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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+

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.

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.

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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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.

Thank you for reading my blog. Hive on!

If you’re in the mood for a romance that actually tries to say something, you may come by the 2025 romance film: The Materialists

https://www.imdb.com/title/tt30253473

It caught my attention for a variety of reasons, will it be a good watch for you? Check it out below

I went into this film knowing very little, just that it’s a romance and that it features some seriously impressive names like Dakota Johnson, Chris Evans, and Pedro Pascal. That alone was enough for me to commit to a two-hour watch without hesitation.

(In case you did not know, I learned about it yesterday, Dakota Johnson is the daughter of Melanie Griffith and Don Johnson. I had never seen a film with her before, so I was really curious to see this one)

From the very beginning, the film pulls you into a world that feels polished, intentional, and a little bit seductive. Everything is carefully crafted, good acting by everyone, great atmosphere, even though I admit that I found it to be rather slow most of the times.

It’s one of those movies where the photography and aesthetic add up to the movie, so the slow pace is not so disturbing, as it gives you time to pay attention to the story & the characters.

The story: At the center of it all is a high-end matchmaker—someone who doesn’t believe in love alone, but in optimized love. She’s built her career on pairing people based on compatibility, status, and calculated perfection. Her goal? The most successful matches, the most flawless unions. In the film, she already celebrates the 9th successful wedding!

Love, in her world, is almost mathematical. (and perhaps this is where the movie took its name from)

But things get complicated when she meets what is considered a “unicorn”. Someone who seems to tick every box, maybe even more than all.

Instead of trying to perfectly match him, she is gently getting into the game and into the perfect relationship for both of them!

How the movie evolves, I cannot share - this post will not contain spoilers.

You may question yourself after it. What is love, really? Can it be measured, predicted, orchestrated?

I saw the film for almost 2 hours, but with some breaks. I felt that several scenes could be shot in a faster pace, while others were ok to be so slow as the emotion should be showed. I guess this is just a personal taste.

The movie is also considered as a comedy, but I did not spot any comical elements, dramatic perhaps but not comic.

I would give it a 6.5 if it would be shorter, now I am giving it a 6/10 In imdb, you will see a 6.2 at the moment

Thoughts?

Will you watch this?

[One Piece] Netflix has released... Let's say a teaser for season 3, which will debut in 2027. We also learned the subtitle. As I expected, S2 was an introduction to Arabasta and we will end with season 3. In addition, there will be a special episode with Lego. Well, maybe the plans with The Witcher didn't work out, so they're trying another franchise. https://variety.com/2026/tv/news/one-piece-season-3-title-lego-animated-special-netflix-1236710006/

[Reed Hastings] One of the co-founders of Netflix left the company after 29 years. https://www.comingsoon.net/tv/news/2121757-netflix-co-founder-ex-ceo-reed-hastings-leave-company-29-years

[Charlie vs. the Chocolate Factory A studio working for Sony (those from K-POP DH) will make another animated film for Netflix, which will debut in 2027. Taika Waititi will play the role of Willy Wonka. https://www.comingsoon.net/movies/news/2121119-charlie-vs-the-chocolate-factory-taika-waititi-netflix-cast-date

[Ladies First] Rosamund Pike and Borat will appear in one film, which will debut on May 22. https://www.comingsoon.net/movies/trailers/2120832-sacha-baron-cohen-netflix-movie-ladies-first-trailer-release-date

[Peaky Blinders] Work on the continuation of the series started quite quickly. We received information about the actor's change and more. https://www.comingsoon.net/tv/news/2115811-peaky-blinders-sequel-tv-show-recasts-barry-keoghan-gets-first-look-new-cast

[Office Romance] On June 5, a romantic film with Jennifer Lopez will debut on Netflix. https://www.comingsoon.net/movies/news/2119543-jennifer-lopez-new-netflix-movie-gets-release-date-first-look

[Lord of the Files] On May 4, we will get a mini-series with the Harry Potter star from the creator of Adolescene. Judging by the number of Emmy nominations, we will get a really good series. https://www.comingsoon.net/tv/trailers/2116431-lord-of-the-flies-trailer-harry-potter-star-netflix-tv-show

https://variety.com/2026/tv/awards/lord-of-the-flies-netflix-emmys-submissions-1236720654/

[Little House on the Prairie] On July 9, a new version of the classic series will debut on Netflix. https://www.comingsoon.net/movies/trailers/2119477-little-house-on-the-prairie-teaser-trailer-netflix-reboot-classic-tv-show

[The Boroughs] A new series from the creators of Stranger Things will debut on May 21. https://www.comingsoon.net/tv/trailers/2119402-the-boroughs-teaser-trailer-sci-fi-netflix-tv-show-stranger-things-creators

[Swapped] On May 1, a new animated film with Michael B. Jordan and Juno Temples will debut on Netflix. https://www.comingsoon.net/movies/news/2115165-michael-b-jordan-juno-temples-netflix-movie-swapped-gets-fun-trailer

[Perfect] Netflix's chief drama queen, Eleven, interrupted the film's production cycle due to "creative differences." https://www.comingsoon.net/movies/news/2118887-millie-bobby-brown-olympics-movie-canceled-reason-revealed

[The Cackling of the Dodos] Jason Bateman's new film will appear on Netflix in 2027. https://www.comingsoon.net/movies/news/2115670-jason-bateman-netflix-comedy-the-cackling-of-dodos-release-date

[Schitt's Creek] Apparently, Dan Levy's new film on Netflix is ​​getting very good reviews. https://www.comingsoon.net/tv/news/2118522-big-mistakes-reviews-rotten-tomatoes-netflix-dan-levy

[Funny AF with Kevin Hart] There will be a new show with Kevin Hart. Premiere on April 20. https://www.comingsoon.net/tv/trailers/2117268-kevin-hart-new-netflix-tv-show-gets-trailer

[Reacher Series] Reacher will be making a series with Netflix, but we don't know anything about it yet. https://www.comingsoon.net/tv/news/2119571-alan-ritchson-new-netflix-tv-show-revealed-after-war-machine-success

[Redwall] It seems that Netflix has given up on the idea of ​​adapting Redwall's books. https://www.comingsoon.net/tv/news/2119163-netflix-canceled-redwall-movie-tv-adaptations

[The Eternaut] The second season will debut only in 2027. https://www.comingsoon.net/tv/news/2118118-the-eternaut-season-2-release-date-update-netflix

[Hacks] The series is receiving excellent reviews for the start of the final season. The creators do not rule out rebooting the entire series. https://www.comingsoon.net/tv/news/2117947-hacks-season-5-reviews-rotten-tomatoes-hbo-max

https://www.comingsoon.net/tv/news/2118741-hacks-reboot-season-5-final-debut-premiere

[Tom and Jerry: Forbidden Compass] The film will hit theaters on September 9. https://www.comingsoon.net/movies/news/2121389-new-tom-and-jerry-movie-sets-theatrical-release-date

[Alien 3] The extended version of Alien part 3 debuted on HBO. https://www.comingsoon.net/movies/news/2116966-alien-3-extended-assembly-cut-david-fincher-streaming-hbo-box

[Parable of the Sower] Warner Brothers has acquired the rights to produce an adaptation of the 1993 book by Octavia E. Butler. https://www.comingsoon.net/movies/news/2119075-parable-of-the-sower-movie-in-works-warner-bros

[Digger] At the beginning of October we will get a new film from a renowned director. If you want to see Tom Cruise as an obese billionaire, this will probably be a better opportunity. https://variety.com/2026/film/news/digger-trailer-cinemacon-tom-cruise-fat-billionaire-1236705656/

[Superman 2] We met the actress from Maxima - a character who was a love interest in the comics, as well as an opponent of Superman. Some people speculated that Adria Arjona would be a good fit for WonderWoman. I specifically looked through the photos and let me tell you, I know women with better potential for this, but if she went to the gym and gained a little mass in a few places, I probably wouldn't even complain. He has the right dimensions and height too https://variety.com/2026/film/news/adria-arjona-maxima-superman-sequel-man-of-tomorrow-1236721502/

[Rick and Morty] The series will return with season 9 on May 24. https://www.comingsoon.net/tv/news/2117208-rick-and-morty-season-9-trailer-previews-return-of-beloved-adult-swim-tv-show

[Insidious: Out of the Further] We learned the title and premiere date of the new film - August 21 this year. https://www.comingsoon.net/movies/news/2119141-insidious-6-title-out-of-the-further-trailer-release-date

https://www.comingsoon.net/movies/trailers/2119570-insidious-out-of-the-further-trailer-previews-horror-movie

[Mistborn] The writer said that he had already half written the script for the film adaptation of his novel. https://www.comingsoon.net/movies/news/2115349-mistborn-movie-update-brandon-sanderson-apple-tv

[Shrinking] Fans of the Apple series received a powerful update! SPOILER ALERT! https://www.comingsoon.net/tv/news/2117930-shrinking-season-4-5-future-last-update

One Piece | Shrinking | Schitt's Creek | The Eternaut 2 | Hacks S5 | The Boroughs | Little House on the Prairie | Insidious: Out of the Further | Mistborn | Peaky Blinders - sequel | Rick and Morty 9

[One Piece] Netflix udostępnił... Powiedzmy, że teaser 3 sezonu, który zadebiutuje w 2027. Poznaliśmy też podtytuł. Zgodnie z moimi oczekiwaniami, S2 stanowił wprowadzenie do Arabasty i na 3 sezonie zakończymy. Poza tym powstanie odcinek specjalny z lego. Cóż, czyżby plany z Wiedźminem nie wypaliły, więc próbują z kolejną marką. https://variety.com/2026/tv/news/one-piece-season-3-title-lego-animated-special-netflix-1236710006/

[Reed Hastings] Jeden ze współtwórców Netflixa, opuścił firmę po 29 latach. https://www.comingsoon.net/tv/news/2121757-netflix-co-founder-ex-ceo-reed-hastings-leave-company-29-years

[Charlie vs. the Chocolate Factory Studio pracujące dla Sony (ci od K-POP DH) zrobią kolejny film animowany dla Netflixa, który zadebiutuje w 2027. W roli Willy'ego Wonki usłyszymy Taika Waititi. https://www.comingsoon.net/movies/news/2121119-charlie-vs-the-chocolate-factory-taika-waititi-netflix-cast-date

[Ladies First] Rosamund Pike i Borat wystąpią w jednym filmie, który zadebiutuje 22 maja. https://www.comingsoon.net/movies/trailers/2120832-sacha-baron-cohen-netflix-movie-ladies-first-trailer-release-date

[Peaky Blinders] Prace nad kontynuacją serialu ruszyły całkiem szybko. Dostaliśmy informację o zmianie aktora i nie tylko. https://www.comingsoon.net/tv/news/2115811-peaky-blinders-sequel-tv-show-recasts-barry-keoghan-gets-first-look-new-cast

[Office Romance] 5 czerwca na Netflixie zadebiutuje film romantyczny z Jennifer Lopez. https://www.comingsoon.net/movies/news/2119543-jennifer-lopez-new-netflix-movie-gets-release-date-first-look

[Lord of the Files] Z kolei 4 maja, dostaniemy mini-serial z gwiazdą Harry'ego Pottera od twórcy Adolescene. Wnioskując po ilości nominacji do Emmy, dostaniemy naprawdę dobry serial. https://www.comingsoon.net/tv/trailers/2116431-lord-of-the-flies-trailer-harry-potter-star-netflix-tv-show

https://variety.com/2026/tv/awards/lord-of-the-flies-netflix-emmys-submissions-1236720654/

[Little House on the Prairie] 9 lipca na Netflix zadebiutuje nowa wersja klasycznego serialu. https://www.comingsoon.net/movies/trailers/2119477-little-house-on-the-prairie-teaser-trailer-netflix-reboot-classic-tv-show

[The Boroughs] 21 maja zadebiutuje nowy serial od twórców Stranger Things. https://www.comingsoon.net/tv/trailers/2119402-the-boroughs-teaser-trailer-sci-fi-netflix-tv-show-stranger-things-creators

[Swapped] 1 maja na Netflix zadebiutuje nowy film animowany z Michaelem B. Jordanem i Juno Temples. https://www.comingsoon.net/movies/news/2115165-michael-b-jordan-juno-temples-netflix-movie-swapped-gets-fun-trailer

[Perfect] Naczelna drama queen Netflixa, czyli Jedenastka, przerwała cykl produkcyjny filmu z uwagi na "różnice kreatywne". https://www.comingsoon.net/movies/news/2118887-millie-bobby-brown-olympics-movie-canceled-reason-revealed

[The Cackling of the Dodos] Nowy film Jasona Batemana pojawi się na Netflixie w 2027. https://www.comingsoon.net/movies/news/2115670-jason-bateman-netflix-comedy-the-cackling-of-dodos-release-date

[Schitt’s Creek] Podobno nowy film Dana Levy'ego na Netflixie, zbiera bardzo dobre opinie. https://www.comingsoon.net/tv/news/2118522-big-mistakes-reviews-rotten-tomatoes-netflix-dan-levy

[Funny AF with Kevin Hart] Powstanie nowe show z Kevinem Hartem. Premiera 20 kwietnia. https://www.comingsoon.net/tv/trailers/2117268-kevin-hart-new-netflix-tv-show-gets-trailer

[Serial od Reachera] Reacher zrobi serial z Netflixem, ale póki co nic nie wiemy na jego temat. https://www.comingsoon.net/tv/news/2119571-alan-ritchson-new-netflix-tv-show-revealed-after-war-machine-success

[Redwall] Wygląda na to, że Netflix zrezygnował z pomysłu na adaptacje książek autorstwa Redwalla. https://www.comingsoon.net/tv/news/2119163-netflix-canceled-redwall-movie-tv-adaptations

[The Eternaut] Drugi sezon zadebiutuje dopiero w 2027. https://www.comingsoon.net/tv/news/2118118-the-eternaut-season-2-release-date-update-netflix

[Hacks] Serial zbiera doskonałe opinie za początek finałowego sezonu. Twórcy nie wykluczają zrobienia rebootu całej serii. https://www.comingsoon.net/tv/news/2117947-hacks-season-5-reviews-rotten-tomatoes-hbo-max

https://www.comingsoon.net/tv/news/2118741-hacks-reboot-season-5-final-debut-premiere

[Tom and Jerry: Forbidden Compass] Film trafi do kin 9 września. https://www.comingsoon.net/movies/news/2121389-new-tom-and-jerry-movie-sets-theatrical-release-date

[Alien 3] Na HBO zadebiutowała rozszerzona wersja 3 części Alien. https://www.comingsoon.net/movies/news/2116966-alien-3-extended-assembly-cut-david-fincher-streaming-hbo-box

[Parable of the Sower] Warner Brothers nabył prawa do wyprodukowania adaptacji książki autorstwa Octavia E. Butler z 1993 roku. https://www.comingsoon.net/movies/news/2119075-parable-of-the-sower-movie-in-works-warner-bros

[Digger] Na początku października dostaniemy nowy film od uznanego reżysera. Jeśli chcecie zobaczyć Toma Cruise'a jako otyłego miliardera, to prawdopodobnie będzie lepszej okazji. https://variety.com/2026/film/news/digger-trailer-cinemacon-tom-cruise-fat-billionaire-1236705656/

[Superman 2] Poznaliśmy aktorkę od Maximy - postaci, która w komiksach była love intrest, jak również przeciwniczką Supermana. Część ludzi spekulowało, że Adria Arjona pasuje do WonderWoman. Specjalnie przejrzałem zdjęcia i powiem tak, znam kobiety z lepszym potencjałem do tego, ale gdyby poszła na siłownię i nabrała troszkę masy w paru miejscach, prawdopodobnie nawet bym nie narzekał. Gabaryty ma odpowiednie, wzrost też https://variety.com/2026/film/news/adria-arjona-maxima-superman-sequel-man-of-tomorrow-1236721502/

[Rick and Morty] Serial powróci wraz z 9 sezonem już 24 maja. https://www.comingsoon.net/tv/news/2117208-rick-and-morty-season-9-trailer-previews-return-of-beloved-adult-swim-tv-show

[Insidious: Out of the Further] Poznaliśmy tytuł oraz datę premiery nowego filmu - 21 sierpnia tego roku. https://www.comingsoon.net/movies/news/2119141-insidious-6-title-out-of-the-further-trailer-release-date

https://www.comingsoon.net/movies/trailers/2119570-insidious-out-of-the-further-trailer-previews-horror-movie

[Mistborn] Pisarz powiedział, że napisał już w połowie scenariusz do filmowej adaptacji swojej powieści. https://www.comingsoon.net/movies/news/2115349-mistborn-movie-update-brandon-sanderson-apple-tv

[Shrinking] Fani serialu Apple dostali potężny update! UWAGA SPOILERY! https://www.comingsoon.net/tv/news/2117930-shrinking-season-4-5-future-last-update

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Indian Summer (S1x11)

Airdate: 27 September 2007

Written by: Tom Palmer & Matthew Weiner Directed by: Tim Hunter

Running Time: 46 minutes

The first season of Mad Men is rightly celebrated as one of the finest pieces of television drama ever produced, a masterclass in character study and period atmosphere. Almost every episode is very good, yet some inevitably rank higher than others in the collective critical memory. Those that occupy the lower tiers often do so on account of their conventional narrative choices. Indian Summer, the eleventh episode of the inaugural season, is a prime example. While it delivers several seismic plot developments and pivotal character moments, it does so with a sometimes clumsy hand, marring the subtlety that is the show’s usual hallmark.

The episode opens with an uncharacteristically brutal and direct scene. Adam Whitman, the brother Don Draper paid $5,000 to disappear from his life, is seen in a cheap hotel room. He returns the money in a parcel addressed to Don, then proceeds to hang himself. This stark depiction of suicide immediately sets a darker, more visceral tone than the series’ typical restrained melancholy. It is a raw reminder of the human cost of Don’s fabricated identity and his ruthless severing of past ties. Yet, in a narrative irony that defines much of the episode, Don remains completely oblivious to this tragedy. He is consumed by a corporate crisis at Sterling Cooper.

A month after Roger Sterling’s heart attack, the firm’s patriarch, Bert Cooper, is in a panic. Fearing that lucrative clients—particularly the tobacco giant Lucky Strike—might abandon the agency due to the partner’s absence, Bert coerces the barely convalescent Roger to leave his sickbed and make an appearance at the office. Roger’s arrival, supported by his wife Mona and met with staged applause from the staff, is a hollow spectacle. Bert, acutely aware that Roger’s pallor betrays his frailty, devises a characteristically cynical solution. He enlists Joan Holloway, the office manager and Roger’s discreet mistress, for a special task: to apply her expertise with cosmetics to make Roger look healthy. The scene where Joan performs this intimate act is charged with unspoken history; as she applies rouge to his cheeks, they quietly admit they have missed each other, a moment of genuine tenderness amidst the deception. This plot strand showcases the show’s strength in depicting the personal within the professional, yet the premise itself—using a mistress as a makeup artist to deceive a client—borders on the contrived.

The charade, unsurprisingly, fails. During the meeting with Lee Garner Sr. of Lucky Strike, Roger suffers a second, very public heart attack and is stretchered away to an ambulance, his wife Mona cursing Bert for endangering her husband’s life. The business outcome, however, is perversely positive. Garner is impressed by Don Draper’s cool-headed pitches amidst the chaos, and with Roger definitively out of the picture, Bert is forced to promote Don to senior partner. This promotion sets in motion significant changes. Don retains his creative director role but gains a new, larger office. This, in turn, disrupts the expected career path of Peggy Olsen, who will not become his new secretary. Instead, this proves a fortuitous turn for her. Impressed by her work on the Belle Jolie campaign, Don and his team assign her to develop a campaign for the “Relax-a-cisor,” a contraption marketed to help women lose weight. The assignment is tinged with unspoken commentary on Peggy’s own recent weight gain. In testing the device, Peggy makes an accidental discovery: its vibrations, when applied to her genitals, produce pleasure. With dutiful, almost clinical detachment, she reports this finding to the male executives, suggesting how the sensation could be marketed to women. Don, recognising a sharp advertising mind at work, is impressed and promotes her to junior copywriter with a raise. This subplot is the episode’s most clever exploration of its central theme: the awakening and commercial exploitation of female sexuality.

That theme is further explored through Betty Draper’s storyline. With Don spending increasing nights away—often in the bed of department store heiress Rachel Menken—Betty is left in the echoing emptiness of her suburban home. An unseasonably hot autumn day, the ‘Indian summer’ of the title, brings Bob Shaw (Adam Kaufman), an air conditioning salesman, to her door. Despite Don’s prior warnings about strangers, Betty lets him in. Their conversation is a masterpiece of repressed tension and unspoken longing, though it culminates in nothing more than a sales pitch. Later, Don’s anger upon hearing of the visit underscores his controlling nature. More revealing is the scene where Betty catches herself in a vivid sexual fantasy about the young salesman. The episode frames female desire through both Peggy’s pragmatic discovery and Betty’s internal fantasy, linking them via the literal and metaphorical ‘heat’ of the season. This symbolism, however, is where the episode stumbles. The connection between the weather and female frustration is presented with a lack of subtlety that feels heavy-handed compared to the series’ normally nuanced storytelling.

Further evidence of this uneven execution is found in a subplot that feels like unnecessary filler. Peggy’s date with Carl Winter (Aaropn Hill), a young, independent truck driver, is a clunky attempt at social commentary. Their evening ends badly due to differences in class and ambition, highlighting the cultural gulf between Peggy’s burgeoning white-collar aspirations and Carl’s blue-collar worldview. While intended to flesh out Peggy’s character and the era’s social tensions, the scene adds little to the episode’s core narratives and disrupts its pacing.

The episode concludes with a potent cliffhanger that expertly ties its threads together. Don’s old office stands empty. Pete Campbell, who perpetually yearns for Don’s status, wanders in, symbolically occupying the space. A messenger boy, mistaking Pete for Don, delivers the parcel containing Adam Whitman’s returned $5,000 and suicide note. Pete’s possession of this damning evidence about Don’s past sets up immense future conflict, providing a masterful hook for the season’s final episodes.

While the season as a whole excels inn atmospheric recreation of the 1960s while lacking traditional plot—Indian Summer stands out precisely because it does have plot. Writers Tom Palmer and Matthew Weiner pack in dramatic firsts: the series’ first on-screen death and a second, public medical crisis for Roger. More importantly, it engineers momentous changes for two major characters: Don’s ascension to partner and Peggy’s breakthrough into copywriting. These are tectonic shifts in the series’ power dynamics.

Ultimately, Indian Summer is an episode of profound importance to Mad Men’s first season, forcing character evolution and advancing the narrative at a sudden pace. Its exploration of female sexuality, through the dual lenses of commercial exploitation and personal repression, is ambitious and largely successful. However, its achievements are compromised by moments of overly literal symbolism and a tendency towards melodrama that contrasts with the show’s typically refined restraint. It is, therefore, a fascinating but flawed installment: a necessary storm that changes the landscape, even if the thunderclaps are occasionally too loud.

RATING: 7/10 (+++)

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Nobody warns you when a monster show decides to stop being a monster show for a full episode, and Requiem is just that but damn to be honest drama is getting a grip of this show, it just drops you straight into forty something minutes of grief television wearing a MonsterVerse costume, and if that sounds like a complaint I want to be clear right now that it is not entirely. Grief episodes are their own specific genre inside genre tv series like this one and they live or die on whether the cast can carry the weight without the spectacle doing the heavy lifting, in this case The Titans, and what Requiem manages to do is make you sit with a family falling apart in a way that actually stays with you, was really sad to see Hiroshi going down though, not because the writing is consistently great but its the actors in this case that pull this off, you can see Keiko, Kentaron and Kate really showing that grief. The Randa family is in freefall after Hiroshi gets struck down during the chaos of Titan X breaking loose from the Apex containment attempt, and watching that loss ripple through Kentaro and Cate separately, the way the episode harness their grief into something that literally almost make me felt we were watching a different show and I was ok with it, is the real meat of everything this episode is trying to pull off. Two weeks before the funeral, there is a quieter version of Hiroshi on Skull Island, sitting next to Kentaro while the man sketches Kong, and knowing what is coming for him makes that whole scene feel like someone left a bruise on the screen before the episode even really starts, these writers do that thing where they make you regret caring and then dare you to stop.

• IMDB: https://www.imdb.com/title/tt17220216/
• Platform: APPLETV

Ren Watabe is doing the kind of work in this episode that should earn him way more attention than this show gets I think his character Kentaro is going to start to grow from here just as Cate did, because the version of Kentaro at the funeral is not some romanticized version of grief, it is kinda uncomfortable, he goes after Cate and the truth is that it didnt felt fair and take in consideration Im no Cate fan, and not something you walk away feeling good about, and the fact that Watabe plays that scene without softening it even slightly is what makes it hit the way it does. Anna Sawai carries a different weight entirely, the specific exhaustion of a person who knows she is a the main reason not only a new titan is loose on Earth but now took down her father and why everyone around her is suffering, and the moment she shares with Keiko down at the pier, where the water starts moving around her in a way that cannot be explained by anything ordinary, is one of the most bonding scenes on this family since Season 2 started. Then Dr. Suzuki shows up at the funeral and the whole atmosphere shifts because this is a man everybody assumed was out of the story entirely, and Dr Suzuki brings a worn down version of scientific guilt to the role that feels completely real, like a man who has been carrying a specific failure for so long that his posture has changed around it. The detail that Suzuki has rebuilt the Titan phone, which Lee Shaw already though about using if there is any hope of drawing Godzilla into direct fight to take out Titan X, funny enough Titan X hasnt done shit to anyone, its just them scare of another G Day, but this sets the table for what the show is obviously building toward, and even knowing that the MonsterVerse movie canon makes certain outcomes structurally impossible does not stop you from feeling the confrontation can not be avoided.

Here is where things went sideways for me and I am not going to pretend its all perfect becuase the show even though is a good watch has it flaws and drags from time to time, its the dream sequence its a real problem and not a small one. Kentaro is walking the streets of Tokyo, the sirens hit, the skyline lights up, and Godzilla is right there above the city going at it with Titan X, and your body reacts before your brain does, you sit up, you lean in, and then the whole thing dissolves into a dream and you realize you got played. BIG WTH, its the show teasing you, I understand the executive producer went on record explaining that the MonsterVerse movie timeline cannot allow Tokyo to be destroyed inside a TV show, and knowing that reasoning does not make the trick feel any less as a cheap shot because we all been waiting a Godzilla fith. It is a bait and switch that the show tries to dress up as a window into Kentaro is psychological state but the execution lands somewhere between frustrating and condescending to anyone who has stayed patient with this season through its slower moments. What makes it worse is that right alongside this cheap move you have Keiko, a woman displaced across decades of time who should be one of the most fascinating characters this season, and the episode keeps treating her adjustment to the present day as background noise rather than something worth slowing down and show off, which is a very weak creative choice when her situation has more natural drama built into it than half the plot the show keeps prioritizing instead.

I feel the same frustration I used to feel watching other shows when they just stretching the context and keep teasing you almost like you lost, the flashbacks were working just great but I guess at some point in time writers thought it was just too much and now its the present days that dont hold up the same weight, and Requiem has that exact problem, I end up wanting more of that good old context where they keep taking about their past because the present is boring. The show keeps pulling you backward into meaningful moments and then yanking you out before those moments finish, and this episode is probably the clearest demonstration of that becoming a real structural issue rather than an occasional writting style choice. Kentaro finding Sota is bar refurbished under completely new management is the kind of detail that could have sat there and done serious work as a visual metaphor for how completely his world has been rearranged since he left Tokyo, but the episode is already moving toward Isabel and the Apex angle before you even finish noticing all the changes they have done to the place. Amber Midthunder walks into this show as Isabel, daughter of Walter Simmons, and she has a presence so immediately charged that you know she matters, but the episode make her presence looks vague she almost feels fake int he sense that she doesnt matter at all and all you walk away knowing for certain is that she has her sights on Kentaro at a moment when he is emotionally weak as any guy who just lost his father can be.

#monarch, #godzilla, #titanx, #monsterverse, #hiroshi, #kentaro, #cate, #keiko, #shaw, #drsuzuki, #apex, #timeportal, #tokyo, #scifi, #monsters, #titans, #tvreview, #episodebreakdown, #cliffhanger, #legacy, #hbo, #action, #drama, #kaiju, #legendary

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🎫 «The Dog Stars» 2026 | Review (ESP-ENG)

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Long Weekend (S1x10)

Airdate: 20 September 2007

Written by: Bridget Bedard, Andre Jacquemetton, Maria Jacquemetton & Matthew Weiner Directed by: Tim Hunter

Running Time: 47 minutes

In the often cynical world of television production, a persistent adage suggests that a large number of scriptwriters is a harbinger of creative compromise and diluted quality, a symptom of committee-driven storytelling that inevitably saps a narrative of its distinctive voice. Mad Men, however, from its very inception, ran gloriously contrary to this rule. Its first season demonstrated that a unified vision could harness multiple talents without sacrificing coherence or depth. The tenth episode, Long Weekend, is a potent example of this. Authored by four individuals – Bridget Bedard, series creator Matthew Weiner, and the writing partnership of Andre and Maria Jacquemetton – the episode not only maintains the season's exceptionally high standard but also delivers one of its most pivotal and thematically rich instalments. It is a sophisticated piece of television that deftly balances intimate character exposition with significant plot propulsion, all while weaving in a sharp commentary on the era it so meticulously recreates.

Superficially, Long Weekend adopts the series' favoured "day in the life" narrative structure, opening on Friday, 5 September 1960, on the cusp of the US Labor Day holiday. It initially appears to be another slice of the Sterling Cooper milieu, leaning heavily on character exposition to portray its protagonists grappling with intimations of mortality. Yet, this deceptive calm is the set-up for a dramatic rupture. The episode’s true engine is not the leisurely exploration of weekend plans, but a seismic event that irrevocably alters the corporate and personal dynamics of the show’s world.

The Drapers’ planned trip is soured by Betty’s resentment at having to host her widowed father, Gene Hofstadt (Ryan Cutrona), and his new wife, Gloria Massey (Darcy Shean), whom Betty venomously dismisses as a "vulture" who stalked her father at her mother’s funeral. This familial tension, a petty but potent misery, contrasts with the professional unease settling over Don. At the office, still tidying up before joining his family, he must pitch a department store renovation to Rachel Menken and her father Abraham (Allan Miller), a meeting tinged with his own professional humiliation. He has just learned that the important shoe manufacturer Mr. Schol has withdrawn Sterling Cooper’s account, a spectacular and personal defeat for a man unaccustomed to such setbacks. This professional vulnerability primes him for the emotional collapse that follows.

The episode’s central crisis unfolds through Roger Sterling’s disastrous attempt to turn a mundane casting session into a hedonistic interlude. With his own family away, Roger plans a tryst with Joan Holloway, but is rebuffed as Joan opts for a night out with her roommate, Carol McCardy. Undeterred, Roger, accompanied by a reluctant Don, uses the search for twins for a Cartwright aluminium campaign to proposition 20-year-old models Mirabelle (Alexis Stier) and Eleanor Ames (Megan Stier). The ensuing impromptu party in the empty offices is a cringe-inducing spectacle of Roger’s entitled decadence. His attempt to bed both sisters culminates in catastrophe: naked on the floor, clutching his chest in the throes of a heart attack. This moment is a masterstroke of narrative economy. Roger’s physical collapse symbolises the fragility of the entire world Mad Men has built—a world of carefully constructed masculinity, corporate power, and invincible charm, all suddenly rendered pathetic and mortal. Don’s reaction—his panic, his efficient handling of the crisis, and his subsequent view of Roger, pale, weeping, and vulnerable before his wife and daughter—is transformative. The sight of his mentor laid low forces Don to confront the mortality he has spent a lifetime fleeing.

The repercussions are immediate and far-reaching. In a brilliantly revealing scene, the avuncular but omniscient Bert Cooper summons Joan in the middle of the night to dictate telegrams to clients, calmly revealing his knowledge of her affair with Roger and advising her not to "waste her youth" on a man of his age. This moment underscores the show’s understanding of power: Bert’s paternalistic concern masks a ruthless pragmatism, and Joan’s value is acknowledged even as her personal life is coolly assessed.

For Don, shaken to his core, the response is a desperate, impulsive reach for connection. He turns to Rachel Menken, and in a moment of profound vulnerability, she allows him into her apartment. They engage in sex and that leads to Don’s stunning confession: the revelation of his true origins as the son of a prostitute who died in childbirth, raised by his bitter biological father and a stepmother he describes as "sad." This raw unveiling is the logical culmination of the episode’s meditation on death and reinvention. Don’s entire fabricated identity is revealed as an escape—not just from poverty, but from the death that marked his entry into the world and the emotional death of his childhood.

Long Weekend is a brilliant episode precisely because it uses a dramatic event to deepen character exposition exponentially. Don’s fear, previously abstract, becomes visceral. In Roger’s foolish, alcohol-fuelled indulgence, he sees a memento mori, a preview of a future where charm and cunning are useless against the body’s betrayal. The power dynamics of Sterling Cooper are subtly but permanently shifted with Roger, at least temporarily, removed from the board.

The episode also showcases Mad Men’s sophisticated intertextuality through an explicit homage to Billy Wilder’s 1960 classic, The Apartment. Joan and Roger’s discussion of the film, which satirises corporate adultery and loneliness, provides the series with its first instance of meta-commentary. They compare their situation to the film, acknowledging the tawdry archetypes they inhabit, yet the episode cleverly subverts the comparison—Roger’s fate is far grimmer than any cinematic satire.

Furthermore, the episode deftly uses the backdrop of the real-life 1960 US Presidential election as a tool for character definition and cultural analysis. The Sterling Cooper office is largely pro-Nixon, with Don offering a telling endorsement: Nixon, he says, "came from nothing," implicitly aligning the self-made politician with his own background. The staff’s discussion of the surprisingly close polls serves as a refreshing corrective to later Boomers’ historical revisionism, reminding viewers that the election was fiercely contested. More presciently, the ad men analyse Kennedy’s pioneering use of television advertising, correctly predicting that the medium would become the decisive tool of political image-making, where persona would trump policy. This subplot reinforces the series’ core theme: the ascendancy of image over reality, a game in which all its characters are complicit.

If the episode possesses a flaw, it lies in the somewhat contrived scene where Carol, Joan’s roommate, declares her lesbian love for her. Coming after the earlier confirmation of Salvatore Romano’s suppressed homosexuality, Carol’s confession feels less like organic character development and more like a narrative checkbox being ticked, an attempt to inject "edgy" content that the episode’s otherwise nuanced handling of sexuality doesn’t quite necessitate. Joan’s choice to simply ignore the declaration feels true to her character, but the setup leans toward the schematic.

Long Weekend is a triumph of collaborative writing. It seamlessly integrates plot advancement, profound character revelation, and acute historical commentary. It takes the series’ established strengths—the meticulous period detail, the complex character studies noted in general season reviews—and pushes them into new, dramatically fertile territory. The episode proves that, in the right hands, multiple writers can forge not a compromise, but a consensus of excellence, resulting in a chapter that is essential to understanding the fragile, glittering world of Mad Men.

RATING: 8/10 (+++)

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There is a specific moment in any superhero show when the thing you are watching quietly stops being a superhero show and becomes something that feels closer to a political thriller you would have found on cable back when cable still meant something and Daredevil Born Again Season 2 Episode 2, Shoot the Moon, is exactly that moment for this season, how it cant be when you got Fisk running NY and using all his political power to both show to the rest of the nation something that is really not happening like that utopia of the city been save and calm, and on the other side he is running his criminal empire like its nothing, he actually normalize large scale crime in the city. The episode does not announce the shift, it does not put up a sign that says we are doing something different now, it just starts moving and by the time Wilson Fisk stands at a shows his face on camera and tells New York City that Matt Murdock is missing and that Daredevil is responsible this was a master chess move like oh dont put a bullseye on his back like he is wanted and Fisk was like "we want our hero back" that was laughable tbh, you realize the chess board has changed completely and Fisk is the only one who knows it. This is not the big swinging Kingpin energy of someone who breaks skulls to solve problems, this is patient and cold and suffocating to watch and I thought the first episode of this season was a soft opening that will ramp up and sure it did, Shoot the Moon is the show following up by making the statement even harder.

• IMDB: https://www.imdb.com/title/tt18923754/
• Platform: DISNEY+

What Vincent D Onofrio is doing right now with Wilson Fisk is the kind of performance that makes you thin like damn I have been underestimating the character in past seasons because it was all his wife running the empire while he was been jealous all the time and didnt have the grip over the city that he has now, imagine he got DareDevil on the run. This version of Fisk as a functioning elected mayor who can manipulate public narrative on live television while simultaneously hunting down the man who saved his life is a whole different animal from the mob boss who threw people around in hallways. That press conference move is such a boss like move in its logic that you need a second to actually sit with it, because think about what he cannot do openly and then think about what he does instead, he turns Matt into a missing person the city needs to find and turns Daredevil into the suspect the city needs to fear, and just like that every single person in New York who loves vigilantes is out searching for Murdock while every single person who hates them is hunting Daredevil, all without Fisk lifting a finger or tipping his hand. The controlled rage D Onofrio brings such a calm scenes is also doing a lot of work in this episode, because there is one moment during a training session where his personal trainer pushes him a half step too far almost like you forgot who you talking to right?, and Fisk puts that man through a mirror with one punch, I even though he was going to finish him while on the ground, and that single moment reminds you that the politician costume is exactly that, just a costume, and the thing underneath it has not gone anywhere but he is doing a perfect work at hiding it, for now. Michael Gandolfini as Daniel Blake is also earning his screen time this episode, specifically in that quiet moment where he closes his laptop and sits alone with the realization that someone inside Fisk inner circle is leaking footage from the Northern Star, and the way Gandolfini plays that dawning paranoia without over explaining it shows you pretty fast that there is real talent in this guy, he turns into such a good support character latter on.

What actually surprised me this episode in a way I was not prepared for was the Angela del Toro scenes, because the scene where the AVTF rolls up on that convenience store and drags her aunt Soledad out for basically nothing look more like a reminder of how Fisk and his AVTF is running the city and makes such a good contrast than the rest of the episode. The show does not dress it up or soften it, it just shows it, and the detail that the kids who were shoplifting and Soledad was trying to reason with moments earlier end up being the same people standing there watching her get taken away by federal agents is the kind of storytelling that does not need dialogue or music to make its point. That scene pushes Angela toward Kirsten McDuffie and sets in montion whatever the White Tiger amulet is eventually going to mean for her this season, got HIGH hopes she puts on the mask too, and the path there feels earned in a way that a lot of superhero origin just work because the show lets real world weight do the emotional heavy lifting instead of manufactured script. Comparing what this season is doing to what Marvel has attempted with political commentary before, the gap is wide and big, because this feels just way better handle and specific where a lot of their previous attempts at commentary felt like they were written by people who had heard about politics and had no idea how to apply them into content without feeling one handed.

The closing fight at Josie place is fast and well choreographed and exactly the kind of that makes you say YYEEAAAHH everytime DareDevil goes fkn wild and doesnt hold back and does feel like this needs to close on after a lot of slow burn, and then Karen showing Matt the AVTF officer she managed to capture herself is the right kind of cliffhanger because it does not feel cheap or forced, it feels like a natural extension of who Karen has always been. Deborah Ann Woll in that quiet dancing scene before everything falls on this season she is coming back stronger as Matt companion and it feels so good because on the previous season their relationship problems really felt suffocating and Matt never fully give up on the mask while she just did but now she realize they against the wall and have to go all in, is just being two people trying to hold onto something normal for five minutes while everything around them is on fire. Shoot the Moon earns a 7.5 out of 10 from me, the Bullseye pacing issues are real and the BB Urich thread telegraphs itself too early, but watching Fisk run his political machine at full power while the show keeps finding new ways to complicate every person standing in his way is enough to keep this thing going stronger after each episode, and that AVTF officer sitting somewhere waiting to talk turns into this effective possible reason to immediately start episode three but I do preffer one episode per week though, even when Im running behind.

#daredevil, #bornagain, #kingpin, #mattmurdock, #wilsonfisk, #bullseye, #karenpage, #whitetiger, #marvel, #disneyplus, #hellskitchen, #action, #thriller, #justice, #punisher, #vanessafisk, #comics, #vigilante, #newsuit, #fightnight, #redhook, #taskforce, #hero, #uprising, #shootthemoon

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