“The Prophecy of the Witch” is laid in the mouth of a witch, what the Norse called a völva, a “carrier of the sacred wand”, a well-respected female, who, once initiated into her arts, would operate as a traveling, professional diviner and magician. These women were important members of Old Norse society, but also liminal and much feared people, set outside of the normal hierarchy of class and gender.
The witch, the völva, who speaks the prophecy that is to shape the framework of the Poetic Edda, the story of the beginning and of the end, is not any human völva either – this is The Old Witch, an immensely ancient creature who can remember nine worlds before the present Universe. The old woman remembers giants who existed before the beginning of time itself, giants who fostered her then.
She knew nine worlds, conceived of as nine ividjur – troll-women, giantesses or witches – who personify each universe before this present one that we are experiencing. These nine giantess worlds existed before the present World Tree sprouted from the ground. In fact they gave birth to it in unison, a world, the world as we know it, conceived of as a giant or as a tree. He is Heimdallr, the “Splendid World”, he is Ymir, primeval Sound, born of nine previous giantesses, coming into existence from the melting ice of the world of the dead.
The ancient völva who tells the tale appears to stand outside of Time, older than everyone, observing everything and carrying the memory of all these previous worlds and even the memory of the future.
With a career spanning almost three decades, Marshall is well known for his paintings depicting actual and imagined events from African-American history. His complex and multilayered portrayals of youths, interiors, nudes, housing estate gardens, land- and seascapes synthesize different traditions and genres, while seeking to counter stereotypical representations of black people in society. Engaging with issues of identity and individualism, he frequently depicts his figures in an extreme opaque, black colour, which stylizes their appearance while being a literal and rhetorical reference to the term black and its diametric opposition to the white “mainstream.” With art history today acknowledged as having been written from the perspective of white Western artists, Marshall assimilates the limitations and contradictions inherent in its styles, subjects, and chronologies, creating highly personalised works that appear recognisable and unfamiliar at the same time.
Marshall also produces drawings in the style of comic strips, as well as sculptural installations, photography, and video. Like his paintings, these works accumulate various stylistic influences to address the historiography of black art, while at the same time drawing attention to the fact that they are not inherently partisan because their subjects are black.
For his first show with David Zwirner, Marshall will present new paintings that collectively examine notions of observing, witnessing, and exhibiting. While central to the relationship between viewer and artwork, these overarching concepts are typically steeped in conventions that render them passive acts. Yet, Marshall’s works subtly defy genre expectations and invite idiosyncratic, often ambiguous interpretations. Entitled Look See, the exhibition takes its point of departure in the etymological difference between looking and seeing, which embodies varying degrees of attentiveness. While “looking” is generally understood to be a removed, detached action, “seeing” involves perception and making connections between elements.
Works on view depict a series of characters amid ornate backdrops and dressed in outfits designed specifically for the paintings over a period of several years. Many emphasize the idea of display, such as Untitled (Crowning Moment), Marshall’s portrait of a young woman wearing an elaborate headband—based on a news photograph of a contestant putting on the winning crown at a beauty pageant—and Untitled (Beach Towel) in which the reclining female in a garden setting looks past the viewer to a camera not visible in the composition. In Untitled (Club Couple), a smiling couple poses blatantly as the male figure implicates the viewer in his plans by showing a small box with an engagement ring behind his girlfriend’s back. The exhibitionism inherent in such paintings—putting oneself on view—echoes the notion of pure presentation that runs throughout the artist’s new works. Marshall’s characters offer themselves to be looked at or are actively engaged with looking at something, including themselves.
Untitled (Mirror Girl), correspondingly, can only be seen in a mirror, where she appears to pose for her own enjoyment. In Untitled (Pink Towel), no indication is given to the identity of the woman, nude except for a towel that she holds up to casually cover her body. Looking straight at the viewer, her tilted head and pearl earring can be seen to imbue the everyday scene with an art-historical reference to Dutch painter Johannes Vermeer’s well-known portrait Girl with a Pearl Earring (c. 1665).
In the large-scale Untitled (Studio), Marshall depicts the process of a model having her portrait painted. The messy paints smattered across the table, floor, and even the resting dog further offer a metaphor for the staged nature of each of the works. The sense of fabrication is underscored by the unconventional clothing worn by most of the characters, created for the series as for a play or a movie. Yet while their peculiar combination of realism and fiction can be seen to connect the works conceptually—and also defines an immediacy rarely found in contemporary painting—each retains a singularity that seems to suggest that nothing has come before it. In Untitled (Blot), a single abstract canvas, also on a large scale, underscores the delicate link between representation and the real world more generally. As with Marshall’s wider oeuvre, fabrication here becomes linked to the realisation that the history of art as we know it is itself a construction of particular cultural and political perspectives, and always open to reinvention.
Let me explain you a thing about the Marvel Civil War...
‘Cos I’ve been seeing a lot of post from people who have actual lives and don’t spend their every waking moment reading comics worrying about this, and in particular, the characterisation of Tony.
The Civil War is arguably the biggest event in Marvel’s publishing history. The Civil War fucking defined the Marvel Universe as it exists today. I would not be exaggerating to say it was one of the most important events in human history. (Actually I would, I’d be massively exaggerating, but this is the internet, so it’s okay).
The Civil War began with some of the best ideas in comics, and ended with some of the stupidest. It produced some of Marvel’s greatest moments, and also the comic universally considered to be their lowest point ever (though that won’t come into the film, since Spiderman isn’t around. I like Spidey but I’m honestly glad he’s not in Civil War just so we don’t risk another One More Day).
Okay, so why is the Civil War so important? And why am I taking the time to explain you this thing?
It’s because, if we disregard certain elements which I’ll explain below (which the MCU definitely will because they’re stupid and make my brain cry) there isn’t actually a right and wrong side to the Civil War.
First of all, you’ve got to remember that this isn’t the MCU. This is a world with Mutants. In the MCU I’m pretty sure Inhumans are going to take the Mutant role, but they’re still establishing them, so that’s supposition on my part.
So yeah, Mutants. A persecuted minority who serve as an analogue for just about every oppressed minority there is. But also, a species that keeps producing babies with godlike powers. Babies with godlike powers are not good. They level cities when they don’t get their rusks. They’re scary and uncontrolable and generally just really bad. They’re a minority of Mutants of course, most of the them get their powers during puberty. And pretty much any superpower is dangerous when given to an angry hormonal teenager.
So people are scared. You’ve seen the X-Men films, you know how this goes down. Except, in the X-Men films, the evil government types are just trying to oppressed poor adorably little magical Ellen Page. What big meanies.
In the comics, it’s a bit more complex.
People are scared of meta-humans, that’s only natural. There’s a lot of anti-mutant feeling. And then a group of junior Superheroes, called the New Warriors, mostly teenagers, mostly mutants, mostly very inexperienced, hear that the Supervillain Nitro is in Conneticut. They decide to go fight him. This is a stupid thing to do, Nitro’s pretty tough and actually killed one of Marvel’s most powerful heroes, Mar-Vell. But they’re teenagers, and they want to be heroes, so off they go.
It doesn’t go well. The fight happens right outside an elementary school, Nitro gets angry and uses his explodey powers and 612 people are killed, including 60 kids, and all but one of the New Warriors.
Obviously there’s an outcry, and the question being asked over and over is “Why was this allowed to happen? Why wasn’t someone watching these teenagers. Why was is under prepared kids sent to fight instead of, say, Cap? And now it has gone wrong, who do we hold accountable, and how?”
The answer proposed by the government is manditory registration for Superpowered beings. Training would be provided, proper oversight, accountability. All the things Superheroes just don’t have. And those are all good things, and if they’d been in place, maybe the school in Conneticut would still be standing.
On the other hand, it removes the impartiality of Supers, makes them essentially government controlled. It also, obviously, disproportianately affects Mutants,who have enough problems as it is, and people like Magneto start saying is just another piece of anti-mutant legislation and clear discrimination.
Tony argues that Superheroes need training and accountability, Cap argues that they need the freedom to live their lives without constant government surveilance.
You might agree with one or the other, but it’s a complex problem with no clear answer, and neither of them is the bad guy.
And that’s the bits of civil war I think they’ll be keeping for the MCU.
In the comics, Spiderman believes so much in the new laws that he reveals his secret identity. His enemies immediately shoot Aunt May. (He makes a deal with the devil to bring her back, so it’s all okay). Cap is shot, and replaced by Bucky.
The pro-registration side get creepier and creepier, to the point of giving Norman 'Green Goblin’ Osborn control of the superpowered Black Ops team, which is obv a good idea, and slowly become the villains. Then it turns out that they’re all Skrulls, Cap comes back to life, and everyone magically forgets about the war and goes back to killing Green Aliens. The Mutants try and point out that they’re still being oppressed, but no one cares because they’re a minority, and also green aliens to kill. (But it’s okay because Scarlet Witch solves the problem by wiping out 99% of all mutants).
Despite the Aliens though, those themes of accountability vs freedom is something that defines Marvel comics storytelling, and the longterm effects of the Civil War are still being felt throughout the 616.
So that’s why Civil War is important, interesting, and doesn’t mean Tony’s character is going to be ruined.
tl;dr: Tony and Cap are both right and there isn’t really a bad guy in Civil War, except for Nitro and Skrulls.
The results of mocking and using the Holocaust are desensitization and confusion. A 2014 survey
showed that two thirds of people world-wide haven’t heard of the
Holocaust, think it is a myth, or believe it to be greatly exaggerated.
showed that 17% of university students in India admired Hitler as an
ideal type of leader. In 2014, a mayoral candidate in Ontario, Canada, praised Hitler’s
“leadership qualities” – then stood by his comments in the face of
criticism, insisting that Hitler’s qualities could be “positive” in
At times, confusion about the Holocaust can tip over into anti-Jewish
stereotypes. That seems to have been the case in 2014, when southern
California’s Rialto Unified School District used classic anti-Jewish
terminology to ask eighth graders to write an essay on whether the
Holocaust “was an actual event in history, or merely a political scheme
created to influence public emotion and gain wealth.” (The school
district withdrew the assignment after a public outcry.)
Twenty five years ago, responding to artistic representations that he
felt trivialized the Holocaust, Elie Wiesel explained why it was so
hard to represent by quoting a story written by a fellow survivor. In
it, a young Jew is told by an SS officer, “One day you will speak of all
this, but your story will fall on deaf ears. Some will mock you, others
will try to redeem themselves through you. You will cry out to the
heavens and they will refuse to listen or to believe….”
What I would like to see a Mass Effect movie about:
Grissom’s exploration of the Charon Relay with an ending that foreshadows the First Contact War.
The First Contact War with a focus on Grissom and Anderson (w/ the ”yo mama” jokes scene.)
The events leading to the creation of Cerberus (w/ a Saren cameo?)
The first three options together in one.
The Rachni Wars and the Genophage that followed.
A collection of origin stories about some of the crew. Kaidan, Ashley, Jacob, and Vega in the Alliance. Wrex’s merc days. Mordin on Tuchanka for his last mission with the STG. Liara researching the Protheans (hints to the events of ME?) Hell - Jack, Kasumi, Samara, Zaeed, and Thane have enough adventures to make a full movie for each of them.
An origin movie about almost anyone other than Shepard.
Seriously, just vague hints and background chatter about Shep’s service history events without actually tacking Shep’s name onto anything is fine.
What I would not like to see a Mass Effect movie about:
After eight episodes, I have to say the show has kept my interest and has me guessing at how the story will end. Honestly, I was never big on historical based Kdramas. Not because I don’t like history but more so is that I don’t know enough about Korea History to enjoy it. This fact however, allows me to be able to go into the show without knowing the ending. I feel that if I knew Korea history better it would take the mystery out of the show. Not saying this is actual history but there are real characters and events from history. And I’m not taking any of these events out of the historical and fictional context. Also, the show encouraged me to research Korea history some, enough to make sense as to what is going on in the show. In addition to not knowing Korean History, I also haven’t had the pleasure of watching the original Scarlet Heart so I’m entering this story with a blind eye.
The show is wonderfully cast. From actors/actresses in different times of their acting careers, some acting longer than others. Others reviewed that the acting was lacking or overdone but only in the first couple of episodes.
The set designs and destinations are beautiful. Including, costumes, hair (even the wigs) and make-up are well done.
Unpredictable. To someone, as mention above, who doesn’t know the history of the setting nor has seen the original Scarlet Heart, this show is unpredictable. Which is refreshing. As a writer myself, I tend to figure out the story’s ending before it actually happens (usually by the second episode). And Kdramas are good at following a certain formula and honestly that’s kind of why I love them. However, I’m loving the unpredictable outcome of the show, at least for me it’s unpredictable.
Personally, I rooting for Wang So and Hae Soo because their relationship is one to build on. That to me is how you write romance and I’m not big on love at first sight. Especially with this drama.
Also, the love triangle is well written. If the audience can’t truly decide on one of the leading male characters that’s a good sign. The only reason I choose Wang So and Hae Soo is because of the building relationship idea and because I like Wang So character more than Wang Ok. However, I do like Wang Ok character as well. This is the same conflict I had while watching She Was Pretty…so kudos to the writers.
LEE JOON KI - that’s all I have to say really hahaha I mean look at that face
Even though the cast is wonderful, the amount of characters is starting to confuse me. I love all of them and I know they each have an important role. I just wish they would slowly introduced them.
Honestly, the romance between Wang Ok and Hae Soo was too quick for me. However, they are very cute and the interactions between the two characters are sweet as well.
Sadly, I have a feeling Wang Ok character isn’t going to live either.
Also, I wish Hae Soo would use her knowledge of the future more. She has such an advantage and I feel she is just living a life normally. Maybe not politically but I feel she would slip up more often than not. Or saying more confusing things. I feel she has conformed to her role in the past rather quickly. Hopefully, we will see it more since after episode 8 she is using her modern talents to help out and she is remembering history too.
Plus, I hope they are not going to turn Wang So into a villain. Sure, it would ad to the drama but the foreshadowing of his character turning so dark that he would kill his brothers is nonredeemable to me. But what do I know.
I love the show. I’m sure it will make me cry like an idiot but I’m rather excited about it. Also, I’m hopeful that the story will only get better from here. The cast is great and I’m rooting for all of them to have happy endings (except for that mean girl Yeon Hwa, Wang Yo, and the Evil Queen they can disappear).
Plot twist: Generations is actually an in-canon show that re-enacts famous history events. The protags were going to be in it but then the director got paid off by Red’s agency to remove them all and replace them with Red only.