Martin Cid's Blog: Martin Cid Magazine, page 190

Can I Tell You A Secret? (2024) : A True Crime Docuseries on Netflix

Can I Tell You A Secret? is a docuseries directed by Liza Williams.

The lives of three women are forever altered after a relentless stalker gains access to their social media profiles. However, they are just a small portion of his numerous targets.

Where to Watch “Can I Tell You A Secret?”

Netflix

Matthew Hardy: Britain’s Worst Cyberstalker Evading Justice for Years

Cyberstalking is a growing concern in today’s digital age, and one case that shocked the nation was that of Matthew Hardy, Britain’s worst cyberstalker. For over a decade, Hardy terrorized countless women, leaving a trail of devastation in his wake. Despite being known to the police and even prosecuted multiple times, it took an astonishingly long time for him to be brought to justice. In this article, we delve into the chilling story of Matthew Hardy, examining how he managed to evade the law for so long and the impact he had on his victims’ lives. Read more

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Matthew Hardy: Britain’s Worst Cyberstalker Evading Justice for Years

Cyberstalking is a growing concern in today’s digital age, and one case that shocked the nation was that of Matthew Hardy, Britain’s worst cyberstalker. For over a decade, Hardy terrorized countless women, leaving a trail of devastation in his wake. Despite being known to the police and even prosecuted multiple times, it took an astonishingly long time for him to be brought to justice. In this article, we delve into the chilling story of Matthew Hardy, examining how he managed to evade the law for so long and the impact he had on his victims’ lives.

The Beginnings of Cyberstalking

Hardy’s reign of terror began in the mid-2000s when social media was still in its infancy. He targeted his female classmates and girls from neighboring schools, infiltrating their lives through platforms like Facebook. The harassment would start innocently enough, with anonymous messages claiming to have secrets about the victims’ lives. However, it quickly escalated into a nightmare of relentless stalking, threats, and manipulation.

The Tactics of a Cyberstalker

Hardy’s modus operandi was methodical and calculated. He would create fake social media accounts, pretending to be the victim or someone close to them. He used these accounts to spread lies, engage in sexually explicit conversations, and even send intimate photographs stolen from the victims. Anonymous messages and incessant phone calls would follow, leaving the victims in a constant state of fear and anxiety. Some victims resorted to extreme measures, sleeping with weapons by their side, fearing for their safety.

“The conversations always started the same way. A woman would get a message from a social media user. It would say: ‘Can I tell you a secret?’ The messenger often, but not always, appeared to be a friendly young woman, peppering the conversation with words such as ‘hun’ and signing off with a kiss.”

The Guardian

The Devastating Impact on the Victims

The psychological toll of Hardy’s cyberstalking cannot be overstated. Victims lost friends, family members, relationships, and professional opportunities. Many were diagnosed with depression and anxiety, requiring medication to cope with the trauma. One victim even slept with a baseball bat in her hand, constantly living in fear. The extent of the damage caused by Hardy’s actions is immeasurable.

The Scale of the Problem

The true scale of Matthew Hardy’s cyberstalking spree may never be fully known. The Guardian spoke directly to 10 survivors, and each one was aware of several other women who had fallen victim to Hardy’s relentless harassment. PC Kevin Anderson of Cheshire constabulary, one of the investigating officers, believes that there could be hundreds of victims. The sheer number of people affected by Hardy’s actions is staggering.

Law Enforcement’s Struggle to Stop Hardy

Despite being a known offender, Hardy managed to evade justice for an astonishingly long time. Cheshire constabulary alone was contacted over 100 times by 62 victims during an 11-year period. Hardy was arrested 10 times, yet the police and Crown Prosecution Service (CPS) seemed unable to put a stop to his reign of terror.

The Failure of Early Intervention

Hardy’s crimes were brought to the attention of the police early on, yet their response fell short. Victims reported his actions, provided evidence, and even obtained restraining orders against him. However, the police’s inability to effectively address the issue allowed Hardy to continue his cyberstalking spree unabated.

A Breakthrough for the Victims

In December 2019, PC Kevin Anderson took on Hardy’s case. Digging through the internal systems of Cheshire constabulary, he discovered over 100 logs related to Hardy and 62 victims. Recognizing the severity of the situation, Anderson made it his mission to bring Hardy to justice. He contacted other victims, collated evidence, and built a strong case against the cyberstalker.

“What struck me with Lia’s case was the way she handled herself. Hardy had told me that screenshotting his messages was pointless. Talking to the police was pointless. He said I’d never find out who he was, or what he knew. But she felt differently. Her indexed dossier was a staggering 700 pages long and numbered by Hardy’s social media accounts.”

PC Kevin Anderson

The Long Road to Justice

In January 2022, Matthew Hardy was finally sentenced to nine years in prison for five counts of stalking. This sentence is believed to be the longest ever handed out in a British court for a stalking offense. While this brought some relief to the victims, questions remain as to why it took so long for Hardy to be held accountable for his actions.

Psychological Profiling of Hardy

Melanie, a former classmate of Hardy’s, believes that his cyberstalking spree was fueled by his troubled experiences in school. Bullied and isolated, Hardy seemed to harbor resentment towards the girls who rejected him. This psychological profiling sheds light on the motivations behind his actions, although it does not excuse them.

The Impact on the Victims’ Lives

The consequences of Hardy’s cyberstalking extended far beyond the duration of his harassment. The victims continue to grapple with the emotional scars, constantly living in fear and paranoia. Relationships were shattered, careers disrupted, and personal well-being severely impacted. The road to recovery for these brave survivors is a long and arduous one.

The Wider Issue of Stalking

Matthew Hardy’s case highlights the broader problem of stalking and the challenges faced by law enforcement in addressing it. Across England and Wales, police consistently fail to bring charges against stalkers, with only 11% of reports resulting in a charge. Even when charges are brought, conviction rates are abysmal, with just 0.1% of cases resulting in a conviction. This failure to effectively address stalking puts victims at further risk and perpetuates a cycle of abuse.

The Need for Change

To combat the rising tide of cyberstalking and stalking in general, there is a pressing need for change. The creation of a national task force to examine low conviction rates and multi-agency stalking intervention programs could provide much-needed support to both victims and law enforcement. It is crucial that stalking is taken seriously from the outset to prevent further harm and ensure the safety of potential victims.

Matthew Hardy’s reign as Britain’s worst cyberstalker has come to an end with his conviction and sentencing. However, the scars he left on his victims will take a lifetime to heal. This case serves as a stark reminder of the impact that cyberstalking can have and the urgent need for better measures to combat this form of harassment. Only by working together can we create a safer online environment for everyone.

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Thea Djordjadze: framing yours making mine – Sprüth Magers, London

Thea Djordjadze’s temporary sculptural environments draw on the language of architecture, allude to modernist design, or echo the culture of her native Georgia. She combines a variety of artistic, industrial and unconventional materials to produce idiosyncratic works full of contrasts. Djordjadze frequently reconfigures her works for the duration of an exhibition to respond to the particularities of the spaces in which they are installed. Investigating institutional modes of presentation and display, she raises questions about how context influences the interpretation and perception of art. Sprüth Magers is pleased to present Djordjadze’s fresh, site-specific iterations of earlier sculptures combined with entirely new works in her solo exhibition, framing yours making mine, spanning two floors of the London gallery.

The artist picks up the threads of the body of work created for her 2023 exhibition The ceiling of a courtyard at WIELS, Brussels, continuing to expand the vocabulary of her sculptural paintings and painterly sculptures. Previous works are choreographed anew and combined with her latest works in the context of the gallery’s eighteenth- century building and its original architectural features, which Djordjadze has transformed by blurring its spatial boundaries. Typifying a fundamental element of her work, framing yours making mine is defined by the principle of all things being interconnected. In Djordjadze’s sparely staged shows, spaces and objects are constantly reconsidered: walls and floors are covered, benches and display cases are recontextualised, illustrating how an object is related to the thing in its proximity, the space surrounding it and the associations attached to it.

Devising her installations in situ and often modifying the work until the last minute before an opening, Djordjadze’s artistic process ensures her works escape the rigidness often determined by institutional processes. The artwork assumes its ‘final’ form only for a short period, inevitably questioning Western understanding of the cultural artefact and its presentation. This approach to art-making involves a degree of openness—Djordjadze incorporates extrinsic factors and yet refuses to attach them to a particular time and space in history. Instead, they are concerned with materialising time and rearranging it: adapting artworks created in the past for the present, fundamentally changing the way they are experienced. Time is employed both as material and as tool.

Djordjadze engages with the genius loci, the spirit of a space, which sets the tone for her installations. The works—made of wood, glass, plaster, linoleum, stainless steel and aluminium—are carefully placed to incorporate the peculiarities of a place. Utilising, for example, both natural and artificial light to create shadows or reflections, as well as leaving visible otherwise hidden objects relating to building safety. In consequence, viewers are directed to react to the architecture and move in certain ways: to consider the walls, windows, floor and ceiling. Djordjadze’s methodology for investigating the relationship between object and body is based on movement and motion. She thinks of sculpture as gesture, one gesture leading to the next. This physical relationship is inscribed in the works’ material details, which often reveal the process of their creation: imprints on malleable matter and marks on manipulated surfaces acknowledge the bodily gestures that made them.

The allusive installations elude clear-cut definition. Decidedly ambiguous and hybrid in quality, the works on view imply domestic and practical qualities but nevertheless remain sculptures in a state of transition. Framing yours making mine poignantly highlights the ongoing process of seeing and understanding that drives the creation and affects the experience of the works.

Thea Djordjadze (*1971, Tbilisi) lives and works in Berlin. Selected solo exhibitions include WIELS, Centre d’Art Contemporain, Brussels (2023), Musée d’Art Moderne et Contemporain (MAMC), Saint-Etienne (2022), Gropius Bau, Berlin (2021), Kunst Museum Winterthur (2019), Portikus, Frankfurt (2018), Pinakothek der Moderne, Staatliche Graphische Sammlung, Munich (2017), Secession Wien, Vienna (2016), MoMA PS1, New York (2016), South London Gallery (2015), MIT List Visual Arts Center, Cambridge, MA (2014), Aspen Art Museum, CO (2013), Malmö Konsthall (2012), The Common Guild Glasgow (2011), Kunsthalle Basel (2009) and Kunstverein Nürnberg/Albrecht Dürer Gesellschaft, Nuremberg (2008). In addition, important group exhibitions include Fondation Beyeler, Riehen/Basel (2023), Hamburger Bahnhof, Berlin (2022), Tai Kwun-Centre for Heritage and Arts, Hongkong (2020), Deichtorhallen Hamburg (2019), Triennale di Milano (2017), Städtische Galerie im Lenbachhaus, Munich (2017), 56th Venice Biennale (2015), Kunsthalle Wien, Vienna (2014), 55th Venice Biennale (2013), Palais de Tokyo, Paris (2013), Documenta 13, Kassel (2012), Sculpture Center, New York (2011), Hayward Gallery, London (2010) and the 5th Berlin Biennale for Contemporary Art (2008).

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Paloma Proudfoot: The voice of the play – The Approach Gallery, London

The Approach is pleased to present The Voice of the Play, a debut presentation of work by Paloma Proudfoot in The Annexe.

With a background in textiles, Proudfoot’s artistic process mirrors flat pattern-cutting, initially working with paper templates before realising the work in a three-dimensional format. Throughout her practice, she has been led by an enduring interest in how corporeality is both registered and articulated.

The Voice of the Play began with research into the Salpêtrière hospital in Paris during the 19th century, which, led by neurologist Jean-Martin Charcot, redefined the treatment and understanding of ‘hysteria’. Proudfoot’s work looks at how the patients of Salpêtrière became seen as mannequin-like, ventriloquised bodies malleable to the doctors’ whims; imagining through her works what their stories might have been had they been allowed to speak themselves. Drawing together this historical research with contemporary references and personal experience, Proudfoot explores the voice as a mechanism of agency more broadly, understanding it in physical as well as metaphorical terms, asking the question who gets to speak?

The exhibition takes its title from the narrator-esque character named The Voice of the Play in Hélène Cixous’ play Portrait of Dora. In this work, Cixous reimagines an account written by Freud (who was Charcot’s student) of one of his hysteria patients, the eponymous Dora. Cixous’ uses The Voice of the Play as a method to acknowledge her new account of Dora is precisely a version, one of a number of possible readings. Across the works in the exhibition Proudfoot also seeks to make space for a multiplicity of interpretations.

In Everybody has their own view, Proudfoot draws on documentation of patients with ‘Dermographia’ at Salpêtrière, who had such skin sensitivity that if lightly traced upon their skin would react in angry red welts. Often signing their own name, the doctor demonstrated an obvious sense of ownership and dominance over their vulnerable patient. In Proudfoot’s work, a disembodied hand is still in the process of writing across the figure’s back, as if in the moments before the chosen message is finalised and the photo is taken, the viewer is invited to imagine what might be written on the skin. The title is a translation of the Birgit Jürgenssen artwork Jeder hat seine eigene Ansicht from 1975, where, in uncanny parallel to the documentation of Dermographia patients at Salpêtrière, the artist has these words written across her own back in lipstick. Like Jurgenssen’s message, the viewer is reminded that while they are seeing one version, it is not a definitive representation. Written in lipstick, the smears of this stereotypically feminine object, is used to deny categorisation.

Disembodied hands reappear across the exhibition, like the just-seen hands of a puppeteer; the viewer is made aware of how the figures are being manipulated for their viewing. In Unfinished Painting, a hand holding a medical instrument to the face of the figure demonstrates the hypnotic spell she is under. The open weave of the shirt is suggestive of the chalked in lines of a painting before the exact contour of the body is decided and colour applied. A ghostly presence yet to take shape and her writing stalled by a bleeding pen, the body and its portrayal shown as a work in progress.

In Threaded, the exterior of the body is peeled back, demonstrating the depths to which a narrative might be imprinted on the female body. We see unzipped clothing revealing a spinal cord protruding from the back and a hand threading through the vein network, like an anatomical model maker paused at work. In Emotional Anatomy (I) and Needle (I and II) the spinal and rib like forms take on different textures, vine-like or with scaled protrusions, hybridising the visual language of anatomical models with a more metaphorical and emotional vernacular, spine crawling made manifest.

In Plume Proudfoot draws on stories of Charcot’s ‘Tuesday Lectures’, specifically the demonstrations in which feathers would be attached to patients to amplify the movement of their trembling and show the apparent neutralising effects of hypnosis. The women of Salpêtrière treated like mannequins, to which various accoutrements could be attached, are here and across the exhibition, reimagined with the agency to shape and model the representation of their own bodies. Transposed and stilled in clay, but fragmented and articulated as if only in momentary stasis, the works maintain a sense of flux and change.

Paloma Proudfoot (b. 1992, London, UK) lives and works in London.

Recent solo exhibitions include: The Lowry, Salford, UK (2024, forthcoming); Soy Capitán, Berlin, DE (2023, 2021 and 2019); Bosse and Baum Gallery, London, UK (2022); Hannah Barry Gallery, London, UK (2022 and 2018); Editorial Projects, Vilnius, LT; The Box at Pippy Houldsworth Gallery, London, UK (2020); Sans Titre, Paris, FR (2019); Ballon Rouge Collective, Brussels, BE (2019).

Recent group exhibitions include: The Infinite Woman, Fondation Carmignac, FR (forthcoming); Present Tense, Hauser & Wirth, Somerset, UK; Unruly Bodies, Goldsmiths CCA, London, UK; Contested Bodies, Stanley & Audrey Burton Gallery, Leeds, UK; In Watte und Nadeln, Galerie im Koernerpark, Berlin; off the beaten rack, Kunst im Tunnel, Dusseldorf, DE; Sculpture commission for Love, Bold Tendencies, London. UK; The Land of Cockaigne, Quench Gallery, Margate, UK; In Flux, National Geological History Museum, Meteora, EL; Art by Post, Southbank Centre, London, UK.

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Rhythm + Flow Italy (2024): A new music competition on Netflix: looking for the next Italian rap superstar

For some of these young boys and girls, rap is a matter of identity that arises from pain, suffering and street struggle. They are rap stars who are now returning to their hometowns to find new faces, voices and identities in the Italian rap scene. Fabri Fibra, Geolier and Rose Villain, together, will select the best and make them compete until the final phase in Milan, where the winner of the 100,000 euro prize will be decided. “Rhythm + Flow Italy” is a show filled with rhythm and intensity, now streaming on Netflix for music and rap lovers.

About the competition:

The popular show “Rhythm + Flow” arrives in Italy with style, great force and, most importantly, with personality and youth. These three young individuals will take us through Naples and Rome. In addition to the music, Netflix offers us the opportunity to travel to the heart of these cities, to the places where the music and its essence originate. We will get to know their streets and the realities that inspired these lyrics. A journey into the heart of the lyrics and the streets.

“Rhythm + Flow Italy” is a great opportunity for rap fans around the world to get to know Italy and its artists. It is also an opportunity for those unfamiliar with this music to get closer to its lyrics, the way of life that inspires them and the lives of the singers. A new reality show on Netflix that promises a lot of truth and authenticity, just like rap itself. If you are a fan, you will surely love it.

Four episodes to enjoy this musical phenomenon that has become, by its own merits, a genre that generates millions of dollars worldwide. Enjoy it!

Rhythm + Flow Italy – NetflixWhere to Watch “Rhythm + Flow Italy”

Netflix

The CastFabrizio TarducciRose VillainEmanuele Palumbo

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Julie Bozzi: Eye Candy – Talley Dunn Gallery, Dallas

Talley Dunn Gallery is excited to present Julie Bozzi: Eye Candy, a solo exhibition of paintings and works on paper by the nationally recognized, Fort Worth based artist.  Conceived and created by gallery Director Trini Martinez, the exhibition is a sweet shop of artistic delights and tasty miracles, Milagros Salerosos.

Celebrating Bozzi’s exquisite paintings in a variety of intimate formats, the exhibition reveals the artist’s fascination with studying sweets, candies, and breads from around the world.  Always painting from her delectable source material, Bozzi’s shares with us her insatiable fascination with collecting, categorizing, documenting, and painting sweets and food.  Traveling throughout Mexico and Japan, Bozzi shares with the viewer her meticulously rendered paintings of each culture’s treasured breads and candies.  From the suggestive forms of Mexico’s pan dulce to the seasonal references of Japan’s wagashi,  Bozzi studies the centuries-old traditions within these cultures, revealing her encyclopedic knowledge of her subjects.  Intriguing, tiny handheld holiday booklets reveal jewel-like paintings of American candies associated with cultural holidays.

Over the course of a remarkable fifty-year career, Bozzi has distinguished herself withing the genres of still life and landscape painting.  Bozzi earned both her Bachelor of Arts and Master of Fine Arts degrees from the University of California, Davis, where she studied with Wayne Thiebaud, and also studied at the Skowhegan School of Painting and Sculpture in Maine in 1975.   Bozzi has participated in numerous solo exhibitions, including shows at the Modern Art Museum of Fort Worth, the Indianapolis Museum of Art, the El Paso Museum of Art, and the Museum of Contemporary Art, San Diego.  Select group exhibitions include The Meadows Museum, Dallas, The Brooklyn Museum, the Museum of Contemporary Art, San Diego, the Museum of Fine Arts, Houston, The New Museum, and the American Academy of Arts and Letters. Many notable institutions have collected Bozzi’s work, including the Brooklyn Museum, the Hirshhorn Museum and Sculpture Garden, Washington D.C., the Dallas Museum of Art, the Modern Art Museum of Fort Worth, the Museum of Contemporary Art, San Diego, and the Museum of Fine Arts, Houston. Bozzi’s accolades include the Award in Painting from the Louis Comfort Tiffany Foundation in 1981, an Individual Artist’s Fellowship from the National Endowment for the Arts in 1989, the John Simon Guggenheim Memorial Foundation Fellowship in 2005, and the Dozier Travel Grant from the Dallas Museum of Art in 2017. 

Julie Bozzi, Milagros Salerosos, 2004, Oil on panel, 22h x 30 1/2w inches

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Valerie Carter, “Never Get Your Love Behind Me” with The Faragher Brothers

LOS ANGELES, Feb. 16, 2024 /PRNewswire/ — Valerie Carter, the late Southern California vocalist, is reimagined in a stunning new remake of The Faragher Brothers 1976 classic hit, “Never Get Your Love Behind Me,” on Faraphonic Records in conjunction with Cowboy Angel Records. In this exciting collaboration, the Valerie Carter Estate and Faragher Brothers have joined forces to bring a retro soul single to life. This special release is recorded with a special twist—the inclusion of Valerie Carter’s original vocals from 1977 intended for her Columbia Records album, “Wild Child.”

Following up on the recent “Lost Tapes” releases by Valerie Carter in 2018 (Vol 1) and 2022 (Vol 2), once again Val’s close friend, music producer Kathy Kurasch, and sister Jan Carter, have rediscovered unreleased material. Kathy notes: “I found another old cassette of Val’s from the “Wild Child” album demos, and there was an added song not included on the album of The Faragher Brothers’ “Never Get Your Love Behind Me.” We got the idea to recut the song with the current Faragher Brothers band by isolating Val’s vocal from the original demo, and then flying it into the new recording.”

“Never Get Your Love Behind Me” resounds as a soulful remaster, reflecting the essence of the era with newly recorded tracks by Tommy Faragher and the splendid vocals of Valerie Carter and Jimmy Faragher. As an added bonus, the B side of this single will surprise fans with a new recording of James Brown’s “What My Baby Needs Now,” featuring Valerie’s vocals reinserted from an electric live performance in 1976. The result is a spirited rendition capturing the soulful energy of both Valerie and Jimmy Faragher.

Through this project, Valerie Carter is celebrated. Her soul-stirring voice is given new life, ensuring her musical legacy lives on. Valerie was a beloved member of the Laurel Canyon music community. Her solo work and collaborations touched many of our greatest performers. Her credits include work with James Taylor, Jackson Browne, Linda Ronstadt, Christopher Cross, Neil Diamond, Little Feat, Prince, Earth Wind & Fire, and Jimmy Webb.

The new single, “Never Get Your Love Behind Me”, is available on all major streaming platforms and the official Valerie Carter website and Facebook page. The 7″ vinyl will be available on Record Store Day 2024.

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Amelia Moore returns with new single “that girl”

New York, NY February 16, 2024 – Amelia Moore, the rising star known for her emotionally resonant songwriting, is set to captivate audiences once again with her latest single, “that girl.” This compelling track delves into the challenges of navigating insecurity and self-doubt within the ever-present online world.

Inspired by her commitment to emotional transparency, Moore takes listeners on a journey through the tribulations of toxic comparison and the struggle for self-confidence. “that girl” serves as a poignant conversation starter, inviting listeners to explore the impact of chronic online exposure on mental well-being.

Known for her songwriting and vulnerability, Moore’s “that girl” is poised to become an anthem for those navigating self-discovery and confidence. The track features production from Trackside (Selena Gomez, Ryan Destiny, Tinashe) and Inverness (Natalie Jane, Jessie Murph). Building on the success of her previous single, “Over My Ex,” where Moore challenged conventional wisdom about rebound relationships, she continues to carve her path in the industry.

In discussing the inspiration behind “that girl,” Amelia Moore shared, “I listened to ‘honey’ by  Kehlani  and ‘love yourself’ by  Justin Bieber  before I got to the studio to write ‘that girl.’ I’m constantly seeing these ‘perfect’ girls on the internet, and it reminds me how insecure I’ve always been. Being vulnerable and honest in my songwriting is really important to me, and this felt like another personal story that I really needed to share.”Amelia Moore’s journey from homeschool to Hollywood has garnered over 168 million global streams, alongside recognition from Apple Music UP NEXT, Vevo DSCVR, and SiriusXM Hits 1 to Watch. Her music has garnered significant attention from publications like PAPER, Alternative Press, and the New York Times. Alternative Press, in particular, is placing its bets on Amelia, stating, “While Amelia Moore may not be a household name yet, she’s destined for stardom in the near future.”
With mesmerizing vocals, a distinctive aesthetic, and fearless lyrics, Amelia Moore’s debut EP, “Teaching a Robot to Love,” received acclaim as “arguably the strongest debut project any artist could wish to make.” As Moore releases more music, she continues to redefine the landscape of the pop genre. About Amelia Moore:Singer/songwriter/multi-instrumentalist Amelia Moore creates the kind of visionarypop music that both defies all expectation and feels immediately essential. In a whirlwind journeyshe describes as “homeschool to Hollywood,” the 23-year-old Georgia native got her startsinging in the church choir as a child, followed her dreams to Los Angeles at age 18, andsoon attracted a deeply engaged following on the strength of her bold but vulnerablesongwriting. True to her social handles (@icryatwork), the 23-year-old artist approaches allher music with a fierce commitment to total emotional transparency—an irresistiblecounterpart to her kaleidoscopic and endlessly unpredictable sound.

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‘This is Me…Now: A Love Story’ is a spectacular musical with JLo as the absolute protagonist in a musical dystopia presented in the form of a video clip

This is Me…Now: A Love Story is a film starring Jennifer Lopez and directed by Dave Meyers.

I must confess, at first I had no desire to watch this film, but as a professional, I felt obligated. However, I must also confess that we were pleasantly surprised by this original musical, written and starring Jennifer Lopez, which revolves around her own life and love affairs, as one may expect.

However, “This is Me…Now: A Love Story” is not just about the romances known from magazines and television. It is a futuristic video clip with several musical numbers, each with high quality in terms of photography and set design. Although it may seem self-centered and geared towards her fans, I must admit that “This is Me…Now: A Love Story” is of great quality and production.

About the film

Is it a tribute to Jennifer Lopez herself? Yes, it certainly is, but it is also done with great humor and quality. All the musical segments in this film are of the highest level, just like those of the New York singer, and each has stunning shots and images that are worth watching.

It is not about Jennifer’s life, nor does it feature Ben Affleck (although he did participate in the script). You won’t learn anything about love or disappointments, but if you are a fan, it is a wonderful Valentine’s Day gift (even though it has already passed).

Our Opinion

An excellent production with quality in every frame. A musical with several clips that lasts an hour and is sure to be a delight for her fans. The director deserves much credit.

A musical that will make you admire this woman even more, who has undoubtedly conquered the world with her ambition. Congratulations.

Where to Watch “This is Me…Now: A Love Story”

Prime Video

About Jennifer LopezJennifer Lopez Depositphotos

Jennifer Lopez, who was born on July 24, 1969, is a multi-talented American artist known by her nickname J.Lo. She has made a name for herself as an actress, singer, record producer, dancer, television personality, fashion designer, and television producer. Her career began on the popular TV show In Living Color as a dancer. She then ventured into acting, gaining recognition for her role in the 1995 action-thriller Money Train. Her first major leading role was in the biographical film Selena (1997), where she received an ALMA Award for her outstanding performance. She later earned another ALMA Award for her role in Out of Sight (1998). Lopez has since starred in various successful films such as The Wedding Planner (2001), Maid in Manhattan (2002), Shall We Dance? (2004), Monster-in-Law (2005), and The Back-up Plan (2010). Read more

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‘Einstein and the Bomb’ (2024) – A docudrama featuring the testimonies of Albert Einstein

Einstein and the Bomb is a docudrama directed by Anthony Philipson.

Einstein was credited with being the first to take the initial step towards unlocking the secrets of matter, which eventually led to atomic energy and the nuclear bombs dropped in Japan. Due to the rise of the Nazis, Einstein was forced to flee Germany, first to the United Kingdom and then to Princeton, United States.

“Einstein and the Bomb” is a dramatization of Einstein’s life from his departure from Germany until his death in the United States in 1955. The film includes interesting archival footage of the real Einstein and provides explanations about relativity, what this theory entails, and how far humanity has come thanks to the horizon of knowledge that was opened. It is a pedagogical docudrama that reminds us of the ones we used to watch in school to learn scientific lessons, with a highly educational discourse.

It is not intended to be a cinematic masterpiece, but rather a documentary for younger audiences to learn about Einstein. However, it only offers a general overview and does not delve into details or controversies.

About the film

As a documentary, there is not much to add. It simply aims to give a general idea of Einstein’s life. The documentary is based on Einstein’s own words, narrated in voice-over, his writings, and above all, his moral conclusions, which were numerous and valuable. It does not engage in any controversy, and if you already know about the theory of relativity, you may skip it as it does not offer much new information, but rather briefly summarizes Einstein’s theories and provides a general view of their impact.

This is not a biography of Robert Oppenheimer, and the Manhattan Project has little to do with this docudrama. The documentary simply presents well-known facts in a dramatized way, aiming to educate schoolchildren.

If you are looking for new information, proper scientific explanations, or controversial opinions, this is not the film for you.

Our opinion

This is a docudrama that reminds us of the ones we used to watch in school, providing a general overview of a particular subject. In this case, it focuses on the scientific idea that changed everything and its pioneer. We cannot say if it does justice to Einstein or not, but this educational docudrama has left us wanting more.

Release date

February 16, 2024

Where to Watch “Einstein and the Bomb”

Netflix

Albert EinsteinAbout Albert Einstein

Albert Einstein, a name that immediately evokes images of genius and scientific breakthroughs, is undeniably one of the greatest minds in the field of physics. Born on March 14, 1879, in Ulm, Germany, Einstein’s contributions to the world of science have forever altered our understanding of the universe. Read more

The CastAidan McArdleHelena WestermanAndrew HavillLeo Ashizawa

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