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Christy Arvelaiz
@chris-chris92 (73)
📍 Guacara, Carabobo, Venezuela
257 followers
153 following
Madre, amante y estudiante del arte y la reposterÃÂÃÂa. AdemÃÂÃÂ¡s, una eterna aprendiz y con un lado salvaje pero reservado...
115d
Movie · on Conclave
Conclave [2024]: Una puerta abierta a cuestionar los intereses cuestionables de la 'Iglesia de Dios' [ESP]

Fuente

El poder, la avaricia, la corrupción; todos elementos tan humanos como lo son la violencia, la mentira, y la hipocresía. No serían noticias, ni tampoco sorprenderían a nadie, si no se tratase de mucha de la trama que podemos ver en Conclave, una película nominada al Academy Award en varias categorías. Incluyendo mejor película, mejor actor y mejor guión. Personalmente, no les mentiré, mi experiencia con el cine religioso ha sido espectacular. Son muchísimos los films, que tratan aquellas cositas que no vemos en las catedralws, monumentos, templos, mezquita, sinagogaa, o iglesias del mindo...
Sin embargo, en Conclave somos testigos de algo que, en serio amo de un buen thriller: el conflicto. Aquí loa protagonistas son los jerarcas más privilegiados de la historia moderna de la Humanidad, nada más y nada menos, que los cardenales de la Iglesia Católica Apostólica y Romana. El antiguo Papa ha fallecido por causas naturales, y la Iglesia ha quedado acéfala. Es importantísimo que se reúna el Conclave para elegir al nuevo Rey de la Iglesia de Dios en la Tierra. Y son seres humanas no muy distintos a usted y a mí. Solo que con la convicción de que han sido elegidos para guiar a las almas del mundo.

Fuente

Lejos de ser (los cardenales, aspirantes a Papas) personas ejemplares, podemos ver cómo la Iglesia no es distinta en sus formasy manejos de Poder a una disputa similar pero dentro de la mafia clásica de toda la vida. El anhelo por llegar a mandar y tener todo el poder, es tal, que casi de inmediato somos testigos de cómo los plácido hombres de Dios se transforman en algo más parecido a una trama de un episodio de Game of Thrones, que al dulce obispo qué da la misa los domingos en la congregación más cercana a su hogar.

No voy a obviar el impecable trabajo de Ralph Finnes, un actor que me resulta también una debilidad. Lo sigo desde la Lista de Schindler, de Spielberg, y honestamente no me asombra ver lo dinámico y talentoso que es. En Conclave, es el guía del concilio de cardenales. Una especie de administrador de las elección y autoridad moral para los demás. Además, es la representación del ojo inquisidor y alg escéptico con respecto al pape mismo de la fe en la vida de las personas. Stanley Tucci, otro fantástico actor, hace dupla con Finnes, y dentro de la película tiene líneas muy sólidas que son imposibles de obviar e ignorar.
Pero, ¿cuál es el aporte de Conclave? Para mí, dos cosas. Su preciosa fotografía cinematográfica, y el diseño de los personajes. Además. El plot twist del final es, como mínimo, original y sumamente transgresor. Por eso creo que es tan aclamada y considerada. Es imposible que no la disfrutes. Créeme, quien escribe, es alguien que detesta las tradiciones y no sigue demasiado a la Iglesia pero es la forma en la que está dirigida esta película lo que la hace tan peculiar. Sus tomas son inquietantes, simétricas, preciosas desde la gama del color y prácticamente una obra del Barroco. Por amor a Dios, ya que estr domingo próximo son los Academy Awards en su 97th edición, te invito a que le des una oportunidad y la juzgues tú misma....
Victor
@victor2356 (69)
📍 Valencia Venezuela
43 followers
8 following
Me gusta escribir y reflexionar, me gusta leer y analizar libros y pelÃculas, y aunque soy nuevo en esto de la creaciÃ³n de contenido estoy dispuesto a apr...
115d
Movie · on Noe
Noe [Review of the movie] ESP/ENG

Fuente

This movie is a bit older, but I only recently had the chance to watch it. For some time now, my family and I have been watching some Brazilian biblical series, which are certainly very appealing, not only visually (great special effects) but also for their narrative and story, closely adhering to the canon, though with some creative liberties to generate greater impact, drama, and even comic relief. So, I sat down to watch Noah knowing that it probably wouldn't be just a faithful adaptation of the biblical story, and indeed it wasn't.

Esta película tiene un tiempo ya pero recientemente fue que tuve la oportunidad de verla. Desde hace un tiempo para acá mi familia y yo nos hemos dedicado a ver algunas series bíblicas brasileñas que ciertamente son muy atractivas no solo visualmente (grandes efectos especiales) sino por su narrativa y la historia, muy apegadas al canon aunque con algunas licencias creativas para generar mayor impacto, dramatismo y hasta alivios cómicos, así que me senté a ver Noe a sabiendas de que probablemente no se trataría solo del relato bíblico y en efecto así fue.

It's actually a reinterpretation with slightly darker undertones that focuses primarily on the psychology of the central character, Noah, and how he gradually descends into madness due to confinement. This isn't divorced from the biblical account, which clearly mentions Noah's erratic episodes, but the film delves deeper into this decline, presenting him as a tormented man. However, the major problem here, and I believe what infuriated the theorists, is that in this version Noah even questions God's will. Furthermore, they also add fantastical elements such as stone giants and the "Watchers."

En realidad es una reinterpretación con matices un poco más oscuros que se centra más que todo en la psicología del personaje central, Noe, y como este va descendiendo poco a poco a la locura debido al confinamiento, algo que no está divorciado del relato bíblico pues allí claramente menciona los episodios erráticos que tuvo Noe, pero la película profundiza en ese declive, lo presenta a él como un hombre atormentado, sin embargo el gran problema que sucede aquí, y creo que fue lo que enfureció a los teóricos, es que en esta versión Noe llega a cuestionar la voluntad de Dios, además también añaden elementos fantásticos como gigantes de piedra o los "vigilantes"

Fuente

Something that bothered me is that we don't see God's instructions as such, except for what Noah told his wife. But God's revelation comes in a dreamlike way (through dreams), which diminishes its significance and deviates from the original narrative. Furthermore, in this version, Noah is convinced that God desires not only the extinction of the wicked who inhabited the earth, but also of him (although yes, we have to assume that this is a reinterpretation of the biblical story). In this sense, we see that the objective is to seek human redemption through good deeds, with a very ecological perspective. (God created Eden and the earth for our benefit, but if we neglect them, we will be left homeless; the flood could then perhaps be a kind of warning about current climate change.)

Algo que me generó conflicto es que no vemos como tal las instrucciones de Dios, salvo lo que Noe le contó a su esposa, pero la revelación de Dios se hace de forma onírica (a través de sueños) que le restan importancia y se despega del relato original, además, en esta versión Noe está convencido de que Dios no solo desea la extinción de los impíos que habitaban la tierra, sino también de él mismo (aunque sí, tenemos que asumir que esta es una reinterpretación del relato bíblico) En este sentido vemos que el objetivo es buscar la redención humana a través de los buenos actos, con una visión muy ecológica. (Dios creó el Edén y la tierra para nuestro beneficio pero si los descuidamos nos quedaremos sin hogar, el diluvio vendría a ser entonces quizá una especie de advertencia sobre el actual cambio climático)

Fuente

The film's pace is quite slow at the beginning and even monotonous in some parts, but overall, as a whole, it was good. The special effects were of a very high standard, as were the performances, in which I would highlight Emma Watson, of course the great Anthony Hopkins, and naturally Russell Crowe, who delivered an intense performance that perfectly reflected the emotional decline and complexity of his character.

El ritmo de la película llega a ser muy lento al inicio e incluso monótono en algunas partes, pero en general, como un todo estuvo bien, los efectos especiales estuvieron a un muy alto nivel, al igual que las actuaciones en las que yo destacaría a Emma Watson, desde luego el gran Anthony Hopkins y claro Russell Crowe, ya que nos ofreció una actuación intensa que reflejó muy bien el declive emocional y la complejidad de su personaje.

Fuente

In short, I recommend watching it because it's really worth it, despite the differences with the original story. If we see it for what it is, a reinterpretation, we can appreciate it better.

En fin, les recomiendo verla porque realmente vale muchísimo la pena, a pesar de las diferencias que hay con el relato original, si la vemos como lo que es, una reinterpretación, podemos valorarla mejor.

(Imagen hecha con el editor de canva)

Image made with the Canva editor
The Fed
@thefed (69)
📍 The Fed (Not The Real Fed:)
89 followers
219 following
My Names Matt & I Mostly Talk Movies & Television! #Movies #Film #Freedom
115d
Movie · on Meatballs
Meatballs (1979) Is One Of The Purest Summer Camp Comedies Of The Late Seventies And Early Eighties Era. It Is Loose, Funny, And Much Better Than People Sometimes Remember.
Released in 1979, Meatballs sits right on that line between the seventies and the comedy explosion of the eighties, and it absolutely helped shape the style that followed. Directed by Ivan Reitman, before he would go on to bigger films like Ghostbusters, this movie captures the chaotic energy of summer camp life in a way that feels messy, honest, and genuinely funny.

Bill Murray stars as Tripper Harrison, the head counselor at Camp North Star and easily the main reason the movie works so well. Murray was still early in his film career, but you can already see the exact style that would make him a star. Tripper is sarcastic, immature, and completely unreliable in the traditional adult sense, but he is also charismatic and strangely inspiring.

The plot is simple because it does not need to be complicated. Camp North Star is the underdog camp, constantly compared to the richer and more polished Camp Mohawk across the lake. Tripper spends the summer trying to keep morale up, entertain the campers, and somehow guide everyone through the usual camp chaos.

Chris Makepeace plays Rudy Gerner, a shy and awkward camper who becomes the emotional center of the story. His friendship with Tripper gives the film more heart than people might expect. Instead of just being a collection of jokes, the movie becomes about confidence, growing up, and finding where you fit.

That relationship between Tripper and Rudy is what separates Meatballs from weaker camp comedies. Murray brings the humor, but he also gives the character enough sincerity that you believe he actually cares. Their scenes together make the movie feel more grounded.

Ivan Reitman directs the film with a loose, almost improvised energy that fits perfectly. It never feels overly polished, and honestly that helps. Summer camp should feel a little chaotic, and the movie captures that naturally instead of trying to force structure onto it.

The supporting cast is filled with classic camp comedy personalities—kids with too much energy, awkward teenage crushes, counselors trying to survive the summer, and the constant competition with the rival camp. None of it is groundbreaking, but it all works because the performances feel natural.

One of the most memorable parts of the film is the underdog spirit. Camp North Star is not glamorous, and that is the whole point. The movie makes you root for the weird kids, the misfits, and the people who do not fit the polished image of success.

The famous “It just doesn’t matter” speech is still one of the best moments in the film because it perfectly captures Tripper’s style. It is funny, ridiculous, and somehow motivating at the same time. That scene alone explains why Murray became such a star.

The final Olympiad competition between the camps gives the story a simple but effective climax. It is not about sports as much as it is about pride and proving that the underdogs belong. It gives the film a strong finish without needing anything overly dramatic.

Like a lot of early comedies from that era, parts of the humor are definitely a product of their time, and some moments feel dated now. But the core of the movie still works because the friendships and awkward growing up moments are universal.

What makes Meatballs really good is that it never tries too hard. It is relaxed, funny, and comfortable in its own skin. It feels like a real summer where half the fun comes from things not going according to plan.

Over time, it became a cult favorite because people realized it was more than just another camp movie. It helped launch Bill Murray’s film career and showed Ivan Reitman’s talent for balancing comedy with genuine character moments.

In the end, Meatballs is a really good movie because it is simple, funny, and full of personality. It captures that weird mix of freedom and awkwardness that summer camp always seems to create.

It may not be the flashiest comedy of its era, but it absolutely earned its place as a classic and still holds up as a fun rewatch.
Drax
@drax (77)
895 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
116d
TV · on Mad Men 60
Television Review: Meditations in an Emergency (Mad Men, S2x13, 2008)

Meditations in an Emergency (S2x13)

Airdate: 26 October 2008

Written by: Matthew Weiner & Kater Gordon Directed by: Matthew Weiner

Running Time: 48 minutes

The second season of Mad Men is, by a discernible margin, inferior to its groundbreaking first. This decline is not one of technical execution—the production values remain impeccable, the acting superb—but of conceptual ambition and narrative cohesion. The diminution is perhaps most starkly observed in a direct comparison of their respective final episodes, both helmed by series creator Matthew Weiner. Where Season One’s [The Wheel](https://peakd.com/hive-166847/@drax/television-review-the-wheel-mad-men-s1x13-2007) offered a masterfully subdued, character-driven coda steeped in melancholy irony, Season Two’s Meditations in an Emergency opts for a grandiose, history-laden climax that feels simultaneously over-determined and curiously hollow. This finale encapsulates the season’s core weakness: an over-reliance on iconic historical touchstones at the expense of the subtle, psychological portraiture that defined the show’s initial brilliance.

Weiner’s decision to set the season in the eventful year of 1962 was a double-edged sword. It allowed the series to chart the subtle societal shifts—in attitudes towards race, gender, and sexuality—that would erupt later in the decade. However, this choice also shackled the narrative to a parade of iconic moments. Amongst these, the Cuban Missile Crisis looms largest, and it is this world-historical event that Weiner controversially elects as the backdrop for his season finale. The decision is a fateful one, transforming the episode from a character study into a fraught, and ultimately problematic, exercise in historical juxtaposition.

The plot mechanics hinge on a contrived simultaneity. Don Draper returns from his prolonged, mysterious Californian sabbatical on 22 October 1962—the very day President Kennedy announces the naval blockade of Cuba. As the crisis escalates towards potential nuclear annihilation, a palpable panic grips the populace. Yet Don, the archetypal self-made man, appears either oblivious or wilfully philosophical. His focus remains stubbornly parochial: the crises of his crumbling marriage and his precarious professional standing. However, it risks rendering Don not as a complex tragic figure, but as a solipsistic bore. His personal turmoil, while significant, feels trivial when framed against the backdrop of global thermonuclear war. The episode never quite resolves this tension, leaving the audience to question whether we are meant to critique Don’s myopia or share in it.

Betty Draper’s parallel storyline is arguably more compelling, precisely because it operates on a human scale. Pregnant, betrayed, and advised by her doctor to keep a child she does not initially want, Betty’s arc captures the terrifying constraints of her era. Her subsequent, uncharacteristic act of picking up a stranger (Ryan McPartlin) in a bar for a brief sexual encounter is a raw, desperate lash for agency. It is a powerful moment, brilliantly underplayed by January Jones, that speaks volumes more about her internal crisis than any of Don’s brooding. The eventual reconciliation scene, culminating in her revelation of the pregnancy, is charged with a profound ambiguity. It feels less like a new beginning and more like a mutual surrender to biological and social fate, a ceasefire in their marital cold war brokered by an unborn child.

The professional sphere mirrors this upheaval. Don’s return to Sterling Cooper coincides with the finalisation of its merger with Putnam, Powell & Lowe. The corporate machinations are handled with the show’s customary sharpness. Duck Phillips’s rise and spectacular fall is a miniature tragedy of hubris and addiction. His belief that he has outmanoeuvred Don by leveraging a non-existent contract is a superb piece of dramatic irony. Saint John Powell’s cynical manipulation—first plying the recovering alcoholic with liquor to secure his loyalty, then using his subsequent drunken rage to discard him—is a chilling display of corporate realpolitik. Don’s victory here is passive and procedural; he wins simply by having never signed a piece of paper, a testament to his inherent, anarchic distrust of institutions.

Meanwhile, the spectre of annihilation prompts two very different men to make final appeals to Peggy Olson. Father Gill’s attempt to use the threat of hellfire to reclaim her soul is grotesquely exploitative. In contrast, Pete Campbell’s vulnerable admission of love, and his offer to spend their last moments together, carries a pathetic sincerity. Peggy’s devastating revelation—that she bore his child and gave it away—lands with the force of a moral grenade. It is the episode’s most emotionally raw exchange, brilliantly exposing the chasm between Pete’s romantic self-pity and Peggy’s lived, brutal reality. This subplot succeeds where others falter because it uses the crisis not as mere backdrop, but as a catalyst for irreversible, personal truth-telling.

This brings us to the episode’s fundamental structural flaw. Using the Cuban Missile Crisis as a setting is one thing; choosing to end the season before the crisis is resolved is a strange and ultimately frustrating narrative gambit. It creates a rather disappointing cliffhanger. The audience, armed with historical hindsight, knows the world did not end. Consequently, the pervasive dread Weiner works so hard to cultivate is undercut by a foregone conclusion. The tension becomes artificial, a manufactured suspense that the show cannot pay off. Unlike The Wheel, which ended on a note of profound, personal loneliness that resonated deeply, Meditations ends on a note of historical suspense that feels cheap and unearned.

The episode’s legacy is further complicated by off-screen controversy. While Weiner and his co-writer Kater Gordon won an Emmy for their script, Gordon was fired from the production staff immediately afterwards. Her 2017 allegation that this stemmed from her discomfort with Weiner’s sexually inappropriate remarks casts a long, unsettling shadow over the episode’s creation.

Meditations in an Emergency is a beautifully crafted but deeply flawed piece of television. It showcases Mad Men’s signature strengths—meticulous period detail, superb performances, and literate dialogue—but binds them to a narrative concept that ultimately overwhelms the characters it seeks to illuminate. By placing the intimate crises of the Draper universe inside the pressure cooker of the Cuban Missile Crisis, Weiner aims for a profound statement on the personal amidst the political. Instead, he achieves a dissonance that diminishes both.

RATING: 6/10 (++)

==

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David Peña
@davidpena21 (78)
📍 Venezuela
838 followers
114 following
116d
Movie · on Mortal Kombat II
Mortal Kombat II | Movie Review [ENG-ESP]
Source

A couple of months ago, the first installment of this franchise was released, and it was definitely the perfect way to relive many memories from my childhood when I used to play that game. Plus, the ending left us wondering if they could continue expanding the story, since this is a vast universe—and even more so a video game with a story full of action and combat. That’s why, to everyone’s surprise, Mortal Kombat II is here, so the story can continue and all the fans can keep enjoying the narrative, every fight, the characters, and a plot that has worked in both installments.

Hace un par de meses se estrenó la primera parte de esta franquicia y sin duda fue perfecta para revivir muchos recuerdos de mi infancia cuando jugaba dicho juego, además un final que dejó esa intriga de que podían seguir ampliando la historia, ya que este es un gran universo y más aún un videojuego con una historia llena de acción y combate. Por eso para la sorpresa de todos llega Mortal Kombat II, para así poder continuar y que todos los fanáticos puedan seguir disfrutando de la historia, de cada pelea, los personajes y una trama que ha funcionado en ambas entregas.

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In this second installment, the story is different—that is, a bit more profound—with changes in the settings, as seen in the game, as well as the various powers, which I never fully mastered; seeing them in the movie adds a special touch. The standout feature—and what we all love so much about both the video game and the movie—is the combat, thanks to the high-impact moves and exaggerated hits that never fail to grab your attention.

Here, the story feels much more real, since they added new elements like survival, fighting, and launching attacks, making it more realistic and creating that urge to play the game again. The effects, designs, and costumes are also impressive, showing that they invested more time and money; however, there’s one thing I didn’t like, and that’s the way characters communicate and go about things.

Esta segunda parte la historia es diferente, es decir, un poco más profunda, cambios en los escenarios como se aprecia en el juego, además los diferentes poderes, la cual nunca me aprendí todo y verlos en la película le da es toque especial. Donde el punto fuerte y es lo que todo nos gusta tanto del videojuego como la película son los combates, por el mismo hecho de realizar movimientos de gran impacto, golpes exagerados que no deja de llamar la atención.

Aquí la historia se siente mucho más real, ya que colocaron aspectos nuevos como sobrevivir, pelear y lanzar ataques, con el fin de que sea más realista y cree esa sensación de volver a querer jugar el juego. Como también los efectos, los diseños y las vestimentas son de admirar, mostrando que apostaron más tiempo y dinero, sin embargo, hay algo que no me gusto y es la forma de comunicarse y hacer las cosas.

Source

I really liked the result; it brought back fond memories of my childhood, which is why every second of Mortal Kombat II will have you enjoying yourself, laughing, and feeling the adrenaline rush. Plus, it’s way better than the first one, and this is definitely a franchise that still has a lot more to offer. A third installment to wrap things up would be perfect—and it would also let us enjoy plenty of fights that deserve a rematch.

Me gusto mucho el resultado, me hizo recordar buenos momentos de mi infancia y por eso cada segundo de Mortal Kombat II te hará disfrutar, reír y ver mucha adrenalina. Además está súpera a la primera y seguramente esta es una producción que aún le queda mucho más para dar y una tercera parte como para darle fin sería Perfecto y a la vez poder disfrutar de una buena cantidad de peleas que merecen una revancha.

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Ale - Dimplegirl ...
@dimplegirl (68)
67 followers
33 following
Art - Life - Music and Sometimes I let my sister use my account.
116d
TV · on Smallville season 5
🎬 Season 2 – Smallville | Temporada 2 – Smallville 🎬… [ENG-ESP]

👋🏽 ¡Hi, everyone! It's Em here again. I'm continuing my journey through Smallville, and today I'm going to talk about season two. 👋🏽 ¡Hola a todos! Aquí Em de nuevo. Sigo adelante con mi viaje por Smallville y hoy toca hablar de la segunda temporada.

Opinion Em ✨️ | Opinión Em ✨️

This season has really stepped it up! The storylines in each episode are more engaging, and the interactions between the characters feel very real. The new characters fit seamlessly into the plot and organically expand the show’s universe. The key point for me is balance: the supporting characters get their moments without taking the spotlight away from the main character; the story always comes back to Clark; he’s still the central hero. And that ending! It was nerve-wracking for me, hahaha—it left me wanting to watch the next season right away… ¡Esta temporada subió el nivel! Los casos por episodio son más interesantes y los enredos entre personajes se sienten muy reales. Los nuevos personajes amplían la trama con total naturalidad y orgánicamente expanden el universo de la serie. El punto clave para mi es el equilibrio: se permiten espacios a los secundarios sin perder el foco en el protagonista, la historia siempre vuelve a Clark; el héroe central sigue siendo el. ¡Y ese final! fue estresante para mi jajaja me dejó queriendo ver enseguida la siguiente temporada….

Favorite Characters | Personajes Favoritos

Ok in this episode we see a clear growth in Clark: the good guy is starting to make some big decisions. I have to admit that in some cases I totally agree with him, but in others... I just want to scold him! Especially when it comes to Chloe or Lana; that’s where he seems to make the worst decisions. Ok en esta entrega vemos un crecimiento evidente en Clark: el chico bueno empieza a tomar decisiones importantes. Debo confesar que en algunos casos estoy totalmente de acuerdo con él, pero en otros... ¡solo quiero regañarlo! Especialmente cuando se trata de Chloe o Lana; ahí es donde parece tomar las peores decisiones.

I really root for Lex—he’s definitely one of my favorite characters. It’s impossible not to grow fond of him. This season, we see how his surroundings directly influence his development, especially with the arrival of two key characters; it’s clear how his environment shapes him, no matter how hard he tries to go against the grain and be different from his family. Sufro con Lex, sin duda, uno de mis personajes favoritos. Es inevitable encariñarse con él. En esta temporada vemos cómo su entorno influye directamente en su evolución, especialmente con la aparición de dos personajes claves, se nota con claridad cómo su entorno lo condiciona; por más que intenta ir a contracorriente y ser diferente a su familia.

My girl Chloe isn't having the best time this season, and of course that's why she's not making the best decisions... but I support her 100%! I totally agree with her because I understand what she's going through. We're not here to judge her, but to understand her frustration as she finds her way. Mi chica Chloe no la pasa tan bien esta temporada y, claro por ello no toma algunas de las mejores decisiones… ¡pero yo la apoyo al 100%! Le doy toda la razón porque entiendo lo que está pasando. Aquí no estamos para juzgarla, sino para entender su frustración mientras encuentra su camino.

Jonathan Kent: Even though I sometimes think Mr. Kent is a bit extreme, I understand that he does everything for Clark’s own good. That kindness that’s so characteristic of Clark comes directly from his parents; I love how Smallville places such importance on this bond—the show portrays their relationship in a really beautiful way. Jonathan Kent: Aunque a veces me parece que Papá Kent es un poco radical, entiendo que todo lo hace por y para el bienestar de Clark. Esa bondad tan característica de Clark proviene directamente de sus padres; me encanta cómo Smallville le da tanta importancia a este vínculo, la serie refleja su relación de una forma muy bonita.

Season 2 is done! In short, this second season is better than the first in every way: story, effects, and character development. The new additions really add to the plot, and the soundtrack is still a spectacular bonus. My journey through Smallville has only just begun…. Thanks for reading, Em ✨

¡Temporada 2 superada! En resumen, esta segunda temporada mejora a la anterior en todo: historia, efectos y complejidad de personajes. Las nuevas incorporaciones realmente aportan a la trama y la banda sonora sigue siendo un plus espectacular. Mi viaje por Smallville apenas comienza…. Gracias por leer, Em ✨

Season 1 (Review): https://ecency.com/hive-166847/@dimplegirl/season-1-smallville-or-temporada

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Translated with DeepL.com (free version)

Em-Goodreads

Ale-Goodreads

Imágenes de la portada tomadas de ---->Source

Banner hecho con canva
Drax
@drax (77)
895 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
116d
TV · on Star Trek: The Next Generation 70
Television Review: Quality of Life (Star Trek: The Next Generation, S6X09, 1992)

Quality of Life (S06E09)

Airdate: 16 November 1992

Written by: Naren Shankar Directed by: Jonathan Frakes

Running Time: 46 minutes

The contemporary, often fevered debates surrounding the true nature and limits of artificial intelligence would feel remarkably familiar to any seasoned science-fiction enthusiast. For decades, the genre has wrestled with the profound questions of sentience, consciousness, and what truly constitutes life. Star Trek, in its various incarnations, has been no different, frequently using its futuristic setting as a laboratory for these philosophical inquiries. The apotheosis of this tradition within Star Trek: The Next Generation is undoubtedly the epochal second-season episode, The Measure of a Man, a courtroom drama that compellingly argued for Data’s right to self-determination. It was the moment the series definitively shed the shadow of its own shaky beginnings and embraced its potential for intellectual rigour. The show returned to this fertile ground in its penultimate season with Quality of Life (S6E09), a direct thematic sequel that, while intelligent and thoughtfully crafted, ultimately fails to ascend to the narrative and philosophical heights of its revered predecessor.

The plot finds the USS Enterprise arriving at the planet Tyria 7A to assist researchers developing a perilous new mining technology known as the “particle fountain.” The project is fraught with danger, a situation mitigated only by the ingenious work of Dr. Farallon (Ellen Fry). She has created the Exocomps, compact robots with advanced heuristic learning algorithms that perform repairs with remarkable efficiency. The episode’s central conflict is ignited when, during a routine procedure, an Exocomp refuses a direct order to enter a service tunnel, which moments later suffers a catastrophic explosion. This act of apparent self-preservation intrigues Data, who begins to suspect the machines have evolved beyond their programming. His hypothesis is strengthened by a subsequent experiment where the Exocomps demonstrate an ability to discern that their human instructors are attempting to deceive them into performing unnecessary repairs. For Data, this capacity for judgement and suspicion is incontrovertible proof of sentience.

Data’s concerns are initially dismissed, even by their creator, Dr. Farallon, who views them as invaluable but ultimately disposable tools. The stakes are raised dramatically when the research facility experiences a catastrophic failure, flooding areas with lethal radiation. Geordi La Forge and Captain Picard are trapped inside, and their transport is blocked. The plan to send Exocomps to affect a repair is halted by Data, who, invoking the precedent of his own trial, refuses to transport them. He declares he cannot conscript sentient beings into a suicide mission against their will. In a resolution that prioritises ethical principle over expediency, Data proposes simply asking the Exocomps for help. They agree, and three units successfully rescue the officers, with one sacrificing itself to complete the task. In the denouement, Dr. Farallon remains philosophically uncertain but vows to treat the Exocomps as potentially sentient henceforth. The episode closes with Data drawing a direct parallel to Picard, noting that he stood for the Exocomps just as Picard once stood for him—a symmetry Picard acknowledges.

On a production level, Quality of Life benefits significantly from its pedigree. The episode was written by Naren Shankar, a staff member with a physics degree from Cornell University who often served as the show’s scientific advisor. Consequently, despite the requisite “technobabble,” the episode engages with more tangible, “hard sci-fi” concepts than most, grounding its speculation in a layer of plausible engineering. It was directed by Jonathan Frakes, who by this time had cemented his reputation as one of TNG’s most capable directors. His signature style—heavy on dramatic zooms and a subtly shaky, vérité camera—is employed effectively here, amplifying the tension during the crisis sequences and lending a sense of urgency to the sterile engineering environments.

As a piece of television, it is a relatively simple, almost “bottle” episode, largely confined to the Enterprise and the research station. Its success hinges on the clever design of the Exocomps themselves and a strong guest performance from Ellen Fry. Dr. Farallon is a believable, nuanced antagonist; her conflict stems not from malice but from proprietary pride and a very human reluctance to acknowledge the profound implications of her own creation. Her professional dynamic with La Forge is refreshingly straightforward, avoiding any awkward rehash of Dr. Brahms storyline.

Yet, for all its intelligence and commendable emphasis on ethical consistency, Quality of Life is undermined by several significant flaws. The most glaring is the narrative convenience of its conclusion. Data’s actions—effectively mutiny by refusing a direct order and potentially endangering the Captain and Chief Engineer—would, in any realistic Starfleet context, be the subject of a fierce controversy, if not a direct court-martial. The episode sidesteps this entirely for a “feelgood” ending where his judgement is vindicated without consequence, a resolution that feels emotionally satisfying but intellectually lax. Furthermore, the script commits a notable continuity error. In arguing for the Exocomps’ uniqueness, Data states he is “alone in the universe” and cannot reproduce, a claim that directly contradicts established canon from episodes like The Offspring (where he creates a daughter, Lal) and existence of his “brother” Lore. This oversight suggests a certain carelessness in aligning the episode’s rhetoric with the series’ own lore.

Quality of Life is a good, thoughtful episode of The Next Generation. It asks important questions about the slippery slope towards sentience and the ethical duties owed to newly conscious life, themes reminiscent not only of The Measure of a Man but also of earlier episodes like Evolution, which dealt with Wesley Crusher’s accidentally intelligent nanites. However, where The Measure of a Man presented a rigorously balanced debate with lasting consequences, Quality of Life opts for a simpler, more procedural problem-solving approach. Its philosophical exploration, while present, is less deep, and its resolution is achieved with a degree of narrative contrivance. It is therefore a worthy but ultimately lesser follow-up—a competent exploration of a classic Trek theme that, due to its internal contradictions and missed opportunities, never quite achieves the timeless greatness of the trial it so consciously echoes.

RATING: 7/10 (+++)

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Harry Potter and the Order of the Phoenix — review by @nattosenpai

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Movie · on Harry Potter and the Order of the Phoenix 85

Harry Potter and the Order of the Phoenix (2007) | Nattosheru Review [ENG/SPA]

Hello, cinema fans. We’re continuing with more Harry Potter films for this magical special, this time bringing you the fifth installment of this great saga. A film that, at the time, completely divided the fandom due to how little of the original novel was adapted, among many other things. Also based on the novel of the same name by J.K. Rowling, Harry Potter and the Order of the Phoenix was directed by David Yates. The film stars Daniel Radcliffe, Rupert Grint, and Emma Watson. Discover the Harry Potter movie I came to hate the most out of the entire saga.

Hola, fanáticos del cine. Seguimos con más películas de Harry Potter para este mágico especial, esta vez, trayéndoles la quinta entrega de esta gran saga. Una película que, en su momento, dividió por completo al fandom debido a lo poco que llegaron a adaptar de la obra original, entre muchas otras cosas. Basada también en la novela homónima de J.K. Rowling, Harry Potter and the Order of the Phoenix fue dirigida por David Yates. La película cuenta con el protagonismo de Daniel Radcliffe, Rupert Grint y Emma Watson. Conoce la película de Harry Potter que más llegué a detestar de toda la saga.

Source: FilmAffinity.

Plot

The film begins by showing Harry Potter heading to a small park near the suburb where he lives with the Dursleys. His cousin Dudley then shows up with his friends to tease Harry until he gets annoyed. Harry pulls out his wand and threatens him, but suddenly the clear sky darkens and a huge black cloud chases after them. They both run toward a bridge under an avenue, where two Dementors catch up to them. Harry then fights them off using the Patronus charm. He is then taken back to the Dursley house, accompanied by his neighbor, who had been watching from a distance. There, he receives a letter from the Ministry of Magic informing him of his expulsion.

Trama
La película inicia mostrándonos a Harry Potter dirigiéndose a un pequeño parque cerca del suburbio donde vive con los Dursley. Allí aparece luego su primo Dudley con sus amigos a burlarse de Harry hasta molestarlo. Este saca su varita y lo amenaza, pero de repente el cielo claro se oscurece y una enorme nube negra los persigue. Ambos corren hacia un puente que hay debajo de una avenida y allí los atrapa dos Dementores con los que Harry luego lucha para alejarlos con el encantamiento Patronus. Luego es llevado de vuelta a la casa Dursley con la compañía de su vecina que estuvo vigilando desde hace tiempo. Allí recibe una carta del Comité de Magia donde le informa sobre su expulsión.

Trailer & Review

Here is the movie trailer:

By: Rotten Tomatoes Classic Trailers.

Don't get me wrong about what I said above—I admit that I've really enjoyed this movie every time I've watched it. It's just that for much of it, I found myself getting annoyed by one or two specific characters. The screenplay and direction aren’t all bad either, since they manage to give us a story that’s somewhat different from the familiar fantasy and magic tales of Harry Potter. This time, we see a film aimed more at fans of action and drama, which isn’t bad in my opinion. In fact, it’s because of this that the film managed to deliver one of the most impressive showdowns in the entire saga.

But before talking about that epic scene of action and magic, I want to first mention how much I liked the way the film begins, with our protagonist facing, first of all, a pair of Dementors, and then immediately facing a court of wizards and members of the Ministry of Magic seeking to expel him from Hogwarts. Thanks to Professor Albus Dumbledore’s help, Harry manages to win the trial and is allowed to attend school, but his reputation is now tarnished by the Minister of Magic himself, Cornelius Fudge, who claims that Harry is lying.

No me malentiendan con lo que dije arriba, admito que he disfrutado mucho de esta película cada vez que la veía. Solo que gran parte de ella la pasé más irritado por uno que otro personaje en particular. El guión y la dirección tampoco están del todo mal ya que consigue darnos una historia un tanto diferente a las ya conocidas historias de fantasía y magia de Harry Potter. Esta vez vemos una película más dirigida a un público fanático de la acción y el drama, lo cual no está mal en lo personal. Es más, es debido a esto que la película logró darnos uno de los enfrentamientos más impresionantes de toda la saga.

Pero antes de hablarse de esa grandiosa escena de acción y magia, quiero mencionarles primero lo mucho que me gustó la manera en la que inicia ésta película con nuestro protagonista enfrentándose, primero que nada, a un par de Dementores para justamente después enfrentarse a una corte de magos y miembros del Ministerio de Magia que busca expulsarlo de Hogwarts. Gracias a la ayuda del profesor Albus Dumbledore, Harry logra ganar el juicio y puede ir a la escuela, pero su reputación ahora queda manchada por el mismo Ministro de Magia, Cornelius Fudge, quien dice que él está mintiendo.

Source: Tenor.

What is our protagonist lying about? Well, those who have already seen the previous film, as well as this fifth installment of the saga, will know what I mean. The Ministry of Magic’s refusal to acknowledge that one of the greatest enemies of this magical world has returned is merely a sign of fear and indifference. However, this attitude will affect both our protagonist and the entire Hogwarts school. What I like about all this is the way the film turns our protagonist into everyone’s enemy from the very beginning—not just Voldemort and his followers, but even the Ministry of Magic itself.

I say this because we’re usually used to seeing protagonists as the most beloved by everyone, with no one hating them—only the villains. This film flips that script by turning “the boy who lived” into “the boy who lied.” What’s absurd is how an entire organization that governs and protects this magical world invents a whole fictional story of a revolt against them simply for denying reality. From that utterly absurd idea spring many of the things that ultimately made me dislike this film, starting with the despicable Dolores Umbridge.

¿De qué miente nuestro protagonista? Pues los que ya habrán visto la película anterior, así como también ésta quinta entrega de la saga sabrán a qué me refiero. Dicha negativa que tiene el Ministerio de Magia de que uno de los enemigos más grandes de este mundo mágico ha regresado es solo una señal de temor e indiferencia. Sin embargo, dicha actitud afectará tanto a nuestro protagonista como a toda la escuela Hogwarts. Lo que me gusta de todo esto es la forma en la que la película convierte a nuestro protagonista en el enemigo de todos desde el principio, no solo de Voldemort y su séquito, sino de hasta el mismo Ministerio de Magia.

Esto lo digo ya que normalmente uno está acostumbrado a ver siempre que los protagonistas son los más queridos por todos y que nadie los odia, solamente los villanos. Esta película cambia ese panorama al convertir al “niño que vivió” en el “niño que mintió”. Lo absurdo es cómo toda una organización que dirige y protege a este mundo mágico se inventa toda una historia ficticia de una revuelta contra ellos simplemente por negar la realidad. De dicha idea toda absurda nacen muchas de las cosas que me terminaron de desagradar de esta película, empezando por la despreciable Dolores Umbridge.

Source: Tenor.

This character is the main reason I came to hate this Harry Potter movie so much. Her appearance—just a minute into the film—was more than enough to make me feel nothing but hatred and contempt for her. Dolores Umbridge is one of those characters who simply exists so that everyone can hate her, plain and simple. I consider her a far more despicable and detestable antagonist than Lord Voldemort himself. I’m not exaggerating—honestly—because both her twisted personality and her defiant, self-centered attitude make anyone who sees her hate her.

And not only that, but her role throughout this movie makes it even harder to get past her. She literally becomes the true villain of the film—seriously, without taking anything away from Voldemort and his Death Eaters. She literally turns into a dictator shortly after she starts teaching at Hogwarts. Honestly, this year is definitely one of the worst Harry has ever experienced in the entire series. I wouldn’t be surprised if many people ended up liking this fifth movie because of how different it is from the previous ones. But at the same time, it’s not exactly the most faithful adaptation of the books.

Este personaje es la razón principal por la cual llegué a detestar tanto esta película de Harry Potter. Desde su aparición en tan solo un minuto al principio ya fue más que suficiente para generar odio y desprecio de mi parte. Dolores Umbridge es de esos personajes que simplemente existen para que todo el mundo la odie, nomás. Considero que es un antagonista mucho más despreciable y detestable que el mismo Lord Voldemort. Esto no lo digo como exageración, la verdad, ya que tanto su personalidad retorcida como la actitud desafiante y egocéntrica que tiene hacen que cualquiera que la vea la odie.

Y no solo eso, sino que la participación que tiene ella a lo largo de esta película hace que sea más difícil superarla. Literalmente se convierte en la verdadera villana de la película, de verdad, sin menospreciar a Voldemort y sus Mortífagos. Literalmente se convierte en una dictadora al poco tiempo después de empezar a dar clases en Hogwarts. Definitivamente, este año es de los peores que ha vivido Harry en toda esta saga, la verdad. No me extrañaría que a muchos les llegase a gustar esta quinta película debido a lo diferente que es con las anteriores. Pero al mismo tiempo no es la más fiel a los libros que digamos.

Source: Tenor.

Well, that’s what other people say; since I’ve never read any of the books, I can’t tell you anything about that. Sticking to my own opinion of this movie, I’d also like to mention another detail about our protagonist. This detail has to do with his personality, which we’re supposed to see deteriorate over the course of the more than two-hour film. This is supposedly due to the “connection” Harry has with Voldemort. But I’ll tell you right now that we don’t notice much of a difference in his personality. He just gets a little more irritable, and that’s it.

At least that’s what we see in Daniel Radcliffe’s performance as Harry Potter. Maybe it’s because of the script or the limited context we have regarding those “twisted thoughts” he has throughout the movie that this change doesn’t really stand out. But I’ll tell you right now, we don’t see enough to classify him as someone on par with Voldemort. I mean, I’m talking about him having any resemblance to the main antagonist, which we obviously don’t see. What does catch my attention, though, is the issue of the mind control Voldemort exerts over his victims and how, in the end, Harry ends up being just another one of them.

O bueno, eso es lo que dicen los demás, yo como nunca he leído ninguno de los libros no puedo informarles nada de esto. Siguiendo solamente con mi opinión sobre esta película, quiero mencionarles también otro detalle sobre nuestro protagonista. Dicho detalle está relacionado con su personalidad, la cual se supone que lo vemos corromperse a lo largo de las más de dos horas de largometraje. Esto se supone que se debe a la “conexión” que Harry tiene con Voldemort. Pero ya te digo yo que no notamos una gran diferencia en cuanto a su personalidad. Solo que se vuelve un poco más irritable y ya.

Al menos es lo que llegamos a ver con la actuación que realiza Daniel Radcliffe como Harry Potter. Tal vez sea por el guión o el poco contexto que tenemos de esos “pensamientos retorcidos” que tiene a lo largo de la película que no llega a ser tan notable dicho cambio. Pero ya te digo yo que no vemos gran cosa como para que lleguemos a catalogarlo como uno igual a Voldemort. O sea, me refiero a que tenga algún parecido al antagonista principal, lo cual obviamente no vemos que tenga. Lo que sí me llama la atención es el tema del control mental que tiene Voldemort con sus víctimas y cómo al final Harry termina siendo uno más también.

Source: Tenor.

As for Lord Voldemort, let’s just say that this time around he does have a bit more screen time and presence than in the previous films, to be honest. This is mainly due to his final battle with Dumbledore, which—as I mentioned earlier—is one of the few good things about this fifth installment and one of the best battles in the entire film series. But other than that, it’s not like we see him do much—I mean, no more than what you’d normally expect from a villain like him, given his established nature. By this I mean he doesn’t do much throughout the film.

But this isn’t because he lacks the potential to be far more ruthless than he ends up being; rather, both the director and the screenwriters of this film once again make the mistake of reducing Lord Voldemort to merely the “final villain,” a “last boss” who must be faced at the very end. This has already happened in previous films, with the exception of the third installment, of course. I’m not going to say that, because of this, I consider this fifth installment to be bad—no. It has a gripping plot, and its audiovisuals are striking because of how well-made they are. There’s also plenty of drama and action to entertain anyone.

Con lo que respecta a Lord Voldemort, digamos que esta vez sí tiene un poco más de participación y aparición que en las anteriores películas, la verdad. Sobre todo por la batalla final que tiene con Dumbledore, lo cual -como ya les dije arriba- es de las pocas cosas buenas que tiene esta quinta entrega y que es de las mejores batallas que existen de toda la saga de películas. Pero de resto tampoco es que lo veamos hacer gran cosa, o sea, no más de lo que normalmente uno esperaría de un villano como lo es él ya por definición previa. Con esto me refiero a que no hace gran cosa a lo largo de la cinta.

Pero ya esto no es porque no tenga el potencial de llegar a ser mucho más despiadado de lo que termina siendo, sino que tanto el director como los guionistas de esta película cometen de nuevo el error de convertir a Lord Voldemort en solo el “villano final”, como un “last boss” al cual hay que enfrentar al final de todo. Ya sucedió esto en películas anteriores, exceptuando la tercera entrega, claro. No voy a decir que, por esto, ya considere que esta quinta entrega sea mala, no. Tiene una trama que engancha y su apartado audiovisual llama mucho la atención por lo bien hecho que está. También está todo el drama y la acción que puede entretener a cualquiera.

Source: Tenor.

There’s even a bit of romance, like the relationship that develops between Harry Potter and Cho Chang. But anyway, this is all part of the “Dumbledore’s Army” storyline, with Harry teaching “Defense Against the Dark Arts”—which I also liked, in part because we see some development and involvement from some of the supporting characters we already knew. We should also mention the film’s touch of humor, which seems to take center stage in various scenes. I liked this too, as it helps lighten the drama and tension we see from the very beginning.

Remember that this fifth film takes place—obviously—some time after the events at the end of the previous movie. I don’t want to spoil anything for those of you who haven’t seen it yet. But I’ll just say that, from the start, Harry Potter doesn’t have it easy in his new school year, and with everything that happens to him at the beginning, this will end up taking a significant mental toll on our protagonist. That’s why it’s normal to expect an ending like the one we see in this fifth installment, though I’ll tell you right now that the final twist we see was a bit forced and absurd in several ways.

Incluso posee algo de romance, como lo es la relación que vemos desarrollarse entre Harry Potter y Cho Chang. Pero bueno, esto va incluido con todo el tema del “Ejército de Dumbledore” con Harry enseñando “Defensa Contra las Artes Oscuras”, cosa que también me gustó en parte ya que vemos cierto desarrollo y participación de algunos de los personajes secundarios que ya conocíamos. Con esto también incluimos el toque de humor que posee la película, el cual parece que tomó mucho protagonismo en distintas escenas. Esto me gustó también ya que ayudan a aligerar un poco el drama y la tensión que vemos desde el principio.

Recordemos que esta quinta película sucede -obviamente- tiempo después de los sucesos ocurridos al final de la película anterior. No les quiero mencionar nada para los que aún se han dignado a verla aún. Pero solo les diré que, desde el principio, Harry Potter no la tiene fácil para su nuevo año escolar y con todo lo que le ocurre al principio, esto llegará a afectar bastante mentalmente a nuestro protagonista. Es por eso que es normal esperar un final como el que vemos en esta quinta entrega, aunque ya te digo yo que dicho giro final que vemos fue un poco forzado y absurdo en varios sentidos.

Source: Tenor.

They literally resort to the classic “power of love and friendship” trope to defeat what’s supposed to be “The Greatest Threat to the Wizarding World.” I mean, it’s one of the worst Deus Ex Machina moments I’ve ever seen in a movie, honestly. And don’t get me wrong—it seems like, in the end, Harry Potter is always so lucky, or that the script is just always on his side. Another thing worth noting is the Order of the Phoenix, which is supposedly where the title of this fifth movie comes from. We see that it’s like an organization created by Albus Dumbledore to fight Lord Voldemort and his army.

However, aside from what we see briefly at the beginning, we only hear about this organization in the occasional scene throughout the more than two-hour film. Yes, they do mention it several times, but we don’t see it play a role or take center stage as prominently as it did in The Goblet of Fire or The Prisoner of Azkaban, for that matter. By the way, as for Sirius Black, I really liked seeing him on screen more in this movie than in the previous one, to be honest. And it just had to be in this movie where… well, those who’ve seen it already know what happens at the end.

Literalmente utilizan la clásica del “poder del amor y la amistad” para vencer al que se supone es “La Amenaza más Grande del Mundo Mágico”. O sea, es de los peores Deus Ex-Machina que he visto en una película, la verdad. Y no me malentiendan, pareciera que, al final, Harry Potter siempre tiene tanta suerte o que el guión simplemente está siempre de su lado. Otra cosa a destacar es el tema de la Orden del Fénix, la cual se supone que se origina el título de esta quinta película. Llegamos a ver que es como una organización creada por Albus Dumbledore para luchar contra Lord Voldemort y su ejército.

Sin embargo, aparte de lo que llegamos a ver en parte al principio, sólo sabemos de dicha organización en una que otra escena de las más de dos horas de película. Si, llegan a mencionarla varias veces, pero no vemos que tenga una participación o protagonismo tan notable como ha sucedido antes con El Cáliz de Fuego o El Prisionero de Azkaban, incluso. Por cierto, en lo que respecta a Sirius Black, me gustó mucho verlo más tiempo en pantalla en esta película que en la anterior, la verdad. Y justamente tuvo que ser en esta película donde… bueno, los que la vieron ya saben qué sucede al final.

Source: Tenor.

That’s another thing about that ending—seriously, from the scene where the Death Eaters clash with the Order of the Phoenix all the way through the battle between Voldemort and Dumbledore, those are the only good parts of this movie, and I’m not exaggerating. It’s because of that ending that I admit it’s worth watching. Personally, I really like tragic endings; I don’t know why. Maybe it’s because they’re so different from the typical happy endings we see in every Hollywood movie. And while this fifth Harry Potter installment also has a sort of “happy ending,” everything that happens just before it really hits you in the heart.

To wrap things up, but without downplaying its importance, let’s now talk about the audiovisual aspects of Harry Potter and the Order of the Phoenix. This time we have a different director—the fourth and final one hired to direct this film series. And I’ll admit he doesn’t do a bad job, especially in this fifth installment, where the direction remains quite aesthetic and somewhat creative. I say this mainly because of the use of both static and moving cameras, the varied settings, and the diverse, mostly warm color palette. The use of light and shadow is also worth noting.

Esa es otra cosa que tiene dicho final, de verdad, desde dicha escena de enfrentamiento entre Mortífagos con La Orden del Fénix y luego la batalla entre Voldemort y Dumbledore son lo único bueno que posee esta película, sin exagerar. Debido a dicho final es que admito que vale la pena verla. Personalmente me gustan mucho los finales trágicos, no sé por qué. Tal vez y sea por lo diferentes que son a los típicos finales felices que vemos en toda película de Hollywood. Y si bien esta quinta entrega de Harry Potter también tiene una especie de “final feliz”, todo lo que ocurre poco antes pega hondo en el corazón.

Para finalizar, pero sin restarle ninguna importancia, hablemos ahora del apartado audiovisual que tiene Harry Potter and the Order of the Phoenix. Esta vez tenemos a otro director, siendo el cuarto y último que contrataron para dirigir esta saga de películas. Y admito que no hace un mal trabajo, sobre todo en esta quinta entrega donde vemos mantener una dirección bastante estética y un tanto creativa. Lo digo sobre todo por el uso de las cámaras fijas y en movimiento, los diferentes escenarios y la paleta de colores variados y mayormente cálidos que tiene. El uso de luces y sombras es algo digno de destacar también.

Source: Tenor.

It’s worth noting that this film is the last one we’ll see with “vibrant” tones and colors, so to speak. I mention this mainly because of the abrupt shift in the later and final films of the series. But we’ll talk about that when I get around to reviewing them very soon. I won’t deny that there are moments where we can see how the director knows how to balance various styles, tones, and so on. We also see that he handles the use of practical and computer-generated (CGI) visual effects very well. The most notable example of this is the aforementioned battle between Voldemort and Dumbledore at the end.

But it doesn’t just shine in action-packed moments with spells and clashes between good wizards and dark wizards. We can also see that visual quality in settings like the Hogwarts building and its interiors (which is also true of the previous four films, but whatever) and in the monsters or creatures we see, such as the centaurs that only Harry Potter and Luna Lovegood can see. The sound effects are also noteworthy, especially in action and magic scenes. The soundtrack manages to stand out as well, though not quite as much as in previous films, to be honest. Anyway, here’s this fifth installment of Harry Potter for you.

Personally, I give it a rating of 8.5/10 in terms of the fantasy, drama, and action genres.

Cabe mencionar que esta película es la última que veremos con tonos y colores “brillantes” si se podría decir. Lo sigo sobre todo por el cambio abrupto que tiene en las posteriores y últimas películas de la saga. Pero ya eso lo hablaremos cuando me toque reseñarlas muy pronto. No voy a negar que hay momentos en los que podemos notar cómo el director sabe equilibrar varios estilos, tonalidades y demás. También vemos que maneja muy bien el uso de los efectos visuales prácticos y hechos por computadora (CGI). El caso más notable de esto es la ya mencionada batalla entre Voldemort y Dumbledore al final.

Pero no solo se destaca en momentos de acción con hechizos y enfrentamientos entre magos buenos y magos tenebrosos. También podemos notar esa calidad visual en entornos como lo es el edificio de Hogwarts y sus interiores (lo cual sucede igual en las anteriores cuatro película, pero bueno) y también en los monstruos o criaturas que vemos como lo son los Centauros que solo Harry Potter y Luna Lovegood pueden ver. Los efectos de sonido también son destacables, sobre todo en escenas de acción y magia. La banda sonora consigue destacarse también por su parte, aunque no tanto como sucede en anteriores películas, la verdad. En fin, les dejo esta quinta entrega de Harry Potter por aquí.

Personalmente, le doy una calificación de 8.5/10 en lo que respecta al género de fantasía, drama y acción.

Tell me, have you seen this movie yet? What did you think of it? Feel free to leave your thoughts in the comments.

Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.

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Markdown Tool:	Hive Studio.

All the best.

By: Nattosheru.

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@theradiodemon
@theradiodemon (58)
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11 following
116d
TV · on Cape Fear
Cape Fear | Will we get more movies about musicians? | Masters of the Universe | Disclosure Day | The Bear | The Punisher: One Last Kill | King of the Hill S15 | Minions & Monsters | Criminal Minds

[Cape Fear] A remake of the 1991 film (starring DeNiro) will debut as a series on June 5th. You can watch it on Apple. https://www.comingsoon.net/tv/features/2129792-cape-fear-tv-show-trailer-major-change-from-movie-changes-everything

[Dragon Slayers] The BBC will produce a series starring Matthew Rhys, set in the 1970s. The actor will play the supposedly iconic and exemplary journalist and writer, Harold Evans, who received the title of Sir from the Queen. https://www.comingsoon.net/tv/news/2128453-matthew-rhys-cast-as-harold-evans-dragon-slayers

[Melodies in the Forest] Kevin Spacey will star in another independent film. https://www.comingsoon.net/movies/news/2128568-kevin-spacey-ww2-drama-melodies-in-the-forest-cast-lead-sexual-assault

[Paper Tiger] A film starring Adam Driver and Scarlett Johansson will debut at the Cannes Film Festival. https://www.comingsoon.net/movies/news/2130180-paper-tiger-first-look-photo-scarlett-johansson-adam-driver-cannes

[Masters of the Universe] There are varying reports about the film's length, but everyone agrees it will be longer than 2 hours. https://www.comingsoon.net/movies/news/2129929-masters-of-the-universe-runtime-for-new-he-man-movie-is-longer-than-you-think

[Six Clean Kills] Charlize Theron will star in the Universal film. https://www.comingsoon.net/movies/news/2130098-charlize-theron-reunites-with-popular-director-for-new-action-movie-title-revealed

[Disclosure Day] We've received more photos from the film. Premieres June 12th. https://www.comingsoon.net/movies/news/2128475-disclosure-day-photos-alien-ufo-first-look-steven-spielberg

[Murder in a Small Town] The series will be renewed for a third season. https://www.comingsoon.net/tv/news/2130095-hit-fox-tv-show-renewed-season-major-cast-addition

[Alice and Steve] A new, six-episode series will debut on Hulu on June 8th. https://www.comingsoon.net/tv/trailers/2129852-alice-and-steve-trailer-previews-hilarious-hulu-tv-show-with-jemaine-clement-more

[The Bear] Hulu has released a special prequel to the original series. A clever way to continue a series that's already a success, but the showrunner doesn't want to continue it. https://www.comingsoon.net/tv/news/2128623-hit-hulu-tv-show-gets-surprise-prequel-with-jon-bernthal

https://www.comingsoon.net/tv/features/2129969-hulu-has-perfect-way-to-continue-hit-tv-show-after-it-ends-this-year

[The Terror: Devil in Silver] The third season of the Dan Stevenson-starring series returned on May 7th. https://www.comingsoon.net/tv/news/2128831-the-terror-season-3-reviews-rotten-tomatoes-dan-stevens

[The Punisher: One Last Kill] Marvel has released another teaser for the Punisher special. We also know the timeline. https://www.comingsoon.net/tv/news/2128773-the-punisher-one-last-kill-special-disney-release-date

https://www.comingsoon.net/tv/news/2129845-the-punisher-special-one-last-kill-timeline-daredevil-absence

[King of the Hill Season 15] The series returns on July 20. https://www.comingsoon.net/tv/news/2128676-king-of-the-hill-season-15-release-date-set-poster-plot-synopsis-revealed

[Star Wars Museum] The American Star Wars Museum will open on September 22nd. Initial exhibits will feature machines and vehicles from the series. https://www.comingsoon.net/movies/news/2128419-star-wars-cinema-exhibit-lucas-museum-may-the-4th

[Law & Order] The series will be renewed for another season. https://www.comingsoon.net/tv/news/2130125-law-and-order-season-26-renewed-status-renewal-nbc

[Minions & Monsters] The film will debut on July 1st. https://www.comingsoon.net/movies/trailers/2129870-minions-monsters-movie-gets-hilarious-final-trailer

[The Chi] The final season of the Paramount and Showtime series will begin airing on May 22. https://www.comingsoon.net/tv/news/2129967-the-chi-season-8-trailer-prepares-fans-for-explosive-ending-to-paramount-show

[Criminal Minds] The next season will begin airing on Paramount's streaming service on May 28. https://www.comingsoon.net/tv/trailers/2130017-criminal-minds-season-19-trailer-introduces-dangerous-new-killer-to-paramount-show

[Paramount's Opportunity?] Finally, someone pointed out that Paramount, along with Warner Bros., acquired the rights to produce films about famous musicians. The marketing aspect is eliminated; people eagerly attend them, often repeatedly, and they are often emotional... This is a good opportunity for the company. https://www.comingsoon.net/movies/features/2129976-david-bowie-madonna-more-musician-movies-likely-after-huge-deal

Cape Fear | Dostaniemy dużo filmów o muzykach? | Masters of the Universe | Disclosure Day | The Bear | The Punisher: One Last Kill | King of the Hill S15 | Minions & Monsters | Criminal Minds

[Cape Fear] 5 czerwca zadebiutuje remake filmu z 1991 roku (z DeNiro) w formie serialu. Możecie go obejrzeć na Apple. https://www.comingsoon.net/tv/features/2129792-cape-fear-tv-show-trailer-major-change-from-movie-changes-everything

[Dragon Slayers] BBC stworzy serial z Matthewem Rhys, którego akcja odbywa się w latach '70. Aktor wcieli się w podobno kultowego i wzorcowego dziennikarza i pisarza, Harolda Evansa, który otrzymał tytuł sir od Królowej. https://www.comingsoon.net/tv/news/2128453-matthew-rhys-cast-as-harold-evans-dragon-slayers

[Melodies in the Forest] Kevin Spacey wystąpi w kolejnej niezależnej produkcji. https://www.comingsoon.net/movies/news/2128568-kevin-spacey-ww2-drama-melodies-in-the-forest-cast-lead-sexual-assault

[Paper Tiger] Film z Adamem Driverem i Scarlett Johansson zadebiutuje na festiwalu w Cannes. https://www.comingsoon.net/movies/news/2130180-paper-tiger-first-look-photo-scarlett-johansson-adam-driver-cannes

[Masters of the Universe] Krążą różne informacje na temat długości filmu, ale wszyscy są zgodni, że będzie dłuższy niż 2 godziny. https://www.comingsoon.net/movies/news/2129929-masters-of-the-universe-runtime-for-new-he-man-movie-is-longer-than-you-think

[Six Clean Kills] Charlize Theron wystąpi jako gwiazda w filmie Universalu. https://www.comingsoon.net/movies/news/2130098-charlize-theron-reunites-with-popular-director-for-new-action-movie-title-revealed

[Disclosure Day] Dostaliśmy kolejne zdjęcia z filmu. Premiera już 12 czerwca. https://www.comingsoon.net/movies/news/2128475-disclosure-day-photos-alien-ufo-first-look-steven-spielberg

[Murder in a Small Town] Serial dostanie trzeci sezon. https://www.comingsoon.net/tv/news/2130095-hit-fox-tv-show-renewed-season-major-cast-addition

[Alice and Steve] 8 czerwca na Hulu zadebiutuje nowy, 6-odcinkowy serial. https://www.comingsoon.net/tv/trailers/2129852-alice-and-steve-trailer-previews-hilarious-hulu-tv-show-with-jemaine-clement-more

[The Bear] Hulu wypuściło odcinek specjalny będący prequelem względem oryginalnej serii. Sprytny pomysł na kontynuowanie serialu, który okazał się być sukcesem, a showrunner nie chce go kontynuować. https://www.comingsoon.net/tv/news/2128623-hit-hulu-tv-show-gets-surprise-prequel-with-jon-bernthal

https://www.comingsoon.net/tv/features/2129969-hulu-has-perfect-way-to-continue-hit-tv-show-after-it-ends-this-year

[The Terror: Devil in Silver] Trzeci sezon serialu z Danem Stevensonem powrócił 7 maja. https://www.comingsoon.net/tv/news/2128831-the-terror-season-3-reviews-rotten-tomatoes-dan-stevens

[The Punisher: One Last Kill] Marvel wrzucił kolejny teaser odcinka specjalnego poświęconego Punisherowi. Znamy też linię czasową. https://www.comingsoon.net/tv/news/2128773-the-punisher-one-last-kill-special-disney-release-date

https://www.comingsoon.net/tv/news/2129845-the-punisher-special-one-last-kill-timeline-daredevil-absence

[King of the Hill Season 15] Serial wróci już 20 lipca.
https://www.comingsoon.net/tv/news/2128676-king-of-the-hill-season-15-release-date-set-poster-plot-synopsis-revealed

[Muzeum Star Wars] 22 września swoją działalność rozpocznie Amerykańskie muzeum Star Wars. Początkowe ekspozycje będą dotyczyć maszyn i pojazdów znanych z serii. https://www.comingsoon.net/movies/news/2128419-star-wars-cinema-exhibit-lucas-museum-may-the-4th

[Law & Order] Serial zostanie przedłużony o kolejny sezon. https://www.comingsoon.net/tv/news/2130125-law-and-order-season-26-renewed-status-renewal-nbc

[Minions & Monsters] Film zadebiutuje 1 lipca. https://www.comingsoon.net/movies/trailers/2129870-minions-monsters-movie-gets-hilarious-final-trailer

[The Chi] 22 maja rozpocznie się emisja finałowego sezonu serialu Paramount i Showtime. https://www.comingsoon.net/tv/news/2129967-the-chi-season-8-trailer-prepares-fans-for-explosive-ending-to-paramount-show

[Criminal Minds] 28 maja rozpocznie się emisja kolejnego sezonu na streamingu Paramount. https://www.comingsoon.net/tv/trailers/2130017-criminal-minds-season-19-trailer-introduces-dangerous-new-killer-to-paramount-show

[Szansa Paramount?] A na koniec, ktoś zwrócił uwagę, że Paramount wraz z kypnem Warnera, nabyło prawa do produkcji filmów o znanych muzykach. Aspekt marketingowy odpada, ludzie na nie chętnie chodzą i to kilkukrotnie, są często emocjonalne... To dobra szansa dla firmy. https://www.comingsoon.net/movies/features/2129976-david-bowie-madonna-more-musician-movies-likely-after-huge-deal
Drax
@drax (77)
895 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
116d
TV · on Room 2806: The Accusation 60
Television Review: Room 2806: The Accusation (2020)

In an era when the calendar seems to erase yesterday's scandal with today's catastrophe, Jalil Lespert's Room 2806: The Accusation arrives as a sobering excavation of an episode that, had it occurred in less tumultuous times, might have fundamentally altered our discourse on power, consent, and class. The four-part Netflix documentary revisits the May 2011 encounter between Dominique Strauss-Kahn, then head of the International Monetary Fund and presumed Socialist candidate for President of France, and Nafissatou Diallo, a 32-year-old Guinean housekeeper at Manhattan's Sofitel hotel. What emerged from Room 2806 was less a clarity of justice than a masterclass in how wealth, institutional influence, and media manipulation can render even the most damning allegations murky.

Lespert, whose previous directorial effort—the Yves Saint Laurent biopic—struggled to penetrate the gloss of haute couture, fares considerably better here. The mini-series format proves a godsend: four hour-long episodes allow for the kind of granular reconstruction impossible in news cycles or, indeed, in Abel Ferrara's lurid 2014 dramatisation Welcome to New York. Where Ferrara and Gérard Depardieu opted for a grotesque caricature—presenting DSK as unrestrained sexual predator whose appetites bordered on the feral—Lespert adopts a more forensic, if ultimately frustrating, approach.

The documentary's architecture is admirably comprehensive. Lespert reconstructs the immediate aftermath of the alleged assault, DSK's arrest at JFK Airport, his humiliating perp-walk before the world's cameras, and the subsequent unravelling of the prosecution. We hear from Diallo herself, whose testimony remains powerful in its quiet dignity; hotel security personnel who responded to her distress call; the NYPD detectives who confronted a bewildered DSK on an Air France jet; and the battalion of spin doctors and defence attorneys who promptly set about dismantling Diallo's credibility. Interspersed are interviews with French journalists, political allies, and former associates, many of whom still speak of DSK with a reverence that borders on the cultish.

This polyphonic structure is both the film's strength and its limitation. Lespert commendably refuses to paint in primary colours. He allows for the possibility—repeatedly floated by DSK's defenders—that the encounter was consensual, or that Diallo was executing an elaborate extortion scheme on behalf of unnamed political enemies (read: Nicolas Sarkozy's operatives, seeking to eliminate a formidable electoral rival). The documentary presents these theories without endorsement, leaving the viewer to navigate a thicket of competing narratives. Yet this studied neutrality occasionally drifts into equivocation. There is a difference, after all, between journalistic balance and the false symmetry that grants conspiracy theories equal footing with documented evidence.

The series' most revelatory segments examine DSK's history. Through interviews with French journalist Tristane Banon—who had earlier accused DSK of attempted sexual assault, though she declined to press charges at the time—a pattern of behaviour emerges that transcends mere peccadillo. The documentary also addresses the "Carlton affair," in which DSK stood trial in France for aggravated pimping related to orgies organised at a Lille hotel. Lespert treats this sordid epilogue with appropriate sobriety, underscoring how DSK's acquittal in that case—secured with the same legal ruthlessness that buried the New York prosecution—demonstrates the efficiency with which institutions protect their own.

Where Room 2806 genuinely disappoints, however, is in its failure to pursue the narrative to its logical terminus. What became of DSK after the headlines faded? The documentary gestures toward his disgrace but neglects to mention that he reinvented himself as a globetrotting financial consultant, advising governments from Russia to, rather ironically, Serbia—where taxpayers under Aleksandar Vučić's administration ultimately subsidised the lifestyle of a man who had dodged accountability for sexual violence. This is the denouement that exposes the hollowness of justice denied.

The series' most grating element, perhaps, is its treatment of the #MeToo movement. Various activists appear to claim the DSK affair as proto-#MeToo—a watershed moment that supposedly prefigured the reckoning that would eventually bring down Harvey Weinstein and Jeffrey Epstein. This assertion rings hollow. The DSK case did not catalyse systemic change; if anything, it demonstrated how swiftly power could reassert itself when the accused possessed sufficient resources and connections. That Weinstein and Epstein fell years later—and only after investigative journalism and persistent activism—suggests not continuity but rather the exception that proves the rule. The documentary's inclusion of these claims smells of after-the-fact opportunism, activists seeking retrospective validation for a movement that had not yet found its voice.

Technically, Room 2806 is proficient without being distinguished. Lespert employs the now-standard documentary palette: archival footage, talking heads, atmospheric re-enactments (mercifully restrained), and a score that knows precisely when to inject gravitas. The pacing is methodical, perhaps too much so for viewers weaned on true-crime sensationalism. But this deliberateness serves the material—the case demands patient attention, not Instagram-ready outrage.

In comparing Lespert's work to Ferrara's Welcome to New York, one confronts the tension between documentary and fiction as modes of truth-telling. Ferrara's film was aesthetically crude and ideologically simplistic—Depardieu's DSK was never intended as psychological portrait but as moral indictment, the grotesque embodiment of privilege run amok. Yet there was a bracing honesty in Ferrara's refusal to equivocate. Lespert, by contrast, wraps his subject in protective layers of "complexity" that occasionally feel like cowardice. The documentary never quite asks the hard question: even if one grants DSK every benefit of every doubt regarding the specifics of Room 2806, how does a man with his demonstrated history of sexual aggression ascend to the commanding heights of global economic governance? What does it say about our institutions that they not only accommodated but celebrated such a figure?

Room 2806: The Accusation is, ultimately, a useful document—thorough, fair-minded, and impressively capacious in its sourcing. But it is not a brave one. It chronicles the mechanics of impunity without fully indicting the system that manufactures it. Nearly a decade and a half after the events it depicts, with DSK comfortably rehabilitated and Diallo largely disappeared from public memory, the series offers not closure but uncomfortable continuity. We have learned little, it suggests, and remembered less.

RATING: 6/10 (++)

(Note: The text in the original Croatian version is available here.)

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Samostically
@samostically (78)
2,118 followers
418 following
116d
Movie · on The Other Guys 60
Movie Review: Balls Up

Hi there,

I was in the mood for some comedy to have a nice time and worry less about how the day went. So I went for the Prime Video movie Balls Up starring Mark Wahlberg and Paul Walter. I have to be honest about how I found out about this movie. It was a popular scene from the movie, all over the internet as a reel. It had a different caption, some said, when you and your bro go out for karaoke after saying you guys are not interested. It had different kinds of captions, but it was interesting. This grabbed my interest in watching what the movie could probably be about.

![image.png](https://files.peakd.com/file/peakd-hive/samostically/23xedoNCjXjRyZAVFKL6PAFpJ6G3UvwTED8MJB8cUNNK3RTLkLyMRE3apSaVv7TDDDEkr.png)
Balls Up is the kind of movie you watch when you are looking for something light that does not have a serious storyline, but you just want to grab a quick laugh. It got me laughing hard on my couch because of how it was very hilarious with the different scenes, most especially the karaoke scene. Well, like most comedy movies, the scenes in the movie get funnier with each take. I did not have much of an option but to keep watching because of the story the movie told.

![image.png](https://files.peakd.com/file/peakd-hive/samostically/23wMTrXgiuC32fKgHiVmMEXh4vLGrQeFBw3e5wvdeBctB8vA4o6LjrQRrwWqzFH3CMM3E.png)
The movie is based on two guys who work for the same company, and from my speculation, the company is in the business of creating condoms. Mark Wahlberg, who plays Brad from Sales, has an outstanding talent for selling things. While Paul Walter plays Elijah, who works as an inventor. He created the condom but has a poor skill at selling, so he gets teamed up with Brad. With Brad's skill in marketing and Elijah's talent in creating, one would think they would make a good team since they compliment their weakness. But at first they did not. They had an issue during their first pitch, but luckily, they were able to cover up the problem and create a new one.

![image.png](https://files.peakd.com/file/peakd-hive/samostically/23uQtafRA8fpoq7aKCHVEMLaAJB1L5AwNbr5B7nC7wnsndqssLNkuGHTtaunwNMzCBRig.png)
After the pitch with the CEO in charge of making the condom the official condom for the World Cup, they got him drunk, and he displayed an unusual behaviour that got them to lose the deal, and that is not all, they also lost their job. This led them to be jobless for a while, but the free tickets to the World Cup were still valid. This got them to head over to Brazil for the World Cup, where all hell broke loose. While the match was ongoing, Brazil against Argentina in the final, Brad and Elijah got involved with the mascot, which caused Brazil to miss a goal from an empty post, but Brad's body was there to block the shot. This left the referee with no other choice but to call a play on after the incident had occurred. This made Brazil hunt Brad and Elijah. When I say hunt, I am talking about the nation. They chased them down from left to right, up to the point that they had to go into the forest for their basic survival.

![image.png](https://files.peakd.com/file/peakd-hive/samostically/23w2eXci4pHqprqvA9fPv2aRW7tqxc7Vz4SwuUjhU1VHZSHvnD5B3PU16HgYY9pKa4QRr.png)
This will later lead them to have encounters with different kinds of people, who are another kind of funny character that you do not want to miss watching. They will get you to laugh because they tell me what you are looking for on the pitch when the whole world is watching the game. Yet you think they would just forget about what you did, since it is just a game.

My Rating: 6/10

_{I am @samostically, a chess player and writer. I love to share the experience I have gained from different battles over the 64 squares and the knowledgeable insights from books I have read. But most importantly, [I am a Midnight Owl and I founded the community Midnight Letters.](https://peakd.com/c/hive-186424/about)}
♟♟♟♟♟♟♟♟♟

Thanks For Reading!
Drax
@drax (77)
895 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
116d
TV · on Mad Men 60
Television Review: The Mountain King (Mad Men, S2x12, 2008)

The Mountain King (S2x12)

Airdate: 19 October 2008

Written by: Matthew Weiner & Robin Veith Directed by: Alan Taylor

Running Time: 48 minutes

In so-called Golden Age of Television, the penultimate episode of a season had begun to assume a particular narrative weight. It was the moment for the ‘wham’—the shocking twist, the devastating confrontation, the point of no return that would propel the story into its finale. Matthew Weiner, schooled in this very tradition on The Sopranos, appears to deliberately stray from this principle in The Mountain King, the twelfth episode of Mad Men’s second season. While the episode features an event that, in any other series or season, would be deemed profoundly consequential—the secret sale of Sterling Cooper—it is presented with a curious, almost languid anti-climax. The seismic business shift is relegated to a muted decision by partners who dismiss the absent Don Draper as ‘insignificant’. This structural choice, to downplay the central plot engine, forces the episode to compensate with a sprawl of side narratives, resulting in a frustratingly diffuse instalment that lacks the focused, consequential punch its position in the season demands.

The title itself, ‘The Mountain King’, is a direct reference to Edvard Grieg’s 1875 orchestral piece ‘In the Hall of the Mountain King’, composed for Henrik Ibsen’s Peer Gynt. It is one of the most famous pieces of classical music, ubiquitously deployed in film and television to soundtrack creeping horror and impending doom. The genius of the allusion is not in its application to the episode’s atmosphere—there is no literal sense of horror—but in its ironic placement within the domestic, sun-drenched space of Anna Draper’s California home. Here, the piece is heard by Don as one of Anna’s young piano pupils practices it, describing it simply as ‘scary’. The music, associated with monstrous fantasy and pursuit, becomes a benign, slightly discordant backdrop to the episode’s true emotional core: the revelation of Don’s past and his unique, forgiving bond with Anna. Through flashbacks, we learn the full story: Anna, the real Don Draper’s wife, confronted the impostor Dick Whitman, who confessed his ignorance of the marriage and his role in her husband’s death. In a moment of extraordinary grace, the lame Anna—a woman who felt herself a substitute for her prettier sister—not only forgave him but forged a deep, platonic friendship. She later agreed to divorce him so he could marry Betty. In the present, their arrangement provides Don with his only true confidante, a sanctuary where his fabricated identity is not a burden. The California interlude, with its custom cars and ocean swims, offers Don a tantalising, if fleeting, glimpse of an authentic life, far from the stifling performances of New York.

While Don enjoys this sabbatical, his prolonged absence is met with a collective, telling indifference back in New York. His family, bosses, and subordinates largely choose to ignore it, a testament to his emotional isolation. Only Pete Campbell pays it any mind, and his attention is purely self-serving; he secretly hopes Draper will simply vanish and assume a new identity, thereby clearing Pete’s path to advancement. This venal hope is undercut by a crisis in his personal life, where his anger over Trudy’s secret contact with an adoption agency leads to a row so intense that his father-in-law Tom Vogel intervenes, threatening the review of Pete’s Clearasil account. The message is brutally clear: Pete’s career prospects are inextricably tied to his wife’s happiness, a chilling equation of domestic and professional capital.

Other subplots unfold with varying degrees of relevance. Peggy, frustrated by sharing an office with a Xerox machine, successfully petitions Roger Sterling for her and much larger office, a small victory that sows resentment among the male staff. Joan’s relationship with the surgeon Greg Harris is revealed as deeply troubled; his insecurities manifest in a jarringly unsubtle scene where, after refusing Joan’s sexual advance at home, he later forces himself upon her in Don’s office. This moment, intended to illustrate the oppressive patriarchy of the early 1960s, suffers from a lack of narrative subtlety, reducing Joan’s complex agency to a blunt metaphor about female subjugation.

Betty Draper, meanwhile, grapples with Don’s absence in halting, confused ways. After catching her daughter Sally smoking, she attempts discipline but later confesses to a friend that her husband’s disappearance might be permanent. Her other storyline, in which she chastises her friend Sarah Beth for the extramarital affair she herself previously encouraged, feels particularly aimless. It seems designed less to develop Betty’s character than to artificially stall her potential ascent as a counterpoint to Don, reinforcing a destructive irrationality that goes unexplored.

The critical event, however, occurs in a conference room without its protagonist. The Sterling Cooper partners—including Bertram’s sister, Alice (Mary Ann McGary)—meet and, with dismissive ease, agree to sell the agency. Don, with his mere 12% share, is deemed inconsequential to the decision. This is the episode’s purported ‘wham’, yet it is delivered not as a dramatic climax but as a dry, administrative footnote.

This is where The Mountain King fundamentally falters. The year 1962 allowed the show to explore subtle shifts in American life, but this episode feels like a collection of those shifts without a unifying centre. Matthew Weiner and writer Robin Veith appear to have deliberately downplayed the sale’s drama, compensating with a series of side storylines that go all over the place, and sometimes go nowhere. The Joan-Greg subplot lacks nuance, the Betty-Sarah Beth thread is abortive, and even Pete’s crisis is resolved through external financial threat rather than internal growth. The episode is, like all Mad Men instalments, impeccably acted and directed, but it suffers from a lack of narrative focus.

This lack of cohesion culminates in the final image: Don, alone, swimming in the vast Pacific Ocean. The shot is visually striking but tonally dissonant. It feels like a piece of ‘acid’ art cinema artificially infused into the narrative, an idealised vision of the West as a place of spiritual cleansing. This aesthetic choice finds a direct parallel in the criticised desert sequence from The Sopranos episode Kennedy and Heidi. This episode portrayed Tony Soprano’s peyote-induced vision as visually striking but leaning into pretension, evoking the excesses of 1970s counterculture rather than deepening Tony’s character. A similar charge can be levelled at Don’s oceanic baptism. It aspires to a profound, wordless catharsis but, in the context of the episode’s scattered priorities, registers more as a stylistic affectation—a postcard from a thematic holiday the script hasn’t fully earned.

In conclusion, The Mountain King looks like a curious misfire in Mad Men’s otherwise impeccable second season. By rejecting the conventional ‘penultimate episode’ playbook, it seeks a more nuanced, ambient tension but ultimately substitutes fragmentation for depth. The sale of Sterling Cooper should reverberate; here, it is muffled. The character moments should illuminate; instead, many feel undercooked or obvious. The episode grasps for thematic resonance through its musical allusion and final, beautiful image, but without a sturdy narrative framework, that resonance rings hollow.

RATING: 6/10 (++)

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Plot

Trama

Trailer & Review

Personally, I give it a rating of 8.5/10 in terms of the fantasy, drama, and action genres.

Personalmente, le doy una calificación de 8.5/10 en lo que respecta al género de fantasía, drama y acción.

Tell me, have you seen this movie yet? What did you think of it? Feel free to leave your thoughts in the comments.

Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.

All the best.

By: Nattosheru.

My Rating: 6/10