Throughout the episodes the series deals with different themes that explored through the interviews. During the first season, the guests interviewed covered topics such as magic, meditation, forgiveness, spiritualism, funerary rituals, death positivity, drug use, pain, moksha (transcendence) and existentialism. (wiki)
Set on a fictional, medieval-inspired landmass known as “the Continent”, The Witcher explores the legend of Geralt of Rivia and princess Ciri, who are linked by destiny to each other. It stars Henry Cavill, Freya Allan and Anya Chalotra. The show initially follows the three main protagonists at different points of time, exploring formative events that shaped their characters, before eventually merging into a single timeline.
The first season, consisting of eight episodes, was released on Netflix in its entirety on December 20, 2019. It is based on The Last Wish and Sword of Destiny, which are collections of short stories that precede the main Witcher saga. Before the first season had been released, Netflix announced a second eight-episode season, to be released in 2021; production was scheduled to commence in London in early 2020.
In January 2020, Netflix announced an animated spin-off film titled The Witcher: Nightmare of the Wolf, focusing on the origin story of Geralt’s mentor and fellow witcher Vesemir. Lauren Schmidt Hissrich and Beau DeMayo are working on the film, with production by Studio Mir.[ (wiki)
timespace coordinates: 2020’s fictional Norwegian town of Edda in Western Norway
Ragnarok is a Norwegian-language fantasy drama from Netflix that premiered on 31 January 2020. The series is produced by the Danish production company SAM Productions. The show has been renewed for a second season.
The show takes place in the fictional town of Edda which is plagued by climate change and the industrial pollution caused by the factories owned by the local Jutul family, the fifth-richest family in Norway. The Jutuls are actually four Jötunn, frost giants and giantesses posing as a family in Edda. They are challenged by Magne, a teenage boy who is surprised to learn that he is the embodiment of Thor and begins the fight against those that are destroying the planet.
In some ways the earth has become more hospitable to the long gone extinct ones than to the ones whose very lives are at stake in the here and the now.
On the surface, and according to the current ethno political fad, ghosts across Eastern Europe and elsewhere, ghosts of time gone by, of golden ages spent in plenty or carelessness are welcome, even as environmental and economic streams of refugees are being rapidly turned into ghosts themselves.
In what was then known as comparative musicology, Bartok sampled local songs, various chants, vocalizing lost feelings into a strenuous stream of forlorn audio artifacts.
Somehow these impossible, non retrievable affects found their way onto audio wax cylinders, while he traveled across the region of Banat, Slovakia and elsewhere in the early first half of the XX c.
Never monotonous, in spite of their ancestral sound material, these insistent analogue hosts are not really your Casper the Friendly Ghosts type. Ghostophonia does not reek of nostalgia or of remastered folklore, but seems to cherish all types of analogue ghosting equally. From wax cylinders to magnetic tapes, cassette effects and digital emulators, recognizable or not, they all offer hospitable matter to the ear.
Suffering from various bouts of welcome amnesia, lacunae and willful silliness, Ghostophonia traverses the whole audible history of our lifetimes.
As the very first sound recordings ever made, they are plagued by mediumatic break downs, by parasitic hiss, by unintentional disturbances that are part and body of the recording, weaving all frequencies together. Hauntology is past its prime some say, a ghost of a ghost, but it is also a permanent feature that thrives in the current climate of replay retromanias and future past gone viral.
The ability of any material, be it stone or wax, and of any disturbance to repeat itself and reverberate all around keeps reasserting itself.
In his last book, The Weird and the Eerie, Mark Fisher takes the Nigel Kneale’s 1972 Stone Tape as a central example of why it is impossible to separate, or to say who plays who. These amorphous reverberations are played by a sensitive Human Central Nervous Systems as well as the walls and the floors of some old building.
Once the first layer is deleted there is always deeper and more disturbing layers triggering further replays.
Ghostophonia retrieves accidental analogue troubles and finally settles as an ubiquitous enlivened visitor ghost-guest house. The title actually plays on Goşti – guests – a Banat regionalism found in a wide range of slav or Church slavonic languages.
Ghostophonia will be one of the albums of the year because it eschews high cultural fidelity and still stays true to its source material. This album was born as a live concert in Timisoara in 2019 and was released in 2020 on bandcamp right here