'Pokémon TCG: Black Bolt' & 'White Flare' Features Over 150 Illustration Rare Cards
Shortly after dropping,The Pokémon Companyshared a complete preview of what to expect from the two new sets, including over 150 new illustration rare cards. Pictured first is theBlack Boltrange, which, like itsWhite Flarecounterpart, focuses solely on Pokémon originally found in the Unova region. Highlighting the first range is two new monochromatic foil cards that depict Victini in red and Zekrom in black. The same treatment is applied to a white Reshiram card forWhite Flare, which sees the red Victini card present as well. This special homage to thePokémon BlackandWhiteera that began in 2010 also nods to familiar trainers from Unova.
Pokémon TCG: Black Bolt&White Flarehas just arrived via thePokémon Center, select retailers, and local card shops with packs available via thematic boxes and bundles. For a complete breakdown of every card included in the new sets, be sure to check out the official card galleries forBlack BoltandWhite Flare.
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‘Guns & Moses' Review: Rabbi Meets Revolver in an Offbeat and Occasionally Awkward Thriller
The pistol-packin' padre is not an unknown figure in Westerns — particularly 1960s European 'spaghetti' Westerns — but you'd be hard-pressed to name movies which cast their rabbinical brethren in a similar action-figure mode. 'Guns & Moses' exploits just that novelty as its primary hook, complete with an advertising image of the bearded, fedora-topped hero brandishing firepower over the slogan 'May God and Your Glock Protect You.' Punning title aside, Salvador Litvak's film promises a serious look at antisemitic violence, inspired by the 2019 shooting (which killed one person and injured three more) at Chabad of Poway Synagogue in San Diego County. Alas, the convoluted screenplay written by the director and spouse Nina Litvak bears little resemblance to that real-world incident, locates the criminal motivation well outside the realm of antisemitism, and somewhat awkwardly attempts to balance straight suspense with a persistent comedic streak. 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The dance climate is far from ideal these days, especially for those working in modern dance. But Mark Morris has shown an ability to adapt. While summer, for his company, used to mean a season at the Mostly Mozart Festival at Lincoln Center, Morris has pivoted to showing works at the Joyce Theater, where the setting is more intimate — and so are the dances he chooses to show. Unfortunately that has led to a formula. Both of his programs this summer, celebrating the company's 45th anniversary, feature four dances including one premiere, and by the end of the night, that feels less like a delight than a drain. At the Joyce, it makes more of an impact to be surgical, sparing. It was frustrating that the finest dances on each program were saved for last. The first week it was 'Mosaic and United' (1993), set to two string quartet's by Henry Cowell. Its depth of choreography and design — Isaac Mizrahi's shimmering costumes under Michael Chybowski's lighting — creates an earthy, unostentatious atmosphere of mystery. Even more brilliant is the closer for the second program, which runs through Saturday: 'Going Away Party' (1990), a rollicking, carefree and sometimes raunchy dance set to a sparkling recording by Bob Wills and his Texas Playboys. (The rest of the season's music was performed live.) The two premieres, while proficient, were lighter, slighter versions of those older works. The boisterous 'You've Got to Be Modernistic,' making its debut last week, honors the music of James P. Johnson, a dazzling pianist who was a staple of 1920s Harlem. The atmosphere was all party, but it had little bite. And the hushed aura of 'Mosaic and United' was echoed — if only in enigmatic tone — in 'Northwest,' set to music by John Luther Adams, which takes inspiration from the traditional songs and rhythms of the Athabascan and Yup'ik Native peoples of Alaska. Want all of The Times? Subscribe.
