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The Ashes of Rage: Deconstructing the Labyrinthine World of Mononoke’s Cinematic Return

Within the opulent, treacherous confines of the Ōoku, the shogun’s inner palace, a place of exquisite beauty and suffocating intrigue, an enigmatic figure returns. He is the Medicine Seller, a wandering exorcist whose true nature is as veiled as the spirits he confronts. His reappearance signals a new spiritual malady festering within this gilded cage, a world meticulously reconstructed in Mononoke the Movie: Chapter II – The Ashes of Rage. The film plunges the audience back into this hermetically sealed society, where the air is thick not only with incense but with envy, ambition, and despair.

The central conflict ignites with a terrifying and inexplicable phenomenon: individuals linked to the court begin to spontaneously combust, their bodies reduced to nothing more than fine ash. This supernatural arson is the work of a mononoke, a vengeful spirit born from the crucible of human suffering. This entity is the Hinezumi, the “Fire Rat,” a creature whose lament is written in flame. The film’s ominous tagline, “If you don’t cut it off, it won’t stop,” encapsulates the relentless and deeply rooted nature of this new threat, hinting that its origins lie in a wound that cannot be easily cauterized.

However, to categorize The Ashes of Rage as merely a supernatural psychological horror film would be to overlook its profound complexity. It is a sophisticated and ambitious continuation of a revered cult franchise, one that leverages its singular aesthetic and intricate narrative framework to conduct a deep, unflinching examination of social structures, the precariousness of female agency, and the tragic consequences of systemic dehumanization. The film is not simply about a monster to be slain; it is about a system to be dissected, a tragedy to be understood, and a sorrow to be witnessed. It confirms the Mononoke saga’s place as one of contemporary animation’s most intellectually rigorous and artistically daring ventures.

A Legacy Reanimated

Before delving into the intricacies of the new film, it is essential to situate it within its unique and often misunderstood lineage. The very name Mononoke frequently causes confusion, summoning images of Studio Ghibli’s celebrated film, Princess Mononoke. It is a crucial point of clarification that the two are entirely unrelated, save for their shared use of a common noun from Japanese folklore. A “mononoke” is a general term for a vengeful spirit, an apparition born from intense human emotion that seeks to harm the living. While Hayao Miyazaki’s film uses the term as a title for its wolf-raised protagonist, this franchise, created by Toei Animation, centers on the spirits themselves and the mysterious exorcist who confronts them.

The story of the Medicine Seller did not begin with a feature film or even its own dedicated series. Its genesis lies in the final arc of a television anthology, Ayakashi: Samurai Horror Tales. This three-episode story, titled “Bakeneko” (Ghost Cat), was helmed by a then-emerging director, Kenji Nakamura. His stunningly original visual approach and compelling narrative proved so popular that it warranted a spin-off. The result was a 12-episode series, simply titled Mononoke, which saw Nakamura and his team expand the world of the Medicine Seller, crafting five new tales of supernatural investigation.

Despite airing in a late-night television slot, the Mononoke series quickly garnered critical acclaim and a passionate international following, cementing its status as a cult classic. Its enduring legacy rests on its revolutionary aesthetic, drawing heavy inspiration from traditional Japanese art forms like ukiyo-e woodblock prints and Kabuki theater, and its cerebral narrative structure, which transformed each story into a psychological mystery. The series also engaged with mature themes, particularly the systemic oppression of women in feudal Japan, giving it a depth that resonated far beyond the horror genre.

For over a decade, the series remained the definitive chapter in the Medicine Seller’s journey. The announcement of a new feature film project, therefore, was met with immense anticipation. This revival is a direct continuation, planned as a trilogy of films. The first installment, Mononoke the Movie: Phantom in the Rain, was released, with The Ashes of Rage following as the second chapter. A third film, Mononoke the Movie: Hebigami, is slated for a future release, promising a grand conclusion to this new saga. The project’s viability was powerfully demonstrated by a recent crowdfunding campaign launched for the 15th anniversary of the original series. It blew past its initial goal, signaling the unwavering dedication of its global fanbase and confirming that the appetite for the Medicine Seller’s return was stronger than ever.

The Creative Minds Behind the Ashes

The artistic success of The Ashes of Rage is anchored by a creative team that skillfully blends franchise continuity with fresh talent. At the helm as Chief Director is Kenji Nakamura, the visionary director of the original TV series, who serves as the overarching creative guardian of the franchise. Directing this specific chapter is Kiyotaka Suzuki, a filmmaker with an impressive resume that includes work on Evangelion: 3.0+1.0 Thrice Upon a Time. The screenplay is penned by Yasumi Atarashi, known for his work on Star Wars: Visions. The film’s immersive score is composed by Taku Iwasaki, who returns from the first film, while the crucial role of Sound Director is filled by industry veteran Yukio Nagasaki. The film is a co-production between animation studios EOTA and Crew-Cell, distributed by Giggly Box and Twin Engine, with global distribution rights acquired by Netflix.

The principal voice cast is led by Hiroshi Kamiya as the Medicine Seller. He is joined by Haruka Tomatsu as the poised and disciplined Botan Ōtomo and Yoko Hikasa as her rival, the emotionally driven Fuki Tokita. The cast also includes Tomoyo Kurosawa as the capable maid Asa, Kenyu Horiuchi as the influential Councilor Ōtomo, Chō as Yoshimichi Tokita, and Yuki Kaji as Saburōmaru Tokita.

This division of creative labor, particularly the dual-director structure, serves as a compelling parallel to the film’s central thematic concerns. Kenji Nakamura, as Chief Director, embodies the “macro” perspective, establishing the overarching philosophical framework and aesthetic rules. Into this framework steps Kiyotaka Suzuki, whose “micro” role is to tell a powerful, self-contained story. This creative tension—of an individual artist operating within, and pushing against, a larger established system—perfectly mirrors the plight of the film’s characters navigating the rigid, unyielding structure of the Ōoku.

Intrigue, Envy, and the Hinezumi’s Lament

The narrative of The Ashes of Rage commences one month after the resolution of the first film. The Medicine Seller is once again drawn to the Ōoku, but this time his focus shifts to the rarefied and far more venomous world of the high-ranking concubines. At the heart of the story is a bitter rivalry between two of the emperor’s most prominent consorts: Fuki Tokita, the emperor’s current favorite whose status is precarious, and Botan Ōtomo, who hails from a powerful family and is focused on the harem’s duty to produce an heir.

This is no mere catfight; the rivalry is a proxy war waged by their fathers, who view their daughters as political assets in a game where the ultimate prize is securing the imperial bloodline. The simmering tensions erupt into supernatural horror when a high-ranking concubine spontaneously combusts. The crisis intensifies dramatically when Fuki gives birth to what is deemed an “unwanted child,” making her the target of conspiracies. The malevolent force behind the flames is revealed to be the Hinezumi, or “Fire Rat.” This mononoke manifests as a group of elusive, childlike apparitions searching for their mother. Crucially, their attacks are not random; they specifically target those who would cause harm to newborns, suggesting the spirit is one of vengeful protection, born from a profound tragedy related to motherhood within the Ōoku’s cruel system.

The Fallacy of Composition in a World of Ash

While the narrative is a compelling supernatural mystery, its true weight lies in its sophisticated thematic framework. The film trilogy moves beyond the individualized horror of the original series to tackle a broader, systemic malaise, articulated by Chief Director Kenji Nakamura as the “fallacy of composition.” This concept, which posits that an action beneficial for an individual may be detrimental when adopted by the group, becomes the lens through which the film scrutinizes the society of the Ōoku. The Ōoku serves as a microcosm of a society governed by a cold, overarching logic where individual emotions are rendered secondary. It is from the friction between this macro-level system and the micro-level emotions of its inhabitants that the mononoke is born.

This thematic focus represents a deliberate evolution of the franchise’s core premise, adapting to a contemporary world where individual expression is constant and amplified. The problem is no longer that individuals are unheard, but that their amplified voices often clash with the logic of the systems they inhabit. Beneath this social critique lies a poignant sub-theme of forgiveness and the bonds between parent and child. The Hinezumi is explicitly linked to a past tragedy involving a mother forced to give up her child. The film’s focus on this “story of parent and child” adds a layer of intimate, emotional tragedy to its broader philosophical concerns, grounding the abstract concept of systemic failure in the tangible pain of personal loss.

The Exorcist’s Method: Deconstructing Form, Truth, and Reason

Central to the Mononoke franchise is the unique mechanic that governs its protagonist’s power. The Medicine Seller’s exorcism sword remains sealed until he can fully comprehend the nature of the spirit by discerning three vital elements: its Katachi, its Makoto, and its Kotowari. This tripartite key, based on the Esoteric Buddhist concept of the “Three Mysteries,” transforms each story into a profound exercise in supernatural detection and psychological empathy.

Katachi is the Form: the physical shape and manifestation of the mononoke. Makoto is the Truth: the factual circumstances and events that led to its creation. Kotowari is the Reason or Regret: the emotional logic of its grudge, the “why” that drives its actions. In The Ashes of Rage, this framework evolves. The Katachi and Makoto of the Hinezumi are relatively easy to ascertain. The true challenge is the Kotowari. The spirit’s specific, purposeful attacks suggest a complex logic that cannot be attributed to a single person’s regret alone. The “Reason” is not simply one person’s tragedy but the collective moral bankruptcy of the entire Ōoku system, forcing the Medicine Seller—and the audience—to comprehend a societal sickness to complete the exorcism.

A Canvas in Motion: The Unmistakable Artistry of Mononoke

The Mononoke franchise is defined by its breathtaking visual style, and The Ashes of Rage continues this legacy of “visual maximalism.” The aesthetic is a stunning synthesis of traditional Japanese art and modern animation, heavily influenced by the flat perspectives and bold compositions of ukiyo-e woodblock prints. A signature element is the use of digital textures to simulate the feel of handmade washi paper, giving every frame a tangible quality.

The cinematography rejects convention, characterized by rapid cuts and dynamic camera movements that swoop through the layered environments, designed to feel like a thrilling “attraction.” Color is used for powerful symbolic and emotional effect, with a vibrant, surreal palette that has been deliberately saturated to “globalize” the aesthetic for maximum impact on a worldwide audience. The auditory experience is just as meticulously crafted. The score, by composer Taku Iwasaki, inventively blends traditional Japanese instrumentation with modern rock. The sound design, overseen by veteran Sound Director Yukio Nagasaki, is crucial in establishing the unsettling atmosphere, masterfully using both silence and sharp, realistic effects to heighten tension.

A Raging Fire in the Anime Landscape

Mononoke the Movie: Chapter II – The Ashes of Rage stands as a triumphant and vital work in contemporary animation. It is a masterful synthesis of art-house aesthetics, unsettling psychological horror, and trenchant social commentary, proving that a franchise can be reborn not as a simple exercise in nostalgia, but as a vibrant, intellectually rigorous, and culturally resonant force. The film has been met with significant critical acclaim, lauded as a “visually-stunning supernatural mystery with insight into the tragic role of women in the imperial harem.” This positive reception was echoed by audiences at the Fantasia International Film Festival, where the film secured the Bronze Audience Award.

Critically, The Ashes of Rage is regarded as a fantastic follow-up. While some novelty of its unique visual style may have been tempered by the preceding film, it is widely seen as successfully shouldering the immense weight of expectation, delivering a story that is both emotionally and philosophically rich. It is a challenging, dense, and rewarding experience that respects the intelligence of its audience. Ultimately, The Ashes of Rage is more than just the second act of a trilogy; it is a powerful statement on the enduring capabilities of the animated medium. It masterfully stokes the flames of anticipation for the trilogy’s final chapter, leaving audiences to ponder the darkness that lurks in the human heart and the faint, flickering hope of exorcism and understanding.

Netflix

Netflix’s In the Mud: A Brutal, Elemental Rebirth for the El Marginal Universe

The global premiere of In the Mud (En el barro) on Netflix today marks one of the most significant events in the international television calendar. This eight-episode Argentine series arrives not as a standalone entity but as a highly anticipated spin-off from the critically lauded crime drama El Marginal, a show that redefined the prison genre with its raw verisimilitude and complex character studies. The new series plunges viewers into the parallel universe of a women’s penitentiary, La Quebrada, through a narrative catalyst of extreme violence and sudden solidarity. A group of female inmates, most of them new to the carceral system, survive a deadly transport accident, emerging from a river literally and figuratively baptized in mud, an event that forges them into an unwilling but necessary collective.

Under the stewardship of creator Sebastián Ortega and a creative team deeply rooted in the original series, In the Mud leverages its predecessor’s gritty aesthetic while undertaking the ambitious task of forging its own distinct identity. An analysis of its premiere reveals a production that is not merely an extension of a successful franchise but a deliberate thematic and cinematic dialogue with it. The series interrogates the established tropes of power, corruption, and survival through a gendered lens, employing a sophisticated visual language to explore how community is forged not on the fringes of society, but from its most elemental and broken-down spaces.

The Architectural Framework: From San Onofre to La Quebrada

The very existence of In the Mud is a testament to the new economics of global streaming and the international currency of Argentine storytelling. Its production framework and creative leadership reveal a calculated strategy to expand a proven universe while deepening its thematic concerns.

In the Mud

Production Genealogy: The “Ortega-verse” Expands

In the Mud is a major international co-production, marshaling the resources of Netflix, Underground Producciones (a division of Telemundo Studios), and Telemundo itself. This tripartite alliance signifies a substantial investment in Argentine talent and intellectual property, designed for a worldwide audience. The model builds directly on the success of El Marginal, which gained a massive international following after its acquisition and distribution by Netflix. The new series is explicitly positioned as an expansion of the El Marginal narrative universe but with a self-contained story that shifts the focus to a women’s prison. This approach is strategically sound, aiming to retain the loyal fanbase of the original while creating a new entry point for viewers unfamiliar with the Borges clan of San Onofre.

The ambition of the project is reflected in its physical scale. The production eschewed existing locations in favor of constructing its primary setting from scratch. Filming took place in a vast, decommissioned food factory in Buenos Aires, within which the entire La Quebrada penitentiary was built. This decision provided the filmmakers with a completely controlled environment, a self-contained world where every decaying wall and rusted bar could be meticulously designed and lit. The factory’s administrative offices were repurposed for production headquarters, creating a highly efficient, immersive filmmaking apparatus that underscores the project’s considerable budget and scope.

The Creative Lineage: Sebastián Ortega and His Auteurs

The series is anchored by the singular vision of its creator, Sebastián Ortega, a dominant figure in contemporary Argentine television and film. Ortega’s filmography—which includes not only El Marginal but also foundational prison drama Tumberos (2002), the true-crime saga Historia de un clan (2015), and the feature film El Angel (2018)—demonstrates a consistent authorial signature. His work is characterized by a hyper-realistic, often brutal depiction of criminal subcultures, a fascination with the fluid morality of marginalized communities, and an exploration of the ad-hoc family structures that form in extreme environments.

To execute this vision, Ortega has assembled a team that balances continuity with fresh perspectives. The directorial roster is a clear indicator of this strategy:

Alejandro Ciancio is a key architect of the El Marginal aesthetic, having directed numerous episodes across its five seasons, as well as the related crime series The Secret of the Greco Family. His involvement ensures a consistent visual and tonal grammar, grounding the new series in the established universe’s unflinching realism.Mariano Ardanaz is another veteran of El Marginal and other Ortega productions, further cementing the series’ stylistic lineage. His work on dramas like Diary of a Gigolo also points to a proficiency with polished, character-driven narratives that may inform the more intimate interpersonal dynamics of In the Mud.Estela Cristiani, known for directing the series La viuda de Rafael and the youth-oriented musical drama Go! Live Your Way, represents a departure from the hard-boiled crime genre. Her inclusion suggests a deliberate intention to focus more deeply on the emotional arcs and complex relationships between the female characters, particularly the younger inmates.

This directorial blend is mirrored in the writers’ room, a collaborative effort between Ortega, Silvina Frejdkes, Alejandro Quesada, and Omar Quiroga. This team-based approach is a hallmark of Ortega’s Underground Producciones, fostering a workshop-like environment for narrative development.

The choice to create a female-centric spin-off with this specific creative team is more than a commercial decision to franchise a popular property. It signifies a conscious artistic effort to refract the established themes of El Marginal through a new prism. The world of San Onofre was fundamentally masculine, its conflicts and power structures defined by patriarchal hierarchies, from the familial gang leadership of the Borges brothers to the corrupt state authority of the warden. By relocating the narrative to a women’s prison, Ortega and his team are compelled to explore how these dynamics of power, corruption, and survival manifest differently. The conflicts are less likely to be resolved through brute physical force and more likely to involve intricate psychological warfare, shifting social alliances, and alternative forms of resilience.

The evolution is encoded in the show’s title. A shift from El Marginal (The Marginalized One) to En el barro (In the Mud) is a profound thematic statement. “Marginal” defines a person by their position relative to a societal center; it is a term of exclusion. “In the Mud,” however, suggests a more elemental and primal condition. It is a state of being debased and stuck, but also a place of creation and formlessness, evoking the primordial clay from which life emerges. This signals a narrative concerned not just with surviving on the fringes, but with the very construction of identity from the ground up. The series thus enters into a direct dialogue with its predecessor, posing critical questions: What does survival look like when the patriarchy of San Onofre is supplanted by a different, perhaps matriarchal, or simply more anarchic, system of power? How is community forged among women in an institution designed to atomize and break them?

The Inhabitants of La Quebrada: Casting and Characterology

The population of La Quebrada is a meticulously assembled ensemble that blends familiar faces with new blood, reflecting a sophisticated strategy to ground the series in its Argentine roots while engineering its appeal for a global market.

The Birth of “Las embarradas”: A New Sisterhood

The narrative engine of the series is the formation of a new “tribe” forged in trauma. The five women who survive the transport vehicle’s crash into a river become a unit, their bond sealed by a shared near-death experience. Their collective identity, “Las embarradas” (The Muddied Ones), is born directly from this violent baptism, a name that signifies both their debased status and their elemental origins.

The group is a cross-section of the carceral experience:

Gladys “La Borges” Guerra (Ana Garibaldi): A character with a history in the El Marginal universe, Gladys provides the crucial narrative bridge to the original series. Previously a secondary figure, she is now elevated to a protagonist. As a woman with experience in the “tumbero” (prison) world, she is thrust into the role of a reluctant leader for the uninitiated survivors.The Neophytes: The rest of the core group is composed of inmates with no prior prison history, a classic narrative device that allows the audience to learn the brutal rules of La Quebrada in tandem with the characters. This ensemble includes figures played by international star Valentina Zenere (Elite), Colombian actress Carolina Ramírez, and Argentine stage and screen veteran Lorena Vega.The Antagonists: The primary source of conflict comes from the established “tribus” that already control the prison’s ecosystem. “Las embarradas” must resist being absorbed or destroyed by these pre-existing power structures. Key figures in this hostile environment include Cecilia Moranzón, played by the revered Argentine actress Rita Cortese, who appears to be a formidable prison matriarch, and Amparo Vilches, a character played by Spanish actress Ana Rujas, who has described her role as that of “a proper villain”.

Echoes of San Onofre and Strategic New Blood

To reinforce the connection to the parent series, In the Mud features the return of key characters from El Marginal. The cynical and deeply corrupt prison official Sergio Antín (Gerardo Romano) is a prominent figure, confirming that the systemic rot depicted in the men’s prison is endemic to the entire carceral system. Furthermore, reports indicate the return of original protagonist Juan Minujín (Pastor) and Maite Lanata (Luna), suggesting the potential for significant crossover plotlines that will weave the two series together more tightly.

Alongside these veterans, the production has made several high-profile casting choices designed to generate buzz and broaden the show’s audience. The most notable is the acting debut of María Becerra, one of Argentina’s biggest contemporary pop stars. Her role, which reportedly includes a much-discussed “steamy scene” with Valentina Zenere’s character and a contribution to the soundtrack, is a calculated marketing maneuver intended to capture the attention of her massive youth following and generate press coverage beyond the typical television sphere. The casting of Zenere, a globally recognized face from the Netflix hit Elite, and Spanish actress Ana Rujas, is a clear and deliberate strategy to bolster the show’s appeal in key international markets, particularly in Spain and across Europe.

Core Cast and Creative Team

The series is a major international co-production between Netflix, Underground Producciones (a division of Telemundo Studios), and Telemundo itself. The creative team is helmed by creator Sebastián Ortega, a leading figure in Argentine crime drama known for El Marginal, Tumberos, and Historia de un clan. The scripts were developed by a collaborative team including Ortega, Silvina Frejdkes, Alejandro Quesada, and Omar Quiroga. The directorial team features El Marginal veterans Alejandro Ciancio and Mariano Ardanaz, joined by Estela Cristiani. The series’ visual identity is shaped by cinematographers Miguel Abal, a decorated film DP, and Sergio Dotta, who also worked on El Marginal. The score is composed by Juan Ignacio Bouscayrol. The ensemble cast is led by Ana Garibaldi (Gladys Guerra), Valentina Zenere (Marina), Rita Cortese (Cecilia Moranzón), Lorena Vega, Marcelo Subiotto, Carolina Ramírez, and Ana Rujas (Amparo Vilches). They are joined by returning El Marginal actors Gerardo Romano (Sergio Antín) and Juan Minujín (Pastor), with special appearances by pop star María Becerra and actor Martín Rodríguez (Griselda).

The casting of In the Mud functions as a microcosm of Netflix’s contemporary global content strategy. It is not an incidental collection of actors but a meticulously engineered ensemble designed to balance local authenticity with international marketability. The foundation of this strategy rests on the credibility of its Argentine cast. The presence of revered actors like Rita Cortese, Marcelo Subiotto, and Ana Garibaldi, alongside the returning El Marginal players, grounds the series in its specific cultural milieu and guarantees the loyalty of the domestic audience and the original fanbase. This is the bedrock of authenticity upon which the global structure is built. The next layer is a bridge to a younger, international demographic. The casting of Valentina Zenere, a star from the global Netflix phenomenon Elite, provides a familiar signpost for a massive teen and young adult audience that may have no prior knowledge of El Marginal. Her involvement is a direct conduit to that viewership. The third layer is the “event” hook: the casting of María Becerra. Her acting debut is a news story in its own right, engineered to generate social media velocity and press coverage far outside the confines of television criticism, thereby pulling in a vast audience from the world of popular music. Finally, the inclusion of Spanish actress Ana Rujas in a pivotal villain role is a targeted move to enhance the show’s resonance in Spain, a crucial European market for the streaming platform. This multi-layered approach reveals a sophisticated understanding of modern audience segmentation, creating a “glocal” product designed to simultaneously satisfy distinct constituencies: the local loyalists, the global youth, the music fans, and specific international territories.

A Baptism of Mud: Deconstructing the Premiere’s Cinematic Language

The premiere episode of In the Mud functions as a powerful declaration of intent, establishing its brutal tone and visual grammar through a masterfully executed opening sequence and a deliberate construction of its world.

The Inciting Incident: A Study in Controlled Chaos

The series opens with the precipitating event: the transport of Gladys Guerra and other inmates to La Quebrada prison is violently ambushed, and their vehicle is sent plunging into a river. This sequence is a technical tour de force of controlled chaos. The direction employs immersive, handheld camerawork from within the vehicle to convey the escalating panic and disorientation of the inmates as water floods the compartment. This claustrophobic perspective is likely contrasted with stark, objective wide shots of the van being swallowed by the muddy water, emphasizing the finality of their descent.

The sound design is critical to the scene’s efficacy. The diegetic cacophony of the attack—gunfire, shattering glass, screams—gives way to a muffled, sub-aquatic horror. The soundscape becomes a terrifyingly intimate expression of the characters’ near-death experience, where the world is reduced to the sound of struggling bodies and the pressure of the depths. This approach, which uses heightened and often unpleasant atmospheric sound to induce anxiety and defamiliarize the environment, recalls the sonic philosophy of acclaimed Argentine filmmaker Lucrecia Martel in works like La Ciénaga. The eventual emergence of the survivors onto the riverbank, their gasps for air breaking the aquatic silence, provides a powerful auditory and emotional release, marking their rebirth.

Mise-en-scène and World-Building: The Texture of La Quebrada

The prison of La Quebrada is established as a character in its own right, its identity shaped by its history as a converted factory. This industrial genesis permeates the mise-en-scène. The visual world of the prison is one of cavernous, decaying spaces, with a language of rust, peeling paint, and cold concrete. This man-made purgatory stands in stark contrast to the organic, primordial mud of the opening sequence, creating a world that is both ruthlessly artificial and actively decomposing.

The cinematography, helmed by Miguel Abal and Sergio Dotta, is essential in realizing this vision. Dotta’s work on El Marginal suggests a continuation of its signature aesthetic: a desaturated, high-contrast palette that emphasizes grit and texture. Abal, a veteran film cinematographer, may introduce a more composed, almost painterly quality to certain frames, creating a visual tension between raw, documentary-style immediacy and a more deliberate cinematic expressionism. The color palette is dominated by ochres, grays, and browns, visually reinforcing the central “barro” motif.

Following the tradition of landmark Argentine cinema, the camera’s gaze is intensely corporeal. The premiere is filled with haptic imagery: extreme close-ups on mud-caked skin, the rough texture of prison uniforms against the body, the sheer physicality of survival. This is not gratuitous but is intended to foster an embodied form of spectatorship, compelling the audience to feel the grime, the cold, and the texture of this world. This focus on the body as a landscape of experience—a site of pain, dirt, and abjection—is a key technique for shifting the locus of knowledge from the intellect to a more visceral, bodily understanding.

Pacing, Editing, and Score

The rhythm of the premiere episode is built on sharp contrasts. The kinetic, frantic energy of the opening crash gives way to a slower, more observational pace as the dazed survivors must decipher the complex and threatening social codes of the prison. This shift in tempo mirrors the characters’ own psychological journey from pure survival instinct to the dawning horror of their new reality. The score by Juan Ignacio Bouscayrol, known for his work on independent Argentine films, is crucial in modulating this tone. It is a minimalist, atmospheric, and often percussive score that heightens tension and unease rather than telegraphing emotion, a hallmark of contemporary prestige thrillers.

Thematic Resonance: Society in a Microcosm

Beyond its visceral thrills and technical polish, In the Mud is a series rich with thematic ambition. It uses the microcosm of the prison to explore complex social and philosophical questions, reframing the core concerns of its predecessor through a new, distinctly female perspective.

The Female Gaze in a Masculine Universe

The series fundamentally reorients the themes of El Marginal by centering the female experience. It delves into how women navigate a system of violence and control that is often architected by and for men. The narrative is deeply invested in exploring the formation of female alliances, the unique manifestations of power and hierarchy among women, and the specific psychological toll of incarceration on them. This thematic focus connects to a powerful current in contemporary Latin American arts, which increasingly confronts issues of gender discrimination and foregrounds narratives of feminist resistance. In its own brutal and confined context, the series examines the “new roles…that woman assumes in her decision to integrate herself into history”, even if that history is being written in a prison yard.

The Body Politic and the Body in Pain

The central, recurring motif of “mud” operates on multiple symbolic levels. It represents a forced erasure of past identities, a violent stripping away of the self that reduces the characters to a primal, undifferentiated state from which a new collective must be born. The physical act of being “embarradas” is a traumatic baptism that irrevocably binds the protagonists. The series uses the physical body as the primary canvas for its themes. The trauma of the crash, the daily threat of violence, and the struggle for survival render the body a site of profound pain and vulnerability. Yet, it is also the locus of resilience, adaptation, and ultimately, resistance. This aligns with artistic traditions that use the corporeal body to explore broader social and political struggles, where individual pain reflects a collective condition.

The series represents a significant thematic evolution from its predecessor, shifting its central metaphor from social marginalization to foundational resistance. This subtle but crucial change suggests a more profound and perhaps more hopeful, if brutal, vision of social change. El Marginal‘s very title defined its characters by their relationship to the social order; they existed on the periphery, and their struggle was to carve out power and meaning within that liminal space. They were defined by their exclusion. In the Mud, by contrast, begins with a literal and figurative collapse. The transport sinks, the old world is washed away, and the characters are returned to a primal state, covered in the earth itself. They are not on the margin; they are at a new ground zero. Their chosen name, “Las embarradas,” is not about being outsiders; it speaks to their very substance. They are “The Muddied Ones.” This invokes a creation myth, a new beginning from the most basic of elements. This resonates deeply with Latin American literary and cultural traditions where “barro” (mud or clay) is a substance of creation, but also of poverty, struggle, and the earthbound reality of the oppressed. This reframes the entire concept of resistance. In El Marginal, resistance was often a cynical, transactional power play. In In the Mud, the formation of the group is an act of pure survival that organically evolves into a collective identity. It is a resistance born not of ambition, but of a shared humanity discovered in the most inhumane circumstances. This echoes historical narratives of popular resistance, where new forms of solidarity emerge from the crucible of shared oppression. The series, therefore, appears to be making a more fundamental argument: that truly transformative social bonds are forged not by challenging a center from the margins, but are born from the complete dissolution of the old order—from the mud of crisis.

A Brutal, Promising Foundation

In the Mud premieres as a confident, cinematically sophisticated, and unflinchingly brutal series. It successfully inherits the gritty aesthetic and thematic DNA of El Marginal while decisively establishing its own distinct, female-centric narrative territory. The opening episode functions as a powerful mission statement, using its visceral inciting incident to lay the groundwork for a complex exploration of trauma, survival, and the forging of a new collective identity in the face of systemic hostility. The direction is assured, the production values are exceptionally high for the genre, and the ensemble cast demonstrates immediate and compelling chemistry.

While paying homage to its celebrated lineage, In the Mud is clearly not content to be a simple retread. By plunging its characters, and by extension its audience, into the elemental “barro,” it poses a more profound and urgent question. It moves beyond asking how one survives on the margins of a broken system and instead interrogates how a new world—with new codes, new loyalties, and new forms of solidarity—can be built from the wreckage of the old. The series has laid a formidable and bloody foundation for what promises to be one of the most compelling and thematically rich dramas of the year.

The eight-episode series was released globally on Netflix on August 14, 2025.

Netflix’s ‘Fixed’: An Unflinching Look at Canine Crisis and Hand-Drawn Rebellion

In the landscape of contemporary American animation, a field largely domesticated by four-quadrant family entertainment, Genndy Tartakovsky’s Fixed arrives as a startling and feral proposition. The film presents a deceptively simple, high-concept premise: Bull, an average, all-around good dog, discovers he has 24 hours until he is scheduled to be neutered. This inciting incident triggers a frenetic, last-ditch adventure with his pack of canine friends, structured as a wild-night-out escapade. Yet, beneath its R-rated, comedy-of-humiliation surface lies a work of surprising thematic density. The narrative is less about a dog’s carnal panic and more a profound existential crisis. Tartakovsky himself has framed Bull’s anxiety through a potent analogy to the biblical tale of Samson, whose strength was inextricably linked to his hair; for Bull, his testicles represent a similar locus of identity, a source of what he perceives as his essential self. Their impending loss is not just a physical threat but a cataclysmic challenge to his very being. The film operates on a principle of radical tonal synthesis, a quality a character within the film’s own diegesis describes as “sweet and horrific, all at the same time”. It is a work that intentionally fuses the grotesque with the heartfelt, arguing that emotional depth is found not by sanitizing life’s messy realities, but by confronting them in all their crude, vulnerable, and often hilarious complexity.

A Visionary’s Hand-Drawn Rebellion

The film’s most definitive statement is articulated not through its dialogue but through its very form. As the first-ever traditionally animated feature from Sony Pictures Animation, a studio synonymous with computer-generated blockbusters, Fixed is an aesthetic and industrial anomaly—a self-proclaimed “unicorn”. The animation, a collaboration with the specialists at Renegade Animation and Brazil’s Lightstar Studios, is a masterclass in the expressive potential of a medium many considered a lost art in mainstream American features. Tartakovsky, an auteur whose singular style has shaped modern animation through works like Dexter’s Laboratory and Primal, eschews the slick veneer of contemporary CG. Instead, he embraces a visual language that is tactile, exaggerated, and unapologetically “cartoony,” reminiscent of a more adult The Ren & Stimpy Show. The film’s artistic lineage is a deliberate pastiche, channeling the kinetic, slapstick physicality of masters like Tex Avery and Chuck Jones. This approach allows for eye-bugging, face-stretching reactions that would appear grotesque if rendered with photorealistic precision; early 3D mock-ups were deemed “too much” for this very reason. Tartakovsky deliberately avoided the “extreme-ification” common in modern kids’ animation, focusing instead on classic principles of timing and clean staging. His process, inspired by anime directors, involved personally creating thumbnail storyboards to provide a clear blueprint for his global team. The choice of 2D animation, therefore, is not merely stylistic but ideological. The medium becomes the message, its “scrappy,” hand-drawn quality the perfect formal expression for a story about authenticity versus manufactured perfection.

Fixed

The Uncomfortable Synthesis of Vulgarity and Vulnerability

Fixed is relentless in its commitment to its R-rated premise, deploying a barrage of lewd and scatological humor that has proven polarizing. While some critics have found the dialogue wanting, feeling at times like gags from a “wrinkled back issue of National Lampoon,” the film’s physical comedy is consistently praised as its strongest asset. This vulgarity, which Tartakovsky describes as “raunchy, but… not gross,” serves as the disquieting foundation for a surprisingly substantial emotional core. Unlike films such as Sausage Party, which lean heavily on shock value, Fixed grounds its humor in character. The central romance between Bull and his neighbor, the elegant show dog Honey, is rendered with genuine warmth, and the narrative explores themes of friendship and acceptance with a sincerity that is both disarming and, for some, dissonant. This emotional sincerity is deepened by a sharp critique of the elitism of the competitive dog show world and a notably tender and progressive storyline involving Frankie, an intersex Doberman voiced by River Gallo, which directly addresses themes of self-acceptance. The film’s most outrageous climactic sequence, a set piece the director called a non-negotiable “litmus test,” functions as the thesis for this artistic experiment. It is here that the narrative’s most base humor is used as the direct mechanism for delivering its most significant thematic payoff: character catharsis and a final, hard-won atonement. The film’s success hinges on whether one accepts that the profane can be a direct pathway to the profound.

The Chemistry of the Canine Ensemble

The emotional architecture of the film is held together by the palpable chemistry of its central pack, whose camaraderie provides the necessary anchor for the narrative’s more extreme comedic flights. The ensemble is led by Adam DeVine as Bull, a character he has described feeling “born to play,” capturing the dog’s pent-up anxiety and underlying sweetness. Idris Elba delivers a standout performance as Rocco, a self-assured boxer whose tough exterior conceals a sensitive soul, deconstructing tropes of stoic masculinity. Kathryn Hahn’s Honey is a crucial element in the film’s tonal balance. At the actress’s own suggestion, the character was written to be as raunchy and crude as her male counterparts, a choice that infuses the film with a vital feminine energy and prevents Honey from becoming a passive romantic prize. Instead, she actively participates in and subverts the film’s transgressive humor while simultaneously questioning the very standards of perfection that define her existence. The supporting pack, including Bobby Moynihan’s neurotic beagle Lucky, Fred Armisen’s influencer-obsessed dachshund Fetch, and Beck Bennett’s arrogant Borzoi antagonist Sterling, are more than comedic foils; they are archetypal probes into the film’s themes of identity and conformity. The warm dynamic of the group, based on Tartakovsky’s own long-standing friendships, ensures that even amidst the chaos, the film’s emotional core remains intact.

The Survival of a Hollywood Unicorn

The story of the film’s creation is a compelling meta-narrative that mirrors its on-screen themes. A passion project first conceived in 2009, Fixed languished in development for over a decade, repeatedly put on the back burner at Sony while Tartakovsky helmed the studio’s billion-dollar Hotel Transylvania franchise. When finally completed, the film faced a near-fatal distribution crisis. Originally a co-production to be released by Warner Bros. through New Line Cinema, the finished movie was unceremoniously dropped as part of a wider corporate cost-saving strategy. For a time, the film, which Tartakovsky describes as a “unicorn” for being original, R-rated, and 2D, was a completed work without a home. Its eventual rescue came from an unlikely corner: after being passed over by Netflix’s film division, which prioritizes family-friendly content, it was championed and acquired by the streamer’s adult animation series division. This journey, a protracted struggle against institutional and commercial aversion to risk, parallels Bull’s own story of a lovable mutt fighting for his place in a world of pedigreed purebreds. The film’s very existence is a testament to artistic persistence in a system that rarely rewards it.

The film held its world premiere at the Annecy International Animation Film Festival and was released globally on Netflix on August 13, 2025.

Netflix Premieres ‘Songs from the Hole’ Documentary

The new feature-length film “Songs from the Hole” tells a story of art, family, and forgiveness through the unconventional medium of a documentary visual album. The film centers on the life and music of James “JJ’88” Jacobs, who composed an entire musical opus while serving a life sentence that began in his teenage years. It chronicles his coming-of-age behind bars, using his own music to navigate the profound internal struggles of an individual who has both perpetrated and been a victim of extreme violence. The result is a testament to the power of art to forge a path toward healing and peace in the most restrictive of circumstances.

The Narrative Form: A Documentary Visual Album

The film forges its own path, departing from traditional documentary conventions to create a hybrid structure with Jacobs’s music as its narrative and emotional core. The story unfolds across ten original hip-hop and soul songs that Jacobs wrote and composed while incarcerated, which form the film’s narrative spine. These musical pieces are visualized through scripted segments, based on treatments Jacobs himself wrote, that feature actors portraying him at various stages of his life. This musical foundation is then interwoven with non-fiction elements, including first-person narration from Jacobs, readings from his journals, and interviews with his family. The storytelling is further layered with mixed-media components, including imagined reenactments, dream sequences, and animation, all designed to give form to Jacobs’s interior world.

This unique format was born from necessity. With its protagonist physically inaccessible, the filmmakers turned a logistical limitation into a defining aesthetic strength. Jacobs’s presence is primarily auditory, his voice delivered through recordings of 15-minute prison phone calls that position him as the narrator of his own story. The periodic countdown to the end of each call serves as a stark, recurring reminder of his confinement. In the absence of direct access, his music—much of it written in the isolation of a 6×6-foot solitary confinement cell—becomes the most direct artifact of his experience, translating an otherwise inaccessible reality to the screen.

Songs from the Hole

The Story of James ‘JJ’88’ Jacobs

The documentary presents the stark, pivotal events of Jacobs’s life. In 2004, at 15 years old, he took a life and was subsequently convicted of murder. Just three days later, his own brother was killed, positioning him as a figure who has both inflicted and endured profound violent loss. Sentenced to 40-years-to-life, he spent 18 years in the California state prison system before his release in 2022. A significant portion of that time was spent in solitary confinement, or “the hole,” where songwriting became a way to “manufacture hope” and where he composed much of the music featured in the film.

The film’s narrative deliberately moves beyond a simple arc of redemption. By consistently framing its subject as a person grappling with the duality of having “committed and experienced violent harm,” the story confronts the complex realities of cyclical violence. It focuses instead on themes of accountability, grief, and a continuous process of self-reckoning. Forgiveness, a concept he meditated on while in isolation, is central to his story and that of his family, including his father William, mother Janine, sister Reneasha, and his fiancée and prison advocate, Indigo Mateo. The focus on his “acceptance” of his actions and their consequences creates a nuanced portrait that resists easy categorization, prompting a more sophisticated conversation about harm and justice.

The Collaborative Creation of ‘Songs from the Hole’

The film is the outcome of a deeply collaborative, non-hierarchical partnership. The creative team was led by director Contessa Gayles, an Emmy-nominated filmmaker whose work often explores identity and liberation. She was brought into the project by producer richie reseda, a formerly incarcerated abolitionist-feminist organizer whom Gayles had previously featured in her 2018 documentary “The Feminist on Cellblock Y.” Reseda, who is also the film’s music producer, has been a friend and collaborator of Jacobs since they met in prison in 2015. The third key partner is Jacobs himself, credited not only as the subject and composer but also as a writer and co-producer. The entire creative process was conducted through letters and timed prison phone calls, with Jacobs writing the initial visual treatments for his songs, making him a central author of the film’s narrative.

This production structure mirrors the film’s message. The project is credited as a film by Cocomotion Pictures, Gayles’s independent production company, and by Question ¿ Culture, the social-impact media company and worker-owned collective founded by reseda while he was incarcerated. With an explicit abolitionist-feminist mission, Question Culture operates on a non-exploitative business model and houses Jacobs’s music. This method of creation, which centers and empowers system-impacted individuals as partners, serves as a real-world application of the transformative principles the film explores. The production also received support from established non-fiction funders, including Impact Partners and the Artemis Rising Foundation.

Critical Acclaim and Social Impact

Since its world premiere, “Songs from the Hole” has earned considerable acclaim on the 2024 film festival circuit, winning the Audience Award in the Visions category at SXSW and the Jury Prize for Best Feature Documentary at the BlackStar Film Festival. In a particularly resonant honor, the film received the “Excellence in Criminal Justice Storytelling Award” from a jury of incarcerated men at the first film festival held inside New York’s Sing Sing prison. It has also received awards from the Newark Black Film Festival, Indie Street Film Festival, and New Orleans Film Festival. Beyond accolades, the film is designed to be a tool for social dialogue. It is the centerpiece of an impact campaign, managed by organizations like Represent Justice, that uses the story for “cultural organizing.” The campaign aims to bring the film to audiences directly affected by the carceral system, provide tools for healing, and highlight community-based alternatives to retributive justice.

The documentary-musical “Songs from the Hole” has a runtime of 106 minutes and is rated R. The film premieres globally on Netflix today, August 13.

Netflix

New Netflix Espionage Thriller ‘Saare Jahan Se Accha’ Explores a Silent War

The Hindi-language espionage series, Saare Jahan Se Accha: The Silent Guardians, has premiered on Netflix, offering a thriller set against the turbulent political backdrop of the 1970s. The series title itself is a layered reference, combining one of India’s most cherished patriotic songs with a phrase that defines the narrative’s core focus. The main title comes from “Tarānah-e-Hindi,” a 1904 poem by Muhammad Iqbal whose opening line, “Saare jahan se accha, Hindostan hamara” (“Better than the entire world, is our India”), became an anthem of opposition during the British Raj and remains a cultural touchstone. This is paired with the subtitle, “The Silent Guardians,” which points directly to the show’s dedication: a tribute to the unsung heroes of the intelligence community. The series aims to tell the story of those who operate in the shadows, individuals who are nameless and faceless, receiving no medals or grand celebrations for fighting battles that are never seen but whose outcomes shape a nation’s destiny. The 1970s setting is critical to this vision, placing the story in a volatile era of Cold War-era intrigue where a single move could shift the balance of global power. This historical context allows the narrative to focus on analog espionage—a world of intercepted calls, Morse codes, and transaction trails—and a tense battle of wits and tradecraft.

A High-Stakes Mission in a Battle of Wits

The fictional plot of Saare Jahan Se Accha: The Silent Guardians centers on a high-stakes covert operation where the slightest delay could have catastrophic consequences. The story follows Vishnu Shankar, a meticulous and resilient agent of India’s Research and Analysis Wing (R&AW), portrayed by Pratik Gandhi. He is dispatched on a perilous mission into Pakistan to sabotage the nation’s emerging nuclear program. His adversary is his direct counterpart from Pakistan’s Inter-Services Intelligence (ISI), an equally cunning and disciplined agent named Murtaza Mallik, played by Sunny Hinduja. The narrative is framed as a deadly game of strategy between these two operatives, a cerebral duel where each must anticipate the other’s every move. Adding to the complexity, Vishnu is accompanied on his mission by his wife, played by Tillotama Shome, blending the personal and professional risks of his undercover life. The series deliberately avoids a simplistic good-versus-evil conflict, instead presenting a nuanced psychological contest. According to actor Sunny Hinduja, the story is not a black-and-white conflict, as his character Murtaza is a highly disciplined and dangerous operative whose sole mission is to serve his nation, just like his Indian counterpart. This portrayal of the antagonist as an equally dedicated patriot introduces a layer of moral ambiguity. The protagonist is depicted with similar complexity. Pratik Gandhi has described his character, Vishnu, as someone who walks a tightrope between duty and morality, highlighting the immense psychological and ethical compromises inherent in espionage. The series focuses on the emotional toll of being an invisible fighter for India, presenting a human drama about the profound personal cost of a silent war.

Saare Jahan Se Accha

The Creative Team Behind the Espionage

The series is created by Gaurav Shukla and produced by Bombay Fables, with Sumit Purohit directing and Bhavesh Mandalia serving as creative producer. This creative team was assembled to merge complex, character-driven storytelling with the sharp pacing of a thriller. Creator Gaurav Shukla is known for his work on Asur, a critically acclaimed series praised for its intricate plotting and deep psychological studies. Director Sumit Purohit’s credits include writing for Scam 1992, a series noted for its meticulous period detail and compelling character development. A key figure shaping the show’s rhythm is editor Aarif Sheikh, whose work on major action thrillers like Pathaan and War suggests a strategic choice. His involvement implies that while the story is cerebral, its execution is designed to be propulsive and engaging. According to Tanya Bami, Series Head at Netflix India, Sheikh brings a sharp, cinematic edge to the storytelling, which results in an intimate, adrenaline-charged tale that balances quiet tension with a compelling pace.

A Powerhouse Ensemble Cast

Saare Jahan Se Accha: The Silent Guardians is built around a formidable ensemble cast, prioritizing dramatic credibility and nuanced performances. The lead role of R&AW agent Vishnu Shankar is played by Pratik Gandhi, whose breakout performance in Scam 1992 established his ability to portray complex characters. His ISI counterpart, Murtaza Mallik, is played by Sunny Hinduja, known for his roles in Aspirants and The Family Man. The supporting cast features a lineup of respected actors, including Tillotama Shome, Rajat Kapoor, Kritika Kamra, Suhail Nayyar, and Anup Soni. The casting signals a commitment to artistic depth. Tillotama Shome, an internationally recognized actress from films like Sir and Monsoon Wedding, plays Vishnu’s wife, suggesting a substantial role exploring the domestic fallout of a life built on deception. Veteran actor Rajat Kapoor portrays Vishnu’s superior at R&AW, lending gravitas to the agency’s command structure. Actress Kritika Kamra has stated that her character is impactful and holds narrative weight. She found a depth and purpose in the role that excited her as an actor, indicating a tightly constructed script where every role serves a meaningful function.

A Grounded Take in a Crowded Field

The series is positioned as a grounded approach to the spy genre, focusing on the psychological and moral challenges faced by intelligence officers. This stylistic choice is particularly notable given the near-simultaneous release of another Indian spy thriller, Salakaar, on the JioHotstar platform. Salakaar shares a remarkably similar premise, also following an Indian agent in 1970s Pakistan tasked with stopping a nuclear project. This rare market convergence creates a direct comparison between the two high-profile series. In response, Saare Jahan Se Accha has emphasized its key differentiators. The repeated focus on it being a battle of wits, a grounded approach, and not a black-and-white conflict is a clear attempt to carve out a distinct identity. The series is marketing itself on the nuance of its execution and tone, leveraging its creative team and acclaimed cast as markers of quality. Tanya Bami of Netflix India has stated that the series is set apart by its unique perspective, choosing to tell the story through the eyes of those who worked behind the scenes. This strategy is a calculated bet that a more sophisticated, psychologically complex, and performance-driven narrative will capture a discerning audience.

Series Information

The Hindi-language drama series is a production of Bombay Fables.

The series premiered on August 13.

Netflix

MIT List Visual Arts Center to Present American Artist’s First New England Solo Exhibition

The MIT List Visual Arts Center will present American Artist: To Acorn, the first solo exhibition of the artist’s work in New England. The exhibition features a selection from the artist’s multi-year project, Shaper of God, which is centered on the work and life of the writer Octavia E. Butler.

American Artist’s multidisciplinary practice investigates the intersections of technology, race, and the production of knowledge. Since legally changing their name, the artist has explored the construction of identity under racial capitalism. Previous works have addressed themes of antiblackness within the history of computing, such as in Black Gooey Universe, and surveillance, as seen in 2015 and Security Theater, the latter of which transformed the Guggenheim Museum’s rotunda into a panoptic structure.

The current body of work draws inspiration from Octavia Butler’s speculative Earthseed novels, Parable of the Sower and Parable of the Talents. These narratives, set in a dystopian America, follow protagonist Lauren Oya Olamina as she develops the Earthseed belief system, a framework for survival and community amidst societal and environmental collapse. The artist shares a biographical connection with Butler, as both attended the same high school in Pasadena, California. This geographic and personal parallel informs the project, which also considers histories of Black migration and community in the Pasadena and Altadena areas.

Shaper of God is grounded in sustained research into the Octavia E. Butler Papers at the Huntington Library. The exhibition will include graphite drawings by American Artist that meticulously trace Butler’s notes, maps, and other ephemera onto the library’s requisite pink archival stationery. These documentary-style works are presented alongside more speculative pieces. For example, To Acorn reconstructs a bus stop sign from Butler’s era, placing it within a Southern California landscape. Another work, The Monophobic Response, involves both a film and a sculpture. It restages a historical rocket engine test from the Arroyo Seco Canyon, re-imagined as a fictional test conducted by members of the Earthseed community. The performance utilized a functional replica of the early rocket engine, built from sketches found in the Jet Propulsion Laboratory archives.

Through these works, American Artist examines Butler’s role not just as a literary figure but as a theorist of survival and relationality. The exhibition navigates between factual documentation and speculative fiction, creating a critical lens through which to view the present by affirming Butler’s own study of history and her warnings about potential futures.

As stated by Chief Curator Natalie Bell, “American Artist’s engagement with technology has long balanced rigorous inquiry and critique to confront dystopian realities. Moving between past traces and imagined possibilities, their Shaper of God project mirrors the method that Butler herself advanced.”

American Artist: To Acorn is organized by Natalie Bell, Chief Curator, with Zach Ngin, Curatorial Assistant.

The writer Octavia Butler lived from 1947 to 2006, publishing Parable of the Sower in 1993 and Parable of the Talents in 1998. American Artist legally changed their name in 2013; the works mentioned include 2015 (2019), Black Gooey Universe (2021), To Acorn (1985) [2022], Security Theater (2023), and The Monophobic Response (2024), which restages a rocket test from 1936. The exhibition will be on view from October 24, 2025, to March 15, 2026.

American Artist, To Acorn (1985), 2023. Steel, acrylic, and hardware, 107 x 33 x 33 in. Courtesy the artist and LABOR, Mexico City

Netflix’s Wednesday Returns with a Darker, More Perilous Second Year at Nevermore

The second season of the supernatural mystery series Wednesday has premiered, returning audiences to the gothic world of Nevermore Academy. Following the record-breaking success of its initial run, the new installment finds protagonist Wednesday Addams, portrayed by Jenna Ortega, confronting a new set of challenges that are both deeply personal and existentially threatening. The narrative immediately establishes a dual conflict for its titular character. Upon her return to Nevermore, she must contend with an unwelcome new status as the school’s reluctant celebrity savior. More urgently, she is afflicted by a harrowing psychic vision that foretells the death of her roommate, Enid Sinclair, an event for which Wednesday believes she is directly responsible.

This inciting incident marks a significant narrative pivot from the first season. Where the initial mystery was driven by Wednesday’s morbid curiosity to solve a series of murders—a pursuit that aligned with her natural inclinations—the second season is propelled by an internal, character-driven crisis. The mission to save Enid elevates the emotional stakes, forcing Wednesday to act not from intellectual detachment but from a burgeoning, if unacknowledged, sense of loyalty and friendship. This shift places her developing relationships at the core of the plot, using the season’s new supernatural mystery as the crucible in which these bonds are tested.

A More Perilous Year at Nevermore

The season’s plot is structured around Wednesday’s desperate “time-bomb mission” to alter the future and prevent Enid’s foretold demise. This central narrative is interwoven with several interconnected threats that expand the scope of the series. The story opens before Wednesday’s return to school, revealing that she spent her summer break actively honing her psychic abilities by hunting a serial killer known as the Kansas City Scalper, played by guest star Haley Joel Osment. This sequence establishes her development into a more proactive, though perhaps reckless, investigator. However, it also introduces a critical vulnerability: her psychic powers have become unstable, failing her at a crucial moment during her confrontation with the killer.

This unreliability of her primary tool for control sets the stage for a season-long arc that deconstructs Wednesday’s perception of her own infallibility. She arrives at Nevermore believing she is in command, only to be immediately confronted by a future she cannot control and a school environment where, as the showrunners have indicated, nothing is as it seems. The betrayal by Ms. Thornhill in the first season has had a lasting impact, shattering Wednesday’s trust in authority figures and making her more cynical and self-reliant. Adding to the peril is the unresolved cliffhanger from the first season: a mysterious stalker who continues to send threatening messages, confirming that the threats to Wednesday and Nevermore were not fully resolved.

Further complicating the central mystery are deeply buried Addams family secrets, which are teased to have “deadly consequences” and appear to be intrinsically linked to the new dangers at Nevermore. This narrative direction is accompanied by a deliberate tonal shift. The series has consciously moved away from the romantic subplots of the first season, specifically the love triangle involving Wednesday. Instead, it leans more heavily into horror, with Jenna Ortega, now also serving as a producer, noting that the season is “bigger, bolder, gorier, a bit darker”. The creative team has cited vintage slasher films such as Carrie and Prom Night as stylistic and thematic inspirations. This removal of romantic elements is not merely an aesthetic choice; it serves a distinct narrative function. By eliminating the genre-typical safety net of a romantic interest, the story isolates Wednesday further, forcing her to confront the season’s terrors without distraction. This makes her vulnerability more acute and her ultimate reliance on her friendships, particularly with Enid, more significant and hard-won. Ortega has also noted that Wednesday herself becomes more of a source of horror, at times functioning as “a little bit of a jump scare herself”.

Wednesday

The Evolving Ensemble: Familiar Faces and New Dynamics

The second season sees Jenna Ortega’s role expand beyond her on-screen performance. As a producer, she has gained significant creative input, contributing to script development, character arcs, and even specific production elements like prosthetic designs. Her character’s journey this season focuses on navigating her unwanted fame within Nevermore while grappling with the emotional weight of her premonition.

The Addams family’s presence is substantially increased, serving to externalize Wednesday’s internal conflicts. Her ongoing struggle for independence is now physically manifested by her family’s integration into her school life, forcing confrontations she would otherwise avoid. Morticia Addams, portrayed by Catherine Zeta-Jones, takes on a significant new position at Nevermore, creating a fresh source of mother-daughter friction that is central to the season’s exploration of family dynamics. Luis Guzmán returns as Gomez Addams, alongside Fred Armisen as the eccentric Uncle Fester.

Wednesday’s younger brother, Pugsley Addams (Isaac Ordonez), enrolls as a student at Nevermore, granting him a more substantial role. The narrative follows his discovery of his own supernatural abilities and, according to Ordonez, places him in the path of the season’s primary antagonist, with whom he shares a “very deep connection”. Enid Sinclair (Emma Myers) is positioned at the heart of the season’s emotional core, not only as the subject of Wednesday’s vision but as a character who has grown more confident in her own werewolf abilities, returning as “a bit more of a badass”.

Other returning characters see their roles evolve. Bianca Barclay (Joy Sunday), Wednesday’s former rival, enters into an “uncertain alliance” with her. Tyler Galpin (Hunter Doohan), the Hyde from the first season, remains a menacing presence, shown imprisoned at the Willow Hill Psychiatric Center but still capable of transformation. Eugene Ottinger (Moosa Mostafa) becomes Pugsley’s new roommate, expanding his involvement in the school’s daily life. Jamie McShane also returns as the now-disgraced former sheriff, Donovan Galpin.

An Influx of Newcomers

A significant number of new characters are introduced, expanding the world of Nevermore and its surrounding community. Steve Buscemi joins the cast as Barry Dort, the new principal of Nevermore Academy. His character is described as the “polar opposite” of his late predecessor, Larissa Weems, championing outcast pride to an extreme by advocating for “normie exclusion”.

The Addams family itself expands with the arrival of Grandmama Hester Frump, played by Joanna Lumley. She is introduced as Morticia’s wealthy and manipulative mother, the proprietor of a funeral home with her own distinct agenda for the family’s legacy. In a casting choice that pays homage to the 1990s Addams Family films, Christopher Lloyd joins the series as Professor Orloff, Nevermore’s longest-tenured teacher. Described as a stern disciplinarian, he takes a particular interest in the rebellious Pugsley. This casting creates a compelling meta-narrative layer; in Season 1, the villain was played by Christina Ricci, an actor with a legacy connection to the franchise. By casting Lloyd, another legacy actor, in the role of a teacher who targets an Addams sibling, the series deliberately sets up audience expectations, making Professor Orloff either the likely villain or a sophisticated red herring.

Other major additions include Thandiwe Newton as Dr. Rachael Fairburn, the pioneering lead psychiatrist at Willow Hill who oversees Tyler’s treatment, and Billie Piper as Isadora Capri, Nevermore’s new music director and a mentor to Enid. Pop superstar Lady Gaga makes a guest appearance as Rosaline Rotwood, a legendary former Nevermore teacher whose path crosses with Wednesday’s. The cast is further rounded out by Joonas Suotamo taking over the role of Lurch, Luyanda Unati Lewis-Nyawo as Jericho’s new sheriff, and guest appearances from Heather Matarazzo, Frances O’Connor, and Anthony Michael Hall. The new season also confirms the departure of Percy Hynes White (Xavier Thorpe) and Naomi J. Ogawa (Yoko Tanaka), a move consistent with the narrative’s shift away from the first season’s romantic subplots.

The Craft of a Modern Gothic Vision

The production of the second season underwent a significant logistical change, moving from Romania to Ireland. This relocation, prompted by logistical challenges during the first season, has become a key creative asset. Now the largest production ever to film in Ireland in terms of financial spend, the series utilizes locations in County Wicklow, Dublin, and Offaly, including the historic Powerscourt Demesne and Charleville Castle. The creative team has leveraged the “epic spectacle” and “timeless beauty” of the Irish landscapes to visually represent the season’s “bigger, bolder” narrative ambitions. The scale of the natural environment is used to mirror the increased scale of the story’s emotional and supernatural stakes.

The aesthetic remains rooted in the gothic vision established by executive producer and director Tim Burton, who returns to direct four of the eight episodes, including the premiere and the finale. The visual language continues to draw inspiration from Charles Addams’s original, macabre cartoons rather than previous screen adaptations. Production designer Mark Scruton mixed contemporary elements like vending machines with period furniture from various eras to convey that the school had evolved over time. Burton’s directing style is described as fluid, often beginning with the actor’s performance to determine camera placement rather than adhering to rigid plans. Cinematography and production design emphasize tangible, practical sets and atmospheric lighting, continuing the visual motif of contrasting darkness and color that defines the relationship between Wednesday and Enid. The remaining episodes are directed by Paco Cabezas and Angela Robinson, maintaining a cohesive visual tone.

Costume design, overseen again by Colleen Atwood, plays a crucial role in signaling the season’s thematic shifts. A notable choice is a dark red dress worn by Morticia Addams, a striking departure from her iconic, exclusively black wardrobe. This decision serves as a visual metaphor for the show’s broader creative philosophy: honoring the spirit of the source material while refusing to be slavishly bound by its iconography. The color choice itself is layered with potential meaning, suggesting mourning for the deceased Principal Weems, foreshadowing new danger, or symbolizing the enduring passion of her marriage. Atwood’s detailed approach extends to the student body. Wednesday’s gray-and-black Nevermore uniform is a custom creation, reflecting her “allergy to color,” with its stripes painted on rather than woven to create a softer gradient. This is directly contrasted with Enid’s wardrobe, which uses the same principles of strong graphics and geometrics but in a vibrant, colorful palette, visually reinforcing their “opposites” dynamic. The music, a key component of the show’s identity, is once again composed by Danny Elfman and Chris Bacon, who return to provide their distinctive whimsical and haunting score.

Reinterpreting a Macabre Legacy

The series continues to carve its own unique space within the Addams Family canon. Its success as a modern adaptation stems not from simple replication of the past, but from a thoughtful deconstruction of it. The show takes the core conceit of the Addams family—a clan that is “mysterious and spooky” but sees itself as perfectly normal—and places it within a narrative framework where that worldview is actively challenged by tangible consequences.

Previous iterations of the Addams Family, particularly the original cartoons and the 1960s sitcom, often treated death and violence as punchlines, with morbid humor derived from a context free of lasting harm. The humor relied on perfect timing, cutting away from the grisly results before they were seen on screen. This series fundamentally alters that formula by introducing genuine stakes. As a serialized drama, it cannot simply cut away without creating continuity errors; it must show the consequences. The potential death of a friend, the unresolved crimes of a parent, and the threat of a stalker are treated with narrative gravity. This forces Wednesday to react with genuine emotion and determined action, moving her beyond her detached, cynical persona. The show reveals her family’s morbid humor to be a “bluff” that reality calls them on, proving that murder is, in fact, bad, and no one is killed as a punchline. By giving depth to all its characters, the series ensures that “nobody is just a joke, and as a result, neither are their deaths”. The central tension is therefore not merely a conflict between “outcasts and normies,” but an internal struggle within Wednesday herself, pitting her inherited, consequence-free philosophy against the inescapable reality of pain, loss, and the complex responsibilities of friendship.

Release Information

The second season of Wednesday consists of eight episodes, released on Netflix in two parts. The first part, containing episodes one through four, premieres on August 6, 2025. The second part, with the final four episodes, will be released on September 3, 2025. The titles for the first four episodes are “Here We Woe Again,” “The Devil You Woe,” “Call of the Woe,” and “If These Woes Could Talk”. The series has also been renewed for a third season.

Bonhams Hong Kong to Auction Himalayan Art Collection of Scholar Ulrich von Schroeder

Hong Kong – Bonhams will auction 37 works from the private collection of Ulrich von Schroeder, a preeminent scholar of Himalayan art, in Hong Kong this October. Titled Reverence: Important Himalayan Art from the Collection of Ulrich von Schroeder, the sale represents five decades of systematic acquisition. Key lots will be previewed in Shanghai, Beijing, and Taipei prior to the auction.

Von Schroeder is recognized for establishing foundational scholarship in Himalayan art history. His 1981 publication, Indo-Tibetan Bronzes, provided the first comprehensive chronology of Tibetan metal sculpture across twelve centuries. Subsequent works include Buddhist Sculptures in Tibet (2001), documenting over 1,000 bronzes in previously inaccessible monasteries, and Nepalese Stone Sculptures (2019), cataloging nearly 3,000 Hindu and Buddhist works. These publications remain primary academic references due to their methodological rigor and descriptive precision.

Mark Rasmussen, Bonhams’ International Director of Indian, Himalayan & Southeast Asian Art, noted: “Von Schroeder pioneered the systematic tracing of Tibetan sculpture’s stylistic evolution. His six decades of research expanded the field’s parameters. Bonhams’ 2016 sale of his works achieved a record price for Tibetan sculpture; we are privileged to present further selections.”

Dora Tan, Head of Sale for the category, added: “The collection reflects a scholar’s discernment, prioritizing artistic significance and cultural resonance. It accommodates diverse collectors, spanning refined Buddhist sculptures, rare illuminated palm-leaf manuscripts, and connoisseur-level works—all bearing documented provenance.”

Notable Auction Works

Gilt Copper-Alloy Figure of Durga Mahishasuramardini
Nepal, Malla Period (1550–1650); 32 cm
Estimate: 5–7 million HKD (≈550,000–770,000 EUR)
A definitive example from Nepal’s Three Kingdoms era, depicting Durga subduing the buffalo demon. The dynamic composition contrasts with the deity’s serene expression, characteristic of Kathmandu Valley iconography.Copper-Alloy Figure of Avalokiteshvara
Kashmir, 10th Century; 61 cm
Estimate: 5–7 million HKD (≈550,000–770,000 EUR)
Among fewer than five known large Kashmiri bronzes in private hands. Its honey-toned alloy and contemplative demeanor reflect Kashmir’s influence on Tibetan and Chinese Buddhist art during its zenith as a scholastic center.Portrait Thangka of Jetsun Dragpa Gyaltsen (1147–1216)
Southern Tibet, Ngor Monastery, c. 1600; distemper on cotton; 78.5 × 67 cm
Estimate: 2.5–3.5 million HKD (≈275,000–385,000 EUR)
From the dispersed Ngor lamdre lineage series—most housed in institutions like The Met and Musée Guimet. Exemplifies the monastery’s distinct palette, precision brushwork, and psychological depth in depicting Sakya tradition hierarchs.

Simon Russell Beale Headlines RSC’s Titus Andronicus as Full London Cast is Revealed

The complete cast has been announced for the forthcoming London transfer of the Royal Shakespeare Company’s acclaimed production of Titus Andronicus. The production, directed by Max Webster, will have a limited engagement at the Hampstead Theatre.

Leading the company is Simon Russell Beale, who reprises the title role. This marks his return to the Hampstead Theatre, where he previously appeared in productions of The Invention of Love and Mr Foote’s Other Leg. Beale is a decorated actor with three Olivier Awards, a Tony Award for his Broadway performance in The Lehman Trilogy, and two BAFTAs.

Joining the cast is Ken Nwosu as Aaron. Nwosu’s stage credits include performances at the Bridge Theatre and the National Theatre, where he received an Ian Charleson Award nomination. Emma Fielding will play Marcia Andronicus, returning to the role. Wendy Kweh and Letty Thomas also reprise their roles as Tamora and Lavinia, respectively.

The ensemble includes Jeremy Ang Jones as Demetrius, Max Bennett as Saturninus, Marlowe Chan-Reeves as Chiron, and Joel MacCormack as Lucius. Other cast members are Danny Collins, Maximus Evans, Thomas Josling, Jerone Marsh-Reid, and Sharita Oomeer. The role of young Lucius will be shared by Charlie Banks and Osian Salter.

Max Webster’s staging of Shakespeare’s notoriously violent tragedy examines its themes through the prism of contemporary aggression. The narrative follows the Roman general Titus Andronicus, whose act of retributive justice following a war victory triggers a devastating cycle of revenge. The production comes to London following a successful run at the RSC’s Swan Theatre in Stratford-upon-Avon.

The creative team for the production includes set and costume design by Joanna Scotcher, lighting by Lee Curan, and sound design by Tingying Dong. The original score is composed by Matthew Herbert, with musical direction by Benjamin Kwasi Burrell. The team also features movement director Jade Hackett, fight and intimacy directors Rachel Bown-Williams and Ruth Cooper-Brown, voice coach Barbara Houseman, and casting director Matthew Dewsbury. The revival director for the transfer is Kwame Owusu.

The production is scheduled to run from 5 September to 11 October 2025, with a press night on 16 September.

Gemma New Embarks on Landmark 2025-2026 Season, Cementing International Stature and Championing New Works

Conductor Gemma New is poised for a landmark 2025-2026 season, a period that will see her solidify her position on the global stage through a series of major debuts, high-profile return engagements, and a deepened commitment to her role with the New Zealand Symphony Orchestra (NZSO). Now entering her fifth season as the orchestra’s Artistic Advisor and Principal Conductor, her leadership has been affirmed with a contract extension to continue as Artistic Partner from 2027 through 2029, providing a stable foundation for her expanding international activities.

Her artistic leadership in New Zealand will be showcased through several formidable symphonic programs. She will take the podium to lead the NZSO in interpretations of Mahler’s Symphony No. 6 and Bruckner’s Symphony No. 7. A central highlight of her tenure will be the world premiere of Conversation of the Light-ship and the Tide, a new work by composer Tabea Squire commissioned by the orchestra, underscoring a commitment to the creation of new repertoire. These performances will be augmented by collaborations with esteemed soloists, including saxophonist Jess Gillam and mezzo-soprano Joyce DiDonato.

The season marks a significant expansion of New’s global presence with an impressive schedule of inaugural appearances. She will make her debut with a host of leading European and Asian ensembles, including the City of Birmingham Symphony Orchestra, SWR Symphonieorchester, Israel Philharmonic Orchestra, Belgian National Orchestra, and the KBS Symphony Orchestra in South Korea. In the United States, she will make her first appearances with the Pittsburgh Symphony Orchestra and Nashville Symphony Orchestra. A pivotal moment in her career will be her operatic debut at the Houston Grand Opera, where she will conduct a new production of Rossini’s The Barber of Seville.

Alongside these debuts, New will revisit numerous orchestras in North America and Europe, a testament to her established rapport with international ensembles. Her North American schedule includes return engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Atlanta Symphony Orchestra, Seattle Symphony, San Diego Symphony, and Canada’s National Arts Centre Orchestra. In Europe, she will once again lead the BBC Philharmonic Orchestra, BBC National Orchestra of Wales, BBC Scottish Symphony Orchestra, Orquesta Nacional de España, Orquesta Sinfónica de Castilla y León, Münchner Rundfunkorchester, and the Bochumer Symphoniker.

A defining characteristic of New’s artistic vision is her dedication to contemporary music, which is woven throughout the season’s programming. She will conduct the U.K. premiere of Gabriella Smith’s Lost Coast and the world premiere of Carme Fernández Vidal’s Se sueña que se está soñando with the Orquesta Nacional de España. Her advocacy for the music of John Adams is evident in planned performances of his Saxophone Concerto, Century Rolls, and Short Ride in a Fast Machine. Further demonstrating this commitment, she will lead a large-scale production of Julia Wolfe’s powerful work, Fire in My Mouth, with the Belgian National Orchestra and its extensive choral forces.

The season’s engagements commence in the summer of 2025, following her debut at the Santa Fe Opera with Britten’s The Turn of the Screw. A detailed calendar of performances follows.

2025-2026 Season Calendar

August 14, 2025: Los Angeles Philharmonic, Los Angeles, CASeptember 5-6, 2025: New Zealand Symphony Orchestra, Wellington & Auckland, NZSeptember 19, 2025: Atlanta Symphony Orchestra, Atlanta, GASeptember 25, 2025: KBS Symphony Orchestra, Seoul, South KoreaOctober 1, 2025: City of Birmingham Symphony Orchestra, Birmingham, UKOctober 11, 2025: BBC Philharmonic Orchestra, Manchester, UKOctober 17-18, 2025: San Diego Symphony, San Diego, CAOctober 23-24, 2025: Seattle Symphony, Seattle, WANovember 7-9, 2025: National Orchestra of Spain, Madrid, SpainNovember 20-29, 2025: New Zealand Symphony Orchestra, Wellington, Christchurch & Auckland, NZJanuary 9-10, 2026: Nashville Symphony, Nashville, TNJanuary 18, 2026: Münchner Rundfunkorchester, Munich, GermanyJanuary 22-27, 2026: Israel Philharmonic Orchestra, Tel Aviv & Haifa, IsraelJanuary 31, 2026: BBC National Orchestra of Wales, Cardiff, UKFebruary 5 & 8, 2026: BBC Scottish Symphony Orchestra, Glasgow & Edinburgh, UKFebruary 20-21, 2026: Orquesta Sinfónica de Castilla y León, SpainFebruary 27, 2026: Belgian National Orchestra, BelgiumMarch 5-6, 2026: SWR Symphonieorchester, Stuttgart, GermanyMarch 12-13, 2026: Bochumer Symphoniker, Bochum, GermanyMarch 18-19, 2026: National Arts Centre Orchestra, Ottawa, CanadaApril 24 – May 10, 2026: Houston Grand Opera, Houston, TXMay 29 & 31, 2026: Pittsburgh Symphony Orchestra, Pittsburgh, PA