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Canned media, which must progress in one prede? ed direction only and contain only one expression or outcome are children of the early 20th century, while real-time, responsive, or playable media have emerged as the dominant offspring of the early 21st century. At a recent professional development seminar held Epic Games to promote its Unreal 4 game engine, it was emphasized proudly, over and over, that rendering was no longer required in the game engine, everything was real-time. This rhetoric of speed and transparency neatly compliments the current cultural obsessions with reality media, such as virtual and augmented reality, and even reality tv. This term has had shifting meanings over time and across disciplines since at least the early 2000’s including computer music, art and aesthetics, museum studies, games and cultural heritage. The postdigital is not only destructive, but is also generative of new ways of seeing, speaking, listening, and acting—all of which we are still in the process of theorizing and understanding. That vista is long gone, not only because of environmental threats and overdevelopment, but also because of the collective cultural consciousness focused on capturing vistas for display on Instagram. Sussman then describes the shift in understanding in the 19th century, towards anthropomorphized machines (as opposed to mechanized humans). This analysis is helpful in delineating large-scale shift related to technology in performance. While many scholars have weighed in during the intervening years, continually putting these two works in conversation with one another as a way of demarcating boundaries of the ? ld, it is helpful to revisit the two works to note a commonality in their work that often goes unremarked upon: both sides of this debate conceptualize digital technology as an anti-theatrical force, and performance as a whole is conceptualized in both cases as somehow essentially mismatched with technology. Neither Phelan’s nor Auslander’s viewpoint serves to support innovative practice with digital technology in traditional theater, because of the oppositional way in which technology and theater are positioned. This is signi? ant, because these two works have served as a cornerstone for digital performance technology in the intervening decades, and their influence continues to resonate powerfully. It is also worth noting that while other theorists have placed these two works in direct conversation with one another, Phelan and Auslander each write from very different perspectives and with different aims. This difference should be highlighted, in order to make clear the ways in which the two works talk past one another. Auslander’s writing centers on an economic model, which emphasizes the pervasive, unavoidable nature of late capitalism. It must be pointed out, that as astute as Auslander’s critique may be of Phelan’s work, he offers no alternative solutions.

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Sansa tells Jon that Bran's situation is hard to explain. Arya answers Jon quite relaxed that she has executed him. Jon looks sad again, then Sam comes and greets Jon. Dany looks pleased. Jorah notices this and his gaze goes to the lords standing around, who look at Dany with disbelief. Jorah approaches Sam, gazes at Ghost carefully, and both talk about their last-ditch travels, and Sam then asks Dany how she likes Jon. Sam asks Jon if he really only had dragon-glass in his fight against the white walkers, as Sam read several times about Valyrian steel when it came to obsidian. Sansa answers that Littlefinger was behind everything and had similar plans with the Starks. But what works for the Lannisters does not work for the Starks. Jon asks Sansa why Winterfell is being prepared for a siege. In the great hall, Jon and the others gather with the Lords of the north. A Lord interrupts Jon in his speech about the threat in the north and asks how exactly the peace agreement with Dany looks like. Jon answers that the King of the North is now serving Queen Daenerys. Turmoil rises in the hall and Sansa looks surprised at Jon. Lord Royce asks Jon angrily why he has not learned from the mistakes of Brandon Stark and his father. Jon also says that Dany not only has provided Dragonglas, her armies and dragons to fight. He says that she has already fought, despite the threat. Dany explains that she did not come as a conqueror and did not want to put a wrong signal.

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Crime was rampant and people who could afford to move to the suburbs did so, leaving the elderly to deal with the new realities of urban life. In this case, it’s a gang of street punks, the Satans, that’s intent on terrorizing elderly Jews and convincing them to leave. The punks ransack a synagogue, throw a firebomb into the Rosens’ restaurant, beat up a frail old woman and make the famous Boardwalk off-limits to anyone they don’t like. The problem is that the gang members are cut from cardboard and are no more credible than the archetypal bikers, student radicals and hippies depicted in “The Mod Squad” or on the LSD episode of “Dragnet. They appear out of nowhere and don’t seem to be motivated by anything except anti-Semitism and bad tempers. The cops are never there when they are needed and the Guardian Angels were still in their infancy. The Jewish characters, played by several then-prominent Broadway character actors, are given more depth and fewer onerous prejudices. Despite the movie’s problems, it was fun to watch Gordon and Strasberg as longtime lovers. Only those new to the genre will be unable to see what’s coming from a mile away. That said, however, Gregorini’s all-pro cast keeps us wondering if she might be able to pull it off, anyway. Emanuel (Kaya Scodelario) is a troubled teen, who refuses to accept the woman (Frances O’Connor) her widower father (Alfred Molina) has chosen to be her stepmother. Even before we get to the gag, we’re made aware of the survivor’s guilt Emanuel still harbors over the drowning death of her mother, before she had an opportunity to learn much about her. When a new neighbor (Jessica Biel) moves in next-door, the girl can’t help but notice the resemblance to photographs of her mom hanging on the walls of her house. At first glance, Linda looks to be a perfectly normal mother of newborn daughter, who Emanuel immediately volunteers to babysit. At second glance, however, there’s no disguising the fact something is terribly unnatural about the baby. I’m not spoiling anything by pointing this out, because most of the movie concerns itself with figuring why Emanuel and Linda aren’t seeing the same crazy things that we are and why Linda’s husband has yet to join them in their new suburban digs. The Blu-ray adds deleted scenes, outtakes and an interview with the director. Along the way, the driver of a black muscle car taunts them and provides Valdez with an alternate title.

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