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Drax
@drax (77)
892 followers
106 following
Blogger, film critic, columnist (writes in Croatian and English)
217d
TV · on Star Trek: The Next Generation
Television Review: Booby Trap (Star Trek: The Next Generation, S3X06, 1989)

Booby Trap (S03E06)

Airdate: October 30th 1989

Written by: Ron Roman, Michael Piller & Richard Danus Directed by: Gabrielle Beaumont

Running Time: 45 minutes

The third season of Star Trek: The Next Generation marked a quantum leap in quality, establishing a sequence of episodes that were light years ahead of the often uneven storytelling of its first two seasons. Among these newfound classics stood The Bonding, rightly celebrated as an intelligent, well-crafted ensemble piece that gave nearly every regular character meaningful development. Yet keen observers noted one conspicuous absence: Chief Engineer Geordi La Forge remained largely peripheral to the narrative. As if anticipating this criticism, producer Michael Piller ingeniously compensated in the very next episode, crafting Booby Trap as a vehicle that not only placed LeVar Burton firmly centre stage but transformed him into the episode's emotional and intellectual linchpin, resulting in another enduring classic that demonstrated the series' newfound maturity.

The episode opens with the USS Enterprise-D responding to a distress signal emanating from an asteroid field—remnants of a cataclysmic battle fought a millennium ago between the Promellians and Menthars. This ancient conflict not only annihilated both civilisations but completely obliterated the planet Orelious IX. Captain Picard, ever the historian, approaches the mission with scholarly enthusiasm rather than expectation of finding survivors, viewing it as a unique opportunity to study the archaeological remains of these long-vanished cultures.

What begins as an academic exercise swiftly transforms into a desperate struggle for survival. The away team locates the source of the signal: a beautifully preserved Promellian battle cruiser, its automated systems still functioning after a thousand years of silence. However, as the Enterprise attempts to depart, it inadvertently activates a sophisticated Menthar booby trap that begins draining the ship's power while simultaneously exposing the crew to lethal radiation. With the shields failing and time running out, Picard must find a way to escape a technological snare designed to destroy starships far more advanced than his own.

This crisis becomes Geordi La Forge's defining moment. As chief engineer, he shoulders the monumental task of reversing the power drain, a problem so complex that even the ship's computer proves inadequate. His solution involves creating a holographic simulation of Dr. Leah Brahms (Susan Gibney), the brilliant scientist who designed the Enterprise's warp core. What begins as a practical engineering consultation gradually evolves into something far more personal as Geordi finds himself unexpectedly drawn to the holographic representation of Brahms—her intellect, her mannerisms, even her occasional irritability proving strangely alluring.

Michael Piller, collaborating with Ron Roman and Richard Danus, deliberately crafted an episode more plot-driven than its predecessor The Bonding. While the premise of encountering deadly relics from an ancient interstellar war had been explored throughout Star Trek history, Booby Trap executes the concept with remarkable finesse. The visual effects depicting the asteroid field remain impressive even by modern standards, Ron Jones' atmospheric score perfectly underscores the mounting tension, and the production design—particularly the haunting interior of the Promellian vessel and Albert Hall's poignant final log entry as Captain Galek Sar—creates a tangible sense of history and tragedy.

Yet the episode's true brilliance lies in how it weaves Geordi's professional crisis with his personal loneliness. The opening scene—where his holodeck date with Christy Henshaw (Julie Warner) ends in awkward failure—establishes his romantic vulnerability, later deepened when he seeks counsel from Guinan (Whoopi Goldberg), whose maternal wisdom provides one of the episode's quieter, more affecting moments. It is within the holodeck, however, that Piller's script achieves its most profound insights. Geordi's creation of an idealised Dr. Brahms hologram transcends mere engineering necessity; it becomes a manifestation of his yearning for connection. Piller later revealed his inspiration came from observing men who lavished more affection on vintage automobiles—like a 1957 Plymouth—than on human partners. For Geordi, whose life revolves around the Enterprise's complex systems, his perfect companion isn't another person but the ship itself personified through Brahms' digital ghost.

This concept, revolutionary for 1989, has sparked considerable controversy in subsequent decades as holodeck technology became increasingly associated with ethical transgressions and dark fantasies throughout the franchise. The problematic nature of creating a hologram based on a real person—without consent, idealised to serve the creator's needs—anticipates modern debates surrounding AI-generated imagery and deepfake technology. To their credit, TNG's writers later confronted these ethical dilemmas head-on in Galaxy's Child, where Susan Gibney returned to portray the real Dr. Brahms, whose personality clashed dramatically with Geordi's romanticised simulation.

Adding historical significance to the episode's artistic merits, Booby Trap was directed by Gabrielle Beaumont, making it the first Star Trek episode helmed by a woman—a milestone that, while not explicitly highlighted at the time, paved the way for greater diversity behind the camera in subsequent series. Beaumont's assured direction balances the technical demands of space sequences with intimate character moments, particularly in the holodeck scenes where the emotional stakes gradually overshadow the engineering crisis.

Booby Trap ultimately succeeds not because of its clever trap mechanics or impressive visual effects, but because it transforms a standard Star Trek crisis into a deeply human story about connection, idealism, and the dangers of engineering perfect solutions to imperfect hearts. By making Geordi La Forge both the saviour of the Enterprise and a man confronting his own loneliness, the episode delivers a powerful message about the importance of authentic human relationships over technologically mediated fantasies. It stands as a testament to TNG's third-season renaissance—a perfectly calibrated blend of science fiction spectacle and emotional intelligence that continues to resonate decades later.

RATING: 8/10 (+++)

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@marabuzal
@marabuzal (71)
210 followers
363 following
217d
Movie · on Frankenstein
🎬 "Frankenstein 2025": La Consagración de un Latino|Reseña Original de Marabuzal (ESP-ENG)
_{Dedicada al amigo @bulkathos quién solicitó esta reseña de manera entusiasta.}

La historia de Guillermo del Toro es, en sí misma, un guión de cine. La de un niño de Guadalajara que, fascinado por los monstruos, decidió que su acento y su herencia cultural no serían un muro, sino una ventana única hacia la fantasía.

Guillermo del Toro's story is, in itself, a film script. It's the story of a boy from Guadalajara who, fascinated by monsters, decided that his accent and cultural heritage would not be a barrier, but a unique window into fantasy.

Su viaje culmina con "Frankenstein", la película de 2025 que no es solo un éxito cinematográfico, sino el testimonio definitivo de un latino que ha redefinido el triunfo en Hollywood. No llegó pidiendo permiso; llegó para crear su propio canon.

El triunfo de un artista latino en la industria del cine no se mide solo en taquilla o premios, sino en la capacidad de imponer una mirada propia, personal e intransferible. Del Toro no aspiraba a mimetizarse con el estilo hollywoodense; su objetivo era enriquecerlo con su sensibilidad.

His journey culminates with "Frankenstein," the 2025 film that is not only a cinematic success but the definitive testament to a Latino who has redefined triumph in Hollywood. He didn't arrive asking permission; he arrived to create his own canon.

The triumph of a Latino artist in the film industry is measured not only in box office success or awards, but in the ability to impose a unique, personal, and unmistakable vision. Del Toro didn't aspire to blend in with the Hollywood style; his goal was to enrich it with his own sensibility.

IMDb

En "Frankenstein", esto es más evidente que nunca. La película es un manifiesto gótico que bebe de la tradición europea, pero que está filtrada por una empatía profundamente humana, una característica que muchos asocian con la calidez de la cultura latina.

Desde sus primeras escenas, la película respira una textura artesanal, casi de orfebrería. Esto no es el producto de una cadena de montaje, sino la labor de un creador obsesivo.

In "Frankenstein," this is more evident than ever. The film is a gothic manifesto that draws on European tradition, but is filtered through a profoundly human empathy, a characteristic that many associate with the warmth of Latin culture.

From its opening scenes, the film exudes a handcrafted, almost artisanal quality. This is not the product of an assembly line, but the work of an obsessive creator.

IMDb

El director mexicano siempre ha entendido que lo monstruoso y lo divino coexisten. En "El Laberinto del Fauno" nos mostró la brutalidad de lo humano y la pureza de lo fantástico. En "La Forma del Agua", hizo del monstruo acuático el objeto de un amor puro. Ahora, en "Frankenstein", lleva esta tesis a su expresión más depurada.

The Mexican director has always understood that the monstrous and the divine coexist. In "Pan's Labyrinth," he showed us the brutality of humanity and the purity of the fantastical. In "The Shape of Water," he made the aquatic monster the object of pure love. Now, in "Frankenstein," he takes this thesis to its most refined expression.

IMDb

La Criatura de Jacob Elordi no es un villano, es un exiliado. Es el forastero eterno, el que no encaja, el que es juzgado por su apariencia antes de que pueda hablar. ¿Y qué latino, o qué migrante, no puede sentirse identificado, aunque sea levemente, con esa sensación de ser prejuzgado? Del Toro no solo adapta un clásico; lo reinterpreta a través de su propia lente cultural, infundiéndole una compasión que trasciende la página escrita. Su triunfo es haber convertido un mito del siglo XIX en un espejo dolorosamente contemporáneo.

Jacob Elordi's Creature is not a villain; he is an exile. He is the eternal outsider, the one who doesn't fit in, the one who is judged by his appearance before he can even speak. And what Latino, or what immigrant, can't identify, at least slightly, with that feeling of being prejudged? Del Toro doesn't just adapt a classic; he reinterprets it through his own cultural lens, imbuing it with a compassion that transcends the written page. His triumph is having transformed a 19th-century myth into a painfully contemporary mirror.

IMDb

Frente a la Criatura, Oscar Isaac encarna a Victor Frankenstein, la arrogancia de la creación sin responsabilidad. Es la personificación de un poder ciego, de una inteligencia que olvida el corazón. El duelo entre ambos es el núcleo de la película, y Del Toro lo dirige con la maestría de quien comprende ambos lados de la tragedia. Sabe lo que es sentirse monstruo, y también conoce las tentaciones del creador. Esta dualidad es el sello de un artista completo.

Opposite the Creature, Oscar Isaac embodies Victor Frankenstein, the arrogance of creation without responsibility. He is the personification of blind power, of an intelligence that forgets the heart. The duel between the two is the core of the film, and Del Toro directs it with the mastery of someone who understands both sides of the tragedy. He knows what it's like to feel like a monster, and he also knows the temptations of the creator. This duality is the hallmark of a complete artist.

IMDb

El reparto que ha reunido es una declaración de intenciones en sí mismo. No es un elenco cualquiera; es un dream team de actores de diferentes orígenes, unidos por su talento. Desde el veterano Christoph Waltz hasta la siempre inquietante Mia Goth, Del Toro demuestra su autoridad para congregar a los mejores, sin etiquetas. Su set, es un taller de artistas donde la colaboración y el respeto por el oficio son la norma. Este es otro tipo de triunfo: el del liderazgo que inspira.

The cast he has assembled is a statement of intent in itself. It's not just any cast; it's a dream team of actors from diverse backgrounds, united by their talent. From the veteran Christoph Waltz to the always captivating Mia Goth, Del Toro demonstrates his ability to bring together the best, without limitations. His set is an artists' workshop where collaboration and respect for the craft are the norm. This is another kind of triumph: the triumph of inspiring leadership.

IMDb

Detrás de cámara, su triunfo se consolida con su equipo de siempre. Dan Laustsen, su director de fotografía, pinta con luz y sombra, creando un mundo donde lo bello y lo terrible se entrelazan. Alexandre Desplat, con su partitura, teje melodías que son susurros al oído del alma. Del Toro, el niño que soñaba con monstruos, ahora comanda a algunos de los artistas más talentosos del mundo para hacer realidad su visión. Es el sueño del cineasta autoral hecho realidad a la escala más grande.

Behind the scenes, his triumph is solidified by his longtime team. Dan Laustsen, his director of photography, paints with light and shadow, creating a world where beauty and terror intertwine. Alexandre Desplat, with his musical score, weaves melodies that are whispers to the soul. Del Toro, the boy who dreamed of monsters, now commands some of the world's most talented artists to bring his vision to life. It's the auteur filmmaker's dream come true on the grandest scale.

IMDb

El camino no fue fácil. Antes de "Frankenstein", Del Toro enfrentó proyectos truncados, luchas con estudios y la eterna incomprensión de una industria que no sabía cómo catalogar a un director que mezclaba cuentos de hadas con horror político. Pero su perseverancia, otra cualidad a menudo asociada con el espíritu de lucha latino, rindió frutos. "El Laberinto del Fauno" y "La Forma del Agua" (ganadora del Oscar a Mejor Película), fueron escalones en una ascensión constante y trabajada.

The road wasn't easy. Before "Frankenstein," Del Toro faced canceled projects, struggles with studios, and the perpetual misunderstanding of an industry that didn't know how to categorize a director who blended fairy tales with political horror. But his perseverance, another quality often associated with the Latino fighting spirit, paid off. "Pan's Labyrinth" and "The Shape of Water" (winner of the Oscar for Best Picture) were stepping stones in a steady and hard-earned ascent.

IMDb

"Frankenstein" es la coronación. Con un presupuesto de 120 millones de dólares y el respaldo de Netflix, Del Toro ha tenido la libertad absoluta para crear sin concesiones. Esta confianza no se regala, se gana. Y él la ganó demostrando que su voz única no es un riesgo, sino una garantía de excelencia. Ha abierto una puerta para que otras voces diversas demuestren que las historias universales se enriquecen cuando se cuentan desde un punto de vista específico y auténtico.

"Frankenstein" is the crowning achievement. With a budget of $120 million and the backing of Netflix, Del Toro has had complete freedom to create without compromise. This trust isn't given away; it's earned. And he earned it by demonstrating that his unique voice is not a risk, but a guarantee of excellence. He has opened a door for other diverse voices to show that universal stories are enriched when told from a specific and authentic point of view.

IMDb

Más allá de su estética impecable y su narrativa poderosa, el mayor logro de "Frankenstein" es su corazón. Es una película sobre la soledad, la incomprensión y el anhelo de amor. Temas universales, sí, pero que Del Toro aborda con una calidez y una empatía que conectan con una sensibilidad particular. Es la mirada de un creador que nunca renegó de sus raíces y que, desde ellas, ha logrado conmover al mundo.

Beyond its impeccable aesthetics and powerful narrative, the greatest achievement of "Frankenstein" lies in its heart. It's a film about loneliness, misunderstanding, and the yearning for love. Universal themes, yes, but ones that Del Toro approaches with a warmth and empathy that resonate with a particular sensitivity. It is the vision of a creator who has never disowned his roots and who, from them, has managed to move the world.

IMDb

Guillermo del Toro no es solo un director exitoso. Es una luz, una esperanza. Su "Frankenstein" es la prueba viviente de que el triunfo de un latino en Hollywood ya no es una excepción, sino una realidad poderosa. Está es la victoria del entusiasmo sobre el cinismo, de la artesanía sobre la producción en masa, y de la convicción de que las historias más personales son, al final, las más universales. Ha redefinido el monstruo y, en el proceso, ha redefinido, además, lo que significa triunfar.

Guillermo del Toro is not just a successful director. He is a beacon of light, a source of hope. His "Frankenstein" is living proof that the triumph of a Latino in Hollywood is no longer an exception, but a powerful reality. This is a victory of enthusiasm over cynicism, of craftsmanship over mass production, and of the conviction that the most personal stories are, ultimately, the most universal. He has redefined the monster and, in the process, has also redefined what it means to succeed.

IMDb

_{Versionada al inglés en Traductor de Google}

🍿 Gracias por leerme.
Christy Arvelaiz
@chris-chris92 (73)
📍 Guacara, Carabobo, Venezuela
250 followers
151 following
Madre, amante y estudiante del arte y la reposterÃÂÃÂa. AdemÃÂÃÂ¡s, una eterna aprendiz y con un lado salvaje pero reservado...
217d
TV · on Stranger Things
So Far, Season 4 of Stranger Things Is the True Masterpiece of the Series

Source

REVIEW/Recap

Going back to Season 4 feels like reopening a chapter that never really closed for me, because it carried a kind of weight that none of the previous seasons had managed to build. I remember watching it with that odd mix of anticipation and resignation, wondering if the show could still push past its own mythology without leaning too hard on nostalgia. What surprised me was how deeply personal it felt even in its most spectacular moments, as if the series finally understood that its most terrifying landscape was not the Upside Down but the strange territory between childhood and whatever follows after. As I look at everything that has led us to the upcoming fifth season, I cannot help thinking that Season 4 did something rare. It grew with its characters without abandoning the roughness of their earlier selves. I felt that growth in quiet scenes more than in the loud ones, in the awkward silences, in the way the group realized that they were not fighting a single monster but the consequences of their own histories. That is the part that stayed with me and the reason I still call it the most complete season the show has offered.

Long before the explosions of color and chaos in the final episodes, what caught me off guard was how grounded the season felt in its emotional textures. There was a sense of fragmentation running through every arc, and somehow it echoed something familiar in me, that unsettling moment when you realize the world you thought you knew has tilted just slightly, enough to make you question the person you used to be. Watching the characters stumble through their fears made the supernatural feel almost secondary. It was not Vecna that pressed on me the most, but the way the show let each character confront the parts of themselves they had tried to ignore. There was something painfully honest about that pacing. It was messy, uneven, sometimes brutally slow, but it felt like real growth often feels. Not cinematic, not elegant, but raw and unfiltered. When I think of why this season still resonates, it is because it committed to that rawness without apologizing for it.

Source

Perhaps what surprised me most was how the season balanced spectacle with an almost literary sense of reflection. The scale was the largest the show had ever attempted, yet the emotional core felt smaller, more focused, almost like the camera kept drifting toward the spaces between words rather than the words themselves. I found myself drawn to the vulnerability beneath the bravado of the younger characters, the way they carried their fears like invisible rucksacks that no one around them fully understood. There was a moment when I realized I was not just watching a supernatural story anymore. I was watching a group of kids who were no longer kids, stumbling through the reality of growing up in a world that demanded too much from them too quickly. That recognition hit closer to home than I expected. It made the story feel heavier, but also more authentic. It reminded me of something I had forgotten: that coming of age is not a neat transformation but a long corridor of shadows and revelations, and sometimes the monsters on the walls look suspiciously like your own doubts.

Remembering the final stretch of episodes still stirs something in me, not because of the battles or the timelines or the visual tension, but because of how emotionally naked those last moments felt. There was an atmosphere of inevitability in every frame, as if the characters had finally come to terms with the idea that survival would cost them parts of themselves they could never really recover. That sense of loss threaded itself quietly through the season, even in the scenes meant to entertain, and it gave the narrative a depth that earlier seasons had only brushed against. I found myself thinking that this was the first time the show truly allowed itself to grow up. It was no longer the nostalgic pulse of eighties references or the thrill of supernatural danger. It was something much more reflective, something that asked me to look at these characters not as pieces of a genre puzzle but as mirrors of fears I had once carried and maybe still carry. That honesty made the season stand apart in a way I did not expect.

There is a strange beauty in realizing that a series you have followed for years can suddenly reveal a maturity you did not know it was capable of. As I wait for the new season to arrive, I keep coming back to the thought that Season 4 may remain the emotional pinnacle of Stranger Things. Not because it was perfect, but because it dared to stretch its tone, its characters, and its own sense of identity. It felt like the moment the show stopped performing and started confessing. I remember finishing the final episode with that quiet ache that comes from watching something that understands the fragility of its own world. That feeling stayed with me longer than I expected, and it is the reason I still call this season the masterpiece of the series so far. Whatever comes next may be grander or stranger or more ambitious, but I doubt it will match the sincerity and emotional resonance that Season 4 delivered so effortlessly. It is the season that reminded me why I cared in the first place and why I still do.
El blog de varied...
@annafenix (74)
📍 Venezuela
481 followers
772 following
Me gusta dibujar, escribir, cocinar y hacer manualidades. Amo la paz, el cafe, el chocolate y las buenas conversaciones.
217d
TV · on Last Christmas
LAST CHRISTMAS (En - Es)
Last Christmas – Image captured from Prime Vídeo

Good morning to all movie and TV lovers. I hope you are having a wonderful weekend, with November almost over and the Christmas season upon us... and many of you, like me, enjoying this season's series and movie marathons.

A few years ago, I captured the trailer for a movie that premiered during the pandemic. With so much going on during that time, I missed it, and then forgot to check what it was about. Finally, a few days ago, I found out the context when I saw an advertisement on Studio Universal, a cable channel, which has been airing its "Navilovers" segment since the beginning of this month.

The truth is, this time I decided to watch it, not only because I love the lead actress, but also because the song is by one of my favorite singers, George Michael, and the plot is somewhat related to him. It's called Last Christmas: Another Chance to Love.

Last Christmas - Netflix

This film stars Emilia Clarke, the same actress from the movie "Me Before You," that sad story about euthanasia. She plays Katarina (Kate), and Henry Golding plays Tom, along with a great cast of stars. Also in the cast is Andrew Ridgeley, George Michael's partner in the duo Wham!, who performs "Last Christmas," the song that inspired this film, and makes his appearance near the end of the story.

Last Christmas was filmed in London and premiered in November 2019 in the United States, and subsequently in the rest of the world. Its title in Latin America is "Last Christmas: Another Chance to Love," and it falls into the genre of Christmas romantic comedy with paranormal elements.

What is the film about?

The story is based on the life of Katarina, a young woman of Croatian descent who aspired to be a singer, a George Michael fan, and whose life was somewhat dysfunctional. Upon reaching adulthood, she moved out of her parents' house to live her own life, and amidst her aspirations to be a singer, she had to work as an elf in a Christmas shop. Because of her complicated life, she couldn't stay with friends for very long, and so she was constantly moving around the city with her wheeled suitcase.

Last Christmas - Netflix

Kate had a critical moment in her life last Christmas when she was at risk of dying, but thanks to timely intervention, she was saved. She met Tom when she saw him standing outside the store where she worked, and went out to see what he wanted, and little by little they became friend.

Last Christmas - Netflix

Between walks with Tom, problems with her mother and her sister Martha, some disagreements with Santa, the owner of the Christmas store, and a failed audition, she began to enjoy Tom's company more. He volunteered at a homeless shelter. He always rode his bike and didn't use his cell phone; he told Kate he kept it in the closet. So one day when he hadn't shown up at the store, she went to look for him at the shelter, but they told her they didn't know him.

In this way, Tom became a mysterious but necessary figure in Kate's life. I won't tell you the rest of the story, so you can discover it for yourselves. It's a beautiful film that leaves us with many valuable messages; I highly recommend it.

Last Christmas - Netflix

Thanks for visiting my blog… Happy Sunday everyone!

LAST CHRISTMAS - Tráiler Oficial (Universal Pictures) - Universal Spain YouTube

Last Christmas - Netflix

Buenos días a todos los amantes del cine y la Tv. Espero que estén pasando un maravilloso fin de semana, ya casi finalizando noviembre, y entrando al mes navideño… y muchos al igual que yo, disfrutando los maratones de series y películas de esta temporada.

Hace unos años capturé el tráiler de una película que se estrenó en época de pandemia, y que con tantas cosas que vivimos durante ese tiempo, a mí se me escapó, y luego olvidé revisar de qué trataba, hasta que por fin hace unos días supe cuál era el contexto al ver una propaganda en Studio Universal que es un canal por cable, y que ahora mismo está transmitiendo su segmento “Navilovers”, desde inicios de este mes.

Lo cierto es que esta vez sí me decidí a verla, no sólo porque la protagonista me encanta, sino porque el tema musical de la historia es de uno de mis cantantes favoritos, George Michael, y la trama se dirige un poco a él. Se trata de Last Christmas: Otra oportunidad para amar.

Last Christmas - Netflix

Este film está protagonizado por Emilia Clark, la misma actriz de la película “Yo antes de ti”, aquella triste historia acerca de la eutanasia. Ella hace el papel de Katarina (Kate), y la acompaña Henry Golding en el papel de Tom, junto a un gran elenco de estrellas. También en el reparto se encuentra Andrew Ridgeley, el compañero de George Michael en el dúo Wham, quienes interpretan “Last Christmas”, la canción que inspiró esta película, y hace su aparición ya casi finalizando la historia.

Last Christmas fue grabada en Londres, y se estrenó en noviembre de 2019 en Estados Unidos, y de ahí en adelante, al resto del mundo. Su título en Hispanoamérica es “Last Christmas: Otra oportunidad para amar”, y se encuentra ubicada en el género de comedia romántica navideña con matices paranormales.

¿De qué trata la película?

La historia está basada en la vida de Katarina, una chica de descendencia croata que aspiraba audicionar para ser cantante, admiradora de George Michael, y con una vida un poco disfuncional. Al ser mayor de edad, se independizó de sus padres para hacer su propia vida, y en medio de su aspiración por ser cantante, tuvo que trabajar como elfo en una tienda navideña. Por su compleja vida, no lograba convivir por mucho tiempo con los amigos, y así iba cambiando constantemente de lugar deambulando por la ciudad con su maleta de ruedas.

Last Christmas - Netflix

Kate tuvo un momento delicado en su vida al estar en riesgo de morir la navidad pasada, pero gracias a una intervención a tiempo, pudo salvarse. Conoció a Tom, al verlo parado fuera de la tienda donde ella trabajaba, y salió a ver qué deseaba, y así poco a poco hicieron una amistad.

Last Christmas - Netflix

Entre los paseos con Tom, los problemas con su madre y su hermana Martha, algunas diferencias con Santa, la dueña de la tienda navideña, y una audición fallida, comenzó a disfrutar más de la compañía de Tom, quien era voluntario en un refugio para personas sin hogar. Siempre andaba en bicicleta, y no usaba su celular, le decía a Kate que lo guardaba en el armario. Por eso un día en que no había aparecido por la tienda, ella fue a buscarlo al refugio, pero allí le dijeron que no lo conocían.

Last Christmas - Netflix

De esa manera Tom se convirtió en un personaje misterioso pero necesario en la vida de Kate. El resto de la historia no se las voy a contar, para que ustedes mismos la descubran. Es una película hermosa que nos deja muchos mensajes valiosos, se las recomiendo.

Last Christmas - Netflix

Gracias por visitar mi blog… feliz domingo para todos.

Wham! - Last Christmas (Official Video) // Wham YouTube

INFORMATION SOURCES - FUENTES DE INFORMACIÓN

Last Christmas - Wikipedia

SOURCES OF VIDEOS // FUENTES DE LOS VÍDEOS

LAST CHRISTMAS - Tráiler Oficial (Universal Pictures) - Universal Spain YouTube Wham! - Last Christmas (Official Video) // Wham YouTube

IMAGES SOURCES - FUENTES DE IMÁGENES

Last Christmas – Image captured from Prime Vídeo Last Christmas - Netflix

The translator used is: Deepl Translator // El traductor utilizado es: Deepl Translator

_{Contenido Original del Autor
Aplicaciones: Canva, PhotoScape, Instagram, Inshot y Pixiz.
Traducción: Deepl Traductor ⁦www.DeepL.com/Translator⁩
Las imágenes personales son tomadas con un dispositivo móvil Android Xiaomi Redmi 13 de mi propiedad.
Las imágenes utilizadas en los banners, minibanners, gifs y separadores, son cortesía de Pixabay.
Derechos Reservados del Autor: @annafenix (2021 – 2025)}

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

_{Original Author Content
Applications: Canva, PhotoScape, Instagram, Inshot and Pixiz.
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Samostically
@samostically (78)
2,112 followers
418 following
217d
Movie · on The Last Samurai
Movie Review: Last Samurai Standing
Hello everyone,

I finally jumped on the trend to watch this movie. Last week, while talking to my friend on the phone, he recommended Last Samurai Standing as the latest movie on Netflix I should watch. I stalled for a while to watch it because I was not ready to watch any new series or start something serious. I was still in my phase of watching some not-too-serious movies and murder mysteries until I finally caved in this weekend.
_{![62.jpg](https://files.peakd.com/file/peakd-hive/samostically/EoCbSafGjfHoVFCjszDDu3EoSKcQj6dVifruhe5jvdhCJDBQYbAtdLQURVS7zAh6CWV.jpg)}
Last Samurai Standing is set in Japan in 1878. It focuses on the change in power from the samurai era and how the Japanese government is changing rapidly under the Meiji government. The way of the samurai and honour mean nothing anymore. There is the rapid adoption of guns, and now there is no need for the samurai sword. _{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23xox2iojCE9ZUHunVVnvgdzpL1rECGGszUXLPmxnnEUsgV4TUaCDVNYYcVecoXVawqzz.png)}
Then comes the challenge, 292 falling samurai are enrobed in a samurai competition where they are given tags to be placed around their necks, and the task is the get more tags from other players while journeying to Tokyo. The last person to get to Tokyo with their tags still intact and with the desired amount of other players' tags gets to win the 100 billion yen prize money._{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23tkkDBSw78GERTEiv7Mo7zDzipzj6PRV8FwjveP9BLTnsqiLH1SyNbq263cF56HJHabF.png)}
You get introduced to Shujiro, who I think is the lead character of the movie. He joins the kodoku, the tournament for the samurai, because of his family, which includes a died son and his wife, currently suffering from the cholera outbreak. Wholeheartedly, I can say the main reason why most of these samurai enrolled for this competition is for the money, as the land is in abject poverty mixed with a cholera outbreak. _{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23t74jRQoawbi3W1pBdydBDJMz5aRBase9guCnbtR3vFR2gGQWjiyouFcHcSFHCKESnd3.png)}
Everybody is desperate for a means to survive, and those who have families are willing to do anything to assist their families. The emotions in the scene run deep, right from when I saw the young child who is a part of the competition. From the get-go, when the players were informed about the rules, it dawned on them that this was a do-or-die affair. Although there was a claim that they could back out now, before they were informed of the rules of the game but people were all glued to the money that was shown to them first to get them hooked.
_{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23vrtotJkYfAPsTCWaFeh6F2JckBn9NtS9yQW2b5nre6WgAR9ZunZBpWNC68Jzoyzv4YR.png)}
When things became clear that to move forward in the game, you have to kill the next samurai. Now some wanted to live, but it was already too late; they were gunned down. In the game, Shijuro was a bit reluctant to draw out his sword because of the trauma he was still living through due to the war, where he became a manslayer. He killed for a living, and that is all he has known. It is hard to move past that. _{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23tvAS8tffeFFbRFGDCbK19sbN3ZLoAWqKtavX7qJr2c5s7ZUt8nhqzayTGoaRmW8zpQS.png)}
I admire Shijuro for taking care of the child whom he made his full responsibility throughout the Kodoku. It becomes more interesting when they are faced with different challenges at different points, and there are all kinds of samurai, some who enjoy the killing and others who are there for the sole purpose of the person they are hunting. Things are hard, but it gets worse when they try to uncover the people behind the game. _{![image.png](https://files.peakd.com/file/peakd-hive/samostically/244AHaU5SRnBsp86iaJdpC37WHnd9JjtFXa3CQKZyaTbeQY6yGYN8mfc62nd9C4bNwVzU.png)}
The movie is more like a Squid Game for samurai with lots of fighting to survive, intense scenes and a twisted plot mixed with a good storyline. Nothing got me prepared for the unveiling at each point, especially when I did not see that coming. It was an intriguing watch for the weekend, I can tell you that for sure.

All Images gotten from IMDB

_{I am @samostically, a chess player and writer. I love to share the experience I have gained from different battles over the 64 squares and the knowledgeable insights from books I have read. But most importantly, [I am a Midnight Owl and I founded the community Midnight Letters.](https://peakd.com/c/hive-186424/about)}
♟♟♟♟♟♟♟♟♟

Thanks For Reading!

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♡ Genesishealthy ♡
@genesishealthy (75)
📍 Caracas -Venezuela
517 followers
301 following
📷Photography |Healthy recipies| lifestyle | 🍎 health| ♡ Busquemos juntos el equilibrio entre mente cuerpo y espíritu. ♡
217d
TV · on Elite Squad: The Enemy Within
Review - Tropa élite 1 y 2
Hello! 💙

Fuente de imagen

Me han recomendado estas películas y justamente al enterarme que existía la serie ciudad de Dios como que volvía a retomar todo este cine brasilero que salió hace un tiempo y lo primero que hice fue ver estas dos películas que nunca había tenido la oportunidad de verlas y la verdad es que son muy buenas sobre todo la primera que está plagada de acción al más puro estilo Hollywood pero sin dejar a un lado toda la desigualdad social que se plantean en estas películas y la verdad es que está magnífico.

They recommended these films to me, and when I found out about the City of God series, I decided to revisit all these Brazilian films that came out a while ago. The first thing I did was watch these two films that I had never had the opportunity to see before, and the truth is that they are very good, especially the first one, which is full of action in the purest Hollywood style, but without neglecting all the social inequality that is addressed in these films. the truth is that it's magnificent.

Fuente de imagen

Parte de la esencia de esta película es el compartir el crimen el narcotráfico pero a su vez entender el porqué surge este narcotráfico porque surge este crimen y el planteamiento que nos ponen en escena es sumamente sólido porque muchas de estas personas no tienen otras oportunidades y es el camino que no les queda de otra que seguir pero a su vez la violencia que causan tiene que tener un freno y es donde llega está tropa, ambas películas toman caminos diferentes pero continuando la misma historia Por decirlo de alguna manera ya que la primera relata de alguna forma como el protagonista quiere separarse de La tropa para poder querer a su familia pero a su vez hay dos nuevos integrantes entonces vemos cómo los integrantes se meten a esta tropa.

Part of the essence of this film is sharing the crime of drug trafficking, but at the same time understanding why this drug trafficking arises, why this crime arises, and the approach they present us with is extremely solid because many of these people have no other opportunities and it is the only path they have left to follow, but at the same time, the violence they cause must be stopped, and that is where this troop comes in. Both films take different paths but continue the same story, so to speak, since the first one tells how the protagonist wants to separate from the troop in order to love his family, but at the same time there are two new members, so we see how the members get involved in this troop.

Fuente de imagen

Ya la segunda película es su momento diferente me tengo que decir que el ritmo es un poco más lento Que la primera creo que sí es inferior en términos de guión pero era muy importante continuar la historia porque es ver el desarrollo del protagonista el cual nunca dejó La tropa ahora tiene un cargo mucho más alto la perspectiva de los nuevos integrantes ya es otra porque ya lleven un tiempo de experiencia, y en Cómo se dan cuenta que que la corrupción está mucho más metida de lo que esperaban incluso a nivel político, Y la verdad es que es una de esas películas que me parece raro que no la haya visto en su momento pero si tiene la oportunidad de verlo ahorita verla la verdad es que es muy buena está a la par de calidad A mi parecer de lo que es la película ciudad de Dios.

The second film is different. I have to say that the pace is a little slower than the first one. I think it is inferior in terms of the script, but it was very important to continue the story because we see the development of the protagonist, who never left. The troop now has a much higher position, and the perspective of the new members is different because they already have some experience. and in How they realize that corruption is much more widespread than they expected, even at the political level. And the truth is that it's one of those films that I find strange that I didn't see at the time, but if you have the opportunity to see it now, the truth is that it's very good, on a par with the quality of the film City of God, in my opinion.
Drax
@drax (77)
892 followers
106 following
Blogger, film critic, columnist (writes in Croatian and English)
217d
TV · on The Shield
Television Review: Dragonchasers (The Shield, S1X05, 2002)

Dragonchasers (S01E10)

Airdate: May 14th 2002

Written by: Scott Rosenbaum & Kurt Sutter Directed by: Nick Gomez

Running Time: 45 minutes

The episode Dragonchasers of The Shield stands as a precarious test of the series’ ability to balance its gritty realism with the occasional foray into sensationalism. While The Shield has long been lauded as one of the most ambitious and critically acclaimed television dramas of the early 21st century, its distinction between greatness and mediocrity often hinges on a razor-thin line. This episode, in particular, teeters on that edge, relying on the strength of its performances to rescue it from being a mere example of the show’s flawed tendencies. Season 1’s Dragonchasers is a case in point, a narrative that straddles the line between the series’ signature moral complexity and the genre’s penchant for overt drama, yet ultimately succeeds through the compelling work of its cast and the nuanced storytelling that defines The Shield.

The episode opens with a scene that immediately juxtaposes the show’s occasional indulgence in sensationalism. In a strip club, Vic Mackey (Michael Chiklis) is approached by a stripper, who suggests that the club might offer “extra entertainment” beyond the usual. This seemingly innocuous suggestion is, of course, part of a sting operation orchestrated by Strike Team to ensnare a gang of violent robbers targeting men lured by strippers in back alleys. Strike Team members, particularly Shane Wandrell (Walton Goggins), are eager to mix business and pleasure, with Wandrell’s enthusiasm for the opportunity. However, the operation takes a dark turn when a robber named Carl attacks Wandrell, who was lured by a stripper named Tulips (Nichole Hiltz). The team quickly apprehends Carl, but Tulips, when brought to questioning, claims that Carl was the mastermind who manipulated her. Wandrell, in a moment of naivety, believes her and even uses the opportunity to engage in a sexual encounter in the interrogation room. The twist is that Tulips orchestrated the entire scheme, using the forensic evidence of their encounter as leverage to demand release. This revelation is a masterstroke of irony, as Wandrell’s own moral compromise is exposed, and the episode’s reliance on a “fan service” subplot (the strippers) becomes a cringe-worthy contrast to the show’s usual gritty tone.

The episode’s second storyline introduces a subplot that highlights the show’s ability to blend moral ambiguity with social critique. Danny and Julien arrest a man masturbating in public, a scene that is both absurd and deeply unsettling. The man, Sean Taylor (Michael Kelly), a car mechanic specialised for installing car stereos, is profiled by Dutch (Michael Jace) as a potential serial killer targeting prostitutes in Farmington. Taylor, however, turns the tables on Dutch, using his intelligence to profile the detective instead. This dynamic is both hilarious and chilling, as Taylor’s smugness and Dutch’s eventual triumph underscore the show’s exploration of the thin line between justice and corruption. Dutch’s emotional breakdown in his car after his triumph, however, is a poignant reminder of the personal toll of the profession.

The third storyline follows Vic’s intervention in the case of Connie Riesler (Jamie Brown), a prostitute whose mother has died of a stroke, leaving her without emotional or financial support. Connie refuses to go to rehab, fearing that the authorities will take her infant son, Brian, from her. Vic decides to bring her to the Clubhouse for a “cold turkey” approach, while Brian is temporarily placed in Vic’s home with Corinne. Initially, Connie appears to be cleaning up her life, but she immediately relapses, a moment that underscores the show’s unflinching portrayal of addiction. Her eventual decision to put Brian up for adoption, despite her lingering attachment to him, is a deeply human moment that highlights the moral complexity of the characters. Vic’s empathy here is a subtle but powerful reminder of the show’s commitment to character development.

The fourth storyline involves Frank Gilmore (Jazzmun), a transgender male prostitute, who is violently subdued by Julien (Michael Jace) when brought to the Barn. Frank’s struggle, including a bite to Danny’s arm, is a visceral moment that underscores the show’s attention to the physical and emotional toll of the profession. Danny later has to leave the station for treatment to prevent HIV, a subplot that is both medical and symbolic. Julien’s participation in a “blanket party”—a brutal beating of Frank in the police van—reveals the show’s exploration of repressed desires and the moral compromises of the police force. Julien’s actions, motivated by repressed homosexuality rather than a desire to avenge his partner, add a layer of psychological depth to the episode.

The fifth storyline centers on Tereza Varela (Sandra Purpuro), a journalist for La Unidad who arrives at the Barn to write an article. Captain Aceveda (Benito Martinez) initially sees this as an opportunity to boost his political career, but Varela’s probing questions about police brutality and her mention of Aceveda’s past rape charges force him to confront his own moral compromises. Aurora Aceveda’s eventual decision to support his husband, despite the scandal, is a moment of personal integrity that contrasts with the show’s usual focus on corruption.

The episode’s overall tone, however, is a clear departure from The Shield’s usual gritty realism, leaning instead into the sensationalism and ratings-driven content typical of mainstream police dramas. The subplot involving strippers, while initially presented as a “fan service” element, is a glaring contrast to the show’s earlier episodes, which often used such subplots to explore deeper themes of morality and power. The revelation that Captain Aceveda is not the idealistic “choir boy” he has been portrayed as in previous episodes is a “soapy” twist that undermines the show’s usual commitment to character development. Yet, the episode’s flaws are ameliorated by the performances of its cast, particularly Chiklis, Goggins, Kelly, and Brown, who bring a level of nuance and humanity to their roles that elevates the episode above its more exploitative elements.

Ultimately, Dragonchasers is a testament to the show’s ability to balance its strengths and weaknesses. While the episode’s shift towards sensationalism is a clear weakness, the strength of its acting and the complexity of its characters ensure that it remains a memorable part of The Shield’s legacy.

RATING: 6/10 (++)

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

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steemychicken1
@steemychicken1 (81)
2,926 followers
412 following
Photographer - Pornographer
217d
Movie · on Halloween
Halloween
We live in a world with not one, not two, but three films titled Halloween: the original legendary film by our savior John Carpenter from 1978, the 2007 remake by Rob Zombie, and the unusual 2018 sequel. Then again, you could say David Cronenberg pulled off something similar, with two films bearing the exact same title half a century apart (Crimes of the Future from 1970 and 2022).

The remarkable thing is that all three movies titled HALLOWEEN are at worst very respectable and at best outright iconic. Here I want to share a few thoughts on the 2007 remake, which doesn’t quite get the attention it deserves compared to the other two, which are often rightly considered the strongest entries.

If there was ever a person suited to remake the most iconic slasher of all time, the one that shaped the very idea of “The Shape” on the big screen, it was Rob Zombie. His love, or rather his devotion, and his respect for the genre are both unquestionable and unmistakable in this film. His entire musical career, after all, is practically a hymn to horror.

The 2007 Halloween, in its first half, is simply a good movie. Strong performances, well handled camera work. Even the color palette stands out, with vivid tones that still fit the darker and more haunting shades of autumn. The film could have stayed in that direction, but in its second half Rob Zombie chooses to turn it into a faithful recreation of the original, perhaps more than necessary. Still, I don’t think this weakens the final result. He handles that material very well and adds new elements too, such as the expanded focus on Michael’s relationship with his sister, which I really liked.

And speaking of performances, Malcolm McDowell plays Michael’s psychiatrist, Dr. Loomis. Yes, the lead actor from A Clockwork Orange, who has also appeared in Star Trek. He delivers an excellent performance, something expected from him but not necessarily from the slasher genre at that stage. His interpretation makes the character far more human and approachable compared to Donald Pleasance’s version, whom we of course adore for all his wonderful horror and B-movie work. Overall, the film was a very pleasant surprise.

During an era when remakes of classic slashers were trending, alongside the mediocre Texas Chainsaw from 2003 and the awful Friday the 13th and Nightmare on Elm Street reboots of that decade, Rob Zombie’s Halloween stands out as a dark, cold, autumn vision.

That’s all and, as Uncle Al says, “Everyday is Halloween.”
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@herosik
@herosik (72)
📍 Polska
203 followers
162 following
Polish/English bloger. Writin' about manga, anime, tvshow, movie, news, games, witcher and everything I like.
218d
TV · on Stranger Things
Stranger Things | The Last Airbender Season 3 | Virgin River | Caught Stealing | Labubu | Monster Season 4 | Witcher Season 5 | Netflix's Answer to Yellowstone | Heat 2 | Ricky Gervais x Netflix
This is a cross post of @herosik/stranger-things-or-the-last-airbender-season-3-or-virgin-river-or-caught-stealing-or-labubu-or-monster-season-4-or-witcher-seaso by @herosik.

Hello, fresh pack of the news.
@herosik
@herosik (72)
📍 Polska
203 followers
162 following
Polish/English bloger. Writin' about manga, anime, tvshow, movie, news, games, witcher and everything I like.
218d
TV · on Stranger Things
Stranger Things | The Last Airbender Season 3 | Virgin River | Caught Stealing | Labubu | Monster Season 4 | Witcher Season 5 | Netflix's Answer to Yellowstone | Heat 2 | Ricky Gervais x Netflix

[Knives Out] The actors in this series are incredibly excited about creating further installments. A good omen before the premiere of Part 3 in December. https://www.comingsoon.net/movies/news/2064414-daniel-craig-knives-out-4-exciting-update

[Tomb Raider] The animated adaptation of the popular game will return on December 11th. https://www.comingsoon.net/tv/trailers/2064395-tomb-raider-season-2-trailer-hayley-atwell-lara-croft

[Stranger Things] It's great that the creators don't want to return to the characters right after the story ends. It's one thing, years later, if an idea for a hero or heroine's return had surfaced. As for the controversy surrounding the posters... Well, the kid doesn't look particularly good, and he has an unpleasant face, but no one would have put him there if he weren't important.

Regarding the season being split into three parts, I agree with the Duffer brothers that the main problem with this split is that it's a new concept, and many people can't handle it. That said, it doesn't matter to me in the slightest, as I'm watching the whole thing anyway. https://www.comingsoon.net/tv/news/2059148-stranger-things-creators-eleven-wont-appear-spin-offs

https://www.comingsoon.net/tv/news/2058826-stranger-things-season-5-posters-have-fans-very-confused

https://www.comingsoon.net/tv/news/2058198-stranger-things-creators-defend-season-5-three-volumes

[The Last Airbender] Due to the series' success, Netflix has filmed seasons 2 and 3 back-to-back. They will likely premiere in 2026. https://www.comingsoon.net/tv/news/2060371-avatar-the-last-airbender-season-2-3-release-date

[Virgin River] The series will likely return with a new season in March. https://www.comingsoon.net/tv/news/2063001-virgin-river-season-7-release-date-ben-hollingsworth

[Swapped] Juno Temple and Michael B. Jordan will star in an animated film from the director of Tangled. https://www.comingsoon.net/movies/news/2064300-michael-b-jordan-juno-temple-swapped-netflix-movie-cast

[Leanne] We'll likely get a second season of the series in the second half of the year. https://www.comingsoon.net/tv/news/2064706-leanne-season-2-release-date-hinted-with-filming-schedule

[Boys from Brazil] Netflix has ordered a series adaptation of a book about Nazi refugees who hid in Brazil. Gillian Anderson will play one of the main roles. https://variety.com/2025/tv/news/boys-from-brazil-netflix-jeremy-strong-gillian-anderson-1236584600/

[Ricky Gervais x Netflix] Ricky's new stand-up special will be released on December 30th. https://variety.com/2025/tv/news/ricky-gervais-comedy-special-mortality-netflix-release-date-1236585646/

[The Witcher] We've met 7 new actors who will appear in the final season. https://redanianintelligence.com/2025/11/17/the-witchers-final-season-adds-7-more-to-its-cast/

[The Abandonds] Netflix has released a trailer showing their response to Yellowstone. It's a pretty good idea, because the Paramount series already featured truly strong women, not some left-wing nonsense from Disney or Netflix. I hope Gillian shows her good side, like she did at the beginning of Sex Education. https://www.comingsoon.net/tv/trailers/2057826-gillian-anderson-lena-headey-netflix-the-abandons-trailer

[Caught Stealing] A new film starring Austin Butler and Zoë Kravitz will hit Netflix on November 29th. https://www.comingsoon.net/movies/news/2063003-caught-stealing-netflix-release-date-austin-butler-movie

[Monster] We've received information about the next season of the Netflix series. https://variety.com/2025/tv/news/monster-season-4-sarah-paulson-aileen-wuornos-1236552737/

[Labubu] Speaking of the Sony film... The studio is planning to make a film based on... The Menacing Doll. I'm laughing because my partner has been telling me about various Labubu scandals for a few years now. We once wondered if a film would be made. She laughed when I showed her the news. That said, if Sony approaches it right, there's potential for a fun, lighthearted comedy. https://www.comingsoon.net/movies/news/2063394-labubu-doll-movie-sony-development

[Empire State] Gerard Butler will star in another action film. https://www.comingsoon.net/movies/news/2058596-gerard-butler-teams-with-mission-impossible-star-new-action-movie

[Heat 2] Speaking of action movies, Christian Bale may be starring in Heat 2. Previous rumors haven't been debunked, so there's a chance they're true. https://deadline.com/2025/11/heat-2-christian-bale-from-michael-mann-1236620381/

[The Good Samaritan] Filming on a new film starring Daisy Ridley will begin in early 2026. The script is from the writer behind the latest Rambo film. https://variety.com/2025/film/news/daisy-ridley-action-thriller-the-good-samaritan-1236583345/

[Hot Mom] The actress who plays Supergirl will star in a film with elements of horror and psychological drama. A good title, as it immediately caught my attention and encouraged me to look into it. https://www.comingsoon.net/movies/news/2059610-supergirl-milly-alcock-oscar-nominee-new-survival-movie

Stranger Things | The Last Airbender S3 | Virgin River | Caught Stealing | Labubu | Monster S4 | Witcher S5 | Odpowiedź Netflixa na Yellowstone | Heat 2 | Ricky Gervais x Netflix

[Knives Out] Aktorzy grający w tym serialu są wyjątkowo nagrzani na stworzenie kolejnych części. Dobry prognostyk przed premierą 3 części w grudniu. https://www.comingsoon.net/movies/news/2064414-daniel-craig-knives-out-4-exciting-update

[Tomb Raider] 11 grudnia powróci animowana adaptacja znanej gry. https://www.comingsoon.net/tv/trailers/2064395-tomb-raider-season-2-trailer-hayley-atwell-lara-croft

[Stranger Things] Bardzo dobrze, że twórcy nie chcą wracać do postaci tuż po zakończeniu historii. Co innego po latach, jakby pojawił się jakiś pomysł na powrót bohatera lub bohaterki. Co do kontrowersji związanych z plakatami... No dzieciak nie wygląda zbyt korzystnie, ma też antypatyczną twarz, ale nikt by go tam nie dawał, gdyby nie był ważny. Co do podziału sezonu na 3 części - zgadzam się z braćmi Duffer, że główny problem z tym podziałem polega na tym, że to nowy pomysł i wielu nie umie sobie z tym poradzić. To powiedziawszy, dla mnie to nie ma najmniejszego znaczenia, bo i tak oglądam całość. https://www.comingsoon.net/tv/news/2059148-stranger-things-creators-eleven-wont-appear-spin-offs

https://www.comingsoon.net/tv/news/2058826-stranger-things-season-5-posters-have-fans-very-confused

https://www.comingsoon.net/tv/news/2058198-stranger-things-creators-defend-season-5-three-volumes

[The Last Airbender] Z uwagi na sukces serialu, Netflix nakręcił 2 i 3 sezon w formie back-to-back. Prawdopodobnie pojawią się w 2026. https://www.comingsoon.net/tv/news/2060371-avatar-the-last-airbender-season-2-3-release-date

[Virgin River] Serial najprawdopodobniej powróci z nowym sezonem już w marcu. https://www.comingsoon.net/tv/news/2063001-virgin-river-season-7-release-date-ben-hollingsworth

[Swapped] Juno Temple i Michael B Jordan wystąpią w filmie animowanym od reżysera Tangled. https://www.comingsoon.net/movies/news/2064300-michael-b-jordan-juno-temple-swapped-netflix-movie-cast

[Leanne] Prawdopodobnie w 2 połowie roku dostaniemy 2 sezon serialu. https://www.comingsoon.net/tv/news/2064706-leanne-season-2-release-date-hinted-with-filming-schedule

[Boys from Brazil] Netflix zamówił serial adaptujący książkę o Nazistowskich uciekinierach, którzy skryli się w Brazylii. W jednej z głównych ról zobaczymy Gillian Anderson. https://variety.com/2025/tv/news/boys-from-brazil-netflix-jeremy-strong-gillian-anderson-1236584600/

[Ricky Gervais x Netflix] 30 grudnia dostaniemy nowy stand-up Ricky'ego. https://variety.com/2025/tv/news/ricky-gervais-comedy-special-mortality-netflix-release-date-1236585646/

[Witcher] Poznaliśmy 7 nowych aktorów, którzy wystąpią w finałowym sezonie. https://redanianintelligence.com/2025/11/17/the-witchers-final-season-adds-7-more-to-its-cast/

[The Abandonds] Netflix wrzucił trailer pokazujący ich odpowiedź na Yellowstone. Pomysł całkiem dobry, bo już w serialu Paramount mieliśmy prawdziwie silne kobiety, a nie jakieś lewicowe bzdury z Disneya, czy Netflixa. Mam nadzieję, że Gillian pokaże się od tej dobrej strony, czyli jak na początku Sex Education. https://www.comingsoon.net/tv/trailers/2057826-gillian-anderson-lena-headey-netflix-the-abandons-trailer

[Caught Stealing] Nowy film z Austinem Butlerem i Zoë Kravitz, trafi na Netflixa 29 listopada. https://www.comingsoon.net/movies/news/2063003-caught-stealing-netflix-release-date-austin-butler-movie

[Monster] Dostaliśmy informacje na temat kolejnego sezonu serialu Netflixa. https://variety.com/2025/tv/news/monster-season-4-sarah-paulson-aileen-wuornos-1236552737/

[Labubu] A skoro mowa o filmie Sony... Studio planuje zrobić film na podstawie... Groźnej lalki. Śmieję się, bo moja partnerka od paru lat opowiada mi o różnych skandalach związanych z Labubu. Kiedyś zastanawialiśmy się, czy powstanie film. Śmiała się, gdy jej pokazałem tego newsa. To powiedziawszy, jeśli Sony podejdzie do tego w odpowiedni sposób, to jest potencjał na fajną, niezobowiązującą komedię. https://www.comingsoon.net/movies/news/2063394-labubu-doll-movie-sony-development

[Empire State] Gerard Butler wystąpi w kolejnym filmie akcji. https://www.comingsoon.net/movies/news/2058596-gerard-butler-teams-with-mission-impossible-star-new-action-movie

[Heat 2] A skoro mowa o filmach akcji, być może w Heat 2 wystąpi Christian Bale. Poprzednie plotki nie zostały obalone, więc istnieje szansa że są prawdziwe. https://deadline.com/2025/11/heat-2-christian-bale-from-michael-mann-1236620381/

[The Good Samaritan] Na początku 2026 rozpoczną się zdjęcia do nowego filmu z Daisy Ridley. Za scenariusz odpowiada pisarz odpowiedzialny za najnowsze Rambo. https://variety.com/2025/film/news/daisy-ridley-action-thriller-the-good-samaritan-1236583345/

[Hot Mom]
Aktorka wcielająca się w Supergirl, wystąpi w filmie z elementami horroru i dramatu psychologicznego. Dobry tytuł, bo od razu przykuł moją uwagę i zachęcił do zainteresowania się. https://www.comingsoon.net/movies/news/2059610-supergirl-milly-alcock-oscar-nominee-new-survival-movie
Drax
@drax (77)
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Blogger, film critic, columnist (writes in Croatian and English)
218d
TV · on Star Trek: The Next Generation
Television Review: The Bonding (Star Trek: The Next Generation, S3X05, 1989)

The Bonding (S03E05)

Airdate: October 23rd 1989

Written by: Ronald D. Moore Directed by: Winrich Kolbe

Running Time: 45 minutes

The episode The Bonding (Season 3, Episode 5) of Star Trek: The Next Generation stands as a poignant and emotionally resonant cornerstone of the series, cementing its place in the annals of Star Trek history. Written by Ronald D. Moore, arguably the most influential author in the franchise since Gene Roddenberry, this episode exemplifies Moore’s mastery of storytelling, blending existential themes, moral dilemmas, and the human capacity for resilience. As the architect of The Next Generation, Deep Space Nine, and Voyager, Moore’s legacy is defined by his ability to infuse Star Trek’s core principles—hope, unity, and the pursuit of understanding—with a depth that few could match. The Bonding, which began Moore’s journey as a writer in 1989, is a testament to his enduring impact, even as it serves as a bridge between the franchise’s Golden Age and its subsequent evolution. This episode, however, is not merely a showcase of Moore’s skill; it is a meditation on grief, identity, and the fragile threads that bind us to one another, even in the face of cosmic indifference.

The plot of The Bonding starts on a desolate planet once inhabited by the Koinonians, an ancient alien species that perished in a devastating civil war. The USS Enterprise-D arrives to investigate the site, and Captain Picard dispatches a team led by Worf to assess the terrain. The mission takes a tragic turn when Lieutenant Marla Aster (Susan Powell), Starfleet archaelogist, stumbles upon ancient landmines. The explosion leaves her dead, a fate that haunts the crew of the Enterprise for the remainder of the episode. The episode’s emotional core lies in the aftermath: Picard and Troi must deliver the news to Marla’s 12-year-old son, Jeremy (Gabriel Damon), whose father had already died and, as such, becomes an orphan. The episode’s power lies in its unflinching portrayal of grief, a theme that resonates deeply with the crew’s own struggles. Many characters, and especially Wesley Crusher and Worf, who have lost their own parents, are forced to confront the reality of loss, their humanity laid bare in moments of vulnerability.

The episode’s climax introduces a twist that elevates the narrative from tragedy to a surreal exploration of identity and redemption. Jeremy, now alone in a world that has lost its mother, begins to experience visions of Marla—apparently alive and well. The Enterprise crew, initially alarmed, traces these apparitions to unusual energy readings on the planet’s surface. It is revealed that Marla is not human but an offshoot of the Koinonians, an energy-based entity capable of adopting human forms and manipulating matter. This entity, driven by guilt over inability to prevent Koinonians’ self-destruction, believes that bringing Jeremy to the planet will grant him a “happy life” with copies of his parents. The entity’s motives might be noble, yet its methods are deeply unsettling, blurring the line between compassion and manipulation.

Picard, however, resists this “redemption,” recognising the danger of a being that seeks to impose its will on a child. With the help of Wesley, who draws on his own experience of loss, Picard convinces the entity to leave. The episode’s resolution is both bittersweet and hopeful: Worf, moved by Jeremy’s plight and his own personal history of loss, performs a Klingon bonding ritual to help the boy find closure. This act symbolizes the series’ recurring theme of finding strength in unity, even in the face of despair.

The Bonding is often cited as one of the great episodes of The Next Generation, a status that underscores its significance in the series’ trajectory. Moore, a lifelong fan of Star Trek: The Original Series, infused the episode with the spirit of Roddenberry’s vision, emphasising the importance of family and the moral weight of individual choices. The episode’s inspiration can be traced to the fate of the “Redshirts” in The Original Series, a recurring motif of sacrifice and the human cost of exploration. By giving Marla a family, Moore elevates the episode beyond the typical “Redshirt” trope, creating a narrative that explores the emotional dimensions of Star Trek’s universe.

The script, however, underwent significant revisions. Originally, the episode featured Jeremy attempting to resurrect his mother via a holodeck simulation, a concept that was ultimately altered by Melinda Snodgrass and showrunner Michael Piller, under Gene Roddenberry’s guidance. The change was intended to make the episode more in line with Roddenberry's views that 24th-century children would deal with grief more easily. The final version retains the episode’s ability to evoke profound grief and resilience, with all major characters—Picard, Worf, Wesley, and even the crew’s own losses—engaging with the themes of mortality and memory. The emotionally charged scenes, particularly the heartfelt conversation between Wil Weaton (Wesley) and Gates McFadden (Dr. Crusher), are a masterclass in character-driven storytelling.

While the episode’s inclusion of the alien entity might initially seem like a gimmick, it serves as a poignant exploration of the Koinonians’ legacy. The entity’s presence is not a departure from Star Trek’s traditions but a reinforcement of them: a being that seeks to atone for past failures, even if its methods are flawed. Susan Powell’s portrayal of Marla’s apparition is a standout performance, capturing the entity’s duality—both pitiable and dangerous.

The child actor Gabriel Damon, who would soon later appear as a 12-year-old drug lord in RoboCop 2, delivers a compelling performance as Jeremy. While not on the same level as the series’ regular cast, Damon’s portrayal of a boy grappling with loss and the lingering presence of a mother’s ghost is deeply moving. The episode’s attention to the child’s perspective is a hallmark of The Next Generation’s commitment to emotional authenticity.

Despite minor imperfections, The Bonding is a landmark episode that exemplifies the best of The Next Generation. It is a reminder of the series’ enduring belief in the power of human connection, even in the face of cosmic indifference. Moore’s ability to weave together the themes of grief, redemption, and the search for meaning is a testament to his genius. The episode’s legacy lies in its ability to resonate with viewers, offering a glimpse into the heart of Star Trek’s mission: to explore the possibilities of the universe while remaining grounded in the human experience.

RATING: 8/10 (+++)

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Cristian Caicedo
@cristiancaicedo (75)
📍 Venezuela
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218d
Movie · on Dead Poets Society
Dead Poets Society (1989): the lasts of the romantics | los últimos románticos [ENG | ESP]
A cult classic | Un clásico de culto

I think I'd seen this movie before. I mean, I must have seen it before, but I'm not sure. I remembered scenes, some lines, and moments, but I'm not sure because I know I've often seen clips on social media. Did I remember it from these brief snippets, or had I actually seen the whole thing at some point? And if the latter is true, how long ago was it? Did I catch a glimpse of it on TV one Sunday afternoon? To settle the matter, and also because I felt like revisiting a story like this, I decided to watch (again?) this cult classic, one of Robin Williams' most memorable roles.

Creo que ya había visto esta película. Es que tengo que haberla visto antes, pero no estoy seguro. Recordaba escenas, algunas frases y momentos, pero se me genera la duda porque sé que muchas veces he visto algunos clips en redes sociales, ¿la recordaba de estos breves pasajes o de verdad la había visto completa alguna vez? Y si esto último es cierto, ¿hace cuánto fue? ¿la habré visto parcialmente en la tv alguna tarde de domingo? A fin de zanjar el asunto y también porque tenía ganas de acercarme a una historia así, decidí ver (¿otra vez?) este clásico de culto, uno de los papeles más memorables de Robin Williams.

Poster

Dead Poets Society is a film set in the 1950s and revolves around characters who live at an elite, prestigious, and strict all-boys boarding school in New England. The school's pillars are values such as tradition and discipline, which they consider essential for the formation of these teenagers who represent the future of the nation. As one might imagine, the days unfold amidst study sessions, classes, and didactic lectures on what is "right." But there, amidst these rigid and traditionalist teachers, emerges a fresh and unconventional voice that will shake the souls of a group of students through poetry and the English language. Professor John Keating (Robin Williams), a former student of the school and newly hired by the institution, is somewhat eccentric, passionate about his teaching vocation, but above all, he's a person who believes in the transformative power of art, in the importance of dreams, and above all, in helping his students begin to think for themselves and not be conditioned by their environment. Classes outside the classroom, the blending of poetry with sports, tearing pages out of a book—these are some of the methods Keating employs to make himself heard by his students, who—initially surprised—gradually succumb to the charm and passion of this poet dressed as a teacher.

Dead Poets Society es una película ambientada en los años cincuenta y gira en torno a personajes que hacen vida en un colegio elitista, prestigioso y estricto en Nueva Inglaterra exclusivo para estudiantes varones. Los pilares del colegio son valores como la tradición y la disciplina, los cuales consideran necesarios para la formación de estos adolescentes que representan el futuro de la nación. Como puede uno imaginar, las jornadas transcurren entre sesiones de estudios, clases y discursos aleccionadores sobre lo que es "correcto". Pero allí, de entre esos profesores rígidos y tradicionalistas, surge una voz fresca y poco convencional que sacudirá el alma de un grupo de alumnos a través de la poesía y la lengua inglesa. El profesor John Keating (Robin Williams), ex alumno del colegio y recién contratado por la institución, es algo excéntrico, apasionado por su voación docente, pero sobre todo es una persona que cree en el poder transformador del arte, en la importancia de los sueños y sobre todas las cosas en lograr que sus alumnos comiencen a pensar por sí mismos y no a ser condicionados por su entorno. Clases fuera del aula, la mezcla de la poesía con el deporte, arrancar las páginas de un libro, son algunos de los métodos que emplea Keating para hacerse oír por sus alumnos, quienes - sorprendidos al inicio del curso - poco a poco se van rindiendo ante el encanto y la pasión de este poeta vestido de profesor.

Scene from the movie | Escena de la película

Among Keating's students, the main characters are Neil, played by Robert Sean Leonard (the unforgettable Dr. Wilson from House), and Todd, a very young Ethan Hawke who plays a new student and Neil's roommate. They are joined by Knox, Charles, and Meeks, and together they reflect on the effect the eccentric teacher's influence has on their outlook on life, both within the school walls and beyond.

De entre los alumnos de Keating, los protagonistas son Neil, interpretado por Robert Sean Leonard (el recordado Dr. Wilson en House) y Todd, un jovensísimo Ethan Hawke que interpreta a un estudiante recién llegado al colegio y compañero de habitación de Neil. A ellos se suman Knox, Charles y Meeks y todos juntos irán reflejando el efecto que tiene en ellos la influencia del excéntrico profesor en su forma de ver la vida, tanto al interior de los muros de la escuela como en el exterior.

Scenes

Dead Poets Society is an inspiring film because it invites us to dream and think differently. Who among us who has seen this film hasn't wished they had a teacher like John Keating? How many times has a subject or topic of study lost its appeal simply because of the rigid and boring way that knowledge was conveyed? But above all, I think one of the things that makes Keating a beloved and memorable character is that he isn't afraid to show himself as he is, nor does he hide his passion for poetry and for authors like Thoreau, Whitman, or Shelley. And of course, to play such a character, there was no one better than Robin Williams, the mastermind behind Sean Maguire in Good Will Hunting or the equally iconic Patch Adams. Williams' talent, his capacity for humor and improvisation, but also for drama and tragedy, work very well in service of a script that earned Tom Schulman an Oscar and a film that won several awards around the world. While it's now considered a cult classic, it was also a box office success in its time: made on a budget of around $16 million, the film grossed approximately $235 million worldwide. Not bad at all.

Scene

Dead Poets Society es una película inspiradora porque nos invita a soñar y a pensar diferente, ¿quiénes que hayan visto esta película no han deseado haber tenido un profesor como John Keating? ¿cuántas veces alguna asignatura o algún tema de estudio perdió el interés sólo por la forma rígida y aburrida de transmitir ese conocimiento? Pero sobre todo, creo que una de las cosas que hace a Keating un personaje amado y memorable es que no teme mostrarse tal como es ni disimula la pasión que siente por la poesía y por autores como Thoreau, Whitman o Shelley. Y claro, para interpretar un personaje así no había nadie mejor que Robin Williams, la mente maestra detrás del Sean Maguire de Good Will Hunting o el también icónico Patch Adams. El talento de Williams, su capacidad para el humor y la improvisación, pero también para el drama y la tragedia, funcionan muy bien al servicio de un guion que le valió el Oscar a Tom Schulman y de una película que obtuvo varios premios alrededor del mundo y que si bien hoy está considerada como un film de culto, también fue un éxito de taquilla en su momento: realizada con un presupuesto de unos 16 millones de dólares, la cinta logró recaudar aproximadamente 235 millones de dólares alrededor del mundo. Nada mal.

The Cast | El elenco

More than thirty years after its release, Dead Poets Society remains a highly popular film among cinephiles—young and old alike—and a manifesto against the status quo and the rigidity of the world. However, I believe there are fewer and fewer Keatings left in the world, and therefore fewer disciples who, moved by his words, dare to live, to dream, to think for themselves, and to see life with the eyes of a romantic in the broadest sense of the word.

A más de treinta años de su estreno, Dead Poets Society se sigue erigiendo como una película muy popular entre los cinéfilos - los jóvenes y los que ya no lo son tanto - y es un manifiesto contra el status quo y la rigidez del mundo. Sin embargo, creo que cada vez quedan menos Keatings en el mundo y por ende, menos discípulos que, movidos por sus palabras, se atrevan a vivir, a soñar, a pensar por sí mismos y a ver la vida con la mirada de un romántico en el sentido más amplio de la palabra.

Robin Williams

Peter Weir's filmography isn't extensive, and his last film, The Way Back, was released fifteen years ago. However, his filmography includes at least two major successes: The Truman Show, with a superb Jim Carrey, and Dead Poets Society, starring Robin Williams. These two films alone have been enough for Weir to secure his place in the history of cinema. Watching this film made me think of other stories featuring an influential figure—something like a teacher, a friend, or a mentor—who inspires younger characters to fight for what they believe in and defend it, or to question the world. I thought of Mona Lisa Smile with Julia Roberts, which I also haven't seen, but I'm open to other recommendations if you have any. Personally, if you haven't seen it, I recommend Dead Poets Society, a story worth watching several times. I assure you that after seeing it, you'll want to read Whitman, Shakespeare, and Thoreau, and proclaim Carpe Diem as your life motto, or find someone to admire, climb onto a desk, and shout "O Captain! My Captain!" How many of you have seen this film? What's your favorite Robin Williams movie? Let me know in the comments.

Poster

La filmografía de Peter Weir no es muy amplia y su última película, The Way Back, fue estrenada hace quince años. Sin embargo, tiene en su palmarés al menos dos grandes aciertos que son The Truman Show, con un estupendo Jim Carrey, y esta Dead Poets Society de la mano de Robin Williams. Con esas dos películas ha sido suficiente para que Weir haya escrito su nombre en las páginas de la historia del cine. Haber visto este film me hizo pensar en otras historias en las que exista una figura influyente, algo así como un profesor, un amigo o un mentor que mueva a personajes más jóvenes a luchar por lo que creen y a defenderlo, o a cuestionarse el mundo. Pensé en Mona Lisa Smile con Julia Roberts, que tampoco he visto, pero acepto otras recomendaciones si las tienes. Por mi parte, si acaso no la han visto les recomiendo Dead Poets Society, una historia digna de ver varias veces, y les aseguro que después de verla querrán leer a Whitman, a Shakespeare, a Thoreau y querran proclamar Carpe Diem como su lema de vida o encontrar a alguien a quien mirar con admiración, subirse a un escritorio y decirle "O Captain! My Captain!", ¿cuántos de ustedes han visto esta película? ¿cuál es su película favorita de Robin Williams? Los leo en los comentarios.

Reviewed by | Reseñado por @cristiancaicedo

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REVIEW/Recap

What is the film about?

¿De qué trata la película?

Hello! 💙

Reviewed by | Reseñado por @cristiancaicedo

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