There are a ton of series out there and even though I don't know how the economics of something like this works, I feel as though these have become more of a hot item than films have become since these days it seems like a majority of films end up losing money at the box office.

Series though, there are a lot of them and as you would expect, most of them aren't very good or if they are good they are more like slightly above decent than they are anything amazing.

I haven't been really blown away by nearly any series that I have seen in the past year save one or two here and there but one of them that I have really enjoyed in called Rooster.

[src](https://i.ytimg.com/vi/L00r5BGgP64/maxresdefault.jpg)

When the series started out, Steve Carell's character "Greg Russo" is a famous action/romance author whose daughter is a teacher at a university and he originally visits because her marriage is falling apart after her husband had an affair. He visits to console her and while visiting an old friend of his that happens to be the President of the university that his daughter works at, offers him a job which he ends up taking.

This doesn't exactly sound like as setup for hilarity, I know. There isn't much going on there but what ends up happening has sort of dramedy appeal that focuses more on dram than on comedy but has a bit of both mixed in that makes fun of modern-day PC culture and how older people are having a difficult time adhering to it.

[src](https://www.tvinsider.com/wp-content/uploads/2026/04/rooster-season-1-danielle-deadwyler-john-c-mcginley-1420x798.jpg)

There are a lot of really good characters in this show. IN fact, there are no truly bad characters and this is a plus for me because it seems like no matter what I watch there is always one of two people that seem a bit out of place and like they don't belong in the cast. I can't say that about Rooster as every character is perfectly cast and the writing is extremely good.

I will admit that my bias is showing here because I have always enjoyed John C. McGinley ever since first becoming introduced to him back when he played Dr. Cox on Scrubs, which is also a show that I feel had / has excellent writing.

There are a lot of things that make Rooster excellent but part of it is the somewhat exaggerated aspect of modern PC-culture that gets taken up to a very high level on college campuses. I think that anyone around my age can kind of find the humor in this because I sometimes find myself breaking certain "societal rules" that I didn't know existed such as the other day when I called my friend a "retard" in public and people were kind of like "shhhh, you can't say that!"

Carell's character is constantly getting reprimanded by HR for violations that he doesn't even realize could possibly be considered offensive as he is new to the college life.

The touching relationships that all of these people have with one another is pretty great too and there are more than a few moments that you are going to have "awwww" moments when you think about how important friendships and family are, and how there could very well be people around us that are struggling even though their outward personality indicates the opposite.

[src](https://variety.com/wp-content/uploads/2025/12/steve-carell-charly-clive.jpg?w=1000&h=667&crop=1)

The two relationships that stand out the most to me is the one with Greg (Carell) and his daughter, Katie as well as Greg's relationship with his old friend and now president of the university, Walter (McGinley). I guess I am just a sucker for truly wholesome relationships.

At it's heart this is a drama, but it has plenty of comedic moments that need no laugh track in order to amuse you and this is mostly because the writing is truly top-notch on this show. The music is really good as well and whoever is in charge of hitting us with just the right song to help us feel a certain way at a certain time, is doing a wonderful job.

The reason why I am writing about this again is because with most series, including series that have big names in them like Carrel and McGinley, they tend to start out strong and then perhaps fizzle in the middle. I believe that this series might be immune to this notion because there really isn't a certain point that we are working towards since this show isn't about any sort of real end goal. There is no mountain to climb here and it is just about a group of people and their normal lives and while I know that doesn't sound super exciting, it kind of just WORKS.

I'm going to skip the normal summary where I tl;dr you about if you should watch this or not. YES, you should watch this. It is one of the best series that I have seen in years and since the episodes are only half an hour each, they are going to be over before you want them to be.

source netflix

The new Netflix movie Apex, starring Charlize Theron, is a survival action film that blends action thrill and wilderness scenes. It also stars Kingsman's Taron Egerton as the movie's antagonist. It's a cat and mouse action thriller in the Australian wilderness.

**

Plot Summary

The story is about Sasha (Charlize Theron), a skilled rock climber and adrenaline junkie. She caused the death of her husband during a dangerous climb. Having not learned her lesson (or maybe she's on a suicide mission), she goes on another dangerous solo adventure in an Australian wilderness. It's already a setting for a horror movie with a female adventurer alone in the woods. It's a miracle she survived her first night sleeping in her car unarmed near crazed male, drunk hunters. She soon got into real trouble when she encounters Ben (Taron Edgerton), a stranger who is later revealed to be a sadistic killer slash cannibal. Sasha is forced into an adventure for her life as Ben hunts her through the wilderness, using her climbing skills to stay alive.

**

Analysis

Apex is like other survival movies. It's like Stallone's Cliffhanger, even the first scene where she caused the death of her husband. Its strength lies in the setting. The Australian wilderness setting enhances the sense of isolation and dread. Like in the first scene where the height, rain and falling rocks was a source of danger, it's like nature is a secondary antagonist.

However, the film's theme is not new. Aside from Cliffhanger, it also borrows from Vertical Limit, with similar tropes. The plot is predictable and the villain is somewhat undeveloped.

Charlize Theron is a great female action hero. She is physically strong and convincing. I liked the climbing and chase scenes that worked well in the Australian wilderness setting. On the other hand, the film’s biggest weakness is its lack of originality as I mentioned that it's similar to other survival movies. The villain is menacing but feels underdeveloped with the sudden heel turn from being nice and helpful.

Apex is a solid but unoriginal survival thriller. Charlize Theron is still impressive with her physical performances and the beautiful Australian wilderness. If you enjoy predictable action thrillers, Apex is worth watching.

Released in 1985 and directed by John Hughes, Weird Science stands out even among Hughes’ impressive run of films during the decade. While he is best known for more grounded coming of age stories like The Breakfast Club and Sixteen Candles, this film lets him go completely off the rails in a way that somehow still works.

The plot is simple and ridiculous in the best way. Two socially awkward high school students, Gary and Wyatt, decide to use a computer to create their perfect woman. Through a mix of science fiction logic and pure movie magic, they bring Lisa to life. From there, everything spirals into a series of increasingly bizarre and hilarious situations.

Anthony Michael Hall plays Gary, stepping slightly outside his usual shy persona to show a bit more confidence and attitude. Ilan Mitchell-Smith as Wyatt brings a more anxious and cautious energy, creating a great contrast between the two leads. Their chemistry drives the film and keeps it grounded even when the story goes completely off the rails.

Kelly LeBrock is unforgettable as Lisa, the creation who quickly takes control of the situation. She is not just a fantasy figure. She is confident, intelligent, and completely in charge. LeBrock plays the role with charisma and humor, making Lisa the most memorable part of the movie.

Bill Paxton nearly steals the film as Chet, Wyatt’s older brother. Paxton’s performance is loud, aggressive, and absolutely hilarious. He embodies the over the top bully role so well that every scene he is in becomes instantly more entertaining.

John Hughes directs the film with a sense of freedom that you do not always see in his other work. He embraces the absurdity and never tries to explain it too much. Instead, he lets the story unfold in a way that feels almost dreamlike, jumping from one outrageous moment to the next.

Visually, the film leans into its sci-fi elements with flashy effects and stylized sequences that feel very much of their time. While the effects may look dated today, they add to the charm and personality of the movie rather than taking away from it.

The film also taps into classic teenage themes. Insecurity, identity, and the desire for confidence are all at the core of the story. Lisa becomes a catalyst for Gary and Wyatt to grow, pushing them to stand up for themselves and take control of their lives.

What makes Weird Science work so well is its willingness to commit fully to its premise. It never tries to be subtle or overly realistic. It is loud, strange, and sometimes completely ridiculous, but that is exactly why it is so memorable.

The humor ranges from clever dialogue to completely absurd scenarios, and while not every joke lands for every viewer, the energy of the film keeps it moving forward. It feels like a product of its time in the best possible way.

Over the years, Weird Science has developed a strong cult following. It may not always get the same level of critical praise as some of Hughes’ other films, but fans continue to appreciate its unique blend of comedy and fantasy.

The soundtrack and overall vibe capture the spirit of the eighties perfectly. It is colorful, loud, and full of personality, reflecting a time when movies were willing to take creative risks and just have fun with their ideas.

In the end, Weird Science is an excellent film because it knows exactly what it is trying to be and delivers on it completely. It is not trying to be serious or groundbreaking. It is trying to entertain, and it succeeds.

More than anything, it remains a reminder that sometimes the most memorable films are the ones that are willing to be a little weird.

Hola, aficionados al cine. Hoy os traigo un nuevo especial dedicado a una de mis sagas de películas de fantasía favoritas. Así es, como ya habéis leído más arriba, se trata de la saga de Harry Potter, una que se ha vuelto muy popular desde principios de la década de 2000. Ahora, aprovechando la reciente popularidad de la nueva serie de televisión que se está produciendo, les hablaré de todas sus películas en las próximas semanas. Basada en la novela homónima de J. K. Rowling, Harry Potter y la piedra filosofal fue dirigida por Chris Columbus. La película cuenta con la participación de Daniel Radcliffe, Rupert Grint y Emma Watson. Conoce la película que me enseñó sobre la magia.

Hola, fanáticos del cine. Hoy les traigo un nuevo especial dedicado a una de mis sagas de películas de fantasía favoritas. Así es, como ya leyeron arriba, se trata de la saga de Harry Potter, una que se ha vuelto muy popular desde principios de los 2000. Ahora, aprovechando la popularidad reciente de la nueva serie de televisión que está en producción, estaré hablándoles de todas sus películas en las siguientes semanas. Basada en la novela homónima de J.K. Rowling, Harry Potter and the Philosopher's Stone fue dirigida por Chris Columbus. La película cuenta con el protagonismo de Daniel Radcliffe, Rupert Grint y Emma Watson. Conoce la película que me enseñó sobre la magia.

Source: FilmAffinity.

Plot

The film begins at a country house in England, where one night we see an elderly man in a robe, top hat and long white beard approaching the house whilst using a device to absorb the light from the street lamps. Suddenly, a cat appears amongst the trees, which immediately transforms into a woman, dressed in a similar manner to our elderly friend. She calls him Albus Dumbledore, and he calls her Professor McGonagall. The two are talking when, suddenly, a giant man appears on a flying motorbike. He lands and brings with him a baby, whom they leave with a ‘Muggle family’ – the professor’s way of referring to the Dursley family.

Trama

La película inicia en una residencia rural de Inglaterra, donde una noche vemos a un hombre de tercera edad con túnica, sombrero de punta y una barba blanca y larga acercarse al lugar mientras utiliza un aparato para absorber la luz de las linternas de la calle. De repente, aparece un gato entre los árboles que, acto seguido, se convierte en una mujer, con una vestimenta parecida a la que tiene nuestro anciano amigo. Ella lo llama Albus Dumbledore, y él la llama Profesora McGonagall. Ambos hablan mientras, de repente, aparece un hombre gigante en una motocicleta voladora. Este baja y trae consigo a un bebé a quien se lo dejan a una “familia muggle”, refiriéndose así la profesora a la familia Dursley.

Trailer & Review

A continuación, les dejo el tráiler de la película:

By: Rotten Tomatoes Classic Trailers.

All the best.

By: Nattosheru.

Posted Using INLEO

I just watched the Episode 7 of the latest season of Invincible and I'm quite disappointed. This is one of my favourite series, I love it so much and want it to succeed, and so far they've been quite perfect with the plot logic and all, but they've just dropped the ball with this episode.

The Flaw Proper

It's one of the easiest flaws to fall for when you're creating a powerful character. You have to be careful to not make the character too powerful or else all the obstacles and conflict in his way would seem like nothing to him and no matter how you decide to weave the story a logical audience would always say "nah, he's so powerful he would have just done this or that instead".

This is also the main flaw in the Bible too, God as described by the Bible is just too powerful for any of those things in the Bible to have been a problem for him. For example his ability to know the future alone would have stopped him from creating Satan, acting surprised that Adam and Eve ate the apple, etc.

I digress.

So, always be careful how powerful you make your characters. In this Invincible episode they've just made that mistake. Grand Regent Thraag is too damn powerful. In the Episode before 7, they made him attack the Headquarters of the alliance with some of his men, and when they met resistance and their ship got destroyed he fled with his men.

Then in Episode 7 the top fighters of the alliance took the fight to him in his planet and he fought for all of us to see for the first time and he's just too damn strong.

Invincible gave him one of the most enraged punches ever. The sort of punch from the bottom of his heart he's gotten known for in the series, and Thraag reacted like it was just a forehead kiss.

Then Thraag's fight with Omni man showed us some more how powerful he was. Omni man who was the strongest so far in the series was just like a child fighting a grown up against Thraag.

Then Thraag simply tore off the head of a powerful Viltrumite like Thaddeus as if it was nothing:

All these show of strength just made it clear that the story should have ended in Episode 6 with Thraag destroying every single fighter the alliance had singlehandedly. No one could be a problem for him. There's no reason he fled when their ship got destroyed, and there's no reason any of the attackers left with their lives in the Episodes 7 because they were all nothing to him.

He is too powerful for any obstacle to be a threat. This is why the creators of Superman also made Kryptonite to be Superman's weaknesses, amongst other things. The only way this episode would have made sense is if there was the presence of other things or reasons to slow Thraag down or make him keep his distance, but there was no such thing.

🤦🏿‍♂️

The End

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The Prince of Winterfell (S02E08)

Airdate: 20 May 2012

Written by: David Benioff & D. B. Weiss Directed by: Alan Taylor

Running Time: 53 minutes

By its second season, Game of Thrones had begun to exhibit an intriguing, if frustrating, narrative paradox. Individual episodes often felt simultaneously overstuffed and undernourished—a stark contrast to the laser-focused, tightly coiled storytelling of Season 1. That debut season, adapting a single novel of manageable scope, luxuriated in depth and character. Season 2, tasked with compressing the sprawling world-building, new locales, and expanded cast of A Clash of Kings into the same ten-episode format, frequently buckled under the weight. The result was a sense of narrative plate-spinning, where essential table-setting could feel like wheel-spinning. Nowhere is this dichotomy more apparent than in the season’s eighth episode, The Prince of Winterfell. Directed with competence by series veteran Alan Taylor from a script by showrunners David Benioff and D.B. Weiss, it is an hour of television that dutifully moves pieces into position for the seismic *Blackwater’*to follow, yet does so with a palpable lack of inspiration, often prioritising exposition for the casual viewer over meaningful advancement for the dedicated fan.

The episode’s title is itself a piece of bitter irony, referring to the self-styled ‘Prince’ Theon Greyjoy. His daring capture of Winterfell is revealed as a hollow, unsustainable victory in a superb scene with his sister Yara. She arrives not with reinforcements but with cold, pragmatic reason, mocking his title and laying bare the strategic folly of holding a landlocked fortress with a handful of men in the heart of hostile territory. Theon’s stubborn refusal to listen is a fine portrait of pride foretelling a fall. This thread’s most significant plot function, however, is confirmatory: via Osha’s secret message to Maester Luwin, we learn Bran and Rickon are alive, hiding in the crypts, and that Theon’s displayed ‘Stark’ corpses belong to murdered farm boys. It’s a necessary revelation for the audience, but one that hardcore fans saw coming a mile off, rendering the scene more functional than dramatic.

The episode’s central, looming threat is Stannis Baratheon’s fleet, poised to strike King’s Landing. Its shadow stretches across Westeros, dictating actions far from the capital. In Harrenhal, Tywin Lannister, learning of the Stark distraction courtesy of Winterfell’s fall, makes his own strategic gamble, marching west. This departure forces Arya Stark’s hand; in one of the hour’s more engaging sequences, she cleverly manipulates the faceless man Jaqen H’ghar into helping her, Gendry, and Hot Pie’s escape. In the capital itself, preparations are fraught with familial tension. Tyrion, the acting Hand, clashes bitterly with Cersei over whether the sadistic boy-king Joffrey should be seen fighting or, as Cersei prefers, hidden away for safety. These scenes crackle with the series’ signature political venom, though they feel like a final check-in before the storm.

Elsewhere, the narrative sprawl continues. Having learned of Winterfell’s capture, a despairing Catelyn Stark makes another catastrophically emotional decision, secretly freeing Jaime Lannister and dispatching him south with the formidable Brienne of Tarth in a desperate bid to ransom her daughters. Robb Stark’s return to camp to find his most valuable prisoner gone and his home fallen triggers a volcanic rage, leading to his mother’s arrest. His subsequent turn to the comforting arms of Talisa Maegyr feels less like organic character development and more like a scripted necessity.

Beyond the Wall, the plot inches forward: a captured Jon Snow is instructed by the legendary Qhorin Halfhand to infiltrate the wildlings by turning cloak, while at the Fist of the First Men, Samwell Tarly unearths a cache of obsidian ‘dragonglass’ weapons—a discovery of monumental future import that here feels like a forgotten footnote. In Essos, Daenerys Targaryen remains trapped in narrative quicksand, debating with Jorah Mormont whether to chase her stolen dragons in Qarth or flee.

It is in these subplots that the episode’s—and indeed the season’s—core weaknesses are most exposed, largely stemming from the writers’ contentious deviations from George R.R. Martin’s source material. The transformation of Robb’s love interest from Jeyne Westerling, a noblewoman from a Lannister-bannerman house, into the foreign battlefield nurse Talisa is a prime example. While perhaps intended to simplify the political landscape and inject ‘exotic’ romance, the change falls flat. Actors Richard Madden and Oona Chaplin lack the combustible, authentic chemistry that, say, Kit Harington and Rose Leslie would later exhibit. Their relationship is conveyed through a typically HBO-mandated sex scene that is curiously unerotic and perfunctory. Worse, Talisa is used as a clumsy vehicle for exposition, delivering a monologue about Essosi slavery and a traumatic ‘three-year summer’ from her youth. This speech seems designed less to enrich the world and more to sanctify Talisa as a paragon of enlightened, modern values for the show’s millennial demographic. The throwaway line about a three-year summer, however, would spawn persistent continuity headaches regarding Westeros’s established, generations-long seasonal cycles, a small but telling example of how invented material could create unintended narrative complications.

Another scene that epitomises the episode’s filler-like quality is Cersei’s attempt to psychologically torment Tyrion by claiming to have captured his ‘whore’. The tension dissipates in an almost comical anti-climax when the produced woman is the forgotten Ros, not Tyrion’s secret love Shae. It’s a moment of manufactured melodrama that advances nothing, serving only to remind us of Cersei’s pettiness—a trait already well-established.

Yet, for all its treading of water, The Prince of Winterfell is not without merit. Catelyn’s rash, treasonous act of freeing Jaime, while infuriating in the moment, successfully launches the superb odd-couple dynamic between the Kingslayer and Brienne, one of the show’s future highlights. Theon’s crumbling façade, underscored by Yara’s scathing realism, is a compelling study in tragic hubris. And Tyrion Lannister provides a glimmer of intellectual satisfaction, demonstrating that his lifelong study of military history might yet bear fruit in the defence of the city, hinting at the cunning that will soon be unleashed.

In the end, The Prince of Winterfell is the definition of a mid-season table-setter. It performs its required function with professional efficiency, ensuring all pieces are poised for the explosive payoff of Blackwater. But it does so with little flair, originality, or dramatic urgency, ultimately embodying the season’s struggle to balance epic scale with coherent, compelling weekly storytelling.

RATING: 6/10 (++)

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Hello film lovers, /Bonjour les cinéphiles,

We’re on Netflix for this American psychological thriller, which runs for 1 hour and 37 minutes.

After watching the trailer and seeing that it wasn’t too long, we thought we’d give it a go.

Nous sommes sur Netflix pour ce thriller psychologique américain d'une durée d'1h37.

En voyant la bande-annonce et comme cela ne durait pas trop longtemps, on s'est dit qu'on allait tester.

Source Sophie Thatcher alias Iris

Synopsis :

Iris is out shopping at the supermarket and falls in love with another customer, Josh.

They move in together and Josh takes Iris away for a weekend with his friends, to a villa in the countryside.

Iris feels uncomfortable; she has the impression that something is going on behind her back, that she is being left out.

When Sergey, one of the friends and the owner of the villa, joins her by the lake and makes advances towards her, she loses control. Events will unfold rapidly and nothing will really be under control anymore.

Iris se promène au supermarché et tombe amoureuse d'un autre client, Josh.

Ils vivent ensemble et Josh emmène Iris passer un weekend avec ses amis, dans une villa, en pleine campagne.

Iris est mal à l'aise, elle a l'impression que quelque chose se trame dans son dos, qu'elle est mise à l'écart.

Quand Sergey, un des amis et propriétaire de la villa, la rejoint au bord du lac et lui fait des avances, elle ne se contrôle plus. Les événements vont s'enchaîner et plus rien ne sera vraiment sous contrôle.

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

The premise is original and it’s well acted.

It’s a shame the trailer gives away the main plot twist. We would have preferred to figure it out for ourselves or be taken by surprise.

It’s a small cast, but an interesting one nonetheless:

Sophie Thatcher: Iris Jack Quaid: Josh Lukas Gage: Patrick Megan Suri: Kat Harvey Guillén: Eli Rupert Friend: Sergey Jaboukie Young-White: Teddy Matt McCarthy: Sid Marc Menchaca: Deputy Sheriff Hendrix

Le sujet est original et c'est bien joué.

Dommage que la bande-annonce révèle l'élément principal de l'intrigue. On aurait préféré le deviner ou en avoir la surprise.

C'est un petit casting, mais intéressant quand même :

Sophie Thatcher : Iris Jack Quaid : Josh Lukas Gage : Patrick Megan Suri : Kat Harvey Guillén : Eli Rupert Friend : Sergey Jaboukie Young-White : Teddy Matt McCarthy : Sid Marc Menchaca : shérif-adjoint Hendrix

Sophie Thatcher isn’t very well known yet, but she’s also a singer. Jack Quaid is the son of Dennis Quaid and Meg Ryan; he played Marvel in The Hunger Games, amongst other roles. Rupert Friend has, notably, played Peter Quinn in the series Homeland and, more recently, Martin Krebs in Jurassic World: Fallen Kingdom.

A life partner like Iris could be a solution for many people, for a number of different reasons. Now we just need to see how much it will cost.

I’m trying not to give too much away, as I think this film is well worth watching.

Please do let me know, in the comments, what you thought of it once you’ve seen it.

Enjoy your evening’s viewing, see you soon,

Sophie Thatcher n'est pas encore très connue, mais elle est également chanteuse. Jack Quaid est le fils de Dennis Quaid et Meg Ryan, il a joué Marvel dans Hunger Games, entre autres. Rupert Friend a, notamment, joué Peter Quinn dans la série Homeland et plus récemment Martin Krebs dans Jurassic World Renaissance.

Une compagne de vie comme Iris pourrait être une solution pour de nombreuses personnes, pour plusieurs raisons différentes. Maintenant il faut encore voir le prix que cela coûtera.

J'essaye de ne pas en révéler trop, car je trouve que ce film mérite d'être vu.

N'hésitez pas à me dire, en commentaire, ce que vous en aurez pensé quand vous l'aurez vu.

Bonnes soirées-tv, à bientôt,

Florence

Source photo : image Qwant autorisée

I used Deepl Translator to translate French into English

Proud member of the Principality of Bastion

Source

Source

Source

Translated Using Deepl

ESPAÑOL

Fuente

Fuente

Fuente

Portada diseñada por mi en el editor de Canva

La letra en efecto nos invita a mirar a nuestro alrededor para descubrir todo lo que hay y en que podemos servir, a menudo nos quejamos de las atrocidades que vemos: el hambre, la guerra, la violencia, pero ignoramos que el peor de los males es nuestra propia indiferencia ante el dolor ajeno por eso una de mis frases favorita de la canción es: “Who am I to be blind, pretending not to see their needs?” (¿Quién soy yo para pretender ser ciego para ver sus necesidades)

Nos invita a reflexionar acerca de la responsabilidad individual que tenemos respecto a los problemas sociales, revelando que si queremos un mundo mejor debemos empezar por cambiar nuestra propia manera de pensar, el cambio debe ser endógeno para luego ir exteriorizándolo, debemos reconocer nuestras fallas y trabajar por enmendarlas.

Como dije anteriormente la música acompaña perfectamente el mensaje tan poderoso cuando va in crescendo cuando se acerca el estribillo, además amo ese coro gospel de The Winans y Andraé Crouch porque siento que enfatiza la idea, el coro suena a esperanza, a candidez, a bendición.

Imagen diseñada por mi en el editor de Canva.

The Years of Lead