Martin Cid's Blog: Martin Cid Magazine, page 82

Anthony Jeselnik Pushes Boundaries in Netflix Special “Anthony Jeselnik: Bones and All”

Anthony Jeselnik stars in “Anthony Jeselnik: Bones and All,” a Netflix stand-up comedy special directed by Bill Benz.

In the realm of stand-up comedy, few performers dare to tread where Anthony Jeselnik boldly struts. His latest Netflix special, “Anthony Jeselnik: Bones and All”, is a masterclass in provocative humor that will leave you gasping, laughing, and possibly questioning your moral compass.

Jeselnik, a veteran of the comedy scene for over two decades, hasn’t lost his edge. If anything, he’s sharpened it to a razor-fine point, slicing through societal taboos with the precision of a surgeon and the bedside manner of a chainsaw.

From the moment he steps on stage, Jeselnik makes it clear that no topic is off-limits. His sardonic smile serves as a warning: buckle up, because this ride is going to get bumpy. The comedian weaves a tapestry of dark humor, touching on subjects that would make even the most hardened comedy fan squirm: missing children, cadavers, transgender issues, abortion, and pregnant women.

And that’s just for starters. As the special progresses, Jeselnik hits his stride, diving headfirst into even more controversial waters. His pièce de résistance? A series of jokes about the age of consent and pedophilia that will have you laughing despite yourself, then immediately questioning why you’re laughing at all.

It’s this ability to make audiences uncomfortable yet unable to look away that has been Jeselnik’s trademark throughout his career. In “Anthony Jeselnik: Bones and All”, he proves that he’s still at the top of his game, pushing the envelope further than ever before.

But make no mistake – this isn’t shock humor for shock’s sake. Beneath the surface of each cringe-inducing punchline lies a keen understanding of comedy’s role in society. Jeselnik forces us out of our comfort zones, challenging our preconceptions and making us confront the darker aspects of human nature.

As the credits roll, you’ll find yourself in a state of conflicted awe. You’ll have laughed, you’ll have gasped, and you’ll have probably said “I can’t believe he just said that” more times than you can count. And that’s precisely the point.

A word of caution: If you’re easily offended, if your idea of edgy humor is a mild pun in a Hallmark movie, or if you consider yourself a paragon of decency and sensibility, this special might not be for you. But if you’re willing to leave your comfort zone at the door and embark on a journey through the darkest corners of comedy, “Anthony Jeselnik: Bones and All” is an experience you won’t soon forget.

Ready to test your comedic boundaries?

Where to Watch “Anthony Jeselnik: Bones and All”

Netflix

Extra: The Dark Humor of Anthony Jeselnik: What Makes His Comedy Unique

In a comedy landscape filled with observational humor and personal anecdotes, Anthony Jeselnik stands apart with his calculated approach to dark comedy. His perfectly crafted one-liners and deliberately shocking punchlines have earned him a unique position in stand-up comedy. Read more

Sickick Returns With ‘If The World Was Ending’

Canadian-born artist Sickick, who wears multiple hats as a singer, songwriter, producer, and DJ, has returned to the spotlight with his newest release, ‘If The World Was Ending’. This heartfelt and euphoric house track is sure to bring warmth to those chilly winter nights!

Showcasing the full range of his musical prowess, Sickick has crafted a vocal house paradise with this fresh release, blending summery and euphoric house beats with his uniquely captivating voice. The result is an infectious, high-energy, and light-hearted track perfect for the club scene this winter. He’s capping off the year on an impressive high with the release of ‘If The World Was Ending’ and a tour through the United States, featuring shows in Boston, Atlanta, and Los Angeles to wrap up the year. Sickick plans to carry this wave of success into 2025, with numerous releases, thrilling collaborations, and headline shows already in the works for the upcoming year.

“I’m continually amazed by my fans and their unwavering support. What started as a fun experiment in my basement evolved into this massive house anthem. I owe it to my fans who encouraged me to complete it. I’m thrilled to share this with everyone.” – Sickick shared, explaining how the song’s concept emerged from a collaboration with his dedicated fan base. You can check out his post here.

With over 15 million active followers across his various social media platforms, Sickick is swiftly becoming one of the most recognized and respected figures in the music industry. This growing prominence has led to collaborations with icons like Madonna, DMX, Justin Bieber, Coldplay, and many others. Despite his social presence and impressive list of collaborators, Sickick remains an enigma, hiding his identity behind a visually striking mask. This mask not only adds to his allure but also allows him to manage the pressures of global fame by keeping the focus on what truly matters – the music. His recent release, ‘Frozen’ with pop legend Madonna, serves as a testament to his exceptional talent, amassing over 180 million streams on Spotify alone. Additionally, his collaboration with Post Malone on ‘Cooped Up / Return Of The Mack’ has been another monumental success, garnering over 110 million streams on Spotify.

Mark your calendars for the release date: Friday, November 22nd.
Stream the new track here: https://ffm.to/y5aa7re.

Jina Park Solo Exhibition ‘Rocks, Smoke, and Pianos’ – Kukje Gallery (South Korea)

Kukje Gallery is thrilled to announce Rocks, Smoke, and Pianos, a solo exhibition by the talented Jina Park, hosted in the gallery’s Seoul K2 and Hanok spaces. This exhibition marks Park’s first presentation in the gallery’s Seoul location since her solo show in Busan in 2021. The exhibition features around 40 new works, employing both oil and watercolor mediums, that explore various site-specific environments such as a museum exhibition hall, a restaurant kitchen, and a piano factory. Park continues her practice of using photography as the foundation for her paintings, reconstructing scenes she captures with her camera. Since her Lomography series (2004–07), where she used a Lomo camera, Park has been committed to creating paintings not constrained by subject matter, action, or event, but instead focusing on transforming everyday moments into painterly subjects occurring in an unseen dimension of space.

In contrast to her previous exhibition Human Lights (2021) in the gallery’s Busan location, which featured nocturnal outdoor scenes, all paintings in this exhibition portray interior spaces, each showing figures deeply engaged in their work with a sense of dedication. The exhibition title, Rocks, Smoke, and Pianos, refers to ordinary objects that people might overlook, and serves as a metaphor for the various locations the artist visited and documented with her camera.

Jina Park (b. 1974)
Red Letters 03
2023
Oil on linen
110 x 168 cm
Courtesy of the artist and Kukje Gallery
Photo: Chunho An
Image provided by Kukje Gallery

Among these works, a group collectively known as “rocks” includes scenes captured during a group exhibition at the Busan Museum of Art, where Park was an invited participant. This series features scenes of art handlers unpacking rocks—elements from artist Park Hyunki’s work—as well as staff preparing adhesive vinyl for the exhibition, photographed during Park’s research visit to the museum while the previous exhibition was being installed. The series organized around the theme of “smoke” depicts bustling scenes within the restaurant kitchen at Kukje Gallery. Lastly, the series centered around “pianos” is Park’s most recent work, exploring the intricate details of Steingraeber piano manufacturing in Bayreuth, Germany, a town located in northern Bavaria, which Park visited earlier this year.

The chosen sites share the characteristic of being everyday work environments where employees perform their duties behind “Staff Only” signs. Considering her framing approach, one might assume that the activity of these individuals is the central focus in each scene. However, in the moments captured by Park’s camera, where chance plays a significant role, there are no dramatic actions, narratives, or predefined meanings. For instance, in the Kitchen series (2022–24), a large portion of the canvas is occupied by a crowded countertop filled with various cooking utensils and smoke rising into the air, as much as the figures engrossed in their tasks. Similarly, the lines and color planes that compose the scene become events in themselves, as seen in the rectangular vinyl sheets dispersed rhythmically on the exhibition floor in the Red Letters series (2023–24); the orange floor occupying two-thirds of the painting in the Rocks series (2023–24); or the bold lines and curves traversing the canvas in the Piano Factory series (2024). Figures in ambiguous poses, with no intention of conveying meaning, merely hint at their context, prompting speculation about the “before” and “after” of the scene—adding a sense of tension to the painting. This tension arises because, while the painting originates from everyday subjects captured through Park’s camera, it removes the social context or direct meaning they may hold, emphasizing the formal and compositional relationships of the lines, planes, and colors. In other words, the tension is heightened as Park moves forward in her experimentation toward art for art’s sake.

Jina Park (b. 1974)
Piano Factory 06
2024
Oil on linen
150 x 170 cm
Courtesy of the artist and Kukje Gallery
Photo: Chunho An
Image provided by Kukje Gallery

As early as 2005, Park expressed her desire to create “horizontal paintings, or paintings without hierarchy.”¹ This statement reveals how questions about the “pictoriality of painting” have been central to her work all along. Park has consistently experimented with her art, seeking greater honesty in the physical qualities of her painterly materials and aiming for greater autonomy. Regarding her techniques, Park employs quick strokes reminiscent of drawings to create loosely structured images, to the extent that the figures almost blend into the background. However, unlike drawings, the figures are realized as dense layers of paint, composed of layered brushstrokes. Additionally, the physical qualities of the painting materials are no longer solely subjected to representation or signification, as the artist makes evident by leaving the oil paint flowing down the canvas or the smeared marks of watercolor on paper. She makes the materiality of the artistic medium visible and deliberately employs implicit and elliptical expressions to provide space for the viewer’s imaginative engagement.

Simultaneously, the camera has become a valuable tool in Park’s experimentation, aiming to challenge the established hierarchy among traditional elements of painting and achieve the desired autonomy. Park recomposes various scenes captured with her camera, thus preventing a specific time frame from appearing in the still image on the canvas. Moreover, her work clearly reflects the camera’s unique imaging qualities, such as the distortion of straight lines caused by the use of a wide-angle lens, the flattening of spatial dimensionality in the background, and an abstracted planar color block resulting from the camera flash, or the dramatic proportions within the pictorial frame due to the camera’s angle. Consequently, in works like Light for Interview (2023), A Pink Room (2024), and Hoverboards in Blue (2024), the wall and floor connect in a continuous plane, expressed through yellow, pink, and blue color fields. This use of color emerges as a significant characteristic in Park’s work. With these devices, the artist embraces contingency, a-temporality, and a-placelessness—qualities of abstract paintings—and constructs a unique visual language where abstract and representational spaces coexist.

This exhibition is a journey where Park navigates traditional boundaries between drawing and painting, figuration and abstraction, as well as photography and painting. By introducing discordant gaps into what appears to be a smooth surface of the painting, she explores her own approach to the question, “What is the pictoriality of painting?” The naturalistic style undergoes a series of transitions, summarized as distortions from the camera lens and the artist’s painterly experimentation, returning with a completely new pictorial language and grammar. This enables the artist to create works that thoroughly investigate and deliberately express the essence of painting. These fleeting moments, suspended in the present continuous tense, come together in the exhibition space, inviting reflection on the true essence of painting.

Exhibition Dates: December 3, 2024–January 26, 2025.
Venues: Kukje Gallery K2, Hanok.

Jina Park (b. 1974)
Lighting in the Pink Room
2023
Oil on linen
220 x 190 cm
Courtesy of the artist and Kukje Gallery
Photo: Chunho An
Image provided by Kukje Gallery

Moohyun Jo, Gus Monday: “The Observers” – SEOJUNG ART (Busan, South Korea)

SEOJUNG ART is delighted to present “The Observers,” a compelling duo exhibition featuring the works of Moohyun Jo and Gus Monday in Busan. This exhibition showcases the unique explorations of both artists, highlighting their ability to investigate and reinterpret the world around them. Moohyun Jo delves into the unseen layers beneath the surface, driven by a persistent curiosity about hidden structures and meanings. Gus Monday, renowned for his narrative artistry, draws inspiration from his personal experiences to craft spatial stories that weave together social symbols and codes. The exhibition comprises 14 works, including 12 new pieces across painting, drawing, and sculpture. Both artists examine how the act of observing can transform reality and enhance the interpretive possibilities of observation.

Gus Monday, Study for The Pitti Palace, 2024. Oil on linen and panel, 60 x 30 cm. Courtesy of SEOJUNG ART and the artist.

Moohyun Jo’s work is centered on uncovering the hidden structures and meanings that lie beyond what is immediately visible. As an observer, he takes an active approach, moving beyond simply recording the external appearance of his subjects to decode the concealed relationships and underlying mechanisms. A recurring theme in his work is the ‘car,’ which he uses to explore these hidden aspects. Though the internal structure of a car is not visible beneath its sleek exterior, its presence can be felt, and the functional space it creates engenders a sense of trust in the user. By examining his relationship with the car, Jo captures its inner essence through an observer’s lens, using collected car images to investigate the paradoxical relationship between interior and exterior. His paintings and sculptures reconstruct the volume and depth of the car’s interior, revealing symbolic meanings embedded in everyday objects through careful observation of qualities that are not immediately apparent. This exploration not only reflects Jo’s perspective as an observer but also creates a connection to the viewer’s own gaze.

Gus Monday, who spent his formative years between South Africa and the United Kingdom, integrates his personal experiences with a variety of social, cultural, and historical elements to create visual narratives encoded within everyday spaces. As an observer, he reveals the social codes embedded in these spaces with a discerning eye, showing how individuals interact with their environments. By juxtaposing stylistic elements that evoke both modern viewpoints and nostalgia for the past, he reinterprets the complex relationship between past and present, inviting viewers to question how they perceive and internalize these contexts. In “The Observers,” Monday introduces his Study and Sketch series to Korea for the first time. Far from being mere preliminary works, these pieces represent the culmination of continuous observation and documentation, capturing significant moments in his creative journey.

The French philosopher Michel Foucault, in 『Discipline and Punish: The Birth of the Prison』, posited that ‘the observer is not one who seeks to control the subject but one who investigates the possibilities of its existence.’ In “The Observers,” Moohyun Jo and Gus Monday illustrate that observation is a journey that goes beyond mere visual surfaces to explore the multiple layers of meaning beneath. The audience is invited to align with the artists’ perspectives, transitioning from an intuitive viewing experience to a more analytical engagement. Through this process, viewers are encouraged to revisit overlooked scenes from everyday life, embarking on an artistic journey that reconstructs and reinterprets reality.

Exhibition Dates: November 23 – December 29, 2024 l SEOJUNG ART Busan

Season four of “The Creature Cases” is now available on Netflix, ready to introduce young viewers to the wonders of the animal kingdom

“The Creature Cases” is an animation series for kids directed by Jérémie Guneau and Sebastien Le Neve.

“The Creature Cases” is an educational series on Netflix where two animal researchers tackle engaging cases involving the animal world, all while teaching children fascinating facts about these incredible creatures.

Each case contains a mystery that our researchers must solve (like a stolen spider web or a missing Arctic fox cub, among others). As they investigate, they uncover interesting facts and behaviors of various animals, which they then share with the audience.

Moreover, the show doesn’t limit itself to familiar animals; the researchers travel worldwide, bringing viewers insights into a variety of exotic species.

So, get ready to learn and have fun.

This series is designed with young viewers in mind, but adults watching along will also find themselves discovering intriguing facts about the animal kingdom.

Where to Watch “The Creature Cases”

Netflix

“Cold Case: Who Killed JonBenét Ramsey” Documentary Series on Netflix: A Heinous Murder and a Controversial Media Case

“Cold Case: Who Killed JonBenét Ramsey” is a true crime documentary miniseries directed by Joe Berlinger.

The murder of JonBenét Ramsey was not only shocking but also a series of missteps by all involved, including the police, her parents, the investigators, and the media. The horrific incident grabbed the nation’s attention, leading the media to make accusations, conduct interviews, and create an entire media circus to exploit the grim event. Now, Netflix revisits this unsolved case, re-examining all the controversies with the testimonies of some family members and, most notably, the child’s father, John Bennett Ramsey, who was widely accused of his own daughter’s murder.

About the murder

During Christmas of 1996, the Ramseys made a frantic call: they had found a ransom note and their daughter was missing. The note demanded exactly $118,000, or else their daughter would be beheaded. The house was filled with friends and acquaintances, and the police conducted a preliminary search but found nothing. It was only later that John, the father, discovered his daughter’s lifeless body in the basement. The child had been gagged, sexually assaulted, and struck on the head. Suspicion immediately fell on the family, who quickly sought legal counsel and refused to speak with the police. The media seized the case, turning it into what the public craved: a murder case that directly implicated the father. Major networks like ABC, NBC, CBS, and CNN covered the incident extensively. The child’s photos, as a participant in beauty pageants, and the parents’ behavior were harshly criticized nationwide.

DNA tests were conducted: there was no evidence that any family member had committed the murder. Instead, DNA from an unidentified male was found. Evidence was hidden. This is just the beginning of a case that remains unsolved and has been the subject of much speculation due to its grotesque and horrifying nature.

About the Documentary

As is now customary, Netflix includes the testimony of an individual accused of a horrific crime who provides evidence of their innocence: DNA tests, unfounded media harassment, and more. In “Cold Case: Who Killed JonBenét Ramsey,” we see all the investigative errors and, most importantly, how the press exploited the event to create pure controversy for ratings. “Cold Case: Who Killed JonBenét Ramsey” serves as an excellent documentary to ponder this point: media manipulation. Interestingly, it’s a documentary that echoes the murder and a genre (true crime) that has been one of Netflix’s major successes. It’s clear: murders sell, and the media’s job, whether we like it or not, is to deliver news that captivates the audience. Is it right to give the public what they want at any cost? A complex question indeed.

The documentary is a classic three-episode format: narrated like a thriller, with eerie and suspenseful music, emphasizing the most gruesome aspects of the crime to achieve maximum impact and keep the viewer glued to their seat with a grisly, heinous, and brutal crime. The formula undeniably works.

Our Opinion

We return once more to the same question: is it ethical to exploit the pain of families and turn deaths into a media spectacle? Television networks defend themselves: it’s what the audience demands. It’s absolutely unquestionable. The numbers support this stance: viewers devour this genre. It’s not a new phenomenon; it happened with Jack the Ripper, the first media sensation of the industrialized world.

While “Cold Case: Who Killed JonBenét Ramsey” presents an opportunity to reflect on media practices, it also underscores the perpetual appetite for true crime stories. It leaves us pondering the moral implications of such portrayals while acknowledging the undeniable fact that, for better or worse, these narratives are an enduring part of our cultural fabric.

Where to Watch “Cold Case: Who Killed JonBenét Ramsey”

Netflix

Extra: The Unsolved Mystery of JonBenét Ramsey

The case of JonBenét Ramsey, a young beauty queen found lifeless in her family home, remains one of the most perplexing and scrutinized criminal investigations in American history. This tragic event occurred in Boulder, Colorado, captivating the nation’s attention and leaving many questions unanswered. Read more

The sinister smiles return in “Smile 2”

“Smile 2” is a horror movie starring Naomi Scott. It is directed by Parker Finn.

As he did in the first installment, Parker Finn once again takes on the roles of both writer and director for this film. Though it shows improvements in both direction and script, it loses a significant amount of the surprise element that made the original so unique. By playing with the boundary between reality and fiction, “Smile 2” emerges as a strong horror film, particularly notable for its visual aspects and meticulous production and cinematography. A key factor in its success is the performance of Naomi Scott, who carries the film from start to finish. Without her, the movie might have been just another sequel.

Plot

Music superstar Skye Riley visits a local dealer to buy tranquilizers. Suddenly, the dealer goes mad and strikes himself with a gym weight. From that moment on, Skye begins experiencing visions linked to the eerie smile the dealer had before his demise.

About the film

While it doesn’t claim the title of the year’s best horror film, it introduces fresh ideas and aesthetically surpasses the original. “Smile 2” is a dark film built on jump scares and the impact of certain scenes. The drawback: these scenes are quite predictable, and the source of terror is easily identifiable. However, from an aesthetic standpoint, it excels with a well-executed style and cinematic rhythm. The shots are intricately crafted, sequences are flawlessly directed from beginning to end, and the framing is elaborate, all contributing to a direction that consistently aims to mislead the audience. Whether the smiles draw inspiration from Jack Nicholson in The Shining (1980) is left to the viewer’s judgment.

Special mention should be made of Naomi Scott, who gives her all in this role. Her performance places her as a strong contender for more dramatic roles beyond the horror genre, showcasing versatility, strength, and emotional depth. She is an actress with a promising future.

Our opinion

While it may not surprise, it captivates due to its style, impressive cinematography, and lead actress. Without attempting to overhaul the elements that made the first film a hit, it innovates just enough to stand out as a good sequel and enhance its predecessor from a cinematic perspective. “Smile 2” manages to hold the audience’s attention and improves upon the original in terms of both execution and artistic direction.

The music video for the new song “SIX Kick Ass” by the 2.5-dimensional idol group “Meteorites” has been released

We are excited to announce that “Meteorites,” a 2.5-dimensional idol group produced by “Nanamori,” the leader of STPR’s “Strawberry Prince,” has unveiled their latest music video for “SIX Kick Ass.” Since starting their official YouTube channel in July 2024, they have quickly gained traction, amassing 300,000 subscribers in just 49 days—a record for singing groups.

“SIX Kick Ass” is a rap-infused EDM track composed and written by Chihiro Tamaki, known for creating music for various artists and anime projects. This song also serves as the group’s introduction, featuring lyrics that highlight the unique personalities of each of the six members, showcasing their vibrant diversity.

The music video, which premiered today, features the group dressed in cyber street fashion, performing on a high-tech stage. The visuals are electrifying, emulating a live performance atmosphere. Pay special attention to the individual members’ expressions as they transition between their solo parts, and imagine how this dynamic performance would feel in a real concert setting. Enjoy!

Gabry Ponte, Sean Paul, and NATTI NATASHA’s upbeat track ‘Born To Love Ya’ gets a fresh dancehall twist, thanks to a remix by Sean Paul himself, released on Spinnin’ Records

Building on the energetic blend of electronic beats and dancehall vibes, this remix by Gabry Ponte, Sean Paul, and NATTI NATASHA takes the Jamaican and Reggaeton influences to new heights. The remix, crafted by Sean Paul and his Dutty Rock production team, pays homage to these vibrant musical styles.

The new version captivates listeners with its dancehall instrumentation and a consistent groove that complements the lively Latin rhythms. It retains the catchy pop chorus of ‘Born To Love Ya’ and features Sean Paul and NATTI NATASHA delivering lyrics that promote love and unity on the dancefloor.

Italian DJ and producer Gabry Ponte, a member of Eiffel 65 and Grammy nominee, teams up with Jamaican dancehall icon and Grammy winner Sean Paul, as well as Dominican pop sensation NATTI NATASHA. This collaboration showcases how music can transcend borders and bring people together.

“Yeh Kaali Kaali Ankhein” – New Season of the Series on Netflix: What Happens When a Politician’s Daughter Falls for Someone? Nothing Good

“Yeh Kaali Kaali Ankhein” is an Indian series starring Tahir Raj Bhasin, Shweta Tripathi Sharma, and Anchal Singh.

Netflix unveils the second season of “Yeh Kaali Kaali Ankhein,” an Indian series that directly tackles the issue of political corruption, albeit with a thrilling twist and plenty of comedic elements. “Yeh Kaali Kaali Ankhein” is an engaging blend of mystery and intrigue, posing a significant question with a touch of irony: what do you do if the gorgeous daughter of a corrupt politician falls in love with you? Our protagonist finds himself facing just such a dilemma.

About the Series

Combining elements of a thriller, comedy, and romantic story, this series offers an entertaining narrative with a somewhat dark sense of humor (consider this your warning). The plot portrays the politician as a ruthless criminal who manipulates everything to his advantage, while his stunningly beautiful but spoiled daughter becomes infatuated with her former schoolmate. The outcome is a series that is, at times, thrilling, occasionally romantic, and sometimes violent.

One thing the story makes clear: politicians are not popular anywhere, despite their supposed job. Ironies aside, “Yeh Kaali Kaali Ankhein” is entertaining and amusing, and although it doesn’t boast an extraordinary production, it has enough merits to warrant giving it a chance, particularly for its sense of humor, which, we warn again, is quite dark, and that’s something we appreciate.

While it may not be an excellent series, it knows how to capitalize on its strengths, turning the narrative into something entertaining and vividly unique. Enjoy the show.

Where to Watch “Yeh Kaali Kaali Ankhein”

Netflix