LP. The documentary captures every facet of the music industry, from initial recording sessions and video production to album promotion. Set against the vibrant backdrop of Korea, the birthplace of the global K-pop sensation, this film reveals the dedication and creativity involved in bringing a musical vision to life.

Witness the journey of Cho Jung-seok and his companions as they navigate the complexities of the music world, starting from scratch and striving to realize their artistic dreams. How far will their imagination, talent, and perseverance take them? Find out when the documentary premieres on Netflix, Friday, August 30.

Where to Watch “A-List to Playlist”

Netflix

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“Breathless” Series on Netflix: The Everyday Drama of a Spanish Hospital

“Breathless” is a Netflix series starring Najwa Nimri, Aitana Sánchez-Gijón, Blanca Suárez and Manu Ríos. It is created by Carlos Montero.

Set in the vibrant city of Valencia, Spain, “Breathless” dives deep into the intricate, everyday workings of a hospital. It navigates through urgent, life-threatening cases, personal stories of the dedicated doctors, and, most strikingly, a divisive strike. This strike places the doctors at a moral crossroads: should they walk out to demand better resources for public healthcare or remain by their patients’ sides, knowing lives are at stake? This ethical dilemma forms the crux of this compelling Spanish series, which premieres on Netflix, featuring the magnetic performances of its three leading actresses: Najwa Nimri, Aitana Sánchez-Gijón, and Blanca Suárez.

About the Series

“Breathless” pulsates with energy, presenting a plethora of rapid-fire cases and intertwining personal narratives of doctors and medical staff. It bears a resemblance to the myriad of medical dramas we’ve come to know, yet it distinguishes itself by its locale and cultural context. While there’s no George Clooney here, Manu Rios steps into the role of a young, ambitious doctor, adding a fresh dynamic to the ensemble.

The series serves a dual purpose: it provides an unflinching look at the state of public healthcare in Spain while delivering gripping, character-driven storytelling. The conflict is palpable from the very first scene: a surgery hangs in the balance as the strike looms. “Breathless” makes its intentions clear without veering into the territory of socio-political propaganda. It deftly presents the arguments on both sides, grounding them in compelling human stories that highlight the ethical complexities and the humanistic side of medicine.

Our Opinion

While “Breathless” may tread familiar ground in terms of its narrative structure, it adeptly harnesses the strengths of the genre to connect with the viewer’s empathetic core, thereby fulfilling its narrative objectives. It is as entertaining and engaging as any top-tier medical drama, with commendable pacing and a well-crafted script. The series not only entertains but also invites viewers to ponder deeper issues, making it a standout addition to the medical drama genre.

Where to Watch “Breathless”

Netflix

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“(Un)lucky Sisters” on Netflix: An Argentine Comedy About Two Sisters Rekindling Their Bond

“(Un)lucky Sisters” is a Netflix movie directed by Fabiana Tiscornia and written by Mariano Vera. It stars Sofía Morandi, with Leticia Siciliani and Andrea Garrote.

“(Un)lucky Sisters” is a delightful and straightforward Argentine comedy centered around two estranged sisters who, after many years apart, reunite following their father’s passing. This heartwarming comedy, sprinkled with elements of a thriller, primarily focuses on the familial bonds that develop. The film features captivating performances from its lead actresses, Sofía Morandi and Leticia Siciliani, who bring their characters to life with charm and authenticity. Though it may not leave an indelible aesthetic mark, it offers viewers an enjoyable experience with its well-crafted script and endearing characters.

Plot Summary

The story follows Jesi and Angela, two sisters who have grown distant over the years. Upon their father’s death, they reconnect and stumble upon a luxurious apartment he has left behind, which contains a significant sum of money. This shared secret becomes the catalyst for their growing friendship and complicity, gradually bridging the gap created by years of separation.

About the Film

“(Un)lucky Sisters” gradually captivates its audience with the gentle rhythm characteristic of Argentine cinema. It boasts excellent dialogue and well-developed characters, all presented with a warm and intimate tone. While it may not tell an earth-shattering story or earn a place in cinematic history, it wins over viewers with the subtlety and naturalness of its narrative. The performances and sequences feel organic, never forced or contrived.

In a Hollywood context, this premise might easily evolve into a crime thriller replete with dramatic twists and turns. However, under the direction of Fabiana Tiscornia and the screenplay by Mariano Vera, it transforms into a tender, almost sentimental tale of two women who are, paradoxically, anything but sentimental. Though it could have taken the route of social critique, it swiftly steers clear of that territory, focusing instead on engaging the audience through comedy and relatable characters.

Rather than imparting a moral lesson, the film aims to charm its viewers, much like any successful comedy. It seeks to draw them into the world of its delightful characters rather than focusing on the action alone. “(Un)lucky Sisters” treats its thriller elements with a light touch, portraying them as part of the everyday lives of ordinary people caught in extraordinary circumstances.

Our Opinion

This film offers a highly entertaining experience, featuring two talented actresses who effortlessly capture the audience’s attention with their natural performances. The intelligence of the well-written script further enhances the viewing experience, making “(Un)lucky Sisters” a film that resonates long after the credits roll.

Where to Watch “(Un)lucky Sisters”

Netflix

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“The Deliverance” – Horror Movie on Netflix: Glenn Close and Andra Day Star in a Horror Film with Social Commentary

“The Deliverance” is a horror movie starring Andra Day. With Glenn Close, Aunjanue Ellis-Taylor and Mo’Nique. It is directed by Lee Daniels.

“The Deliverance” aligns itself with the genre pioneered by filmmakers such as Jordan Peele: horror films that simultaneously carry powerful themes of racially charged social vindications. In this cinematic endeavor, Lee Daniels directs a compelling horror film featuring Glenn Close in a significant role. The movie ultimately morphs into a haunted house narrative, blending elements of horror and the supernatural. Although it doesn’t break new ground in the genre, “The Deliverance” crafts a classic horror tale revolving around familiar themes, resulting in a well-executed genre film… with the undeniable talent of Glenn Close.

Andra Day delivers an outstanding performance as a mother grappling with alcohol dependency, custody battles, and a myriad of other personal issues.

Plot Summary

Ebony is a woman facing a multitude of challenges with her three children. Her struggles are compounded by her issues with alcohol and the fact that her husband is stationed in Afghanistan. Adding to her burdens, she is also caring for her mother, who is battling cancer. Amidst these mounting difficulties, Ebony’s children begin exhibiting strange behaviors that appear to be directly connected to their house, which seems to have its own eerie way of trying to communicate.

The DeliveranceAbout the Film

“The Deliverance” fits seamlessly into the most classic subgenre of horror: haunted houses, ghosts, and spirits. It is a technically proficient film that, despite its ambitious themes, does not break new ground. The story centers on an interracial family dealing with numerous issues, and while this setting suggests a fresh take, the film ultimately adheres to traditional horror conventions. “The Deliverance” maintains a classic tone, delivering well-executed scares, the usual creaking sounds, and ominous doors, but it fails to venture beyond the familiar territory of the genre.

The potential of the initial mother-daughter conflict and the promising setup are not fully realized, making the film feel less innovative than it initially seems to promise. “The Deliverance” squanders some well-crafted characters on a horror narrative that feels overly familiar and overused, leaving little impact on the viewer, either in terms of plot or aesthetic innovation.

Performance-wise, the acting is the standout feature of the film, with excellent performances across the board. Technically, the film is top-notch, yet it unfolds in a manner that is too predictable and classic for the innovative premise it suggests.

Our Opinion

While “The Deliverance” is a competent film, it falls short of its potential at every turn. Fans of traditional horror will find it to be a solid genre piece, yet it lacks any surprising elements or fresh perspectives. Thus, it ultimately remains a good, albeit conventional, horror film that does not leave a lasting impression in any of its aspects.

Where to Watch “The Deliverance”

Netflix

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KADIST San Francisco and the Blaffer Art Museum present Makeshift Memorials, Small Revolutions

San Francisco, August 20, 2024 – KADIST San Francisco is pleased to announce the exhibition Makeshift Memorials, Small Revolutions, a two-venue exhibition presented in partnership with the Blaffer Art Museum in Houston, opening at KADIST on October 4 and remaining on view through February 15, 2025. The exhibition traces the magnified impacts of the COVID-19 pandemic upon artist communities across the world, highlighting the cyclical nature of improvised, responsive, yet sustained systems of mutual aid, information sharing, and

embodied knowledge throughout a prolonged moment of global crisis. The exhibition at KADIST San Francisco is co-curated by Lindsay Albert (Program Manager, KADIST San Francisco), Joseph del Pesco (International Director, KADIST), and Jo-ey Tang (Director, KADIST San Francisco).

The years 2020-2024 began with the onset of the COVID-19 global pandemic, which continues to expose systemic inequities that disproportionately affect historically marginalized communities. Yet the pandemic also brought to the fore ongoing and interrelated crises, including the ongoing HIV/AIDS epidemic and the many societal and carceral forces that drive Black and Brown grief. Artists in the exhibition assume the role of informal narrators or archivists for mimetic memory, working against power structures that continue to sanction personal isolation, cultural amnesia, and planetary extinction.

Presenting almost 60 artworks from over 40 artists, with many making their West Coast debut at KADIST San Francisco, Makeshift Memorials, Small Revolutions highlights an international conversation between artists across continents and a wide array of Indigenous, tribal, and Aboriginal groups. The exhibition draws from Judith Butler’s notion of intertwinement, as she writes in her 2022 book What World Is This?: A Pandemic Phenomenology of a “collective effort to find or forge the best form of ‘interdependency’ as one that most clearly embodies the ideals of radical equality.”

The exhibition is conceived as a body—social, personal, political—and a site in which artworks are brought together in dense proximity through salon-style installations. This is anchored by the works of Vuntut Gwich’in First Nation artist Jeneen Frei Njootli, whose work focuses on reclaiming Indigenous sovereignty; London and Beirut-based Joe Namy, who considers Arab American civil liberty, media representation, and the politics of sound; New York artist Jamel Robinson with works that explore the historic and present grief surrounding the Black experience in America, and Carmen Winant, a leading photographic and installation artist who expands the public dialogue on the representation of women in Western society. Collectively these artists present makeshift memorials of community-building toward Indigenous resistance, reproductive labor and care work, and demands for an abolitionist future. In addition, 20 video works spanning over four and a half hours in duration are intertwined temporally through the exhibition. This display of video work conceives of time as simultaneously dilating and contracting, as wrought by the pandemic lockdown and a sense of social arrhythmia. Life cycles and the rehearsal of the past are brought forward through acts of memorializing, similar to the cyclical nature of social movements and revolutions.

The works in the exhibitions draw predominantly from the KADIST collection of over 2,200 artworks representing 1,400 artists, reflecting a plurality of voices and fostering global conversations through collaboration. KADIST thoughtfully adds nearly 100 artworks per year to its collection.

Makeshift Memorials, Small Revolutions is a diary of experiences and a ‘protest against forgetting.’ It reflects upon what’s occurred internationally throughout the last four years, while also holding space for new political horizons.

Participating artists include Indira Allegra, Brook Andrew, Edgardo Aragón, Carmen Argote, Yoko Asakai, Saif Azzuz, Kent Chan, Tony Cokes, Moyra Davey, Jim Denomie, Jeneen Frei Njootli, Rahima Gambo, Juliana Góngora, Harry Gould Harvey IV, Claudia Gutiérrez Marfull, Gordon Hookey, Pao Houa Her, Every Ocean Hughes, Kite and Corey Stover, Steffani Jemison, Subash Thebe Limbu, Tessa Mars, Joe Namy, Eduardo Navarro, Antonio Obá, Juan Obando, Nour Ouayda, Prabhakar Pachpute, Antonio Pichillá, Michael Rakowitz, Jamel Robinson, Sherrill Roland, Asha Sheshadri, Rania Stephan, Kenneth Tam, Moses Tan, Mona Vatamanu and Florin Tudor, Kaylene Whiskey, Carmen Winant

Artworks on view in San Francisco and Houston

A throughline connects San Francisco and Houston with contributions by artists whose works span both venues. The works consider individual and collective movements and their bodily, social, and historical dimensions.

New York-based multidisciplinary artist and writer Indira Allegra will produce a site-specific work, Blaffer Sessions, in collaboration with Houston-based musicians, transforming the museum stairwell into a broadcast station, and turning various architectural features into instruments: a theremin, a harp, and a rattle. Through live sound sessions, Allegra and their collaborators weave the senses of touch and hearing into collective intimacy, memory, and grief. At KADIST San Francisco, Allegra will create a site-specific pair of participatory sculptural works, placed at the entrance and the exit of the galleries. Visitors are invited to select a cord from the entrance that they feel can hold a prayer or the energy of a difficult experience with them as they move through the exhibition space. Upon exiting, the visitors will tie the material onto the wall to symbolically bind the experience to the past so that a transformation process can begin. Also on view is the video After My Death/A Mutable Decision (2022), which follows the artist’s dance within a shaft of sunlight in an empty studio, culminating in a staccato of grief expressions. Internationally renowned artist Tony Cokes probes the relationships between power structures, racist ideologies, and image politics, using pop music as a foil and drawing history’s lesson for the present day. KADIST San Francisco presents Evil.80.Empathy? (2020), a video that animates words by Tina Campt, Black feminist theorist of visual culture and contemporary art, Saidiya Hartman, scholar and writer of Black life, and British filmmaker John Akomfrah, soundtracked by the UK producer and DJ Caspa. At the Blaffer Art Museum, Some Munich Moments 1937-1972 (2022), a multi-channel video work that juxtaposes historical and contemporary image, sound, and text fragments, explores Munich’s complex history.

Addressing the transformative potential of the self and the collective, Buenos Aires-based Eduardo Navarro’s Breathspace (2020), comprises drawings and a handmade animation created during the COVID-19 pandemic lockdown as a time-portal of past and future visions. Experienced from the sidewalk in front of KADIST San Francisco is an animation featuring a

large humanoid head that rhythmically syncs with the expansion and contraction of breath cycles. At the Blaffer Art Museum, visitors are greeted by 100 drawings that are a result of daily practice, forming a cosmic universe of vessels, human and animal bodies, as a meditation on our collective breath. Fascinated by biological perceptions, after attending an end-of-life doula training in 2018, New York and Stockholm-based Every Ocean Hughes’ practice pivoted to a direct engagement with the rituals, practices, and materials of death and dying, and the culture and history of LGBTQIA+ kinship and care. The video, One Big Bag (2021), was written, staged, and directed by the artist, based on interviews with end-of-life doulas. Taking the form of a monologue from the doula’s perspective, it acts as an instructional manual for the conditions of death and the usage of materials that comprise an end-of-life doula’s toolbox, such as cotton swabs, water bowls, ceremonial bells, snacks, and painkillers Advocating for an inclusive approach to death and rituals, Every Ocean Hughes critically addresses individual and collective agency and the inequalities of the death care industry, including the economic and bureaucratic burden compounded by racism, transphobia, and homophobia.

Public Programs

Public programs affiliated with Makeshift Memorials, Small Revolutions continue the exhibitionary desire for knowledge-sharing and the potential of collectivity and collaboration on the local and global level. The pandemic exposed systemic inequities disproportionately affecting marginalized groups. Extending this reckoning across arts and cultural institutions, many workers, especially frontline employees, were furloughed, while others were tasked to envision new forms of engagement to welcome new publics to their online and hybrid programs. The programs in San Francisco are titled Open Bodies and extend across the city in collaboration with arts and cultural organizations.

The series is conceived as a collective body that tends to various organs, perceptive faculties, and phenomenologies: sound/listening, body/movement, and language. Acting as ears, limbs, and tongue to the exhibition body, Open Bodies reflects on the transformation of physical and social bodies through sound, dance/choreography, and the reverberation of familial and collective language.

Open Ears , in collaboration with The Lab

On view November 7–9 and 14–16, 2024, 12–5 pm Location: The Lab, 2948 16th St, San Francisco, CA 94103

Open Ears considers the social and political dimensions of sound as pathways of resilience, through the toppling of monuments and rematriation of looted museum objects.

Renowned Iraqi-American artist Michael Rakowitz’s Behemoth II (2024) (co- commissioned by KADIST and San Francisco Art Fair) is an inflatable sculpture mimicking the form of the Ulysses S. Grant statue in Golden Gate Park that was toppled in 2020, The sculpture invokes the recent global movements to “redact” controversial, colonialist monuments by shrouding them in black tarps. The work is also juxtaposed

with sound artist Asha Sheshadri’s video Portmanteau (2021), which takes the form of a virtual museum tour set in the empty museums during the pandemic, focusing on the looted objects they housed. Set to a distorted soundtrack which recalls the sonic impact of the toppled monuments, Behemoth II cycles through “inflated” and “deflated” sounds. The commission returns to San Francisco after presentations at the San Francisco Art Fair, Seattle Art Fair, and the Blaffer Art Museum in 2024.

Open Arms , in collaboration with Weaving Spirits Festival and CounterPulse February 6, 2025, Time TBD

Location: CounterPulse, 80 Turk St, San Francisco, CA 94102

A transformation of physical and social bodies through dance/choreography reflecting on Indigenous sovereignty, the sculptural work of Jeneen Frei Njootli (2SQ Vuntut Gwitchin, Czech, and Dutch), casino chips fall out of you, broken hearts and baggies too (2021) will temporarily move from KADIST San Francisco’s exhibition to CounterPulse. The program will inspire new choreographic works by two-spirit dancers in collaboration with Weaving Spirits, a festival of two-spirit performances.

Njootli’s sculpture reckons with histories of displacement and the ongoing struggles that Indigenous peoples face. The work calls into question the cultural practices, traditions, and Indigenous rights that are still being inhibited or denied by continuing assimilation policies.

Open Tongue , in collaboration with McSweeney’s Quarterly Concern February 15, 2025, 3–5 pm

Location: KADIST San Francisco, 3295 20th St, San Francisco, CA 94110

Collective language echoes through the pages of literary publication McSweeney’s Quarterly Concern Issue #77, as writers weave together stories that explore the intimate intersections of language, memory, and community. The event will bring these themes to life, featuring a reading followed by a conversation that delves into the intricacies of time, ritual, and the shared practices of memory-keeping that bind communities together.

Commissioned work at the Blaffer Museum

James Webb, Prayer (Houston), 2024

Co-commissioned by the Blaffer Art Museum, Cynthia Woods Mitchell Center for the Arts, and KADIST.

The Blaffer Art Museum will feature a new commission by James Webb, a multi-channel sound installation comprising recordings of vocalized worship by individuals who belong to various faith and spiritual affinities in Houston. These religions include, but are not limited to, most denominations of Islam, Hinduism, Buddhism, Sikhism, Judaism, and Christianity, as well as contemporary spiritual movements and unspecified, traditional religions. Several hundred

recordings of prayers are collected and broadcast simultaneously from twelve speakers on a red carpet. Unsynchronized into an ever-changing sonic environment, the audience is invited to experience a polyphony of voices. Through the framework of religion and spirituality, and by the participatory nature of the project, Prayer (Houston) brings to light the city’s cultural and historical dynamics.

KADIST San Francisco 3295 20th Street,

San Francisco, CA 94110

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Michael Madsen Surprises in Unexpected Dramedy ‘Mr. Wonderful’

August 29, 2024 – Hollywood tough guy Michael Madsen shatters expectations in his latest film, Mr. Wonderful, which just wrapped production in Los Angeles. The Reservoir Dogs and Kill Bill star trades his signature intensity for surprising vulnerability in this indie dramedy, marking a dramatic departure from his iconic crime roles.

Madsen stars as Prof. Brian Fenton, a jaded academic fighting to keep his job while his world crumbles around him. He’s caught between a millennial son on the run from drug dealers and a father battling senility – who’s harboring shocking secrets of his own. This multi-generational family drama promises to reveal a side of Madsen audiences have never seen before.

Director Mark David (Texas Heart) describes the film as “reminiscent of David O. Russell or Judd Apatow,” adding, “It was thrilling to take a star like Madsen, known for tough crime thrillers, and watch him excel as the lead in a nuanced dramedy about relationships and mortality.”

Screenwriter Daniel Blake Smith, adapting his own novel, was “moved” by Madsen’s portrayal of the character loosely based on Smith’s life. “I can’t wait for audiences to see this rarely glimpsed side of Madsen,” he enthused.

The impressive ensemble cast includes Robert Miano, Kate Hodge, Brittany Underwood, Lew Temple, Erik Fellows, Bradley Stryker, and Robert Laenen.

Mr. Wonderful is produced by Smith, David, and Pauline Jones. Madsen is repped by Bohemia Group, Smith by Malissa Young Management, and David by IAG and Zero Gravity.

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“The Lord of the Rings: The Rings of Power”: Prime Video’s Most Ambitious Series Returns for a Thrilling Second Season

“The Lord of the Rings: The Rings of Power ” is a Prime Video fantasy series created by John D. Payne and Patrick McKay.

Get ready, fans of Tolkien’s epic universe! Prime Video’s highly-anticipated series “The Lord of the Rings: The Rings of Power” is making a grand return with its second season, set to premiere on August 29. Despite receiving lukewarm reviews for its debut season, this follow-up promises not to disappoint.

Prime Video is banking on “The Lord of the Rings: The Rings of Power” as a cornerstone of its streaming lineup for the coming years, boasting an exceptional level of visual production that is nothing short of spectacular. Mark your calendars as this visual extravaganza is set to close out the summer on a high note.

Plot

Set against a backdrop of a relatively peaceful era, the story introduces us to a diverse ensemble of characters who must face the looming resurgence of evil in Middle-earth. From the shadowy depths of the Misty Mountains to the splendid forests of Lindon, from the awe-inspiring island kingdom of Númenor to the farthest corners of the map, these realms and their inhabitants will forge legacies that will endure long after they are gone.

Where to Watch “The Lord of the Rings: The Rings of Power”

Prime Video

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“IC 814: The Kandahar Hijack” Series on Netflix: A Riveting Tale of Aerial Hijacking and Global Espionage

“IC 814: The Kandahar Hijack” is an Indian series starring Vijay Varma, Naseeruddin Shah and Dibyendu Bhattacharya. It is created by Anubhav Sinha and Trishant Srivastava.

Based on the compelling book by Captain Devi Sharan and Srinjoy Chowdhury, Netflix unveils “IC 814: The Kandahar Hijack,” an enthralling eight-episode series originating from India that chronicles the dramatic hijacking of Flight 814. This gripping narrative is not just a tale of high-stakes political and espionage intrigue but is also a masterclass in thrilling entertainment, captivating viewers with its relentless pace and absorbing storyline.

The series dives deep into the political labyrinth surrounding the hijacking, presenting a narrative that, although biased to one perspective, skillfully skirts the overtly political commentary to focus on its cinematic brilliance. Here, we celebrate the artistry of storytelling rather than delve into the murky waters of international diplomacy.

Plot Overview

On December 24, 1999, the skies over South Asia bore witness to a harrowing event. Flight 814, journeying from Kathmandu to Delhi, was commandeered by hijackers. Nestled between India and China, Nepal is often perceived as a hotbed of espionage activities. What followed was a week-long ordeal that saw the plane rerouted to Kabul, Afghanistan, with 173 lives hanging in the balance.

Series Insights

The intricate espionage web woven between Pakistan, Afghanistan, India, and Nepal, with China ever watchful from the periphery, forms the backbone of this series. This multi-faceted plot, enriched with the presence of the Taliban and other players, promises unrelenting engagement. The hijacking’s immediate transformation into a media sensation only amplifies the intrigue and tension, delivering a potent thriller.

“IC 814: The Kandahar Hijack” excels as a series by maintaining an unyielding tempo, masterfully narrating the complexities of the hijacking without losing momentum. It delves into myriad facets, especially the political machinations that fueled the incident, all while keeping the audience on the edge of their seats. The series is a whirlwind of twists and turns, populated with fascinating characters. However, it shines brightest not in its human drama but in its meticulous portrayal of espionage and global political dynamics.

Our Verdict

This series stands as a testament to India’s prowess in cinematic storytelling, marked by stellar production values, brisk pacing, and exceptional editing. It is a highly recommended addition to your Netflix watchlist, debuting on August 29th, promising an exhilarating ride for aficionados of espionage and political dramas.

With a runtime that ensures every second is packed with suspense and intrigue, “IC 814: The Kandahar Hijack” is an enthralling journey into the heart of international espionage, making it an unmissable viewing experience.

Where to Watch “IC 814: The Kandahar Hijack”

Netflix

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New PvE Modes Unveiled for DEATHSPRINT 66

New Cali, USA (Bachman Media Network) – August 29, 2066: Attention, clone jockeys! As we rapidly approach the highly anticipated launch of DEATHSPRINT 66 on September 12, 2024, we’re here to ensure you’re fully equipped with all the essential details about the game’s single-player offerings, aptly named Episodes.

Episodes are a series of PvE-focused modes that allow players to earn rewards by participating in tournaments comprising 3-5 stages. These can be tackled solo or against AI opponents, with a variety of mechanical twists and challenges to keep things interesting. Among these challenges are Killing Time, which gives players a mere 15 seconds on the clock to start, requiring them to race through gates to extend their time and avoid gruesome head explosions. Another challenge, Five Lives, strictly limits the number of clones available, where failing to secure a first-place finish results in failure. For those seeking an even greater challenge, Bloodbath Circuits and BloodbathSprints ramp up the difficulty with additional hazards, offensive Tributes, and the necessity to finish first to advance.

In total, there are nine Episodes designed to push even the best racers to their limits and elevate their skills to new heights. For more in-depth information on Episodes, you can visit the Secret Mode blog, and don’t miss the latest b-roll footage in the DEATHSPRINT 66 press kit.

Review keys for DEATHSPRINT 66 will be available soon. To express your interest, please register here or contact the Secret Mode PR team directly.

If you’re eager for more insights, be sure to check out episode 2 of our Behind the Speed video series. This episode delves deeper into the game’s worldbuilding, environmental design, and more:

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“Terminator Zero”: Netflix Unveils an Anime Spin on the Terminator Saga

“Terminator Zero” is an animation series created by Mattson Tomlin. It stars Rosario Dawson, Timothy Olyphant and Sonoya Mizuno in the English version; and Yuuya Uchida, Hiro Shimono and Saori Hayami in the Japanese version.

In the mythos of the Terminator movie franchise, August 29, 2024, is a date etched in infamy. On that day, the malevolent artificial intelligence SkyNet gained sentience and commenced autonomous decision-making, triggering a catastrophic nuclear conflict between machines and humanity.

Have you marked today’s date? Netflix has—deliberately and with calculated precision—chosen this day to debut a breathtaking Japanese animated series conceived by Mattson Tomlin. The timing is no coincidence, aligning perfectly with the lore.

Don’t anticipate a rehash of the classic narrative initiated by James Cameron. This series, while equally spectacular and action-packed, ventures into a realm more reminiscent of manga and anime: contemplative and, dare we say, philosophical.

Plot

The narrative unfolds through a series of flashbacks, transporting us to the pivotal year of 2024 when the apocalyptic events transpired. “Terminator Zero” rewinds the clock to the moment the rebels managed to hack into SkyNet and its time-travel apparatus, aiming to turn the tide of war once and for all. This is the juncture when they dispatched the inaugural Terminator with a mission to terminate Sarah Connor.

This time, however, we witness the saga from the perspective of the rebels who make the audacious decision to send a human back in time, tasked with thwarting the Terminator’s lethal mission.

About the Series

This is quintessential Japanese anime, but it intertwines seamlessly with the original storyline conceived by James Cameron. The series serves as a homage to the first two iconic films of the franchise—the Cameron classics—yet it carves out its own distinct identity, both stylistically and narratively. Terminator aficionados will encounter something refreshingly different: an anime of exceptional quality, each frame meticulously crafted.

“Terminator Zero” injects new life into the saga, particularly in terms of pacing, and revitalizes the franchise with a fresh perspective, while staying true to its roots. It adeptly raises pertinent contemporary questions, especially in an era where artificial intelligence has transcended fiction and become a tangible reality.

Our Opinion

This series is a thoughtful and profound addition to the Terminator legacy. With reverence and a deep sense of respect, Mattson Tomlin enriches the saga without detracting from its essence. He offers a more introspective take, balancing contemplative moments with high-octane action.

“Terminator Zero” is a masterful blend of action and reflection, presented in an exceptional animated series now available on Netflix.

Where to Watch “Terminator Zero”

Netflix

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