Martin Cid's Blog: Martin Cid Magazine, page 36

Netflix Brings the Shōjo Manga Classic ‘The Rose of Versailles’ to a New Generation

More than half a century after Riyoko Ikeda first penned her revolutionary manga, The Rose of Versailles, the opulent world of pre-revolutionary France, courtly intrigue, and groundbreaking characters returns to the screen. A new animated film adaptation, produced by the acclaimed studio MAPPA, hit Japanese theaters earlier this year and is now set for its global debut, streaming on Netflix. This release marks a revival of a beloved classic for its 50th anniversary, bringing back the fantastic character, the iconic heroine, Lady Oscar.

A Legacy Reborn: The Enduring Power of The Rose of Versailles

First serialized in Weekly Margaret from 1972 to 1973, Riyoko Ikeda’s The Rose of Versailles was more than just a manga; it was a cultural earthquake. Selling over 20 million copies in Japan alone, it sparked a social phenomenon. The story primarily follows two women navigating the treacherous currents leading up to and during the French Revolution: the historical Queen Marie Antoinette and the fictional Oscar François de Jarjayes, a noblewoman raised as a man to command the Royal Guard.

Ikeda, herself involved in Japan’s New Left movement and identifying as a socialist and feminist, infused the series with complex themes rarely seen in shōjo manga (comics aimed at young girls) at the time. The Rose of Versailles delved into political turmoil, class struggle, social injustice, emerging feminist ideas, and complicated explorations of gender identity and sexuality, all wrapped in a sweeping historical romance. It blended real historical figures and events—drawing heavily from Stefan Zweig’s biography of Marie Antoinette—with compelling original characters.

This narrative depth and thematic richness fundamentally shifted the perception of shōjo manga from a genre primarily for children to one capable of engaging teens and young adults with sophisticated storytelling. Its depiction of adult heterosexual romance between equals, particularly the later relationship between Oscar and her childhood friend André, was groundbreaking for the genre, even as it navigated the complexities of portraying such equality within established conventions. The series didn’t shy away from the harsh realities of the era, contrasting the decadent life at Versailles with the suffering of the common people—a perspective increasingly adopted by Oscar herself as the story progresses.

The manga’s influence extended far beyond print. It inspired a successful 40-episode anime series in 1979 (often known internationally as Lady Oscar), a 1979 live-action film directed by Jacques Demy, and perennial stage musicals by the all-female Takarazuka Revue, which remain popular even today. Ikeda herself returned to the world with spin-offs and sequels, further cementing its legacy.

The figure of Oscar François de Jarjayes is central—a woman raised as a man by her general father who desired a male heir. Oscar becomes a skilled commander, navigating the male-dominated world of the military and the royal court. Although she fits the “warrior maiden” archetype – a woman excelling in a masculine role, often to uphold patriarchal order – Oscar transcends its limitations. Her journey involves not just military prowess and loyalty, but a deep internal struggle with identity, duty, love, and social conscience. She grapples with societal expectations, her own feelings, and the injustices she witnesses, ultimately choosing to side with the revolution. This complexity, her androgynous presentation that captivated readers, and her eventual self-acceptance make her a far more nuanced figure than the traditional warrior maiden who typically relinquishes her male persona to restore order. Oscar’s “unraveling” is tied not to restoring the old order, but to the crumbling of that very order and her embrace of personal and political revolution.

The Rose of Versailles – Netflix

Enter MAPPA: A Modern Vision for a Classic Story

Bringing this complex and beloved story back to animation falls to Studio MAPPA, a name synonymous with some of the biggest anime hits in recent years. Known for animating blockbuster series like Jujutsu Kaisen, Chainsaw Man, and the final season of Attack on Titan, MAPPA has built a reputation for dynamic, high-quality animation.

MAPPA’s animation is often characterized by its detail, leaning towards realistic proportions and environments, sometimes incorporating a gritty aesthetic suitable for darker narratives. The studio frequently uses fine, clean lines, even when adapting manga with rougher art styles, and employs sophisticated post-processing for lighting and effects, alongside integrating 2D and 3D animation techniques. Their stated vision involves challenging new forms of expression across diverse genres without adhering to one particular style, aiming to create works that resonate deeply with fans.

This profile makes MAPPA an intriguing choice for The Rose of Versailles. Their experience handling complex narratives, intense action (relevant to the revolutionary aspects), and mature themes seems well-suited to the depth of the source material. However, the studio’s typically modern, sometimes intense visual style presents a potential contrast to the classic, often ornate, shōjo aesthetic of Ikeda’s original manga and the 1979 anime adaptation.

The 2025 Film: Plot, Production, and People

The new film revisits the core narrative, converging the lives of Oscar François de Jarjayes, Marie Antoinette, André Grandier (Oscar’s childhood friend and servant), and Hans Axel von Fersen (a Swedish count and Marie’s love interest) against the backdrop of late 18th-century Versailles and the looming French Revolution.

Behind the scenes, a talented team brings this vision to life. Ai Yoshimura, known for directing series like Blue Spring Ride and My Teen Romantic Comedy SNAFU, helms the project. The script is penned by Tomoko Konparu (Uta no Prince-sama, Kimi ni Todoke – From Me to You). Mariko Oka (Hell Girl, Nura: Rise of the Yokai Clan) handles character design, adapting Ikeda’s iconic look. The score features the combined talents of Hiroyuki Sawano (Attack on Titan, Promare) and Kohta Yamamoto (86, Ōoku: The Inner Chambers), with Sawano also serving as music producer. The powerful theme song, “Versailles,” is written and performed by singer Ayaka, and narration is provided by Hitomi Kuroki, a noted fan and former Takarazuka Revue performer.

The Japanese voice cast is led by Miyuki Sawashiro as Oscar and Aya Hirano as Marie Antoinette, supported by Toshiyuki Toyonaga as André and Kazuki Kato as Fersen. A large supporting cast includes veterans like Banjō Ginga, Mayumi Tanaka, Fumi Hirano, Akio Ōtsuka, and Sumi Shimamoto, alongside younger talents like Shunsuke Takeuchi, Takuya Eguchi, Miyu Irino, Kenshō Ono, and Saori Hayami. For the international release, the English dub features Caitlin Glass as Oscar, alongside Megan Shipman, Karen Strassman, Ryan Colt Levy, and others. This confluence of top-tier talent—from the powerhouse studio MAPPA and renowned composer Sawano to celebrated lead voice actors Sawashiro and Hirano—signals a high-profile production aiming for significant impact, treating the return of The Rose of Versailles as a major cinematic event.

Where to Watch “The Rose of Versailles”

Netflix

Season 5 of ‘Law & Order: Organized Crime’ – Award-winning Actor Erik Fellows Guest Stars in Episodes 1 & 2

Award-winning actor Erik Fellows guest stars as Steve Kingman in Season 5 of NBC’s ‘Law & Order: Organized Crime,’ in Episode 1 ‘Lost Highway‘ and Episode 2 ‘Dante’s Inferno,’ now streaming on Peacock, with new episodes on Thursdays.

‘Law & Order: Organized Crime‘ stars Christopher Meloni as Detective Elliot Stabler, a former Special Victims Unit (SVU), who returns to the New York City Police Department (NYPD) to join a new Taskforce, the Organized Crime Control Bureau (OCCB), that works to dismantle illegal criminal enterprises.

In the recently released film ‘Death 4 Dinner,’ about a savvy detective and his partner who attempt to unravel the mysterious sudden death of a prominent senator while simultaneously navigating his insanely quirky siblings and their fierce appetites for their recently deceased father’s millions, Fellows co-stars in the role of Taylor Rutherford. ‘Death 4 Dinner‘ also stars Michael Paré, John Savage, Cyril O’Reilly, Jessica Dawn Willis, Annie Gill, and Wendell Kinney. Written, directed, and produced by Lana Read of Garnet Films, with producers Greg Siewny and Jessica Dunham, The film is distributed through Gravitas Ventures and is available digitally and on-demand through Apple, Prime Video, Fandango, Google Play, and more.

Fellows will next be seen in new projects that include ‘Water’s Edge‘ starring Michael Paré, Eric Roberts, and Bill Oberst Jr., ‘Mr. Wonderful‘ starring Michael Madsen, ‘No Tears in Hell ‘ starring Luke Baines, ‘Sunlight‘ starring Tom Sizemore, ‘Burner,’ and ‘Boss Me Around If You Dare.’ 

Fellows is repped by agent Joy Pervis of J Pervis Talent Agency and manager Erika McFadden of Astra Media Artists, with publicity from Wendy Shepherd of Studio Matrix. 

Netflix’s “Turning Point: The Vietnam War” Offers an Unfiltered Look at the Enduring Scars of a Conflict

We’ve heard about the Vietnam War in countless movies and books; it’s a war etched into the collective unconscious, yet much remains unknown. “Turning Point: The Vietnam War” is a five-part documentary, each episode an hour long, that thoroughly examines the reasons behind the war and its consequences on the American psyche.

“Turning Point: The Vietnam War” historically analyzes why the United States intervened in the conflict and, also, why this intervention led to a breakdown of faith among American citizens, creating a trust gap between the people and their government.

The Vietnam War remains etched in global memory as one of modern history’s most “defining and divisive” conflicts. Its profound impact reverberated across continents, reshaping America’s identity, shattering trust in its institutions, exposing deep societal fissures, and altering the course of countless lives. As the world marks the 50th anniversary of the Fall of Saigon in April 2025 – a moment inevitably prompting reflection on the war’s complex and often painful legacy – Netflix introduces a significant new documentary series poised to re-examine this critical chapter.

This five-part documentary series, helmed by acclaimed director Brian Knappenberger and produced by Luminant Media, aims to chronicle the war’s trajectory, from the murky events of the Gulf of Tonkin incident that precipitated major U.S. escalation to the final, chaotic days of Saigon’s collapse.

The consistent production framework, involving Luminant Media and often director Brian Knappenberger, across the “Turning Point” series signifies a deliberate approach by Netflix. This strategy appears aimed at establishing a recognizable and trusted brand for high-caliber historical documentaries exploring pivotal global events. The specific inclusion of Đoan Hoàng Curtis, a filmmaker with deep personal ties to the Vietnam War, as Series Producer for this installment suggests a tailored effort to bring nuanced perspectives to this particular conflict.

Turning Point The Vietnam War – Netflix

Another Defining ‘Turning Point’ in a Flagship Franchise

“Turning Point: The Vietnam War” arrives with considerable anticipation, building on the success of its predecessors, “Turning Point: 9/11 and the War on Terror” and “Turning Point: The Bomb and the Cold War.” These earlier series garnered significant viewership and critical attention, establishing the franchise’s reputation for tackling complex, world-altering events with depth and compelling narrative force.

The timing of this release is particularly potent. Premiering precisely 50 years after the Fall of Saigon on April 30, 1975, the series positions itself not merely as a historical retrospective but as a timely exploration relevant to contemporary concerns. Descriptions emphasize its focus on the war’s “unresolved wounds, unlearned lessons, and enduring consequences” that “continue to shape the world today.” This framing connects mid-20th-century events to persistent 21st-century issues like deep societal divisions and the erosion of public trust in government – themes repeatedly highlighted as central to the Vietnam War’s legacy.

Netflix and Luminant Media seem to be leveraging a moment of heightened public interest and historical reflection to maximize the series’ impact and viewership. It positions the “Turning Point” brand as a purveyor of serious, thought-provoking nonfiction, drawing explicit lines between crucial historical moments and the present day.

Defining Scope, Sources, and Themes

Spanning nearly two decades and traversing three U.S. presidential administrations (Johnson, Nixon, and implicitly Ford), the series takes a comprehensive historical sweep. The narrative extends from the roots of major American involvement, contextualized by the aftermath of the French colonial defeat at Dien Bien Phu and the subsequent division of Vietnam, through crucial turning points. These include the controversial Gulf of Tonkin incident in August 1964, which provided justification for escalating U.S. military action; the massive 1968 Tet Offensive, which shocked the American public and shifted perceptions of the war; the My Lai Massacre, which exposed horrific brutality; the protracted Paris Peace Accords negotiations; the withdrawal of U.S. combat troops in 1973; and the dramatic final fall of Saigon in 1975.

The series boasts “unprecedented access” to CBS News archives, facilitated through See It Now Studios, offering immersive, contemporary broadcast perspectives on how the war was reported and perceived in real-time. Crucially, the inclusion of “rare Vietnamese footage” signals an effort to incorporate non-American visual records, moving beyond a solely U.S.-centric viewpoint. Declassified government records hint at explorations of official decision-making processes and potentially hidden histories.

Director Brian Knappenberger highlighted the use of recordings of Presidents Johnson and Nixon, obtained with assistance from the Miller Center’s presidential recordings program. These tapes are presented as revealing a “stark contrast” and “disconnect” between leaders’ public statements and their private assessments – particularly their understanding, concealed from the public, that the war was potentially an unwinnable “lost cause” they couldn’t admit. The implication is clear: the erosion of public faith, a defining feature of the war’s aftermath, was significantly driven by deliberate deception originating at the highest levels, often fueled by domestic electoral politics.

It is framed as a fundamental “political and cultural reckoning” that irrevocably reshaped America. The narrative intends to explore the war’s profound impact on American identity, its role in exposing and exacerbating divisions within society, and its contribution to an enduring cynicism towards political leadership. Trailer commentary speaks of America losing its “moral compass” during the conflict.

Furthermore, the series explicitly aims to amplify “often-overlooked perspectives.” The series moves beyond traditional military and political histories to include less commonly heard voices, encompassing diverse Vietnamese experiences and critical viewpoints from those who served, such as veterans who later became anti-war activists. The focus extends to the profound human cost, impacting “countless individuals,” and delves into the “unresolved wounds” left by the conflict. Descriptions promise “haunting archival footage” and “raw interviews,” underscoring an exploration of the war’s deep emotional and psychological toll.

By juxtaposing high-level sources like White House tapes and official documents with ground-level perspectives from archival footage and personal interviews, the series seems poised to create a powerful narrative tension. This contrast between the strategic calculations and deceptions of policymakers and the brutal realities and moral dilemmas faced by soldiers and civilians will likely serve to reinforce the central theme of a profound political and cultural reckoning.

Creators, Voices, and Perspectives

Brian Knappenberger serves as director and executive producer, continuing his role as a key architect of the “Turning Point” franchise. Known for works like “The Internet’s Own Boy: The Story of Aaron Swartz,” Knappenberger has shown an interest in tackling complex subjects with contemporary resonance. His approach in previous “Turning Point” installments involved aims like countering historical misinformation surrounding the Cold War and exploring the long-term geopolitical reverberations of the 9/11 attacks. His stated focus for the Vietnam series on the disconnect between presidential statements and private beliefs, and the resultant erosion of trust, aligns with this pattern of connecting historical analysis to enduring societal issues.

A significant addition to the creative team for this specific series is Series Producer Đoan Hoàng Curtis. Curtis is a Vietnamese-American filmmaker, oral historian, and, notably, a survivor of the war who was airlifted out of Saigon with her family during the chaotic final moments. Her acclaimed personal documentary, “Oh, Saigon: A War in the Family,” explored the deep divisions the conflict created within her own family, where relatives fought on opposing sides. Curtis’s involvement lends substantial credibility to the series’ stated goal of amplifying “overlooked perspectives.” Her presence suggests a deliberate effort to incorporate a more nuanced understanding of the Vietnamese experience, potentially addressing criticisms leveled at past documentaries for being overly U.S.-centric. Her expertise as an oral historian may also shape the series’ handling of personal testimony, adding layers of depth and empathy.

The series also features interviews with American veterans whose life trajectories were profoundly altered by the war, highlighting the theme of personal transformation amidst national upheaval. Among those featured are:

Scott Camil: A Marine who, upon realizing the extent of government deception, became a prominent anti-war activist and leader in Veterans For Peace.Scott Shimabukuro: A Japanese-American Marine who confronted racism within the military, testified about war crimes during the Winter Soldier Investigation, and co-founded an outreach program for Asian-American veterans.Jan Barry Crumb: Initially drawn to the military seeking adventure, he became disillusioned, resigned from West Point, co-founded Vietnam Veterans Against the War (VVAW), and pursued a writing career focused on war and peace.Everett Alvarez Jr.: The first American pilot shot down over North Vietnam, who endured over eight years as a prisoner of war before returning to a distinguished career in public service and business.

These veterans are presented not merely as witnesses to combat but as individuals who underwent profound personal reckonings. Their stories – involving disillusionment, activism born from betrayal, survival against immense odds, and confronting racism – serve as powerful human anchors for the series’ broader themes. By focusing on veterans who actively questioned the war and its justifications, the series likely moves beyond simplistic narratives of heroism to explore the complex moral, psychological, and political fallout of the conflict, reinforcing the idea of a deep societal rupture and the shattering of trust.

Our Take

Five hours might seem like a long time to spend in front of the TV, but this time, it’s worth it. It analyzes the reasons and causes behind the U.S. entry, the preceding situation of a divided Vietnam, and the events that brought chaos to Saigon. It explains everything directly and truthfully, leaving nothing out.

Then, it delves into the war itself, the public unrest, and the documentary’s central theme: the citizens’ distrust of public institutions.

It’s a rich, rigorous analysis that is undoubtedly worthwhile.

Where to Watch “Turning Point The Vietnam War”

Netflix

Asterix & Obelix Back in the Fray in Netflix Animated Series ‘Asterix & Obelix: The Big Fight’

For over six decades, the names Asterix and Obelix have conjured images of indomitable spirit, potent magic potions, and resounding slaps delivered to hapless Roman legionaries. Since their debut in the Franco-Belgian comics magazine Pilote in 1959, the diminutive, cunning warrior Asterix and his eternally strong, menhir-delivering friend Obelix have stood as icons of French popular culture. Created by the legendary duo of writer René Goscinny and artist Albert Uderzo, their adventures resisting Julius Caesar’s legions in 50 BC have captivated generations, selling over 385 million books worldwide in 111 languages and dialects. The saga of the small Gaulish village holding out against Roman occupation has spawned a multimedia empire, encompassing numerous animated and live-action films, video games, merchandise, and even a beloved theme park, Parc Astérix.

Netflix is set to premiere Asterix & Obelix: The Big Fight, a new 3D computer-animated miniseries consisting of five 30-minute episodes. While Netflix previously hosted the live-action film Asterix & Obelix: The Middle Kingdom, and the Asterix universe saw the TV series Dogmatix and the Indomitables, this new production marks a direct partnership between Netflix and the rights holders, Les Editions Albert René.

Asterix & Obelix The Big Fight – Netflix

From Comic Panel to Pixel: Adapting ‘Asterix & Obelix: The Big Fight’

The foundation for this new animated adventure is firmly rooted in the classic comics. The series is a direct adaptation of the seventh volume in Goscinny and Uderzo’s original run, Asterix and the Big Fight (Le Combat des Chefs). It was first serialized in Pilote magazine starting in 1964 and published as a standalone album in 1966.

The plot plunges the familiar Gaulish village into existential peril. Set, as always, in 50 BC, with Rome relentlessly seeking to conquer this last bastion of resistance, disaster strikes. The village druid, Getafix (Panoramix in the original French), the keeper of the secret to their superhuman strength, suffers profound amnesia and madness after being accidentally struck by a menhir thrown by Obelix. Suddenly, the village is without its magic potion, the very source of its indomitability.

Seizing this golden opportunity, the Romans, led by Centurion Nebulus Nimbus and his advisor Felonius Caucus, hatch a plan. They persuade a collaborating Gaulish chief from a nearby Romanized village, the imposing yet sycophantic Cassius Ceramix (Aplusbégalix in French), to invoke an ancient Gaulish tradition: a “chieftain’s challenge.” The challenger pits his strength against the incumbent chief, Vitalstatistix (Abraracourcix in French). According to custom, the winner gains control over the loser’s entire tribe. With Vitalstatistix unable to rely on the magic potion, the Romans believe victory – and the final subjugation of the village – is within their grasp.

The Gaulish Godfather Returns: Alain Chabat Takes the Helm

If there’s one name capable of inspiring confidence among Asterix fans, it’s Alain Chabat. The celebrated French actor, comedian, writer, and director isn’t just the showrunner, writer, and co-director of this new animated series; he’s the architect behind what is widely considered the most successful and beloved Asterix film adaptation to date: the 2002 live-action blockbuster Asterix & Obelix: Mission Cleopatra. That film was a comedic triumph and a box-office phenomenon, particularly in France, where it remains one of the highest-grossing French productions ever.

Chabat’s return to the world of Asterix after more than two decades is significant. His personal affection for the Asterix and the Big Fight comic album is evident, and his deep involvement is further underscored by his decision to voice Asterix himself in the original French version. Reportedly, the project began when Chabat wrote a treatment for a film adaptation of Asterix and the Big Fight purely for personal enjoyment; its positive reception by the publishers, Hachette (owners of Les Editions Albert René), initiated the discussion that led to this animated series. Initially conceived as a film, it was expanded into a miniseries format at Netflix’s suggestion, perhaps offering a better structure for the comic’s episodic nature or aligning with the platform’s content strategy.

Chabat shares directing duties with Fabrice Joubert, a seasoned animation professional with credits at major studios like DreamWorks and Illumination, and an Academy Award nomination for his animated short French Roast. The production brings together key players: producer Alain Goldman of Legende Films, who also worked on Mission Cleopatra, the esteemed Toulouse-based animation studio TAT Productions, and the crucial partnership with rights holders Les Editions Albert René. The series, initially announced for 2023, faced delays, pushing its highly anticipated release to Spring 2025.

Animating an Indomitable Village: Style and Substance

Asterix & Obelix: The Big Fight boasts a distinctive look, brought to life through 3D computer-generated animation. Handling the animation is the highly respected French studio TAT Productions, internationally recognized for its work on titles like The Jungle Bunch and Pil’s Adventures. A key goal, emphasized by the creative team, is to remain deeply faithful to the spirit of the original comics and Albert Uderzo’s iconic art style. They specifically aimed to pay homage to what they consider the “golden age” of Asterix art, roughly spanning the albums from Asterix the Gladiator (1964) to Asterix at the Olympic Games (1968), a period where Uderzo solidified the character designs and experimented boldly with graphic layouts.

This commitment translates into several specific stylistic choices designed to create a look that feels both classic and contemporary. Production designer Aurélien Predal, whose credits include work at Aardman Animation and on visually innovative films like Ron’s Gone Wrong and Spider-Man: Across the Spider-Verse, brought a unique perspective. Influenced by stop-motion animation, the team sought a “tactile look,” aiming for a warmth and charm that makes the CG characters feel almost tangible, as if viewers could reach out and touch them. This aesthetic extends to the settings, designed to harmonize with the characters while meticulously recreating the look of Uderzo’s drawings.

The series also emulates Uderzo’s experimental panel layouts, sometimes dropping detailed backgrounds in favor of simple color cards behind the characters, a technique used in the classic albums. One particularly clever detail involves the visual representation of the magic potion’s effect: inspired by a printing flaw in early Asterix editions where the cyan, magenta, and yellow ink layers were slightly misaligned, the animators created a distinct, subtly offset color effect for the potion itself and the aura surrounding characters who drink it.

While distinctively Asterix, the animation also embraces modern dynamism. The Spider-Verse connection via Predal is evident in the use of visual flourishes and a willingness to incorporate stylized “imperfections” that add energy. The technical process involved building 3D character models in ZBrush with constant reference to Uderzo’s designs, texturing them in Adobe Substance to capture details like leather and cloth, and employing sophisticated lighting and rendering techniques (using 3D Studio Max and Chaos V-Ray) to achieve a faithful yet cinematic appearance.

The result isn’t standard, smooth CG animation. It’s a highly deliberate, stylized approach that seeks to translate the specific feel, texture, and graphic language of the beloved comics into a three-dimensional medium, while still leveraging contemporary animation techniques. This careful blend aims to resonate deeply with longtime fans familiar with Uderzo’s art, while also captivating a new generation accustomed to the visual inventiveness of modern animation.

The Voices: Gaulish Heroes and Roman Foes

Matching the visual ambition is a cast packed with talent in both its original French version and various translations. The French voice cast is a veritable who’s who of French cinema and comedy. Leading the charge is Alain Chabat himself as Asterix, joined by Gilles Lellouche voicing Obelix – notably, Lellouche also played Obelix in the 2023 live-action film Asterix & Obelix: The Middle Kingdom. They are supported by acclaimed actors like Laurent Lafitte of the Comédie-Française as Julius Caesar, film veteran Thierry Lhermitte as Getafix, Anaïs Demoustier as the new character Metadata, Géraldine Nakache as the chief’s wife, Impedimenta (Bonemine in French), and popular comedians and actors including Alexandre Astier (Unhygienix), Grégoire Ludig (Vitalstatistix), Jérôme Commandeur (Caesar’s mother), and Fred Testot (Fastandfurious).

For the English-language version, Netflix has assembled a strong cast featuring recognizable names, signaling an effort to appeal directly to audiences in the UK, US, and beyond. Haydn Oakley voices Asterix, with Ben Crowe taking on the role of Obelix. BAFTA-winning actress and writer Daisy May Cooper (This Country, Am I Being Unreasonable?) lends her voice to the formidable Impedimenta, while Ruby Barker (Bridgerton) voices the young Roman, Metadata. Other key English voices include Jon Glover as Getafix and Mark Meadows Williams as Julius Caesar.

The high caliber of both casts reflects the series’ prestige status. The French version is anchored by domestic stars deeply connected to the material, while the English cast strategically incorporates popular actors like Cooper and Barker, likely aiming to boost the series’ profile and appeal in major English-speaking markets.

A Potion for New Audiences? Legacy and Potential

This Netflix series arrives as the latest chapter in Asterix’s extensive multimedia history. Beyond the foundational comic albums, the Gauls have starred in ten traditional animated films (from 1967’s Asterix the Gaul to 2006’s Asterix and the Vikings), two previous CGI animated features (Asterix: The Mansions of the Gods, Asterix: The Secret of the Magic Potion), and five major live-action films (from 1999’s Asterix & Obelix Take On Caesar to 2023’s Asterix & Obelix: The Middle Kingdom). The franchise also includes numerous video games, a vast array of merchandise, and the successful Parc Astérix theme park near Paris, one of France’s top tourist attractions. The Asterix saga continues to expand, with another animated feature, Asterix: The Kingdom of Nubia, reportedly slated for 2026, and a sixth live-action film currently in development by STUDIOCANAL.

Where to watch “Asterix & Obelix: The Big Fight”

Netflix

Exterritorial: Jeanne Goursaud Battles a Conspiracy Inside a U.S. Consulate in Netflix’s New Action Thriller

A distraught mother suspecting her son has been kidnapped forms the central plot of this entertaining new Netflix thriller. Exterritorial stars Jeanne Goursaud (Barbarians) as a former elite soldier caught in a jurisdictional nightmare. Written and directed by German filmmaker Christian Zübert, Exterritorial plunges viewers into the environment of a U.S. consulate on foreign soil, where a mother’s search for her missing son becomes a fight for survival against unseen forces.

The Plot

Sara Wulf (Goursaud), a former Special Forces soldier seeking to leave behind painful memories of her deployment in Afghanistan, tries to build a new life in the United States for herself and her young son, Joshua. Her journey begins with a necessary stop: an appointment at the U.S. Consulate General in Frankfurt to obtain a work visa. But within the consulate walls, the unthinkable happens: Joshua vanishes without a trace. Sara’s terror mounts when consulate officials not only fail to offer help but actively deny her son was ever present in the building, urging her to leave. Sara understands the terrifying implication: German police have no authority inside the U.S. consulate. If she walks out those doors now, she might lose any chance of finding Joshua. Furthermore, Sara begins to doubt her own perception of reality when she encounters another woman named Irina (Lera Abova) whom no one acknowledges, and consulate members show her security footage without her son in it. Sara, suffering from war-induced psychological trauma, starts to believe she is hallucinating.

Exterritorial – Netflix

The Cast

Jeanne Goursaud as Sara Wulf: Known to international audiences for her role in the Netflix historical drama Barbarians, Goursaud takes center stage as the traumatized yet fiercely determined former soldier. The role demands both physical prowess for the promised action sequences and the emotional depth to convey a mother’s desperate struggle. Goursaud positions herself as the film’s anchor and potential breakout action hero.

Dougray Scott as Erik Kynch: The veteran Scottish actor, recognizable from films like Mission: Impossible II, plays the head of security at the U.S. consulate.

Lera Abova as Irina: Playing the enigmatic daughter of a Belarusian oligarch held within the consulate, Abova (Pitch Perfect: Bumper in Berlin) adds another layer of mystery.

Supporting roles are filled by actors such as Kayode Akinyemi (Vikings: Valhalla), Annabelle Mandeng (Unknown), Emanuel Fellmer, Nina Liu, Kris Saddler, Jeremy Schuetze, Samuel Tehrani, and Lara Babalola, completing the ensemble trapped within the consulate walls.

Christian Zübert, Director and Writer of “Exterritorial”

At the helm, as both writer and director, is Christian Zübert, a German filmmaker with a notably diverse career. Born in Würzburg in 1973, Zübert started as a screenwriter before directing his first feature film, the surprise German comedy hit Lammbock in 2001. His filmography shows significant versatility, spanning children’s adventures (The Treasure of the White Falcons, 2005), award-winning crime dramas for television (Tatort, Bad Banks), dramedy (Three Quarter Moon, 2011), and internationally recognized dramas like Tour de Force (2014) and One Breath (2015), which screened at festivals like Locarno and Toronto. He also wrote screenplays for other directors, including the hit teen comedy Girls on Top (2001) and the adaptation The Collini Case (2019).

About the Production

Exterritorial comes from the established German production company Constantin Film, specifically its television division, Constantin Television GmbH. Founded in 2006 as a subsidiary of Constantin Film AG, Constantin Television focuses on TV and digital media productions, with recent credits including We Children from Bahnhof Zoo, The Palace, and the acclaimed Netflix series Dear Child. The film represents another strategic collaboration between Constantin and Netflix, building on previous successes. Germany has proven to be a fruitful market for Netflix in this regard, with series like Dark achieving global recognition. Producing an action thriller, a high-demand genre, with German talent in a European setting aligns perfectly with this model. The production team includes Kerstin Schmidbauer as producer, Oliver Berben as executive producer, and Franziska Suppee, Verena Vogl, and Götz Marx also credited as producers representing Constantin. Key technical credits include cinematography by Matthias Pötsch, music by Sara Barone, and editing by Ueli Christen.

Filming began around August 2023 and concluded in late November or early December 2023, entering post-production afterward. Although primarily set within the U.S. consulate in Frankfurt, Germany, most filming took place in Vienna, Austria. The production used locations such as the exterior and interior of the former Vienna University of Economics and Business building (Alte Wirtschaftsuniversität) to represent the consulate, including its terrace and labyrinthine interiors, along with an underground parking garage. Establishing shots capturing the Frankfurt city skyline, nicknamed “Mainhattan,” were filmed in Frankfurt itself. The production received support from FISAplus, an Austrian film funding initiative. The film features dialogue in both German and English. Specific budget details were not available in the reviewed materials.

Genre Blend: Action, Intrigue, and Echoes of ‘Taken’

Exterritorial firmly classifies as an action thriller with elements of mystery. The central plot revolves around a conspiracy and diplomatic entanglement within the consulate. Director Zübert aims for “claustrophobic tension” and “paranoia” within the single-location setting, enhancing the suspense. Themes of maternal desperation, the lingering effects of Sara’s past deployment trauma, power dynamics and sovereignty, sacrifice, and pervasive deceit are central to the story. One comparison repeatedly emerges in initial reports: Taken. The narrative of a highly skilled parent employing lethal abilities to rescue a kidnapped child clearly evokes the Liam Neeson franchise. This comparison effectively sets audience expectations for a specific brand of visceral action intertwined with high emotional stakes.

Where to Watch “Exterritorial”

Netflix

“The Eternaut”: Adaptation of the Legendary Argentine Comic Arrives on Netflix

The long-awaited adaptation of the Argentine comic from the fifties has arrived. It’s a work that, as we’ll see, is a political symbol with a whole history behind it. Furthermore, the Netflix adaptation is worthwhile. Much like recent literary adaptations for streaming that didn’t disappoint, “The Eternaut” is a superb series that revisits an incredible human story with significant international influence.

Think series about the apocalypse are a recent phenomenon? As we’ll explore, the Argentine comic it’s based on was a truly seminal work that sparked a global phenomenon.

It begins with an impossibility: snow falling on a summer night in Buenos Aires. But it’s not a gentle snowfall. It’s silent, swift, and lethal. Anything it touches – human, animal, plant – dies instantly. Within hours, the vibrant Argentine capital transforms into a snow-covered cemetery, millions dead, the few survivors isolated, terrified, and disconnected from a world that has vanished beneath the toxic white blanket. This chilling scenario marks the beginning of “The Eternaut,” Netflix’s ambitious new science fiction series set to premiere globally on April 30, 2025.

Starring Ricardo Darín as Juan Salvo – an ordinary man forced into an extraordinary struggle – the six-episode first season represents a significant undertaking for the streaming giant. It’s the first screen adaptation of The Eternaut, the 1957 graphic novel by writer Héctor Germán Oesterheld and artist Francisco Solano López, a work deeply embedded in Argentina’s cultural and political consciousness.

The Eternaut – Netflix

The Comic: A Legend in Argentina

Before the big-budget Netflix series, before the global anticipation, there was the comic strip. The Eternaut first appeared in weekly installments in the Argentine magazine Hora Cero Semanal between 1957 and 1959. Written by Héctor Germán Oesterheld with the raw, evocative art of Francisco Solano López, the 350-page narrative gripped readers with its tale of humanity’s desperate fight against a mysterious alien invasion. The story unfolds through the eyes of Juan Salvo, initially just a man playing truco (a popular card game) with friends in his suburban Buenos Aires home when the deadly snow begins. He, his family, and friends become reluctant survivors, forced to improvise protection and venture into the now-hostile city.

Quickly recognized for its quality and depth, The Eternaut transcended the medium to become arguably the most important and influential comic book in Argentine history, its impact resonating throughout the Spanish-speaking world. Its enduring power lies not only in its thrilling plot but also in its rich thematic layers and distinctly Argentine perspective. Despite its specific setting – the recognizable streets and landmarks of Buenos Aires – the story achieved universal appeal through its deeply human characters and timeless themes of survival, solidarity, and resistance.

Oesterheld himself articulated a key theme: the true hero of The Eternaut is not an individual, but the collective. This focus on group survival and collaborative effort was a deliberate choice, positioning the work against the prevailing “rugged individualism” often celebrated in American popular culture of the time. The narrative demonstrates how ordinary people – the pragmatic intellectual Favalli, the cheerful blue-collar worker Franco, the everyman Salvo – must band together, pooling resources and courage, navigating internal suspicions and external threats to survive. This emphasis on the collective was not merely a narrative device; it reflected a specific political and philosophical stance, a counter-cultural statement championing community over lone heroism, originating from a nation often feeling itself on the periphery of global power.

Furthermore, The Eternaut is steeped in political allegory. The invaders remain largely unseen, masters referred to only as the “Ellos” (“Them”). They operate through intermediaries – enslaved alien races like the insectoid “Cascarudos” (“Beetles”) or the tragic “Manos” (“Hands”), beings whose own hands control deadly technology but who act out of fear. This hierarchy was widely interpreted as a metaphor for imperialism – the hidden hand of global powers manipulating client states or factions – and, increasingly over time, as a critique of Argentina’s own cycles of political instability and military dictatorships. Oesterheld’s concept of imperialism was broad, encompassing any subjugation by unequal forces based on exploitation. Later remakes and sequels would make these political dimensions even more explicit.

Its imagery, particularly the improvised protective suits with their multiple visors, became iconic. These suits, born of necessity within the story, transformed into a potent visual metaphor frequently seen in Buenos Aires street art, representing survival, alienation, oppression, and humanity surrounded by death.

From Panel to Screen: Reimagining a Classic

Adapting such a revered and complex work for the screen presents significant challenges. Tasked with this responsibility is director and creator Bruno Stagnaro, a respected figure in Argentine cinema known for gritty, realistic portrayals of Argentine life in films like Pizza, Beer, and Cigarettes and the influential TV series Okupas. Working with co-writer Ariel Staltari, Stagnaro made several key decisions in translating the 1950s comic strip into a 2025 television series.

Contemporary Setting: The most significant change is updating the timeline from the late 1950s to the present day. Stagnaro explained this choice was made to maintain the original’s powerful sense of immediacy for a modern audience. The goal was for the city to be “a living presence” recognizable to today’s viewers, ensuring the catastrophe feels immediate and grounded, just as it did for readers in 1957.

An Older Juan Salvo: Casting Ricardo Darín, 68 (at the time of filming), fundamentally alters the protagonist. The original Salvo was younger, more physically defined by the immediate need for action. Darín’s Salvo is conceived as a “more mature personality,” drawing on experience, memory, and perhaps buried trauma. Stagnaro initially had reservations about casting an older actor for such a physically demanding role but embraced the opportunity to explore “the vulnerability of a man facing impossible choices,” someone who isn’t a typical action hero but must reconnect with “old instincts” and relearn violence as a last resort. This aging of the hero introduces potential new themes of legacy, regret, and the weight of the past informing present action, a departure from the original’s focus on raw, immediate survival instinct.

Episodic Structure: Translating the original’s serialized, often “ephemeral” weekly installments into six hour-long episodes required careful narrative construction. Executive producer Matías Mosteirín noted an episodic format was necessary to “do justice to the depth and scale” of Oesterheld’s creation.

Crucially, the adaptation process involved Martín M. Oesterheld, Héctor’s grandson, as a creative consultant. His involvement aimed to ensure fidelity to the core spirit of his grandfather’s work, particularly the emphasis on the collective hero (“no one saves themselves alone”). The Oesterheld family stipulated two key conditions for the adaptation: it must be filmed in Buenos Aires and spoken in Spanish, preserving its essential Argentine identity.

The stated goal, according to Stagnaro, was to remain “faithful to the spirit of the comic, but with a lens tuned to contemporary audiences.” This involves delving into the original’s social and political resonance while creating a distinct Argentine language for science fiction, rather than simply mimicking global trends. Stagnaro’s own background, marked by a focus on Argentine social realism and often marginalized characters, suggests an approach likely to prioritize the grounded, resourceful, almost “cobbled-together” nature of survival depicted in the comic, preserving its unique cultural texture even amidst a large-scale production.

Creating the Apocalypse: Behind the Scenes of the Netflix Adaptation

Filming spanned from May to December 2023, a 148-day shoot. The production utilized over 35 real locations across Buenos Aires, firmly embedding the action within the city’s recognizable landscape – including areas like the Avenida General Paz ring road, and neighborhoods like Monserrat and Núñez – making the city itself feel like a character, a “living presence” as Stagnaro intended. This extensive location work was supplemented by the use of over 25 virtual production sets.

Advanced technology played a crucial role. The production employed cutting-edge Virtual Production (VP) techniques, utilizing the Unreal Engine game engine and massive LED screens. Vast areas of Buenos Aires were digitally scanned and recreated, allowing the team to project realistic, controllable backgrounds onto the set. This enabled the filming of complex exterior scenes, particularly those depicting the pervasive deadly snow, with greater flexibility and realism, while crucially allowing the production to maintain control over the digital environment locally, ensuring the specific Argentine “identity and realism” weren’t lost to generic, pre-made assets from abroad. This heavy reliance on technology, however, presents a creative tension: balancing the need for global production standards and convincing effects with the desire to capture the raw, resourceful, “cobbled-together” spirit central to both the original comic and Stagnaro’s stated vision.

The art department’s work, led by María Battaglia and Julián Romera, was essential in establishing the series’ eerie, snow-laden aesthetic. They researched high-mountain environments and various artistic depictions of snow to achieve the desired tone, treating the original comic as their guide. Creating the deadly snowfall itself required innovation, developing five different types of artificial snow – using materials from table salt to dry foamed soap – for various practical effects.

The series is produced by K&S Films, a prestigious Argentine company with a track record of internationally acclaimed films like Wild Tales and The Clan, further signaling the project’s high artistic ambitions. Producer Matías Mosteirín emphasized the story’s deep connection to Argentine identity and the national trait of ‘aguante’ (resilience), highlighting themes of loyalty and friendship amidst tragedy and adventure.

The scale and ambition of “The Eternaut” carry significance beyond the screen. Positioned as a flagship project for Argentina and Latin America, its creation takes place against a backdrop of national debate regarding public support for the arts and cultural industries. In this context, the series becomes more than just entertainment; it stands as a testament to the capabilities of local talent and infrastructure, a potential “cultural act of defiance” asserting Argentina’s creative power on a global stage.

History, Politics, and the Ghost of Oesterheld

The Eternaut cannot be fully understood without acknowledging the profound historical and political context surrounding its creation and its creator. While the initial 1957 publication carried allegorical weight, later iterations – a 1969 remake with artist Alberto Breccia and the 1976 sequel, again with Solano López – became far more explicitly political. The alien invasion narrative increasingly served as a direct metaphor for imperialism and, more pointedly, for the brutal military dictatorships that plagued Argentina and Latin America.

Héctor Germán Oesterheld’s life tragically mirrored the escalating political turmoil his work depicted. As Argentina grew more radicalized, so did Oesterheld. By the mid-1970s, he had joined the leftist guerrilla organization Montoneros, becoming its press officer. This forced him underground during the violent military dictatorship that seized power in 1976, the period known as the Dirty War. He continued writing the sequel to The Eternaut in hiding, delivering scripts clandestinely. In 1977, shortly after completing the sequel’s script, Oesterheld became one of los desaparecidos – “the disappeared” – abducted by state forces. He was tortured and killed, his body never recovered. His four daughters, also politically active, met similar fates; three were disappeared and murdered, while the fourth died during a separate violent incident related to the conflict.

This devastating history irrevocably fused The Eternaut with the trauma of the dictatorship. The comic transformed into a potent symbol of resistance against state terror, its narrative of fighting an unseen, oppressive force resonating deeply with the national experience. Juan Salvo, the Eternaut, became an emblem of the memory of los desaparecidos and the ongoing struggle for justice and truth in Argentina.

The Netflix adaptation, helmed by Stagnaro and overseen with input from Oesterheld’s grandson, inevitably grapples with this legacy. While shifting the setting to the present day necessarily alters the specific targets of the original allegory, the core themes remain potent. The series explores collective struggle against a dehumanizing force, the fragility of civilization, mistrust of authority, and the necessity of solidarity – themes that continue to resonate with Argentina’s “national memory and trauma,” from the dictatorship to economic crises. The challenge for the adaptation lies in honoring the specific political critique embedded in Oesterheld’s work – his fierce opposition to imperialism and state violence – while translating these themes into a contemporary context that speaks to global anxieties about societal collapse, hidden power structures, and the nature of resistance in the 21st century. The very act of producing The Eternaut, prominently featuring Oesterheld’s name and story nearly fifty years after his murder, serves as a powerful act of cultural remembrance. It defies the historical erasure attempted by the regime that silenced him, reasserting the enduring importance of his voice and the history his work represents.

Ricardo Darín’s Juan Salvo: An Ordinary Man Facing the Unthinkable

Leading the cast is Ricardo Darín as Juan Salvo. He is joined by prominent Argentine and Uruguayan actors including Carla Peterson, César Troncoso (as Professor Favalli), Andrea Pietra, co-writer Ariel Staltari, Marcelo Subiotto, Claudio Martínez Bel, Orianna Cárdenas, and Mora Fisz.

Darín’s portrayal is central to the adaptation’s interpretation of the source material. He embodies Juan Salvo not as a predestined hero, but as an “ordinary man.” He is depicted as an aging man, perhaps already feeling marginalized or “beaten down by the system,” who is unexpectedly forced to confront the apocalypse and call upon latent survival skills and leadership qualities. His journey involves rediscovering a capacity for action. A primary emotional driver appears to be the desperate search for his family, particularly his daughter Clara, amidst the devastation.

Casting Darín, often dubbed “the Argentine George Clooney” and arguably the country’s most globally recognized screen presence, lends the series immediate international weight and visibility. However, this star power introduces a different dynamic than the original comic, where Salvo was a more anonymous figure, allowing readers to easily project themselves onto him. Darín’s inherent charisma and recognition might subtly shift the perception of Salvo, making him less a pure stand-in for the common man and more a recognizable figure navigating extraordinary circumstances.

Where to Watch “The Eternaut”

Netflix

From Local Roots to Global Phenomenon: Norway Museum Traces New Nordic Cuisine’s Cultural Ascent

The National Museum of Norway is set to unveil a major cross-disciplinary exhibition charting the rise of New Nordic Cuisine from a regional philosophy to a globally recognized cultural force. Titled “New Nordic. Cuisine, Aesthetics and Place,” the exhibition explores the profound connections between this culinary movement and parallel developments in architecture, design, craft, photography, and art over the past two decades.

Rooted in a 2004 manifesto by a collective of chefs, the New Nordic movement championed a return to local traditions, seasonal ingredients, and the distinct flavors shaped by the region’s unique climate, water, and soil. This focus on authenticity and place resonated far beyond the kitchen, sparking new creative trends and influencing how culture, identity, and nature are perceived. The exhibition argues that this aesthetic has become one of the Nordic region’s most significant cultural exports.

Juvet landscape hotel, Valldal, Norway, 2007-2008. Jensen & Skodvin Architects. Photo: Jensen & Skodvin Architects

Visitors can expect a comprehensive display featuring over 500 items. These include hand-crafted tableware and objects loaned from renowned Michelin-starred restaurants such as Norway’s Maaemo and Kontrast, Sweden’s Fäviken, Denmark’s Kadeau, and Koks on the Faroe Islands. Examples highlight the movement’s ethos, like ceramics glazed with reindeer bone from Restaurant Credo or a handcrafted menu shaped like a Knut Hamsun novel from the former restaurant Ylajali.

The exhibition situates the contemporary movement within a broader historical context by juxtaposing these items with works from the museum’s collection. Contemporary pieces, including Olafur Eliasson’s geological “Fault Series” photographs and Benjamin Alexander Huseby’s still lifes exploring native versus alien species, will be shown alongside 19th-century landscape paintings by artists like Edvard Munch and Hans Gude, and early botanical illustrations.

Bielke&Yang, visual identity for Food Studio, 2012. Photo Andreas Kleiberg.

“The New Nordic Cuisine did not develop in a vacuum,” says Martin Braathen, Senior Curator at the National Museum. “The movement has perhaps presented the clearest expression of a broader longing for nature and authenticity in our time… This attitude has spread into other disciplines as both an ethos and an aesthetic.”

A unique feature extends the exhibition outdoors: a specially commissioned site-specific pavilion in the museum square. Designed by Dyvik Kahlen architects and SLA landscape architects, the spruce structure features a working kitchen, open fire, and root cellar. It will host a vibrant program reflecting New Nordic lifestyle trends, including guest chef appearances, workshops, foraging trips into nearby forests, and communal cooking, aiming to foster a deeper connection with local food culture.

An accompanying publication, “A New Nordic A to Z,” will also be released.

“New Nordic. Cuisine, Aesthetics and Place” runs at The National Museum of Art, Architecture and Design in Oslo, Norway, from May 23 to September 14, 2025. A further iteration of the exhibition is planned for the National Nordic Museum in Seattle, opening in November 2025.

Anette Krogstad, Crockery for the restaurant Noma, Copenhagen. Credit: The National Museum of Art, Architecture and Design / Frode Larsen

Netflix Celebrates a Decade of Culinary Storytelling with ‘Chef’s Table: Legends’

Set, as always, to the rhythm of Vivaldi’s Four Seasons, Netflix brings us a new installment of Chef’s Table, the documentary series that has set the standard for food television over the past decade. This Emmy-nominated franchise has taken viewers inside the lives and kitchens of the world’s most renowned and innovative chefs, transforming culinary narrative into an elevated art form. It has become a cultural touchstone, celebrated for its stunning cinematography and its ability to uncover profound human stories behind the pursuit of flavor.

Now, coinciding almost perfectly with its tenth anniversary, the franchise presents its latest, highly anticipated iteration: Chef’s Table: Legends. This special four-part season marks a significant milestone. It arrives not merely as another installment, but as a deliberate capstone, a conscious shift by Netflix and the series’ creators—including Boardwalk Pictures, David Gelb’s Planetarium, and Supper Club—to honor the foundational figures who defined the culinary landscape the show has so artfully documented.

The premise of Chef’s Table: Legends is a focused tribute to four culinary giants whose influence has resonated far beyond their kitchens, shaping how we eat, think about food, and even interact with the world: Jamie Oliver, José Andrés, Alice Waters, and Thomas Keller. Their impact has transcended borders and mediums, inspiring cooks and food lovers alike. This season represents a curatorial turn for the franchise, which often spotlights emerging talents or regional masters alongside established names. Chef’s Table: Legends, by contrast, explicitly positions itself as a celebration of those who have already achieved iconic status, reflecting on a decade of culinary evolution through its most crucial architects.

The selection of these four specific chefs for Chef’s Table: Legends creates a compelling narrative tapestry. They represent not a single definition of culinary greatness, but a spectrum of impact. Oliver demonstrates the power of media to democratize cooking and advocate for public health. Andrés showcases the chef as a global first responder, mobilizing culinary skills for humanitarian aid. Waters embodies the philosophical leader, championing a return to sustainable, community-centered food systems. And Keller represents the relentless pursuit of technical mastery and the elevation of fine dining as an art form. The contrast between Oliver’s mission to reach “as many people as possible” and Keller’s focus on the apex of exclusivity, or Waters’ deep localism versus Andrés’ rapid global deployment, highlights the diverse paths to achieving legend status in the modern food world.

Chef’s Table Legends – Netflix

Jamie Oliver – The People’s Chef, Revolutionizing Home Cooking

Few chefs have achieved the global name recognition of Jamie Oliver. Bursting onto the scene in the late ’90s with the British TV show The Naked Chef, the charming, high-energy 24-year-old became an overnight sensation, achieving “boy-band level” fame. But that initial spark was just the beginning of a multi-decade career dedicated to a clear mission: demystifying cooking and bringing the joy of fresh, delicious food to the masses. Known for his simplified, accessible approach, Oliver has redefined how millions think about preparing meals at home.

Beyond the television screen and bestselling cookbooks – making him the UK’s biggest-selling non-fiction author ever – Oliver channeled his influence into passionate campaigns. He famously took on the UK’s public school lunch system, persuading the government to significantly increase budgets and improve nutritional standards. His advocacy for better food education and healthier diets for children remains a cornerstone of his work. He runs a global B Corp food empire, encompassing restaurants, media, and products, all aimed at furthering his food philosophy. The series also touches on his resilience, acknowledging the journey through challenging times, including the widely publicized difficulties his restaurant group faced. Oliver embodies the season’s theme of influence transcending mediums, leveraging television, publishing, and activism to create widespread change.

José Andrés – The Force of Nature, Feeding the Few and the Many

Described as a “larger-than-life chef and force of nature,” José Andrés combines boundless energy, culinary mastery, and a profound humanitarian commitment. Born in Spain and inspired by his parents’ home cooking, Andrés trained under the legendary Ferran Adrià at El Bulli before bringing his talents to America. In 1993, he opened Jaleo in Washington D.C., widely credited with introducing and popularizing authentic Spanish tapas in the United States. His restaurant group, ThinkFoodGroup (now José Andrés Group), expanded to include numerous acclaimed establishments showcasing both traditional Spanish flavors and innovative avant-garde techniques, earning Michelin stars and multiple James Beard awards.

However, Andrés’ impact extends far beyond fine dining. In 2010, following the devastating earthquake in Haiti, he founded World Central Kitchen (WCK), a non-profit organization that has revolutionized disaster relief feeding. WCK’s model relies on “acting fast, leveraging local resources, and adapting in real-time.” Instead of solely relying on pre-packaged meals, WCK activates networks of local chefs, restaurants, and food trucks, often setting up kitchens within days or even hours of a crisis, serving fresh, culturally appropriate meals designed to provide comfort as well as sustenance. This approach not only feeds people efficiently but also injects money into the local economy and empowers communities. WCK’s guiding philosophy is simple yet powerful: “wherever there is a fight so that hungry people may eat, we will be there.”

The scale of WCK’s work is staggering, having served hundreds of millions of meals in response to hurricanes (like Maria in Puerto Rico, where they served nearly 4 million meals), earthquakes, wildfires, floods, the COVID-19 pandemic, and conflicts in places like Ukraine and Gaza. Andrés himself is often on the front lines, embodying his belief that food is more than nourishment – it’s hope, dignity, and a way to build community. He speaks passionately about empathy being crucial for leadership and reframes philanthropy not as the “redemption of the giver” but the “liberation of the receiver.” A tireless advocate for immigration reform, recognized multiple times by Time magazine as one of the world’s most influential people, and nominated for the Nobel Peace Prize, Andrés embodies the chef as a global humanitarian force. As he powerfully states in the Legends trailer, “There was a moment I realized that if you give people the spark of possibility, that spark becomes a big flame of hope.”

Alice Waters – The Mother of Farm-to-Table, Planting Seeds of Change

Alice Waters is the revered godmother of the American farm-to-table movement, a chef and activist whose philosophy has fundamentally reshaped how many approach food and its connection to the land. Her path was forged during her time as a student at the University of California, Berkeley in the turbulent 1960s, where she was active in the Free Speech Movement. This experience instilled in her the power of collective action, while a transformative junior year abroad in France awakened her palate and appreciation for fresh, seasonal ingredients sourced directly from markets.

In 1971, Waters opened Chez Panisse in Berkeley, not initially intending a revolution, but simply creating a place for friends to gather and eat well. Inspired by French country inns and cuisine bourgeoise, the restaurant’s guiding principle from day one was using the best-tasting local, seasonal, and sustainably grown ingredients. This commitment led Waters to build a network of small organic farmers, ranchers, and artisans, crediting them on the menu and fostering direct relationships – practices that became foundational to the burgeoning California cuisine and the farm-to-table ethos. Chez Panisse earned immense acclaim, named Best Restaurant in America by Gourmet in 2001 and winning numerous James Beard awards, including the landmark naming of Waters as the first woman Best Chef in America in 1992.

Waters firmly believes that eating is a political act and that food can be a powerful tool for social and environmental change. This conviction led her, in 1995, to establish the Edible Schoolyard Project at a middle school near Chez Panisse attended by her daughter, Fanny. Inspired by Montessori principles of hands-on learning, the program uses gardens and kitchens as interactive classrooms, teaching academic subjects through the lens of growing, cooking, and sharing food. It aims to connect children with nature, foster healthy eating habits, and advocate for universal access to free, nutritious, organic school lunches. Waters envisions edible education becoming part of the core curriculum nationwide, seeing it as a crucial step toward social justice and systemic change. A longtime Vice President of Slow Food International, Waters champions values like biodiversity, seasonality, stewardship, and pleasure in work, arguing against the dehumanizing effects of fast-food culture. Her philosophy, recognized with the National Humanities Medal, is rooted in a deep connection to the earth and community. As she declares in the trailer, “A place where we treasure our farmers – that’s the world I want to live in.”

Thomas Keller – The Pursuit of Perfection, Elevating American Cuisine

Thomas Keller is synonymous with culinary excellence in America, a chef whose name evokes precision, artistry, and an unwavering pursuit of perfection. His journey began in his mother’s restaurant kitchen, followed by formative experiences under mentors like French chef Roland Henin, who instilled the importance of mastering classical technique. Keller further honed his craft through rigorous unpaid internships (stagiaire) in Michelin-starred kitchens in Paris, including Guy Savoy and Taillevent. After returning to the US and opening his first restaurant, Rakel, in New York City, he eventually moved west.

In 1994, Keller acquired The French Laundry, a historic stone building in Yountville, California, and transformed it into one of the world’s most acclaimed dining destinations. Known for its exquisite multi-course tasting menus featuring imaginative interpretations of classic dishes, the restaurant quickly earned extraordinary praise, including the highest three-star rating from the Michelin Guide – an honor it has consistently maintained for many years. Keller replicated this success on the East Coast with Per Se in New York City, becoming the first and only American-born chef to simultaneously hold multiple three-star Michelin ratings. His restaurant group expanded to include the popular Bouchon bistros and bakeries, as well as the family-style Ad Hoc.

Keller’s philosophy centers on meticulous attention to detail, finesse, consistency, and a profound respect for ingredients. He emphasizes the importance of technique and fundamentals but also fosters collaboration and mentorship within his kitchens, establishing systems like a “cooks’ forum” to encourage creative input from his team. He sees his role increasingly as a mentor, dedicated to nurturing the next generation of chefs. This commitment is evident in his leadership as president of the Bocuse d’Or USA Foundation, coaching the American team for the prestigious international culinary competition. His influence has set new standards for fine dining in America, earning him countless accolades, including James Beard awards for Outstanding Chef and Outstanding Restaurateur, and designation as a Chevalier of the French Legion of Honor. For Keller, the ultimate reward lies in inspiring others; as he shares in the trailer, “When somebody tells you that you’ve influenced them, that’s why I do what I do.”

Where to Watch “11111111111”

Netflix

Fragments of Truth: Where Quantum Physics Meets Feminist Art in Unprecedented Dialogue

Tokyo – In a compelling juxtaposition of disciplines, a new exhibition brings together the seemingly disparate worlds of quantum physics and feminist body reclamation. “Between the Fragments” features the visionary works of artists Jiwon Kim and Naoto Fuchigami, creating an unexpected yet profound conversation about reality, identity, and the spaces in between.

While their methods stand in stark contrast, both artists delve into the concept of fragmentation to unearth deeper truths. Jiwon Kim, working with traditional Korean Hanji paper, meticulously fragments and then stitches back together representations of the female form. Her art is a deeply personal act of rebellion against societal beauty standards and a ritual of healing, transforming vulnerability and perceived imperfection into powerful statements on self-acceptance. Kim’s process mirrors a journey of overcoming bodily complexes, challenging viewers to confront societal pressures and embrace authentic beauty.

In magnetic counterpoint stands Naoto Fuchigami, a physicist who turned his focus to art. Fuchigami takes silicon wafers, the bedrock of modern digital technology, and deliberately pulverizes them into elemental dust. His “ℏ Series” is a symbolic deconstruction, returning technology to its raw state and questioning our understanding of reality through the lens of quantum science. By grinding down semiconductors, Fuchigami critiques humanity’s cognitive limitations and tendency towards oversimplification, revealing the uncanny properties of the very elements that compose our world and pushing artistic expression into uncharted territory.

Kim, born in South Korea in 1998, holds an MFA in oil painting from Musashino Art University and works between South Korea and Japan. Her art stems from personal struggles with eating disorders and self-loathing fueled by societal pressures, evolving into a discipline for self-acceptance and catharsis.

Fuchigami, born in Kobe, Japan, in 1995, graduated with a degree in Physics and Applied Physics before working as a Systems Engineer. His fascination with the often counter-intuitive world of atoms and molecules, studied through quantum physics, became the foundation for his artistic exploration into the true nature of reality.

Though one works with the intimate medium of paper and thread to mend representations of the body, and the other reduces the icons of technology to powder, both Kim and Fuchigami find common ground in the “delicate fissures between broken pieces.” Their combined works suggest that truth and beauty are found not in perfect wholeness or complete fragmentation, but in exploring the electric territories that lie between – whether examining the structure of matter or the structure of self-image.

“Between the Fragments” promises a revelatory exploration of humanity’s complex relationship with deconstruction and reconstruction, challenging the very frameworks through which we perceive existence.

The exhibition “Between the Fragments” featuring Jiwon Kim and Naoto Fuchigami will be held at JPS Gallery (Tokyo), located at 1/F, Tobu 2nd bldg, 6-27-4, Jingumae, Shibuya-ku, Tokyo 150-0001, Japan. An opening reception is scheduled for Friday, May 2, 2025, from 5 pm to 8 pm. The exhibition will run from May 3 to June 1, 2025.

“Jewel Thief – The Heist Begins”: Hindi-Language Heists and Action on Netflix

“Jewel Thief – The Heist Begins” arrives on Netflix led by established Bollywood stars Saif Ali Khan and Jaideep Ahlawat, with support from Nikita Dutta and Kunal Kapoor. However, before landing on Netflix, the film faced a significant hurdle: film critics in India panned it, with some outlets giving it ratings as low as one out of five stars.

Was the criticism warranted? We’ll explore that shortly.

Produced by Marflix Pictures, founded by Siddharth Anand and Mamta Anand, the company is known for delivering some of Bollywood’s biggest action blockbusters like War, Pathaan, and Fighter. Marflix’s involvement set expectations for a visually spectacular and thrilling experience, even on a streaming platform. Indeed, the producers explicitly stated their goal was to bring the “scale and thrill of big-screen action” to Netflix, marking Marflix’s streaming debut. The film was directed by Kookie Gulati and Robbie Grewal.

For lead actor Saif Ali Khan, the film represented a return to the stylish, sophisticated persona reminiscent of his popular Race film series, a comparison frequently drawn in promotional materials and initial reactions. It also marked a reunion with producer Siddharth Anand 18 years after their last collaboration on Ta Ra Rum Pum (2007). Furthermore, the release was Khan’s first since a serious and widely reported knife attack incident at his residence earlier in the year.

Planning the Heist: High Stakes, Familiar Tropes

Jewel Thief – The Heist Begins revolves around the planned theft of a legendary and immensely valuable diamond known as the “African Red Sun,” sometimes referred to as “Africa Ka Kohinoor.” Valued at a staggering 500 crore rupees (₹5 billion) on the black market, this elusive gem becomes the target of a complex operation.

The plot is set in motion by Rajan Aulakh, played by Jaideep Ahlawat. Aulakh is depicted as a dangerous and sadistic former mobster and art collector attempting to transition into legitimate business but currently facing financial difficulties. Driven by greed and the need to regain his standing, he requires the Red Sun diamond, partly to settle a score or obligation with another powerful Istanbul-based crime lord named Moosa (Laitongbam Dorendra Singh), with whom he shares a violent past. To execute this high-stakes robbery, Aulakh hires—or rather, blackmails—the film’s protagonist, Rehan Roy, played by Saif Ali Khan.

Rehan Roy is introduced as a master jewel thief – a sophisticated, charming, and cunning conman known for his sharp intellect and ability to evade authorities. As the story begins, he is hiding out in Budapest, Hungary, a location specifically chosen because India lacks an extradition treaty, ensuring his safety. However, Aulakh forces Rehan back to India by threatening his estranged family, particularly his father (played by Kulbhushan Kharbanda), exploiting Rehan’s lingering family issues and guilt.

Adding complexity to the dynamic is Farah (Nikita Dutta), Rajan Aulakh’s beautiful but unhappy wife, trapped in an abusive marriage. Rehan finds himself drawn to her, introducing a romantic entanglement and the potential for betrayal that complicates the heist.

Constantly pursuing Rehan is Vikram Patel (Kunal Kapoor), a relentless STF (Special Task Force) officer/detective determined to bring the elusive thief to justice. However, Vikram consistently finds himself outsmarted, always seemingly one step behind his target.

The heist itself involves intricate planning and execution, initially targeting the Red Sun diamond while it’s exhibited at the Fortcrest Art Centre, a museum in Mumbai.

Behind the Diamond Facade: Production and Style

Announced in February 2024 with Saif Ali Khan and Jaideep Ahlawat attached to star, the film went through several title iterations. Initially referred to simply as Jewel Thief, it was officially announced in May 2024 as Jewel Thief – The Red Sun Chapter. The final title, Jewel Thief – The Heist Begins, was revealed in February 2025 as part of Netflix’s slate announcement.

Principal photography began in March 2024 and took place in Mumbai and Budapest, concluding in May 2024. However, months later, in November 2024, director Kookie Gulati (one of the two credited directors alongside Robbie Grewal) was brought on specifically to handle reshoots, which wrapped up in December 2024. While reshoots are not uncommon in filmmaking, the combination of multiple official title changes late in the process and the need for significant reshoots helmed by one director long after principal photography concluded might suggest potential challenges or shifts in creative direction during post-production. Such indicators sometimes point to underlying difficulties in shaping the final narrative or tone, potentially correlating with the consistency issues noted by some critics in the released film.

Despite being a direct-to-streaming release, the film aimed for a cinematic scale, driven by Siddharth Anand’s Marflix Pictures. The production house’s reputation for high-octane, visually stunning theatrical releases like War and Pathaan set a high bar. The film’s visual approach reflects this ambition, often described by observers as “glossy,” “slick,” and employing a palette featuring “neon pinks and moody reds” in an attempt to achieve an “international quality.” Cinematographer Jishnu Bhattacharjee captured the action across international locations like Budapest and Istanbul, contributing to what some acknowledged as a “big-budget feel” with rich production design.

The film’s soundtrack features a score composed by Shezan Shaikh, with songs contributed by multiple artists, including Sachin–Jigar, OAFF–Savera, and Soundtrek–Anis Ali Sabri. Tracks like the disco-themed “Jaadu” and the romantic “Ilzaam” were released ahead of the film’s premiere as part of the promotional campaign, generating some online buzz, with “Jaadu” noted for its retro-modern vibe and the chemistry between Khan and Dutta.

The Cast

Jewel Thief – The Heist Begins brought together a renowned Bollywood cast, led by Saif Ali Khan as the protagonist Rehan Roy. Khan embodies the “charming, cunning thief” archetype, a role that drew immediate comparisons to his performances in the successful Race franchise.

Jaideep Ahlawat, highly regarded for his intense performances in projects like Paatal Lok, took on the role of the antagonist, Rajan Aulakh, described as a “cold, calculating mafia boss.”

Nikita Dutta played Farah, the unhappy wife caught between the two male leads.

Kunal Kapoor portrayed Vikram Patel, the determined law enforcement officer pursuing Rehan.

Other actors in supporting roles included Kulbhushan Kharbanda as Rehan’s father, Jayant Roy; Gagan Arora as his brother Avi; Loitongbam Dorendra Singh as the Istanbul crime lord Moosa; Sumit Gulati as Chunky; Chirjyot Singh Kohli and Vinay Sharma as bumbling officers easily duped by Rehan; and Meenal Sahu as Nikki, a hacker assisting Rehan whose character wasn’t fully fleshed out.

Is It Really Bad Enough to Warrant Such Poor Reviews?

While it won’t change your life (it definitely won’t), Jewel Thief – The Heist Begins is a decent film that never takes itself seriously: lots of slow-motion shots when the lead actress appears, plenty of shots of the protagonist lounging by the pool… sunglasses, occasionally bad jokes… no, the film isn’t serious, nor does it know how to take this heist seriously, which sometimes brings a smile, intended or not.

We won’t list the film’s narrative shortcomings – it has them, but nobody set out to make a neorealist masterpiece here. However, we will point out its positive aspects: it boasts stylish cinematography and good production values, along with a solid pace, editing, and sound design.

Regarding the script, we’d rather not dwell on it. When it comes to heist movies, we’ll likely have to stick with watching George Clooney and Brad Pitt in the classic Ocean’s Eleven (2001).

Still, for the sake of providing information, we’ll name names: The screenplay is credited to David Logan, with dialogue by Sumit Arora.

That said, the film seems to hint at more to come, suggesting this jewel theft is just the beginning.

Will they dare?

Speaking somewhat seriously, if you’re looking for frivolous entertainment that doesn’t take itself seriously, Jewel Thief – The Heist Begins could be a good choice.

And no, it’s not as bad as the critics made it out to be.

It’s no Citizen Kane, but just this week, we’ve seen three or four films that were considerably worse than Jewel Thief – The Heist Begins.

So relax, and don’t take it too seriously.

Where to Watch “Jewel Thief: The Heist Begins”

Netflix