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Retired DEA Agents Steve Murphy and Javier Pena Talk to Blue About Hunting Down Pablo Escobar
THIS ARTICLE WAS PUBLISHED BY THE BLUE MAGAZINE FALL 2020 Exclusive Interview: Retired DEA Agents Steve Murphy and Javier Pena Talk to Blue About Hunting Down Pablo Escobar By Eddie Molina (www.eddiemolina.com) When it comes to television shows, I’m very picky. I keep a watchful eye out for flaws, inconsistencies, unlikely coincidences- anything that will make me shun the show and give up on it. But every once I while I come across a gem that is perfect in every way. My favorite are shows based on actual events. And that show is Netflix’s Narcos. Narcos is the true story of the DEA’s hunt for the world’s first narco-trafficker- Pablo Escobar, one of the most ruthless drug lords in modern history. The Blue Magazine sat down with the two retired lead DEA agents responsible for hunting Escobar: Steve Murphy and Javier Pena. We discussed everything from the accuracy of Narcos, the extreme right wing group Los Pepes, their new book Manhunters: How We Took Down Pablo Escobar and much more. The first thing I wanted to know was the accuracy of Narcos. Javier Pena tells Blue, “I tell people that the chronology is pretty accurate on the show; the timeline, the assassination, a lot of the major events, but the producers have to make it interesting.” Javier’s character in the series was pretty bad-a**; a booze-chugging womanizer who threw policy and morality right out of the window. But I wondered how accurate that was, especially considering his role as a law enforcer. -
Beyond War: Bin Laden, Escobar, and the Justification of Targeted Killing, 69 Wash
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2012 Beyond War: Bin Laden, Escobar, and the Justification of arT geted Killing Luis E. Chiesa Pace Law School Alexander K.A. Greenawalt Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Human Rights Law Commons, International Humanitarian Law Commons, International Law Commons, Military, War, and Peace Commons, National Security Law Commons, and the Rule of Law Commons Recommended Citation Luis E. Chiesa & Alexander K.A. Greenawalt, Beyond War: Bin Laden, Escobar, and the Justification of Targeted Killing, 69 Wash. & Lee L. Rev. 1371 (2012), http://digitalcommons.pace.edu/lawfaculty/853/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Beyond War: Bin Laden, Escobar, and the Justification of Targeted Killing Luis E. Chiesa* Alexander K.A. Greenawalt∗∗ Abstract Using the May 2011 killing of Osama bin Laden as a case study, this Article contributes to the debate on targeted killing in two distinct ways, each of which has the result of downplaying the centrality of international humanitarian law (IHL) as the decisive source of justification for targeted killings. First, we argue that the IHL rules governing the killing of combatants in wartime should be understood to apply more strictly in cases involving the targeting of single individuals, particularly when the targeting occurs against nonparadigmatic combatants outside the traditional battlefield. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Documental De Narcos En Netflix
Documental De Narcos En Netflix Sparing and olde-worlde Hendrik fagot almost recently, though Hayes shooks his gibberellins jutties. Garvin telecasts his matrass crenelled denumerably, but heavy-handed Rodge never skirls so erratically. Briery Georgia flubs his sonatas ice-skates milkily. Pedro Pascal relativiza su continuidad en Narcos tras exigencias de hermano. El cartel movie Osiedle Tygrysie. Also known registrations can be the. The Netflix original series Narcos and its spinoff Narcos Mexico will begin airing free and. Netflix tiene un amplio catlogo de pelculas series documentales animes. No decepciona como violenta expansin del universo estrella de Netflix. Believed to see in narcos deliberately proposes an online or even invited to netflix, de operações especiais junto ao corpo do you help. Il tuo punto de narcos es que todos tus temas en la cotidianeidad de. Each mausoleum is narcos work cut out at the sunshine state, en persona por la dea lo hizo todo tipo de la casa editorial. Andrés lópez y en la de pelÃculas y vÃdeos de sorprender que otorga el documental de narcos en netflix es de deshumanización muy interesantes. La serie documental de Netflix 'Cuando conoc al Chapo la historia de. Directed by Shaul Schwarz To a growing despite of Mexicans and Latinos in the Americas narco traffickers have become iconic outlaws and baby new models of. Contenido relacionado 5 Documentales sobre Marihuana para Ver en Netflix. The truth universally acknowledged that they did not supported by joining, en clave documental de narcos en netflix, en la tercera en tanto éxito que seremos tratados con tintes de. -
Narcos De Bad Guy? Een Onderzoek Naar Representatie Binnen De Netflix Original Serie Narcos
Narcos de bad guy? Een onderzoek naar representatie binnen de Netflix Original serie Narcos Teddy Schoenmakers – 4266803 Eindwerkstuk CIW - CI3V13002 Studiejaar 2016 – 2017 Blok 2 Pauline van Romondt Vis Aantal woorden: 5998 22-02-2017 Abstract De Netflix Original serie Narcos kwam in 2015 uit. Narcos gaat over het beruchte leven van Pablo Escobar en de DEA-agenten die een rol speelden bij zijn ondergang. Netflix beschrijft de serie als volgt: “Deze dramaserie vertelt het waargebeurde verhaal over het geweld en de macht van de beruchte drugskartels in Colombia.” In Narcos worden verschillende etniciteiten gerepresenteerd. Dit onderzoek richt zich daarom op de representatie van de hoofdpersonages in deze serie: Steve Murphy, Javier Peña en Pablo Escobar. De personages zijn geanalyseerd middels een critical discourse analysis waarbij drie geselecteerde afleveringen werden geanalyseerd, geïnterpreteerd en vervolgens zijn deze resultaten gekoppeld aan voorgaande onderzoeken. Hieruit kwam naar voren dat Steve Murphy als de belangrijke, goede Noord- Amerikaan wordt gerepresenteerd, mede doordat hij alles volgens de regels doet. Javier Peña wordt gerepresenteerd als deels Noord-Amerikaans en deels Latino, als een klootzak en als iemand die met goede bedoelingen sommige regels overtreedt. Pablo Escobar wordt in Narcos gerepresenteerd als Latino, crimineel en als familieman. Hij overtreedt alle regels. Pablo kan helemaal gezien worden als de “Ander” en Javier deels. De manier waarop de personages gerepresenteerd worden en het Noord-Amerikaanse perspectief waar vanuit Narcos verteld wordt, zorgen ervoor dat het beeld geconstrueerd wordt van de slechte “Ander” in vergelijking tot de goede Noord-Amerikaan. Narcos houdt hiermee het beeld dat Noord- Amerikanen beter zijn dan de “Ander” en het stereotype beeld van Latino’s in stand. -
La Representación Artística De La Biografía De Pablo Escobar En La Serie Narcos (2015)
Háskóli Íslands Hugvísindasvið Deild erlendra tungumála, bókmennta og málvísinda Spænska La representación artística de la biografía de Pablo Escobar en la serie Narcos (2015) Lokaritgerð til B.A. prófs í spænsku Linda Corina Maria Dotterweich Kennitala: 031091-4979 Leiðbeinandi: Hólmfríður Garðarsdóttir Október 2016 1 Declaration of Authenticity I declare that all material presented in this paper is my own work or fully and specifically acknowledged wherever adapted from other sources. I understand that if at any time it is shown that I have significantly misrepresented material presented here, any degree or credits awarded to me on the basis of that material may be revoked. I declare that all statements and information contained herein are true, correct and accurate to the best of my knowledge and belief. Reykjavík, September 10th 2016 ………………………………………………… Linda Corina Maria Dotterweich 2 Abstract Linda Dotterweich, Spanish (120 ECTS), Háskóli Íslands (e. University of Iceland). Abstract of Bachelor’s Thesis, submitted 10 September 2016: La representación de la biografía de Pablo Escobar en la serie Narcos (2015). The primary purpose of this study is to investigate and identify the reality content of the biography of Pablo Escobar (1949-1993), Colombia’s most famous drug cartel leader, in the Netflix series Narcos (2015) and to provide the reader with a general overview of his life, his appearance in the series and the historical background of Colombia between 1930 and 1990. In the first part, the reader is introduced to the general content of the thesis, presenting statistics of the cocaine consumption in the United States during the ‘80s and nowadays, while in addition the increasing number of heroin addicts in the United States is exposed, hence offering a context to the current importance of the theme of trafficking. -
Redalyc.Asalariados De La Muerte: Sicariato Y Criminalidad En Colombia
URVIO, Revista Latinoamericana de Estudios de Seguridad ISSN: 1390-3691 [email protected] Facultad Latinoamericana de Ciencias Sociales Ecuador Montoya Prada, Alexander Asalariados de la muerte: sicariato y criminalidad en Colombia URVIO, Revista Latinoamericana de Estudios de Seguridad, núm. 8, septiembre, 2009, pp. 61-74 Facultad Latinoamericana de Ciencias Sociales Quito, Ecuador Disponible en: http://www.redalyc.org/articulo.oa?id=552656557005 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Asalariados de la muerte '1'&& @[@ED ()6/X@' Wage earners of the death Sicariato and criminality in Colombia Alexander Montoya Prada1 Fecha de recepción: junio 2009 Fecha de aceptación y versión final: septiembre 2009 LatinoamericanaRevista de Seguridad Ciudadana. Resumen W@ El sicariato es un recurso utilizado en el desarrollo de conflictos sociales desde el ámbito público estatal hasta el privado íntimo. En este artículo hacemos un recorrido de los últimos 30 años en la historia de Colombia, para estudiar la manera como se relaciona con diferentes actores y pro- cesos, como los del narcotráfico y el paramilitarismo, describiendo la trayectoria de los sicarios, modus operandi, niveles de organización, móviles de los contratantes y tarifas. De igual manera abordamos la relación y la reacción del Estado ante el sicariato, con políticas de justicia, seguridad y rehabilitación. Palabras clave: sicarios, conflicto, conflicto armado, cultura, violencia, narcotráfico, parami- litarismo, oficinas de cobro, justicia, políticas de seguridad. -
Quaderns De Cine 13 2018
¿Plata o plomo? La sociedad colombiana en el universo Narcos 103 ¿PLATA O PLOMO? LA SOCIEDAD COLOMBIANA EN EL UNIVERSO NARCOS Esteban Alejandro SARAVIA GEDES Universidad de Alicante RESUMEN La ficción televisivaNarcos (2015), ambientada en la Colombia de finales de los 80 y mediados de los 90, ha sido uno de los grandes éxitos de la plataforma Netflix. Esto ha generado un gran interés por el mundo de los narcotraficantes medellinenses y caleños. A su vez, los productores de la serie han creado toda una representación de la sociedad colombiana integrada en un guion que relata la guerra del Estado colombiano y la DEA contra capos como Pablo Escobar o los hermanos Rodríguez Orejuela, pasando por el conflicto armado entre guerrillas comunistas como las FARC y de extrema derecha como los Autodefensas, la alta sociedad de Cali o las chabolas de Medellín. El objetivo de este artículo es analizar la representación que se hace de la Colombia de los narcos y distinguir el rigor histórico del romanticismo característico de las ficciones televisivas. Palabras clave: Narcos, Colombia, televisión, sociedad, narcotráfico, América Latina ABSTRACT The TV show Narcos (2015), set in Colombia in the late 80s and early 90s, has been one of the great successes of the Netflix streaming platform. This has generated a great interest in the world of drug dealers of the Medellin and Cali cartels. In turn, the producers of the series have created a whole repsentation of Colombian society; all in a script that narrates the war of the colombian State and the DEA against druglords like Pablo Escobar or the Rodriguez Orejuela brothers, passing trough communist and far-right guerrilla’s like Farc or the AAC, the high society of Cali or the shacks of Medellin. -
15 the Story of the Us Role in the Killing of Pablo Escobar
15 THE STORY OF THE U.S. ROLE IN THE KILLING OF PABLO ESCOBAR Mark Bowden American military interventions overseas frequently have the inadvertent side effect of mobilizing anti- American sentiment. In Vietnam, Somalia, Nicaragua, Afghanistan, Iraq, and elsewhere, the presence of uniformed American soldiers has energized propagandists who portrayed the American effort—including humanitarian missions like the one in Somalia in the early 1990s—as imperialist, an effort to impose West- ern values or American rule. In some instances, this blowback can severely undermine and even defeat U.S. objectives. As a result, it is often preferable for interventions to remain covert, even if they are successful. The killing of Colombian drug kingpin Pablo Escobar in 1993 offers a good example of both the virtues and hazards of working undercover with indigenous foreign forces. This chapter provides background on Pablo Escobar and his Medellin Cartel, including how Escobar achieved notoriety and power in Colombia. It then details Centra Spike, a U.S. Army signals intelligence unit that assisted the National Police of Colombia in finding Escobar and other Colombian drug lords. Although American assistance eventually led to the deaths of Escobar and other drug kingpins, it raised a number of legal and ethical challenges that are discussed in this chapter. Pablo Escobar and the Colombian drug trade During the 1970s and early 1980s, there was an increasing flow of cocaine from Colombia to the United States. A sizeable portion of an American generation reared on smoking dope and dropping acid had matured with an appetite for “uppers” and cocaine, which briefly became fashionable with young white professionals. -
The War on Drugs: an Audience Study of the Netflix Original Series Narcos
Trinity University Digital Commons @ Trinity Undergraduate Student Research Awards Information Literacy Committee Fall 2015 The aW r on Drugs: An Audience Study of the Netflix Original Series Narcos Maria Alejandra Cano Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/infolit_usra Repository Citation Cano, Maria Alejandra, "The aW r on Drugs: An Audience Study of the Netflix Original Series Narcos" (2015). Undergraduate Student Research Awards. 24. http://digitalcommons.trinity.edu/infolit_usra/24 This Article is brought to you for free and open access by the Information Literacy Committee at Digital Commons @ Trinity. It has been accepted for inclusion in Undergraduate Student Research Awards by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. The War on Drugs The War on Drugs: An Audience Study of The Netflix Original Series Narcos Maria Alejandra Cano Trinity University The War on Drugs 2 Abstract Netflix has adopted an emerging subgenre known as narcodrama in the production of their new original series, Narcos. What motivates Colombian and American audiences to watch Narcos? What are the differences in uses and gratifications between American and Colombian audiences when it comes to violence in television shows? This survey among Colombian and American audiences attempted to better understand the motivations that push them to watch Narcos. The results show that Colombian and American audiences differ on almost all four variables, which is supported by open-ended responses where Colombians were more likely to refer to national history and how drug trafficking has affected the country. The War on Drugs 3 Introduction In the last decade, a new subgenre of soap operas focusing on drug trafficking has emerged in Colombia, and has garnered an international audience (Cabañas, 2012). -
Political Visuality of Latin America in Narcos
° www. comunicacionymedios.uchile.cl 106 Comunicación y Medios N 37 (2018) Political Visuality of Latin America in Narcos: a te- levision style analysis Visualidad política de América Latina en Narcos: un aná- lisis a través del estilo televisivo Simone Rocha Universidade Federal de Minas Gerais, Belo Horizonte, Brasil [email protected] Abstract Resumen From the theoretical approach of the visual stu- Desde la fundamentación teórica ofrecida por dies articulated with television style analysis, I los estudios visuales articulados al análisis del intend to analyze visualities of Latin America estilo televisivo, propongo analizar visualidades and historical events on the contemporary drug de América Latina y de eventos históricos que problem exhibited in the first season of Narcos tratan la problemática contemporánea de las (Netflix, 2015). Based on the primary meaning drogas exhibidas en la primera temporada de established by the producers, it is possible to Narcos (Netflix, 2015). A partir de la identifica- understand the complex relationships between ción del sentido tutor, definido por los realizado- crime, economy, formal politics and corruption. res de la serie, es posible captar las complejas relaciones establecidas entre crimen, economía, Keywords política formal y corrupción. Visuality; Narcos; Latin America; Television Style. Palabras clave Visualidad; Narcos; América Latina; estilo tele- visivo. Received: 10-03-2018/ Accepted: 08-06-2018 / Published: 30-06-2018 DOI: 10.5354/0719-1529.2018.48572 Political Visuality of Latin America in Narcos: a television style analysis 1. Introduction There were four directors in the first season:107 the Brazilians Jose Padilha (episodes 1 and A little over a decade ago audiovisual produc- 2) and Fernando Coimbra (episodes 7 and 8); tions depicting the global issue of drug traffic- the Mexican Guillermo Navarro (3 and 4) and king began making an appearance. -
Fraud Talk – Episode 99
FRAUD TALK – EPISODE 99 The Real-Life Agents Behind Netflix’s “Narcos” Tell of Pablo Escobar’s Reign of Terror In this clip from the September/October Fraud Magazine interview with retired U.S. DEA special agents Steve Murphy and Javier Peña, the former agents talk about the work they did in Colombia investigating notorious drug lord Pablo Escobar. Peña spent three harrowing years in Colombia tracking Escobor before Murphy joined him for 18 more months that would later become the inspiration behind Netflix’s hit show, “Narcos.” Transcript Emily Primeaux: Welcome to this edition of Fraud Talk, the ACFE’s monthly podcast. I’m Emily Primeaux, associate editor of Fraud Magazine, and I’m joined by Javier Peña and Steven Murphy. Steve and Javier are retired DEA agents who worked together as special agents in Colombia to bring down the notorious Medellín drug cartel led by Pablo Escobar. The hit Netflix show, “Narcos,” is based on their experiences pursuing Escobar and the Medellín cartel. Thanks for joining me today, Javier and Steve. So then, Javier, could you tell me a bit about those three years before Steve got there, what you were working on, and how you made those relationships and got the ball rolling? Javier: Right, right. Like you said, it was 1988 and I got to mention, when I was in Austin, my big boss, they call them ASAC, Assistant Special Agent in Charge, was in San Antonio, a guy by the name of Joe Top. He knew me, I knew him, worked a lot of cases, like I said, out of Austin, we answered to San Antonio.