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The last time I was moved to watch a Nigerian movie due to hype?
That, I can’t remember. It’s been very long.
The Herd, a Nigerian movie, was released in the early days of October 2025, which I knew because one of my favourite content creators promoted the movie. But the movie didn’t make waves until this month of November when it coincidentally matched up with the latest happenings in Nigeria—and that’s the kidnapping by bandits. After the many reviews and hype by people, I decided to give it a watch, just to see how it portrays the evil lurking in Nigeria.
The Plot:
A couple had just gotten married, and while hurriedly rushing to their hotel for refreshment, they met cows and herdsmen blocking the road. Before they knew it, the herdsmen brought out guns—I mean sophisticated guns—and started shooting in the air. While the groom was trying to run away, he got shot, and he died flat on the spot. Trauma for the wife! She couldn’t believe what she had just witnessed.
So that was it—they got kidnapped and taken into the bush so ransom could be demanded.
Opinions:
Just like everyone has been saying, the production did an excellent job by selecting the perfect tribe to take up the characters. The kidnappers represent the notorious and brutal northern part of Nigeria, who have been known for such dealings since Nigeria gained her independence.
The funniest thing is, ever since the movie started trending—following the recent increase in kidnappings by the bandits who are publicly known and identified as northerners—there have been calls by them to put down the movie because it’s portraying a negative notion about them, meanwhile the movie says the whole truth about them.
The native languages used made it good as well, even though I don’t understand the northern and western languages. The subtitles that followed were good.
Talking about the individual characters, they all did well, and I feel they selected the best people for the movie. Although there are new faces there (it’s been long since I watched a Nigerian movie), it’s good how they nailed their characters.
It’s a good watch. I’m glad I didn’t waste my time watching it.
Hola mi gente bella, espero esten todos super bien, la ediciòn de hoy es sobre una telenovela que se realizo entre dos paises amigos, Venezuela claro esta y la isla de Puerto Rico, con protagonistas de estos dos paises.
Portada realizada por mi.
INTRODUCCIÒN.
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Diana Carolina es una telenovela venezolano-puertorriqueña producida en 1984 por Venevisión, cuyo estilo romántico y juvenil marcó un hito en la televisión de la época. Con Guillermo Dávila e Ivonne Goderich como protagonistas, la historia presenta un amor que desafía diferencias sociales y distancias geográficas, cargado de emoción, música y una narrativa que conectó profundamente con el público.
La historia gira en torno a Diana Carolina, una joven venezolana perteneciente a una familia rica y tradicional. Durante un viaje a Puerto Rico, conoce a Juan Diego, un muchacho humilde, trabajador y lleno de aspiraciones. Entre ambos surge un romance sincero y apasionado que parece imposible debido a sus diferencias sociales.
Al regresar a Venezuela, Diana Carolina debe enfrentarse al compromiso que su familia ha dispuesto para ella. Mientras tanto, Juan Diego y su madre viajan al país para trabajar en la mansión de la familia de la joven, impulsados por deudas y dificultades económicas. El reencuentro entre ambos ocurre en medio de secretos, tensiones familiares y un entorno que no aprueba la relación.
El amor entre Diana Carolina y Juan Diego se verá constantemente amenazado por intereses externos, diferencias sociales y los antagonistas que intentan separarlos. Su lucha por permanecer juntos se convierte en el eje central del melodrama.
Diana Carolina combina un romance juvenil con los elementos clásicos del melodrama latinoamericano. La química entre Ivonne Goderich y Guillermo Dávila impulsó el éxito de la historia, reforzada por una banda sonora que se volvió extremadamente popular.
La dirección de Grazio D’Angelo imprimió un ritmo dinámico y cercano al público joven, mientras que la participación de actores de amplia trayectoria añadió profundidad dramática. La novela destaca también por su mezcla cultural entre Venezuela y Puerto Rico, ofreciendo un ambiente fresco y distinto para su época.
Considerada una de las producciones más queridas de 1984, Diana Carolina dejó huella gracias a su romance emotivo, su elenco carismático y su música inolvidable. Su narrativa, que mezcla diferencias sociales con un amor destinado a superar obstáculos, la convirtió en un clásico del melodrama juvenil de Venevisión.
Bueno mi gente espero les guste esta ediciòn del dia de hoy recordando esta increible producciòn, una novela que tuvo mucho exito para la epoca, y quedo en la memoria colecctiva de toda una generaciòn y paso a la historia de los dramaticos de Venezuela y claro Puerto Rico.
Written by: David Kemper & Michael Piller
Directed by: David Carson
Running Time: 45 minutes
If Star Trek were to be true to its unofficial motto — “to boldly go where no one has gone before” — it is likely that one of such bold experiments would stir controversy. The Enemy, Season 3 episode of Star Trek: The Next Generation exemplify this tension, due to creative decision that divided production staff and made some cast members uncomfortable, but ultimately became a cornerstone of the series’ Golden Age of Star Trek. While its plot may not initially seem original, the episode’s execution, character development, and thematic depth elevate it to a landmark in Star Trek’s canon.
The episode opens with the USS Enterprise-D investigating a mysterious distress signal from Galorndon Core, a remote Federation planet near the Neutral Zone. An away team led by Commander Riker discovers the remnants of a destroyed space vessel and an injured Romulan officer, Patahk (Steve Rankin), who is later identified as a Romulan D’deridex class warbird commander, Tomalak (Andreas Katsulas), claims he has crossed the border. The episode’s setting is both a technical and emotional challenge: Galorndon Core is prone to violent electromagnetic storms, which complicate teleportation and communication.
At the heart of the episode is a moral dilemma: Picard faces the prospect of a Romulan ship, which has trespassed into Federation territory, and must decide whether to comply with Tomalak’s demands. Meanwhile, Dr. Crusher learns that Patahk’s life can be saved only by a ribosom donation from a single Enterprise crew member — Worf. However, Worf refuses, citing his personal history with the Romulans. The Romulans are responsible for the death of his parents during the Kithomer incident, a trauma that shapes Worf’s ethical framework. Picard, aware of the potential consequences of a miscalculation, respects Worf’s decision, leading to Patahk’s death.
Meanwhile, Geordie, stranded on Galorndon Core, encounters a Romulan named Bochra, who initially attempts to capture him. However, both men are injured, and their survival hinges on cooperation. The electromagnetic storms malfunction Geordie’s VISOR, rendering him blind, but the two men form an unlikely alliance. Geordie manages to contact the Enterprise, providing critical data that allows both men to be beamed up. Bochra’s report allows Tomalak to feign ignorance, averted crisis for now. This subplot, while seemingly minor, becomes integral to the episode’s broader narrative, illustrating the theme of survival through cooperation despite cultural and ideological differences.
The episode’s plot is not without precedent. Its core premise — bitter enemies forced to work out their differences for mutual survival — echoes classic films like Defiant Ones (1958), Hell in the Pacific (1985), and Enemy Mine (1985). The title The Enemy itself is a direct nod to the latter film, a subtle but significant homage to the genre’s tradition of exploring conflict and coexistence. However, the episode’s execution is more than a superficial imitation; it integrates the Romulan threat into the broader Star Trek universe, positioning them as recurring adversaries for the Federation. This decision, inspired by the ongoing Cold War, reflects the series’ ambition to create a cohesive, expansive narrative that transcends individual episodes.
The acting in The Enemy is a mixed bag. LeVar Burton and John Snyder, as Worf and Bochra, are not on the same level as the legendary actors in earlier films, but their performances are compelling. Director David Carson, who would later helm Star Trek: Generations, delivers a visually engaging portrayal of the alien planet, using studio sets to economically and efficiently convey the setting. The episode’s production values, while not as ambitious as later Star Trek series, are commendable, particularly in the context of the 1980s.
The scriptwriters, David Kemper and Michael Piller, demonstrate a keen understanding of the franchise’s evolving narrative. Their decision to integrate the Geordie/Bochra subplot into the larger plot reflects a strategic choice to expand the Romulan presence in Star Trek, a move that would become a recurring theme in subsequent episodes. Andreas Katsulas, who would later portray G’Kar in Babylon 5, delivers a standout performance as Tomalak, capturing the character’s menace and complexity. His role in this episode is a testament to Katsulas’ ability to embody the Romulan ethos, a trait he would later refine in other episodes.
The most memorable moment in The Enemy is Worf’s refusal to donate his ribosom. At first glance, this decision seems to contradict the optimistic ideals of Gene Roddenberry and the Star Trek vision of a future where humanity and aliens coexist. However, the episode’s strength lies in its nuanced portrayal of Worf’s ethics. Unlike human characters, Worf’s sense of honor is rooted in his cultural and personal history, a perspective that the series acknowledges rather than dismissing. This moment, which many writers and critics, and even Michael Dorn, initially questioned, ultimately cements The Enemy as a defining episode of Star Trek: The Next Generation. It demonstrates the series’ willingness to explore moral ambiguity and the complexities of non-human characters, a hallmark of the franchise’s evolution.
Brannon Braga, who would later become a pivotal figure in Star Trek’s creative landscape, credits this episode as the moment that solidified his appreciation for The Next Generation. The writing in The Enemy is a masterclass in balancing tension, character development, and thematic depth. The episode’s structure, which juxtaposes the immediate crisis with the broader implications of cultural and ethical conflict, is a testament to David Kemper’s and Michael Piller’s skill as writers. Their ability to craft a narrative that is both emotionally resonant and thematically profound is a key reason why The Enemy remains a standout in the series’ history.
At the end, The Enemy is a critical and emotional episode that exemplifies the best of Star Trek: The Next Generation. While its plot may not be as groundbreaking as some of the series’ later episodes, its execution, character development, and thematic resonance make it a landmark in Star Trek’s canon. The episode’s legacy lies in its ability to balance the franchise’s optimistic vision with the realities of human (and non-human) conflict, a balance that defines the series’ enduring appeal.
Some movies start off light and cool, and you think you have them all figured out only for the ending to catch you off guard and the message stays with you long after the credits roll. One of such films is Anniversary (2025).
As always, I checked the cast list before watching. Seeing familiar actors like Phoebe Dynevor, Diane Lane, Dylan O'Brien and Zoey Deutch put my mind at ease. Surely, this film should be good, or great even, depending on the plot and their acting. No! It's impressive and explosive.
We are introduced to the Taylors at their anniversary party. It's Ellen and Paul's 25th wedding anniversary and all their children and friends are present. Ellen (played by Diane Lane) is a professor at Georgetown university and also a public intellectual who participates in debates on live TV. Paul (played by Kyle Chandler) is a popular restaurateur.
This couple have four children: Josh (played by Dylan O’Brien) is a budding writer whose first work was rejected by publishers and ever since, he wants to please his mother, Cynthia (played by Zoey Deutch) is an environmental lawyer who handles ‘shitty’ cases with her husband, Anna (played by Madeleine Brewer) is a popular comedian and the youngest, Birdie (played by Mckenna Grace) is a quiet, science nerd.
At this party, Josh shows up with his poised girlfriend, Liz (played by Phoebe Dynevor). His sisters are curious about her but Ellen becomes wary when she remembers that Liz was a former student who sparked radical and anti-democratic debates in class. As the children leave after the party, Liz presents Ellen with a gift, her newly published book—The Change: A New Social Compact.
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Two years later, Liz is popular, married to Josh and pregnant with twins. Her book becomes a bestseller and quickly ignites a radical movement called ‘The Change’ that spreads through the society like wildfire. The national flag is redesigned and an authoritarian rule takes over. Violence and chao follows. People who are not in support of the change are quickly silenced or harrassed.
In the face of these drastic changes that turns a sunny family and society into a dystopian one, how will the Taylors navigate these troubled waters?
Review
I did point out earlier that this film took me by surprise and felt explosive. The plot is brilliant, a contemporary one that speaks to most democratic countries about testing the waters politically. The director, Jan Komasa, takes his audience through the experience of living in an authoritarian society.
The storytelling is well-paced and smooth. Without beating around the bush, we meet a family who grows and experiences ‘change’ within a five year span. They start out as a close knit family with progressive views and in no time, break apart due to radical influence. I'll say that's a bold message by Jan Komasa. However, this review is not about his intentions towards the movie but how well this plot was executed.
You might think at first that it's simply about an anniversary celebration, but it's much more. Deeper than the comforts of love and family, it digs further into the society and government. We see the effect of ‘the change’ on this family and their reactions to it.
The cast ensemble is cool in my opinion and they all embody their characters very well. Phoebe Dynevor and Dylan O'Brien are convincing enough as the villains of the movie.
One thing stands out for me in this film—the theme of identity which I find lends more weight to the plot. Ellen and Paul are progressives, and their daughters appear to be too. Their only son, Josh, due to rejection and parental issues, leans where the wind blows—in this case, his wife's radical, anti-democratic views. I think their identities inevitably led to their end. Whether or not it's acceptable, depends on the audience.
The cinematography is impressive, nothing out of the ordinary.
Overall, I enjoyed Anniversary (2025). It's brilliant, well-paced and beautifully told. The acting is impressive too. The plot and underlying messages call for some reflection. Some characters experience a change of heart at a point in the movie, revealing that even the most complex individual can struggle to accept their choices when faced with the consequences.
El día de hoy vamos a entrar en un mundo que es completamente ajeno para mi: las series coreanas o k-dramas. No soy fanático de estas historias de amor ni de los cortes románticos ni noveleros pero si hay algo que aprendí es que estas series no son solo de ese género, hay una variedad importante que abarca el terror, el suspenso y los thriller psicológicos. The Glory entra en la bolsa del drama acompañada con un thriller persecutorio en donde la venganza es el motor de vida de nuestra protagonista. Me enteré de esta serie por Instagram en un video que me salió, me llamó la atención la sinopsis y decidió darla la oportunidad. Me arrepiento? - cero, que buena serie!
Today we're going to delve into a world completely foreign to me: Korean dramas, or K-dramas. I'm not a fan of these love stories or romantic, soap-opera-like plots, but if there's one thing I've learned, it's that these series aren't limited to that genre. There's a significant variety encompassing horror, suspense, and psychological thrillers. "The Glory" falls into the drama category, combined with a chase thriller element where revenge is the driving force in our protagonist's life. I discovered this series on Instagram through a video that popped up. The synopsis caught my attention, and I decided to give it a try. Do I regret it? Not at all! What a great series!
Esta serie comienza con Moon Dong-eun, una chica que sufrió un acoso escolar, un bullying tremendo lleno de mucha violencia y maldad; estamos hablando de un maltrato físico brutal. En Corea del Sur esto es muy común, lamentablemente. Pasa que llega un punto en el que no soporta más la situación y se va del colegio y a partir de ese momento ella empieza a planear lo que será su venganza en contra de las 5 personas que le hicieron la vida imposible en su juventud. Ella quería una vida normal pero en cambio decidió dedicarse a elaborar un plan maestro para derrumbar las vidas de los demás, estamos hablando de por lo menos 15 años de preparación. En ese tiempo ella estudió, ganó dinero, se preparó para poder tener los recursos y así lograr la justicia que tanto anhelaba.
This series begins with Moon Dong-eun, a girl who suffered terrible bullying, full of violence and malice; we're talking about brutal physical abuse. Unfortunately, this is very common in South Korea. She reaches a breaking point and leaves school. From that moment on, she begins to plot her revenge against the five people who made her life a living hell in her youth. She wanted a normal life, but instead, she decided to dedicate herself to crafting a master plan to destroy the lives of others—at least 15 years of preparation. During that time, she studied, earned money, and prepared herself to acquire the resources necessary to achieve the justice she so desperately craved.
Esta es la segunda serie coreana que veo, la primera se llama "Sin piedad para nadie o Mercy for None" y va un poco acerca de venganza también pero en un nivel más a lo Liam Neeson o John Wick. Esta trama tiene que ver más con destruir la vida de las personas poco a poco, que todo lo que construyeron se vaya desmoronando con el pasar del tiempo y gracias a las grietas e información que nuestra protagonistas logró encontrar. Y es que si, acá entra mucho el chantaje y la manipulación. La trama es super básica pero lo que realmente engancha es todo lo que ella hace, la red que crea para poder llevar a cabo su objetivo.
This is the second Korean series I've watched; the first is called "Mercy for None," and it's also somewhat about revenge, but on a more Liam Neeson or John Wick level. This plot is more about slowly destroying people's lives, watching everything they've built crumble over time thanks to the cracks and information our protagonist manages to uncover. And yes, blackmail and manipulation play a big role here. The plot is very basic, but what really hooks you is everything she does, the network she creates to achieve her goal.
Lo que hay que valorar no es el fondo sino la forma. Al final y conforme van avanzando los episodios la serie se va volviendo más adictiva porque siempre será gratificante de ver como se va armando una venganza, una venganza que involucra no solo a los acosadores sino a todo su entorno y es que para poderles llegar hay que lograr meterse bien en las vidas personales y profesionales de cada quien. Otra de las cosas que se muestran son las heridas que puede dejar un trauma como estos, es impresionante como el bullying puede marcar para siempre la vida de una persona. Es por eso que dentro de la trama hay mensajes de resiliencia y de apoyo.
What matters is not the content but the style. As the episodes progress, the series becomes increasingly addictive because it's always gratifying to watch a revenge plot unfold, a revenge that involves not only the bullies but their entire social circle. To reach them, one must delve deeply into their personal and professional lives. Another aspect the series portrays is the profound trauma such events can inflict; it's striking how bullying can forever mark a person's life. That's why the plot includes messages of resilience and support.
Además del bullying hay temas como la violencia doméstica, la violencia de género, adicciones, infidelidades, etc. Es un drama bien denso la verdad. De las cosas que no sabía por no ser fanático de esto es que estos actores son realmente buenos interpretando, al igual que los japoneses son muy expresivos al hablar, gesticulan mucho lo que hace que las escenas y actuaciones sean más llamativas y lleguen al espectador de una mejor manera. Al final cada uno va cayendo de diferentes maneras y Moon Dong-eun observa como todo se va materializando. Algunos pueden pensar que es demasiado rencor guardado por muchos años hasta lograr la justicia por sus propias manos pero es que cuando vean lo que ella sufrió capaz se pueda empatizar un poco. Yo lo pensé al inicio pero después dije, "esta gente se merece esto y más".
Besides bullying, there are themes like domestic violence, gender violence, addiction, infidelity, etc. It's a really intense drama, to be honest. One thing I didn't know, since I'm not a fan of this genre, is that these actors are truly excellent. Like the Japanese, they're very expressive when they speak, gesturing a lot, which makes the scenes and performances more striking and resonates with the viewer more effectively. In the end, everyone falls in different ways, and Moon Dong-eun watches as it all comes to fruition. Some might think it's too much resentment held for so many years before she takes justice into her own hands, but when you see what she suffered, you might empathize a little. I thought so at first, but then I said, "These people deserve this and more."
Escenas bien hechas, una trama con muchos hilos y plot twist interesantes, cada capítulo es una sorpresa. Son 16 capítulos y sinceramente si te dan ganas de seguir viendo cuando uno se termina, tiene ese efecto medio adictivo. Le doy un 8/10, como ya dije, las venganzas son muy satisfactorias de ver. Esto está en Netflix. Les dejo el tráiler por acá abajo.
Well-made scenes, a plot with many threads and interesting twists—each episode is a surprise. There are 16 episodes, and honestly, you'll want to keep watching when one ends; it has that somewhat addictive effect. I give it an 8/10. As I said, revenge stories are very satisfying to watch. It's on Netflix. I've included the trailer below.
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Bueno mi gente por hoy es todo, espero que les haya gustado.
¡Un abrazo a todos, nos vemos en la próxima!
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Well folks, that's all for today. I hope you enjoyed it.
¡Hugs to everyone, see you next time!
Synopsis: After several years without going on a date with any suitors, Violet (a single mother and widow) decides to break her fast by meeting Henry. They met through an app and decided to get to know each other better during dinner, but what was supposed to be the beginning of a relationship turns into a nightmare.
Bad dates. Who hasn't had one, right? Even if your answer is no to this question, it's only a matter of time before you meet someone who will bring you this infamous "Greek gift". In this movie, everything happens in just one place (a super fancy restaurant, in a very privileged location amidst the luminous chaos of the big city), and its narrative is based on the desires of people trying to find their "soulmates" through dates that are the result of online interactions through dating apps. However, everything that could go right at first glance turns into a nightmare of unimaginable proportions for Violet and Henry.
After three months of exchanging messages, Violet decides to accept Henry's invitation to a romantic dinner at a chic and trendy restaurant. She is a psychologist with a violent and troubled past due to a toxic relationship. He is a photographer tired of people's superficiality, but decided to take a chance on Violet because he believed she was a genuinely different person. Even though she is a widow and a single mother (with Toby, her five-year-old son), Violet is captivated by Henry as soon as they meet in person. What began promisingly for both of them soon becomes a game of cat and mouse between Violet and someone who is manipulating her.
In the plot, everything happens under the watchful eye of someone hidden and controlling Violet's every move. Being coerced into complying with everything asked of her (through messages on her smartphone), her options are limited (since her son and her sister, Jen, who is babysitting the boy, are in danger). From there, she, like the audience, gradually learns the intentions of a meticulous plan that, despite being constructed through countless narrative conveniences to function (this being the most irritating part of the entire script), ironically still manages to keep the movie afloat in a positive way (most of the time).
The deal is simple: Violet does what she's asked, and nobody gets hurt (at least not in theory). The tension in the script is entirely tied to the protagonist's fear regarding the hostages being held in her house (her son and her sister). She's given several tasks, and gradually she successfully completes them all (but always trying to evade the watchful eye to escape the situation), until one of the tasks becomes too big for her to handle, considerably increasing the movie's suspense. There's a very effective atmosphere of paranoia within the script until the end of the second act, which doesn't hold up in the conclusion.
Initially restrained, the script's approach is somewhat timid (although it begins with a very tense situation in its opening scenes), making the plot take a while to get going. On the other hand, this narrative "slowness" is justifiable due to the ramifications that occur throughout the plot's development. First, the movie focuses on introducing the most relevant characters, making them easily "recognizable" to the audience, but after that, when the plot is truly established, everything starts to get more interesting. The entire movie takes place almost entirely in one setting, and the script manages to maintain this tension reasonably high.
There are good doses of suspense here, triggered by overly exaggerated situations in some scenes (such as the protagonist's excessive absence in situations where any suitor would have left sooner due to her lack of attention, even though she mentions her caring and affectionate relationship with her son), but even so, most of it works very well and helps to create the tense atmosphere in which the entire movie takes place. Some aspects of the plot are very predictable, but interesting. However, what really stands out in the development done by director Christopher Landon is how the scenes are stitched together.
Technically, the movie stands out for its meticulous setting. Literally, the restaurant functions almost like a trap, and this feeling is palpable as the movie builds to its more tense layers. There's a well-developed narrative structure within this space, with situations flirting with vengeful suspense and even some comedic scenes (albeit out of place within the movie's overall premise) to create a deliberately unsettling mix of elements for the audience. However, the third act fails to redeem itself, delivering a frustrating conclusion that lacks better explanations for everything that had been building up to that point.
Drop really had everything to be a more compelling movie than it actually manages to be. It's not a bad thriller, but at its core, it had strong arguments and considerable potential to be something much bigger and more impactful. Meghann Fahy and Brandon Sklenar share the screen playing positively well-developed characters (especially Fahy), and both deliver good performances (although the script is biased in this aspect, and this cannot be applied to the rest of the cast, in this case... the supporting cast). Despite all the forced (or misguided) script decisions to create a stylish plot, the overall result is quite positive.
[ OFFICIAL TRAILER ]
CRÍTICA DE PELÍCULA: “La Cita” (2025)
Sinopsis: Después de varios años sin tener una cita con ningún pretendiente, Violet (madre soltera y viuda) decide romper el ayuno conociendo a Henry. Se conocieron por una app y decidieron conocerse mejor durante una cena, pero lo que se suponía que sería el comienzo de una relación se convierte en una pesadilla.
Citas malas. ¿Quién no ha tenido alguna, verdad? Aunque tu respuesta sea no, es solo cuestión de tiempo antes de que conozcas a alguien que te traiga este infame "regalo griego". En esta película, todo sucede en un solo lugar (un restaurante chic, en una ubicación privilegiada en medio del caos luminoso de la gran ciudad), y su narrativa se basa en los deseos de personas que intentan encontrar a su “alma gemela” a través de citas fruto de interacciones online mediante apps de citas. Sin embargo, todo lo que podría salir bien a primera vista se convierte en una pesadilla de proporciones inimaginables para Violet y Henry.
Después de tres meses intercambiando mensajes, Violet decide aceptar la invitación de Henry a una cena romántica en un restaurante chic y de moda. Ella es psicóloga con un pasado violento y problemático debido a una relación tóxica. Él es fotógrafo, cansado de la superficialidad de la gente, pero decidió arriesgarse con Violet porque creía que era una persona realmente diferente. Aunque es viuda y madre soltera (con Toby, su hijo de cinco años), Violet queda cautivada por Henry en cuanto se conocen en persona. Lo que empezó prometedor para ambos pronto se convierte en un juego del gato y el ratón entre Violet y alguien que la manipula.
En la trama, todo sucede bajo la atenta mirada de alguien oculto que controla cada movimiento de Violet. Obligada a cumplir con todo lo que se le pide (a través de mensajes en su teléfono), sus opciones son limitadas (ya que su hijo y su hermana, Jen, quien lo cuida, están en peligro). A partir de ahí, ella, al igual que el público, descubre gradualmente las intenciones de un plan meticuloso que, a pesar de construirse mediante innumerables artimañas narrativas para funcionar (siendo esta la parte más irritante de todo el guion), irónicamente logra mantener la película a flote de forma positiva (la mayor parte del tiempo).
El acuerdo es simple: Violet hace lo que le piden y nadie sale lastimado (al menos no en teoría). La tensión del guion está completamente ligada al miedo de la protagonista a los rehenes retenidos en su casa (su hijo y su hermana). Se le asignan varias tareas y poco a poco las completa con éxito (aunque siempre intentando evadir la vigilancia para escapar de la situación), hasta que una de ellas se vuelve demasiado grande para ella, aumentando considerablemente el suspense de la película. Hay una atmósfera de paranoia muy efectiva en el guion hasta el final del segundo acto, que no se sostiene en la conclusión.
Inicialmente comedido, el enfoque del guion es algo tímido (aunque comienza con una situación muy tensa en sus primeras escenas), lo que hace que la trama tarde en despegar. Por otro lado, esta “lentitud” narrativa se justifica por las ramificaciones que se producen a lo largo del desarrollo de la trama. Primero, la película se centra en presentar a los personajes más relevantes, haciéndolos fácilmente “reconocibles” para el público, pero después, cuando la trama está realmente establecida, todo se vuelve más interesante. Toda la película transcurre casi íntegramente en un mismo escenario, y el guion consigue mantener esta tensión razonablemente alta.
Hay buenas dosis de suspense, desencadenadas por situaciones exageradas en algunas escenas (como la ausencia excesiva de la protagonista en situaciones en las que cualquier pretendiente se habría marchado antes por su falta de atención, a pesar de mencionar su cariñosa relación con su hijo), pero aun así, la mayor parte funciona muy bien y ayuda a crear la atmósfera tensa en la que se desarrolla toda la película. Algunos aspectos de la trama son muy predecibles, pero interesantes. Sin embargo, lo que realmente destaca en el desarrollo realizado por el director Christopher Landon es cómo se entrelazan las escenas.
Técnicamente, la película destaca por su meticulosa ambientación. Literalmente, el restaurante funciona casi como una trampa, y esta sensación se palpa a medida que la película va alcanzando sus niveles más tensos. La estructura narrativa está bien desarrollada en este espacio, con situaciones que rozan el suspense vengativo e incluso algunas escenas cómicas (aunque fuera de lugar dentro de la premisa general de la película) para crear una mezcla de elementos deliberadamente inquietante para el público. Sin embargo, el tercer acto no logra redimirse, ofreciendo una conclusión frustrante que carece de mejores explicaciones para todo lo que se había estado construyendo hasta ese momento.
La Cita lo tenía todo para ser una película más cautivadora de lo que realmente es. No es un mal thriller, pero en esencia, tenía argumentos sólidos y un potencial considerable para ser algo mucho más grande e impactante. Meghann Fahy y Brandon Sklenar comparten pantalla interpretando personajes muy bien desarrollados (especialmente Fahy), y ambos ofrecen buenas actuaciones (aunque el guion es parcial en este aspecto, y esto no se puede aplicar al resto del reparto, en este caso... los secundarios). A pesar de todas las decisiones de guion forzadas (o desacertadas) para crear una trama elegante, el resultado general es bastante positivo.
CRÍTICA DE FILME: “Drop - Ameaça Anônima” (2025)
Sinopse: Depois de alguns anos sem estar em um encontro amoroso com nenhum pretendente, Violet (que é uma mãe solteira, e viúva) decide quebrar o jejum ao encontrar Henry. Eles se conheceram através de um aplicativo, e decidiram se conhecer melhor durante um jantar, mas o que era para ser o início de um relacionamento se converte em pesadelo.
Encontros ruins. Quem nunca teve um, não é mesmo? Ainda que a sua resposta seja não para esta pergunta, é apenas uma questão de tempo até você conhecer alguém que vai te trazer esse infame “presente de grego”. Neste filme, tudo acontece em apenas um só lugar (um restaurante muito chique, numa localização muito privilegiada em meio ao caos luminoso da cidade grande), e traz como base da sua narrativa os anseios de pessoas tentando encontrar suas “almas gêmeas” através de encontros que são frutos de interações on-line através de aplicativos de namoro. No entanto, tudo o que poderia dar certo à primeira vista, se transforma num pesadelo de proporções inimagináveis para Violet e Henry.
Depois de três meses conversando através de mensagens, Violet decide aceitar o convite de Henry para ir a um jantar romântico num restaurante chique e badalado. Ela é uma psicóloga que tem um passado violento e conturbado devido a um relacionamento tóxico. Ele é um fotógrafo cansado da superficialidade das pessoas, mas decidiu aposta em Violet por acreditar que ela era uma pessoa genuinamente diferente. Mesmos sendo viúva e mãe solteira (Toby, seu filho de cinco anos), Violet capta toda de Henry assim que eles se encontram pessoalmente. O que começou de uma maneira promissora para ambos, logo vai se tornando em um jogo de gato e rato entre Violet e alguém que a está manipulando.
Na trama, tudo acontece sob a vigilância de alguém escondido e que está controlando todos os passos de Violet. Sendo coagida a colaborar com tudo o que lhe é pedido (através de mensagens por aplicativo direto no smartphone dela), as alternativas dela são limitadas (uma vez que seu filho e sua irmã, Jen, que está sendo baba do garoto, estão em perigo). A partir daí ela, assim como o público, pouco a pouco vai conhecendo as intenções de um plano meticuloso que, sendo construído através de incontáveis conveniências narrativas para conseguir funcionar (sendo essa a parte mais irritante de todo o roteiro) e ironicamente ainda consegue manter o filme de pé de um jeito positivo (na maior parte do tempo).
O trato é simples: Violet faz o que lhe é pedido, e ninguém saí ferido (ao menos não em teoria). A tensão do roteiro se prende totalmente ao medo da protagonista em relação aos reféns que estão sendo mantidos em sua casa (seu filho e sua irmã). Algumas tarefas são dadas a ela, e gradualmente ela vai executando todas com sucesso (mas sempre com uma tentativa de burlar a vigilância de quem está de olho nela para tentar se livrar daquela situação), até que uma das tarefas é algo grande demais para ela fazer, aumentando consideravelmente o nível de suspense do filme. Há aqui uma atmosfera de paranoia muito eficiente dentro do roteiro até o final do segundo ato, o que não se mantém na conclusão.
Inicialmente contida, a abordagem do roteiro é um pouco tímida (embora já comece com uma situação muito tensa já nas suas primeiras cenas), fazendo a trama demorar um pouco para engrenar. Por outro lado, essa “lentidão” narrativa é justificável devido as ramificações que vão acontecendo ao longo do desenvolvimento da trama. Primeiro, o filme se mantém focado na apresentação dos personagens mais relevantes e faz com que eles sejam facilmente “reconhecidos” pelo público, mas depois disso, quando a trama realmente é estabelecida, tudo começa a ficar mais interessante. Todo o filme acontece praticamente apenas em um ambiente, e o roteiro consegue manter essa pressão razoavelmente alta.
Há boas doses de suspense aqui, que são desencadeadas por situações demasiadamente exagerada em algumas cenas (como o excesso de ausência da protagonista em situações onde qualquer pretendente já teria ido embora mais cedo devido uma falta de atenção por parte dela, ainda que ela tenha mencionado a relação de cuidado e carinho dela para com o seu filho), mas ainda sim, a maior delas funciona muito bem e ajuda a pavimentar a ambientação tensa na qual todo o filme acontece. Alguns aspectos na trama são muito previsíveis, mas interessantes. No entanto, o que realmente pesa como destaque no desenvolvimento feito pelo diretor Christopher Landon é como as cenas vão sendo costuradas.
Tecnicamente, o filme ganha destaque pela ambientação caprichada. Literalmente, o restaurante funciona quase como uma armadilha, e essa sensação é nítida à medida em que o filme vai crescendo em suas camadas mais tensas. Há uma construção narrativa bem explorada nesse espaço, com situações que flertam com um suspense vingativo e até mesmo com algumas cenas cômicas (ainda que destoantes dentro da proposta do próprio filme em si) para criar uma mistura de elementos propositalmente indigestos para o público. No entanto, o terceiro ato não consegue ser salvo por trazer um desfecho frustrante e carente melhores explicações para tudo o que estava sendo construído até aquele momento.
Drop - Ameaça Anônima realmente tinha tudo para ser um filme mais atrativo do que ele realmente consegue ser. Não se trata de um suspense ruim, mas na sua essência, tinha força argumentativa e um espaço considerável para ser algo muito maior e mais impactante. Meghann Fahy e Brandon Sklenar dividem a tela interpretando personagens que são positivamente bem construídos (especialmente Fahy), e ambos entregam boas performances (ainda que o roteiro seja tendencioso nesse aspecto e isso não possa ser aplicado ao restante do elenco, neste caso... elenco de apoio). Apesar de todas as decisões forçadas (ou equivocadas) do roteiro para ser uma trama estilosa, o saldo geral é bastante positivo.
[Star Wars]
Rian Johnson wants to return to the Star Wars universe. I saw it a few days ago and... It's the best Star Wars since Episode V. It's a shame that directors like Johnson so rarely tackle such franchises. Overall, I'm pleased with his enthusiasm and sensible approach – let's argue about what we love and hate, that's how the first Star Wars was created.
https://www.comingsoon.net/movies/news/2058587-the-last-jedi-rian-johnson-star-wars-criticism
[Owl House]
The creator of the popular cartoon is calling for a boycott of D+ due to Bob Iger's ideas regarding the use of AI. Author, I'd be happy to join your request. My contract with D+ ends in January, and my partner has probably seen everything, so it's time to cancel.
https://www.comingsoon.net/tv/news/2064240-owl-house-creator-pirate-show-cancel-disney
[Cameron's New Film]
The Hiroshima film will unfortunately not be produced by Cameron. The great director said in an interview that he had about 10 projects to work on, and this one simply wouldn't have enough time. Cameron did it because the book author was his friend, and it earned him more money. Because of one sentence from Cameron. Hey, James, do the same thing with my book xD.
https://www.comingsoon.net/movies/news/2067143-james-camerons-world-war-ii-movie-gets-disappointing-update
[James Cameron x Billie Eilish]
The photo from this news story is going to be the thumbnail. We all know Mr. James. Mr. James has always been interested in technology and doing cool things. We've all gotten older, and Mr. James is still doing amazing things with new technology. This time, he's having fun with Billie Eilish, transforming her concert into a huge 3D show. I wish I was as young as Mr. James. Premieres in theaters on March 20th.
https://www.comingsoon.net/movies/news/2066454-billie-eilish-concert-documentary-release-date-james-cameron
[Star Wars]
Rian Johnson chce wrócić do świata SW. Parę dni temu widziałem tę część i... To najlepsze Star Wars od V epizodu. Wielka szkoda, że reżyserzy pokroju Johnsona tak rzadko zabierają się za takie marki. Generalnie cieszy mnie jego entuzjazm i rozsądne podejście - sprzeczajmy się o to co kochamy i nienawidzimy, tak powstały pierwsze Gwiezdne Wojny.
https://www.comingsoon.net/movies/news/2058587-the-last-jedi-rian-johnson-star-wars-criticism
[Owl House]
Twórczyni popularnej kreskówki, nawołuje do bojkotu D+ z uwagi na pomysły Boba Igera dot. użycia AI. Pani Autorko, z przyjemnością dołączę do Pani prośby. W styczniu kończy mi się umowa z D+, partnerka zobaczyła już chyba wszystko, więc można rezygnować.
https://www.comingsoon.net/tv/news/2064240-owl-house-creator-pirate-show-cancel-disney
[Nowy film Camerona]
Film o Hiroshimie niestety nie zostanie wyprodukowany przez Camerona. Wielki reżyser powiedział w wywiadzie, że ma do zrobienia około 10 projektów, a ten zwyczajnie nie wystarczy mu czasu. Cameron zrobił to, bo autor książek to jego przyjaciel i dzięki temu zarobił więcej hajsu. Przez jedno zdanie Camerona. Hej, James, weź zrób taką samą akcję z moją książką xD.
https://www.comingsoon.net/movies/news/2067143-james-camerons-world-war-ii-movie-gets-disappointing-update
[James Cameron x Billie Eilish]
Fotka z tego newsa idzie na miniaturkę. Wszyscy znamy Pana Jamesa. Pan James od zawsze interesował się technologią i robił fajne rzeczy. Wszyscy się zestarzeliśmy, a Pan James nadal robi zajebiste rzeczy z nową technologią. Tym razem bawi się z Billie Eilish, przerabiając jej koncert na wielkie show 3D. Chciałbym być tak samo młody, będąc w wieku Pana Jamesa. Premiera 20 marca w kinach.
https://www.comingsoon.net/movies/news/2066454-billie-eilish-concert-documentary-release-date-james-cameron
In the crowded landscape of early 2000s cinema, Norman Jewison’s The Statement arrived not with a bang but with a whimper—a fittingly muted reception for what would prove to be the Canadian director’s final film. Based on Brian Moore’s eponymous 1995 novel and adapted by esteemed Holocaust dramatist Ronald Harwood, this tale of a Nazi collaborator’s decades-long evasion of justice promised much but delivered disappointingly little. Jewison produced not the highly engaging film its pedigree suggested, but rather a malarkey that consisted of a totally unconvincing action thriller, a dull political drama, and failed attempts to make Michael Caine’s character—one of the most despicable in his career—seem multidimensional.
The plot follows Pierre Brossard (Michael Caine), a former member of the Milice, French Fascist paramilitaries who actively participated in the deportation and murder of Jews during the Nazi occupation. Protected for decades by powerful allies within both the Catholic Church hierarchy and the French government, Brossard’s comfortable existence is shattered in 1992 when a determined investigative team—led by the steely magistrate Annemarie Livi (Tilda Swinton) and Colonel Roux (Jeremy Northam) of French Gendarmerie—finally closes in. Complicating matters, Jewish vigilantes, led by the haunted David Manenbaum (Matt Craven), pursue their own brand of vengeance, creating a three-way pursuit that should generate palpable tension but instead results in narrative confusion.
Jewison, whose distinguished career included masterworks like In the Heat of the Night, had long demonstrated a deft touch with politically charged material exploring racism and institutional oppression. Yet here, his direction lacks the urgency and moral clarity that characterised his earlier triumphs. The film’s pacing feels lethargic where it should be taut, contemplative where it demands propulsion. Scenes of Brossard’s nocturnal wanderings through misty French villages, while atmospherically shot by cinematographer Renato Berta, ultimately substitute mood for momentum, leaving audiences stranded between genres—neither a gripping chase thriller nor a profound moral meditation.
The film’s most significant misstep lies in its handling of Michael Caine’s performance. As Brossard, Caine delivers one of his most physically restrained and intellectually complex portrayals, capturing the character’s perpetual anxiety and moral corrosion with subtle precision. Yet Jewison and Harwood squander this potential by failing to grant Brossard the nuanced interiority he deserves. Instead of exploring the psychology of a man who has lived with monstrous guilt for half a century, the script reduces him to a series of reactive gestures—praying mechanically in churches while simultaneously plotting escapes, expressing remorse one moment and cold calculation the next. This lack of psychological depth transforms what could have been a career-defining role into a frustrating exercise in missed opportunities.
Compounding these artistic shortcomings were significant contextual challenges. By 2003, the cinematic landscape was saturated with Holocaust narratives, from Steven Spielberg’s Schindler’s List to Roman Polanski’s The Pianist. Against such formidable company, The Statement’s more modest ambitions—and less assured execution—struggled to find purchase. Audiences had become increasingly discerning about Holocaust storytelling, demanding either profound new insights or exceptional dramatic craft. Jewison’s film offered neither in sufficient measure.
Furthermore, the film’s unflinching anti-Catholic stance—partly inherited from Brian Moore’s novel and partly reflective of early 2000s historical reassessments like Costa-Gavras’s Amen.—arrived at a profoundly inopportune moment. Rather than engaging with the Church’s compromised role during WW2, public discourse had shifted dramatically towards more timely clerical sexual abuse scandals. This temporal dissonance left The Statement seeming like a well-intentioned but tragically misdirected history lesson, speaking to issues that had already moved beyond public urgency.
The film’s production circumstances add a layer of poignant irony to its failure. The Statement marked the final screen appearances of two titans of British theatre and cinema: Alan Bates and Frank Finlay, who bring gravitas to their supporting roles. Their presence underscores what might have been—a deeper exploration of the psychological toll exacted by decades of delayed justice. Instead, their farewell performances are largely overshadowed by the film’s structural weaknesses.
Perhaps most tragically, The Statement fails to honour its source material’s moral complexity. Moore’s novel and Harwood’s screenplay contain profound questions about justice, memory, and the impossibility of true atonement for crimes against humanity. Yet Jewison’s direction consistently opts for conventional thriller mechanics over philosophical depth. The parallel pursuits—legal and extrajudicial—should create a compelling dialectic about the nature of justice, but instead feel like competing plotlines vying for attention in an overcrowded narrative.
In the end, The Statement stands as a melancholy footnote to a distinguished career—a film that aspired to moral significance but was ultimately defeated by its own indecision. Jewison, who had so often given voice to the oppressed and challenged institutional injustice throughout his career, found himself making a film about historical accountability that lacked the very clarity of purpose that defined his best work. For a filmmaker whose career was defined by speaking truth to power, it is a profoundly unsatisfying coda.
¡Hola amigos! Ya inauguré oficialmente la temporada navideña viendo la primera película del género este año. Así que hoy les traigo mi reseña acerca de El encanto del champán.
Hello, friends! I've officially kicked off the holiday season by watching the first movie of the genre this year. So today I bring you my review of Champagne Problems.
La historia sigue a Sydney, una ejecutiva estadounidense que tiene la misión de ir a París en época navideña para convencer al dueño de un viñedo de champagne que está endeudado a que se las venda. Aunque, ellos no son los únicos aspirantes a querer comprarla, por lo que todos serán sometidos a pruebas para ver quién se queda con la empresa familiar. En este proceso, Sydney verá el encantó de París y de un joven que conoció en una librería que termina siendo nada más ni nada menos que el hijo del dueño del viñedo. Ahora Sydney se debate entre seguir a su corazón o cumplir con su tarea, solo que el tiempo corre y tendrá un fin de semana para tomar la decisión definitiva.
The story follows Sydney, an American executive who is sent to Paris during the Christmas season on a mission to convince the owner of a champagne vineyard, who is in debt, to sell it to her. However, they are not the only ones interested in buying it, so everyone will be put to the test to see who gets to keep the family business. During this process, Sydney will discover the charms of Paris and a young man she meets in a bookstore who turns out to be none other than the son of the vineyard owner. Now Sydney is torn between following her heart or fulfilling her task, but time is running out and she has only a weekend to make her final decision.
Otro cliché navideño que nos regala Netflix. La verdad es que soy fan de esta clase de películas, pero me parecía un poco pronto para arrancar. Aunque mi corazón me dijo que sí y no me pude resistir cuando vi el título, creo que elegí verla por eso. Se llama igual que una canción de Taylor Swift y soy fan, así que eso me ayudó a decidirme. Sin embargo, quedé muy desilusionada con que en ningún momento de la película sonará la canción (no tenía porqué suceder jaja).
Another Christmas cliché brought to us by Netflix. The truth is that I'm a fan of this kind of movie, but it seemed a little early to start watching it. Although my heart said yes and I couldn't resist when I saw the title, I think that's why I chose to watch it. It has the same name as a Taylor Swift song, and I'm a fan, so that helped me make up my mind. However, I was very disappointed that the song never plays at any point in the movie (it didn't have to happen, haha).
Ahora bien, la película nos presenta la típica historia de una ejecutiva que tiene que hacer un viaje justo en vísperas navideñas. Me encantó toda la ambientación y ver París en Navidad fue hermoso, para los que no viajamos al menos nos gusta apreciar un poco de la magia a través de la pantalla. La historia en sí estuvo bien. Al principio me pareció un poco forzado ese flechazo inicial de los protagonistas, pero, de nuevo, estas películas son así. Después me gustó que tomaran un poco de distancia mientras procesaban la información de quienes eran cada uno y el papel que cumplían en la historia. Me gustó el proceso de cómo se fueron conociendo, y de ese desenlace final.
Now, the film presents us with the typical story of an executive who has to take a trip just before Christmas. I loved the whole setting, and seeing Paris at Christmas was beautiful. For those of us who don't travel, at least we can appreciate a little of the magic through the screen. The story itself was good. At first, I found the initial attraction between the protagonists a little forced, but then again, these movies are like that. Later, I liked that they took a little distance while they processed the information about who each one was and the role they played in the story. I liked the process of how they got to know each other, and the final outcome.
Esta película tuvo todo lo que suele gustarme porque a pesar de que la trama central sucede en un viñedo, estuvieron muy presentes los libros. Para alguien como yo que también es fan de la lectura estuvo genial este detalle, una super casualidad porque no me lo esperaba. Además, la historia incluye un hermoso perro que hizo de las suyas para unir a los protagonistas. Eso también me encanta, los animalitos son mi punto débil.
This movie had everything I usually like because even though the main plot takes place in a vineyard, books were very present. For someone like me who is also a fan of reading, this detail was great, a super coincidence because I didn't expect it. In addition, the story includes a beautiful dog that did its thing to bring the protagonists together. I love that too, animals are my weak spot.
Los otros personajes fueron muy divertidos y le aportan su personalidad a la película. Cada uno con su rol y algunos me hicieron reír mucho. En ese sentido, también se las ingeniaron para poner un poco de dramatismo a la trama, aunque muy poquito. Tuvo la mezcla justa de todo lo que me gusta ver en este tipo de historias. Así que fue un buen arranque de temporada. Ahora que empecé seguro vendrá la seguidilla de estas historias jajaja. Pido perdón de antemano (?
The other characters were very funny and added their own personalities to the film. Each one had their own role, and some of them made me laugh a lot. In that sense, they also managed to add a little drama to the plot, although very little. It had just the right mix of everything I like to see in this type of story. So it was a good start to the season. Now that I've started, I'm sure there will be a string of these stories, ha ha ha. I apologize in advance (?
La película en sí no es novedosa, ni muy profunda, pero es muy linda, ideal para los amantes de la navidad que quieran ver algo divertido y alegre, con espíritu y ambientación navideña que es todo lo que busco de ellas. Es genial para empezar a navegar por la pronta llegada de las fiestas. Por mí parte está más que recomendada.
The film itself is not groundbreaking or particularly profound, but it is very charming, ideal for Christmas lovers who want to watch something fun and cheerful, with Christmas spirit and atmosphere, which is everything I look for in these films. It's a great way to start getting into the festive spirit. I highly recommend it.
Bueno amigos, hasta acá mi opinión acerca de la película. Espero que les haya gustado y los animo a verla si les llama la atención. Si ya la vieron me encantaría saber qué les pareció.
Gracias por llegar hasta acá y apoyar mi contenido.
¡Hasta la próxima!
Well, friends, that's my opinion about the movie. I hope you liked it, and I encourage you to watch it if it catches your attention. If you've already seen it, I'd love to hear what you thought.
Thank you for reading and supporting my content.
See you next time!
Separador de texto hecho en Canva - Text separator made in Canva
My wife and I just finished watching season five of Only Murders in the Building. It was our second favorite season of the series.
I have no idea how they came up with an idea to create a show about two seventy something year old guys hanging out with a millennial but my god am I happy they did. Steve Martin and martin Short have sensational chemistry. I have seen them perform together many times, and they always kill. Their styles really compliment each other well so it is no surprise that a show starring them would be incredibly entertaining. But what is surprising is that adding a 29 year old Selena Gomez, who is actually not a very good actress, to the mix works so incredibly well. There is actually something about her emotionless delivery that adds to the fun of the show. Short and martin are two wild and crazy 70 year olds who are buoyed in place by the straight man (or in this case straight woman). It was a weird idea that worked.
For those of you who have not seen the show, it takes place in a fancy New York building called The Arconia. Steve Martin plays a has been actor who made a ton of money playing a police detective on TV. If you ever wondered what the leads on Law and Order would be like after finally getting canceled, look no further, they are Martin's Charles Hayden Savage. martin Short plays, Oliver Putnam, a Broadway Producer who made his name and money off of one hit and many, many, many failures. They live in the building and start out as friends who seem to be very annoyed with each other. That is until Gomez's Mabel Mora brings them all together to listen to a true crime podcast. Eventually they get involved in their own mystery and hi-jinx ensues.
The first season was unexpected and fun. The second season was also very amusing. The third season was not very good. the fourth season got the gang back on track. But this fifth season was so good I actually found myself wanting the series to end so it could end on a high note. By the fifth murder in the building, the writers had two choices, just pretend like multiple murders in a building is totally normal... or lean into the joke and poke fun at how ridiculous and absurd the premise is. This season they decided to embrace the absurdity and have a ton of fun.
The show has become a haven for unexpected and amazing cameos and guest starring roles. I mean the greatest actress of all time, Meryl Streep, even has a recurring role. And it seems many actors are falling all over themselves to get a spot on the show. The only explanation for this is that they must have an incredibly good time making the show. I can only imagine how much they laugh on set. This season featured some of the best guest stars yet. In addition to Streep, this season also featured Paul Rudd, Richard Kind, Dianne Weist, Bobby Cannavale, Christopher Walz, Rene Zelleweger, Keegan Michael Key, Tea Leoni and Logman Lerman. And every single one of them absolutely kills in their role (no pun intended). But Christopher Walz is on a whole other level. Hearing his voice deliver comedic lines was one of the funniest things I have ever heard.
This season's mystery was also quite fun. They write it like a good old fashioned fair play mystery meaning that if you pay attention you can figure out who dunnit. Obviously I won't spoil it but rest assured the mystery had fun twists and turns and a very satisfying ending. If you haven't watched this show, I highly recommend you check it out.
Hello, cinema fans. Today I'm going to talk about an animated film from the East that made its way to this side of the world, inspiring even the geniuses and famous directors of this generation. It's a film that blends reality and fiction in an astonishing yet difficult-to-understand way. Based on the novel of the same name by Yasutaka Tsutsui, Paprika was co-written and directed by the legendary Satoshi Kon and produced by Madhouse studio. Get to know this film that will completely blow your mind.
SPANISH VERSION
Hola, fanáticos del cine. En esta ocasión les hablaré de una obra animada del cine oriental que consiguió abrirse camino a este lado del mundo, inspirando incluso a genios y directores famosos de esta generación. Una cinta que mezcla la realidad con la ficción de una forma asombrosa y a la vez difícil de comprender. Basada en la novela homónima de Yasutaka Tsutsui, Paprika fue coescrita y dirigida por el legendario Satoshi Kon junto con la producción a cargo del estudio Madhouse. Conoce esta cinta que te volará por completo la cabeza.
The film begins in what appears to be a circus, in the middle of a show where an armed man with an intercom walks among the stands looking for someone. Suddenly, a light shines on him and the circus host transports him to the cage, which is revealed right after in the middle of the show. Among the stands, a faceless man shouts at the audience to catch him, and they approach him to do so. Suddenly, he sinks and begins a chase that moves from one scene to another as if they were clips from famous movies. In the end, the detective finds himself in a hallway with his target walking away while someone is throwing themselves to the floor in slow motion.
SPANISH VERSION
Trama
La película inicia en lo que parece ser un circo, en medio de un show donde un hombre armado y con intercomunicador pasea entre las gradas buscando a alguien. De repente, una luz lo ilumina y el anfitrión del circo lo transporta a la jaula que revela justo después en medio de todo el show. Entre las gradas un hombre sin rostro le grita al público que lo atrapen y estos se le acercan para atraparlo. De repente, este se hunde y empieza a tener una persecución que pasa de una escena tras otra como si se trataran de cortes de películas famosas. Al final, el detective se encuentra en un pasillo con su objetivo alejándose mientras alguien está tirándose al piso en cámara lenta.
This has definitely been one of the most difficult films I have seen to date. This usually happens to me with suspense and mystery films that have a plot and pace that are difficult to follow. But in this case, no matter how many times I watch it, I find it difficult to fully understand it. I usually avoid talking about japanese animated films when it comes to specials like this, but on this occasion, I thought it appropriate to give this gem of a feature film a chance for what I plan to review later.
You may not have heard of it before, but Paprika is a film that has had a significant impact on both the anime industry and the world of modern cinema. Its story shows us an incomparable version of the world of dreams as never seen before. It is not surprising that great directors such as Christopher Nolan have been indirectly inspired to make successful films in the science fiction genre. But beyond this, it could even be said that this animated feature film by Satoshi Kon is like a letter dedicated to the best of cinema and entertainment.
SPANISH VERSION
Definitivamente, ésta ha sido de las películas más complicadas de entender que he visto hasta la fecha de hoy. Normalmente esto me sucede cuando son cintas de suspenso y misterio con una trama y un ritmo difíciles de seguir. Pero en este caso es que, por muchas veces que vaya a verla, me es difícil terminar de comprenderla por completo. Normalmente me ahorro la opción de hablar de cintas animadas japonesas cuando se trata de especiales como este, pero en esta ocasión vi conveniente darle una oportunidad a esta joya de largometraje para lo que tengo planeado reseñar más adelante.
Posiblemente no hayas oído nada sobre ella antes, pero Paprika es una cinta que ha impactado bastante tanto en la industria del anime como también en el mundo del cine moderno. Su historia nos muestra una versión incomparable de lo que es el mundo de los sueños como nunca antes se ha visto. No es de extrañar que grandes directores como Christopher Nolan se hayan inspirado de manera indirecta para sacar cintas exitosas dentro del género de la ciencia ficción. Pero más allá de esto, podría decirse inclusive que este largometraje animado de Satoshi Kon es como una carta dedicada a lo mejor del cine y el entretenimiento.
Before explaining what I just said, I would like to tell you a little about the story Paprika tells us in its hour and a half running time. So as not to confuse you any more than you will surely be when you see it, I will only say that the story focuses on a future where technology has advanced to such an extent that we can live our dreams as if they were reality thanks to a device called the DC Mini. However, this device will be used to take over the minds of innocent people and make them live their dreams while they attempt to commit suicide in real life.
This is where Dr. Atsuko Chiba, Dr. Torataro Shima, and Dr. Kōsaku Tokita (who is the inventor of the DC Mini) will be responsible for solving this case before the president of the company they work for closes their department completely. However, as time goes by, more incidents occur and more secrets are revealed with every step they take towards the person responsible for all this. Detective Toshimi Konakawa, the protagonist and owner of the strange dream I described at the beginning, will help this team solve this strange case that mixes the world of dreams with the real world.
SPANISH VERSION
Antes de explicar esto que les acabo de decir, quisiera hablarles un poco sobre la historia que nos cuenta Paprika en su hora y media de duración. Para no confundirlos más de lo que seguramente llegarán a estar cuando lleguen a verla, solo les diré que dicha historia se centra en un futuro donde la tecnología ha avanzado a tal punto en el que podemos vivir nuestros sueños como si fuera la realidad gracias a un dispositivo llamado DC Mini. Sin embargo, dicho dispositivo será utilizado para apoderarse de la mente de gente inocente y hacerlos vivir sus sueños mientras intentan suicidarse en la vida real.
Es aquí donde la Dra. Atsuko Chiba, el Dr. Torataro Shima y el Dr. Kōsaku Tokita (quien es el inventor del DC Mini) serán los responsables de resolver este caso antes de que el presidente de la compañía en la que trabajan cierre su departamento por completo. Sin embargo, mientras pasa el tiempo, más incidentes ocurren y más secretos se revelan por cada paso que estos dan ante el responsable de todo esto. El detective Toshimi Konakawa, protagonista y dueño del extraño sueño que les describí al principio, ayudará a este equipo a resolver este extraño caso que mezclará el mundo de los sueños con el mundo real.
Believe it or not, this film has a simple plot to follow, as it ultimately tries to uncover who is responsible for stealing and using the DC Mini for terrorist acts. To be honest, even the final outcome is a simple twist that I couldn't help but see coming. To put it simply, I would say that the story Paprika tells us is about how the mistakes of a prestigious psychotherapy technology team end up in a spiral of unfortunate events for everyone. It sounds like a lot of talk, but that's how it is, although it also involves the issue of how certain responsible minds have allowed themselves to be corrupted by power.
Because yes, the ability to see and control not only your dreams but also those of others is a power that can be both beneficial and dangerous to society. Imagine a world where we can live our most lucid dreams and mix them with the dreams of others without any problem. It would be wonderful at first glance, but in reality, we have no idea how far our dreams can affect our real lives. Dreams are usually visual representations of things we think, feel, and repress in the depths of our minds, and there are people who repress things that, in real life, would be judged, especially if they were revealed.
SPANISH VERSION
Aunque no lo creas, esta película posee una trama sencilla de seguir ya que al final trata de descubrir quién es el responsable del robo y el uso del DC Mini para actos terroristas. Si les soy sincero, hasta el desenlace final es un simple giro que se me hace imposible no haberlo esperado antes. Si lo ponemos en palabras sencillas, diría que esta historia que nos cuenta Paprika trata de cómo los errores de un equipo prestigioso de tecnología psicoterapeuta terminan en una espiral de eventos desafortunados para todo el mundo. Suena a palabrería y todo, pero es así, aunque también está envuelto el tema de cómo ciertas mentes responsables se han dejado alterar por el poder.
Porque sí, la capacidad de poder ver y controlar no solo tus sueños sino los de los demás es un poder que puede ser tanto beneficioso como a la vez peligroso para la sociedad. Imagínate un mundo donde podamos vivir nuestros sueños más lúcidos y mezclarlos con los sueños de los demás sin problema alguno. Sería una maravilla a simple vista, pero en realidad no tenemos ni idea de hasta dónde pueden llegar a afectar nuestros sueños en la vida real. Normalmente los sueños son representaciones visuales de cosas que pensamos, sentimos y reprimimos en lo más profundo de nuestra mente y hay gente que reprime cosas que, en la vida real serían juzgados y más si lo revelasen.
Imagine a world where you can be yourself and make all your dreams come true. It sounds like utopia, but reality is not as simple as it seems, and there are dreams that are best kept suppressed in our minds. Human beings can be selfish, ambitious, stupid, malicious, and even ruthless inside. Everyone has two different sides to themselves: what we appear to be to the world and what we really are deep down inside. All this and more is perfectly represented in Paprika, a film that features a wealth of symbols, scenes, and signs that have a value and meaning beyond the obvious.
I could easily criticize how they turned a genius and inventor like Kōsaku Tokita into a huge immature child trapped in the body of a fat man. But it wouldn't be fair to do so since, apparently, everyone I mentioned before is in some way or another related to the creation of the DC Mini and has done things that led to the tragic outcome we see at the end. No matter how much we search for an explanation for everything that happens in this film, the truth is that it all boils down to a series of selfish acts with "the best possible intentions".
SPANISH VERSION
Imagínate un mundo donde puedes ser tú mismo y hacer realidad todos tus sueños. Suena a utopía, pero la realidad no es tan simple como parece, además de que hay sueños que lo mejor es tenerlos reprimidos en nuestra mente. El ser humano puede llegar a ser egoísta, ambicioso, estúpido, malicioso y hasta despiadado en su interior. Todos tienen dos lados diferentes de sí mismos; lo que aparentamos ser ante el mundo y lo que realmente somos en lo más profundo de nuestro ser. Todo esto y más es lo que vemos representado de forma perfecta en Paprika, esta película que cuenta con un gran caudal de símbolos, escenas y señales que poseen un valor y un significado más allá de lo evidente.
Podría llegar a criticar fácilmente cómo hicieron de un genio e inventor como lo es Kōsaku Tokita un enorme niño inmaduro metido en el cuerpo de un hombre gordo. Pero no sería justo hacer esto ya que, por lo visto, todos los que he mencionado antes de alguna u otra forma están relacionados con la creación del DC Mini, han hecho cosas que los llevaron a este trágico resultado que vemos al final. Por mucho que le busquemos explicación a todo lo que ocurre en esta película, la verdad es que todo terminará reduciéndose en una serie de actos egoístas con “las mejores intenciones posibles”.
Both the person responsible for the alleged theft and terrorist acts, as well as the other members responsible for this situation, are the reason why one of the most ingenious creations in history ends up being used for simple selfish acts. On the one hand, I am fascinated by how the japanese manage to create fantastic stories with a clear message about power and ambition. But on the other hand, it is curious how well received this is, as if it were a representation of reality. Because yes, in the real world there are people who are ambitious for power and control and would do anything to achieve their deepest dreams.
In the case of Dr. Atsuko Chiba, it is interesting how we see a very clear reference to what we mentioned earlier about what we supposedly are on the outside and what we really are on the inside. Her alter ego, Paprika, is a perfect representation of the freedom and creativity she aspires to have in the real world. She uses the DC Mini for this purpose while helping certain people solve their psychological problems by navigating their deepest dreams. The idea of having a guide who always shows you the right path to take when you dream is an interesting one. But in the end, all her charitable acts will be useless if she can't even dream something on her own.
SPANISH VERSION
Tanto el responsable del supuesto robo y de los actos terroristas como también los demás miembros responsables de dicha situación son los causantes de que una de las creaciones más ingeniosas de la historia termine siendo utilizada para simples actos egoístas. Por un lado me fascina cómo los japoneses logran crear historias fantásticas con un mensaje claro con respecto al poder y la ambición. Pero por otro lado es curioso lo bien recibido que está esto como si de una representación de la realidad se tratara. Porque sí, en el mundo real hay gente ambiciosa por poder y control y harían cualquier cosa por conseguir realizar sus más profundos sueños.
En el caso de la Dra. Atsuko Chiba es interesante cómo vemos una clarísima referencia a lo que mencionamos antes sobre lo que supuestamente somos por fuera y lo que realmente somos por dentro. Su alter ego, Paprika, es una representación perfecta de la libertad y creatividad que ella ambiciona tener en el mundo real. Utiliza el DC Mini para este fin mientras ayuda a ciertas personas a solucionar sus problemas psicológicos navegando por sus más profundos sueños. La idea de tener un guía que te muestre siempre el camino correcto por dónde ir cuando sueñas es algo interesante. Pero al final todos sus actos de caridad no servirán de nada si ni siquiera puede soñar algo por su propia cuenta.
On the one hand, I understand this, not only because I don't dream (or rather, I never remember my dreams), but also because I try to pretend to be something I'm not. Usually, people who seek to create an alternative persona outside the real world are people who seek to hide who they really are inside. There are people who are unhappy with their lives or who they are and seek to escape that reality. Others just try to make their dreams come true while doing what they love most. I think Paprika is that alternative persona we all have, the one we always see in the mirror when we look at ourselves, what we want or dream of being in the depths of our being.
Well, the latter may sound very cool and all, but I wouldn't like to include myself in that statement, to be honest. I don't want to talk any more about my personal case, but it is true that both the characters and the story itself that we see in Paprika can make us think. One of these characters is Detective Toshimi Konakawa, who from the beginning we see trying to solve the murder case of an old friend of his. He delves deep into his dreams to solve the case, but in the end he is faced with a sad and heartbreaking answer. His love/hate relationship with cinema is a reflection of what he is trying to forget.
SPANISH VERSION
Por un lado comprendo esto, no solo porque no sueñe (o más bien no recuerde nunca mis sueños), sino por el hecho de intentar aparentar algo que no soy al final. Normalmente la gente que busca crearse un personaje alternativo fuera del mundo real son gente que busca ocultar lo que son realmente en su interior. Hay gente que no está conforme con sus vidas o lo que son y buscan escapar de dicha realidad. Otros solo intentan hacer sus sueños realidad mientras hacen lo que más les gusta. Considero que Paprika es ese personaje alternativo que todos tenemos, que vemos siempre en un espejo cuando nos reflejamos, lo que queremos o soñamos ser en lo más profundo de nuestro ser.
Bueno, esto último puede sonar muy genial y todo, pero no me gustaría incluirme en dicha afirmación, la verdad. No quisiera hablar más con respecto a mi caso personal, pero sí es cierto que tanto los personajes como la misma historia que vemos en Paprika puede ponernos a pensar. Uno de estos personajes es el detective Toshimi Konakawa, quien desde el principio lo vemos intentar resolver un caso de homicidio de un viejo amigo suyo. Indaga en lo más profundo de sus sueños para resolver el caso, pero al final se enfrenta a una triste y desgarradora respuesta. Su amor/odio por el cine es reflejo de lo que intenta olvidar.
It's no surprise that he feels so attached to Paprika, as she is a free-spirited person who tries to help others despite having her own problems. On the other hand, we have the film's antagonist, who is revealed at the end to be an almost invincible final boss with the power to make his dreams come true. His ambition for power and control completely blinds him, allowing him to take over those around him and consume everything in his path. He seeks freedom, but his own ambitions imprison him in a reality completely altered by his dreams. This character represents the dark side of the world of dreams.
As for the ending, like the plot and some of the characters, it is nothing more than a simple joke. This simplistic way of resolving things makes everything we see in this feature film seem like nothing more than a joke. Something I forgot to mention at the beginning of this review is that you should not look for any meaning or logic in what you see in this film at all. In the end, it's just a completely fantastic and mind-blowing story in every sense. Both the ambiguity behind DC Mini technology and some of the things that happen in this film give me a feeling of confusion and intolerance that is difficult to hide, to be honest.
SPANISH VERSION
No me extraña que se sienta tan encariñado con Paprika al ser una persona libre y sin problemas que intenta ayudar a otros, a pesar de tener sus propios problemas. Por otro lado, tenemos al antagonista de la película, ese que vemos revelarse al final como un jefe final casi invencible y más con el poder de hacer sus sueños realidad. Su ambición por el poder y el control lo ciega por completo, apoderándose así de los que lo rodean y consumiendo todo a su alrededor. Busca libertad, pero sus propias ambiciones lo aprisionan a una realidad completamente alterada por sus sueños. Dicho personaje representa bien ese lado oscuro que hay en el mundo de los sueños.
En cuanto a su final, al igual que su trama y algunos de sus personajes, no es más que un simple chiste. Esa forma tan sencilla de resolver las cosas hace que todo lo que veamos en este largometraje sea una broma nomás. Algo que sí se me olvidó decirles al principio de esta reseña es que no le busques ningún sentido ni lógica a lo que veas en esta película en lo absoluto. Al final, solo es una historia completamente fantástica y alucinante en todo sentido. Tanto la ambigüedad que hay detrás de la tecnología de DC Mini como algunas de las cosas que ocurren en esta película me generan una sensación de confusión e intolerancia que es difícil ocultar, la verdad.
Despite this, one thing I must admit the director did well with this film is its excellent audiovisual work. Starting with its animation, which is definitely ahead of its time, really. The level of quality, depth, fluidity, and style is fantastic. It has a vivid and bright color palette that goes very well with the overall aesthetic and mind-blowing nature of the film. It also has excellent character design, with quite exaggerated features and expressions, which is perfect for what it seeks to show. The animation work is so excellent that it's incredible to think that almost everything is done by traditional animation and not by computer.
Madhouse definitely proves once again that it is one of the greatest animation studios not only in Japan, but also in the world. But I believe that the greatest contribution was made by the legendary Satoshi Kon, who directed this feature film and managed to convey the essence of the novel of the same name in just an hour and a half of animation. Of course, the fact that he condensed and summarized an entire novel into a single film meant that many of us didn't understand the film, as it mainly recreated the dreams we see in Paprika and that's it. But at least the idea of mixing dreams with reality in this way does grab your attention.
I'd also like to mention certain details I noticed in this film, such as the Easter eggs it has from start to finish. We see references and interpretations of Disney films such as Tarzan, Peter Pan, Pinocchio and The Little Mermaid. We also see references to other famous Eastern works such as Sun Wukong, and we even see Easter eggs from other films by Satoshi Kon himself at the end (Perfect Blue, Millennium Actress, and Tokyo Godfathers). Finally, the sound effects and soundtrack stand out very well in this film, although not as much as one might expect. In short, this film is perfect for those who want to experience a psychedelic journey into the world of dreams.
Personally, I give it a rating of 8/10 in terms of the science fiction, mystery, and suspense genres.
SPANISH VERSION
A pesar de esto, algo que sí debo de admitir que hizo bien el director con esta película es su excelente trabajo audiovisual. Empezando por su animación, la cual definitivamente está muy adelantada a su época, de verdad. El nivel de calidad, profundidad, fluidez y estilo que tiene es fantástico. Tiene una paleta de colores vivos y brillantes que va muy bien con la estética general y alucinante de la película. También posee un excelente diseño de personajes, con rasgos y expresiones bastante exageradas, lo cual es perfecto para lo que se busca mostrar. El trabajo de animación es tan excelente que es increíble pensar que casi todo está hecho por animación tradicional y no hecho por computadora.
Definitivamente, Madhouse demuestra una vez más que es uno de los estudios de animación más grandes no solo de Japón, sino también de todo el mundo. Pero considero que el mayor aporte lo dió el legendario Satoshi Kon al dirigir este largometraje y conseguir transmitir la esencia de la novela homónima en tan solo hora y media de animación. Claro, posiblemente el hecho de condensar y resumir una novela entera en una sola película hizo que muchos no entendamos la película al recrear mayormente los sueños que vemos en Paprika y ya. Pero al menos la idea de mezclar los suelos con la realidad de esta forma sí que llama la atención.
También me gustaría mencionar ciertos detalles que he notado en esta película como lo son los easter-eggs que tiene de inicio a fin. Prácticamente vemos referencias e interpretaciones de películas de Disney como Tarzán, Peter Pan, Pinocchio y La Sirenita. También vemos referencias a otras obras famosas de oriente como lo es Sun Wukong e inclusive vemos easter-eggs de otras películas del mismo Satoshi Kon al final (Perfect Blue, Millennium Actress y Tokyo Godfathers). Por último, los efectos de sonido y la banda sonora lograron destacarse muy bien en esta cinta, aunque no tanto como se esperaría. En resumen, esta película es perfecta para los que quieren experimentar un viaje psicodélico al mundo de los sueños.
Personalmente, le doy una calificación de 8/10 en lo que respecta al género de la ciencia ficción, el misterio y el suspenso.
Tell me, have you seen this movie yet? What did you think of it? You can leave your answer in the comments.
Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.
I have always believed in miracles, so miracles don't surprise me, but what does surprise me is seeing people who have witnessed miracles and still believe they are impossible... Zack Snyder's Justice League.
Recently, I've been paying more attention and keeping my feet on the ground about what's happening with Snyder and his DC universe, which, even though that universe is dead, is more exciting than what Gunn has been doing lately, and all because Snyder posted a photo on his Instagram... I think Snyder is stirring up the hornet's nest with malice aforethought.
On the social network Hive, in the Movies and TV Shows and CineTv communities, what I have perceived through their reviews and opinions is a clear trend in favor of Gunn's Superman. I think those criteria need to be improved 😅 But I also mention that the feeling on Hive about that 2025 Superman film is forgettable because it is a forgettable film that does not generate meaningful philosophical debates. I don't see that it has generated any valuable reflections, being so Marvel-esque.
This is worth mentioning because I think it's possible that Snyder will rise from the ashes thanks to Gunn's film not measuring up. It's incredible that I'm writing this about something that many fans had already buried... I had buried my excitement, and now it's revived like a zombie, begging for Snyder's DC Universe to return.
Yo siempre he creido en los milagros, por eso los milagros no me sorprenden pero lo que si me sorprende es ver personas que han visto el milagro y verlos creer que aun son imposibles.... Zack Snyder Justice League.
Recientemente estoy mas atento y con los pies sobre la tierra sobre lo que sucede con Snyder y su universo de Dc que estando ese universo muerto, da mas emoción que lo realizado por Gunn últimamente y todo gracias a que Snyder publica una foto en su instagram.... Snyder pienso esta alborotando el avispero con toda alevocia .
En la Red Social Hive en las comunidades de Movies and TV Shows y CineTv lo que he percibido a través de sus reseñas-opiniones es una tendencia clara a favor del Superman de Gunn, pienso que hace falta mejorar esos criterios 😅 pero también menciono que la sensación en Hive de ese film de Superman del 2025 es olvidable porque es un film olvidable que no genera debates filosóficos de peso, no veo que haya generado reflexiones de valor al ser tan Marvelesca.
Lo anterior es necesario de mencionar porque veo posible que Snyder resucite de sus cenizas gracias a que el film de Gunn no dio la talla, es increíble lo que escribo ante algo que ya muchos fans habíamos enterrado.... ya yo mi emoción la había enterrado y ahora revive como un Zombi pidiendo que vuelva el Universo de Dc de Snyder.
As always, the easy and lifeless thinking is that it is impossible for Snyder to return... but I am not giving up if the General calls for battle, metaphorically speaking.
There is his Instagram, it is speculation because nothing is definite, but that is what he did before, I perceive it as photographs of encouragement, of hope... exactly what Superman should mean to his fans.
We are in an ambiguous but exciting field. War is present because outside Hive you can see the traces of the impact. Here, everything is happy, but outside it's carnage. You only have to go to YouTube and the topic is there... Gunn fans vs. Snyder fans. I will use this last sentence as the title for my next post on this topic, which is still in conflict.
Como siempre el pensamiento fácil y carente de vida es el de que es imposible que Snyder vuelva.... pero yo no me rindo si el General hace el llamado a la batalla metafóricamente hablando.
Allí esta su instagram, es suponer cosas porque no hay nada definido pero así el lo hizo antes, yo lo percibo como fotografías de animo, de esperanza.... justamente lo que Superman debería significar entre sus fans.
Estamos en un campo ambiguo pero emocionante, la guerra esta presente porque fuera de Hive se ven las huellas del impacto, aqui todo es feliz pero afuera es una carnicería, solo hay que ir a Youtube y el tema esta presente.... Fans de Gunn VS Fans de Snyder, con esta ultima sentencia titulare mi siguiente post sobre este tema que aun esta en conflicto.
I dedicate each and every one of my posts and videos to my little dog named princess, we called her chiquito, she is no longer with us but from heaven she will see that her existence was valuable and the most beautiful thing that will exist in my heart and soul.
