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A24 told people Undertone (2026) is the scariest movie you will ever hear, and I took it for a spin tonight, whats why the late psot for my regular scheduel, took it with that pitch already lodged in my brain, which is a tough place to start because very few movies can actually make that claim and actually cash out, but I end up spending the first half watching the movie and half arguing with the marketing in your head like this is bs. The setup is this woman named Evy, short for Evangeline, she is back home taking care of her dying mother who just lays in bed without speaking taht much during the entire movie, and Evy is stuck in this suffocating house doing all the caretaking by herself while her only real company is her podcast co host Justin, who calls in remotely from London while she runs the recordings from her side. The movie opens with Evy going through a batch of audio files sent to them by some stranger and she is doing this live during a podcast recording while Justin listens in over the phone, the two of them fumbling through tracks and reversing audio until they start picking up something strange buried inside the recordings, you probably getting the idea, this random guy let loose a demon on them through the internet? like wtf of a crazy concept but fine Im down with it. Justin is remote the entire movie, you never actually see him on screen, so it is not two people sitting together in the dark doing this, it is Evy alone in that house at night with Justin as just a voice in her ear, and the isolation that creates is probably the most effective thing the movie does because you feel how completely alone she really is in there.

• IMDB: https://www.imdb.com/title/tt35892608/
• Platform: PRIME VIDEO

The sound design is the thing that actually hooks you and keeps you watching past the first thirty minutes, because they do some dope things with reversed audio and layered voices that start to feel like they are coming from inside the walls around you rather than out of the speakers, btw to get the best out of this movie you got to watch with headphones. The recordings were made by a couple named Mike and Jessa, and what starts as pretty mundane late night audio of Jessa talking in her sleep slowly turns into something unsettling when Evy and Justin start reversing certain tracks and realize she has been saying something, something that when flipped around turns out to be an invitation to a demon named Abyzou and that is where the movie starts to get its claws out. Abyzou comes from real folklore, she is this female demon from Mediterranean and European mythology connected to miscarriages and infant death, a creature driven by her own infertility to target pregnant women and mothers, and the movie layers that mythology into the recordings in a way that lands so damn perfect because it ties back to what Evy is personally going through at home, not her mom. The reveal that Evy is six weeks pregnant while all of this is happening gives the whole thing a very personal touch that the movie clearly wants as its emotional ractor to keep pumping fear and dopamine through your body, at the same time a vulnerability that the demon can exploit and on paper that is a very smart move because it connects the external supernatural threat directly to the most intimate and frightening part of her life. There is also a moment where Evy finds a small religious figurine in her mother's nightstand alongside some disturbing drawings and that discovery is supposed to be the pivot where her skepticism starts cracking, she starts feeling there is something off and the actress Nina Kiri sells it with just her face and body language because that is all she has got to work with given how stripped down the whole movie is, I have always said that few characters in small spaces are some of the most difficult movies to make, I can only remember one that really pull it off that was "127 (2010)".

You know from the tittle that not everything is pink and rainbows for this movie so here is my argument on where things start to fall apart though, because the middle section of this movie is a long exhausting set of scenes of Evy walking from room to room in a dim cramped house while Justin clicks through audio files over the phone and the pacing just completely loses its footing, but I get it there is not much to do with basically a single character. You get distorted nursery rhymes slowed down and run through reverb, you get floorboards creaking and lights flickering, you get Justin losing his cool every five minutes while Evy tries to hold the episode together for their listeners and none of it escalates at a pace that actually builds dread because the movie keeps cycling through the same set of sounds without giving you anything new to look at. The story tries to add weight through Evy's guilt about her mother and been pregnant, she feels so unconfortable about it the entire time and those are interesting threads no doubt but they had to take advantage of them and constantly, but they never fully connect to the supernatural threat in a way that feels earned, for the most part it feels like a must without asking permission and they just kind of sit beside it. The recordings reveal more about what Mike and Jessa went through and the circumstances that surrounded them, and you start getting calls from other listeners during the live recording that hint at how wide the reach of Abyzou actually goes, which is a creepy idea, but the execution keeps running out of momentum right when it needs to push forward. Justin is loud and over the top as a remote presence and you can feel Evy getting worn down by him, which is realistic I guess, but it does not make for a great time when you are listening to him yell about how this is going to be their biggest episode and you are already an hour in and still waiting for something to actually happen, well now that I think about it at least the movie does make you feel sad for Evy and mad about how Justin is been at her, the whole thing starts to feel like a podcast you are not quite interested but is the drama between this two that at least keeps you watching.

This kind of setup, one location, one actress, sound as the delivery system for dread, makes you think about other similar movies like Relic, movies that use space and atmosphere to make you feel without seen too many characters, they try hard with the sound to do the heavy lifting, so I guess its just hard to pull of without relying on visible monsters or traditional jump sequences. Undertone clearly wants to exist in that same category and the idea is good because there is real untapped potential in a horror movie built entirely around audio, sound is deeply primal and the right movie could absolutely make that work at a high level. But where something like Hereditary or even The Black Phone used sound as one tool inside a larger landscape with multiple characters, although the scene at the basement on Black Phone where Finney is trapped the entire time there are multiple shots of him alone, phone rings, a voice on the other side. Undertone puts sound in the driver seat without enough story context to keep things going strong and after a while you start to feel the gap between what the concept promises and what the end product actually delivers. The Abyzou mythology is interesting and I went down a pretty deep rabbit hole on it after watching because the story around her is way more disturbing than anything the movie shows you and that gap between what you find when you Google it and what the movie gives you is telling for a demon with that much history and symbolism deserved a way better script to exploit all that context.

I wanted to like this more than I did, its not the scariest same as it not the worst, and part of what makes it frustrating is that the pieces were all sitting right there, a good performance by Nina Kiri, a very very creepy mythological foundation as the backstory for a mythological demon, sound design that has real teeth in the right moments and the kind of single location that forces a movie to earn its scares through craft rather, pure acting and directing without the need of a big budget, most of the time where good small budget movies shine. But with the pacing is all over the place and the story never quite figures out how to turn the pressure into something that can be sustained throught he movie, it spikes and then falls flat, over and over, and as the movie gets closer to the end it shifts into something that actually resembles supernatural chaos inside that house you have been waiting so long that it just feels rushed or almost obligated to happen certain way. Im not going to drop the ending just like that but its very ambigous to say the least, I can understand its suppose to be like that by design to make you want more about it, it rather feels like they ran out of time or script. I am giving it a 7/10 because the cool concept and some real moments of effective sound horror are not enough to cover for how much dead air there is between them, and A24 calling this the scariest movie you will ever hear is not doing them any favors because that kind of hype creates expectations that this movie simply cannot cash, Im desappointed on them for this type of marketing honestly.

#undertone, #a24, #horror, #movie, #review, #podcasting, #demon, #audio, #folklore, #eevee, #justin, #scary, #supernatural, #sounddesign, #film, #disturbing, #pacing, #letdown, #trash, #creepy, #mystery, #folklore, #demonology, #hauntedhouse, #static

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Hello, Spider-Man fans. Today I’m bringing you one of the best movies featuring our favorite hero from both the comics and the world of film and entertainment. That’s right, I’m talking about Spider-Man. Directed by Joaquín Dos Santos, Kemp Powers, and Justin K. Thompson, Spider-Man: Across the Spider-Verse was produced by Columbia Pictures and Sony Pictures Animation. Like its predecessor, this film features the voices of Shameik Moore, Hallee Steinfeld, Oscar Isaac, Issa Rae, Jake Johnson, and Jason Schwartzman. Discover the movie that expanded the Spider-Man multiverse forever.

Hola, fanáticos de Spider-Man. Hoy les traigo una de las mejores películas de nuestro héroe favorito tanto de los cómics como del mundo del cine y el entretenimiento. Así es, les estoy hablando de Spider-Man. Dirigida por Joaquín Dos Santos, Kemp Powers y Justin K. Thompson; Spider-Man: Across the Spider-Verse fue producida por Columbia Pictures y Sony Pictures Animation. Al igual que su antecesora, esta película cuenta con las voces de Shameik Moore, Hallee Steinfeld, Oscar Isaac, Issa Rae, Jake Johnson y Jason Schwartzman. Conoce la película que expandió el multiverso de Spider-Man para siempre.

Source: FilmAffinity.

Plot

The film opens with a monologue by Gwen Stacy, who tells us about her life as Spider-Woman—a life that hasn’t been easy—and explains that this is why she fully understands what our protagonist, Miles Morales, is going through. Gwen reveals that, some time ago, she accidentally killed her best friend, Peter Parker, who in her universe had become the Lizard. Because of this, and because her father, Captain George Stacy, was present at the time, Gwen is constantly on the run from the police, who believe she is a murderer. However, one day, an incident involving a villain from another universe causes Gwen to reveal her identity to her father.

Trama

La película inicia con un monólogo de Gwen Stacy, quien nos habla de su vida siendo Spider-Woman, la cual no ha sido tan fácil y que es debido a esto que comprende perfectamente lo que vive nuestro protagonista, Miles Morales. Gwen nos cuenta que, hace tiempo, ella asesinó por error a su mejor amigo, Peter Parker, quien en su universo se había convertido en el Lagarto. Debido a esto y a que su padre, el Capitán George Stacy, estuvo presente en ese momento, Gwen huye constantemente de la policía debido a que piensan que es una asesina. Sin embargo, un día, un incidente con un villano que viene de otro universo hace que Gwen revele su identidad ante su padre.

Trailer & Review

Here is the trailer for the movie:

By: Sony Pictures Entertainment.

All the best.

By: Nattosheru.

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After watching The Housemaid, my wife wanted to watch another movie so we landed on another movie I had on my bucketlist for a while and its just a great option to watch with your partner, I mean comedies for the most part are, we had a good time watching The Housemaid and The Naked Gun (2025) I been sitting on for a while because hoenstly Im not a guy who watch comedies alone, had to be something really special. The first impression often is that reboots usually suck, you know this, I know this, everybody knows this and this was always going to be a tough sell because Leslie Nielsen was one of those actors who had a thing nobody can teach you or copy no matter how hard they try, the guy literally became multiple memes from his action movies, but he is also very funny too. Then you got director Akiva Schaffer is a legit master of parody, mostly from the many years he use to write for SNL I think it was like 5 to 7 years on the grind, and he nails the deadpan without making the whole thing feel like a cheap cash grab or a total letdown for the fans of the OG movie who would have eaten him alive for messing this up. The movie opens with a completely new scene that sets the tone right away for the next eighty five minutes and you can feel pretty fast that the spirit of the original is alive even if the world has changed since the eighties, which was a relief because I really did not want to see another classic get reduced to a nostalgia bait disaster by people who do not understand what makes the original jokes actually work. This is a movie where every background detail matters and the way it drops you into the chaos immediately puts you back in that old school slapstick world where anything can happen and will.

• IMDB: https://www.imdb.com/title/tt3402138/
• Platform: PRIME VIDEO

Liam Neeson comes as close as you are going to get to that dry legendary style that made Frank Drebin an icon, and while he is obviously not the original guy he is one of the best possible choices for Frank Jr because he plays the whole thing with complete dead seriousness and that is exactly why the dumb stuff lands so hard. That is the whole secret of the Naked Gun formula and it is harder to pull off than it looks because the second you break character at the audience it all falls apart. Neeson never winks, hee just walks into every catastrophic scene like he is solving a real crime and that commitment is what makes the you lose your mind and start laughting, Im writing and just smiling remembering the movie. The movie builds out a story about Frank Jr trying to stop some global criminal and it is packed with wordplay and huge sight jokes and I bet if you watch this with more than two they would be going absolutely crazy. Then we also got Pamela Anderson as the love interest for this movie, she plays Beth, its hilarious because if you were born during the 80s well you know how hot she use to be, this was something I was not sure about but she has that perfect classic look and her timing with Neeson is actually really solid when things get weird between them. They are both playing it completely straight while the world around them is collapsing in the most ridiculous ways possible and that straight faced chemistry is what makes those scenes work instead of feeling forced. It reminded me of why I used to go out and watch movies before it became so damn expensive, going to the teather was just loud stupid fun without any of the pressure to mean something important.

The whole plot is basically just a redundant cop story which is exactly what this kind of parody should be, nobody is here for story, the story is just a delivery mechanism for the jokes and the jokes come fast one after another to keep the dopamine and laughts going during the entire runtime. I loved that the movie did not leave behind the older crowd because there are dated references to Janet Jackson and the Black Eyed Peas that any fifty year old dad is going to lose it over, but it also throws in electric car cheap shot jokes and other modern stuff for people who might not even know who Frank Drebin was before today. There is a sequence at Cane’s club where Frank and Beth are trying to quietly dig up evidence tying Richard Cane to the larger conspiracy, with Beth keeping him distracted out front while Frank slips into the back to poke around where he absolutely should not be, and naturally everything starts going sideways almost immediately. It was an actual tense scene, its one of those scenes where the movie just keeps escalating the bit past the point where you think it has to stop and then keeps going anyway, what starts as a simple sneak and distract moment, turns into a full blown chain reaction of collisions, failed improvisations, and panic, with every attempt to recover only making the situation worse in exactly the way this series needs. The effects work is a solid mix of practical and digital and the stunts have a weight to them that you do not always get when something is pure CGI; you can feel the chaos has some real physicality to it, I always preffer practical effects over CGI because it does give you that realism, this is why I love 90s movie, those Beverly Hills Cop movies, this matters more than people realize in a comedy like this. The joke lands harder when bodies seem to actually be flying, crashing, and scrambling through a real space instead of a rubbery and that sense of impact gives the whole sequence an extra kick. It is not just funny because the jokes are absurd, it is funny because the scene is built around a clear objective and then delights in wrecking it piece by piece.

Paul Walter Hauser does not get as much to do as I was hoping and that is a bummer because the guy is a comedy gold mine and every time he showed up I wanted more of him, he still delivers some solid moments as the sidekick just trying to survive the wreckage Frank Jr leaves everywhere he goes but I could have watched a whole side plot of just him reacting to things. That is probably the biggest missed opportunity in the whole movie. There are a few spots where a joke drags just too much for my taste but they probably wanted to keep things balance for everyone, there are also moments where a scene feels like it got edited in a hurry but those moments are rare and they do not kill the vibe of the thing. The overall experience is just pure joy, I had a good time but not a great time, this is not like watching Kevin Hart or Dave Chapell on stage, the comedy I like most of the time. This movie still proves you can actually bring a dead franchise back if you hire the right people who care about what made the original work instead of just cashing in on a name, its clear that this movie make things right when it comes to the source material and keep things as close as possible still with that new generation touch.

#nakedgun2025, #liamneeson, #pamelaanderson, #akivaschaffer, #moviereview, #comedyreboot, #slapstick, #parody, #frankdrebinjr, #newmovies, #theaterlife, #laughoutloud, #classiccomedy, #boxoffice, #banger, #dope, #legit, #funnymovies, #humor, #deadpan, #actioncomedy, #cinemafan, #worthwatching, #movienight, #popcornmuncher

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Hello Anime Fans, so I watched Devilman Cry baby a while back, and honestly, it is one of those type of anime that doesn't sit quietly in your head quietly even after you have finished it, it kind of kicks the door down, messes up the place, and leaves you staring at the wall like what did I just go through? The story starts simple enough, you have got this soft, emotionally fragile guy, Akira, who gets pulled into a world of demons by his friend Ryo, and instead of just becoming a monster, Akira becomes something in between still him, but with demon power, from there, everything just spirals, and when I say spirals, I mean it in the most chaotic, messy, emotional way possible.

What really got me is not even the demon stuff itself, It is how human everything still feels, Like yeah, people are turning into monsters, the world is basically collapsing, but the real focus is how quickly humans lose their humanity when fear takes over, that part? That hits uncomfortably close.

Akira as a character is actually what makes this whole thing work, he is not some cold, overpowered MC, He cries, he cares too much, he is soft even when he’s strong, and that softness in the middle of all the violence makes the contrast even sharper, You kind of end up rooting for him not because he is the strongest, but because he still tries to be good in a world that keeps proving goodness is not enough.

Then there’s Ryo… and yeah, so i won’t spoil this too much, but let us just say that his character is one of those that makes you rethink everything you thought you understood about the story, the kind of relationship between Akira and Ryo is honestly the backbone of the whole anime It is intense, confusing, emotional, and by the end of it, you are probably just sitting there trying to process feelings you didn’t even expect to have.

Visually, this anime is kinda loud the art style is rough, almost messy on purpose, but it works, it feels like everything is constantly in motion, constantly breaking down, the music also deserves credit, there are moments where the soundtrack just carries the emotional weight so hard you can not ignore it.

Now let’s be real, this anime is not for everyone, because it is violent, it is sexual in a very raw way, and it does not really try to comfort you as the vviewer, It is more like it drags you through the chaos and says deal with it, some people will love that boldness, others will probably just drop it halfway.

But for me, it felt like one of those stories that is not trying to be enjoyed in a casual way, It is trying to be felt, and maybe even questioned after.

By the time it ended, I didn’t really feel entertained in the usual sense, I felt drained, a bit confused, but also weirdly impressed that an anime was willing to go that far emotionally and narratively.

So yeah I will say that … Devilman Crybaby isn’t a comfy watch, It is more like an experience you go through, you survive, and then sit quietly with it afterwards.

_Imdb***

Aikay👾

What Is Dead May Never Die (S02E03)

Airdate: 15 April 2012

Written by: David Benioff & D.B. Weiss Directed by: Alik Sakharov

Running Time: 52 minutes

The epic scope of Game of Thrones is both its greatest strength and its most persistent narrative challenge. When a television series constructs a world as sprawling as Westeros, populated by dozens of factions, each with their own histories, motivations, and internal conflicts, entire hour-long episodes can pass without advancing the plot in any meaningful sense. Instead, these episodes function as elaborate exercises in exposition, moving chess pieces into position for the apocalyptic clashes yet to come. What Is Dead May Never Die, the third episode of Season 2, is a textbook example of this phenomenon. Its primary purpose is to introduce new factions, new characters, and their respective agendas, laying the groundwork for the chaos of the War of the Five Kings without delivering any major set-pieces or dramatic reversals of fortune. It is, for all its craftsmanship, an episode of preparation rather than payoff.

The most significant introduction in the episode is the faction supporting Renly Baratheon. By conventional criteria at this point in the series, Renly has the best chance of emerging victorious from the ensuing civil war. His army is the largest, boasting the greatest number of men, and his claim, while legally inferior to Stannis's, carries the weight of popularity and southern wealth. Yet Catelyn Stark, who arrives at his camp to negotiate a potential alliance, immediately identifies the rot beneath the surface. She notes that most of Renly's manpower consists of young knights hounding for glory and opportunistic nobles who expect a short, triumphant war. These are men unprepared for true hardship, for the brutal realities of siege and scorched earth that define warfare in Westeros. They are tournament fighters, not killers. Renly's other significant vulnerability is his homosexuality, a fact of which his wife Margaery Tyrell is acutely aware. Margaery, played with considerable intelligence by Natalie Dormer, warns her husband that he cannot afford to have his supporters whispering behind his back. Any nasty rumours must be put to rest, and the most effective way to do so is for her to conceive. This scene establishes Margaery as a pragmatic political operator, one who understands that perception is often more important than reality in the game of thrones.

While Renly's camp enjoys the comforts of the south, another faction prepares for war in the north. Theon Greyjoy learns that his father Balon intends to invade the North, whose lands have been left undefended because the Starks have sent all their forces south to fight Joffrey. Balon's plan is opportunistic and ruthless, and he assigns his daughter Yara thirty ships for the invasion while giving Theon a single, humiliating vessel. Theon briefly contemplates warning his old friend Robb about his father's treachery, a moment of genuine moral conflict that speaks to his fractured identity. He is caught between the family that raised him and the family that birthed him. In the final moment, he changes his mind and decides to follow his father, symbolically confirming his allegiance through a baptism ceremony. The scene, scored by Ramin Djawadi's powerful music, is one of the more memorable moments of the season, capturing Theon's desperate need for belonging and his tragic choice to embrace the worst aspects of his heritage.

Further north, beyond the Wall, Jon Snow has survived his encounter with Craster, the wildling who sacrifices his sons to the White Walkers. Craster allows the Night's Watch rangers to leave his keep but demands they depart immediately. Jon reports what he witnessed, only to learn that the Lord Commander was already aware of Craster's practices. The old man explains this with the cold pragmatism of the Watch: they must sometimes ignore the questionable practices of their assets beyond the Wall in order to maintain access and intelligence. It is an uncomfortable lesson in moral compromise for Jon. Meanwhile, Samwell Tarly promises Gilly that he will help her when the rangers return to Craster's keep, a vow that plants the seeds for future conflict and demonstrates Sam's quiet courage.

In King's Landing, Tyrion Lannister continues to establish himself as the true power in the city. He hides his lover Shae by employing her as Sansa Stark's personal servant, despite Shae's obvious lack of experience in such matters. But his most effective manoeuvre is a brilliant piece of psychological warfare. He decides to marry off his teenage sister Myrcella (Aimee Richardson) to forge a much-needed alliance for the weakened Lannisters. He informs three Small Council members—Pycelle, Varys, and Baelish—of his intentions but tells each a different groom, warning them all not to inform the queen. When Cersei arrives furious over Myrcella being shipped to Dorne to secure an alliance with House Martell, Tyrion knows that Pycelle betrayed him. He has the old maester arrested and thrown into a black cell. Baelish is furious at being manipulated, but Tyrion offers him a diplomatic mission towards Renly and Catelyn Stark, turning a potential enemy into a useful tool. This sequence represents some of the most effective political theatre in the series so far, and it is followed by Varys's speech about the true nature of power, which would become one of the most quoted passages of dialogue from the entire show.

On the road northwards, Yoren's caravan is intercepted by Lannister men. Yoren puts up a fierce resistance, and in the ensuing chaos, Arya frees prisoners from a burning cart, including the mysterious Jaqen H'ghar. Yoren dies in the attack, and Polliver (Andy Kellegher), a Lannister man-at-arms, kills the wounded boy Lommy Greenhands (Eros Vlahos). Everyone, including Arya and Gendry, is ultimately captured. When asked where Gendry is, Arya points to Lommy, who has been holding Gendry's helmet before he died. It is a moment of quick thinking that saves Gendry's life and demonstrates Arya's growing survival instincts in a world that has shown her no mercy.

What Is Dead May Never Die also represents the directing debut of Alik Sakharov, a filmmaker previously renowned as a director of photography for HBO shows, including the first season of Game of Thrones. Sakharov would continue his career as a director and go on to make many memorable episodes, bringing his visual expertise to bear on the narrative demands of the series.

The most important part of the episode is the introduction of Renly's camp. Renly's army is supposed to be the strongest and provide the biggest spectacle of the season. Yet the scene looks remarkably underwhelming. This might be explained less by budgetary constraints and more by logistical issues and weather problems on the Irish locations. The result is a camp that feels smaller and less impressive than it should, undermining the visual argument for Renly's superiority.

Margaery Tyrell, played by Natalie Dormer, is arguably the most physically attractive character in the series, but Dormer brings far more than mere looks to the role. Having previously broken out as Anne Boleyn in The Tudors, she handles the role with considerable skill, despite some creative choices by the producers, such as casting a 29-year-old actress to play a character who is 15 in the books. Dormer dutifully disrobes herself in front of the camera, but the scene, far from being exploitative, shows Margaery as an extremely pragmatic character who does her best to overcome the problems that her husband's homosexuality might create for their cause.

Another important introduction is Brienne of Tarth, a female knight who excels through her extraordinary height and androgynous looks, earning a position in Renly's Kingsguard. Gwendoline Christie excels in a role that would define much of her career. The introduction of Brienne, although the character was faithfully adapted from the books, marks the start of a trend in which HBO tries to cater to the progressive sensibilities of its millennial audience, bringing content that challenges the rigid patriarchal world of Westeros. This trend would be brought further by the increasingly "girlboss" portrayal of Daenerys Targaryen in later seasons.

An interesting production note concerns Julian Glover, who played Pycelle. Unlike Dormer and so many of his younger colleagues, Glover refused to appear naked in the scene of his arrest, when he is caught in the company of a nude prostitute. His character was ultimately allowed to keep his robes in the scenes, a small but telling detail about the different standards applied to veteran actors.

What Is Dead May Never Die is an episode of careful positioning. It introduces Renly's flawed strength, Theon's tragic choice, Tyrion's cunning, and Arya's hardening resolve. It lacks the spectacular moments that define the series at its best, but it provides the essential context that makes those moments meaningful. It is an episode of exposition, but exposition executed with intelligence and purpose.

RATING: 7/10 (+++)

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Hola amigos, buenas vibras para todos.

Hello friends, good vibes to all.

Source!

If there's one thing the younger generation is doing these days with television, it's turning everything they watch into a soap opera filled with romance and relationships between the main characters. They call it "shipping," and that, my friends, is terrible. I say this because many of these people—not all, but those who make a lot of noise on social media—didn't like this season precisely because of the lack of what I mentioned. Fortunately, the true value and appreciation of the series, which is enormous, doesn't depend on them. I think this second season is better than the first because, while the series is already realistic about mental health and the strain on the medical system as a result, the plot takes a substantial leap forward.

This new season takes place on July 4th, a holiday in the United States where people apparently go wild for fireworks and take advantage of the occasion to have barbecues and drink a lot of alcohol. All of this obviously leads to accidents of all kinds, and that's what we'll ultimately see in the 15 episodes. The format is the same: each episode is an hour of these doctors' day shift in the emergency room, so absolutely everything unfolds within that space. All the tension, drama, and stress is encapsulated within those "four walls," and that's what we, as viewers, will have to deal with.

Source!

Source!

What stands out compared to the first season? Well, here we'll see a bit more of the mental deterioration of both doctors and nurses caused by the circumstances of an emergency room. One small detail I almost forgot: the ENTIRE online/virtual system crashes due to a hack, so they'll have to work manually. That means patient histories, test orders, and everything will be done by hand. The joke of the season is that they'll be working the way Latin American doctors do every day, because yes, that's the sad reality on this side of the world. The mind can be overwhelmed by many things, but if you add to that the chaos of not knowing how to work this way, then a breakdown is imminent.

We have a new character, the attending physician who is supposed to cover for Robby during his vacation, Sepideh Moafi (Baran Al-Hashimi), a powerful figure who arrives to test Robby's temperament and self-control in an environment that tends to be under his watchful eye and decisions. This clash of personalities and egos will fill their stay, and that of the doctors around them, with tension. Adding to this, each of these characters has their own inner demons, which will surface on more than one occasion, adding even more drama to a plot already packed with the constant stream of medical cases. And indeed, in that aspect, the series remains spectacular. Since it's the Fourth of July, the cases are different, and the injuries are varied. The realism of the diagnoses and treatments remains quite high and accurate, not 100%, but certainly a very high percentage.

Source!

Source!

But as I said before, the main focus is mental health and its care. Robby and several others are on the verge of a breakdown, and how they manage it is key. The series once again highlights vulnerabilities, this time those of doctors, within a healthcare system that has its pros but also many cons. Managing the workload and responsibility, feeling important at work and not wanting to be away because life is meaningless or there are too many problems; using work as an escape is a mistake many make, and this series portrays it very well. The show is spectacular; season 2 is much more human and relatable because it delves deeper into the characters and allows those of us unfamiliar with the profession to see both its positive and dark sides. Highly recommended to everyone. The third season has already been confirmed, which is great news. This season gets a 9/10. Here's the trailer.

Source!

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Bueno mi gente por hoy es todo, espero que les haya gustado. ¡Un abrazo a todos, nos vemos en la próxima!

Well folks, that's all for today. I hope you enjoyed it. ¡Hugs to everyone, see you next time!

Watching Tulsa King is really like hitting the road and experiencing, facing the expected and unexpected. Though, it is inclined towards expected more than unexpected, not too much to anticipate, but what they say, "It is about the journey not the destination".

I like Sylvester Stallone's Tulsa King more than Arnold Schwarznegger's Fubar in terms of story, narrative, plot and/or performances.

It could be said that Tulsa King is a one man show, Stallone's perfromance and presence in the show is that strong. Even though Stallone's performance remained at its best, somewhere at the top, other actors performances not only support Stallone but also they are not very far below his.

The story of this series is gang related, I know, not a new genre, may be not that exciting, as well, as it used to be. Writers/Creators made some changes in the story and plot. I liked these changes, they keep the show interesting. You'll notice them while watching the show.

Main character, played by Sylvester Stallone, is Dwight Manfredi. He was prisoned for 25 years. After getting released, instead of rewarding him for his silence and services for the gang, the boss, under the influence of his son, sends him to a city, Tulsa. Tulsa is completely free of any of the gang related activities. Despite of this, Dwight turned the city into a profit making venue. It is interesting to watch how Dwight made this happen, no doubt, a fun to watch journey.

Dwight's character is so strong that I got emotionally invested in this character. I am sure, others viewers would have the same reaction. One of the strongest attribute of Dwight's character is being loyal, whether this loyalty is for his boss or gang or for his friends and members of his newly formed gang. He also rewards them generously and back their actions when they are right (or not 🙂). He believes in fulfiling his liabilities and responsibilities, even the forced ones.

The reason to love this show is Dwight. He is more a businessman than a gangster who has ideas and know exactly how to implement them. He knows how to turn the tide in his favor. He has a keen eye for the details. At the begining of the show after reaching to Tulsa, he came to know that selling "Pot" is legal in the state. Even after getting this information, he went to a local store that sell it and offered the owner (Bodhi, played by Martin Starr) protection. You must be laughing or smiling just like I did (Selling is legal, man, why does he need protection?). Dwight was serious, though, and had a logical reason for this offer. No doubt, the business was legal but it was made very difficult by the law to dispose of the money earned. This was the very issue the owner, Bodhi, was facing. He had millions of dollars in his office safe and was unable to spend them. Bodhi understood the offer and accepted it. Dwight didn't take the money, instead he became his partner for laundering the money, a win-win situation for both, mostly for Dwight.

Interactions and conversations between Dwight and villians are some strong scenes of the show. They kept me fully occupied in the show and didn't let my attention to divert somewhere else without even for a second. Dialogues from both, dwight and villian/s, had the same impact (Watch the last scene from the second episode of the third season as an example). Interactions and conversations among other characters are also enjoyable. No preference there. Though, Bodhi and Goodie are remarkable. Despite its genre, mafia, this series has a flavor of light comedy and humor, and is used quite intelligentally throuhout all of 3 seasons.

All of the characters are interesting and fun. One of the characters is Dennis Goodie Carangi, played by Christopher Caldovino, a recurring character. Goodie was high ranking old-school mafia member of New York Invernizzi Crime family and sent to Tulsa to keep an eye on Dwight. Dwight turned him to his site and made him second-in command. Though, where his actual loyalty lies is still questionable. Even though he is an old-school mobster, after joining Dwight he solves their problems sensibly, calmly, and in the most practical way possible. It is also fun to watch him dealing with the issues in his own way. Writers have written the dialogues, situations in all of his scenes very smartly and Christopher Caldovino's style of delivering them and performing the scenes makes them even more iinteresting to watch. Despite being serious, his scenes are among the best comic scenes of the series.

Dwight took some misfits of the society under his wings and turned them into gangsters. Very villionous of him. But, this is what made it interesting. The behaviours of these misfits after turning into the gangsters is what fun to watch. A salute to the creators/writers for making this smart depiction part of the story.

The story which was started with gang, mafia, crime, has reached to political influences and political powers in the third season. Tulsa King is one of the series' which get better with every episode and season and finally becomes one of most wanted show to watch.

Third season is better than previous two, and the most exciting one, as well, up until the second last episode of the season. I didn't get satisfied with the way they have wrapped up the season in the finale. How they developed the character of Dunmire, it needs a little more efforts to end.

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SPOILERS AHEAD!!!

It's been awhile since I've written on a movie. When I do I just want to emphasize that this is not really a standard review, well I guess it kind of is. I don't know. Mostly though it's just a rant and ramble about my thoughts and feelings about the film. Also, it almost certainly has some spoilers. So, yeah.

I've had a week. Truly exhausting physically, mentally, emotionally, and spiritually. LOL, I'm exaggerating a bit in an attempt to be funny but, just barely. I'm definitely feeling under the weather at this point. I've been re-reading one of my favorite book series ever called Cirque Du Freak but I just don't have the energy to really read it at the moment.

I hadn't watched a movie in awhile so I figured this type of situation called for me sitting on my behind and watching a movie. I browsed my movie options and was mostly unimpressed by what I was being offered until I saw it. Blade. Immediately I knew I had to rewatch it. It's been way too long and I loved it when I watched it oh so long ago.

Funny enough I'm re-reading Cirque Du Freak because it's one of my favorites too. Also, Cirque Du Freak is about vampires just like Blade! Pretty perfect, one might call it destiny... (Cirque Du Freak reference LOL). I've also been blogging about the series as I go, so yeah. If you're interested in hearing me rant and ramble about that series for whatever reason, go for it! It's been a lot of fun!

Seriously, what a better way to take a break from reading a nostalgic vampire story, than by enjoying another nostalgic vampire story? I'd say life's good! Definitely distracting me from my body aches and general fatigue.

So yeah I just finished watching Blade and I can easily say it's one of the coolest movies ever made! Totally outstanding and perfectly entertaining.

Blade is the perfect blend of everything I want in a movie. It has scary-ish scenes, it's edgy, it's action packed, and has a very interesting story. This movie can comfortably qualify as a horror movie, an action movie, a fantasy movie, and a superhero movie all wrapped into one and it's well done!

Blade and Frost were an awesome good guy-bad guy duo. Having a believable bad guy makes a movie ten times better.

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The graphics and picture quality are stunning for a 1998 film. The opening scenes had me almost double checking it was actually made in 1998. Sure some of the CGI looks a bit older nowadays, but by 1998 standards it's elite and in 2026 it's still 100% solid and watchable.

The ruthless, dark vibes are so fantastic in this movie. It's visually satisfying and again, cool.

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Blade as a character is so likeable for a lack of a better word. It's hard to say he's fully relatable because ya know he's a half-vampire. But his general loneliness and sort of angst is relatable for sure. His life's been unfair, and I imagine many of us relate to that. He's simply a solid hero as he still wants to defeat evil and protect others despite how unfair his life has been.

Wesley Snipes as Blade reminds me a ton of Christian Bale as Batman. Both of which are like my favorites now. I say now because I hadn't seen Blade in so long and didn't realize I'd enjoy it so much! I get the feeling that The Dark Knight trilogy was influenced by Blade a bit, frankly many action movies were influenced by Blade, even The Matrix films. Ridiculously iconic!

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Blade is an intense hero, in a gritty, action packed, dark environment filled with danger. But the type of danger is what makes this movie so epic. It's a fantasy type of danger. An edgy, fantasy type danger in a modern world but still somehow feels old if that makes sense.

Honestly I can rant and ramble all day about this film. I'm so glad I rewatched it. It met my expectations and then some. I was worried it may not hold up and maybe my younger self was holding it in too high of a regard. But nope, this movie is excellent. It also brought back a lot of good memories... Ugh. Life.

Also, for me as I re-read Cirque Du Freak it was so fun to compare the vampire worlds and lore.

These are films I must own on DVD one day. I look forward to finishing the trilogy!

Blade gets a 9.5 out of 10!

The Next Phase (S05E24)

Airdate: 18 May 1992

Written by: Ronald D. Moore Directed by: David Carson

Running Time: 46 minutes

For Star Trek: The Next Generation aficionados, a recurring observation holds that when the franchise turned its attention to the Romulans, the results were typically more compelling than when it dealt with the Ferengi. At least for the majority of TNG's run, episodes centred on the enigmatic, militaristic Romulan Star Empire tended to deliver tighter plotting, greater suspense, and more sophisticated political intrigue than the often broadly comic outings featuring the profit-obsessed Ferengi. The Next Phase, the twenty-fourth episode of the fifth season, follows this pattern admirably, but adds an intriguing scientific twist that elevates its premise into purer science fiction territory.

The episode begins with the USS Enterprise-D responding to a distress signal from a disabled Romulan vessel. An away team consisting of Commander Riker, Data, Ensign Ro Laren, and Lieutenant Geordi La Forge beams over to offer assistance. They discover the Romulan ship's experimental graviton field generator is unstable and could cause a catastrophic warp core breach. To avert disaster, Ro and La Forge take the device to be beamed back to the Enterprise for further analysis. However, during transport, Transporter Chief Brossmer (played by Shelly Leverington) fails to rematerialise them. They are presumed lost in a transporter accident.

Ro later regains consciousness on the Enterprise, but to her astonishment, she finds herself invisible and intangible to the crew. No one can see or hear her. She soon discovers La Forge is in the same predicament, and the two can communicate with each other. Convinced they are dead—a belief seemingly confirmed when she witnesses Dr. Crusher signing her death certificate—Ro succumbs to despair. La Forge, ever the engineer, insists there must be a rational, scientific explanation. His investigation leads him to a Romulan phase inverter device, part of an experimental cloaking project, which he deducts was activated during the transport, shifting them into a phased state, a "next phase" of existence.

Their urgent mission becomes twofold: find a way to return to normal phase, and warn the crew of a deadly Romulan plot they overhear. It transpires that the Romulan "rescue" was a ruse; the Romulans plan to emit a signal that will trigger the Enterprise's warp core breach. Complicating matters is the revelation that Romulan named Parem (Brian Cousins) himself is also phased. He now stalks the corridors of the Enterprise, armed with a phased disruptor, intent on eliminating Ro and La Forge to protect the sabotage plot.

After a tense confrontation, they manage to defeat Parem. The energy discharges from his disruptor, however, leave traces of chronoton radiation, which piques Data's scientific curiosity. Realising they need to create a visible sign of their presence, Ro and La Forge devise a risky plan: overcharge Parem's disruptor to cause a controlled explosion during their own memorial service in Ten Forward, hoping the energy surge will make them briefly visible. The plan works; Data, having theorised about anyon particles, is able to reverse the phase inversion using a modified transporter beam, bringing them back to our reality just in time for Engineering to thwart the Romulan sabotage.

Written by one of Star Trek's most celebrated writers, Ronald D. Moore, and directed by the always dependable David Carson, The Next Phase was initially conceived as a "bottle episode"—a cost-saving story confined to existing sets. Ironically, it became one of the season's more expensive and technically demanding productions, largely due to the complex visual effects required to show Ro and La Forge passing through walls and objects as "ghosts". This very concept, however, is the episode's great strength. It provides a fascinating "fly on the wall" perspective, allowing the phased characters to observe how their colleagues react in the belief they are dead. This setup generates plenty of effective, macabre humour.

The inclusion of the phased Romulan, Parem, is a masterstroke, transforming the narrative from a pure predicament story into a suspenseful spy thriller within the Enterprise's own hull. The cat-and-mouse game between the invisible adversaries adds a layer of genuine tension and danger that the premise otherwise might have lacked.

Despite being generally well-regarded, the episode has not escaped criticism, primarily for inconsistencies in its own internal logic. The most notable flaw is that while the phased characters can pass through solid walls, they do not fall through the decks of the ship; they walk on the floor as normal. This logical hiccup was later gleefully mocked in the Stargate SG-1 episode "Wormhole X-Treme!", a testament to its recognisability as a sci-fi trope pitfall. Nonetheless, the core concept proved fertile ground for the franchise itself, with the idea of a phase cloaking device being explored in greater depth in the seventh-season episode The Pegasus.

In the end, The Next Phase excels not merely because of its clever premise or taut plotting, but due to the strength of its performances. Michelle Forbes delivers a particularly powerful turn as Ensign Ro, masterfully conveying her character's trademark blend of defiance, vulnerability, and simmering anger, especially in her interplay with LeVar Burton's steadfastly optimistic La Forge. Their dynamic—the pragmatic, faith-driven Bajoran and the logical, science-minded engineer—provides the emotional core that grounds the high-concept science fiction. It is this human (and alien) element, framed within a classic Romulan-centric conspiracy, that ensures The Next Phase is a standout entry in The Next Generation's formidable catalogue.

RATING: 7/10 (+++)

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