Hola mi gente bella, espero esten todos super bien, he estado un poco ausente por cuestiones personales, pero bueno aqui volvimos otra vez para seguir trayanedo las historia dramaticas de nuestro pais, porque tenemos que completar toda esta colecciòn de dramaticos en este arichivo historico, y que aqui quede plasmasdo en la red. Ya pasamos la ediciòn n# 200 y seguimos mi gente.

Muñeca de trapo es una telenovela venezolana transmitida por Venevisión en el año 2000. Fue escrita por la reconocida autora Inés Rodena (en una adaptación moderna de sus clásicas historias melodramáticas) y producida por Laura Visconti. La producción destacó por rescatar la esencia del "melodrama rosa" tradicional, enfocado en el romance juvenil, el contraste de clases sociales y los secretos del pasado.

-Titulo Original: Muñeca De Trapo. -Productora: Venevisión / Laura Visconti Producciones. ​-Año: 2000 (136 episodios). ​-Guion: Adaptación de una historia original de Inés Rodena. ​-Dirección: Claudio Callao. ​-Protagonistas: Karina Orozco y Adrián Delgado. ​-Antagonistas: Eduardo Luna, Lourdes Martínez y Susy Landaeta. ​-Elenco Estelar: Rodolfo Drago, Rebeca Costoya, Juan Carlos Vivas y Francisco Ferrari. ​-Tema musical: "Muñeca de trapo", interpretado por MDO (Menudo).

La historia sigue la vida de Laura Arteaga (Karina Orozco), una joven hermosa, dulce y de origen muy humilde que trabaja incansablemente para sacar adelante a su familia. Debido a su timidez y su situación vulnerable, muchos a su alrededor la tratan despectivamente como si fuera una simple "muñeca de trapo".

​Su destino cambia por completo cuando conoce a Alejandro Montesinos (Adrián Delgado), un joven apuesto, rico y de buena familia. A pesar de la enorme brecha social que los separa y de la feroz oposición de la estricta familia de Alejandro, ambos se enamoran profundamente. El conflicto central se desarrolla cuando Laura debe dejar atrás su fragilidad para convertirse en una mujer fuerte, enfrentando no solo el clasismo de la alta sociedad, sino también un oscuro secreto del pasado que une a ambas familias de forma insospechada.

​Esta telenovela es especialmente recordada por haber sido el gran trampolín protagónico para la actriz Karina Orozco, quien logró conmover al público con su interpretación de la sufrida pero resiliente Laura. Hizo una pareja televisiva muy fresca y juvenil junto a Adrián Delgado, quien para ese momento ya se había consolidado como uno de los galanes jóvenes más cotizados del país tras sus éxitos en A todo corazón y Mujercitas.

​La crítica de la época señaló que, aunque la trama seguía una fórmula clásica ya conocida en el género, la novela funcionó gracias al ritmo ágil de su dirección y al carisma de su elenco juvenil. Un factor clave en su éxito con el público adolescente fue su tema musical principal, interpretado por la famosa boyband internacional MDO, lo que le dio un gran impulso promocional dentro y fuera de Venezuela.

Muñeca de trapo es recordada como una telenovela nostálgica y encantadora que cerró con broche de oro las producciones rosas de la época. Logró conectar con la audiencia gracias a la química de sus protagonistas y a una historia de amor directa y sin pretensiones. Su legado reside en haber sido una vitrina para el talento joven venezolano del nuevo milenio y un bonito ejemplo del melodrama clásico en su estado más puro.

Bueno mi gente espero sea de su agrado esta ediciòn y nos vemos en una proxima ediciòn de todo este recorrido historico.

The House of White and Black (S5x02)

Airdate: 19 April 2015

Written by: David Benioff & D.B. Weiss Directed by: Michael Slovis

Running Time: 55 minutes

The second episode of Game of Thrones’ fifth season, “The House of Black and White,” is another solid instalment that efficiently advances the sprawling narrative while providing some increasingly rare examples of deliberate worldbuilding at this relatively late stage in the series’ run. Directed by Alex Graves, the episode builds upon the foundation laid by the premiere, raising the stakes and forcing major characters into a series of tough, defining decisions. While it occasionally succumbs to the show’s mid-season tendency for table-setting, the instalment is elevated by strong character moments, the introduction of captivating new locales, and a continued, if sometimes clumsy, exploration of the burdens of power and justice.

The episode’s title refers to the mysterious Braavosi temple where Arya Stark arrives, seeking the Faceless Men. Her journey provides the most concentrated dose of worldbuilding. After being brusquely turned away by a mysterious black-clad man (played by Cedric Henderson), Arya is forced to survive on the streets of the canal-laced city, a sequence that finally gives visual substance to the legendary Free City. The production utilises the Croatian coastal settlement of Kaštel Gomilica to create a Braavos that vividly resembles a medieval Venice, complete with old Mediterranean architecture that feels both foreign and tangibly real. Her eventual confrontation with street thugs, where she draws Needle only to be saved by the reappearance of the same man—who reveals himself as the shape-shifting Jaqen H’ghar—is a satisfying, if somewhat predictable, narrative beat. His instruction that she must become “nobody” to begin her training sets the stage for one of the season’s most compelling arcs.

Across the Narrow Sea, the episode continues to expand the show’s geographical palette with the long-awaited introduction of Dorne. Seen solely through the sun-drenched, water-garden palace of House Martell, the region’s al-Andalus-inspired architecture immediately signals the authors’ intent to parallel southern Europe, distinguishing it culturally from the rest of Westeros. The political conflict here is ignited by a blunt threat against Myrcella Baratheon, sent by a grief-maddened Ellaria Sand. This portrayal marks one of the episode’s—and indeed the season’s—most significant departures from George R.R. Martin’s source material. The literary Ellaria is a voice for peace after Oberyn’s death; here, she is transformed into a shrieking avatar of vengeance, a change that simplifies the complex Martell scheming of the books into a more digestible, if less nuanced, television conflict. This compromise, likely made due to the show’s limited time to introduce additional Martell players like the Sand Snakes, sacrifices political subtlety for clearer emotional stakes.

In King’s Landing, Cersei’s attempts to consolidate power are bluntly rebuffed by her uncle, Ser Kevan Lannister, whose refusal of the post of Master of War and retreat to Casterly Rock is a stinging reminder of her precarious authority. Jaime’s subsequent plan to rescue Myrcella personally, enlisting Bronn with promises of a richer bride than his vapid fiancée Lollys Stockworth (Elizabeth Cadwallder), further deviates from the novels, where Jaime remains in the Riverlands. This change, while providing a clear mission for a popular character, begins the show’s trend of streamlining and redirecting plotlines for dramatic convenience.

Nowhere are the challenges of rule more starkly depicted than in Meereen. Daenerys Targaryen, struggling to govern a city she has conquered, is caught between the resentment of the former masters and the unmet expectations of the liberated slaves. Her decision to grant a fair trial to a captured Son of the Harpy, on the advice of Ser Barristan Selmy, is a well-intentioned attempt to institute a new system of justice. However, the brutal murder of the prisoner by the young ex-slave Mossador (Reece Noi) forces her into a terrible choice. Her decision to execute Mossador to demonstrate that justice applies to all backfires spectacularly, sparking a riot among the very people she freed. This storyline aims to explore the impracticalities of idealism, but its execution is problematic. The portrayal of the former slaves collectively reverting to a childlike, hysterical mob—crying “Mhysa” one moment and hurling stones the next—risks reducing them to an irrational, monolithic mass incapable of understanding the nuances of law, a depiction that can be read as patronising. The episode’s sole moment of solace for Daenerys comes in a silent, poignant scene where Drogon briefly alights on the Great Pyramid before flying away, a powerful visual metaphor for her dwindling connection to the primal, uncompromising power that forged her rise.

The theme of honour clashing with ambition or desire is further explored at the Wall. In a compelling scene, Stannis Baratheon offers Jon Snow the legitimisation he has craved his entire life: a royal decree that would make him Jon Stark, Lord of Winterfell. Kit Harington’s wordless reaction masterfully conveys the weight of this temptation. Jon’s ultimate refusal, honour-bound to his Night’s Watch vows, is a defining moment of character, though it prompts the viewer to question whether nobility is merely another form of hiding from one’s true desires. This integrity directly leads to his election as Lord Commander, a historic first for the series, albeit in a version vastly simplified from the elaborate, multi-candidate process of the novels. The episode is shadowed by a real-world tragedy, as it featured one of the final performances of J.J. Murphy, the Northern Irish actor who played Ser Denys Mallister, who passed away just four days after completing his scenes.

In the Vale, another invented television meeting occurs as Brienne of Tarth finally encounters Sansa Stark. The scene is charged with dramatic irony, as Brienne pledges her service only for Littlefinger to expertly undermine her by referencing her failed protection of Renly and Catelyn. Sansa, under his predatory gaze, is forced to publicly reject Brienne, a moment the script clarified was a desperate performance for Littlefinger’s benefit. The subsequent pursuit and skirmish with Littlefinger’s men in the woods feels precisely like what it is: an inserted action quota to ensure the episode maintains a certain pace, a common symptom of the show’s increasing deviations from its source material.

This inventiveness extends to Tyrion’s journey, where he and Varys travel towards Meereen concealed in a box-like coach. Their witty, philosophical dialogue about power and the “boxes” people choose to live in is a highlight, with Varys reminding a drunken Tyrion that Cersei has promised a knighthood for his head. Director Alex Graves pays off this dark humour with a masterful cut: immediately after Tyrion muses that his sister would have every dwarf in the world killed to find him, the scene shifts to Cersei being presented with the severed head of an anonymous dwarf, a grisly testament to the brutal literalism of the world they inhabit.

The House of Black and White is an episode of considerable strengths and telling compromises. It successfully deepens the world by introducing Dorne and expanding Braavos, and it compellingly advances key characters like Jon Snow and Arya Stark towards their destinies. However, the cracks in the adaptation are becoming more visible. The simplification of complex political narratives (particularly in Dorne) and the occasional reliance on manufactured conflict for action signal a show that is increasingly prioritising direct plot momentum and televisual spectacle over the intricate, character-driven political tapestry of its earlier seasons.

RATING: 7/10 (+++)

==

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Hello film lovers, / Bonjour les cinéphiles,

We’re still on Netflix, watching seasons 3 and 4 of this legal drama series.

Each season consists of 10 episodes.

Season 5 is coming soon.

Nous sommes toujours sur Netflix pour regarder les saisons 3 et 4 de cette série à classer dans la catégorie drame juridique.

Chaque saison est composée de 10 épisodes.

Une saison 5 arrivera prochainement.

Source Series poster /Affiche de la série

Synopsis :

Mickey Haller is a defence lawyer in Los Angeles. He no longer runs his practice out of his car, a Lincoln convertible, although he still owns the car. He has set up his offices in a building and is assisted by his second ex-wife, Loana, and her new husband, Cisco.

Loana generally handles the secretarial work, welcoming clients, answering the phone, and carrying out the necessary research for cases; at the same time, she is revising for her bar exam, as she wants to become a lawyer.

Cisco is more of a help with investigations and surveillance in the field.

To get around, Mickey Haller uses a Lincoln SUV which he drives himself, unless he has a driver available, such as Izzy or Eddie Rojas.

Mickey Haller doesn’t hesitate to take risks to see his cases through to the end, even if his methods sometimes border on illegality.

Mickey Haller est avocat de la défense à Los Angeles. Il n'a plus son cabinet dans sa voiture, une cabriolet Lincoln, même s'il a toujours cette voiture. Il a installé ses bureaux dans un building et est secondé par sa 2e ex-femme, Loana et par le nouveau mari de celle-ci, Cisco.

Loana s'occupe du secrétariat, en général, en réceptionnant les clients, en répondant au téléphone, en faisant les recherches nécessaires aux dossiers et, en même temps, elle révise pour passer son examen du barreau, puisqu'elle veut devenir avocate.

Cisco est plutôt une aide pour les enquêtes et filatures sur le terrain.

Pour se déplacer, Mickey Haller utilise un SUV Lincoln qu'il conduit lui-même, sauf s'il a un chauffeur disponible, comme Izzy ou Eddie Rojas.

Mickey Haller n'hésite pas à prendre des risques pour mener ses dossiers au bout, même si ses façons de faire sont parfois à la limite de la légalité.

My opinion and a few facts /Mon avis et petites infos :

I really enjoyed the series Suits and I’m also really into this one. It doesn’t just show us the courtrooms and law firms; it also shows us the characters’ private lives and how their cases affect them personally.

The main cast remains the same, with new characters joining as the series progresses:

Manuel Garcia-Rulfo: Mickey Haller, defence lawyer Neve Campbell: Margaret ‘Maggie McFeroce’ McPherson, Mickey’s first ex-wife Becki Newton: Lorna Crane, Mickey’s second ex-wife Jazz Raycole: Izzy Letts Angus Sampson: Dennis ‘Cisco’ Wojciechowski Yaya DaCosta: Assistant District Attorney Andrea ‘Andy’ Freemann, Mickey’s girlfriend Jason O'Mara: Jack Gilroy, Maggie McPherson’s boyfriend Sasha Alexander: FBI agent Dawn Ruth

I hadn’t recognised Sasha Alexander, whom we first saw in the series NCIS, where she played Agent Caitlin Todd in the early seasons, before Ziva replaced her on the team.

J'avais bien aimé la série "Suits : Avocats sur mesure" et j'aime aussi beaucoup cette série-ci. On ne nous montre pas uniquement les tribunaux et les cabinets, on nous montre aussi la vie privée et les conséquences des affaires sur la vie privée.

Les acteurs principaux restent les mêmes et d'autres s'ajoutent au fil des épisodes :

Manuel Garcia-Rulfo : Mickey Haller, avocat de la défense Neve Campbell : Margaret « Maggie McFéroce » McPherson, 1ère ex-épouse de Mickey Becki Newton : Lorna Crane, 2e ex-épouse de Mickey Jazz Raycole : Izzy Letts Angus Sampson : Dennis « Cisco » Wojciechowski Yaya DaCosta : la procureure adjointe Andrea « Andy » Freemann, petite-amie de Mickey Jason O'Mara : Jack Gilroy, petit-ami de Maggie McPherson Sasha Alexander : l'agent du FBI Dawn Ruth

Je n'avais pas reconnu Sasha Alexander que nous avions découverte dans la série NCIS, où elle interprétait l'agent Caitlin Todd, dans les premières saisons, avant que Ziva ne la remplace au sein de l'équipe.

The legal dramas we watch are always set in the United States. I’m not sure if I’d enjoy legal dramas set in Europe quite as much; I’d have to give them a watch sometime, as they’d be more informative and useful for us as Europeans. If you know of any programmes on this subject, please do let me know in the comments.

Enjoy your evenings in front of the telly, everyone, and see you soon,

Les drames juridiques que nous regardons se déroulent toujours aux Etats-Unis. Je ne sais pas si j'apprécierais autant les drames juridiques qui se déroulent en Europe, il faudrait que j'en regarde à l'occasion, puisque ce serait plus instructif et plus utile pour nous, en tant qu'Européens. Si vous connaissez l'un ou l'autre titre sur ce sujet, n'hésitez pas à me le communiquer en commentaire.

Bonnes soirées-tv à tous et à bientôt,

Florence

Source photo : image Qwant autorisée

I used Deepl Translator to translate French into English

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The Soviet cinematic genre later dubbed the “Ostern” or “Red Western” by Western observers—action‑adventure narratives set in the remote, often desert, frontiers of the young USSR during the Civil War—found its golden age in the decades following the Second World War. Yet its roots dig deeper into the silent era, and one of the earliest, arguably the very first, exemplars of this distinctly Soviet genre is Yakov Protazanov’s 1927 silent film The Forty-First. While later works like Mikhail Romm’s The Thirteen (1937)—explicitly described in critiques as an early Ostern—would codify the tropes of a desperate band holding out against overwhelming odds in a harsh landscape, Protazanov’s film presents a more intimate, psychologically nuanced prototype. It blends the adventure of survival with a tragic romance, set against the exotic backdrop of Central Asia’s deserts and the Aral Sea, thereby establishing a template that future “Red Westerns” would both follow and simplify.

Protazanov himself is something of an unsung hero of early Russian and Soviet cinema. He was a pre‑revolutionary commercial director who emigrated after the Bolshevik takeover but returned during the comparatively liberal New Economic Policy (NEP) period. His Aelita, though a flawed and loosely‑adapted science‑fiction piece, remains immensely influential for its Martian fantasy sequences and its subversive, almost cynical, view of revolutionary zeal. Protazanov was not burdened by the official Soviet ideology that would later rigidify under Stalin, nor was he driven by the formalist experiments of contemporaries like Eisenstein. He was, at heart, a storyteller attracted to compelling narratives and exotic settings. The Forty-First offered him precisely that: an adaptation of Boris Lavrenyov’s 1924 novel, written while the author—a futurist poet who had served as an armoured‑train commander in Turkmenistan—was editing the Red Army newspaper Krasnaya Zvezda. Lavrenyov drew on his own Civil War experiences in Central Asia, as well as the character of a young female soldier named Anya Vlasova who had pestered him to publish her poetry. This blend of authentic military detail and poetic sensibility translates directly into the film’s unique tone.

The plot is set in what is now Kazakhstan during the Civil War. A Red Army detachment, led by Commissar Yevsukov (Ivan Shtraukh), breaks out of encirclement but must trek through a waterless desert to reach the Red stronghold of Kazalinsk on the Aral Sea. Among them is Maria “Maryutka” (Ada Voytsik), a crack shot who has already killed forty enemy soldiers. After a sandstorm depletes their water, they stumble upon a caravan carrying a single passenger: White Lieutenant Vadim Nikolaevich Govorukha‑Otrok (Ivan Koval‑Samborsky), a courier bearing a vital message from Admiral Kolchak to General Denikin. Capturing him, Yevsukov decides to deliver the prisoner to headquarters. With the aid of sympathetic local herdsmen, they reach a coastal village where only one boat is available for the final leg; Maryutka is ordered to escort Otrok. A sudden storm shipwrecks them on a small, deserted island. There, stripped of the war’s ideological framework, they struggle to survive, gradually shedding their enmity and succumbing to an irresistible physical attraction. Their life together becomes an idyllic, almost utopian interlude—a Robinson Crusoe fantasy mingled with the melodrama of Romeo and Juliet. This idyll shatters when a White aeroplane spots them and a rescue party arrives. As Otrok runs towards his comrades, Maryutka, in a moment of instinctive political duty, shoots him dead. The film closes on her mourning over the body of her lover, the “forty‑first” kill that now carries a profoundly personal cost.

Protazanov’s direction is competent within the technical limits of the era. The Central Asian locations—reportedly authentic, with locals employed as extras—lend the film a palpable sense of place and an ethnographic value rarely seen in Soviet cinema of the time. The depiction of Muslim herdsmen and peasants as sympathetic, ordinary people is noteworthy, offering a precious document of a way of life soon to be altered by collectivisation. However, the film is not without the flaws characteristic of silent cinema. The acting, particularly in the early scenes, tends towards broad, gestural overacting. The editing is occasionally clumsy, and the second half, after the shipwreck, feels somewhat rushed; the transition from enmity to romantic devotion could benefit from more nuanced development. These are, however, minor quibbles in a film that excels in its atmospheric setting and the potent simplicity of its central conflict.

Where The Forty-First truly distinguishes itself is in its daring defiance of what would later become the dogmas of Socialist Realism. Made during the NEP period, when artistic control was relatively lax, the film presents Maryutka not as an idealised Bolshevik heroine but as an uneducated, rough‑edged woman who allows herself to fall in love with a class enemy. Her commitment to the cause is portrayed as almost instinctual, a product of her environment rather than polished ideological conviction. Only in the final moment, when she pulls the trigger, does she conform to the Soviet framework—and even that act is followed by grief, not triumphalism. This psychological complexity was out of step with the soon‑to‑be‑enforced Stalinist aesthetics, which demanded unambiguous heroes and clear moral dichotomies. Unsurprisingly, The Forty-First was largely forgotten or suppressed during Stalin’s reign—a fate not helped by the fact that Ivan Koval‑Samborsky, who played Otrok, was sent to the Gulag in the late‑1930s purges.

The film’s legacy, however, endured. After Stalin’s death and the ensuing “Thaw,” the story was deemed ripe for remake. Despite ideological objections, the politically connected director Ivan Piriyev—husband of Ada Voytsik—pushed the project forward. The 1956 colour and sound version, directed by Grigori Chukhrai as his feature debut, would become a classic in its own right, but it is Protazanov’s silent original that retains a raw, pioneering power. For enthusiasts of silent and early Soviet cinema, The Forty-First is a fascinating curio: a film that straddles genres, blending adventure, romance, and political drama while inadvertently birthing a genre that would later flourish. It may lack the polished craftsmanship of later Osterns, but it possesses an authentic, unvarnished soul that makes it a compelling and historically significant work. Its exploration of love and duty, set against the vast, indifferent desert, remains strikingly resonant nearly a century after its release.

RATING: 5/10 (++)

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Y también tenemos personajes como Latrell interpretado grandiosamente por Terry Crews, jaja ¿Quién no ama a Latrell? es una especie de Jhonny Bravo: el tipo grande y fuerte que cree que puede conquistar el mundo pero realmente es un pesado insistente que no conoce un no por respuesta, sin embargo Latrell representa a esas personas que buscan desesperadamente encajar en algún lado, él pertenece a la comunicad afrodescendiente, pero como tiene dinero pretende encajar en la comunidad blanca californiana, volviéndose él también un clasista y racista hasta rayar en lo absurdo. Por aquí les voy a dejar dos de mis momentos preferidos de Latrell que fueron los que más me hicieron reír y fueron los más icónicos de la película

Y bueno, gente, esto ha sido todo por el post de hoy, espero que les haya gustado. Muchas gracias como siempre por apoyar mi trabajo, le doy la bienvenida a los nuevos lectores, les quiero mucho a todos, les envío un abrazo y ya nos encontraremos en otro post

La imagen de portada y despedida la realicé en Canva.

The name Citizen Kane has entered the world’s vocabulary as a synonym for the greatest film ever made. Whether that reputation is entirely warranted is a perennial debate among cinephiles, but it is certain that Orson Welles’s 1941 masterpiece remains the highest-regarded piece to emerge from Hollywood’s Golden Age. Given its mythic status, it was inevitable that Citizen Kane would be honoured by the industry through countless references, homages, and, ultimately, dramatic reconstructions of its tumultuous creation. The first major attempt was the 1999 HBO docudrama RKO 281, which focused on the battle between Welles and William Randolph Hearst. The next is David Fincher’s 2020 biopic Mank, a film that shifts the spotlight from the wunderkind director to his credited co-writer, Herman J. Mankiewicz. Fincher’s technically impeccable, stylistically faithful, yet ultimately frustrating film seeks to unravel the mystery of authorship behind cinema’s most famous text, but in doing so, it becomes ensnared in the very Hollywood formulas it attempts to critique.

Mank is based on a script by Fincher’s late father, Jack Fincher, originally written in the 1990s. The screenplay draws heavily from Pauline Kael’s controversial 1971 essay Raising Kane, which posited the incendiary claim that Orson Welles was not the principal author of Citizen Kane; that mantle, Kael argued, rightfully belonged to Mankiewicz, with Welles merely contributing edits and direction. This thesis has been largely discredited by later scholarship, but it provides the foundational myth for Fincher’s film. Mank thus presents itself as a corrective biopic, aiming to restore a neglected figure to his rightful place in cinema history.

The film’s narrative is framed by the spring of 1940, where “Mank” (Gary Oldman), recovering from a leg injury exacerbated by chronic alcoholism, is hired by the 24-year-old Orson Welles (Tom Burke) and his producer John Houseman (Sam Troughton) to write a script for Welles’s debut feature. Isolated in a remote ranch, Mank dictates the story to his patient British secretary, Rita Alexander (Lily Collins). As the script—initially titled American—takes shape, Rita notices the conspicuous parallels between its protagonist, Charles Foster Kane, and the powerful newspaper magnate William Randolph Hearst (Charles Dance). Mank’s brother, Joseph (Tom Pelphrey), fears that should Hearst discover this caricature, he would retaliate mercilessly, destroying the film and everyone involved.

Through a series of extended flashbacks, the film delves into the previous decade, introducing Mank as one of the many celebrated Broadway playwrights who migrated to Hollywood following the transition to sound, a revolution that created a desperate need for witty dialogue. At the height of his powers, Mank circulates at lavish parties hosted by studio moguls like Louis B. Mayer (Arliss Howard) and, most significantly, Hearst himself. He forms a genuine friendship with Hearst’s mistress, the aspiring actress Marion Davies (Amanda Seyfried). The film portrays Davies with notable sympathy, highlighting the discrepancy between her intelligent, charming real-life persona and the talentless, pitiful Susan Alexander Kane she would later inspire.

The flashbacks also chart the political upheavals of the 1930s: the Great Depression and the ominous rise of fascism in Europe. Mank, embodying the liberal conscience of the Hollywood intellectual, pins his hopes on Upton Sinclair (Bill Nye), the famous socialist writer who in 1934 ran as the Democratic candidate for Governor of California. Sinclair’s campaign is systematically wrecked by a vicious smear campaign orchestrated by Hearst and the studio bosses, who deploy fabricated newsreels featuring actors posing as “real” voters to ensure the election of his Republican opponent. This historical episode becomes a central trauma for Mank. Three years later, at another Hearst soiree, a drunken Mank publicly confronts his host, accusing him of hypocrisy for having supported socialist ideas in his youth before becoming a bulwark of the establishment. This confrontation serves as the film’s dramatic crux, positioning Mank’s subsequent writing of Kane as an act of personal and political vengeance.

The film concludes with Mank completing the script, which would go on to win the Academy Award for Best Original Screenplay. The final moments allude to the bitter credit dispute that followed, resolved with the infamous compromise of shared authorship—a conclusion that feels both historically accurate and dramatically anticlimactic.

On a technical level, Mank is a remarkable achievement. For Fincher, this project was clearly a personal labour of love, and he directs with fastidious skill. The decision to shoot in lustrous black-and-white, the meticulous reproduction of period-appropriate camera moves, the use of optical wipe transitions, and the superb score by Trent Reznor and Atticus Ross—which perfectly mimics the sound of a Classic Hollywood orchestra—all constitute a conscious and successful effort to recreate the aesthetic of a 1940s studio picture. In its surface texture, Mank is a flawless simulation.

Where the film is markedly less successful is in its core ambition: to construct a compelling drama about the creation of one of history’s greatest artworks. Instead, Jack Fincher’s script sacrifices its potent subject matter to a catalogue of brutally simplistic, Oscar-grabbing clichés. The foundational trope is the physically and mentally afflicted protagonist, whose suffering is designed to showcase actorly “transformation.” We meet Mank in 1940 as a bedridden cripple; his flashbacks present him as a perpetually intoxicated, self-destructive gambler. Gary Oldman, an actor of immense talent, commits fully, but he is hamstrung by a script that demands little more than a performance of degenerative decay. Even Oldman cannot rise above the material’s reductive psychology, which suggests that genius is merely a by-product of vice and resentment.

Further adhering to the awards-season formula is the obligatory, somewhat gratuitous, inclusion of the Holocaust. As the film is set in the late 1930s, it seems a mandatory ingredient for any serious period piece. Mank spends considerable time pontificating about the threat of Hitler, while the subplot involving Rita Alexander’s boyfriend, who serves in the Royal Navy and is feared lost at sea, feels like a narrative box being ticked to underscore the global stakes. It is a superficial gesture towards gravitas.

The film’s most egregious flaw, however, is the element that renders it paradoxically dated and chained to Hollywood’s immediate political preoccupations. An excessive amount of screen time is devoted to the relatively obscure 1934 California gubernatorial election. The film recreates in detail the MGM-produced fake newsreels used to sabotage Upton Sinclair. This historical excavation is not merely academic; it functions as a painfully transparent allegory for the 2016 US presidential election. The film reflects a belief, ubiquitous within the Hollywood bubble and Western liberal circles, that Hillary Clinton’s loss to Donald Trump could be attributed primarily to a foreign disinformation campaign (Russian instead of homegrown studio propaganda). In Mank, Hearst’s media manipulation is presented as the sole reason for Sinclair’s defeat, absolving the electorate of any agency or ideological complicity. This heavy-handed parallel transforms what could have been a solid, fascinating biopic into a piece of crude contemporary agitprop. It suggests that the real drama of Citizen Kane’s creation was not about artistic collaboration or personal vendetta, but about a writer’s righteous crusade against “fake news”—a modern preoccupation awkwardly grafted onto the past.

In conclusion, Mank is a film of profound contradiction. It is a technically masterful, lovingly crafted homage to Classic Hollywood cinema, yet it is also a dry, didactic, and ultimately disappointing experience. Its narrative is so preoccupied with scoring contemporary political points and adhering to awards-bait conventions that it forgets to truly illuminate its fascinating central character or the complex alchemy that produced a masterpiece. As such, Mank can only be recommended to the most dedicated cinephiles and historians of Hollywood—those willing to sift through its ornate period detail and anachronistic sermonising to appreciate Fincher’s directorial prowess, while mourning the more compelling, less formulaic film that might have been.

RATING: 5/10 (++)

==

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Hello my dear friends of The Anime Realm, I hope you're all doing well, just like me. Today I'd like to tell you about an anime I watched a while ago on Netflix, one that's suitable for everyone, and especially for those of us looking for an original story. This is one of those anime that stirs emotions in countless ways and stays with you because of its mysterious backstory.

Hola mis queridos amigos de The Anime Realm, al igual que yo, espero estén muy bien. Hoy quisiera comentarte sobre un anime que vi hace tiempo en Netflix, uno que es acto para todos, y especialmente para quienes buscamos una historia original. Este es de aquellos anime que emocionan de mil maneras y que se guardan en tu corazón por el trasfondo misterioso que guarda.

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Kotaro Lives Alone, or "Kotaro wa hitori gurashi," is an anime produced by LIDEN FILMS and directed by Tomoe Makino, consisting of only 10 episodes. It is based on a live-action series and the manga of the same name, which tell the story of Kotaro Sato, a four-year-old boy who lives alone. He and his neighbors experience daily adventures, gradually revealing the boy's brief past.

Kotaro Vive Solo o "Kotaro wa hitori gurashi" es un anime producido por el estudio LIDEN FILMS con la dirección de Tomoe Makino y cuenta únicamente con 10 episodios. Esta es derivada de una serie live action y del manga del mismo nombre, los cuales cuáles cuentan la historia de Kotaro Satо̄, un niño de 4 años que vive solo. Este junto a sus vecinos viven aventuras diarias, en donde poco a poco vamos conociendo el corto pasado de este niño.

Personally, what captivated me about this anime was the emotional and psychological maturity with which the protagonist faces each of his difficulties. And yes, the fact that a 4-year-old boy is dealing with this sounds unrealistic, but the theme is handled very well in every way, especially in the way he confronts his adversities and his reality. Being such a young child, he had to learn much more about adult life and independence, and yet, this boy showed great wisdom in many scenes, but also naiveté that helped him mature further.

En lo personal, lo que me atrapó de este anime fue la madurez emocional y psicológica con la que este enfrenta cada una de sus dificultades. Y si, el hecho de que un niño de 4 años se enfrente a esto suena irreal, pero el tema es muy bien tratado en cada sentido, en especial con la forma en la que se enfrenta a sus adversidades y su realidad, al ser un niño pequeño, este debía aprender muchas mas cosas sobre la vida adulta y la independencia, y aun asi, este niño mostró mayor sabiduría en muchas escenas, pero también ingenuidades que lo hicieron madurar más.

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The interesting thing about Kotaro is that with each scene, the doubt surrounding his past grows, and everything points to a tragic story behind it. Even though this boy appears brave and self-assured, he's possibly hiding from something or someone that torments him, and all signs point to his father, but the short production run didn't allow the full story to be shown.

El detalle con Kotaro está en que con todas las escenas, aumenta la duda sobre su pasado, y todo indica que hubo una historia trágica detrás. Por más que este niño se muestra valiente y seguro de sí mismo, este posiblemente se esconde de algo o alguien que lo atormenta, y todo apunta a su padre, pero la corta producción que tuvo se limitó a mostrar la historia completa.

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Despite much speculation and even fake news about its continuation, Netflix was forced to admit it was on hiatus due to a bad deal regarding the rights to the work, leaving the ending uncertain in this format. However, nowadays, if you want to continue the story and find out what happened, it's recommended to buy the manga, which concluded in 2023. Personally, I haven't researched anything beyond what I saw in the series, although I would like to own the manga to complete the story that was left unfinished in the animated version.

A pesar de que hubo muchas especulaciones, como falsas noticias sobre la continuación de este, pues Netflix se vio obligado a admitir su pausa por un mal acuerdo sobre los derechos sobre la obra, teniendo un final incierto en este formato. Pero hoy en día se recomienda, si quieres continuar con la historia y saber qué pasó, comprar el manga que llegó a su fin en el año 2023, yo por mi parte no he investigado más allá de lo que vi en la serie, aunque si quisiera tener el manga para poder completar esa historia que no tuvo fin en su versión animada.

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I'm not really disappointed that it was canceled, since these days series renewals are very frequent. Perhaps one day we'll hear the news that Kotaro is returning to finish what left us wanting more. Kotaro Lives Alone is one of those anime that doesn't have bad viewership; in fact, all of us who have seen it faithfully hope it will return.

Realmente no me decepciona el que esta haya sido cancelada, pues hoy en día las renovaciones de series han sido muy constantes, quizás algún día también nos encontremos con la noticia de que Kotaro vuelve para finalizar lo que un día nos dejó con ganas de más. Kotaro vive solo, es de esos animes que no tienen mala audiencia, de hecho, todos los que lo hemos visto, esperamos fielmente que esta vuelva.

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Hello, anime fans. Today I’m bringing you a series that’s very different from anything I’ve shared with you so far. Well, it’s not the first time I’ve featured a Slice of Life anime per se, but I do think it’s the first time I’ve featured an anime with this kind of story. I say this mainly because I don’t recall seeing any other anime like it in the past. Based on the manga series of the same name written and illustrated by Kuzushiro, “A Mangaka’s Weirdly Wonderful Workplace” is an animated adaptation produced by the studio Voil. Check out the anime about the young, shy, and antisocial mangaka.

Hola, fanáticos del anime. Hoy les traigo una serie muy diferente a todo lo que les he traído hasta ahora. Bueno, no es la primera vez que les traigo un Slice of Life como tal, pero sí creo que es la primera vez que traigo un anime con este tipo de historia. Digo esto más que nada porque no recuerdo haber visto algún otro anime parecido en el pasado. Basada en la serie de manga homónima escrita e ilustrada por Kuzushiro, "A Mangaka's Weirdly Wonderful Workplace" es una adaptación animada producida por el estudio Voil. Conoce el anime de la joven y tímida mangaka asocial.

Source: FilmAffinity.

Plot

The anime begins by introducing us to Nana Futami, a shy and often nervous young manga artist who has just started serializing her first original work, titled Dear Subaru. With the help of her editor, Kaede Satō, and her one and only reliable assistant, Mizuki Hazama, she will try to fulfill her dreams of becoming a renowned Shōjo manga artist. However, her anxiety will cause her to have some delusions, in addition to the long hours, constant deadlines, and many other problems she will face in this massive and grueling manga industry.

Trama

El anime inicia presentándonos a Nana Futami, una joven mangaka tímida y frecuentemente nerviosa que acaba de serializar su primera obra original llamada Dear Subaru. Con la ayuda de su editora Kaede Satō y su única y confiable asistente Mizuki Hazama intentará cumplir con sus sueños de ser una reconocida mangaka Shōjo. Sin embargo, sus problemas de nerviosismo le causarán algunos delirios, además de las extensas horas de trabajo, los retrasos constantes de entregas y muchos otros problemas que afrontará en esta enorme y extenuante industria del manga.

Trailer & Review

Here's the trailer for the anime:

By: Crunchyroll

Finally, here’s the anime’s opening:

All the best.

By: Nattosheru.

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