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Wild horse advocates drop suit over Nevada refuge
Associated Press
RENO — Wild horse advocates dropped a lawsuit on Tuesday challenging roundups at a wildlife refuge on the Nevada-California line after federal officials severed ties with a contractor accused by critics of allowing some mustangs to be sold for slaughter.
The Fish and Wildlife Service notified J&S Associates of Mississippi on June 23 that its contract had been terminated and the firm would not be receiving the $11,633 it was to be paid at future roundups.
The move came after Bonnie Kohleriter and Laura Leigh of the Nevada-based group Wild Horse Education claimed in the federal lawsuit that the service couldn't account for the majority of the 140 horses that J&S rounded up last fall from Sheldon National Wildlife Refuge.
The case had been scheduled to go before Judge Mirandu Du on Tuesday, but the plaintiffs confirmed before a status hearing that they were dropping the case.
A telephone call seeking comment went unanswered at J&S in Pelahatchie, Mississippi.
General manager Stan Palmer has said before that to his knowledge, none of the horses ended up going to slaughter.
The lawsuit filed in September said the service had continued to hire J&S despite objections from the public and the agency's own internal review that was unable to account for more than half of the 262 horses J&S gathered from 2010-12.
Leigh said she's pleased agency officials severed ties with J&S but remains concerned they haven't detailed what they plan to do with nearly 500 more horses they intend to gather this summer from the refuge about 230 miles north of Reno.
"Current placement options for the horses to be removed in 2014 is of utmost importance to ensure that the mistakes made in the past are not repeated," she said in a letter to refuge director John Kasbohm.


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Learn more about how we protect our area wildlife's natural habitat and how it benefits Austin. If you don't see what you're looking for, click "View All" to see a more complete list of departments, programs and educational tools. You can also let us know what you were looking for on this page.

subset: commoncrawl


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Highlights and Diagrams as a Teaching Tool
Yesterday I told you about the Sunday School class I'm teaching on Bible Study methods using the book of Colossians. I told you about the I See! So What? Hmm… method, and showed how I used a User Notes file as a convenient way to record the class's observations, applications, and questions about Colossians 1:3-8.
The next week we went over Paul's prayer for the Colossians in 1:9-14, and this gave me a great opportunity to talk about one particular kind of observation they should make when studying a passage. You see, when we read these verses, we typically think that Paul is praying for a long series of things: that the Colossians would be "filled with the knowledge of [God's] will," that they would "live a life worthy of the Lord," "bear fruit in every good work," "be strengthened with all power," and "joyfully give thanks to the Father." However, if we look carefully at the grammar and syntax of this passage, we observe that he really only prays for one thing.
Of all the translations I looked at in preparation for the class, the 1984 NIV brought out the structure of the passage most clearly. It reads, "we have not stopped praying for you and asking God to fill you with the knowledge of his will through all spiritual wisdom and understanding." Note the period. That's the end of Paul's prayer. He then goes on to say, "we pray this in order that you may live a life worthy of the Lord and may please him in every way:". At this point he is merely explaining his reasons for praying that the Colossians would be filled with the knowledge of God's will. His assumption is that if they are so filled, they will live in a way that pleases the Lord.
Now note the colon the NIV places after Paul's reason for his prayer. It is followed by a series of four participles, all of which explain what it looks like to live a life that pleases the Lord. Other translations often break this section up into two or more separate sentences, changing one of the participles to an independent verb to avoid a run-on sentence. Yet in so doing they obscure the relationship between this series of participles and what comes before.
Things get even more interesting in the Greek. When I looked at that, I found that there are indeed four Greek participles, just as the 1984 NIV translates. Yet these participles are organized into three clauses, each of which begins with a prepositional phrase. This latter structure even the 1984 NIV obscures, simply because it would be awkward to translate literally into English. A more wooden translation would read, "in every good work bearing fruit and growing…, with all power being strengthened…, and with joy giving thanks…".
To help my class see these subtle differences in structure, I used the diagram window to do a simple block diagram of the passage as translated by the 1984 NIV, as well as how it might be woodenly translated from the Greek. I also used highlight styles and colors in the diagram to help show the key elements (that is, the participles and prepositional phrases).
This simple combination of highlight styles and a diagram make it easy to see the structure of this passage. The 1984 NIV makes the four Greek participles transparent, and my modification of the NIV brings out the structure of the passage into three clauses beginning with prepositional phrases. After showing this to my class, I pointed out that the phrase "growing in the knowledge of God" is grouped with the prepositional phrase "in every good work." I then asked them to wrestle with the relationship between those two ideas.
My goal here was to show my class how observing grammatical and syntactical details can help them understand a passage, and that this is something they can easily do using a good translation. On the other hand, this passage also gave me a chance to show the benefits of being able to study the original languages. Translations will always obscure the grammar and syntax of the original, which is one reason pastors and scholars study the languages.
I'm obviously trying to walk a fine line with this last point. I don't expect my Sunday School class to go out and learn Greek and Hebrew, and I want them to feel that they can clearly understand the meaning of a passage using a good translation. On the other hand, I want them to see that those who study the languages are not engaging in useless sophistry, but are simply going a little deeper in their study of the Bible.
Whether or not they fully grasped those points remains to be seen, but I felt that the combination of highlighting and diagramming gave me an effective visual aid in trying to make those points as clearly as I could.


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Monday, September 28, 2009
Now do you believe me???
Unlike Mr. Bachchan I had to wait for nearly 24 hours to blog after attending the same function last night. He was at it minutes after leaving the venue. He was kind enough to provide useful tech-tips on how to upload pics from my phone, but I'm still light years away from mastering that skill. I always enjoy running into Mr. B, even when we are spatting. For one, he has a sense of humour. For another, he also has a way with words. At the stylish GQ Awards, where he was given yet another Lifetime Achievement recognition, he was at his debonair best and certainly had the last word when he plugged his own blog as a parting shot. I'm wracking my brains to come up with a suitable blogwar with him in the near future - the issue has to be strong enough. Now that Amitabh is doing his Dr. Freud number in the Bigggggg Bossssss, I'll watch my thoughts before posting them!
Kareena Kapoor handed over an award (same event) to beau Saif Ali Khan with a priceless sign off line . Gushed the maiden while declaring not-so-coyly , " I am so lucky... the winner will spend the night in my arms!" How's that for straight talk?? Are you blushing??? More prude, you!!
Here's the bad news about posting my speech at the Leadership Conclave in Delhi. It was extempore and unscripted. I hate prepared texts and always speak spontaneously after jotting down a few key points on random slips of paper. I am sure the Wockhart Foundation has a video recording, so I'll just ask for it to be uploaded and give you guys the link. All I can tell you is that I spoke from the heart and in my experience that's what works best.
28 comments:
- The Panorama said...
Nice post with yet another cute pic!
- September 29, 2009 at 1:43 AM
- Snigdha said...
Kareena is an undereducated stupid woman...was just watching her recently on farah's show...she really cant talk. And ofcourse, she is super happy and proud to have saif as her arm candy (wonder why??) and thats why she just keeps gushing and smiling. But have to give that the woman knows how to act, guess thats just the genes...
- September 29, 2009 at 3:04 AM
- maglomaniac said...
Spontaneous talking is what I have always liked.thoughts should be free and unbounded rather than penned and scripted.And you talking spontaneous at such great place really shows your spontaneity.Do,drop me a link.
And now the pic looks ahem ahem a bit real.
- September 29, 2009 at 6:43 AM
- maglomaniac said...
And why the word verification.
End it dear.I havent seen any spam in your blog.
And it generally doesn't come.
Removing it wud increase commentability.
- September 29, 2009 at 6:44 AM
- Unknown said...
Now I am trying to believe that the cub is live. I can never forget Elsa of the Born Free fame.
As for kareena and saif, the day is not far off when they will come to their senses and split. Till then, we have to tolerate her.
Farah Khan's reality show is good as long as the guests are lively. But hrithik and kangana were so deadpan and serious, the show looked like a funeral.
Lux bride show is good because all the participants are normal yet interesting. And why should the girls cry when they try to snatch one of the five as if there is a dearth of grooms? Are they little girls fighting over chocolates? Its a combination of a little bit of splitsvilla and big boss. But more tolerable because they are not denied of food and sleep and are also not that rude.
Bachchan dwells more in the past and some of his blogs are quite interesting though not his gushing EF. They sound like some bhajan group.
- September 29, 2009 at 6:58 AM
- चंद्रमौलेश्वर प्रसाद said...
We believe, we believe.....you are bold and beautiful....no proof required please...and not so dangerous, as that one:)
"Kareena Kapoor handed over an award (same event) to beau Saif Ali Khan with a priceless sign.. " YEH TO GHAR KI BAAT HAI:-)
- September 29, 2009 at 8:51 AM
Yes, I believe self.
- September 29, 2009 at 9:43 AM
- Harish said...
Wowie! Mast che!! Wonder when our zoos would be habitable for animals, and hospitable and 'visit'able for visitors. **** amitabh is really so blog savvy?? I toh thought he wud be getting his seccy to type. **** amitabhs once-almost bahu's sister- kareena, is scatterbrained and comes across as duhh, bt all said and done, i love her frank zubaan-pe-no-lagaam speeches. She is outside, what she is inside- untutored, unpolished, raw.
- September 29, 2009 at 10:08 AM
- manjiT said...
2 pics of u teasing the cub!! 'ajj tak' do blog, don't they? :)) lolz
- September 29, 2009 at 10:18 AM
- Theyoginme said...
Shobhaa both pics were great and the first one was incredible as it made the cub look much bigger, classy pic.. I think I am gonna send you one of my Ultra Flip's so you can upload videos into blogger with real ease. That is how I have done all the videos on my blog. Its really easy.. plug it in to your laptop. You will give Big B a run for his money :)
- September 29, 2009 at 10:37 AM
- SUFFIX said...
Another nice pic, i think the cub relished by the tigress touch!! Thanks Mam, we will wait for your speech video upload.
- September 29, 2009 at 11:43 AM
- Shachi said...
wow - u r so lucky....this picture and the previous one are amazing!!!!!
As of Kareena and Saif - I concur with the comments here....have a feeling they will head to splitsville.....
- September 29, 2009 at 12:06 PM
- Chandni (Chanz) said...
hi shobha... i think both the pics were amazing... the earlier pic had a sense of strength and powerfullness attached to it but the second pic seems more real... :)
n as far as kareena's "the winner will spend the night in my arms" is concerned, this was just a publicity stunt... so it shouldnt really be bothering us.. way to go kareena and saif...
- September 29, 2009 at 2:16 PM
- Lover of the written word. said...
The second para about Kareena was Hilarious!
And through your post i realized that Mr. Bachan is pretty tech savvy.
and YES..your tattoo is so amiable.
- September 29, 2009 at 2:32 PM
- Balvinder Balli said...
Yes Shobhaa, you speak from your heart and that is the reason why you have so many fans, including me, of course.
- September 29, 2009 at 2:48 PM
- Unknown said...
Kala love ur 'bahjan group ' comment… I am diabetic becoz of reading the comments thr sic sic
Shobha u look awesome.. you have to share with us secret of your fit body!! Especially when you eat everythin hmmmmmmm
Saif n Kareena r non existent ... Kareena has no other movie except JWM to talk abt...... I am thinking..
Love always
- September 29, 2009 at 3:26 PM
- Neeraj Shinde said...
I believe it now! :)
- September 29, 2009 at 5:28 PM
- Jyostna said...
This is my first visit to ur blog. After Mr. Bachan mentioned about your blog in his yesterday's post, I made an effort to read some ur posts. I should say I really enjoyed ur writings and of course one will obviously enjoy..as u r a master of columnists. the cub is really adorable.
- September 29, 2009 at 8:52 PM
- Another Kiran In NYC said...
Kala: I am totally tickled by the Bhajan Group comment. I loved it!
- September 29, 2009 at 9:58 PM
- the maxy blog said...
Hi Shobhaa ur so lively and so real, ur adorable, hope to c more snaps,
- September 29, 2009 at 10:59 PM
- Another Kiran In NYC said...
So Bacchan is a new age Ashok Kumar commenting on every episode of a show?
Do you remember Ashok Kumar and his preface for every episode of Hum Log?
My goodness did I just mention humlog. I did date myself. Yes, I come from an era when DD had just one soap that we all looked forward to after dinner everynight! Bilkul Medevial!
So Bacchan, do rewatch some of those Ashok Kumar episodes. He was avuncular and honest if somewhat oldfashioned. Still I think Ashok Kumar was the best part of HumLog apart from that Chikna young lead actor (the amitious son of the family)who was my first celebrity crush at 12! Where is that actor anyway?
- September 29, 2009 at 11:04 PM
- Samindra Das said...
One can pet Lion and Tiger Cubs in amy of the zoos of thw owrld. This is regular tourist norm in the Singapore zoo. Everyones prized possession photo of the visit to Singapore zoo is to click them with the cubs sitting on your lap. Hence, I am wondering why people were putting up the strange comments. Probably after effects of that MP who went int a tigers cage and petted it.
Samindra Das, Mumabi, India, 30.09.2009, 10.15 am
- September 30, 2009 at 10:10 AM
- Gajendra said...
hey shobhaa....what does the tattoo say ?
- September 30, 2009 at 2:08 PM
- Unknown said...
Hello Shobhaji,
My name is Mital,live in US and just found out yesterday that you also have a blog. I read Mr.Amitabh Bachchan blog each day and when he spoke about you having one I was so excited. I find you as one of the most goal-oriented and successful woman of our times. One major thing i must say, WHAT BEAUTY you have.....keep it up!! Looking at you makes me want to look better each and every day.
Now I know you have a blog, I'll be keeping up with it.
Take Care
- September 30, 2009 at 7:35 PM
- Unknown said...
For once, I envy you!
It must've felt so good to make friends with that oversized kitten.
- October 1, 2009 at 1:41 AM
- Unknown said...
Nice pic......we believe you no need for any proofs etc. Lucky woman you got a chance to play with a cub :)
Interesting idea of starting a blog war wid Big B.......we will get lots of meat. So when are you starting it?
Big B is d best host for Big Boss till date. Roping Jaya Sawant for BB was a very stupid idea. poor woman.
Kareena n Saif their career is over so they r dng anything to catch lime light.
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- October 8, 2009 at 3:50 PM
- Maha said...
nice post...
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Doctor Who Recap: 2016 Christmas Special, "The Return of Doctor Mysterio"
Some skillful writing diverts attention from the fact that this is a rather oddly structured episode.
When the classic Doctor Who was first sold to Mexico in the 1960s, the show was retitled, with a stentorian voice declaiming "El doctor misterio!" at the opening of each Spanish-dubbed episode. According to Steven Moffat, showrunner of the present-day Doctor Who, this title—which the series still uses in Mexico—was the spark that served as the initial inspiration for this Christmas special, in which he creates a very enjoyable mashup of Doctor Who and the superhero genre.
Moffat-era Doctor Who has often focused on the Doctor's (Peter Capaldi) ability to forge a direct connection with children, and in the Christmas special's long pretitle sequence he establishes a lovely avuncular rapport with eight-year-old Grant (Logan Hoffman), who discovers the Doctor setting up a high-tech device on the roof of his New York apartment building. The Doctor is delighted when the boy tells him that, in a comic book, he'd be named "Doctor Mysterio" but then is soon dismayed when a misunderstanding results in Grant swallowing an alien gemstone which bonds with him and imbues him with powers like the superheroes he's read so much about. Despite a promise to the Doctor never to use his powers, the grown-up Grant (Justin Chatwin) leads a double life, fighting crime and saving lives as the masked vigilante The Ghost, while also being a mild-mannered nanny taking care of the baby of reporter Lucy Lombard (Charity Wakefield).
There's some skillful writing from Moffat to divert attention from the fact that this is a rather oddly structured episode. It splits into two separate stories, which only intersect at the beginning and the end. One is a straightforward Doctor Who alien-invasion plot, in which the Doctor investigates the sinister multinational corporation Harmony Shoal and discovers a group of bizarre creatures that look like disembodied brains with embedded eyes and can implant themselves in the bodies of humans. They're planning to drop a spaceship converted into a flying bomb onto New York as part of a scheme to take over the leadership of the world. It's a witty reflection by Moffat of the 2005 Doctor Who episode "Aliens of London," with an alien attack created to mask the fact that the aliens are already here, and the line that after tomorrow every world leader will "have a zip in his head."
In the course of his investigations, the Doctor encounters Lucy, and then Grant in his superhero persona coming to rescue her when she and the Doctor are trapped by one of the aliens. Moffat skates quickly over the fact that there's no apparent justification for Grant turning up at this point, though it's necessary to launch the second strand of the episode.
The Doctor has previously encountered a superhero in 1968's "The Mind Robber," but that was in the course of an adventure set in an explicitly fantastical "Land of Fiction." Normally, Doctor Who's commitment to plausibility—sometimes only loosely adhered to, admittedly—rules out such characters, unless (like in "The Return of Doctor Mysterio") their abilities are gained through sufficiently advanced alien technology. Hence the amusing image of the Doctor having dropped into a different universe when he's confronted with the conventions of the genre, such as superpowers resulting from the bite of a radioactive spider, or that a pair of glasses or a small face mask is totally effective at concealing a superhero's secret identity.
There's a hilarious scene where Lucy extracts information about Harmony Shoal from the Doctor by torturing a squeeze toy, but after that she and Grant are left to their own sweetly played romantic farce as they replicate the classic Clark Kent/Lois Lane/Superman love triangle, with the Doctor as a baffled observer until he eventually leaves them to go and deal with the aliens. Moffat has sprinkled in numerous Easter eggs for fans of the genre, from the early name-dropping of Superman creators Joe Shuster and Jerry Siegel, to the line "With great power comes great responsibility," and the shot of Grant finally stopping the flying bomb in a homage to the plane rescue in Superman Returns. Appropriately, this scene marks the convergence and climax of both stories, as the truth about The Ghost is finally revealed to Lucy.
Apart from a brief two-minute scene shown back in April to introduce next season's new companion, and a more substantial guest appearance to help launch Class, the not entirely successful spinoff series aimed at a young-adult audience, Capaldi's Doctor has not been seen since "The Husbands of River Song" exactly 12 months ago. That episode casts a surprisingly large shadow over this one, with the appearance of the aliens' human hosts (a diagonal scar across the face becoming a seam along which the entire head opens) harking back to the followers of King Hydroflax.
More importantly, Nardole (Matt Lucas), River's comic assistant who met a gruesome fate at the hands of Hydroflax, is now accompanying the Doctor on his travels—and is set to become at least a semi-regular presence next year as well. There's a quick explanation in passing that the Doctor apparently "reassembled" him in order to provide himself with companionship in the wake of the final 24-year "night" he spent with River before her death.
As happened with Catherine Tate's Donna Noble, who made a one-off appearance in the 2006 Christmas special, "The Runaway Bride," before becoming the companion for the whole of the 2008 series, this revised Nardole is already far more nuanced than the one-joke buffoon of his previous outing. He can now fly the TARDIS by himself, and serves as a competent helper at the Doctor's side. Lucas's comic timing remains impeccable, but Moffat also gives him an entirely serious final speech that echoes the "Her name was Rose" moment from "The Runaway Bride," with Nardole telling Grant and Lucy about the Doctor's time with River. As the Doctor reassures them that "I've been away for a while, but now I'm back," it's an unexpectedly moving ending to an otherwise frothy romp, which draws a final line under the past and confidently looks forward to new adventures.
Classic Who DVD Recommendation: Surprisingly, disembodied brains with eyes are not new to Doctor Who: a whole cavalcade of such sci-fi B-movie clichés can be found in 1964's "The Keys of Marinus," starring the original TARDIS team of William Hartnell, William Russell, Jacqueline Hill, and Carole Ann Ford.
For more Doctor Who recaps, click here.
Review: The Trials of Gabriel Fernandez Stokes Outrage but Fits a Predictable Mold
The Netflix miniseries suggests a sort of virtual, one-stop-shop Wikipedia page.2
Netflix's The Trials of Gabriel Fernandez will stoke your outrage, and it should. The six-part limited series provides what feels like an expansive primer on one of the most horrific child abuse cases in the history of the United States, and there's a sense that it wants to fill in gaps for those who might have been swept up by some other outrage shortly after eight-year-old Gabriel Fernandez's death made national news in 2013, or just weren't privy to the ins and outs of the case as reported by Los Angeles news outlets.
The Trials of Gabriel Fernandez suggests, like the recent Killer Inside: The Mind of Aaron Hernandez, a sort of virtual, one-stop-shop Wikipedia page about an infamous case, though it arguably goes further by indicting the faceless systemic forces that aligned in cruel harmony to crush a human life. At one point, the series even delves into the 2018 abuse case of Anthony Avalos, the 10-year-old Lancaster boy who was also tortured to death by his mother and boyfriend, to get at how the cracks in the child protective services system that cost Gabriel his life in nearby Palmdale were barely patched up in the five years following his death.
Gabriel died on May 24, 2013 after years of torture and abuse at the hands of his mother, Pearl Sinthia Fernandez, and her boyfriend, Isauro Aguirre. As detailed by various individuals, including Deputy District Attorney Jon Hatami, Pearl and Aguirre starved Gabriel, fed him cat litter, shot him with a B.B. gun, and burned him with cigarettes all over his body. They even bound and gagged him in a cubby. The series isn't shy about providing us with photo evidence of that horrifying abuse, and it spends much time simply sitting with people and those photos, trying to fathom how a parent could do such things to a child. In one episode, Hatami opens up at length about his own abuse at the hands of his father, and in the moment, the prosecutor's outrage in the courtroom is tinged with a wrenching melancholy, as if he's fighting on behalf of a pain that he only recently came to understand.
The Trials of Gabriel Fernandez is at its strongest in such periods of reflection, when it's trying to understand that which would appear to defy understanding. It lingers on the visible pain of those who came into Gabriel's orbit, in life and in death, from those who tried to give him a chance at a happy life before he was placed in his mother's care, to those who tried to report to police and the Department of Children and Family Services (DCFC) that he was being abused, to those who wanted justice for his torture and murder. Impressively, too, it makes space for interviews with a character witness who testified on Aguirre's behalf and several jurors in his case, including the man who couldn't initially bring himself to sentence Aguirre to death. The series has us grapple with questions of justice and morality, and there comes a point in the final episode where calling Aguirre "evil" feels as if it has no meaning given that the word can just as easily be applied to so many who turned their backs to Gabriel's abuse.
Throughout The Trials of Gabriel Fernandez, you will know how responsible some of those individuals probably feel for the little boy's death simply by their not having given interviews to the filmmakers. But those aren't the only elisions here, and some aren't so easy to rationalize. For one, the series never really gives a particularly concrete sense of who Aguirre was before he met Pearl, and after a while it feels as if the only systemic issues it cares to confront are those that prevented police and DCFC from properly responding to reports of Gabriel's abuse. Though it mounts a strong case for why the boy and not his two older siblings were targets of their parents' abuse, The Trials of Gabriel Fernandez doesn't contend with the systemic social contexts that made Aguirre and Pearl's violence an inevitability. And had it done so, the series might have reached the magisterial heights of Ezra Edelman's O.J.: Made in America, which found new ground on the oft-reported case of O.J. Simpson by framing the fallen star's life against the violence of L.A. and the ideals of a nation, its moral rot.
During Aguirre's trial, Hatami argued that the man not only liked what he did to Gabriel, but that he did so because he perceived the boy to be gay, though the series tells the story of that perception in half-shades. From birth, Gabriel was raised for several years by his gay great-uncle, Michael Lemos Carranza, and his boyfriend, David Martinez, so we can intuit that the boy's torture was at least in part an attempt at a correction. While Gabriel was in Pearl's custody, someone reported that Michael molested the child, and it's an allegation that journalist Melissa Chadburn states hasn't been confirmed nor disproven. There's a sense that no one in Gabriel's family who had his best interests at heart seem to believe the allegation to be true, and while the series attests to the kindness Michael and David showed Gabriel, it does conspicuously glance past discussion of this matter, as well as the methods, legal and otherwise, by which the boy was able to land and remain in their care for so long.
Nor is mention made of Michael and David's advocacy work as part of Gabriel's Justice, or that Michael died of cancer in 2014. In San Salvador, the filmmakers interview an agonized David about what happened to Gabriel, and you may be frustrated by the missed opportunity to explore why and how David came to be deported by ICE and connect that to the other systemic forces of race and class that contributed to Gabriel's death. There are times throughout the series where it's difficult to tell if a story—like the one about Gabriel's first-grade teacher posing with a noose alongside three other teachers—was swept under the rug because the filmmakers simply didn't know how to incorporate it into the series or because it might have undermined the dominant narrative they're seeking to put forth.
The Trials of Gabriel Fernandez, though, does find time for the sort of aesthetic bells and whistles that have become de rigueur for projects such as this since The Jinx: The Life and Deaths of Robert Durst, whose lurid reenactments could at least be justified because Andrew Jarecki's entire project was to ascertain the exact nature of Durst's crimes. But the uncomfortably ominous reenactments of this series—by and large suturing devices between interviews and courtroom footage—do nothing to enhance our understanding of the Gabriel Fernandez case. At times, they even work against what we already do know, such as the sight of the actor who plays Aguirre mostly from the neck down quaking in his cell with the sort of fear that's never evident in Aguirre's body as he sits still and silent in court.
But that's nothing compared to the tactlessness of the show's title sequence, which heavy-handedly literalizes the idea that Gabriel "fell through the cracks" before ending dramatically, distastefully with the sight of the cubby where he was imprisoned by his torturers. In such moments, when it's trying to summon an aura of mystery—that there's something here that's waiting to be cracked open, something to be solved—it's as if the desire of The Trials of Gabriel Fernandez to entertain, to ensure that we are as spellbound as possible by yet another example of the atrocities that humans are capable of, is greater than any need to inform and educate.
Network: Netflix
Review: Netflix's I Am Not Okay with This Mostly Transcends Its Familiar Concept
The series at its best when characters are hanging out, doing nothing, or struggling with feeling trapped.2.5
Seventeen-year-old Sydney Novak (Sophia Lillis) has powers that she can't quite control. In Netflix's adaptation of Charles Forsman's graphic novel I Am Not Okay with This, those powers become a metaphor for such stock things as mental illness, social discomfort, emotional repression, body changes, sexual discovery, and adolescence in general. Even putting aside the obvious superhero comparisons, there are other parallels, to Carrie and, in turn, Netflix's own Stranger Things, which shares some producers with this series. But by focusing on the emotional turmoil deftly conveyed by its cast and leaning on a wicked sense of humor, I Am Not Okay with This mostly transcends its pat concept.
Some of the credit goes to Lillis, who spends much of the series glowering in the camera's general direction. She's expressive without ever losing that root of discontent and exasperation, as you can always see things like anxiety, bemusement, and concern poking through her disaffected exterior. Even before Sydney develops wayward telekinesis, she has a lot to contend with, such as her mother, Maggie (Kathleen Rose Perkins), having to work long hours at a diner in order to keep the lights on. Sydney is also infatuated with her best friend and only real confidante, Dina (Sofia Bryant), and the two have drifted apart as the latter has begun spending more time with her douchey boyfriend, Brad (Richard Ellis).
And so, Sydney starts hanging out with her eccentric neighbor and local weed dealer, Stan (Wyatt Olef), whose weird outfits and ever-pining ways recall Ducky from Pretty in Pink. But the show's wry tone ends up closer to that of Heathers than that of the John Hughes classic: Though the '80s-teen-movie-plus-superpowers mash-up is almost certainly the intended hook for I Am Not Okay with This, what resonates most is its general sense of ennui. Sydney and Stan in particular are low-income kids in a town that's far from well-to-do; when Maggie works late, she leaves enough money behind for Sydney and her little brother, Liam (Aidan Wojtak-Hissong), to subsist on convenience store hot dogs. Beyond have sex, do drugs, and listen to music, there's little to do in this town but head to the school and listlessly watch the football games. For Sydney and Stan, their hometown is a trap that's slowly snapping shut.
Forsman's source material is quite bleak, with a spare style of simple character designs and roomy panels sprinkled with snappy, abrasive snippets of dialogue and narration. Though series creators Jonathan Entwistle (who also worked on another adaptation of a Forsman graphic novel, The End of the F***ing World) and Christy Hall depart significantly from the comic at times, they nevertheless maintain its feel, especially in those moments when characters are hanging out and leave so many things unspoken. Sydney's surly narration moves things along at a wonderfully brisk pace that's faithful to the original material. Of the seven episodes, most of them clock in at around 20 minutes; they leave plenty of space to suggest angst and disillusionment around the edges without simply wallowing in misery.
Unfortunately, I Am Not Okay with This is so good at establishing character and place that the rumblings of a larger plot feel extraneous. Sydney thinks somebody might be following her, and there are some lingering questions and mysteries meant to carry over into a future season. But the series never feels like it needs these threads; most of the moments where it sets up higher-stakes conflicts, particularly where Brad is concerned, sputter into silly romantic melodrama. It's at its best when the characters are hanging out, doing nothing, or struggling with feeling trapped or bottling up what they want to say to each other. It's disappointing to see the first season wrap up with an apparent attempt to chase the shadow of Stranger Things, as its atmosphere and rich characters are what set this otherwise familiar story apart.
Cast: Sophia Lillis, Wyatt Oleff, Sofia Bryant, Kathleen Rose Perkins, Richard Ellis, Aidan Wojtak-Hissong Network: Netflix
Review: Amazon's Hunters Blends Comedy and Violence to Diminishing Returns
The series is so ploddingly manufactured from familiar parts that it feels like it was spat out by an algorithm.1
Following a group of vigilantes in hot pursuit of Nazis living in 1977 New York, Amazon's Hunters is so ploddingly manufactured from familiar parts that it feels like it was spat out by an algorithm. The show's setting provides no shortage of bright, hokey Americana and ironic needle drops set to bloody violence. The late '70s is long enough ago to evoke nostalgia while simultaneously nodding toward our enduring obsessions, as the characters make reference to Star Wars and rarely shut up about various superheroes.
Comic store clerk Jonah Heidelbaum (Logan Lerman) has that most time-tested of motivations for seeking vengeance: avenging a dead woman. Unbeknownst to Jonah, his grandmother, Ruth (Jeannie Berlin), worked in a Nazi-hunting crew with her fellow Holocaust refugee, Meyer Offerman (Al Pacino). After Granny is mysteriously murdered, Jonah learns of her double life and joins up with Meyer's ragtag band of vigilantes in pursuit of justice.
Meyer's crew is a diverse bunch, made up of young and old alike. As the youngest, 19-year-old Jonah is considered something of a liability due to his inexperience, as well as his tendency to let his emotions run high. So begins the usual adjustment period for the proverbial hothead, in which he learns to fight while doing the expected bits of soul-searching once he discovers that killing people is, in fact, a messy business. More excruciatingly predictable flourishes follow: Somebody tells him relationships are baggage, someone else refers to Meyer's group as "judge, jury, and executioner," and an F.B.I. agent (Jerrika Hinton) naturally sniffs around, potentially mucking up the works of their well-oiled Nazi-hunting machine.
None of this is a jumping-off point for some complex meditation on vengeance, as the series largely consists of scenes of ironical Nazi comeuppance sandwiched between the sort of uninspired character drama where people wash blood off their hands while discussing the powers of good and evil. The show's investigative segments are so obvious that they border on laughable, since the Nazis leave things like their medals and trophies of Jewish children's teeth lying around (there's even a jovial photo of one character hanging out with Adolf Hitler).
At certain points, Hunters seems like it's trying to evoke the comparatively simple storytelling of early comic books or exploitation films of the '70s era like, say, Death Wish. Cutaways place the characters in fake movie trailers with superhero-esque names, using bursts of comedy and karmic violence to create a somewhat heightened tone. But the series never reconciles these rather sporadic moments of levity with its default mode of turgid drama, where Jonah broods about what he's done or how he's affecting the people closest to him.
Though the series doesn't shy away from depicting how Nazis dehumanized Jews, it also feels the bizarre need to cartoonishly heighten those atrocities. In flashbacks, we see concentration camp prisoners forced to serve as literal pawns in a human chess game, stabbing one another to capture a "piece." Another camp broadcasts a live singing contest over the speakers, with losers eliminated one by one. Where Inglourious Basterds and even the recent Wolfenstein games manage to ground their flights of fancy in unexpected sincerity and tragedy, Hunters traffics in insipid dramatic cliché. The result is by-the-numbers drama that veers every so often into baffling pulp, as though the series is cobbled together from mismatched parts.
Hunters clearly aims to be subversive and of the moment, but its every element feels so calculated as to be nauseatingly safe. Its villains are broadly acceptable targets, its moral conflict feels obligatory, and its forward-facing monologues about diversity seem designed only to mark off a checklist. The series makes the occasional gesture to present-day politics, as when one character incongruously name-checks "false news," but it's otherwise content merely to skim the surface of these parallels in service of an easily marketable premise. Though clearly gifted with more time and money than any of the exploitation films it references, Hunters has only a fraction of the things to say.
Cast: Logan Lerman, Al Pacino, Jerrika Hinton, Lena Olin, Saul Rubinek, Carol Kane, Josh Radnor, Greg Austin, Tiffany Boone, Louis Ozawa, Kate Mulvany, Dylan Baker, Jeannie Berlin Network: Amazon
Every BoJack Horseman Episode, Ranked
As the series comes to a conclusion, we take a look back and rank all 77 episodes.
Netflix's BoJack Horseman is about many things. How we make sense of a senseless world. How we find happiness amid constant crisis. How we assert and give others power. That's a lot for any show, let alone the animated misadventures of a famous horseman, one whose life stands on the razor's edge of celebrity privilege and deeply internalized emotional self-abuse. Contending with BoJack Horseman, now as it comes to its conclusion, has meant contending with my own life these past six years, which have been made markedly better by this series. This exercise would have been much more difficult had the final episodes failed to deliver. (Spoiler alert: They don't.)
77. "BoJack Hates the Troops," Season 1, Episode 2
First, let me be clear: I love this episode, which feels like an early performance by a beloved artist who went on to greater and more daring things. Maybe there's a note or two out of place. Maybe they aren't stretching their talent as much as you think they can. BoJack's (Will Arnett) profound pettiness makes him an asshole to many—here, it's the contested dibs over a box of muffins at the grocery store that lands our remorseful horse in the national spotlight—and it's admirable how this episode leads the charge in painting that fact unambiguously. In a way, it feels like a foundation stone of sorts (one of several), featuring as it does BoJack's decision to open up to Diane (Alison Brie) for his memoir. Full truth: From here, mountains are made.
76. "Sabrina's Christmas Wish"
The mere existence of this holiday episode made it unambiguous that BoJack Horseman was created out of love. Further enriching the world so thoughtfully laid out in the first season, this metatextual holiday episode, in which BoJack and Todd (Aaron Paul) watch one of the Christmas episodes from Horsin' Around, came as an unannounced Christmas gift in 2014. It also, hopefully, satisfies those who will inevitably be curious about what a proper episode of the show-within-the-show looks like, and Todd's four-word refutation ("I can't, can't I?") of BoJack's faulty logic stands with the funniest moments of the series.
75. "The BoJack Horseman Show," Season 3, Episode 2
A novel exposition dump, this episode goes back to 2007, when BoJack and Princess Carolyn (Amy Sedaris), a cat, first slept together. Its title refers to the name of BoJack's sophomore TV series, a vulgar satire that tanked and was promptly canceled. This episode also lays general groundwork for episodes and seasons to come. Lots of obvious references abound—e.g., Princess Carolyn pitches scripts for No Country for Old Men and There Will Be Blood, though films actually being shopped around at that time instead of those just arriving in theaters might've been a better touch—not unlike a Trojan horse for the ongoing world building. The highlight herein is an updated version of the show's end credits song, adapted to underscore BoJack's much less successful follow-up to Horsin' Around.
74. "The BoJack Horseman Story, Chapter One," Season 1, Episode 1
This first episode doesn't get its due. Brilliantly juxtaposing scenes from BoJack's interview on The Charlie Rose Show with a gotcha shot from this world's version of Maury, this first look at BoJack's anxiety-ridden existence had the difficult task of establishing the show's very particular tone (think Chuck Jones meets Don Hertzfeldt meets Albert Brooks) while also making blatant the sadness beneath it. The serious and silly rub shoulders here, like travelers on a crowded bus trip. It's subversive, too, in warning against the dangers of over-binging; BoJack re-watches his old show obsessively, including the finale in which his character dies, at the expense of almost everything else in his life. This episode features Patton Oswalt in three parts, a Sellers-esque stunt that will prove to be one of the show's regular hat tricks, while the closing gag exhibits the raw confidence required to deploy both guffaws and sobs with such simultaneous precision. In hindsight, it's no surprise.
73. "Zoës and Zeldas," Season 1, Episode 4
It was a small stroke of genius to introduce early in the series a pop-cultural dichotomy specific to this world. Leonard Cohen sang of a bird on a wire, and here the either/or stems from characters on Mister Peanutbutter's House, a knockoff of BoJack's sitcom in which the eponymous canine raised two little girls: Zelda, a fun extrovert, and Zoë, a cynical introvert. This episode features some of BoJack's funniest quips and nastiest deeds. As for Todd's rock opera, I'd be lying if I suggested that I didn't want to see it brought to greater fruition. This episode does a lot of prep work for the season and the series, and does it well, while Wyatt Cenac's performance as one of Diane's exes provides a weary vantage point, effectively underscoring what makes this world feel so emotionally real in the first place.
72. "BoJack Kills," Season 3, Episode 3
Plot-wise, this is a lowkey key episode in the series, establishing the source of the heroin that ultimately causes Sarah Lynn's death. That would be Richie Osborne (Fred Savage), former Horsin' Around cast member and current proprietor of Whale World, a family-friendly strip club that doubles as a drug front. BoJack and Diane get to catch up and establish a greater understanding of themselves ("I can't keep asking myself if I'm happy, it just makes me more miserable," says Diane, summarizing my 30s so far in 14 words), but my favorite moment is probably the chef's-kiss perfection of Mister Peanutbutter's LL Cool J reference (a close second is Angela Bassett's line delivery on "you betcha").
71. "Our A-Story Is a 'D' Story," Season 1, Episode 6
If BoJack Horseman's flair for wordplay wasn't already clear, this episode is tantamount to a flag planted on the moon for all to see. Hollywood becomes Hollywoo when BoJack steals the "D" from the Hollywood sign in a drunken stupor, all in the hopes of impressing Diane after squaring off with Mister Peanutbutter—and buying the restaurant Elefante in the process. Todd, having found himself in prison at the end of the previous episode, navigates the various gangs courting him in sublimely naïve fashion, while BoJack's backup plan to fix the "D" situation results in a tragedy befalling Beyoncé and, relatedly, one of the very best verbal gags in the entire series.
Review: Mythic Quest: Raven's Banquet Takes Aim at the Gaming Industry
The series dives into megalomania and workplace chaos with eccentric, frenzied energy.3
The titular video game in Mythic Quest: Raven's Banquet is a phenomenal success. Mythic Quest boasts tens of millions of players and, perhaps more impressive, the invaluable endorsement of Pootie Shoe (Elisha Henig), a young streamer with tremendous clout. Pootie praises the game in delectably over-the-top live streams; he's both crudely inclusive (he shouts out LGBTQ fans, or "Pootie Fruities") and just crude (he rates games on a "b-hole" scale, four being outstanding). Even Rachel (Ashly Burch) and Dana (Imani Hakim), the studio's quality assurance testers, steadfastly love the game, despite the fact that they spend all day, every day cooped up in a small room playing it to discover bugs.
One could be forgiven for assuming that Mythic Quest's universal acclaim has been earned by a diligent, well-oiled, in-sync team of creatives and business people. But the studio behind the game, it turns out, is a site of enormous turbulence. The mayhem trickles down from the top: Mythic Quest's creator, the vainglorious auteur Ian Grimm (Rob McElhenney), whose every whim is sacrosanct. When lead engineer Poppy Li (Charlotte Nicdao) designs a shovel with which players can exert unprecedented influence over their environments in the game (by digging), Ian isn't satisfied. The shovel, he says, should also be able to kill things—and his desire to get the feature just right threatens to push back the release date for the game's imminent expansion, to the ire of Poppy and others in Ian's orbit.
The Apple TV+ show, co-created by Rob McElhenney and his It's Always Sunny in Philadelphia co-star Charlie and executive producer Megan Ganz, often resembles the FXX series in its energy. Minor issues escalate feverishly, as characters cross wires and talk at rather than with each other. Some of the studio's higher-ups are unbothered by the dysfunction, like soulless monetizer Brad Bakshi (Danny Pudi) and writer C.W. Longbottom (F. Murray Abraham), a slimy, old-timey fantasy author. But Poppy is consistently exasperated, as is David Brittlesbee (David Hornsby), the game's meek executive producer. Others thrive on the chaos, like Ian (it seems to foster his creativity) and Jo (Jessie Ennis), David's mercurial assistant. Conflict brings the worst out of her, to uproarious effect. When the studio's coders threaten to unionize, she shouts, "The workers are grist for the mill!"
The first half of the season leverages these characters less as nuanced people than as bundles of eccentricities. The most notable exceptions are Poppy, Rachel, and Dana, who prove more humane and grounded than the megalomaniacal or otherwise maladjusted men around them. The video game industry is as tenaciously male-dominated here as it is in reality, and by dialing up the worst tendencies of the men in the studio—C.W.'s casual sexism, David's faux man-of-the-people shtick, Ian's remarkable ability to hear whatever he wants when Poppy speaks to him—the series smartly satirizes a world in desperate need of overhaul.
The second half of the season more deeply examines the ambitions and fears of its characters, as well as the video game industry's power dynamics. Poppy's frustration builds as she's constantly spoken over and ignored not only by Ian, but also by the other men she works with, and C.W. wonders if the development of A.I. writing has rendered him obsolete. Eventually, Ian meets with a long-estranged family member in a scene that's equally poignant and hilarious. But not all of these arcs are sufficiently thought out. When the coders prepare to strike for overtime pay, which infuriates Jo, Grimm secures their demands in an off-screen call to corporate. The conclusion serves to convey Grimm's cachet but feels reductive, particularly given how widespread and entrenched abusive labor practices continue to be in the industry.
Separating the two halves of the season is its best episode, "A Dark Quiet Death." Directed by McElhenney, it's a significant tonal shift that centers on understated rather than exaggerated characters. The episode follows two video game developers (Cristin Milioti and Jake Johnson) with no apparent connection to Ian or anyone else in the series, beginning with their meeting in 1993 and extending through their work on an indie passion project. This isn't an uninspired entry in the expanding genre of "watching Jake Johnson fall in love with people"; Johnson and Milioti's chemistry is wildly charming, and their relationship grows increasingly gripping as the duo navigates questions of artistic integrity and corporate oversight.
The episode's virtuosity is a bit awkward, in that the season's apex is the piece that least fits in with the whole. But the intermission, of sorts, comes to feel like the crux of the matter: It's the necessary historical context for Ian and Poppy's working relationship, for Ian's unwavering devotion to the product of his vision, for the stakes of his call to corporate on behalf of his employees. Though the episode is self-contained, it infuses the rest of the season with subtle weight and sympathy. It suggests that, by virtue of their striving for lasting art and legacy, Mythic Quest's borderline sociopaths are, if barely, on the right side of irredeemable.
Cast: Rob McElhenney, Charlotte Nicdao, David Hornsby, F. Murray Abraham, Jessie Ennis, Danny Pudi, Elisha Henig, Imani Hakim, Ashly Burch, Caitlin McGee Network: Apple TV+
Review: The New Pope Depicts the Church with a Graceful Cynicism
Despite the sordid, festering material that the series explores, what ultimately emerges is sheer beauty.3
Having collapsed at the end of The Young Pope, Lenny Belardo (Jude Law), also known as Pope Pius XIII, is in a coma at the start of The New Pope. He's being looked over by a nun and illuminated by a bright, neon cross straight out of David Fincher's Seven. His involuntary sighs and twitches are fraught with meaning; at one point, a usually pragmatic man (Mark Ivanir) claims that the pope killed someone with the quiver of a finger. Idolatrous followers stand vigil in the square outside his chambers, donning sweatshirts with his face on them. The pope's wild charisma survives the apparent death of his consciousness.
Seeing no improvement in Belardo's condition after nine months, the cardinals decide to elect a successor, whose fleeting, radical papacy briefly opens the Vatican to refugees and risks bankrupting it. The cardinals then opt for a more moderate replacement: Sir John Brannox (John Malkovich), an oft-depressed priest who wears eyeliner and lives on his family's sprawling English estate. With Belardo on a respirator and Brannox headed to Rome, the series imagines a world with two popes—setting up a compelling conflict over legitimacy, poised to erupt if Belardo wakes up, of the kind unseen since the Western Schism ended 600 years ago.
Brannox is less charismatic than seductive. Fond of poetry, he speaks haltingly, as if waiting for words to come to and flow through him. He's haunted by an evident pain, communicated in flashbacks of the twin brother he lost long ago and across lonely nights spent struggling to fall asleep. Malkovich, his eyes at times hollow, at others alight with a furtive spark, imbues the character with profound vulnerability and depth.
Beyond the issue of what to do with the pope on life support, the Holy See faces numerous challenges: ongoing sexual abuse scandals; the so-called "caliph," who issues anti-Christian threats in videotaped messages; the cataclysmic prospect that Italy will begin retroactively taxing the Vatican; nuns who go on strike to demand equal rights; and more. If anyone is capable of restoring order, it's Angelo Voiello (Silvio Orlando), the Vatican's alternatingly ruthless, patronizing, and surprisingly tender—and regularly hilarious—cardinal secretary of state, who's a singular presence throughout the series.
Most of the cardinals wrestle with personal demons and try to lead virtuous lives, like Voiello—whose harshness is a function of his office—and the supremely empathetic Gutierrez (Javier Cámara). Others, though, are unapologetically vile: They have sex with minors and snort cocaine and blackmail and blaspheme. The irreverence with which the series portrays the church results in not only bleak cynicism, but also unexpected images of feverish, dreamy splendidness. The first episode's opening credits depict relatively scantily clad nuns dancing to a song by electronic duo Sofi Tukker in a dark room while a cross-turned-strobe light pulses, a slow zoom-in building momentum that culminates in an explosive bass drop.
The nuns play a not-insignificant role in The New Pope, but its treatment of them and other female characters is shallow at best. The series often dehumanizes women in scenes that lean on needless nudity—of which there's no shortage here—or with imagery that prioritizes symbolism over personality. At times, The New Pope manages to incorporate both nakedness and perfunctory iconography in the same shot: In one instance, a bare woman is juxtaposed with a statue of the Madonna. Even key figures who carry over from The Young Pope suffer from halfhearted characterization, including savvy marketer Sofia (Cécile de France) and Esther (Ludivine Sagnier), the woman whose pregnancy may have been the result of a miracle performed by Belardo. (The New Pope also leaves the caliph's antagonism underdeveloped, causing terrorism and nudity to resemble one another: stimuli deployed to elicit cheap reactions.)
Despite these failings, and despite the sordid, festering material that the series explores, what ultimately emerges from The New Pope is sheer beauty. It's an understated grace, one that director Paolo Sorrentino and cinematographer Luca Bigazzi effect with an eye to intimacy. In a late scene, the camera cuts between tight profiles of Brannox, dressed in white, and Belardo, dressed in black, as they face each other in front of a painting whose background is a black-and-white swirl. The dichromatic canvas envelops Brannox and Belardo, seemingly transporting the pair to an abyss, or the cosmos, or some other otherworldly space. Perhaps it's easier to find God there, away from the Earth, the Vatican, and the depravity plaguing them. The sequence is an obliterating burst of pathos that pierces and lingers.
Cast: Jude Law, John Malkovich, Silvio Orlando, Javier Cámara, Cécile de France, Ludivine Sagnier, Mark Ivanir, Maurizio Lombardi, Antonio Petrocelli, Jessica Piccolo Valerani, Kiruna Stamell, Ulrich Thomsen, Yulia Snigir Network: HBO
The 50 Best TV Shows of the 2010s
The decade proved that the future of TV lies in its ability to democractize via technological expansion.
We will likely look back at the 2010s as a simpler time, when sea levels remained relatively stable, Disney hadn't decimated the last remaining movie houses, and there were only three networks: Netflix, Amazon, and Hulu. Two thousand and nineteen was a watershed year for the expansion of streaming, so it seems like a fitting moment to reflect on the events that led to the Great War.
If the aughts represented a new golden age of television, then the following decade proved that the future of the medium lies in its ability to democractize via technological growth. Event television has replaced appointment television, as the sheer volume of content continues to balloon and more viewers shift to on-demand viewing. Our expectations, too, have evolved as the format bends and morphs to adapt to its new environment, with years-long gaps between ever-shorter seasons and shows once thought dead resurrected like zombies from our salad days.
And yet, humans crave familiarity: Game of Thrones reinvented the viewing party; networks rebooted or revived well-known properties, albeit to varying degrees of success; and we've replaced our old cable bill with an à la carte menu of streaming options that add up to more or less the same price. More importantly, as we venture out into the proverbial Wild West, and as the boundaries between TV and film continue to vanish, one thing remains constant: our desire for stories that reflect who we are, what we fear, what we treasure, and what we find side-splittingly funny. But then, even those lines have begun to blur. Sal Cinquemani
50. Portlandia
The array of archetypes portrayed by Carrie Brownstein and Fred Armisen on Portlandia aren't impressive in their scope so much as their narrow specificity, each one delicately carving Portland's milieu into a well-observed sub-niche. Armisen plays multiple variations of the emasculated goof while Brownstein portrays a bevy of self-righteous killjoys with great aplomb. Yet Portlandia is so much greater than the sum of its caricatures. That the show's humor is entirely derived from its two co-creators gives it a winning constancy, while the improvisational aspect adds an almost surreal element to much of the dialogue. In fact, the bizarre obsession with food (a mixologist crafts a cocktail with rotten banana and eggshells, 911 dispatchers are inundated with calls from beet-eaters) suggests the fever dream of a very hungry hipster. Peter Goldberg
49. House of Cards
House of Cards allowed David Fincher's seductive aesthetic sway to carry on well beyond the inaugural diptych he helmed, despite TV's well-noted preference for story over artistic signature, but that's almost besides the point. The scheming exploits of Kevin Spacey's silver-tongued congressman-devil provide a galvanic shock of political satire and thrillingly modern melodrama, but the real hook is Robin Wright's stirring performance as the politician's better half—and worse half in the show's botched final season. In the thick of it, this addictive series convincingly depicts a shifting political landscape, wherein an ascending class of strong and brilliant women retools man's ruthless personal and professional strategies to better advance a contentious, testosterone-weary nation. Chris Cabin
48. Marvel's Jessica Jones
Marvel's Jessica Jones breaks so many molds, and with such brio, that it feels almost super-heroic. In immediately denying us Jessica's (Krysten Ritter) origin story, it keeps her at arm's length—a masterstroke because the series understands that it's a story Jessica isn't ready to give yet, freely and under her own terms. If the violence on Marvel's Daredevil, no matter how kinetic and operatic in its brushstrokes, is primed to excite, the violence on Jessica Jones seeks to disarm our pleasure centers. And if this violence is so discomforting, it's because of how hauntingly, stubbornly, necessarily it's rooted in the traumas that connect the victims of the ominous Kilgrave (David Tennant). The aesthete in me wishes the series exhibited a more uncommon visual style. At the same time, maybe the show's portrait of abuse, of heroes and villains whose shows of strength and mind control are so recognizably human, wouldn't exert half the chill that it does it didn't approach us so unassumingly. Ed Gonzalez
47. Killing Eve
With Killing Eve—which Phoebe Waller-Bridge adapted from author Luke Jennings's Villanelle series—she uses the whip-smart voice she employed in Fleabag to explore women whose bad behavior extends beyond the limits of rapacious sexuality and crass humor: specifically, to murderous psychopaths. The series suggests a delightfully demented, considerably more violent spin on Broad City, Insecure, and Fleabag. Those shows are wryly comical and sexually frank, with complex female relationships at their center, and Killing Eve brings us all those attributes in the guise of a crackerjack mystery. The series combines a dry comedy's affection for the mundane with the slick look and tone of a psychosexual thriller, and the result is something wholly original, suspenseful, and caustically funny. Julia Selinger
46. Sherlock
Sherlock has always shown a keen but loving disregard for its source material. Despite serving up a bevy of classical crime-solving tropes, its fluid aesthetic and modern-day realism eschew the stuffy reverence of countless other re-toolings of Arthur Conan Doyle's celebrated series. Instead, co-creators Mark Gatiss and Steven Moffat have allowed Benedict Cumberbatch to chart his own course as a character who's become a landmark of fiction. The actor effortlessly owns the role with his ice-cold stares and burly voice, and yet what makes the series such a distinct interpretation is how it envisions the complicated relationship between Sherlock Holmes and his partner, John Watson (Martin Freeman), whose everyman humanity serves as a spiritual contrast to the impenetrable title character's isolated genius. Ted Pigeon
45. Ramy
It's the tension between Ramy's (Ramy Youssef) secular and spiritual leanings that serves as the thrust of the Hulu series that bears his name, as he considers what kind of person—what kind of Muslim, son, and man—he wants to be. Intensely critical of himself, Ramy recognizes that he's done much self-mythologizing, mostly in regard to his religious observance, and acutely feels his lapses in judgment, and Ramy derives its soulfulness from the ruins of the myths that Ramy and his family and friends tell themselves and those around them. There's profound pain to be found amid the rubble. And, maybe, peace. Niv M. Sultan
44. Treme
David Simon and Eric Overmeyer's abbreviated fade-out on post-Katrina New Orleans is tattered yet hopeful, perfect in its soulful imperfections. Decisions in the Big Easy are slowed down by good booze and better boogie, and by the time the Big Chief (Clark Peters) bows out, very little about this intoxicating menagerie of musicians and other truth-seekers has been convincingly settled on. Life's not tidy in the Treme and the show's creators let all the bad omens hang out, including the impending birth of Delmond's (Rob Brown) first child and Janette's (Kim Dickens) third restaurant opening. Of course, all the trouble made the music sound all the sweeter, as careers begin to congeal and legacies found (temporary) footing amid the city's riotous buzz. The fat lady is singing for Treme, and she's belting it out loud, if not for long. Cabin
43. The Handmaid's Tale
Few television shows can match the commitment of The Handmaid's Tale to withholding catharsis from audiences. The series, which maintains a visual lyricism that both clashes with and magnifies the brutality on screen, is most heartbreaking during moments of doubt, when Elisabeth Moss's June appears resigned to her fate. Yet it consistently obscures her true motivation, mining mystery from her submissiveness: Is it genuine, or another tactic? When she's able to seize, however briefly, the upper hand from her tormentors, the series offers tantalizing glimpses of their chagrin. For a moment, we're prompted to envision that chagrin morphing into sorrow, shame, maybe even fear. That would spell some kind of catharsis, but until it actually arrives, The Handmaid's Tale remains intellectually nourishing, easy to admire, and difficult to endure. It's a beautiful test of stamina, offering only small reprieves from June's suffering. It embeds us alongside her, and remains dedicated to illustrating how exactly the villains can win. Michael Haigis
42. High Maintenance
High Maintenance more than made good on its transition from the Internet to HBO. Its intimacy has been retained, and yet the narrative strands have grown more thoughtfully variable and distinct in their reflection of the adult rituals, wild yearning, and long-overdue release that power the denizens of New York City's boroughs, revealing their neuroses, deep-seated fears, self-delusions, and artful exercises. More than ever, the show's tapestry of unexpected connections and backstories reach deeper into the quotidian experiences of city life. Cabin
41. Genndy Tartakovsky's Primal
Genndy Tartakovsky's work as an animator is most striking for its embrace of silence. Even in the cacophonous realm of children's cartoons, the Samurai Jack creator favors wordless moments that lean on the flapping of cloth in the wind or the exaggerated sounds of a clenching fist. Adult Swim's Primal, then, feels like something Tartakovsky has been building to for much of his career, a dialogue-free miniseries following a caveman and his T. rex partner fighting to survive in a violent, unforgiving world. The show's violence is a reflection of its characters' existence, a cycle from which there's no escape. Children are swallowed whole, prey is devoured on the spot, eyeballs are smashed in by rocks, and dino jaws are smeared in vivid red blood. The story of the caveman and T. rex's survival, in Tartakovsky's hands, is totally enthralling, as terrible as it is beautiful. Steven Scaife
Review: HBO's The Outsider Conjures Mysterious Tableaux of Dread
The series preserves Stephen King novel's ingenious plot while entirely altering its tone.3
HBO's The Outsider represents a merging of two singular writers: Richard Price, the lively and profoundly detailed and precise crime novelist and screenwriter, and Stephen King, the one-man pop-culture industry who specializes in horror novels. Price adapted the series from King's 2018 novel and wrote five of the six episodes that were screened for press. Immediately one feels the sense of freedom that separates this from many other King adaptations. A colossus in his own right, Price doesn't feel the need to court King's approval in the tradition of the many young filmmakers who've grown up on the author's novels, dreaming of an opportunity to take a crack at his work. As a showrunner, Price makes bold moves, preserving King's ingenious plot while entirely altering the novel's tone.
The Outsider is a mystery with a crackerjack hook: Terry Maitland (Jason Bateman) is accused of raping and murdering a young boy, and he appears to have been at two places at once, with each location abounding in concrete proof of his presence. Maitland is a pillar of Flint City, Oklahoma, an English teacher and little league coach who's arrested in a ballfield in the middle of a game by detective Ralph Anderson (Ben Mendolsohn). Price and Bateman, who directed the first two episodes, alternate between the arrest and Anderson's discovery of the little boy and the gathering of evidence. Multiple witnesses saw Terry speaking with the boy and driving a van that would later be found drenched in the child's blood.
This opening displays the novel's surgical attention detail, as in Anderson's pointed order that Terry be arrested in public and handcuffed with his hands in front of his body. Sure that he's got his man, Ralph launches a brutal character assassination, which Bateman stages in long, foreboding takes that capture the weight of a community curdling on an individual.
As in many crime shows, especially Law & Order, the first arrest is fraudulent. Aided by his attorney, Howie Gold (Bill Camp), Terry springs a startling alibi while in prison: that he was attending a literary conference out of town on the day of the boy's murder. Besides video proof supporting his alibi, there's dozens of witnesses and a fingerprint he left on a book in a hotel lobby. Ralph's certainty, cemented by his grief over his own son's death a year earlier, begins to crack, and then something terrible happens that convinces him to look further into the Maitland case. Unexpectedly working with Howie and a private investigator, Alec Pelley (Jeremy Bobb), who in turn hires another private investigator, Holly Gibney (Cynthia Erivo), Ralph and his team uncover a chain of child murders across the country that are characterized simultaneously by iron-clad proof of guilt and innocence. Gibney, a socially awkward eccentric genius, eventually comes to believe that they're dealing with a shapeshifter who feeds on grief.
This narrative business comes from King's novel and is quite redolent of his 1986 opus It, but Price alters the story's mood and speed. King's signature sensibility—his interest in the quotidian of small-town average people facing otherworldly nightmares—has been pruned away, and not always for the better. In the series, many of the characters are smoldering, movie-ready badasses reminiscent of the protagonists of countless prestige crime dramas, and who utter clipped, chicly tortured dialogue in the key of the characters in Price's own film scripts. This tendency is especially evident in Price's conception of Holly. In the novel, she's a thin, young white woman on the spectrum who's poignantly possessed of no confidence except when piecing together evidence; for Price, however, Holly is a sexy woman of color fending off the advances of men, whose anti-sociality is offered up, a la Hugh Laurie's character in House, as yet another element of her supreme agency. Collectively, such character changes make the narrative feel less eccentric and personal than that of King's novel.
On the other hand, Price also throws out King's bad habits—gimmicky character shtick, embarrassingly contrived dialogue, certain routine plotting—fashioning a mood piece that gradually becomes less about the investigation of the murders than the paralysis of grief. The Outsider's title has multiple meanings. The notion of grief and trauma divorcing people from society, turning them into outsiders, is in King's book, but Price and the show's directors—Bateman, Andrew Bernstein, and Karyn Kusama—bring that theme to fuller bloom. Certain characters feel functional at first but gain a surprising pathos, such as Ralph's wife, Jeannie, whom Mare Winningham invests with a hauntingly inquisitive ruefulness. Holly also grows in stature, as Erivo transcends an initial stock type, imbuing her character with a tremulous unease, a fragility that becomes more and more moving as the series progresses.
The Outsider also features wonderful tableaux of dread. Bateman sets the stage early on, utilizing the various planes of the widescreen image for unmooring flourishes, such as when a woman jogs toward the camera as a man attempting suicide crashes through the window of a house in the middle ground of the frame. Subsequent episodes physicalize grief by emphasizing the emptiness of farmhouses, the undersides of bridges, and the condemned homes of the damned, suggesting a hellish netherworld that exists just out of plain sight. The cinematography, heavily indebted to the work of David Fincher, is awash in eerie grays and blues, as well as negative space that might potentially obscure the shapeshifter.
Given the wildness of the story, The Outsider sometimes feels ludicrously tony, but it's undeniably gripping—a beach read rendered by real artists. The series is so clever that it might take you a while to realize that it's essentially Dracula, what with all the Renfield types and secret nesting sites, only dressed up as a police procedural. Or, perhaps even more fitting, The Outsider suggests a merging of Kolchak with Price's The Night Of.
Cast: Ben Mendelsohn, Cynthia Erivo, Bill Camp, Jason Bateman, Mare Winningham, Paddy Considine, Julianne Nicholson, Yul Vazquez, Jeremy Bobb, Marc Menchaca, Frank Deal, Hettienne Park, Derek Cecil, Summer Fontana
Review: BBC and Netflix's Dracula Is a Gory but Banal Adaptation of a Classic
The series feels tiresome in its relentless pleading with us to be impressed.1.5
The first episode of BBC One and Netflix's Dracula finds sickly Jonathan Harker (John Hefferman) interred at a convent. Gesturing toward the pile of pages in front of her, the chipper, irreverent Sister Agatha (Dolly Wells) says that Jonathan's account of his imprisonment in Dracula's (Claes Bang) castle may have left out some relevant information. Then she asks him if he had sex with the vampire. With this, Sherlock creators Mark Gatiss and Steven Moffat announce their intent to push the expected boundaries of Bram Stoker's oft-adapted novel by bringing a lot of the subtext to the forefront. But the bizarrely passionless scenes that ultimately follow in no way match those performative declarations.
It's not that Bang's hammy Dracula fails to do suggestive things throughout the entirety of the 90-minute episode made available to press. It's that when he hovers over Jonathan and tries to get him to write a letter with a pen that they're both holding, there's no palpable sexual tension. The actors' rigid body language seems fundamentally at odds with the proceedings, though that impression may stem from the cinematography. Indeed, the characters are constantly framed from unflattering angles or cut off from one another altogether, and despite being far more vocal about the subtext of Stoker's novel than almost any adaptation before it, the series isn't half as provocative as something like Bryan Fuller's Hannibal.
Whether he's sharing space with Jonathan or even Sister Agatha, Bang's handsome, domineering Dracula radiates no lust or desire. When the vampire calls his guest things like "Johnny" or his "bride," the pronounced eroticism feels forced and artificial. In one scene, Dracula stands naked before Agatha and licks a bloody knife, but the camera conceals everything below his neck and cuts to a more obscure angle from the moment he touches his tongue to the blade, effectively dialing back the moment's camp factor.
Some of Dracula's images might sound gross on the page—a fly crawling across an eyeball, a mangled body shoved into a box, a peeled fingernail—but these moments pass by so quickly and with such visible fuss, courtesy of the jittering camera and clanging soundtrack, that they're robbed of any horror. Dracula's groan-inducing wordplay ("You look drained") only further saps the gothic atmosphere of any dread. The series is as ostentatious with its apparent sexual overtones as its horror, displaying a showiness that comes off more like a substitute for real depravity, a cry for help in the notable absence of any writer or director capable of teasing out the material's sensuality.
All that's left of Dracula is its declaration of cleverness, as it bobs and weaves through expectations as Sister Agatha does the whole fast-talking genius shtick. Did you think crucifixes repel vampires? Well, the series makes sure to tell us they don't. And then, suddenly, they do, with Dracula all but goading viewers into guessing why. In multiple scenes, characters drag out their introduction of a problem and then badger others for input and theories like an irritatingly persistent street performer. Whether it's introducing farcical, overwritten solutions to things like navigating Dracula's mazelike castle or miniature plot twists that are easy to guess, the series simply feels tiresome in its relentless pleading with us to be impressed.
Cast: Claes Bang, Dolly Wells, John Heffernan, Corrina Wilson, Matthew Beard, Morfydd Clark, Lyndsey Marshal Network: Netflix
Review: The Witcher Favors Fierce Fight Scenes Over World-Building
The series taps into violence like a lifespring, finding its footing with energetic fight sequences.2.5
Henry Cavill's character in The Witcher, Netflix's adaptation of the series of fantasy novels and short stories by Polish author Andrzej Sapkowski, could scan as a spin on the actor's most notable prior role. Monster hunter Geralt of Rivia resembles a reclusive medieval Superman—all principle, brawn, and jawline—clad in a white wig and cat-like contact lenses. But rather than reheating the Man of Steel, Cavill quickly melts into Geralt, capturing his aloof yet winsome confidence with sardonic one-liners and baritone grunts.
Geralt roams a land known as the Continent, sniffing out fantastical happenings and dealing with the responsible entities like a sword-swinging private eye. It's how he makes a living as a witcher: a rare, highly trained beast slayer both blessed with and cursed by enigmatic mutations. These mutations afford witchers preternatural strength and litheness, night vision, and a host of other powers—as well as the scorn of countless villagers who've heard vile tales of witchers' supposed inhumanity. The series uses the hate directed toward Geralt to offer intriguing, if inconsistently fleshed-out, reflections on discrimination.
The Witcher's two female principal characters also face oppressive difficulties. Sorceress Yennefer of Vengerberg (Anya Chalotra), who undergoes a vicious education in the art of magic, navigates the challenges of dysmorphism and her part-Elven heritage in a sexist and racist society, and young princess Ciri (Freya Allan) turns runaway after her home gets razed by the mysterious Nilfgaardian Empire. While the empire—the Continent's strongest political and military force—is eager to track down Ciri, its aims beyond territorial growth are shadowy.
Geralt, Yen, and Ciri spend most of the season isolated from each other. When Geralt and Yen finally meet, they share a warm, sexually charged bath, in a nod to a similar moment in the 2015 video game adaptation The Witcher 3: Wild Hunt. But bath time offers more than cheap fan service here, as the scene also delivers the lighthearted charm that The Witcher's various manifestations insist upon amid their overall bleakness. Geralt and Yen's banter moves briskly, propelled by Yen's playful aggression and Geralt's wry half-smiles.
The three protagonists' narratives momentously and giddily merge near the end of the season, but what comes before sometimes feels like a stretched-out primer. Many conversations proceed lifelessly, purely to provide exposition, doing a disservice to the show's thoughtful exploration of gender, free will, and classism. The laziness accompanies another storytelling flaw: The series is often too slow to elucidate the logic at play in its world. This first season pays welcome attention to Yen's history and psyche but chooses not to concretely explain what it means to be a witcher, granting the audience little insight into Geralt's origins, the reasons for his itinerance, or the nature of his otherness.
In contrast to its halfhearted approach to exposition, The Witcher finds its footing in the graphic depiction of violence. The show's energetic battle scenes, set to a stirring score by composers Sonya Belousova and Giona Ostinelli, create the impression that the burly, snow-caked background actors of Game of Thrones were moving at three-quarters speed. An early duel between Geralt and a rogue princess (Emma Appleton)—there are many princesses—escalates with breakneck cuts and tight shots of the warriors. Later, as the ghastly spawn of a cursed woman stalks a victim, the creature's still-attached umbilical cord flashes at the edge of the frame, smartly giving shape to the specter of loss and grief.
However enthralling it is to watch him in action, Geralt is central to relatively few fight sequences throughout the season. He generally refrains from involving himself in the conflicts of others, less out of a commitment to neutrality than out of what appears to be an overwhelming indifference. And by avoiding excessive bloodshed early on, The Witcher demarcates the stakes necessary for Geralt to unsheathe his blade—gradually revealing his motivations and making the scattered moments of butchery all the more alluring.
Cast: Henry Cavill, Anya Chalotra, Freya Allan, Jodhi May, Björn Hlynur Haraldsson, Adam Levy, MyAnna Buring, Emma Appleton, Joey Batey, Anna Shaffer, Mimi Ndiweni, Royce Pierreson, Wilson Radjou-Pujalte, Eamon Farren Network: Netflix
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text: Marcello Borges and Andrew Lombard named to U.S. U-20 Dallas Cup roster Tweet Marcello Borges (right) © HARRISON, N.J. (March 15, 2016) – New York Red Bulls academy products Marcello Borges and Andrew Lombard have been called into the U.S. U-20 Men's National Team by head coach Tab Ramos for the 2016 Dallas Cup. This will be the first tournament of 2016 for the U-20s after holding a January training camp in Miami, Fla., of which Borges and Lombard were both participants. Borges, a native of Kearny, N.J., is a freshman at Michigan and a former New York Red Bulls II player. In his first year of college he played 11 games, including five starts, as a winger. Prior to college, he represented the Red Bulls academy for five years and played two games for Red Bulls II as an amateur. Prior to joining the academy, Borges also played with the Red Bulls' Kearny RDS and Showcase teams from 2009-10. Lombard, a native of Montclair, N.J., is a freshman defender at Northeastern. In his first college season he started 13 games for the Huskies. Prior to college, the defender played for the Red Bulls academy and helped his team to an 18-4 record and a No. 4 national ranking. Before joining the academy, Lombard played for the Red Bulls' Franklin Lakes RDS team in 2010. Former Red Bulls academy player, Matthew Olosunde, who has since joined Manchester United, was also named to the 22-player roster. The Dallas Cup is the first step in the process of forming the roster for the 2017 CONCACAF U-20 Men's Championship from which four teams will earn a berth to the 2017 FIFA U-20 World Cup in South Korea. The U-20s, who were drawn into Group A, are set to play CF Monterrey Rayados on March 20, Fulham FC the following day and TSG 1899 Hoffenheim on March 23. U.S. U-20 Roster (22-players): GOALKEEPERS (2): Jonathan Klinsmann (University of California; Newport Beach, Calif.), JT Marcinkowski (Georgetown; Alamo, Calif.) DEFENDERS (8): Marcello Borges (Michigan; Kearny, N.J.), Auston Trusty (Philadelphia Union; Media, Pa.), Aaron Herrera (New Mexico; Casa Grande, Ariz.), Andrew Lombard (Northeastern; Montclair, N.J.), John Nelson (Internationals SC; Medina, OH), Matt Olosunde (Manchester United; Trenton, N.J.), Tommy Redding (Orlando City SC; Oviedo, Fla.), Miles Robinson (Syracuse; Arlington, Mass.) MIDFIELDERS (7): Danny Acosta (Real Salt Lake; Salt Lake City, UT), Amir Bashti (Stanford; Cupertino, Calif.), Brooks Lennon (Liverpool; Paradise Valley, Ariz.), Cameron Lindley (Indiana Fire; Carmel, Ind.), Josh Perez (AFC Fiorentina; La Habra, Calif.), Eryk Williamson (Maryland; Alexandria, Va.), Jackson Yueill (UCLA, Minneapolis, Minn.) FORWARDS (5): Jeremy Ebobisse (Duke; Bethesda, Md.), Sebastian Elney (Maryland; West Chester, Pa.), Victor Mansaray (Seattle Sounders; Des Moines, Wash.), Emmanuel Sabbi (Chicago Magic; Libertyville, Ill.), Sebastian Saucedo (Veracruz; Casa Grande, Ariz.) Back to news


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REAPER "An Atheist Monument" – Album Is: Stone's METAL Pick Of The Day!
5 Out Of 5 METAL Fists!
REAPER – German Metal legends REAPER have a new studio album releasing via Massacre Records, on July 25th, 2014. An Atheist Monument is this new album and it's overflowing with ALL things grand about Heavy Metal! This new offering from REAPER has me psyched-out of my Metal mind; air guitar and air drums enthusiasts take notice! Powerful, melodic and laced with retro vibes and sounds of True Metal, REAPER has scored in a titanic way with An Atheist Monument.
Daniel Zimmermann (guitar) and Benjamin "Benni" Lodewig (guitar & backing vocals) are Metal sensations to take in; their muscular riffs, memorable leads and solos are Heavy Metal personified. Damn great stuff. Jan Breede (drums & backing vocals) plays the song and adds an incredible dynamic to this entire album; he's a Metal treat to listen to. Matthias "Mäfju" Kraft (bass & backing vocals) adds his musical thunder and combined with Jan Breede's drumming it's a headbanging Metal experience to behold!
Daniel Zimmermann also is the lead vocalist and he sings like a Metal giant! His vocals are stuff of conquer all and death to the Metal posers. I believe my Metal brethren reading this know what I mean and it's Metal truth. Twelve delectable Heavy Metal songs are on the CD, with nine songs on the LP version. Hetoimasia is this album's instrumental opener and it signals that the Metal power-surge is on! I just knew it was gonna be a great Metal ride upon my first listen and it only gets better with each Metal serving. Whoa.
Being their 5th studio album overall and first with Massacre Records, REAPER could not have found a better record label to call home. Celebrating their 30th anniversary on stage with this new album should catapult REAPER into our community's Metal limelight; buying this mandatory Metal work and spreading the Metal word about REAPER should be on every Metalhead's to-do list in 2014! REAPER waves the anti-religion flag with mega Metal potency and they have my Metal respect. Hail REAPER and Metal be thy name! – Stone
An Atheist Monument – Track Listing:
1. Hetoimasia 2. Realms Of Chaos 3. Of Sheep And Shepherds 4. Horse Brigade 5. Hail The New Age 6. Voice Within 7. 1943 8. Well Of Poison 9. Taste My Revenge 10. Ship Of Fools 11. Fields Of Joy 12. La Tristesse
* Taste My Revenge, Fields Of Joy and La Tristesse are the three songs that do not appear on the LP version of An Atheist Monument.
* For more info on REAPER:
Facebook: REAPER (Band)
Website: http://www.massacre-records.com
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(Phoenix, Ariz. – Oct. 21, 2005) A Tucson jury today found Maryanne Chisholm guilty on 58 criminal charges including 54 counts of selling unregulated securities, two counts of illegally conducting an enterprise and two counts of fraud.
"Frauds like this exploits investor trust, and undermines their confidence," said Attorney General Terry Goddard. "I'm thankful the jury saw through the deceptions."
Between Feb. 1997 and June 2000, Chisholm sold stock in a company called Safari Media, Inc., in which she served as president and CEO. The company claimed to be a multi-media business developing products for the Internet and the music industry. Chisholm led initial investors to believe the stock would go public and then she claimed various companies were going to buy the business. The key claim was that a major Japanese company was going to buy all shares of Safari Media at a very high price.
In fact, court documents illustrated that information provided to potential investors was false including forged documents representing a major accounting firm and the major Japanese company. Chisholm used the funds for personal gain, spending money on furniture, clothing, travel and entertainment.
The case took more than four years to bring to trial, involved more than 1,200 victims, and took about six weeks to complete. Chisholm faces more than 300 years in prison and will be sentenced on Nov. 28. Assistant Attorney General John Evans prosecuted this case.


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I'm a freelance writer and editor who covers a wide variety of topics for a number of publications, but I tend to focus on stories about science, technology and the environment.
Whenever I can, I like to research my stories by going into the field with my subjects to participate in their craft. Some people call this "adventure science;" I like to think of it as the George Plimpton approach to science journalism.