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Hola amigos de Movies & Tv, espero que se encuentren muy bien. Hace poco termine de ver el Volumen 1 de la quinta temporada de Stranger Things, me sentía emocionada luego de ser muy fan de la serie desde el 2017 y ver que podría ocurrir cualquier evento en esta temporada que es la última, me generaba tanta tensión que deseaba terminarla para saber que había ocurrido en Hawkins luego de la cuarta temporada que estuvo llena de emoción, tensión y mucha acción incluyendo la muerte de personajes. Así que me gustaría darles mi opinión sobre esta primera parte de lo que será el cierre de una de las mejores series de Netflix según mi opinión.

Hello, friends of Movies & TV, I hope you are all doing well. I recently finished watching Volume 1 of the fifth season of Stranger Things. As a huge fan of the series since 2017, I was excited to see what might happen in this final season. I was so tense that I wanted to finish it quickly to find out what had happened in Hawkins after the fourth season, which was full of excitement, tension, and lots of action, including the death of characters. So, I would like to give you my opinion on this first part of what will be the conclusion of one of the best Netflix series, in my opinion.

Hawkins vuelve a estar en problemas cuando ocurren situaciones extrañas y una gran cantidad de restricciones y de militarización en el pueblo. No es para menos luego de que se diera a conocer que existe un ser superior que podría acabar no solo con niños sino con la humanidad entera, ya que su fuerza es superior a cualquier cosa antes vista. Eleven esta entrenando fuertemente para prepararse cuando llegue el momento indicado y poder enfrentar a Vecna/Henry/001, pero no podrá hacerlo sola porque necesita la ayuda de sus viejos amigos, Will, Mike, Lucas, Dustin, Nancy, Jonathan y Steve estarán presentes para ayudarla a terminar con los Demogorgons y con Vecna, además también estarán presentes Hopper, Robin, Erica, Murray y Joyce.

Hawkins is once again in trouble when strange situations arise and a large number of restrictions and militarisation occur in the town. It's no wonder, after it was revealed that there is a superior being that could wipe out not only children but the entire human race, as its strength is greater than anything ever seen before. Eleven is training hard to prepare herself for when the time comes to face Vecna/Henry/001, but she cannot do it alone because she needs the help of her old friends. Will, Mike, Lucas, Dustin, Nancy, Jonathan, and Steve will be there to help her defeat the Demogorgons and Vecna, along with Hopper, Robin, Erica, Murray, and Joyce.

Para empezar tenía altas expectativas en cuanto a cómo iba a continuar la historia, después de ver cuatro temporadas con muy buena continuación de la historia de Hawkins y de El Otro Lado, quería ver qué los personajes estuvieran más unidos y que demostraran que podían tener la fuerza y la resistencia mental suficientemente para lo que pudiera suceder. Los personajes han evolucionado mucho, aunque cada uno sigue manteniendo su esencia y la idea de poder acabar con el ser malvado. La primera parte fue de cuatro episodios de una hora y realmente no sentí en ningún momento que hubiera algo de relleno para extender la historia, lo que hizo que me gustara aún más lo que he visto.

To begin with, I had high expectations for how the story would continue. After watching four seasons with a very good continuation of the story of Hawkins and The Other Side, I wanted to see the characters become more united and show that they had enough strength and mental resilience for whatever might happen. The characters have evolved a lot, although each one still maintains their essence and the idea of being able to defeat the evil being. The first part consisted of four one-hour episodes, and at no point did I feel that there was any filler to extend the story, which made me like what I saw even more.

Hay sorpresas dentro de la temporada, al menos dos para mí fueron inesperadas pero me sorprendieron de buena manera y me gustó que dirigieran la historia de esa forma. Hay mucha acción y movimiento, todos están preparando un plan para terminar con Vecna o al menos con todo lo que tiene que ver con su mundo, pero resulta que hay personas con otras intenciones que se interpondrán en el camino de los chicos y hara que la posibilidad de poder acercarse a Vecna sea aún más difícil, controlando el pueblo y buscando de formas oscuras y malintencionadas la manera de usar a algunos para salvar a otros.

There are surprises throughout the season, at least two of which were unexpected for me, but they surprised me in a good way and I liked how they directed the story that way. There is a lot of action and movement, everyone is preparing a plan to end Vecna or at least everything that has to do with his world, but it turns out that there are people with other intentions who will stand in the way of the boys and make it even more difficult to get close to Vecna, controlling the town and looking for dark and malicious ways to use some to save others.

Las escenas se ven increíbles y se nota el cambio con el pasar de las temporadas en como mejoraron las imágenes sobre todo de los Demogorgons y de las escenas de acción. Me gusto poder ver cómo Eleven se preparaba para el momento de acción y cómo Hopper a pesar de su pasado intenta apoyarla como lo haría un padre o alguien importante para Eleven. Hay escenas entre la relación de Jonathan-Nancy-Steve que se sienten divertidas al verlos aún incomodarse por intentar ser el mejor para Nancy pero no abarcan demasiado este tema aunque hay una escena en la que se puede ver que uno de los dos ha pensado seriamente en formalizar una relación con ella.

The scenes look incredible, and you can see how the images have improved over the seasons, especially those of the Demogorgons and the action scenes. I liked seeing how Eleven prepared for the moment of action and how Hopper, despite his past, tries to support her as a father or someone important to Eleven would. There are scenes between Jonathan, Nancy, and Steve that are fun to watch as they still feel awkward trying to be the best for Nancy, but they don't dwell too much on this topic, although there is a scene where you can see that one of them has seriously thought about formalising a relationship with her.

Vecna ahora está más libre pero a la vez no, tiene propósitos macabros y toma como posesión a algunos personajes de la serie para usarlos a su favor. Esto es importante durante la serie porque hay un personaje que es fundamental y que fue víctima de los engaños de Vecna. Sin embargo, hay que seguir viendo los próximos episodios para ver cómo va a terminar todo. Me gustó que no dejarán cosas sin discutir de las otras temporadas y que incluso pusieran recuerdos de los personajes, cosa que hace que vayamos entendiendo el por qué de la situación en la que se encuentran cada uno ahora.

Vecna is now freer, but at the same time he is not. He has macabre intentions and takes possession of some of the characters in the series to use them to his advantage. This is important during the series because there is a character who is fundamental and who was a victim of Vecna's deceit. However, we must continue watching the next episodes to see how it all ends. I liked that they didn't leave things from the other seasons undiscussed and that they even included memories of the characters, which helps us understand why each of them is in the situation they are in now.

El primer volumen me gusto y me emociona saber que podría terminar de buena manera la serie, obviamente va a existir algún sacrificio en el que se pierda una vida para salvar a otros y aunque da un poco de miedo es algo que va a suceder queramos o no. La escenografía sigue siendo increíble y la música también forma parte de esta temporada, además se puede ver el crecimiento que han tenido cada uno de los personajes no solo físicamente sino de madurez. Deseo ya ver el segundo volumen y veremos que va a suceder 🙃

I liked the first volume and I'm excited to know that the series could end well. Obviously, there will be some sacrifice in which a life is lost to save others, and although it's a little scary, it's something that will happen whether we like it or not. The scenery is still incredible, and the music is also part of this season. You can also see how each of the characters has grown, not only physically but also in maturity. I can't wait to see the second volume and find out what happens 🙃

Trailer Oficial - Volumen 1

_{Todo el texto de esta publicación es de mi autoría - All the text in this publication is my own. Los banners y el separador de texto fueron editados con la versión gratuita de Canva y PicsArt - The banners and the text separator were edited with the free version of Canva and PicsArt. La traducción del texto fue realizada con la versión gratuita de Deepl - The translation of the text was made with the free version of Deepl}

For some reason this morning I had the sudden though of the Chinese film Ash is Purest White. It came to mind having not seen it in a while and certainly through a craving of more films like that, feeling an itch which cannot be itched as of late. I looked the film up and to much surprise I noticed the director's name. For some reason I assume it was from another director, though I was happy to see I was wrong there as it opened up a door to a bunch of films I hadn't seen before. To add to this, I noticed that the director had also recently released a film back in 2024 called Caught by the Tides. With a great rating of 99% I figured I had to jump into it immediately and see what it had to offer. Desperate to see if this would be the film which fed the craving I have been feeling for so long; one that displays the beauty of life mixed with the melancholy that comes with a setting or the situations a person finds themselves within.

Inspired by the many films from Asia I had seen that had been more considerate of their environments, where the space is heavily important in how they tell their stories, utilising space as a something more than just a setting, but showing how these spaces influence a person's mind and actions. From the era of New Wave Hong Kong cinema and Taiwan's own similar New Wave trend, but the more recent industrial melancholy that came with China's boom and decline as the nation's interests and culture has rapidly changed, leaving many locations stuck in the past and full of decay as the other cities balloon. That mixture of high technology and low living that isn't quite cyberpunk, missing futurism but featuring a stark contrast in living and culture.

Caught by the Tides is a film which really takes that concept and runs it in a unique way. Switching up the concept of a narrative film by utilising elements of non-fiction and fiction together to tell a story. With great curiosity over some of the scenes I was seeing, I looked up an interview with the director to which he stated having spent the early 2000s just running around with an early digital camera and shooting everything. And how that's something that he still does to this day. This had led to him having an insane amount of footage captured and saved throughout the years. Some of it being documentary styled interviews, some just being the camera capturing raw life around the industrial decay of small towns and their culture houses from a more caring era of the Chinese Communist Party. Moments that speak on the importance of maintaining these rundown locations for the elderly, which have nothing to do since retiring. Their decayed culture house remaining a place for entertainment from performances to social games. Some scenes are very direct and just show how the filmmaker once attended parties and just filmed.

Beyond some of the real documentary styled footage are unused takes from the director’s previous films. This giving the film this switching up between eras feeling as the quality switches from a digital camera of the early 2000s to a modern Arri cinema camera. With this the film has a very dreamlike feeling, as it transitions through time and shows how much things have changed. This mixture of old and new. Showing the rapid growth and transition from China's decaying rough industrial hell scape to a modern prosperous economic shift. Though this isn't to say it's glorifying in any capacity. This is by no means a propaganda piece. It's quite the opposite, even. Showing the changing times with quite a bit of nostalgia. Also displaying the fact that economic growth doesn't necessarily make things better for all. Those in their small industrial towns still attend their rundown culture houses, they still chain smoke their boredom away. They still sing and dance to karaoke to pass the time.

Thrown together within the non-fiction and fiction is a story on the passage of time for a woman that finds herself constantly dancing. A companion of hers lost to time as they go in separate directions in life. Only for her to grow in age with a longing of what happened, curious as to where he his and to find him again. I quite liked this simple story within the film, as I mentioned before it handles that transition of time and showing how quickly things change within a space. More so, it holds up to that title quite well: being caught within the tides of time. Where we forget who we are as the years go by, forgetting who and what mattered to us most when we had that youthful excitement and curiosity. Assuming the years would never come and slow us down. It's simple in how it's told, but it's a beautiful story on life itself in that regard. I highly recommend it for anyone that genuinely enjoys the process of filmmaking. Showing how anything can be thrown together to create something, and how us storytellers should be outside as much as possible with our cameras. Recording everything.

Just as there are films that, due to their outstanding quality, deserve a place in film anthologies, there are also films that warrant attention for being failures or disappointments. First Man, Damien Chazelle’s 2018 biographical film dedicated to the life and work of US astronaut Neil Armstrong—which has been regarded as one of the more serious contenders for the Oscars and other prestigious awards—could over time become remebered as one of the more intriguing disappointments. Its issue, however, lies not so much in its execution as in the fundamental misjudgement of its core concept.

The film is based on historian James R. Hansen’s 2005 book, which Armstrong himself declared his official biography. The plot begins in 1961, at the very outset of the famed Cold War-era Space Race between the US and the USSR, during which the Soviets enjoyed a notable advantage in the early years thanks to Sputnik and Yuri Gagarin. Armstrong (Ryan Gosling) is a test pilot tasked with testing experimental aircraft at the very edges of Earth’s atmosphere. After one such flight, during which he successfully saved himself and the spacecraft thanks to his exceptional resourcefulness and cool-headedness, Armstrong was admitted to NASA’s elite spaceflight programme called ‘Gemini’. The programme’s aim was to overtake the Soviets and win the Space Race by achieving its most crucial objective—landing humans on the Moon before the end of the 1960s. Armstrong, who enjoys the status of one of the finest astronauts, stoically endures countless often gruelling tests and witnesses a series of failures and tragedies that not only delay the Moon landing but also claim the lives of his colleagues and friends. Armstrong’s journey to the Moon will come at a cost to his family, who, despite their comfortable suburban life and middle-class comforts, suffer due to the tragic death of one of Armstrong’s daughters, as well as the emotionally reserved astronaut’s difficulty in connecting with his children, leaving that responsibility to his wife Janet (Claire Foy).

At first glance, First Man appears to be the ideal project for the kind of films Hollywood has long excelled at—propagating the United States as the most advanced, powerful, and successful nation in human history. The landing of American astronauts on the Moon—a technological achievement so impressive even today that numerous conspiracy theorists refuse to believe it—is precisely the kind of story even the least talented Hollywood filmmakers should be able to turn into a stunning epic with their eyes closed. Chazelle’s film, unfortunately, is not, and for a simple reason: that is not its primary purpose. This is evident from the fact that the premiere was not scheduled for July 2019, when the 50th anniversary of the Apollo 11 mission could have been celebrated, but for autumn 2018; the aim was far more mundane—not an opportunistic celebration, but Chazelle’s attempt to snag as many Oscars as possible, which, knowing today’s Academy, could only be achieved by focusing on a biopic centred on a single individual.

All this might not have been an issue if that man were not Neil Armstrong, who, to put it mildly, is not the most compelling material for masterful acting performances. Armstrong was an exceptional pilot, engineer, and commander—a man who perhaps fits the definition of a hero most precisely—yet, on the other hand, he was exactly as Gosling portrays him: always as cool as a cucumber and never showing emotion. This was, on one hand, excellent if you entrusted him with the outcome of a project worth 25 billion US$ at the time, in which a million things could go tragically wrong, but on the other hand, it is difficult to craft a compelling drama from his life and robotic career. In Gosling’s case, we have an acting talent wasted on something a wooden actor like Keanu Reeves could easily portray, or at best, a charismatic minimalist like Gary Cooper. Compared to Gosling, all the other actors appear as hysterical ‘drama queens’—including Foy as the wife and Corey Stoll as Armstrong’s far more intriguing and colourful colleague Edwin ‘Buzz’ Aldrin, who ultimately, whether the makers of First Man intended it or not, comes across as the closest thing to a villain in the entire film.

First Man also suffers from the fact that, like all recent “Oscar-bait” films, it has become a victim of contemporary politics, relating both to domestic political parameters of “political correctness” and the foreign policy context of today’s increasingly questionable American hegemony over the rest of the world. The makers of First Man are torn between the desire to celebrate what may not be the most important, but certainly the most spectacular achievement in their nation’s history, and the realisation that this achievement, half a century later, means little to most people today—that aside from a symbolic Cold War trophy, it had no far-reaching effect on American or world history. This is evident in the film through certain details—reminders that the triumph on the Moon coincided with the bloody fiasco in Vietnam, as well as scenes questioning whether billions of dollars could have been spent solving pressing problems on Earth. Perhaps the most explicit example is the famous poem Whitey on the Moon by African-American poet Gil Scott-Heron (played by Leon Bridges), which suggests that his fellow African-Americans languish in poverty in Black ghettos because someone decided to send a few white men to the Moon. The poem, which anachronistically appears in the film a year before its actual release, was likely included to distance Chazelle and his work from all SJW criticism regarding the film’s exclusively cis-hetero male white characters; while its themes warrant discussion, its inclusion feels clumsy and out of place. Similarly, certain details whose omission enraged right-wingers and Trump—such as the absence of planting the American flag on the Moon—would seem superfluous in First Man.

Though impressive and well-acted at times, First Man is a routine “Oscar-bait” film and falls far short of what Armstrong and Apollo 11 truly deserved. RATING: 4/10 (+)

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

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_{Algunos de mis libros publicados son: Convite de Cenizas (2002), Tras la piel (2004), En este lado de la muerte (2014), El orden natural de las cosas (2015), La Sangre del Marabú (2020), La Sexta Caballería de Kansas (2024) y La Nada Infinita (2024)}

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_{Some of my published books are: Convite de Cenizas (2002), Tras la piel (2004), En este lado de la muerte (2014), El orden natural de las cosas (2015), La Sangre del Marabú (2020), La Sexta Caballería de Kansas (2024) and La Nada Infinita} (2024)

Homewrecker (S02E06)

Airdate: February 11th 2003

Written by: Shawn Ryan & Glenn Mazzara Directed by: Scott Brazil

Running Time: 45 minutes

Homewrecker, a particularly harrowing instalment from The Shield's canon, exemplifies the series' recurrent narrative sleight of hand: it initially presents itself as a crucial chapter in an ongoing multi-episode arc, only to pivot decisively towards a self-contained, procedural storyline that could easily slot into any conventional police drama. This structural bait-and-switch has become something of a signature for the show, yet it remains effective precisely because it exploits audience expectations while delivering gut-wrenching standalone content that resonates far beyond mere plot mechanics. The episode toys with the promise of escalating gang warfare before plunging viewers into a domestic horror story so visceral and morally complex that it redefines the boundaries of television drama.

The episode ostensibly continues the simmering feud between Vic Mackey and the ruthless gang leader Armadillo Quintero, a conflict ignited in previous episodes. Demonstrating his peculiar brand of protective leadership, Vic informs his Strike Team that they've been "greenlit" by Armadillo's crew, while simultaneously briefing Captain Aceveda on the precarious situation. Yet Armadillo fails to make his anticipated move. Vic, however, refuses to gamble with his family's safety. He arranges for Gordie Liman and his security specialists to implement round-the-clock surveillance and install a state-of-the-art security system at the Mackey residence – a precaution that leaves his wife Corinne bewildered and increasingly alienated from her husband's shadowy world. This storyline, while establishing Vic's perpetual state of siege, ultimately serves as mere backdrop to the episode's true horror.

The plot's focus dramatically shifts when Officers Danny Sofer and Julien Lowe respond to an abandoned 911 call, entering a seemingly ordinary house to discover a scene of unimaginable carnage. In near-total darkness – a directorial choice that amplifies the visceral shock – they stumble upon the bodies of six murdered women, alongside several traumatised children who had been kept alive in a separate room. The house, it transpires, was a clandestine shelter for battered women, and the perpetrator was almost certainly one of their abusive partners. The investigation immediately founders when Emma Prince (Marguerite MacIntyre), the shelter's dedicated director, reveals she didn't know the real identities of the women under her protection – a necessary precaution that now impedes justice. The case gains traction only when they identify a missing woman: Dorea Pinchuk (Elizabeth Janas), a prostitute who had sought refuge there. Further forensic work points towards Mike Holden (Matthew Clave), a firefighter with a documented history of soliciting prostitutes and, crucially, the husband of one victim. His abduction of his young son from the shelter transforms the case into a desperate race against time.

With the entire Barn mobilised to locate the missing child, Claudette Wyms pursues a more insidious angle: Holden's best friend, LAPD officer Lou Jolles (Matthew John Armstrong). Claudette quickly deduces that Jolles, exploiting his police access, must have located the shelter and uncovered the women's hidden identities – information he then passed to his Holden. Yet Jolles, a police veteran, stonewalls the investigation, invoking his right against self-incrimination. His corruption is the very mechanism that enabled the massacre, a truth the episode refuses to soften.

The resolution arrives through Connie Riesler, Vic's street-level informant. In a moment of genuine courage Connie volunteers to help locate Holden by leveraging her old connections. Posing as a streetwalker offering a threesome, she infiltrates the motel room where Holden hides with Dorea and the boy. Before Vic and backup can intervene, Holden takes Connie hostage. In the ensuing standoff, Vic attempts negotiation, but Holden shoots Connie dead before being killed by police snipers and Vic himself. Vic's devastation is palpable; Connie wasn't just an asset but someone he considered a friend, a woman whose life was finally going better after years on the streets. His subsequent visit to Emma Prince at a temporary police safehouse – where he brings food and donations for the battered women – reveals a flicker of genuine humanity beneath his corrosive morality.

The episode's subplots weave through this darkness with varying success. Aceveda's initiative to diversify the Strike Team fails after Vic subtly, but successfully, scares off potential Latino recruit Robbie Villanueva (Jon Huertas). Danny's forced public apology to Yassirah al-Thani after a harassment accusation takes a sinister turn when marijuana is planted in her car and anonymously reported to Internal Affairs, apparently continuation of vendetta. The weakest thread involves Aceveda, compelled by superiors to patrol the streets with Julien as an uniformed officer for a day. His overzealous response to a report of bike stolen from Latino boy – wrongly confiscating bicycle from Black boy before realising his error – culminates in Aceveda purchasing a 300 US$ replacement from his own salary. While intended to humanise him, this storyline feels contrived against the episode's heavier themes.

Co-written by series creator Shawn Ryan and Glen Mazzara, and directed with unflinching steadiness by Scott Brazil, Homewrecker derives immense power from its visual restraint. The opening discovery scene, deliberately shrouded in near-darkness, forces viewers to process the horror gradually, making it infinitely more disturbing than gratuitous gore ever could. This episode stands among the series' darkest chapters, not merely for the brutal massacre of defenceless women who had already endured lifetimes of abuse, but for Connie Riesler's profoundly tragic demise. She represented one of The Shield's most compelling characters – a woman clawing her way out of addiction and desperation, trying to do right while searching for her lost child. Her death feels especially cruel because it occurs at the very moment she chooses genuine heroism, only to be ensnared by the same destructive forces she sought to escape.

Most damningly, the episode dismantles Hollywood's comforting narrative of poetic justice. Lou Jolles, whose corruption directly facilitated the slaughter, slithers away unscathed, his career apparently intact. This refusal to provide narrative satisfaction isn't cynicism; it's brutal honesty about systems that protect their own while sacrificing the vulnerable. The only solace emerges in Vic's final act of quiet charity towards Emma Prince and the sheltered women. In this moment, stripped of his usual manipulations, Vic offers something approaching genuine decency. It doesn't redeem him, but it reminds us that in Farmington's moral wasteland, even deeply flawed individuals can perform acts of unexpected grace.

RATING: 6/10 (++)

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Muy buenas mi gente bella, un gran abrazo para todos, feliz 02 de diciembre, y feliz navidad, hoy la ediciòn es sobre la telenovela que tiene por protagonistas a 4 grandes actores.

Emitida por Venevisión en 1986, El sol sale para todos es una telenovela escrita por César Miguel Rondón, dirigida por Grazio D'Angelo, que combinó melodrama, realismo y temas de conflicto personal. Representó uno de los proyectos emblemáticos del canal en la década, con un tono adulto, humano y cargado de dilemas morales y emocionales.

-Título: El Sol Sale Para Todos. -País: Venezuela. -Canal & Productora: Venevisión. -Año de emisión: 1986. -Género: Drama & Telenovela romántica-social. -Guion, Direcciòn & Creador: César Miguel Rondón. -Protagonistas: Hilda Carrero como Magdalena Pimentel de Zerpa, Eduardo Serrano como Santiago Falcón. -Co-protagonistas & Reparto destacado: Corina Azopardo, Guillermo Dávila, entre otros. -Antagonistas: Actores como Herminia Martínez, Henry Galué, Renato de Pallás, y otros. -Tema musical principal: “No renunciaré” interpretado por Jorge Rigó. -Episodios estimados: 158 capitulos.

La historia se centra en Magdalena Pimentel, una mujer madura, casada y con hijos, que siente que su vida es una rutina vacía. Atrapada en una relación sin amor, busca reinventarse al decidir retomar sus estudios y su desarrollo personal.

En la universidad conoce a Santiago Falcón, un hombre carismático e inteligente que le devuelve la ilusión de vivir. A pesar de que ambos están casados y con responsabilidades familiares, nace entre ellos una atracción fuerte y sincera, que los enfrenta a dilemas morales, culpa, deseo de libertad y la búsqueda de la felicidad.

La novela explora cómo Magdalena y Santiago cuestionan sus decisiones: la fidelidad, las promesas, la dignidad, y cómo los roles tradicionales pueden entrar en conflicto con los sueños personales. Las consecuencias de su relación repercuten en su familia, en sus valores, y los obligan a decidir qué están dispuestos a sacrificar por su felicidad.

El sol sale para todos destaca por presentar un drama adulto, con personajes realistas que confrontan problemas cotidianos: insatisfacción matrimonial, crisis de identidad, oportunidades de cambio a mediana edad. La interpretación de Hilda Carrero como Magdalena aporta sensibilidad y credibilidad al dilema de una mujer que busca renacer; Eduardo Serrano construye un Santiago complejo, atrapado entre su ética y el deseo.

La producción combina tensión emocional con un tono reflexivo sobre la vida, la familia y las segundas oportunidades. Los conflictos internos, las confrontaciones morales y el ambiente de modernidad vs tradición le dieron profundidad al relato, alejándolo de un melodrama trivial.

El sol sale para todos es una telenovela que representa con autenticidad los dilemas humanos de las relaciones maduras: la búsqueda de realización personal, el conflicto entre deber y deseo, y la esperanza de nuevos comienzos.

Esta obra tiene un valor especial como retrato televisivo de una etapa en la que las telenovelas venezolanas comenzaron a incorporar historias más realistas y complejas, enfocadas en personajes adultos y conflictos contemporáneos.

Bueno mi gente bella esta es la ediciòn del dia de hoy, espero que esta gran obra televisiva sea de su agrado y que les traiga muchos recuerdos si no la han visto, esta muy recomendada ya que la pueden conseguir en plataformas como youtube, protagonizada por grandes actores es una obra increible.

It's Your Funeral (S01E11)

Airdate: December 8th 1967

Written by: Mark Amoy Directed by: Robert Asher

Running Time: 50 minutes

Among the seventeen episodes of The Prisoner, few appear as immediately accessible to the uninitiated viewer as It’s Your Funeral. While many installments of Patrick McGoohan’s seminal 1960s series indulge in surrealism, allegory, and genre-defying experimentation, this episode opts for a comparatively straightforward narrative structure—one that could comfortably sit within the framework of a conventional thriller. Yet, despite its apparent simplicity, It’s Your Funeral remains a somewhat controversial entry in the canon, not only for its thematic clarity but also due to the notoriously difficult conditions under which it was produced—marked by on-set tensions, a fired director, and McGoohan’s reputedly abrasive behaviour towards cast and crew.

The episode opens with the arrival of Monique—Number Fifty (played by Annette Andre)—at Number Six’s residence in the Village. She urgently awakens him to warn of an impending assassination. Unbeknownst to her, their exchange is being closely monitored via closed-circuit television by the current Number Two, portrayed with cold calculation by Derren Nesbitt. During their conversations, Number Six is introduced to the concept of “jammers”: dissident prisoners who resist the Village’s oppressive regime through subterfuge, namely by fabricating escape plans or acts of sabotage to flood the authorities with false intelligence. While many dismiss such warnings as mere noise, Number Six takes Monique’s alarm seriously, fearing that if the assassination of Number Two proceeds, the Village’s response will be swift and brutal—likely resulting in collective punishment for all residents.

Determined to intervene, Number Six approaches Number Two directly, only to find him oddly indifferent to the threat. His suspicions deepen as surveillance footage—later revealed to be doctored—casts doubt on his credibility, framing him as yet another “jammer.” The truth gradually emerges: Monique’s elderly father, a watchmaker played by Martin Miller, has secretly constructed a miniature radio-controlled bomb concealed within a ceremonial medallion. This device is intended to detonate during a grand retirement parade honouring the outgoing Number Two—an older, more sympathetic figure played by André van Gyseghem. The twist, however, is that the Number Two currently in command is merely a stand-in; the real target is the retiring official, whose removal serves the Village’s internal power dynamics. In a rare victory for Number Six, he seizes control of the detonator, turning the tables on the conspirators. The episode concludes on a rare note of hope as the elderly Number Two departs the Village by helicopter, unharmed and free—at least momentarily.

The script, penned by American television veteran Marc Amoy (known for his work on Dragnet and The Saint), skilfully exploits themes of surveillance, manipulation, and manufactured paranoia. Intriguingly, Number Six is deliberately fed information in a manner designed to discredit him—an early, prescient exploration of disinformation tactics that anticipate modern concerns around deepfakes and manipulated media. Indeed, the episode’s depiction of video evidence being altered to frame a dissident as a chronic nuisance feels decades ahead of its time, foreshadowing contemporary anxieties about digital truth.

Worldbuilding is also advanced through quieter, “day-in-the-life” sequences that depict Number Six engaging in physical exercise, waterskiing, chess, and even posing for a portrait—though these moments are somewhat marred by the inclusion of “kosho,” a fictional martial art introduced in the previous episode. Its absurd, trampoline-assisted choreography feels jarringly out of place, bordering on camp. Fortunately, the narrative recovers through its taut final act, which delivers both psychological intrigue and physical confrontation, notably a tense fight between Number Six and Number 100 (Mark Eden), the chief henchman.

Acting-wise, the episode benefits from strong performances. Nesbitt excels as a suave yet sinister Number Two, a role that foreshadows his later turn as a Gestapo officer in Where Eagles Dare. Van Gyseghem brings humanity to the retiring Number Two, capturing his vulnerability with restraint. Annette Andre, regrettably, is underused, relegated to the tired “damsel in distress” archetype—a term even invoked by the villain to undermine her credibility. Far more compelling is Martin Miller’s portrayal of the watchmaker, whose Eastern European accent and quiet resolve hint at a revolutionary past repurposed as resistance within the Village.

Perhaps most significantly, It’s Your Funeral offers one of the series’ rare unambiguous victories for Number Six, providing viewers with a measure of catharsis amidst the show’s prevailing ambiguity and despair. Moreover, its introduction of “jammers” as a form of tactical resistance resonated beyond fiction: the term was adopted a year later by the Situationist International as a real-world protest strategy against bureaucratic control.

Despite its strengths, the episode’s legacy is shadowed by its troubled production. Director Robert Asher was reportedly fired by McGoohan following a heated confrontation. Cast members, including Nesbitt and Andre, later recounted McGoohan’s harsh treatment on set, while Mark Eden claimed to have genuinely feared for his safety during their physical altercation. Such behind-the-scenes strife adds a layer of irony to an episode so preoccupied with control, manipulation, and the cost of resistance—themes that, perhaps unintentionally, mirrored the tensions of its own making.

RATING: 7/10 (+++)

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[Deadpool] The budget for the third installment has been revealed. It was surprisingly large, and I'm generally less surprised that studios prefer not to talk about it. Lesser actors get low pay, while more popular ones get higher. https://geektyrant.com/news/deadpool-wolverine-shockingly-massive-budget-raises-big-questions-about-its-true-profitability

[Avatar] Reviewers have expressed their opinions on the latest installment, the third installment of the Cameron saga. Well, one can have different opinions about Avatar, but it's hard to deny that James is a great director who, despite his many films, still manages to create an incredible show. I won't go to the cinema because I don't want to waste my time sitting in a cinema for 3.5 hours. My partner and I will wait, and just like with the second part, I'll turn on my "home theater at 100" and we'll split the viewing into two halves. https://variety.com/2025/film/news/avatar-fire-and-ash-first-reactions-james-cameron-1236596177/

[Marty Supreme] This is reportedly the 2nd best film of the actor's career. https://www.comingsoon.net/movies/news/2068898-marty-supreme-reviews-rotten-tomatoes-score-are-timothee-chalamets-2nd-best-movie

[Bruce Willis] Apparently, Bruce's health has improved. It's hard for me to say anything about it. He's going through a terrible tragedy, losing a piece of himself every day. I hope he suffers as little as possible. https://www.comingsoon.net/pop-culture/news/2068079-bruce-willis-wife-emma-heming-holidays-different

https://www.comingsoon.net/movies/news/2066620-bruce-willis-gets-heartwarming-health-update-from-daughter-rumer

[Meghan Markle] The Suits actress will return to work after a few years away. She'll have a small role in the Amazon film. Brie Larson will also appear. If anything, she's the woman who married Prince Harry. https://www.comingsoon.net/movies/news/2058182-meghan-markle-acting-return-after-suits

[Gomorrah] A trailer for the prequel to one of the most interesting series I've ever seen has surfaced online. I highly recommend it. I'd love to see flashbacks of Gomorrah's head before he created the largest mafia in Italian history. https://variety.com/2025/tv/news/gomorrah-the-origins-trailer-prequel-series-savastano-rise-1236595638/

[The Odyssey] On December 19th, the prologue to Christopher Nolan's new film and its trailer will be shown in Imax theaters. https://www.comingsoon.net/movies/news/2068320-the-odyssey-prologue-trailer-set-release-date-for-theaters

[Home Alone] Oh, I can't wait for the Home Alone films. I'll watch them this year, taking the mandatory commercial breaks. I'll watch it in the same conditions I did as a child <3. https://www.comingsoon.net/movies/news/2068309-home-alone-christmas-movies-santa-clause-hulu

[Thunderbolt and Lightfoot] Ryan Reynolds and Prime are reportedly working on a revival of Clint Eastwood's classic film. https://www.comingsoon.net/movies/news/2059619-ryan-reynolds-rebooting-classic-clint-eastwood-movie

[The Testament of Ann Lee] A new film from Searchlight Studios will hit theaters on December 25th. The film will tell the story of a cult. Trailer in link 2. https://www.comingsoon.net/movies/trailers/2058530-the-testament-of-ann-lee-teaser-trailer-amanda-seyfried

https://www.comingsoon.net/movies/trailers/2058530-the-testament-of-ann-lee-teaser-trailer-amanda-seyfried

[Carpenter's Son] A film starring Nicolas Cage debuted two weeks ago. It's an adaptation of the apocrypha (a religious scripture referring to the Bible but not considered canonical and not part of the official Holy Scripture), apparently extremely unlikely. But I'll check it out out of curiosity. https://www.comingsoon.net/movies/trailers/2058543-nicolas-cage-jesus-horror-movie-the-carpenters-son-gets-new-trailer

[Rosemead] A new psychological film starring Lucy Liu will be released in theaters on December 5th. https://www.comingsoon.net/movies/trailers/2058568-lucy-liu-family-movie-rosemead-trailer

[Michael] We'll probably get Michael's full, cinematic story. The first trailer was very popular. https://www.comingsoon.net/movies/news/2059131-michael-sequel-part-2-chances-lionsgate-executive-tease

[Arco] A new animated film will hit theaters early next year. Some see it as an Oscar contender. https://www.comingsoon.net/movies/trailers/2058546-arco-trailer-previews-will-ferrell-fantasy-movie-with-major-oscar-buzz

[Shrek 5] We've met the voice actors who will voice Shrek and Fiona's children. https://www.comingsoon.net/movies/news/2068020-snl-superman-actors-join-shrek-5-as-fionas-sons

[Jurassic World] We've met the actors and director. Premiere in 2027 or 2028. https://www.comingsoon.net/movies/news/2058876-jurassic-world-5-director-returning-cast-revealed-universal-sequel-movie

[Nuremberg] The new film starring Russell Crowe is receiving very positive reviews. https://www.comingsoon.net/movies/news/2058445-nuremberg-reviews-rt-score-revealed-russell-crowe-movie

[Jay Kelly] George Clooney's new film is also receiving very good reviews. https://www.comingsoon.net/movies/news/2068015-jay-kelly-reviews-rotten-tomatoes-score-george-clooney-adam-sandler

[Trash Mountain] Lily Wachowski, one of the directors of The Matrix, has withdrawn from directing the film, which was to be her solo debut. The reasons for her withdrawal are unknown, and the film has already been replaced. https://www.comingsoon.net/movies/news/2068346-the-matrix-director-gets-replaced-for-zooey-deschanel-movie-trash-mountain

[Thomas Crown Affair] We've learned the names of the actors who have joined Michael B. Jordan's next film. https://www.comingsoon.net/movies/news/2068393-michael-b-jordans-thomas-crown-affair-adds-aubrey-plaza-more-to-cast

Bruce Willis | Meghan Markle powraca | Arco | Shrek 5 | Jurassic World 5 | Thunderbolt and Lightfoot | The Odyssey | Gomorrah the prequel | Avatar 3 | Deadpool 3 |

[Deadpool] Poznaliśmy budżet 3 części. Ten był zaskakująco duży i generalnie coraz mniej dziwię się studiom, że wolą o nich nie mówić. Słabsi aktorzy dostają niskie stawki, a ci popularniejsi większe. https://geektyrant.com/news/deadpool-wolverine-shockingly-massive-budget-raises-big-questions-about-its-true-profitability

[Avatar] Recenzenci wypowiedzieli się na temat najnowszej, 3 części sagi Camerona. Cóż, można mieć różne opinie na temat Avatara, ale trudno jest zaprzeczyć, że James to wielki reżyser, który mimo wielu filmów, ciągle potrafi stworzyć niesamowite show. Do kina nie pójdę, bo szkoda mi czasu na siedzenie 3.5h w kinie. Poczekamy sobie z moją partnerką i tak jak przy 2 części, włączę moje "kino domowe na 100" i rozbijemy sobie seans na 2 połowy. https://variety.com/2025/film/news/avatar-fire-and-ash-first-reactions-james-cameron-1236596177/

[Marty Supreme] Podobno to 2 najlepszy film w karierze tego aktora. https://www.comingsoon.net/movies/news/2068898-marty-supreme-reviews-rotten-tomatoes-score-are-timothee-chalamets-2nd-best-movie

[Bruce Willis] Podobno poprawiło się w kwestii zdrowia Bruce'a. Trudno cokolwiek powiedzieć mi na ten temat. Przeżywa straszny dramat, codziennie tracąc kawałek samego siebie. Mam nadzieję, że cierpi przy tym jak najmniej. https://www.comingsoon.net/pop-culture/news/2068079-bruce-willis-wife-emma-heming-holidays-different

https://www.comingsoon.net/movies/news/2066620-bruce-willis-gets-heartwarming-health-update-from-daughter-rumer

[Meghan Markle] Aktorka znana z serialu Suits, powróci po kilku latach przerwy do pracy. Wystąpi w małej roli w filmie Amazon. Zobaczymy też Brie Larson. Jakby co, to ta kobieta, która wyszła za księcia Harry'ego. https://www.comingsoon.net/movies/news/2058182-meghan-markle-acting-return-after-suits

[Gomorrah] Do sieci trafiła zapowiedź prequelu jednego z najciekawszych seriali, jakie widziałem. Bardzo polecam. Chętnie obejrzę retrospekcje głowy Gomorry, zanim stworzył największą mafię w historii Włoch. https://variety.com/2025/tv/news/gomorrah-the-origins-trailer-prequel-series-savastano-rise-1236595638/

[The Odyssey] 19 grudnia w kinach Imax, będzie wyświetlany prolog do nowego filmu Christophera Nolana oraz jego trailer. https://www.comingsoon.net/movies/news/2068320-the-odyssey-prologue-trailer-set-release-date-for-theaters

[Home Alone] O, już nie mogę się doczekać filmów z serii Home Alone. Obejrzę je w tym roku, robiąc sobie obowiązkowe przerwy na reklamy. Obejrzę to w takich warunkach, jak w dzieciństwie <3.
https://www.comingsoon.net/movies/news/2068309-home-alone-christmas-movies-santa-clause-hulu

[Thunderbolt and Lightfoot] Podobno Ryan Reynolds i Prime pracują nad wskrzeszeniem klasycznego filmu Clinta Eastwooda. https://www.comingsoon.net/movies/news/2059619-ryan-reynolds-rebooting-classic-clint-eastwood-movie

[The Testament of Ann Lee] 25 grudnia do kin wejdzie nowy film studia Searchlight. Film ma opowiadać o sekcie. Trailer w 2 linku. https://www.comingsoon.net/movies/trailers/2058530-the-testament-of-ann-lee-teaser-trailer-amanda-seyfried

https://www.comingsoon.net/movies/trailers/2058530-the-testament-of-ann-lee-teaser-trailer-amanda-seyfried

[Carpenter's Son] Dwa tygodnie temu zadebiutował film z Nicolasem Cagem. Jest to adaptacja apokryfu (religijne pismo nawiązujące do Biblii, ale nieuznane za kanoniczne i niebędące częścią oficjalnego Pisma Świętego), podobno wyjątkowo mało prawdopodobnego. Ale z ciekawości zobaczę. https://www.comingsoon.net/movies/trailers/2058543-nicolas-cage-jesus-horror-movie-the-carpenters-son-gets-new-trailer

[Rosemead] 5 grudnia do kin trafi nowy film psychologiczny z Lucy Liu https://www.comingsoon.net/movies/trailers/2058568-lucy-liu-family-movie-rosemead-trailer

[Michael] Raczej dostaniemy pełną, filmową historię Michaela. Pierwszy trailer cieszył się dużą popularnością. https://www.comingsoon.net/movies/news/2059131-michael-sequel-part-2-chances-lionsgate-executive-tease

[Arco] Na początku przyszłego roku, do kin trafi nowa animacja. Niektórzy postrzegają ten tytuł jako faworyta do nagrody Oscara. https://www.comingsoon.net/movies/trailers/2058546-arco-trailer-previews-will-ferrell-fantasy-movie-with-major-oscar-buzz

[Shrek 5] Poznaliśmy aktorów głosowych, którzy udzielą swojego głosu dzieciom Shreka i Fiony. https://www.comingsoon.net/movies/news/2068020-snl-superman-actors-join-shrek-5-as-fionas-sons

[Jurassic World] Poznaliśmy aktorów oraz reżysera. Premiera w 2027 lub 2028. https://www.comingsoon.net/movies/news/2058876-jurassic-world-5-director-returning-cast-revealed-universal-sequel-movie

[Nuremberg] Nowy film z Russellem Crowe zbiera bardzo pozytywne opinie. https://www.comingsoon.net/movies/news/2058445-nuremberg-reviews-rt-score-revealed-russell-crowe-movie

[Jay Kelly] Nowy film George'a Clooneya również zbiera bardzo dobrze opinie. https://www.comingsoon.net/movies/news/2068015-jay-kelly-reviews-rotten-tomatoes-score-george-clooney-adam-sandler

[Trash Mountain] Lily Wachowski, jedna z reżyserek The Matrix, zrezygnowała z reżyserii filmu, który miał być jej solowym debiutem. Nie znamy powodów rezygnacji, a film ma już zastępcę. https://www.comingsoon.net/movies/news/2068346-the-matrix-director-gets-replaced-for-zooey-deschanel-movie-trash-mountain

[Thomas Crown Affair] Poznaliśmy nazwiska aktorów, którzy dołączyli do kolejnego filmu Michaela B. Jordana. https://www.comingsoon.net/movies/news/2068393-michael-b-jordans-thomas-crown-affair-adds-aubrey-plaza-more-to-cast

La cultura corporativa actual carece de verdadera vocación, todo se basa en escalar posición y elevar números, sin importar el bienestar de los trabajadores o los clientes, todo es cuestión de métricas, y es algo que esta serie refleja muy bien. Todos quieren cumplir con el estándar, no quedarse atrás, seguir nuevas tendencias y volverse los mejores, pero Antón no va en sintonía con esto porque es un hombre pragmático y objetivo, aunque no es perfecto, de hecho la crisis que hay en el campo lo orilla a tomar una decisión de la cuál se arrepiente más tarde. Y esto es algo que me gusta porque la serie no nos muestra personajes lineales o estereotipados, al contrario son variopintos y con variantes, lo cuál los vuelve más realistas.

La relación que hay entre Uxia y Antón es compleja y da pie a muchos conflictos y situaciones graciosas, los dos son muy diferentes, pero al final de cuentas se vuelve una relación simbiótica de retroalimentación, en la cuál cada uno aprende del otro, ella se vuelve un poco más realista y pragmática, mientras que Antón aprendió a tener más tacto a la hora de hablar con los clientes o de expresar una idea.

El ritmo de la narrativa es muy bueno, fluye bastante, así que cada episodio resulta muy divertido, las actuaciones estuvieron ciertamente muy buenas, pero la mayoría de los personajes son muy poco relevantes pues la serie deja caer casi todo el peso sobre Uxia y Antón (Luis Zahera y Lucia Caraballo) y la verdad es que lo hacen muy bien, en especial me sorprendió Luis Zahera, a quién yo había visto previamente en un par de ocasiones (si no me equivoco) en papeles de villano. Consta de pocos episodios, así que se puede ver en poco tiempo, así que la recomiendo mucho por si necesitan ver algo con lo que se puedan divertir pero al mismo tiempo reflexionar.

(Imagen hecha con el editor de canva)

Image made with the Canva editor

One of the things most common complaints against today's Hollywood is the lack of experimentation, or the persistent and frequent public insistence on trying to film the same plot through sequels, prequels, remakes, and reboots. A filmmaker who attempts to give the public something original or at least different from today's dominant formula is increasingly rare, and even fewer studio producers and directors are willing to finance such experiments. Such caution, however, isn't always groundless, as seen in the case of the film Kin, 2018 film that tried to give something fresh to American film repertoire in terms of form and content. This fillm flopped at the box office and also among critics who are generally inclined towards experimentation.

Kin was directed by the Baker brothers, Jonathan and Josh, based on their own short film Bagman from 2014. The story begins in Detroit, a city that has already become a symbol of the decline of modern Western civilization. The protagonist, 14-year-old African American boy Elijah "Eli" Solinski (Miles Truitt), grows up in this decaying environment. A few years ago, Eli was adopted by a white family led by Hal (Dennis Quaid), a construction worker who, despite his poverty, tries to guide his children on the right path. This effort was not entirely successful, as Eli attempts to earn a living by collecting trash from abandoned industrial plants. During one such expedition, he discovers an unusual object that appears to be a laser gun. Before Eli can decide whether it is of alien or futuristic origin, his family's life is complicated by the arrival of Hal's biological son, Jimmy (Jack Reynor), who has just completed a long prison sentence for petty theft. Jimmy insists on turning a new page, but he still cannot resolve his criminal past, as he bought protection from a local gang of dangerous criminals led by Taylor (James Franco) while in prison. They try to recover their debt by getting Jimmy to steal from Hal's business, but things get complicated, and in the end, Eli and Jimmy are forced to flee west, unaware that the gun Eli is carrying has become an object of interest for two mysterious detectives from another world.

The failure of Kin can, as in many similar cases, be most easily explained by poor marketing. Posters and trailers suggest it is a full-blooded sci-fi film, and perhaps even an attempt to create a youth-oriented sci-fi/fantasy franchise similar to Hunger Games or Divergent. On the other hand, viewers will end up with a genre that belongs to much more banal genres: "ordinary" thriller, drama, and road movie. For a moment, Kin feels like an "art film" trying to hit "Oscars" with its formula. Apart from the opening scenes and the ending that firmly places it in the sci-fi genre, Kin could, in fact, function perfectly as an "ordinary" film. The greatest credit goes to the excellent cast, which includes the young and still unknown Truitt, as well as Reynor, who tries to be the best stand-in for Chris Pratt, physically resembling him. Franco is effective, even if his character is just a variation of a few similar portrayals. Similarly, Zoe Kravitz plays a somewhat ungrateful role as a stripper, a character added merely to fill the quota of female characters. Alongside the good acting, Kin is distinguished by its quality direction, which comes to light in several effective action scenes, more than solid special effects, and the cinematography of Larkina Serpie and the music of Mogwai, which give the film a sort of "retro" feel reminiscent of the 1980s and films like The Terminator. Much of the good in this film is compromised by the final scenes, which are not very convincing in their depiction of police station showdown, or the epilogue that gives the audience too much "elegant" explanation of what they've seen, and suggests a sequel that is probably not going to happen. This is a shame, as Kin is a good film that deserves the audience, even though it is clear it could have been much better.

RATING: 6/10 (++)

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

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