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Drax
@drax (77)
895 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
138d
TV · on Mad Men 70
Television Review: The Wheel (Mad Men, S1x13, 2007)

The Wheel (S1x13)

Airdate: 18 October 2007

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

Running Time: 52 minutes

In the contemporary landscape of prestigious television drama, a now‑common structural gambit sees the season’s most defining, explosive moments reserved for the penultimate episode. This practice, whilst often delivering a powerful immediate punch, carries a significant risk: the actual season finale can appear weak, underwhelming and inconsequential by comparison. This is precisely the trap into which Mad Men’s first season falls. The brilliance of Nixon vs. Kennedy – an episode of profound political and personal upheaval – is replaced by the more pedestrian, conventional The Wheel. The contrast renders the final chapter of an otherwise superb season a curiously flat and anti‑climactic affair, a competent piece of television that nevertheless fails to match the heights of what came immediately before it.

The plot of The Wheel unfolds several weeks after the momentous events of the previous episode: the 1960 presidential election and Don Draper’s securing of his partnership at Sterling Cooper by fending off Pete Campbell’s blackmail attempt. The episode is largely concerned with the aftermath, showing characters grappling with the new status quo.

The Draper family is supposed to reunite with Betty’s family for Thanksgiving, but Don is adamant in his refusal to attend, citing work pressures. At the office, he receives the shattering news that his brother, Adam, has committed suicide. Simultaneously, he learns that Rachel Menken, with whom he shared a genuine connection, is embarking on a three‑month world trip; a call from her father to Bert Cooper is interpreted as a not‑so‑subtle hint that their affair is conclusively over. Plunged into acute loneliness, Don channels this desolation into professional inspiration, crafting the legendary pitch for Kodak’s new Carousel slide projector. Using slides of his own family, he sells a nostalgic, aching vision of ‘the wheel’ of time and memory, securing Kodak as a client in a moment of triumphant artifice.

Whilst Don triumphs professionally, the episode pointedly contrasts his success with the personal suffering of others. Harry Crane, having attempted honesty by confessing his one‑night stand with Hildy to his wife, is banished to the office. Watching the happy images of the Drapers during Don’s presentation, he breaks down in tears – a stark reminder that the perfect family tableau is a marketable fiction. Pete Campbell, meanwhile, operates under intense pressure to save his job. His humiliation is complete when he must accept help from his father‑in‑law, who uses old connections to secure the Clearasil account. Don assigns the newly promoted junior copywriter, Peggy Olson, to handle it, compounding Pete’s emasculation. His frustration finds solace only in drink, much to his wife Trudy’s displeasure.

The domestic sphere offers no sanctuary either. Betty Draper’s storyline takes a decisive turn when her friend Francine arrives to complain about her husband Carlton’s affair, discovered via Manhattan numbers on a phone bill. Betty, harbouring her own suspicions, tests a Manhattan number from her own bill only to discover it belongs to her psychiatrist, Dr. Wayne, who has been colluding with Don. This betrayal – deeper than mere infidelity – prompts her to begin deliberately feeding suspicions to the psychiatrist, knowing they will be passed to her husband, a quiet act of marital warfare.

Peggy’s arc culminates in the episode’s most conventionally dramatic ‘wham’ moment. Having finally been promoted and given an office, albeit shared with the grumpy Victor Manny (Jonathan Spencer), her triumph is undercut by severe stomach pains. Rushed to hospital, she and the attending doctors are stunned to discover she is not only pregnant but entering labour. In a chilling, ambiguous moment after the birth, she turns away when offered the chance to hold her baby. This plot twist, whilst undeniably powerful, feels like a more traditional season‑ender, a cliffhanger setting up the career‑versus‑family dilemma that will define her character in subsequent seasons.

The episode concludes on a masterfully melancholy note of self‑deception. Don returns home and agrees to join Betty and the children for Thanksgiving, appearing to choose family. The final shot reveals this to be a fantasy; the season ends with Don utterly alone in his dark, empty house. This conclusion underscores the episode’s central theme: the gap between the lives we curate, both for clients and for ourselves, and the desolate reality we inhabit.

The Wheel, co‑written by Matthew Weiner and Robin Veith and marking Weiner’s directorial debut for the series (it would later earn both an Emmy nomination), is a finale of intriguing contradictions. It is both conventional and unconventional. Its unconventionality lies in its refusal to deliver major, plot‑driven resolutions for its protagonist. Don experiences a kind of epiphany – shaken by his brother’s death and Rachel’s departure, he seems to realise that his constructed life with Betty might be preferable to yet another reinvention. Yet, in a cruel irony, Betty is simultaneously learning the extent of his deceptions and beginning her emotional withdrawal, sowing the seeds of the marital collapse that will unfold in later seasons. The finale thus trades explosive action for poignant, character‑based irony.

However, some of its choices feel less assured. The scene between Betty and the young boy, Glenn Bishop, in which she discusses his private troubles, remains awkward and has long been criticised as an indulgence for Weiner’s son, who played the role. It adds little to the episode’s thematic weight. Furthermore, whilst Peggy’s secret pregnancy is handled with the show’s typical subtlety – the self‑delusion of a woman focused on career over family is psychologically plausible – its revelation as a last‑act shock inevitably feels like a concession to more conventional serialised storytelling. It is the kind of dramatic punctuation mark the show was often wise to avoid.

First season of Mad Men is a superb and fascinating recreation of the past’ with fascinating characters’ while noting a lack of traditional plot. The Wheel encapsulates these strengths and weaknesses. It is a character study steeped in period detail and psychological nuance, yet its plot mechanics, especially when compared to the seismic shifts of Nixon vs. Kennedy, can feel slight. The season’s overall excellence is isn’t drastically diminished with The Wheel, but the episode functions as the season’s least essential chapter.

RATING: 7/10 (+++)

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Yasleny Perez
@yaslenysofia (71)
📍 Venezuela
174 followers
186 following
Amante de los perros y gatos. Ilustradora. Creativa. Investigadora. Escritora aficionada. Licenciada en Artes Plásticas
138d
TV · on Miss Peregrine's Home for Peculiar Children
Miss Peregrine's Home for Peculiar Children (2016) [ENG/ESP]
ENGLISH

Greetings @Movies&Tvshows community…

Today I want to share a story that, unfortunately, wasn't continued. I felt it had a lot of potential; however, from what I read back then, and even now with summaries of the first three books I found online, while visually it did the books justice, narratively it left much to be desired. Many felt the story was better suited to a series than a two-hour film. Anyway, since I didn't read the books (only summaries and reviews), this time I'll give my opinion of the film itself.
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Miss Peregrine's Home for Peculiar Children….

Released in 2016 and directed by Tim Burton, this fantasy story is based on Ransom Riggs's Miss Peregrine's Home for Peculiar Children books. It stars Eva Green, Asa Butterfield, Ella Purnell, Terence Stamp, Samuel L. Jackson, and many more.

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What's the plot about?…

The story follows Jacob Portman, a teenager who, after the tragic and mysterious death of his grandfather and several events in his life, decides to embark on a journey to a remote island in Wales to investigate the stories he heard as a child from his grandfather about an orphanage for children with peculiar abilities and its headmistress, Miss Peregrine. What sounded like fantasy, our protagonist soon discovers were not mere children's tales from his grandfather.

Although this orphanage was destroyed in its time, he will come to understand that this place is actually trapped in a loop that repeats the same day in 1943, leading him to meet all these children with fantastic abilities in person. As he delves deeper into this new universe, he discovers that his arrival is no coincidence and that these children live in hiding because they are stalked by dark forces and terrifying creatures. Jacob must decide whether to return to his ordinary life or accept his own destiny to help his new friends survive a threat that only he can detect. What will our protagonist decide? Will they all manage to escape the danger that awaits them?

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Personal opinion

Ultimately, the entire film has that Tim Burton feel; you know for sure that he had a hand in this story, which, from the beginning, very effectively builds Jacob's sense of isolation in Florida, contrasting it with the gray and foggy atmosphere of Wales. It draws you into that curiosity, mystery, and what the protagonist is going through. The story's structure feels solid because it presents the rules of the world and the characters organically. However, when it reaches the climax, well, it falters dramatically. Here you understand why fans of the books said a series was better, as the pace accelerates abruptly, and you try to understand what's happening. Furthermore, what began as a gothic fairy tale becomes a conventional action battle that somewhat breaks with the elegance of the initial mystery.

As for the set design, there's no complaint. Burton uses a desaturated color palette for the real world and a vibrant, almost Technicolor, saturation for the 1943 time loop. This psychologically reinforces the idea that the quirky world is "more alive" than reality. The house design (filmed at Torenhof Castle in Belgium) is a character in itself. The interior decoration, filled with antiques and curiosities, creates a "cabinet of curiosities" atmosphere that is pure Burton.

Now then, regarding the performances, Eva Green as Miss Peregrine was definitely a very good choice; she knows how to portray those mysterious characters very well. However, I feel that the protagonist lacked something; he seemed a bit flat, not very memorable. And Samuel L. Jackson, although I love his acting, also felt that his performance was somewhat comical, given the mysterious and gothic atmosphere the story was building. I don't know if the character he plays in the book is like that—an entertaining villain, but not very threatening.

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Positive points…

The "Burtonesque" aesthetic: The blend of the macabre with the beautiful is perfect; every corner of the orphanage feels like a Gothic painting, undoubtedly its strongest point.

Eva Green as Miss Peregrine: She is, by far, the best thing about the film. Her performance is captivating and captures that "human bird" energy with nervous tics and a sharp elegance.

The concept of Time Loops: The idea of reliving a perfect day in 1943 to escape death is fascinating and very well executed visually, especially in the scene where time resets under the bombing.

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Negative points…

The cartoonish villain: Samuel L. Jackson is a great actor, but his portrayal of Mr. Barron falls into excessive comedy.

Changes to details of the original story.

The protagonist lacked something; he felt flat.

Fast pace, especially in the ending.

Chemistry between the protagonists: The relationship between Jacob (Asa Butterfield) and Emma feels somewhat forced and flat.

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My score…

6.5/10 Story │ 7.5/10 Acting │ 8/10 Sound │ 9.5/10 Stage Design │ 7.5/10 Overall

It's a technically brilliant and visually hypnotic film. Its greatest strength is capturing the feeling of being out of the ordinary, something Burton does better than anyone. Its biggest flaw is the script, which towards the end loses faith in its own strangeness in an attempt to please an audience looking for fast-paced action. And, as many say, if it had remained somewhat faithful to the book—perhaps not completely, but by changing the abilities of its main characters—the film would have been better received. I'm very sorry they didn't continue producing his trilogy; I hope someone is inspired to make it into a series, like the Percy Jackson one.

Images were taken from the IMDb website. Cover designed in Canva. Text translated using Google Translate.

Thank you for reading my post. I hope you enjoyed it. I'll be happy to answer your comments. You can visit my blog, follow my content, and connect with me on social media.

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ESPAÑOL

Saludos comunidad de @Movies&Tvshows…

Hoy quiero traerles una historia que lamentablemente no continuaron, sintiendo que tenia mucho potencial, sin embargo, en lo que pude leer en ese entonces, incluso ahorita con resúmenes de los 3 primeros libros que encontré en internet, pues como visualmente si le hizo justica, más narrativamente dejo mucho que desear, queriendo que muchos se sintiesen que la historia dama más para una serie, que para un filme de solo dos horas. En fin, como no leí los libros (solo resúmenes y opiniones) esta vez daré mi opinión del filme como tal.

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Miss Peregrine's Home for Peculiar Children….

Estrenada para el año 2016, bajo la dirección de Tim Burton, una historia de fantasía basada en los libros de Ransom Riggs El hogar de Miss Peregrine para niños peculiares. Fue protagonizada por Eva Green, Asa Butterfield, Ella Purnell, Terence Stamp, Samuel L. Jackson y muchos más.

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¿De qué va la trama?…

La historia sigue a Jacob Portman, un adolescente que, tras la trágica y misteriosamente muerte de su abuelo y varios sucesos en su entorno, decide emprender un viaje hacia una remota isla en Gales para investigar las historias que escuchaba de niño, por parte de su abuelo, de un orfanato de niños con habilidades peculiares y de la directora del mismo, Miss Peregrine. Lo que sonaba como fantasía, pronto nuestro protagonista reafirmara que no eran puros cuentos infantiles de su abuelo.

Pues, aunque en su tiempo, este orfanato estaba destruido, comprenderá que realmente ese lugar esta dentro de un bucle que repite el mismo día de 1943, llevándolos a conocer personalmente a todos esos niños con habilidades fantásticas. A medida que se adentra en este nuevo universo, descubre que su llegada no es una coincidencia y que estos niños viven escondidos porque son acechados por fuerzas oscuras y criaturas terroríficas. Jacob deberá decidir si regresar a su vida ordinaria o aceptar su propio destino para ayudar a sus nuevos amigos a sobrevivir a una amenaza que solo él puede detectar ¿Qué decidirá nuestro protagonista? ¿lograrán salvarse todos del peligro que les asecha.

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Opinión personal

En definitiva, todo el filme tiene ese aire de Tim Burton, sabes con certeza de que el puso manos en esta historia, la cual, al inicio, construye muy bien el sentimiento de aislamiento de Jacob en Florida, contrastándolo con la atmósfera gris y neblinosa de Gales; te adentra a esa curiosidad, misterio y lo que se encuentra atravesando el protagonista en sí. La estructura de la historia se siente sólida porque nos presenta las reglas del mundo y a los personajes de forma orgánica, sin embargo, cuando ya llega el punto del climax, mmm, falla dramáticamente, aquí logras comprender por qué los fans de los libros manifestaron que era mejor una serie, ya que el ritmo se acelera abruptamente, y tratas de entender lo que esta ocurriendo, agregando que, lo que empezó como un cuento de hadas gótico se convierte en una batalla de acción convencional que rompe un poco con la elegancia del misterio inicial.

En cuanto, a la escenografía, no hay queja, Burton usa una paleta de colores desaturada para el mundo real y una saturación vibrante, casi technicolor, para el bucle de 1943, esto hace que, psicológicamente, se refuerce visualmente la idea de que el mundo peculiar es "más vivo" que la realidad. El diseño de la casa (rodada en el castillo de Torenhof en Bélgica) es un personaje en sí mismo. La decoración interna, llena de objetos antiguos y curiosidades, crea una atmósfera de "gabinete de maravillas" que es pura esencia Burton.

Ahora bien, con las actuaciones, en definitiva, Eva green como Miss Peregrine fue una elección muy acertada, sabe manifestar muy bien esos personajes misteriosos, sin embargo, siento que le falto algo más al protagonista, lo sentía algo plano, no destaca mucho y Samuel L Jackson, aunque me encanta como actúa, también lo sentí con una interpretación cómica para todo el aura misterioso y gótico que se venía cargando la historia, no sé si en el libro, el personaje que el interpreta es así, el ser un villano entretenido, pero poco amenazante.

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Puntos positivos…

La estética "Burtoniana": La mezcla de lo macabro con lo hermoso es perfecta; cada rincón del orfanato se siente como un cuadro gótico, sin duda alguna, es su punto fuerte.

Eva Green como Miss Peregrine: Es, por mucho, lo mejor de la cinta. Su actuación es atrayente y captura esa energía de "pájaro humano" con tics nerviosos y una elegancia cortante.

Concepto de los Bucles Temporales: La idea de vivir en un día perfecto de 1943 para escapar de la muerte es fascinante y está muy bien ejecutada visualmente, especialmente en la escena donde el tiempo se reinicia bajo el bombardeo.

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Puntos negativos…

El villano caricaturesco: Samuel L. Jackson es un gran actor, pero su interpretación de Mr. Barron cae en el exceso de comedia.

Cambios en detalles de la historia original.

Al protagonista le falto algo, se sintió plano.

Ritmo acelerado, sobre todo en el desenlace.

Química entre los protagonistas: La relación entre Jacob (Asa Butterfield) y Emma se siente un poco forzada y plana.

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Puntaje que le doy…

6.5/10 Historia │ 7.5/10 Actuaciones │ 8/10 Sonido │ 9.5/10 Escenario │ 7.5/10 General

Es una película técnicamente brillante y visualmente hipnótica. Su mayor acierto es capturar la sensación de ser un fuera de lo común, algo que Burton sabe hacer mejor que nadie. Su mayor fallo es el guion, que hacia el final pierde la confianza en su propia extrañeza para intentar complacer al público que busca acción rápida, y como dicen mucho, si se hubiese mantenido algo fiel al libro, quizás no completo, pero cambiar de habilidades en sus personajes principales, la película tendría mejor recepción, aunque lamento mucho no siguieron produciendo su trilogía, espero alguien se anime hacerla serie, así como la de Percy Jackson.

Las imágenes fueron capturadas de la página IMDb. Portada diseñada en CANVA. Texto traducido en Google Translated.

Gracias por leer mi post. Espero que les haya gustado. Estaré atenta a responder sus comentarios. Pueden visitar mi blog, seguir mis contenidos y redes sociales.

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@mariolisrnaranjo
@mariolisrnaranjo (72)
239 followers
107 following
138d
Movie · on My Best Friend's Girl
My opinion about the movie "My Best Friend's Girl" // Mi opinión sobre la película "Una novia para dos".

Sources

Hello, #hive friends, and especially to the Movies&TvShows community. As always, I hope you and your family and friends are doing well. Today I’m stopping by to tell you about a movie I saw yesterday that I really enjoyed. It’s the movie “My Best Friend’s Girl,” released in 2008 and directed by Howard Deutch. It’s an American romantic comedy that relies heavily on crude humor and takes the classic “friends with benefits” formula to the extreme.

The film stars Dane Cook, Kate Hudson, and Jason Biggs. It follows the story of Tank, played by Cook, a cynical, expert seducer who makes a living in a very peculiar way: heartbroken ex-boyfriends pay him to go out with their former partners and make their dates so awful that the women run back into their exes’ arms, successfully reuniting the original couple. Everything changes when his best friend Dustin, played by Biggs, hires him to provide this service with Alexis, played by Hudson, the girl of his dreams who has just broken up with him for being too intense.

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The premise of the film is funny and has great potential for chaos, as Tank—a brash womanizer who thrives on offending and shocking women—comes face-to-face with Alexis, a sweet, intelligent, and feisty young woman who isn’t easily fazed, so what starts as a routine job gets complicated when Tank begins to develop real feelings for her, breaking his own rule of never falling for a client, with the script mixing raunchy dialogue and embarrassing situations typical of teen-adult movies of the era.

Dane Cook carries the film’s comedic weight with his hyperactive energy, as Tank is an over-the-top, macho, and politically incorrect character, but Cook plays him with enough charisma to make him likable rather than repulsive—at least for audiences who enjoy this type of humor. On the other hand, Kate Hudson brings freshness and naturalness to the role, as Alexis is the typical “perfect girl” who lights up the screen and wins the audience over. Jason Biggs plays what he does best—the clumsy, neurotic friend—while Alec Baldwin appears in a supporting role as Tank’s father, adding more cynicism and some of the film’s best lines.

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The humor is, without a doubt, the most striking aspect. The film isn't afraid to get crude, featuring jokes about sex, flatulence, explicit insults, and scenes that border on the scatological. For some, it will be refreshing and liberating; for others, too repetitive. This is not a subtle or intelligent comedy, but rather a product of crude humor, similar to "American Pie" or the Farrelly brothers’ films, though it doesn’t reach their level of madness. Deutch’s direction is functional, as it maintains the pace, but it doesn’t bring anything particularly creative to the visuals.

Where the film falls a bit short is in the romantic development. The transition from Tank the date-ruiner to the man in love happens in a somewhat rushed and predictable way. We know from the very first minute how the film is going to end, and that takes away some of the surprise. However, the scenes between Cook and Hudson have good chemistry, and there are genuinely tender moments that contrast with the overall crude tone, which helps balance the film and makes it successful overall. Technically, it’s solid for a studio comedy, featuring a suitable pop-rock soundtrack, bright cinematography, and dynamic editing that keeps the story from dragging.

Sources

In short, folks, One Girl, Two Guys is a lighthearted, fun, and unpretentious comedy that does a great job of keeping you entertained for a while. It doesn’t reinvent the genre or go down in cinematic history, but if you like romantic comedies with raunchy humor, uncensored dialogue, and a predictable yet satisfying ending, you’ll have a good time. Dane Cook and Kate Hudson make a likable duo, and the premise of the professional bad date provides plenty of easy laughs. It’s not a masterpiece, but it is perfect for a night on the couch, so I highly recommend it to fans of ’80s-style American humor—but with a bit more angst. Without further ado, I’ll sign off for now, and I’ll see you next time. Blessings galore.

The sources for the images used in this post have been provided. Texts translated into English by DeepL Translate. ‎

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VERSIÓN EN ESPAÑOL (click aquí!)
‎ Hola amigos de #hive y en especial a la comunidad de Movies&TvShows, como siempre espero que se encuentren bien al igual que sus familiares y amigos. En el día de hoy paso por acá para hablarles de una película que vi ayer y que la verdad me gustó mucho, se trata de la cinta “Una novia para dos” o como su nombre original lo indica "My Best Friend’s Girl", una película estrena en 2008 y dirigida por Howard Deutch del género comedia romántica estadounidense y que apuesta fuerte por el humor grosero y la fórmula clásica de “amigos con beneficios” llevada al extremo.
Esta cinta está protagonizada por Dane Cook, Kate Hudson y Jason Biggs, la misma sigue la historia de Tank papel que realiza Cook, un tipo cínico y experto en seducción que se gana la vida de una forma muy peculiar, ya que los exnovios despechados le pagan para que salga con sus antiguas parejas y les haga pasar una cita tan horrible que ellas regresen corriendo a los brazos del ex, logrando reunificar la pareja original. Todo cambia cuando su mejor amigo Dustin, papel que realiza Biggs, lo contrata para que le preste este servicio con Alexis, papel que realiza Hudson, la chica de sus sueños que acaba de dejarlo por ser demasiado intenso.

La premisa de la película es divertida y tiene gran potencial para el caos, ya que Tank, un mujeriego sin filtro que disfruta ofendiendo y escandalizando a las mujeres, se enfrenta a Alexis, una chica dulce, inteligente y con carácter que no se deja impresionar fácilmente, así que lo que empieza como un trabajo rutinario, se complica cuando Tank comienza a sentir algo real por ella, rompiendo su propia regla de nunca enamorarse de la clienta, dónde el guion mezcla diálogos subidos de tono y situaciones embarazosas típicas del cine juvenil adulto de la época.

Dane Cook lleva el peso cómico de la película con su energía hiperactiva, ya que Tank es un personaje exagerado, machista y políticamente incorrecto, pero Cook lo interpreta con suficiente carisma como para que resulte simpático en lugar de repelente, al menos para el público que disfruta este tipo de humor. Por otra parte, Kate Hudson aporta frescura y naturalidad, ya que Alexis es la típica chica perfecta que ilumina la pantalla y consigue que el espectador se ponga de su lado. Jason Biggs hace lo que mejor sabe, el amigo torpe y neurótico, mientras que Alec Baldwin aparece en un rol secundario como el padre de Tank, añadiendo más cinismo y algunas de las mejores líneas de la cinta.

El humor es, sin duda, el punto más notorio. La película no tiene miedo a lo vulgar, ya que nos muestra chistes sobre sexo, flatulencias, insultos directos y escenas que rozan lo escatológico. Para algunos será refrescante y liberador, para otros, demasiado repetitivo. Esta no es una comedia fina ni inteligente, sino más bien un producto del humor crudo, similar a "American Pie" o las películas de los hermanos Farrelly, pero sin llegar a su nivel de locura. La dirección de Deutch es funcional, ya que mantiene el ritmo, pero no aporta nada especialmente creativo en lo visual.

Donde la película falla un poco es en el desarrollo romántico. La transición de Tank el revienta citas, al hombre enamorado ocurre de una forma algo apresurada y predecible. Sabemos desde el minuto uno cómo va a terminar la película,y eso le resta un poco de sorpresa. Sin embargo, las escenas entre Cook y Hudson tienen buena química y hay momentos genuinamente tiernos que contrastan con el tono grosero general, lo que ayuda a equilibrar la película logrando tener éxito en general. Técnicamente es correcta para una comedia de estudio, ya que cuenta con unabanda sonora pop-rock adecuada, fotografía luminosa y un montaje dinámico que no deja que la historia decaiga.

En resumen amigos, "Una novia para dos” es una comedia ligera, divertida y sin pretensiones que cumple su función de entretener durante un rato. No reinventa el género ni pasará a la historia del cine, pero si te gustan las comedias románticas con humor descarado, diálogos sin censura y un final previsible, pero satisfactorio, te lo pasarás bien. Dane Cook y Kate Hudson forman un dúo simpático y la premisa del profesional de las malas citas, da para varias risas fáciles. No es una obra maestra, pero sí es especial para noches de sofá, asi que se las recomiendo mucho a los fans del humor americano ochentero, Pero con un poco más de miseria. Sin más me despido de ustedes y nos vemos hasta la próxima. Bendiciones miles.

De las imágenes usadas en el post fueron dadas las fuentes. Textos llevados al Inglés por Deepl Traslate. ‎

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@theradiodemon
@theradiodemon (58)
11 followers
11 following
138d
Anime · on Another
Another Anime-Boom | One Shoot from the author of Gintama hit Netflix | Bloodborne will get a | DS: Kimetsu no Yaiba Infinity Castle | DB games and anime n anime | New Godzilla | Blue Lock LA | Dragon Ball - anime and games | L'étoile de Paris en fleur

[That Time I Got Reincarnated as a Slime] If you heard that this manga is ending, it is a rumor created by a mistake by the Japanese. Nothing like that will happen for now. https://www.animenewsnetwork.com/news/2026-04-15/that-time-i-got-reincarnated-as-a-slime-manga-volume-32-no-longer-listed-as-final-volume/.236398

[Anime Boom] Another news that Japan, manga and anime are on the rise. Soon, in about 2 weeks, I will post my new article about the upcoming anime boom. Beautiful times are coming, which one day we will remember as the golden era of anime from the '80s and '90s. https://www.animenewsnetwork.com/news/2026-04-12/japan-aims-to-increase-anime-overseas-market-to-6-trillion-yen-by-2033/.236216

[Webtoons] From what I see, companies related to Webtoons are also starting to work in this direction to get as much money as possible due to the growing popularity. https://www.animenewsnetwork.com/news/2026-04-15/webtoon-establishes-chief-business-officer-role-in-global-leadership-restructure/.236394

[Demon Slayer: Kimetsu no Yaiba Infinity Castle] We finally know the release date of the Home Video edition. We've been waiting for this for a record long time, but I don't think anyone is surprised - after all, we're talking about the biggest hit of recent years, which significantly contributed to the Anime Boom that I wrote about at the beginning. Premiere on July 29. https://www.facebook.com/LiveChart.me/posts/pfbid02RH9HFmYUX6rSdVjWNJTLfHMAQ6dNe3Jypaf2Tk42cWAhjKJvTcT7CUpWtbaZRiMql

[L'étoile de Paris en fleur] We got 11 minutes starting the latest movie from the creator of Code Geass. Premiere on March 13. https://www.animenewsnetwork.com/news/2026-04-16/letoile-de-paris-en-fleur-anime-film-1st-11-minutes-streamed/.236486

[Dandelion] An anime based on a one-shoot by the author of Gintama - Hideaki Sorachi - debuted on Netflix. https://www.facebook.com/LiveChart.me/posts/pfbid05fAyHnGRJeUh8ie6oFuRbjq864DCHAVPtN45FrMpR111MNsFtzUkc2mnMBqX8NZUl

[Witch and Mercenary] In 2027 we will get an animated version of the novella. https://www.facebook.com/LiveChart.me/posts/pfbid02z4bef1PuKrYqZVYM4jMjqnN8raPKnrxPt9v2AyyhNzKV7Hd96ypDUXDgFf8RZfGil

[The Irregular at Magic High School THE MOVIE -Yotsuba Succession Arc] The film will last one hour and 43 minutes. https://www.facebook.com/LiveChart.me/posts/pfbid0iWR9PQGUXyURFcSnbKUyivXcP8XHVEPCo9ntbn2EutTrxGq6bhHFT46DMwd2waX5l

[Sound! Euphonium, The Final Movie] It will take a little longer, as much as 2 hours. https://www.facebook.com/LiveChart.me/posts/pfbid0T8PWe1bKcUWzyZVKdQAtyVeMDEsWrtAL7KFDTgxzt9gGEepbFh7GXzUNAVYxXrcDl

[BlackChannel] It was announced that the manga that started in 2020 will get its animated version. https://www.animenewsnetwork.com/news/2026-04-14/black-channel-manga-gets-tv-anime/.236379

[We Are Aliens] This year, a new film from Kohei Kadowaki will hit Japanese cinemas. https://www.facebook.com/LiveChart.me/posts/pfbid0w5PiS2vcCg6R17FHEw2Y4q3ykq4qy1ThpNKatbUy6WtPVrLfSQbJM1Zp6wHSck4yl

[Bloodborne] Sony announced that it is working on an animated adaptation of the famous game. The film, like the program, is supposed to be very bloody. I'm not a fan of Bloodborne, but I know from many friends that it's a great game. We don't know the release date. https://www.animenewsnetwork.com/news/2026-04-14/sony-pictures-produces-animated-film-of-bloodborne-game/.236365

[Animal Crossing] Nintendo is celebrating the 25th anniversary of one of its franchises. https://www.animenewsnetwork.com/interest/2026-04-15/nintendo-celebrates-animal-crossing-25th-anniversary/.236403

[Sonic 4] Jim Carrey will play a slightly different role than before. And great! I'm glad they're running this franchise this way! https://www.comingsoon.net/movies/news/2121412-sonic-the-hedgehog-4-footage-reveals-unlikely-hero-sega-movie

[Blue Lock Live Action] We met 3 actors who are probably part of the team. I don't know because I don't know this comic. Either way, the film will hit Japanese cinemas on August 7. https://www.animenewsnetwork.com/news/2026-04-16/live-action-blue-lock-film-announces-team-v-cast-in-video/.236482

[Godzilla Minus One] In the sequel, Godzilla will come to the United States. I highly recommend this movie. I don't like old movies, especially from Japan, because I don't like artificiality, poor effects, rubber monster and boredom. but the latest Godzilla is a technical masterpiece. Hollywood blockbusters made for hundreds of millions of dollars can only bring this film down. The film will last approximately the same time as the previous one. https://variety.com/2026/film/news/godzilla-minus-zero-trailer-new-york-1236712354/

https://www.comingsoon.net/movies/news/2121293-godzilla-minus-zero-runtime-plot-english-vfx-imax

[Shogun 2] Work on season 2 has started. https://www.comingsoon.net/tv/news/2121485-shogun-season-2-release-date-production-update-fx

[Street Fighter] Even though I'm not a fan of this game series, the trailer looks great. It's appropriately kitschy, the fights look cool, and the actors have fun on screen. Please, don't turn this into another hopeless adaptation, as is the case with every fighting game except MK1. Such films cannot be too serious, only more conventional. I don't like this series, but F&F is a good starting point. Of course, you could try to do something like this seriously, but you can't. Even MK1, beloved by many gamers, had a bit of kitsch. Premiere on October 16, good luck! https://www.comingsoon.net/movies/trailers/2121320-new-street-fighter-trailer-posters-fun-action-movie

[McDonald x Anime] The fast food chain continues its latest advertising campaign. This time it's not a Gundam but a legendary voice actress and Baki. I would eat a burger as spicy as Yujiro :P. https://www.animenewsnetwork.com/interest/2026-04-18/dragon-ball-lead-voice-masako-nozawa-finds-love-in-mcdonald-baki-dating-sim-spoof/.236529

[Fatal Fury: City of the Wolves] In 4 days, a new character will be added to the game - Wolfgang Krauser. https://www.animenewsnetwork.com/news/2026-04-18/fatal-fury-city-of-the-wolves-game-trailer-reveals-april-24-release-date-for-wolfgang-krauser-dlc-/.236521

[Anime DB] Let me start by telling you not to believe a lot of the information that is circulating on the Internet. In a sense, there are, of course, more trusted leakers who provide certain information, but there are also many charlatans who pull information out of their own asses and add more or less sensible thoughts to it, which does not always end well. Trust me, I used to be like that myself. We don't know the release date of the Frieza part and we don't know what the series will be. I don't think the arks would fly back to back and they would be very stupid if they did. Why? Invinsible is the best proof of this - we can either have a quick sequel, but poorly made (or only "just good"), or we can wait longer and get a good animation. In the case of Invinsible, the plot and blood are enough for me, and the clunky animation doesn't bother me at all in many situations. In the case of DB it is different - there is no good plot, it is dominated by Goku, who is, to put it mildly, annoying, so the audiovisual setting is the main advantage. Breaks of several months, even longer than six months, are the right decision. It's better to get a decent 12 episodes than 20, because these 8 are often very weak, and these 12 are lost.

Apart from that, the anime itself looks beautiful and I can't wait to use it to cheer up my autumn blues. https://www.animenewsnetwork.com/news/2026-04-19/dragon-ball-super-beerus-anime-new-trailer-teases-frieza-return/.236571

[Dragon Ball Games] I don't know if it's possible to get players back into this game. I didn't play it because, as I thought, we got a large, but empty and unfinished product (even DB fans who are not malicious assholes like me complained, so...), but after watching a few gameplays from famous YouTubers, I think this game can still be saved. Add more what if etc. enable creators to create their own alternative story paths (I don't know about Xbox, but on PS5 you can download fan mods and improvements) and so on, and maybe something will come of it. It's nice that they added +30 new playable characters, but it usually doesn't matter because the game is too empty. Plus, we'll get a new mode for free. Premiere this summer. https://www.animenewsnetwork.com/news/2026-04-19/dragon-ball-sparking-zero-game-gets-new-super-limit-breaking-neo-dlc/.236572

[Xenoverse 3] I'll say this... I'm for it, as is the case with most games based on anime licenses. I probably won't buy it, because I don't like the DB world from the distant future (Goku Black's world, DB Online, previous parts of Xenoverse). There are some good ideas, but basically they're not my style at all. The game will be available on PS5, Xbox and Steam in 2027. https://www.animenewsnetwork.com/news/2026-04-19/dragon-ball-xenoverse-3-game-announced/.236570

[Xenoverse 2] We will also receive DLC for the previous part of the game in the summer. You have to squeeze the players like a lemon, until the end... Even if corporations had to spit out pieces of her skin xD. https://www.animenewsnetwork.com/news/2026-04-19/dragon-ball-xenoverse-2-game-gets-future-saga-chapter-4-dlc-in-summer/.236573

[FighterZ] We also got a preview of the new Son Goku from Daima. There will also be new skins and accessories from the worst anime series in the history of Dragon Ball. I'll buy it when it's on sale - this Oozaru kamehameha is nice. https://gamerant.com/dragon-ball-fighterz-super-saiyan-4-goku-release-date/

Kolejny Anime-Boom | One Shoot od autora Gintamy trafił na Netflix | Bloodborne dostanie anime | Nowa Godzilla | Blue Lock LA | Dragon Ball - anime i gry | L'étoile de Paris en fleur | DS: Kimetsu no Yaiba Infinity Castle na BD i DVD | Gry i anime DB

[That Time I Got Reincarnated as a Slime] Jeśli słyszeliście że ta manga kończy się, to jest plotka powstała przez błąd Japończyków. Nic takiego się nie stanie, póki co. https://www.animenewsnetwork.com/news/2026-04-15/that-time-i-got-reincarnated-as-a-slime-manga-volume-32-no-longer-listed-as-final-volume/.236398

[Anime Boom] Kolejny news o tym, że Japonia, manga i anime rosną. Niedługo, bo za jakieś 2 tygodnie wrzucę mój nowy artykuł o nadchodzącym anime-boomie. Nadchodzą piękne czasy, które kiedyś będziemy wspominali jak złotą erę anime z lat '80 i '90. https://www.animenewsnetwork.com/news/2026-04-12/japan-aims-to-increase-anime-overseas-market-to-6-trillion-yen-by-2033/.236216

[Webtoony] Z tego co widzę, firmy związane z Webtoonami też zaczynają działać w tym kierunku, by zdobyć jak najwięcej kasy z powodu rosnącej popularności. https://www.animenewsnetwork.com/news/2026-04-15/webtoon-establishes-chief-business-officer-role-in-global-leadership-restructure/.236394

[Demon Slayer: Kimetsu no Yaiba Infinity Castle] W końcu poznaliśmy datę premiery edycji Home Video. Czekaliśmy na to rekordowo długo, ale chyba nikt nie jest zdziwiony - w końcu mówimy o największym hicie ostatnich lat, który znacząco przyczynił się do Anime Boom, o którym pisałem na początku. Premiera 29 lipca. https://www.facebook.com/LiveChart.me/posts/pfbid02RH9HFmYUX6rSdVjWNJTLfHMAQ6dNe3Jypaf2Tk42cWAhjKJvTcT7CUpWtbaZRiMql

[L'étoile de Paris en fleur] Dostaliśmy 11 minut rozpoczynających najnowszy film od twórcy Code Geass. Premiera 13 marca. https://www.animenewsnetwork.com/news/2026-04-16/letoile-de-paris-en-fleur-anime-film-1st-11-minutes-streamed/.236486

[Dandelion] Na Netflixie zadebiutowało anime na podstawie one-shoota od autora Gintamy - Hideaki Sorachi. https://www.facebook.com/LiveChart.me/posts/pfbid05fAyHnGRJeUh8ie6oFuRbjq864DCHAVPtN45FrMpR111MNsFtzUkc2mnMBqX8NZUl

[Witch and Mercenary] W 2027 dostaniemy animowaną wersję nowelki. https://www.facebook.com/LiveChart.me/posts/pfbid02z4bef1PuKrYqZVYM4jMjqnN8raPKnrxPt9v2AyyhNzKV7Hd96ypDUXDgFf8RZfGil

[The Irregular at Magic High School THE MOVIE -Yotsuba Succession Arc] Film potrwa godzinę i 43 minuty. https://www.facebook.com/LiveChart.me/posts/pfbid0iWR9PQGUXyURFcSnbKUyivXcP8XHVEPCo9ntbn2EutTrxGq6bhHFT46DMwd2waX5l

[Sound! Euphonium, The Final Movie] Potrwa trochę dłużej, bo aż 2 godziny. https://www.facebook.com/LiveChart.me/posts/pfbid0T8PWe1bKcUWzyZVKdQAtyVeMDEsWrtAL7KFDTgxzt9gGEepbFh7GXzUNAVYxXrcDl

[Black Channel] Ogłoszono, że manga rozpoczęta w 2020 roku dostanie swoją wersję animowaną. https://www.animenewsnetwork.com/news/2026-04-14/black-channel-manga-gets-tv-anime/.236379

[We Are Aliens] W tym roku do Japońskich kin trafi nowy film od Kohei Kadowaki. https://www.facebook.com/LiveChart.me/posts/pfbid0w5PiS2vcCg6R17FHEw2Y4q3ykq4qy1ThpNKatbUy6WtPVrLfSQbJM1Zp6wHSck4yl

[Bloodborne] Sony ogłosiło, że pracuje nad animowaną adaptację słynnej gry. Film podobnie jak program, ma być bardzo krwawy. Nie jestem fanem Bloodborne, ale wiem od wielu znajomych, że to świetna gra. Nie znamy daty premiery. https://www.animenewsnetwork.com/news/2026-04-14/sony-pictures-produces-animated-film-of-bloodborne-game/.236365

[Animal Crossing] Nintendo świętuje 25-rocznicę jednej ze swoich franczyz. https://www.animenewsnetwork.com/interest/2026-04-15/nintendo-celebrates-animal-crossing-25th-anniversary/.236403

[Sonic 4] Jim Carrey wystąpi w nieco innej roli niż dotychczas. I świetnie! Cieszę się, że tak prowadzą tę franczyzę! https://www.comingsoon.net/movies/news/2121412-sonic-the-hedgehog-4-footage-reveals-unlikely-hero-sega-movie

[Blue Lock Live Action] Poznaliśmy 3 aktorów, którzy prawdopodobnie należą do części zespołu. Nie wiem, bo nie znam tego komiksu. Tak czy siak, film trafi do Japońskich kin 7 sierpnia. https://www.animenewsnetwork.com/news/2026-04-16/live-action-blue-lock-film-announces-team-v-cast-in-video/.236482

[Godzilla Minus One] W sequelu Godzilla przypłynie do Stanów Zjednoczonych. Bardzo polecam ten film. Nie przepadam za starymi filmami, zwłaszcza z Japonii, bo nie lubię sztuczności, słabych efektów, gumowego potwora i nudy. ale najnowsza Godzilla to techniczny majstersztyk. Hollywódzkie blockbustery zrobione za setki milionów dolarów mogą jedynie possać temu filmowi. Film będzie trwał mniej więcej tyle samo, co poprzedni. https://variety.com/2026/film/news/godzilla-minus-zero-trailer-new-york-1236712354/

https://www.comingsoon.net/movies/news/2121293-godzilla-minus-zero-runtime-plot-english-vfx-imax

[Shogun 2] Prace nad 2 sezonem zostały rozpoczęte. https://www.comingsoon.net/tv/news/2121485-shogun-season-2-release-date-production-update-fx

[Street Fighter] Choć nie jestem fanem tej serii gier, trailer wygląda świetnie. Jest odpowiednio kiczowaty, walki wyglądają fajnie, a aktorzy bawią się na ekranie. Błagam, nie zróbcie z tego kolejnej beznadziejnej adaptacji, jak to bywa z każdą bijatyką poza MK1. Takie filmy nie mogą być zbyt poważne, tylko bardziej umowne. Nie lubię tej serii, ale F&F to dobry punkt wyjścia. Oczywiście, niby można spróbować zrobić coś takiego na poważnie, ale nie da się. Nawet uwielbiany przez wielu graczy MK1 miał trochę kiczu. Premiera 16 października, życzę powodzenia! https://www.comingsoon.net/movies/trailers/2121320-new-street-fighter-trailer-posters-fun-action-movie

[McDonald x Anime] Sieć fastfoodów kontynuuje swoją najnowszą kampanię reklamową. Tym razem nie Gundam tylko legendarna aktorka głosowa i Baki. Zjadłbym takiego burgera, ostrego jak Yujiro :P. https://www.animenewsnetwork.com/interest/2026-04-18/dragon-ball-lead-voice-masako-nozawa-finds-love-in-mcdonald-baki-dating-sim-spoof/.236529

[Fatal Fury: City of the Wolves] Za 4 dni do gry trafi nowa postać - Wolfgang Krauser. https://www.animenewsnetwork.com/news/2026-04-18/fatal-fury-city-of-the-wolves-game-trailer-reveals-april-24-release-date-for-wolfgang-krauser-dlc-/.236521

[Anime DB] Zacznęod tego byście nie wierzyli w wiele informacji, które krążą w sieci. W sensie, jasne są bardziej zaufani leakerzy, którzy dostarczają pewne informacje, ale jest też wielu szarlatanów, którzy wyciągają informacje z własnej dupy i dodają do tego mniej lub bardziej sensowne przemyślenia, co nie zawsze dobrze się kończy. Zaufajcie mi, dawniej sam taki byłem. Nie znamy daty premiery części z Friezą i nie wiemy, jaki będzie cykl. Nie sądzę by arce leciały jeden po drugim i postąpiliby bardzo głupio, gdyby tak zrobili. Czemu? Invinsible to najlepszy na to dowód - możemy mieć albo szybki sequel, ale niedokładnie wykonany (lub jedynie "po prostu nieźle") albo dłużej poczekać i dostać dobrą animację. W przypadku Invinsible wystarczy mi fabuła, krew, a ta toporność animacji w wielu sytuacjach mi w ogóle nie przeszkadza. W przypadku DB jest inaczej - tam nie ma dobrej fabuły, dominuje Goku który jest delikatnie mówiąc wkurzający, więc oprawa audiowizualna to główna zaleta. Kilkumiesięczne, nawet dłuższe niż półroczne przerwy, to słuszna decyzja. Lepiej dostać porządne 12 odcinków niż 20, bo te 8 jest często mega słaba, a te 12 traci.

Poza tym samo anime wygląda ślicznie i już nie mogę się doczekać aż będę sobie nim poprawiał jesienną chandrę. https://www.animenewsnetwork.com/news/2026-04-19/dragon-ball-super-beerus-anime-new-trailer-teases-frieza-return/.236571

[Gry Dragon Ball] Nie wiem, czy da się przywrócić graczy do tej gry. Nie grałem w nią, bo tak jak myślałem, dostaliśmy duży, ale pusty i niedopracowany produkt (nawet fani DB, którzy nie są złośliwymi dupkami jak ja narzekali, więc...), ale po obejrzeniu kilku gameplayów u znanych YouTuberów, wydaje mi się że można tę grę jeszcze ocalić. Dodać więcej what if etc. umożliwić twórcom tworzenie własnych alternatywnych ścieżek fabularnych (nie wiem jak na Xbox, ale na PS5 można już ściągnąć fanowskie mody i ulepszenia) i tak dalej i może coś z tego będzie. Fajnie, że dodali +30 nowych grywalnych postaci, ale zwykle nie ma to znaczenia, bo gra jest zbyt pusta. Poza tym za darmo dostaniemy nowy tryb. Premiera latem tego roku. https://www.animenewsnetwork.com/news/2026-04-19/dragon-ball-sparking-zero-game-gets-new-super-limit-breaking-neo-dlc/.236572

[Xenoverse 3] Powiem tak... Jestem na nie, jak w przypadku większości gier opartych na licencji anime. Raczej nie kupię, bo nie lubię świata DB z dalekiej przyszłości (świat Goku Blacka, DB Online, poprzednie częsci Xenoverse). Zdarzają się dobre pomysły, ale zasadniczo to zupełnie nie mój styl. Gra trafi na PS5, Xboxa oraz Steama w 2027. https://www.animenewsnetwork.com/news/2026-04-19/dragon-ball-xenoverse-3-game-announced/.236570

[Xenoverse 2] Również latem dostaniemy DLC do poprzedniej części gry. Trzeba wycisnąć graczy jak cytrynkę, do końca... Choćby korporacje miały wypluwać kawałki jej skóry xD. https://www.animenewsnetwork.com/news/2026-04-19/dragon-ball-xenoverse-2-game-gets-future-saga-chapter-4-dlc-in-summer/.236573

[FighterZ] Dostaliśmy też zapowiedź nowego Son Goku z Daimy. Pojawią się również nowe skiny i akcesoria sygnowane najgorszą serią anime w całej historii Dragon Ball. Kupię, jak będzie na promocji - fajna ta Oozaru kamehameha. https://gamerant.com/dragon-ball-fighterz-super-saiyan-4-goku-release-date/
DragonQueen
@esther-emmanuel (73)
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180 following
Creative writer, Poet , An Artist, Movie lover, Book lover, introvert, virgo 😎
138d
TV · on Jack Ryan
Season 3 And 4 Of Jack Ryan (2018 - 2023) || TV Series Review.

After binge-watching Seasons 1 and 2 of Tom Clancy’s Jack Ryan. I was sold on this political action thriller and reviewed it. There was no stopping me. Seasons 3 and 4 turned out even better and more interesting than the previous seasons. The main characters were further developed, especially Jack Ryan (John Krasinski).

Season 3 began in an explosive way. It centered around a dangerous conspiracy in Russia that involved a fight against NATO's agenda, the Czech Republic's president and her father, and the restoration of Soviet-era power through an operation that was used as a cover.

In this season, we were taken back to Russia 1969 when the USSR still existed. A secret project to develop a nuclear weapon named Sokol began. Unfortunately, it was shut down and deactivated by Luka Gocharov, a Soviet officer. This led to the death of all the scientists on the project.

In the present, Jack Ryan learned from a Russian asset, Zoya Ivanova, that Sokol had been reactivated. He was able to uncover a bigger plan by the illusive group behind the Sokol reactivation. In his efforts to expose this group, Jack was framed and became a fugitive. How will he redeem himself?

The fourth season concluded the entire series. In this season, Jack was made the deputy director of the CIA. He discovered corruption had eaten deep into the system and he planned to uncover the powers behind it. This involved him weeding out crime syndicates and terrorist groups.

To achieve this goal, Jack recalled Mike November (Michael Kelly) to his team, formed a new relationship with Domingo Chavez (Michael Peña), a former Navy SEAL and a senior CIA operative. While on this mission, he resigned from his position as the deputy director of the CIA. Still, the manpower was not enough to take down the villains. Will he succeed? Can he weed out those behind the corruption in the system?

My favourite Characters.

James Cosmo as Luka Goncharov: James was the perfect actor for this role. He embodied it as if he was born for it. As a high-ranking Russian official responsible for deactivating Sokol in 1969 and with deep knowledge of Cold War secrets, he was quite a formidable character. He was complex, unpredictable, calculating and mysterious. At first, he seemed like an antagonist but in the end, he was the manpower Jack needed to succeed in his mission.

Michael Peña as Domingo Chavez: This was my first seeing Michael embody the role of a ruthless, no-nonsense character. His performance was unique and unforgettable. I was impressed. As a ruthless and skilled operative, Michael brought a little bit of dark humour, energy, and mannerism into the series. He was analytic like Jack but also tactical and resourceful. I enjoyed his performance.

Okieriete Onaodowan as Adebayo 'Ade' Osoji: He was unexpectedly revealed as the antagonist in the fourth season. At first, he was just a smart political advisor but he later turned out to be the brains fueling the corruption in the system. More like the wolf under a sheep's clothing. His performance was excellent and convincing.

My Review And Rating

Out of all the seasons, I enjoyed season three the most. The story was told uniquely from two timelines: Russian 1969 and the present times, which made it more interesting. The transitions between the present and flashbacks were seamless and fascinating to watch. The involvement of the Russians in season three made it more thrilling. More covert ops and action sequences kept me on the edge of my seat.

I like how the creators put Jack Ryan through the fire and toughened him. Due to the conspiracy that got him framed and a fugitive, the pressures to redeem himself kind of developed his character. He became smarter and more tactical. That was a plus for this character which made this season better.

However, Season 4 was a bit of a letdown. The plot was okay but did not seem relatable, in my opinion. Jack Ryan had to resign from his position as deputy director of the CIA so he could tackle corruption in the system. There's no system in the world without some corruption so Ryan's effort to make the system clean was at most temporary. I wished the plot of this season was better.

Rating the third and fourth seasons, I'll give them 8.5 stars out of 10. If you enjoy crime and espionage thrillers, this series is worth watching. The plots, acting and action sequences are compelling.

All images above are from the movie screenshots

Poster image source

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Drax
@drax (77)
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Blogger, film critic, columnist (writes in Croatian and English)
138d
TV · on Mad Men 90
Television Review: Nixon vs. Kennedy (Mad Men, S1x12, 2007)

Nixon vs. Kennedy (S1x12)

Airdate: 11 October 2007

Written by: Lisa Albert, Albert Jaquemetton & Maria Jacquemetton Directed by: Alan Taylor

Running Time: 48 minutes

When Matthew Weiner, having cut his teeth on the late, groundbreaking seasons of The Sopranos, unveiled Mad Men in 2007, critics were quick to recognise the profound influence of HBO’s pioneering drama on his own creation. This extended beyond mere aesthetic or thematic borrowings to a fundamental narrative architecture: the habit of reserving the most consequential plot developments and character revelations for the penultimate episode of a season, rather than the finale. In its very first season, Mad Men adhered to this sophisticated structural principle with remarkable confidence. The twelfth episode, Nixon vs. Kennedy, is the season’s true dramatic pivot, a masterfully constructed hour that defines its protagonist more sharply than any before it and irrevocably sets the series on its course. It is an episode where history happens in the background, personal betrayals unfold in the foreground, and a man’s entire fabricated existence is laid bare, only to be validated by the most cynical of philosophies.

The “wham” event that gives the episode its title and temporal setting is one that the protagonists observe with a mixture of professional interest and personal bias, but over which they exert no control: the 1960 United States Presidential election. In the nostalgic memories of the Baby Boomer generation and subsequent Hollywood myth-making, this election defined the dawn of a new, optimistic decade and altered the course of world history. Yet in the world of Sterling Cooper, it is merely the backdrop to an office party, a topic for boozy speculation, and a symbol of the entrenched establishment being nervously challenged. The staff, largely staunchly pro-Nixon, gather around the television on the night of 8 November 1960, convinced of the Vice-President’s imminent victory despite the polls’ closeness. The election night coverage becomes an excuse for yet another bacchanal, fuelled by copious alcohol. In this loosened atmosphere, subplots simmer: Ken Cosgrove discovers Paul Kinsey’s pretentious play manuscript, leading to an impromptu, drunken performance with Joan Holloway drafted into a role—a moment that underscores the performative nature of identity that permeates the series. Meanwhile, the alcohol also facilitates a reckless coupling between Harry Crane and Pete’s secretary, Hildy (Julie McNiven). Their fumbled, regret-filled encounter the next morning—Harry wracked with guilt over infidelity, Hildy ashamed of her unprofessionalism—serves as a microcosm of the era’s shifting sexual mores, where liberation is often followed by immediate remorse.

The professional stakes are raised earlier that day with the arrival of Herman “Duck” Phillips (Mark Moses), a former Y&R executive with London experience and British contacts. Don Draper, ever the instinctual talent-spotter, is keen to install him as the new Head of Account Services. This position is the very one Pete Campbell, despite his youth and grating entitlement, desperately covets. Feeling thwarted, Pete unleashes his secret weapon: the parcel from Don’s half-brother, Adam Whitman, which contains artefacts that could unravel Don’s meticulously constructed identity as “Don Draper”. In a tense confrontation, Pete attempts blackmail, demanding the job in exchange for his silence about Don’s true past as Dick Whitman and the mysterious circumstances of the real Don Draper’s death in Korea. Don’s response is a masterpiece of controlled panic. Outwardly, he dismisses Pete with icy disdain; inwardly, his entire world teeters on the brink. This insecurity manifests in a desperate, romantic flight of fancy—he visits his lover, Rachel Menken, and proposes they abandon everything and reinvent themselves in California. Rachel’s refusal, grounded in her responsibilities to her department store and family, is a sobering reminder that not everyone is willing or able to shed their skin so completely. It leaves Don isolated, forced to face his past.

That past is revealed in a series of stark, economical flashbacks to Korea in 1950. The sequence is a testament to the show’s ability to achieve profound narrative impact without a lavish budget. The chaos of war is conveyed through bureaucratic farce: Lieutenant Don Draper, expecting twenty men to build a field hospital, is sent only one—the hapless Private Dick Whitman. The ensuing shelling and catastrophic gasoline explosion are depicted with brutal efficiency. The charred, mangled corpse of the officer is the most graphic violence the series has shown to this point, a shocking visual counterpoint to the episode’s other adult content. In this moment of chaos, the wounded Whitman seizes his opportunity, swapping dog tags with the dead officer. He awakes in a hospital, awarded a Purple Heart under a false name, and is tasked with delivering the coffin containing “Dick Whitman’s” remains to the fallen man’s family. His refusal to disembark the train, and the fleeting, haunting glimpse of him caught by his young brother Adam, is a chilling moment of self-annihilation. The subsequent scene on the train, where a sympathetic, attractive woman mistakes his trauma for noble guilt and offers sexual comfort, is pivotal. It teaches the nascent Don Draper a fundamental lesson: the image he now projects—the dashing, wounded officer—is a powerful currency that can elicit desire and compassion, cementing his skills in deception and manipulation.

The following day, a humiliated and furious Pete decides to execute his threat. He marches into Bertram Cooper’s office, with Don in reluctant tow, and unveils the secret. The resulting scene is one of the series’ most brilliantly ironic twists. Pete, expecting shock, outrage, and Don’s immediate ruin, is met instead with Cooper’s bland, dismissive “Who cares?” Bert, an ardent devotee of Ayn Rand’s objectivist philosophy, is not appalled but delighted. He admires the sheer, audacious self-invention Don has accomplished. In Cooper’s worldview, Don is the ultimate Randian hero, a man who created himself ex nihilo through will and opportunity. Pete, the scion of old money who plays by the perceived rules of lineage and tradition, is suddenly revealed as the anachronism. Cooper, the elderly patrician, is philosophically more attuned to the emerging, meritocratic (and morally ambiguous) 1960s than the ambitious young climber. He coolly suggests Don could fire Pete, but also notes that such ruthlessness might be an asset to the firm. The crisis is over; Don’s façade is not just intact but validated by the highest authority in his professional life.

This resolution is underscored by the episode’s final irony. Don returns home, his career and identity secure, only to watch Richard Nixon concede defeat to John F. Kennedy on television. The world he and his colleagues assumed would continue—a Nixonian world of quiet, conservative certainty—has been upended. Yet, as Bert Cooper muses earlier, if Kennedy bought the election through fraud (a popular conservative grievance at the time), he will need the services of pragmatic, amoral men like them. The 1960s, with all their upheaval, have truly begun, and Sterling Cooper is ready to profit from them.

Nixon vs. Kennedy is a superlative piece of television writing and a defining episode for Mad Men. It employs an intensely economical approach to complete the foundational arc of Don Draper’s background, answering the “how” and “why” with devastating clarity. The episode is also notably graphic for the series to that point, juxtaposing the horror of a burnt corpse with the discreetly shot but evident nudity of Hildy—pushing boundaries, albeit less aggressively than its HBO forebears. Its masterstroke is the deployment of dramatic irony on multiple levels: the audience’s historical knowledge of Kennedy’s victory plays against the characters’ Nixonian certainty, and Bert Cooper’s reaction subverts every expectation of how such a secret should be received. The season overall doesn’t have much of a plot, serving instead to introduce setting and character. Nixon vs. Kennedy is the glorious exception, the plot-heavy, character-defining crescendo that justifies the slow burn of the preceding eleven episodes. It proves Matthew Weiner learned the most important lesson from The Sopranos: that the deepest truths about people are often revealed not when they are making history, but when history, indifferent to them, is happening just outside the window.

RATING: 9/10 (++++)

==

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138d
TV · on Monarch: Legacy of Monsters 70
MONARCH: String Theory - S02E07 - RECAP
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Men its almost unfair about casting a real life father and son as two versions of the same character and then writing an episode where they have to talk to each other across four decades without ever being in the same room, because that is exactly what String Theory pulls off and it works awesome while at the same time the name of the episode is phenomenal to everything that goes one, even when the episode surrounding that central idea is doing everything it possibly can to bury its own best moment under a pile of scattered subplots and geography changes specially consider how this people move around the world like its nothing, when did they took an airplane? was the ship that fast? didnt they burn the engines on episode 1, Im like how does this people move from Tokyo to Australia in a blink of an eye. Episode 7 of Monarch Season 2 really shows that the writers know Kurt and Wyatt Russell are the strongest part of the series, but weirdly, they keep splitting the episode between them and other story lines that are just not strong enough to hold your attention. The Operation Hourglass signal bounces off a Titan and accidentally locks onto a frequency from 1962, which means older Lee Shaw is suddenly posing as Mission Control for his own younger self, walking him through a component retrieval from the entry vehicle so they can build a tracker for Titan X, and all of this happens over a radio connection with no face to face contact ever. That should not work as well as it does, its just how they move around from one continent to another that fast without much explanation or reason of time but what ever I guess, but the truth is that the chemistry between those two men does not require eye contact to make your brain think its possible.
- IMDB: https://www.imdb.com/title/tt17220216/
- Platform: APPLETV
Rottentomatoes Rating

[Source](https://tv.apple.com/us/show/monarch-legacy-of-monsters/umc.cmc.62l8x0ixrhyq3yaqa5y8yo7ew)
The Shaw radio exchange is hands down some of the best human material this show has produced across both seasons as a continuation of Hiroshi funeral, and I do not say that to be dramatic, I say it because the specific emotional weight of those scenes is built on something the show cannot manufacture through good writing alone, it requires the actors to carry a believable shared history inside a character who is separated from himself by sixty years of living, its Lee younger version feeling desperate because he feels at some point he is been play out by been tired and hungry, that was a very very dangerous moment because I though he was just going to hang up thinking it was just the voices on his head, specially when he finds Keiko. There is a moment where older Lee has to quietly push his younger self away from interfering with Keiko, and the restraint in how Kurt Russell plays that is the peak of any monologue they could have written, because he is playing a man who knows exactly what happens if young Lee makes the wrong move and cannot say a word about it. It reminded me of that moment in Day of the Doctor where Matt Smith has to look at his past self and recognize himself inside a situation he has already survived, the kind of scene where memory and present time fold into each other and you feel the weight of both at once, and the moment where older Lee reassures younger Lee that he is going to make it home carries so much confidence that probably your mind will think "its going to be alright". On the other side of the episode, Cate and Keiko trace a local island legend about a woman supposedly possessed and it leads them down an old well chasing the signal from Titan X, the more interesting thing happening there is Keiko starting to believe that Cate might actually be the bridge to sending Titan X back to Axis Mundi rather than letting Shaw destroy it, and that puts the two women and Shaw on the same course to clash but we know all Lee will do is try to front run them, never to hurt them to take them out of his way.
[Source](https://tv.apple.com/us/show/monarch-legacy-of-monsters/umc.cmc.62l8x0ixrhyq3yaqa5y8yo7ew) [Source](https://tv.apple.com/us/show/monarch-legacy-of-monsters/umc.cmc.62l8x0ixrhyq3yaqa5y8yo7ew)
Not everything is pretty rainbows with this series, something I have been saying episode after episode, my frustration starts stacking up with Episode 7, because everything outside the Shaw exchange and the island thread feels like the show servicing its own obligations instead of earning its screen time. Kentaro is in Thailand with Isabel Simmons and while Amber Midthunder brings a real charged energy to that character, Isabel shows up with a lavish house her father Walter Simmons built, a speech about living in a world where G Day never happened, and absolutely zero foundation underneath any of it to make you care whether Kentaro buys in or walks away, its like they giving her too much power and presence too fast without been earn. There was not much context about who Walter Simmons is and what Apex represents from Godzilla vs. Kong, and Kentaro is suppose to know that? it felt like Isabel came out of nowhere and was suppose to be very important, so watching him get swept up by someone who claims to hate everything her father stood for while using every single thing he built to make her pitch is a scene that plays cheap because the gap between what we know and what he knows is too wide to bridge in a single Thailand trip, come on. Then there is May, who gets picked up under her government name Corah Mateo by Monarch agents after a tense goodbye and ends up back at Outpost 18 in the South Pacific working with Tim on a neural implant fragment pulled from Titan X, and the reveal that the implant is the thing that knocked Titan X off its natural migration path is actually a solid piece of information that deserved thirty more seconds of screen time to breathe, if they only give this idea a bit more room to expand what it really is, this is why everything about it felt rushed, and that is becoming almost an intentional slip to give their back to interesting plots and ideas , turning more into a bad habit.
[Source](https://tv.apple.com/us/show/monarch-legacy-of-monsters/umc.cmc.62l8x0ixrhyq3yaqa5y8yo7ew) [Source](https://tv.apple.com/us/show/monarch-legacy-of-monsters/umc.cmc.62l8x0ixrhyq3yaqa5y8yo7ew)
The tech side of this series just keeps hinting at bigger MonsterVerse stuff without really going all in. The idea of a neural interface built from something connected to Titan X could have huge implications for Apex and the future of the franchise, and that is actually really interesting, but instead of fully exploring it, the show just keeps teasing it and never fully commits, this is not something around the monsters but with everything else like they have this massive ship that looks like a fortress but they just use it like a high tech cruise to chase titans and the ship itself cant even be fast enough to keep up. Episode 7 does not reveal much, but it gives just enough to keep those bigger timeline questions interesting until we all get tired of them teasing, even if the rest of the episode is a little weak. Shaw wanting to face Titan X alone and refusing to let Suzuki come with him because he thinks Suzuki would die can be read in two ways. It could be a real self sacrificing moment or it could be something more manipulative, depending on how you feel about Shaw by this point because the guy has that two side of the coin character, he can be an antagonist and sometimes the hero. Season 1 made Shaw seem like an underdog fighting against a broken system while Season 2 has been slowly making us question whether he is really that different from the kinds of institutions he is against. That is an interesting idea but the show keeps bringing it up without fully doing enough with it.

Im going to be straight up and I do feel disappointed not mayorly disappointed but at this point in time I feel they should already give us way more, starting with some real Titan fights episodes, some real chaos. The episode wasnt bad bad but String Theory kept almost being great and then sidestepping its own best moments every single time something else needed a check in. The two Shaw performances are the real thing and is what kept this episode up float, but they the episode puts a shadow over this moments with Kentaro packing a bag to go to Thailand for who knows what or May getting escorted back to outpust 18, they just not only interrupt the meat of the episode but totally takes you away from the immersive moment, almost disrespectful to what Kurt and Wyatt Russell are doing with the most interesting science fiction concept this season has tried. Three episodes left and Titan X has still not done anything properly terrifying on screen, and that is starting to feel like a debt this season is going to have trouble paying back no matter how good the ending is. I am giving String Theory a 7 out of 10, the radio scenes alone justify that number but the rest of the episode is the show coasting on goodwill and betting the next episodes can deliver what the setup keeps promising because at this point I need something to actually get destroyed, not hinted at from inside a conference room or through a hole in the ground.
#monarch, #legacyofmonsters, #godzilla, #leeshaw, #axismundi, #titanusx, #mechagodzilla, #apex, #kentaro, #monsterverse, #timetravel, #scifi, #tvreview, #episode7, #kurtrussell, #wyattrussell, #monsteraction, #hollowearth, #monarchreview, #tvseries, #bingewatching, #kaiju, #stringtheory, #apple tv, #godzillavskong

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138d
Movie · on Pump Up the Volume
Pump Up the Volume Is One of the Most Underrated Films of the Nineties. A Bold, Honest, and Rebellious Classic. (1990)
Released in 1990, Pump Up the Volume feels like a movie that was ahead of its time. It captures the frustration, isolation, and desire to be heard that defined a generation, and honestly still feels relevant today. It is not a flashy film, but it hits hard where it matters.

The film was written and directed by Allan Moyle, who brings a very raw and personal tone to the story. Moyle does not try to over polish anything. The movie feels honest, sometimes messy, but always real.

Christian Slater stars as Mark Hunter, a quiet high school student who struggles to connect with the people around him. Slater is perfect in the role. He brings a mix of sarcasm, intelligence, and vulnerability that makes Mark feel authentic.

At night, Mark becomes “Hard Harry,” an anonymous pirate radio host who broadcasts his thoughts and frustrations to anyone willing to listen. Through this alter ego, he says everything he cannot say during the day.

The plot follows how Hard Harry’s broadcasts begin to gain attention. Students start listening, relating to what he is saying, and slowly building a connection around his voice. At the same time, the school administration and local authorities begin trying to track him down.

Samantha Mathis plays Nora, a fellow student who begins to figure out Mark’s secret. Mathis brings a strong presence to the film and helps ground the story emotionally. Her connection with Mark adds another layer to the movie.

What makes Pump Up the Volume stand out is its message. It is about finding your voice and not being afraid to speak out, even when it feels like no one is listening. That message still hits just as hard today.

The film also deals with serious topics like depression, pressure, and the struggles of being young and misunderstood. It does not always offer easy answers, but it does not shy away from those issues either.

Christian Slater carries the movie with his performance. His voice as Hard Harry is confident and fearless, but when you see him as Mark, you understand how much he is holding inside.

The soundtrack is another major part of the film. The music helps set the tone and gives the movie even more personality. It perfectly fits the rebellious energy of the story.

Allan Moyle’s direction keeps everything focused on the characters and their emotions. The film never feels overly complicated. It is a simple story told in a very direct way.

There are several moments in the movie that stand out, especially the broadcasts where Hard Harry speaks openly about how he feels. Those scenes are what give the film its impact.

Pump Up the Volume may not have been a huge mainstream hit, but it has become a cult classic for a reason. People connect with it because it feels real.

It is one of those films that stays with you after it ends. It makes you think about your own voice and whether you are really being heard.

Pump Up the Volume remains an excellent film because it is honest, emotional, and fearless. It is a true classic that deserves more recognition.
David Peña
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138d
Movie · on Thrash
Thrash | Movie Review [ENG-ESP]
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There are movies that come out week after week and, without much fanfare, end up being huge hits. And now, yet another shark movie has arrived—one that manages to blend chaos and suspense, offering viewers a chance to enjoy something different. That’s why Thrash was recently released—a fresh take on the genre. Although there will be some predictable, unemotional moments, there will be others where you’ll feel right in the middle of the disaster, and even more so if you were actually in a situation like that.

This type of shark movie has become very popular in recent times. This time, the focus is very clear, and everything begins in the midst of chaos—with a storm that doesn’t ask for permission but simply destroys, and a threat that transforms the natural into something far more dangerous. It leaves you with much to ponder, and here, every step matters, every decision carries weight, and every mistake can cost everything—simply because it’s a natural phenomenon.

Hay películas que se estrenan semana tras semana y que sin esperar demasiado, terminan siendo un gran éxito y una vez más llega otra película de tiburones, que logra combinar caos, tensión y permite que uno pueda disfrutar de algo diferente. Por eso hace poco se estrenó Embestida, siendo una apuesta diferente del género, a pesar de que habrá parte repetida, sin emoción, habrás otras donde uno se sentirá dentro del desastre y más aún si uno estuviera en una situación como esa.

Este tipo de película de tiburones se han vuelto muy famosas en los últimos tiempos, donde esta vez el enfoque es muy claro y todo arranca en medio del caos, con una tormenta que no pide permiso, sino que destruye y una amenaza que transforma lo natural en algo mucho más peligroso, dejando muchas cosas por pensar y aquí, cada paso importa, cada decisión pesa y cada error puede costarlo todo, por el mismo hecho de ser algo natural.

Source

Despite its short run, Thrash has achieved a wide reach, and what’s interesting is that it jumps right into the action, as if everything were a survival challenge—simply because it’s no longer just about surviving the storm, but about adapting to the aftermath and staying alive. Where what seemed certain, everything begins to change—and even more so when fear doesn’t always come from what you see, but from what might appear at any moment.

Each scene aims to maintain that sense of tension while also building anticipation for something new; to set it apart, it featured looks of uncertainty, awkward silences, and decisions made under pressure. All of this adds up so that the experience isn’t just action, but also constant tension.

Embestida con el poco tiempo de estreno ha logrado un buen alcance y lo interesante es que van directo a la acción, como si todo fuera un desafío de supervivencia, por el mismo hecho de que ya no se trata solo de sobrevivir a la tormenta, sino de adaptarse a las consecuencias y poder estar con vida. Donde lo que parecía seguro, todo comienza a cambiar y más aún cuando el miedo no siempre viene de lo que ves, sino de lo que puede aparecer en cualquier momento.

Cada escena busca mantener esa sensación de tensión y a la vez de esperar algo nuevo, para poder marcar la diferencia mostraba miradas de incertidumbre, silencios incómodos, decisiones tomadas bajo presión. Todo eso suma para que la experiencia no sea solo acción, sino también tensión constante.

Source

Each of the film’s actors brings something valuable to the table, helping to build a strong foundation, starting with Dynevor, who has to carry much of the emotional weight—a challenge, especially in a situation like that—and whose presence adds a special touch. Meanwhile, Hounsou brings a steady, supportive presence, showing that even in the most extreme moments, there’s always room to try to maintain control.

Another interesting aspect is how the film constantly seeks to maintain that sense of danger in every location, every flooded space, every corner, and with every shark that appears—which makes the story feel more open-ended. Furthermore, they managed to take this story to a point of no return, and that’s precisely what the production aims for: to give you no respite.

Cada uno de los actores de la película aporta valor para así poder construir algo fuerte, comenzado desde Dynevor quien tiene que sostener gran parte del peso emocional, la cual es un reto y más aún en una situación como esa, por su presencia le da un toque especial. Mientras que, por otro lado, esta Hounsou quien aporta esa presencia firme, de apoyar y ayudar, mostrando que incluso en los momentos más extremos, siempre hay espacio para intentar mantener el control.

Otras de las cosas interesantes es cómo la película siempre busca mantener esa sensación de peligro en cada da lugar, cada espacio inundado, cada rincón y con cada tiburón que aparece u eso hace que la historia se sienta más abierta. Además, lograron llevar esta historia a un punto donde ya no hay vuelta atrás y por eso la producción busca precisamente eso: no darte descanso.

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I liked Thrash (2026) because it’s different from other shark movies—it’s straightforward, intense, and not over-the-top. It’s the kind of movie where you feel like you’re right in the thick of it, where you know everything could go wrong but you still can’t look away. So if you’re looking for a good scare, this is a great choice.

Me gustó el resultado de Embestida (2026), ya que es diferente a las demás películas de tiburón y es directa, intensa y no exagerada. Donde es ese tipo de película donde sientes que estás dentro del problema, donde sabes que todo puede salir mal y aun así quieres seguir viendo. Así que si buscas y llevarte buenos sustos, esta es una buena opción.
Drax
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Blogger, film critic, columnist (writes in Croatian and English)
138d
TV · on Star Trek: The Next Generation 80
Television Review: I, Borg (Star Trek: The Next Generation, S5X23, 1992)

I, Borg (S05E23)

Airdate: 11 May 1992

Written by: René Echevarria Directed by: Robert Lederman

Running Time: 46 minutes

Among the pantheon of iconic alien races conceived within the Star Trek universe, few have achieved the enduring, chilling status of the Borg. Introduced in Star Trek: The Next Generation, their iconic stature is all the more remarkable given their relatively sparse appearances throughout the series. Initially, they were presented as a tantalising tease, a mysterious cosmic horror lurking in the galactic shadows, whose true nature was only fully unveiled in the seminal episode Q Who. There, they were revealed as a faceless, machinelike collective, an unstoppable force of assimilation that threatened not merely starships but the very fabric of civilisation. It was precisely this aura of supreme, almost godlike superiority and invulnerability that paradoxically limited their use as recurring villains for the TNG writers. Confronting such an adversary required extraordinary narrative ingenuity to grant our protagonists a fighting chance, a challenge magnified exponentially following the traumatic events of "he Best of Both Worlds, where Captain Picard himself was assimilated into Locutus. Consequently, any subsequent Borg narrative had to arise under uniquely compelling circumstances and be crafted with exceptionally high-quality material. This formidable creative challenge was met near the conclusion of Season 5 with the masterful episode I, Borg.

The plot commences with the USS Enterprise-D conducting a routine survey of the Arcolis cluster. A peculiar signal from a desolate moon prompts an away team investigation. Commander Riker, Lieutenant Worf, and Dr. Beverly Crusher discover the wreckage of a small Borg scout vessel, containing four deceased drones and one severely damaged survivor. Dr. Crusher, adhering to her Hippocratic oath, insists the injured drone be beamed aboard for medical treatment. Security Chief Worf, embodying Klingon pragmatism, vehemently argues for its immediate termination. Captain Picard, his judgement irrevocably coloured by his personal trauma at the hands of the Collective, authorises the transport only after stringent precautions are implemented: a specialised subspace damping field is erected to isolate the drone from any residual hive-mind communication.

As Dr. Crusher attends to the drone's critical injuries, she determines its survival hinges on replacing its damaged cybernetic systems with compatible technology from the Enterprise's sickbay. This necessity sparks a dark epiphany in Picard. He conceives a plan to weaponise the drone: upon its repair, it could be deliberately returned to the Borg Collective, carrying within its systems an invasive, recursive geometric program designed to propagate like a virus and catastrophically crash the entire hive mind. This would constitute a pre-emptive act of genocide, obliterating the Federation's most existential threat in one decisive stroke.

The ethical schism aboard the Enterprise is immediate and profound. Dr. Crusher is aghast, revolted by the notion of deliberately engineering the death of her patient, and horrified by the cold calculus of annihilating an entire species, however monstrous. Picard, however, argues from a place of visceral, first hand terror. Having been Locutus, he understands the Borg's relentless, dehumanising totality. For him, the survival of the Federation—indeed, of all organic life—justifies any action, transcending ethical quandaries. He finds an unlikely ally in Guinan, the ship's sage bartender and usual moral compass. Her people, the El-Aurians, were nearly rendered extinct by the Borg, forcing them into a scattered exile. Her advocacy for the drone's destruction is born of a survivor's stark understanding of a predator that offers no quarter and recognises no morality.

The episode's central moral pivot arrives through the character of Chief Engineer Geordi La Forge. Tasked with repairing the drone's cybernetics, Geordi begins to interact with the entity. Isolated from the Collective's constant psychic drone, the Borg begins to exhibit flickers of dormant individuality. It starts to refer to itself in the first person, eventually adopting the name "Hugh", offered by Geordi. This nascent personhood transforms the abstract "drone" into a sympathetic individual. Geordi, forming a genuine bond with Hugh, becomes his most passionate defender, arguing that they are witnessing the rebirth of a soul. He successfully appeals to Guinan's conscience and, in a powerful scene, confronts Picard, forcing his captain to see not a Borg, but a person he is preparing to sacrifice.

The resolution is characteristically nuanced and bittersweet. Hugh is presented with the choice to remain on the Enterprise and cultivate his hard-won individuality. In a moment of profound altruism, he instead chooses to return to the moon to be retrieved by a Borg rescue vessel. His motive is to protect his new friends; he knows the Collective will expend limitless resources to recover him, endangering the Enterprise. The crew reluctantly honours his wish, hoping against hope that the spark of individuality he now carries might, like a benign infection, subtly propagate within the Collective, achieving a form of subversion far more humane than Picard's viral program.

Written by René Echevarria, one of Star Trek's most esteemed writers, I, Borg represents the franchise at its intellectual best: a thinking person's science fiction where philosophical dilemma takes precedence over phaser battles. The episode's brilliance lies in its refusal to offer a facile answer. Echevarria constructs a compelling case for both genocide and mercy, and does so by inverting audience expectations. It is Picard and Guinan—the series' paragons of wisdom and virtue—who argue with chilling conviction for the morally abhorrent action. Conversely, Dr. Crusher and Geordi, advocating for compassion, are positioned almost as dangerously naïve, embodying what contemporary discourse might critique as "suicidal empathy". The script trusts the audience to wrestle with these contradictions without a narrative mandate.

Ultimately, the episode resolves by having its characters choose the "Right Thing" in alignment with Gene Roddenberry's optimistic humanist vision. Yet, the victory is pyrrhic and the tone decidedly downbeat. Salvation comes from the former drone who, having rediscovered his humanity, performs the ultimate self-sacrifice. This poignant arc is realised through an exceptional performance by Jonathan Del Arco, who portrays Hugh's transformation from mechanical monotone to hesitant sentience with subtlety and grace. The episode is further elevated by superb production design and inventive prosthetic makeup that renders the Borg both familiar and newly vulnerable.

I, Borg remains a superlative episode. However, its legacy is somewhat complicated by hindsight. Many critics and fans now view it as the genesis of a process that gradually "defanged" the Borg. The introduction of a sympathetic, individual Borg created a narrative template that would be extensively—some would say excessively—explored in Voyager with the character of Seven of Nine, ultimately rendering the Collective more flawed, less formidable, and more psychologically comprehensible. This arguably diminished their primal, lovecraftian horror. Nevertheless, judged on its own considerable merits, I, Borg looks like a pinnacle of Star Trek's golden age, a masterpiece of ethical science fiction storytelling. The character of Hugh would, fittingly, return a year later in the two-part episode Descent, further exploring the consequences of individuality within the Collective, but never quite recapturing the raw, moral urgency of this singular, superb piece of television.

RATING: 8/10 (+++)

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TV · on Daredevil: Born Again 70
Daredevil Born Again: The Scales & The Sword – S02E03 - RECAP
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Its been three episodes already of Daredevil Born Again season 2 and the show is finally starting to remember what it used to be, first two episodes were kinda draggy specially the premier, because the older Netflix run had this particular quality and this episode gets closer to that feeling with all the fights and specially with potentially a new White Tiger been born, which makes me both relieved and a little frustrated that it took this long to get here, I was expecting this kind of action right from the start but it is what it is. Matt Murdock is still carrying around all that blinded by justice guilt, still moving between justice, range and anger like a man who cannot decide which version of himself he wants to be, and Karen and the remaining allies on his side are trying to hold things together while Fisk get closer and closer to them, but you already knew all that if you have been watching because the show has been building this particular pressure cooker for weeks now. What this episode does differently is that it actually releases some of that pressure and puts Matt in situations where he stops talking about what he should do and just starts doing it, and I forgot how much I missed watching this guy work because the courtroom version of this character is fine but the version who uses every sense he has to tear through a room full of AVTF guys while bleeding all over the place is the reason any other DareDevil fan wants to watch this series. The vibe throughout this one feels heavier than the last couple of weeks, like the show took a step back and said okay enough setup, pedal to the metal, and the result is the closest thing to the old show this season has delivered, which for me personally after being on the fence about this whole revival is exactly what I needed to see.
- IMDB: https://www.imdb.com/title/tt18923754/
- Platform: DISNEY+
Rottentomatoes Rating
[Source](https://www.disneyplus.com/browse/entity-85e7a914-c8e6-41db-95df-c740dc2cf1b7) [Source](https://www.disneyplus.com/browse/entity-85e7a914-c8e6-41db-95df-c740dc2cf1b7)
The episode builds the story of Matt getting back into his badass mode during a really good damn fight sequence inside Fisk Red Hook prison, where he teams up with Jack Duquesne and helps free the prisoners while Karen is working the escape from the outside, and the whole sequence is the kind of tight fast choreography that reminds you why this character works so much better in motion than in a courtroom. Although its not just the action itself but the way they use the environment to show how Matt operates differently from everyone else in that space, because the bad guys are spraying bullets and hoping for the best while Matt is using every sound and surface and air current to know exactly where each person is before he even gets close to them, and it is a detail that a lot of superhero productions skip entirely but this show has always understood it. Jack Duquesne as swords man, getting some actual shine here felt right because bringing more muscle to the good guy side makes the fight feel more real when Fisk sends people to clean things up, and the cast carried every moment even when they were just two people moving through darkness trying to find an exit before the whole situation turned into a graveyard, there were a lot of prisoner and the AVTF was instructed to shoot them down to stop escaping, this were mostly non vigilante just regular people, innocent people. It is the kind of sequence that wipes your memory of the slow parts because you are watching a human being work through a crowd of thugs with nothing but his fists and about forty years worth of anger, and it is dope to see, it is the show operating at the level it is supposed to operate at.
[Source](https://www.disneyplus.com/browse/entity-85e7a914-c8e6-41db-95df-c740dc2cf1b7) [Source](https://www.disneyplus.com/browse/entity-85e7a914-c8e6-41db-95df-c740dc2cf1b7)
Everything about the introduction of Angela Del Toro as the new White Tiger felt rushed to me but exciting too, you can see it coming a mile away, she is still early in her story as a hero so her tough talk came across flat and the whole thing felt too compress, because she is standing there trying to talk big to seasoned criminals and it just sounds like someone who has watched too many movies and not enough actual street level violence, the girl weights 100 pounds at most, any guy from the AVTF slaps her and put her to sleep. The character is not trash but they need to give her a real situation to react to instead of just having her stand in the corner looking intense while the people who actually know what they are doing handle the hard stuff. The whole story is simple but it gets cold when Fisk moves to destroy the wrecked Northern Star and control the aftermath in a way that keeps his hands clean on paper, and you could see he felt like garbage during his conversation with Vanessa about it, but he went ahead anyway because that is who Wilson Fisk is, he is not just a power hungry businessman but a monster who will bury any evidence that threatens his grip on the city and feel bad about it for exactly thirty seconds before moving on. The ship related scene is probably the most disturbing part of the episode because it shows how deeply that control goes, and the way everyone around Fisk just executes without asking questions shows you how completely he owns the people in his orbit right now.
[Source](https://www.disneyplus.com/browse/entity-85e7a914-c8e6-41db-95df-c740dc2cf1b7) [Source](https://www.disneyplus.com/browse/entity-85e7a914-c8e6-41db-95df-c740dc2cf1b7)
The psychiatrist situation is the one thread that really has me looking sideways at the screen, because she is keeping Muse mask in her desk drawer and acting like she is hearing things in between sessions creating this spark that she might turn into Muse soon or latter, btch be crazy. The whole psychological aspect of her scenes reminds me of how Hannibal used to play with its supporting characters before they became something dangerous. Her scenes are quiet and unsettling creating this massive contrast to the explosions, shooting and bone cracking fights happening everywhere else in the episode its like the perfect silence before the storm and one of the biggest problem I find is that she might have inside info on Fisk and Matt when she turns into the new Muse, and that contrast is doing a lot of work because we already know roughly how the physical battles are going to end but the mental games are where things get unpredictable for Matt and the people around him. She is sitting there looking like a completely put together professional while hiding the face of a serial killer in her drawer, which is some next level unhinged behavior, and it makes you feel discomfort at every other potential stable adult on this show creating this suspicion of who will turn next because you have no idea who is secretly working for which side, living in a city where the Kingpin basically runs the law.

After watching this episode Im 50/50 with it, I feel disappointed that the middle section drags in places with people going in circles over paperwork and corrupt justice theater because the scenes at the courtroom during Swordsman hearing was nothing special, but the ending was fkn nuts and it saved the whole hour from being just another bridge episode that you have to sit through to get somewhere interesting. The episode also gave us a real look into how the criminal side of this city operates, this series have many seasons in it ngl at least five season imo but I bet Disney going to cut its wings, the show is giving us a city where everyone is positioning to be smarter or faster or just breathing long enough to collect their cut and it is exactly the kind of moment the show needs more of because it reminds you that Fisk is not just a threat to Matt personally but a machine that runs on loyalty and fear and keeps grinding forward regardless of what the only hero standing could be doing, seen all those prisoners walking away was like nothing because he controls the media and who is going to believe them?. I give this episode a 7/10 because the Red Hook prison sequence and the action are dope enough to carry the weight of the weaker scenes, but the show still needs to find a way to trim the corrupt justice and vigilante trial elements down so there is more room for real confrontation, and the new heroes being introduced are going to need real moments to earn their place in this story before they stop looking like just decoration, as long as Matt Murdock keeps giving us bloody battles I will be watching week after week.

#daredevil, #fisk, #bornagain, #mattmurdock, #hellskitchen, #kingpin, #karenpage, #foggynelson, #whitetigress, #swordsman, #muse, #marvel, #mcu, #action, #fightscene, #legaldrama, #newyork, #justice, #revenge, #villain, #crime, #thriller, #blog, #review, #tvseries

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Movie · on Dust Bunny
Dust Bunny: A Review
Spoiler--Some might consider information in this review as spoilers. I don't think so because I don't give away the end. I do analyze and give my interpretation of the child's motivation--which is not clear in the beginning.

Dust Bunny is a strange, brilliant movie. On first viewing it seems to be a grotesque fairy tale. When I say fairy tale, I mean in the sense of the darkest Grimm story. The plot revolves around a 10-year-old girl who has a people-eating dust bunny living under her bed. After the monster has eaten three sets of parents, the child hires an assassin to kill the thing off.

Trailer:

Obviously, this is not a good vs. evil story. The assassin is a kind of monster himself, and the little girl is hardly sweet innocence. She has brought this thing into existence by wishing it would come and eat her first set of parents. These two, according to the child, did not treat her well. They were the first of successive, ill-fated foster parents. Not only does the child summon the beast to commit parricide, but she steals from a church in order to pay the assassin. Shortly after meeting him, she helps him dispose of someone who was sent to murder her.

The characters in the movie are complex. Even the dust bunny isn't all evil. This monster has come, after all, at the behest of the child, to protect the child. Definitely this is an imperfect bunny, but still, in a sense, a champion.

Dust Bunny is a horror movie, and it's funny--but you have to be ready for the humor in the midst of the mayhem.

For example, the assassin, played by Mads Mikkelsen, cannot pronounce the child's name, Aurora. This mispronunciation is a running gag throughout the film. In one scene, near the end of the movie, the monster has just eaten a pile of people. We can hear its gustatory delight as it digests. The creature is about to eat the assassin when this killer articulates...or tries to articulate...the child's name.

"Erora," he manages to say.

As she cowers under a pile of blankets, the child corrects him, calmly, "Aurora." Comedy is all about timing, and these two have it down pat.

I watched this movie twice, once last night and once this afternoon. The first viewing was a romp. I was astonished by the filmmaker's creativity. At every turn there was a surprise.

For example: the assassin wipes up drops of blood as they drip onto the floor of a public hallway. He does this with his foot, which is covered merely by a sock. The graceful, casual, motion with his foot speaks volumes about his role in life.

The assassin's handler, whom he calls, Mom, comes to the child's apartment to kill her. When 'Mom" encounters the monster she takes off her high-heeled shoes and uses them as pistols. Sigourney Weaver in this role hams it up to perfection. She calls to mind Snow White's wicked stepmother as that witch tries to tempt young Snow White with a poisoned apple.

The look of Dust Bunny is highly stylized. The social worker who turns out to be an FBI agent is wearing a vividly checkered suit, something that looks like a costume in Alice in Wonderland.

_{Charles Robinson. Cover, "Alice in Wonderland", 1907. Public domain}

The streets are dark and moody. The elevator in the apartment building looks like something in Willy Wonka & the Chocolate Factory.

Check out the elevator in this trailer for the Willy Wonka film.

The first time I watched Dust Bunny through to the end was because every scene held a surprise, and I wanted to know if the child and/or the assassin survived.

The second time I watched the film was to understand what I missed. There was more going on in this film than a man-eating dust bunny, a wide-eyed child and an assassin with an odd sense of morality. There was symbolism.

I knew there was symbolism because the movie had me hooked. This wasn't simply mayhem, 1,2,3 (ex: The Texas Chain Saw Massacre). Everything important in Dust Bunny is eventually reduced to a symbol.

Names: by the end of the movie the child no longer has the name 'Aurora'. She is simply, 'Little Girl'. And the assassin never really gets a name. He is referred to alternately as 'concerned neighbor', 'resident in 5B', and 'intriguing neighbor'. Both the child and the assassin have lost their particularity. They have become symbols.

Symbolism is essential to the nature of our species. We are distinguished from other species by our use of symbols. We are the creatures who painted pictures on caves to represent thought. We write operas (some of us), and communicate with the written word...symbols.

We all know that nightmares are laden with symbolism. In the movie the dust bunny is described as something out of a child's nightmare. We know that the child was unhappy with her first set of foster parents. This child must have been miserable, helpless.

She wished upon a star for a champion, for something to free her from the unhappy circumstance. The child realizes by the end of the movie that the dust bunny is her monster. It is a product of her will. As is the assassin. He is a product of her will. She reminds him repeatedly, "I wished for you, also".

Here's a clip that shows when she hires the assassin:

The struggle between the monster and the assassin is the child's own struggle. Dark forces, her impulse to kill her parents, got out of hand and needed to be controlled. She needed to take control. She needed the assassin to fight the dust bunny, to fight her darkest impulses. It is the fight we all have within ourselves.

I know, I know... I've just ruined it for some readers. I've over analyzed. But viewers don't have to watch the movie with an eye to its symbolism. Not being conscious of the symbolic intent doesn't take from the film. I think if that intent didn't exist the film would seem more shallow, less interesting. I think we are able to understand the symbolism without articulating it.

After I watched the movie for the second time, I looked up the trailer. Trailers often give a clue as to the filmmaker's intention. There it is, at the end of the trailer: the child in charge. She is not a passive bystander. It was always her struggle, and it will be hers to resolve throughout her life. As it is for all of us.

Actors: There are great performances all around. While the three leads--Sophie Sloan (Aurora), The Assassin (Mads Mikkelsen), and the Assassin's handler (Sigourney Weaver)--are outstanding, I was impressed also with the FBI Agent, (Sheila Atim). I usually don't enjoy child actors, because they tend to overact. This one hits a nice balance and her chemistry with Mikkelsen is charming.

I read that Sigourney Weaver received an Independent Spirit award for supporting actor in the film. I would have have given that to Mikkelsen. He is unforgettable. Also, he has a lot of action shots, where he seems to fly through the air. I learned he was a professional dancer for ten years and performs many of the physical feats himself.

The following is from IMDB: Release Date: 2025 Director, Producer, Writer: Bryan Fuller

I highly recommend the movie. However, if you don't like weird stuff, you will hate this. I would not recommend it to my husband. :)

I watched the movie on HBO Max.

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