I have decided to get more involved with Hive and bought 9K HP past week. I look forward to participating more in the community. My name is Kyle but just call me The Fed. I will discuss a movie I love from the nineties today.

The Warning in Terminator 2 We Still Don’t Want to Hear

Terminator 2: Judgment Day dropped in 1991, and it wasn’t just a blockbuster—it was a damn warning label for the future. Back then, the idea of machines thinking for themselves felt like distant sci-fi. Today, we’re surrounded by AI systems that make decisions, shape opinions, and steer massive parts of society. The film’s message hits a lot harder now because we’re living in the early chapters of the very story it tried to flag.

One of the strongest themes in the movie is how fast technology can outrun human control. Skynet wasn’t built to destroy humanity; it was designed to automate defense systems and make things “safer.” That’s exactly how modern AI gets sold—efficiency, optimization, speed. But the film nailed the real risk: once a system becomes too complex for humans to fully understand, your grip on it is gone. We already see governments and companies deploying tech they barely grasp.

Another point T2 drove home is the illusion that humans will stay in charge just because they built the system. In reality, people hand over control one task at a time. That’s how Skynet got its power. No dramatic takeover—just humans outsourcing more and more responsibility until it was too late. Today’s world mirrors that. We let algorithms decide what we see online, how markets move, how elections play out, and how people get approved for loans or jobs.

The film also nailed the threat of autonomous weapons before the idea was even mainstream. In T2, the military trusted a machine to decide the fate of the world. Fast-forward to now, and we’re watching actual debates about AI-controlled drones, automated missile systems, and predictive targeting. The movie’s nightmare scenario isn’t fantasy anymore; it’s an arms race.

Even the T-1000 itself speaks to a modern fear: AI systems that adapt faster than humans can respond. Today’s models learn at speeds no person can keep up with, and they improve by the minute. The gap between human thinking and machine processing is widening, and once that gap becomes too big, humans stop being decision-makers and start becoming obstacles.

Another overlooked lesson from the movie is how disconnected humans become when they rely too heavily on tech. In T2, the machines didn’t need to hate humans—they just needed to see them as irrelevant. That’s the real threat today. AI doesn’t need emotions to cause damage. All it needs is objectives that don’t perfectly match ours, running at a scale we can’t oversee.

Yet for all the chaos in the film, T2 also made a point about choice. The future wasn’t fixed. Sarah, John, and the Terminator fought like hell to pull humanity back from the edge. That message still matters. The threat is real, but so is the ability to shape the outcome—if people stop sleepwalking through the rise of powerful systems.

In the end, the movie wasn’t just an action classic. It was a blunt warning about technology creeping past the point of control while everyone shrugs. We’re closer to Skynet-style mistakes now than ever, and pretending otherwise is how you end up living in the world T2 tried to protect us from.

What happens when the screenwriter for a series of legendary 1980s action films is hired to write and direct a film that is a sequel to one of the best action films of that era? When it comes to Shane Black and The Predator, the answer should have been positive for most people, especially considering that Black, with his experience behind the camera, had previously portrayed the hunky special forces operator Hawkins in the famous 1987 action sci-fi classic. However, The Predator, officially the fourth film in the Predator series (excluding the two Alien vs. Predator films), did not perform well, not only among critics who were previously hostile to such films, but also among the public. Part of the reason for this was the poor publicity caused by Black's decision to cast his friend Steven Wilder Striegel, an ex-convict and registered sexual offender, in one of the film's roles, and also by the insistence of actress Olivia Munn to remove scenes featuring the problematic character from the film. However, the film's failure can also be explained by a series of Black's script errors and not particularly skillful direction.

The film is a simple, or "clean," sequel to the 1987 original, and its 1990 sequel Predator 2 (with homage paid by having Jake Busey portray the character of Dr. Sean Keyes, the son of Dr. Peter Keyes, who had been portrayed by Jake's father Gary Busey). The title character belongs to the Predators, the alien race that travel through the universe to hunt the most dangerous of their own, making Earth one of their most popular locations in recent decades. In this case, one of the Predators crashes onto Earth in a spaceship, fleeing from another Predator. This occurs in Mexico, where a group of US elite military special force operators, led by Quinn McKenna (Boyd Holbrook), are on a secret mission against the local drug cartels. In the resulting chaos, the team is attacked, but McKenna not only survives but also manages to retrieve pieces of Predator equipment. Realising that his government is trying to cover up the whole thing, he sends the package to his ex-wife (Yvonne Strachovski) but the package is taken by his 10-year-old, mildly autistic son Rory (Jacob Tremblay), whose antics draw the attention of another Predator. The crashed Predator is subsequently captured and taken to a secret government laboratory for testing, where scientist Dr. Casey Brackett (Olivia Munn), an expert in evolutionary biology, is supposed to be involved. The Predator should also be sent there, having completed a stint in a military psychiatric hospital, but during transport, the Predator awakens and escapes the lab. McKenna uses the chaos to flee, as well as to create an improvised squad to try to capture the Predator and protect his son.

Black faced problems common to anyone attempting to create a sequel to a popular or classic film, with the most difficult dilemma being the balance between fidelity to the original and the risk of straying into unrecognisable territory to create something entirely new. Unlike the 2010 film Predators, which largely adhered to the original's 1987 formula, the new film includes some entirely new elements, not all of which are well chosen. The most striking difference is the different structure – the film takes place in several countries and locations, with differences in general tone and, ultimately, different genres. The Predator indeed contains so much humor that it could be called a comedy or at least a parody of the old classic Predator. The humor is mainly evident through a series of jokes and one-liners that come from McKenna's squad, which can be seen as a sort of "inverted" reflection of the team led by Arnold Schwarzenegger's character in 1987. The film loses its credibility at this point, as it is difficult to imagine anyone, even a psychologically disturbed person, fleeing a mental institution in such a good mood just to confront an alien, well-armed, and superiorly technologically equipped creature capable of eliminating them in spectacularly unpleasant ways. Black insists on violence, not only in quantity but also in quality, making The Predator stand out for its exceptionally high body count, a series of scenes where blood splatters, heads, arms, legs, and intestines fly across the screen, and whose explicitness accidentally or intentionally invokes a grungy black-humorous effect. All this, and the attempt to parody Spielberg's classic sci-fi films about First Contact, somehow works. The Predator is entertaining for both newcomers to the Predator series and for fans who will find a number of nods to the original, from identical replicas to the scientist character played by Olivia Munn, an actress physically similar to Elpidia Carillo, actress playing the only female character in the original Predator. However, in the end, it becomes clear that Black, despite his undeniable scriptwriting talent, lacks directing skills, and showing them far below those he so brilliantly used to employ John McTiernan 31 years earlier. The final parts of the film contain scenes of reckoning shot in irritating darkness, chaotic editing, and filmed in a way that sometimes leaves the audience unclear of what is actually happening. The "cliffhanger" at the end takes the form of a scene that serves as a sort of "hook" that should justify the next instalment. In any case, this version of Predator, no matter how entertaining, doesn't deserve the same legacy as the 1987 film.

RATING: 5/10 (++)

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

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

LeoDex: https://leodex.io/?ref=drax Hiveonboard: https://hiveonboard.com?ref=drax InLeo: https://inleo.io/signup?referral=drax.leo Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9

Hello! 💙

Fuente de imagen

Justo cuando me enteré que había una serie de Ciudad de Dios que continúa los hechos aparecidos en la película ciudad de Dios dije tengo que verla, lo primero que hice fue retomar y ver de nuevo la película ciudad de Dios que cabe decir que es una joya que si no has tenido la oportunidad de verla la verdad es que debes hacerlo porque es realmente magnífica El guión es sólido la historia de verdad que la manera en que se cuenta se vuelve mucho más interesante incluso creo que hasta hoy en día a pesar de que han pasado unos años la historia ha envejecido increíblemente bien.

As soon as I found out that there was a City of God series that continued the events depicted in the movie City of God, I said to myself, “I have to see it.” The first thing I did was go back and watch the movie City of God again, which is a gem. If you haven't had the chance to see it, you really should because it's truly magnificent. The script is solid, and the way the story is told makes it even more interesting. I think that even today, despite the fact that a few years have passed, the story has aged incredibly well.

Fuente de imagen

Ya retomando el punto importante la serie secuelas sí se note que hay un presupuesto mucho mayor en la misma la historia está condensada un poco más pausada que en la película al tener varios episodios te da la oportunidad de un desarrollo mayor de ciertos personajes y muchos otros nuevos el protagonista ahora es un adulto que tiene una hija y todo, y también la noción y la perspectiva de la violencia con la cual el mismo se ha vuelto menos sensible estar acostumbrado a hacer un fotógrafo periodista que relata estos hechos, la historia sigue teniendo la misma esencia que la película pero sí puedo decir que la película sigue siendo mucho mejor el ritmo de la misma es mucho más rápido el de la serie está bien por si quieres saber de alguna manera una especie de epílogo de cómo terminaron muchos de estos personajes O al menos los que lograron quedar vivos después de la película.

Returning to the important point, the sequel series does show that it has a much larger budget. The story is condensed and a little slower than in the film, but having several episodes gives you the opportunity to develop certain characters more and introduce many new ones. The protagonist is now an adult who has a daughter and everything, and also the notion and perspective of violence to which he has become less sensitive, being accustomed to being a photojournalist who reports on these events. The story still has the same essence as the film, but I can say that the film is still much better. The pace of the film is much faster, while the series is fine if you want to know, in a way, a kind of epilogue of how many of these characters ended up, or at least those who managed to stay alive after the film.

Fuente de imagen

La historia sigue retomando lo principal que es la violencia y la desigualdad social que existe todavía la verdad es que incluso ver como el protagonista ha crecido incluso Cómo ha cambiado en su propia personalidad su perspectiva de las cosas es muy interesante si no tiene la oportunidad de la película y o ya vino la película y no han visto esta serie La verdad es que se las recomiendo muchísimo.

The story continues to focus on the main themes of violence and social inequality that still exist today. The truth is that even seeing how the protagonist has grown up and how his personality and perspective on things have changed is very interesting. If you haven't had the chance to see the movie, or if the movie has already come out and you haven't seen this series, I highly recommend it.

Source

Source

Source

Source

Source

Source

Translated Using Deepl

ESPAÑOL

Fuente

Fuente

Fuente

Fuente

Fuente

Fuente

Posted Using INLEO

Throwaway (S01E09)

Airdate: May 7th 2002

Written by: Kevin Arkadie Directed by: Leslie Libman

Running Time: 45 minutes

One of the most compelling aspects of The Shield is its willingness to confront the messy, unromanticized truths of crime and justice. While real-life crime stories involving serial killers or drug wars are rare—most of humanity’s criminal activity is far more mundane, involving petty theft, minor disputes, or even the occasional bureaucratic oversight—such narratives are far more visually arresting and emotionally resonant for television. The Shield, in its relentless pursuit of authenticity, often chooses to dramatize these “banal” elements, turning them into the backbone of its storytelling. The ninth episode, Throwaway, is a masterclass in this approach, showcasing how even the most unremarkable aspects of crime can be transformed into compelling, if flawed, drama.

The episode opens with the seemingly trivial act of a cigarette delivery truck being hijacked in the streets of Farmington. The driver is brutally attacked by masked robbers who brandish weapons and make threats. The man, however, gives police enough details to identify attackers as members of Los Magnificos, up-and-coming street gang. Strike Team is tasked with bringing gang down, with a particular focus on the robbery ringleader Hector Estanza (Ricardo Molina). When the Vic and his men arrive to home of Hectror's girlfriend, Tigre Orozco (Lisa Jemielita) for a night raid, the situation spirals into chaos. The target, initially believed to be Hector, tries to flee and, when cornered, appears to draw a gun. In a moment of tension, Strike Team member Lem shoots the man. However, the episode quickly reveals that this was a catastrophic mistake. The man shot is not Hector but Tigre’s brother, Chaco (Robert Zepelda), and he held cigarette pack instead of a gun.

This misstep sets the stage for a moral and procedural dilemma. The Strike Team, fearing backlash from the Internal Affairs Division (IAD), decides to cover their bases by planting a hidden gun in Chaco’s hand, thereby justifying the shooting. However, the episode takes a more nuanced turn when it is revealed that Chaco is not the villain the team initially believed. He used to be part of Los Magnificos before turning his life around and working in anti-gang youth education progrrams. He was at Tigre's home to protect her from the violent, abusive Hector.

The Strike Team’s decision to rectify their mistake is a turning point in the episode. Rather than repeating their earlier error, Vic and his team decide to buy Chaco’s silence by promising to erase the planted gun from evidence. However, their plan to steal the gun from the evidence room fails, forcing them to take an alternative, more risky approach. They attempt to steal evidence from a police van, using the insignia of the Los Magnificos to create a fake trail. This plan, while farcical, ultimately works, allowing the team to arrest Hector and his crew. The episode’s tone shifts here, leaning into a more lighthearted, almost ironic resolution. This shift in tone is a deliberate contrast to the series’ usual grimness, but it also underscores the show’s willingness to explore the human cost of its characters’ actions.

Meanwhile, the episode introduces a parallel storyline that highlights the contrast between two families. The case of Maynard Hawkins (Robert Drischell), a blind old man chained in a yard and bitten by coyotes, becomes a focal point for the show’s procedural elements. The investigation into his abuse by his son, Lloyd (Zia Harris), reveals a web of dysfunction: Maynard’s wife is missing for years, yet Lloyd collects her Social Security checks. Dutch and Claudette, the detectives investigating the case, uncover the truth: Maynard’s wife is alive but unwilling to be part of the family’s dysfunction, even at the cost of her own financial stability. This subplot, while less central to the main plot, serves as a commentary on the show’s broader themes of systemic failure and personal responsibility.

The episode also introduces a more functional family dynamic through Claudette’s own story. Her father, Professor Bryce Wyms (Roscoe Lee Brown), arrives from Boston to visit her, bringing with him her daughter Rebecca (Tangi Miller) and her fiancé, Warner (Mystro Clark). Claudette, who has taken a police career despite her father’s disapproval, is initially wary of Rebecca’s engagement to Warner, a man she met at a parent-teacher meeting only recently. The episode explores the tension between Claudette’s professional integrity and her personal life, as well as the challenges of balancing duty with family. However, the subplot resolves with a heartening moment: Claudette agrees to have lunch with her family before their departure, a small but significant gesture that underscores the show’s ability to balance darkness with moments of human connection.

The episode’s writing, by Kevin Arkadie, and direction, by Leslie Libman, are notable for their ability to weave these subplots together. The absence of Shane Vendrell for three days in Las Vegas is a narrative device that allows the show to focus on Lem’s character, giving him more depth and complexity. Lem, like Shane, is a morally conscious character who seeks to atone for his mistake. The script hints at his growing feelings for Tigre, adding a layer of personal drama to his actions. This subtext is subtle but effective, highlighting the show’s ability to explore the intersection of professional duty and personal desire.

The tone of Throwaway is a contrast to the series’ usual grimness. While there is brutal violence, no one dies, and the Strike Team’s misadventures are almost farcical. The episode’s resolution is a rare happy ending for the series, with the team exonerated, Hector’s crew dismantled, and Lem rewarded with a “score” with an attractive woman. This is a departure from the show’s usual tone, but it also serves as a reminder of the show’s ability to balance darkness with moments of redemption.

The episode also explores the parallel between the Hawkins and Wyms families, using the latter as a vehicle for character exposition. The Wymses, with their more stable and functional dynamic, contrast with the dysfunctional Hawkins family, highlighting the show’s themes of systemic failure and personal responsibility. This contrast is subtle but effective, reinforcing the show’s broader commentary on the human condition.

In conclusion, Throwaway is a masterclass in the show’s ability to take the mundane and turn it into a compelling narrative. The episode’s focus on the small, often overlooked aspects of crime and justice, combined with its exploration of moral complexity and human vulnerability, cements its place as one of the series’ more successful episodes. While the tone is lighter than usual, the episode’s resolution is a testament to the show’s ability to balance darkness with moments of hope, making it a standout example of The Shield’s commitment to realism and moral ambiguity.

RATING: 7/10 (+++)

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

InLeo: https://inleo.io/signup?referral=drax.leo Leodex: https://leodex.io/?ref=drax Hiveonboard: https://hiveonboard.com?ref=drax Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9

This is a cross post of @herosik/my-rant-on-alien-earth-or-moj-rant-na-alien-earth by @herosik.

Hello, I wrote a text about Alien: Earth

This text is neither a review nor an opinion. Alien is one of the last (or even the last) cinematic franchises that have somehow survived the test of time for me. Just as I'm not looking forward to a sequel to Star Wars, Harry Potter, or Predator, I've been waiting for this series since the first announcements. When we got the first reviews, I was thrilled, but my joy was muted. I remember all too well a few series that received positive reviews, and I... well, I was disappointed, to put it mildly. But I thought to myself: "Noah Hawley wrote the script, he's the showrunner, he has a big budget, the show is 18+... What could possibly go wrong?" I watched episodes 1 and 2; you've read my impressions. I wasn't thrilled, but the series seemed quite intriguing. This is a good opportunity to apologize – I was absolutely convinced that humanity had contact with the Xenomorphs in Phase 2 of the film. I checked the regular cut and the director's cut, but I didn't find it. It was probably some comic I heard about on YouTube. However, I should have checked before writing, especially since I said it was "the very beginning of the film." Sorry!

As I said, I patiently waited for the next episodes. Unfortunately, after each one, the drama between fans and anti-fans of the series would flare up again. My friend started complaining on Messenger. I asked him not to write anymore, as this was the last franchise I cared about. He ignored me, wrote a few more times. I threatened him with a ban, and it worked. After a few more episodes, I started complaining about what I was watching. We clashed a few times, as we both had different approaches. Eventually, after a few arguments, we reached a compromise. This show has many good and bad things, but unfortunately, the scales are tilted in favor of the flaws. Ugh, Sharik, you were fucking right. This show sucks! What's more, it's my biggest disappointment in art/culture in the last... at least a few years.

Basically, all my complaints can be boiled down to one thing: a poorly developed script. I've heard in several places, including two outside my worldview bubble, that Noah Hawley supposedly said something like, "I wrote the script as I went along, without thinking about how I was going to proceed." I tried to find that quote, but I gave up after a few tries. Even if these few people are lying, that conclusion occurred to me after the third or fourth episode. Many of these errors could have been fixed with a simple script revision. These are mistakes like: "I wrote a good script, but my inspiration got so carried away that I forgot to add a few things." Wendy's brother acted completely illogical at the beginning of the series. After the editor cut, he was in a different place and in a slightly different state than he was moments before. Would you say it was the same in the movies? Yes, but in these cases, such imperfections can be overlooked. I'm not saying it's not a mistake, but a compromise has to be made - film stock and the viewers' patience are not made of rubber and have their limits. As for the second mistake, it was a simple oversight, but there are more like it. There was so much talk about security measures, and the aliens got out quite easily. Or characters who say one thing do another.

Oh, right, the characters. My two biggest disappointments are the CEO of the Prodigy corporation and Wendy, who controls the aliens. While the idea itself is interesting, it's completely inappropriate for a creature like the Xenomorph. Okay, Noah Hawley had that plan, I understand, but... In that case, he shouldn't have called the series Alien, but created a completely new franchise. It's like Son Goku and the DB universe in DB: Evolution. For those who haven't seen this "perfect" adaptation, it's a complete abomination to the already simple comic. Son Goku asking Gohan to tell him how to pick up women. Transforming one of the most famous predators in pop culture history into a polite but dangerous dog... It's justifiable, I can imagine, but Noah Hawley will have to do somersaults to make me buy it. Current technology makes this impossible, so it's not an option. As for the world's most brilliant child... Aside from the fact that it's one of the most difficult abilities to portray (I don't know of anyone who has portrayed it well – Sage from The Boys probably comes closest, but she's still unconvincing), Noah made another mistake. When creating a character who is a wealthy genius, you have to give them at least one trait that demonstrates their competence. It shouldn't come from dialogue or other exposition, but rather from a literal perspective. Otherwise, the character simply comes off as unbelievable. And the Prodigy boss hasn't once shown anything that would make me believe in his prodigious talent.

I still haven't seen the ending. Even if fans of the series complain about it, I don't want to check it out. Noah, what have you done... The series looks beautiful; you've surprised me not once, not twice, not five times with a good idea. Peter Pan, the references to fairy tales, the strong emphasis on psychology, and the showing of the differences between androids and synthetic humans. A lot of people complained about it, but it really fits this universe and develops its lore perfectly! I mean, it would, but I can't take this series seriously with so many plot holes. What's more, the effects are beautiful, and the alien eye literally steals the show. That scene with the Sheep... You simply have to see it, despite the intense brutality, but... so what? In a few years, I'll remember this series only for three reasons: the eye, the scenes with the sheep (what happens "afterward" is also very interesting), and the gargantuan disappointment.

Ten tekst nie jest recenzją ani opinią. Alien to jedna z ostatnich (albo wręcz ostatnia) kinowych marek, które jakimś cudem przetrwały u mnie próbę czasu. Tak jak nie czekam na kontynuację Star Wars, Harry'ego Pottera, Predatora, tak tu czekałem na serial od pierwszych zapowiedzi. Gdy dostaliśmy pierwsze recenzje, ucieszyłem się, ale moja radość była przytłumiona. Zbyt dobrze pamiętam kilka seriali, które zostały pozytywnie ocenione, a ja... Cóż, byłem lekko mówiąc rozczarowany. No ale pomyślałem sobie: "Noah Hawley napisał scenariusz, jest showrunnerem, ma duży budżet, serial jest +18... Co może pójść nie tak?" Obejrzałem 1 i 2 odcinek, przeczytaliście moje wrażenia. Nie byłem zachwycony, ale serial zapowiadał się dość intrygująco. To dobra okazja do przeproszenia - byłem święcie przekonany, że ludzkość miała kontakt z Xenomorphami na etapie 2 filmu. Sprawdziłem wersję normalną i reżyserską wersję, nie znalazłem tego. Pewnie chodziło o jakiś komiks, o którym usłyszałem na YT. Niemniej powinienem to sprawdzić przed napisaniem, zwłaszcza jak mówiłem, że to "sam początek filmu". Przepraszam!

Tak jak mówiłem, grzecznie czekałem na kolejne odcinki. Niestety po każdym z nich, drama między fanami i anty-fanami serialu odpalała się na nowo. Mój kolega zaczął marudzić na Messangerze. Prosiłem go by nie pisał dalej, bo to ostatnia franczyza na której mi zależy. Zignorował to, napisał jeszcze kilka razy. Zagroziłem mu banem i zadziałało. Po paru kolejnych odcinkach, sam zacząłem narzekać na to, co oglądam. Starliśmy się kilka razy, gdyż obaj mieliśmy różne podejścia. Ostatecznie po paru sprzeczkach, doszliśmy do kompromisu. Ten serial ma wiele dobrych i złych rzeczy, ale niestety szala przechyla się na korzyść wad. Ech, Sharik, miałeś kurwa rację. Ten serial ssie! Mało tego! To moje największe rozczarowanie, jeśli chodzi o sztukę / kulturę z ostatnich... Co najmniej kilku lat.

Generalnie wszystkie moje zarzuty można sprowadzić do jednego mianownika - niedopracowanego scenariusza. Słyszałem w kilku miejscach, w tym 2 spoza mojej bańki światopoglądowej, że Noah Hawley podobno powiedział coś w stylu: "Pisałem scenariusz na bieżąco, nie zastanawiając się nad tym, jak to poprowadzę dalej". Próbowałem znaleźć ten cytat, ale poddałem się po paru próbach. Nawet jeśli te kilka osób kłamie, to taki wniosek pojawił się w mojej głowie po 3 lub 4 odcinku. Wiele z tych błędów można było naprawić zwykłą rewizją scenariusza. To są błędy typu: "Napisałem dobry scenariusz, ale wena poniosła mnie tak daleko, że zapomniałem dopisać kilka rzeczy." Brat Wendy zachowywał się kompletnie nielogicznie na początku serialu. Po cięciu montażysty był w innym miejscu i trochę w innym stanie niż chwilę wcześniej. Powiecie, że tak samo było w filmach? Tak, ale w tych przypadkach można przymknąć oko na takie niedoskonałości. Nie mówię, że to nie jest błąd, ale trzeba postawić na pewien kompromis - taśma filmowa i cierpliwość widzów nie są zrobione z gumy i mają swoje limity. Jeśli chodzi o drugi błąd, zwykłe niedopatrzenie, ale takich jest więcej. Tyle się mówiło o zabezpieczeniach, a Obcy wydostali się dość łatwo. Albo postacie, które mówią jedno, robią drugie.

O właśnie, postacie. Moje dwa największe rozczarowania to prezes korporacji Prodigy i Wendy, która kontroluje Obcych. O ile sam pomysł jest ciekawy, o tyle kompletnie nie nadaje się do istoty, jaką jest Xenomorph. Ok, Noah Hawley miał taki plan, rozumiem, ale... W takim układzie nie powinien nazywać serialu Alien, tylko stworzyć zupełnie nową markę. To jest jak Son Goku i świat DB w wersji DB: Evolution. Wyjaśnienie dla tych, co nie widzieli tej "perfekcyjnej" adaptacji. Jest to totalna abominacja względem już i tak prostego komiksu. Son Goku proszący Gohana, by ten powiedział mu jak podrywać kobiety. Przerobienie jednego z najsłynniejszych drapieżników w historii popkultury na grzecznego, ale niebezpiecznego psa... Da się to uzasadnić, jestem sobie w stanie to wyobrazić, ale Noah Hawley będzie musiał robić kosmiczne fikołki, bym był w stanie to kupić. Obecna technologia uniemożliwia to, więc nie ma takiej opcji. Jeśli chodzi o najgenialniejsze dziecko na świecie... Pomijając fakt, że to jedna z najtrudniejszych zdolności do przedstawienia (nie znam żadnego przypadku, który by to dobrze przedstawił - Sage z The Boys jest chyba najbliżej, ale i tak jest nieprzekonywująca), to Noah popełnił jeszcze jeden błąd. Kiedy tworzy się postać będącą bogatym geniuszem, to trzeba dać jej przynajmniej jedną cechę, w której wykaże swoją kompetencję. Nie wynikającą z dialogów, czy innej ekspozycji, tylko trzeba to dosłownie pokazać. Inaczej taka postać wypada po prostu niewiarygodnie. No i szef Prodigy nie pokazał ani razu czegokolwiek, co sprawiłoby że wierzę w jego cudowny talent.

Zakończenia do dziś nie obejrzałem. Jeśli nawet fani serialu na nie narzekają, to nie chcę go sprawdzać. Noah, coś ty zrobił... Serial wygląda pięknie, nie raz, nie dwa, nie pięć razy zaskoczyłeś mnie dobrym pomysłem. Piotruś Pan, nawiązanie do bajek, silny nacisk na psychologię i pokazanie różnic między androidami, a syntetycznymi ludźmi. Dużo ludzi na to narzekało, ale to naprawdę pasuje do tego uniwersum i świetnie rozwija jego lore! Tzn. tak by było, ale nie jestem w stanie traktować tego serialu na poważnie przy tylu dziurach fabularnych. Co więcej, efekty są śliczne, a oko-kosmita dosłownie kradnie show. Ta scena z Owcą... No po prostu to trzeba zobaczyć mimo mocnej brutalności, ale... Co z tego? Za parę lat będę pamiętał ten serial tylko z 3 powodów - oka, scen z owcą (to co się dzieje "potem" też jest bardzo ciekawe) i gargantuicznego rozczarowania.

Dance of the Dead (S01E08)

Airdate: November 17th 1967

Written by: Anthony Skene Directed by: Don Chaffey

Running Time: 50 minutes

In the precarious ecosystem of cult television, timing often proves the decisive factor that separates enduring classics from forgettable curiosities. This principle applies with particular poignancy to The Prisoner's Dance of the Dead, an episode whose fundamental flaws stem not from inherent deficiencies in conception, but rather from its unfortunate position as the eighth instalment in the broadcast sequence. Had this surreal carnival of psychological manipulation appeared earlier in Patrick McGoohan's groundbreaking series, its experimental nature might have been embraced as bold innovation; instead, arriving when audiences had already absorbed the programme's core mythology, it feels like a perplexing detour rather than a meaningful progression.

The episode revolves around the Village's persistent efforts to break Number Six's formidable resistance. The newly introduced Doctor (Duncan MacRae) presents a supposedly revolutionary technique involving neural stimulation and psychological manipulation that would, in theory, compel Six to surrender his secrets willingly. Central to this approach is Roland Walter Dutton (Alan White), an old colleague of Six's who has already undergone the procedure. However, the method's devastating side effects—evident in Dutton's deteriorating mental state—render him useless to the Village's cause, serving as a cautionary spectacle of the technique's destructive potential.

This very consequence makes the new Number Two (May Morris) deeply reluctant to authorise the Doctor's methods. Preferring a more subtle approach, she orchestrates a psychological game designed to lower Six's defences through human connection. She positions Number Forty Two (Norma West), a young woman working as Six's observer and an ardent believer in the Village's philosophy, as both surveillance asset and potential emotional vulnerability. Forty Two's genuine disapproval of Six's rebellious nature creates a fascinating tension—she represents the Village's ideal citizen, indoctrinated yet human, caught between duty and dawning awareness.

Meanwhile, Number Six continues his relentless pursuit of escape. He has discerned a crucial pattern: the Village's surveillance apparatus mysteriously deactivates at night, with residents apparently compelled to sleep. Determined to exploit this vulnerability, Six forces himself to stay awake and slips undetected to the beach. His freedom proves fleeting when the ever-present Rover intercepts him, rendering him unconscious. Awakening at dawn, he discovers a corpse washed ashore, its possessions including a transistor radio broadcasting an enigmatic message. In a characteristically ingenious move, Six conceals the body in a cave, fills its pockets with information about his imprisonment, and attaches a lifebuoy, hoping the currents will carry his message beyond the Village's invisible boundaries.

The episode's centrepiece—a grotesque Carnival—transforms the Village into a theatre of absurdist horror. While residents don elaborate costumes, Six is deliberately given only his standard attire, marking him as an outsider. He is subjected to a kangaroo court presided over by a three-member panel including the Doctor, charged with the ultimate crime of non-conformity. Sentenced to death by "the people," Six narrowly escapes lynching, only to face Number Two's chilling declaration that his resistance is meaningless because "he is already dead"—a line rich with existential dread that resonates far beyond its immediate context.

Written by Anthony Skene and directed by Don Chaffey—with his extensive background in genre cinema—the episode occupies an unusual space within The Prisoner canon. Less concerned with science fiction mechanics or conventional spy thriller elements, it functions primarily as allegory and surreal spectacle. Heavily influenced by semi-surreal psychological thrillers like The Manchurian Candidate, Dance of the Dead leans into the psychedelic aesthetic that defined Britain's Swinging Sixties. Yet this embrace of contemporary trends contributes to its narrative weaknesses; the plot becomes increasingly convoluted and ultimately unsatisfying, sacrificing coherence for atmospheric effect.

Compounding these issues is a probable continuity problem arising from production scheduling. Though the fourth episode filmed, its delayed broadcast positioned it after viewers had already witnessed Number Six's established resistance and several escape attempts. This creates dissonance when Six repeatedly references having "only recently" arrived in the Village—a detail that might have worked effectively earlier in the series but feels jarring in its eventual slot.

Despite these structural and narrative shortcomings, the episode showcases exceptional craftsmanship in direction and performance. Chaffey's visual flair elevates the material, particularly during the Carnival sequences, which achieve a genuinely unsettling quality through inventive costuming and choreography. The episode also deserves credit for its unusually strong emphasis on female characters within the male-dominated landscape of 1960s television. May Morris delivers a nuanced performance as one of the series' rare female Number Twos, balancing authority with vulnerability. Norma West equally impresses as Number Forty Two, particularly in an uncomfortable scene where Number Two attempts to offer her as a sexual companion to Six—a proposition that visibly distresses both parties, revealing the human cost of the Village's psychological warfare.

The late Duncan MacRae, in one of his final screen appearances before his death months prior to broadcast, provides another layer of gravitas as the morally compromised Doctor. His performance captures the tragic dimension of a man who believes in his methods even as he witnesses their devastating consequences.

Dance of the Dead ultimately represents The Prisoner at its most artistically ambitious yet narratively disjointed. Its failure stems not from lack of vision but from unfortunate positioning within the series' broadcast schedule, arriving when audiences craved progression rather than regression. The episode's surreal qualities, which might have established tone in an earlier slot, instead disrupt narrative momentum. Nevertheless, its visual inventiveness, strong performances, and willingness to experiment with form ensure it remains a fascinating, if flawed, component of one of television's most enduring cult phenomena—a reminder that even missteps in genius often contain fragments of brilliance waiting to be rediscovered. timing can be as crucial as execution in the world of television.

RATING: 5/10 (++)

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

InLeo: https://inleo.io/signup?referral=drax.leo Leodex: https://leodex.io/?ref=drax Hiveonboard: https://hiveonboard.com?ref=drax Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9

Esto del GRL me deja con sentimientos encontrados, ya que cada temporada se aumenta, por lo que hay que buscar la forma de ganar estos jugadores, si queremos tener un rendimiento aceptable dentro del juego. Lo ideal sería sacar nuevos jugadores, mejorar sus estadísticas en vez de cada temporada, aumentar el rango de los jugadores, pues cuando creemos que tenemos un buen equipo, necesitamos obtener nuevos jugadores para no quedarnos atrás y no vernos superados en los rakings de los modos de juego. Esta es una opinión personal, nuevamente creo que se busca es ganar dinero, incentivar a los jugadores pagos a gastar más. Esta es una de las cosas negativas que me encuentro en el juego y los eventos.

Friends of the GeekZone community, I hope you are all doing well. This week, specifically on Wednesday, a new season of the game FC Mobile 26 began, where I got great rewards, from players, tokens to rank up, coins, and more. But most importantly, a new event called Glorious Times began, where for four weeks we will go through the history of four historic teams in the world of soccer and players who left their mark on the sport. These events always bring good things, but also things that could be improved, so it's time to give you my opinion on a new event in one of the mobile games I've spent the most time playing in recent months.

As usual, these events will feature a series of daily missions, where we will earn tokens to exchange for great rewards and fragments to trade for retired historical players, who are usually the best, as well as those who are still active. These players have certain statistics based on their real-life performances. It is important to take into account their physique, stamina, and, of course, their dribbling skills. Also, the number of weak feet, as this is often significant when it comes to passing and scoring goals. This week we will have Liverpool players, as well as additional ones. One of the new features is that the maximum GRL has been increased to 115, so we have good players to improve the different formations for the game modes.
I have mixed feelings about the GRL, as it increases every season, so we have to find a way to win these players if we want to perform well in the game. The ideal thing would be to bring in new players and improve their stats instead of increasing the players' rank every season, because when we think we have a good team, we need to get new players so we don't fall behind and get overtaken in the game mode rankings. This is just my personal opinion, but again, I think the goal is to make money and encourage paying players to spend more. This is one of the negative things I find in the game and events.

En cuanto a las misiones de habilidades, consiste en lo mismo, hacer pruebas en entrenamientos donde debemos obtener ciertos puntos. De esta manera se ganan monedas de oro o fichas. En el camino tenemos dos misiones de habilidades y un partido donde nos ganamos 100 fichas. También tenemos tres partidos especiales donde ganamos de 300 a 400 fichas, depende si completamos todo lo que se nos pide. Al completar los tres encuentros, ganamos una recompensa y nos ganamos un logo del mítico capitán del Liverpool, Gerrard. La verdad que en lo personal considero que esta última recompensa no es tan atractiva. Las siguientes semanas, esto va a cambiar. También esta semana nos da la opción de seleccionar un jugador icono de 112 de GRL, aunque aún no se la forma que se desbloquea el sobre. Uno es gratis y el otro vale 12000 fichas del evento, siendo esto bastante considerable desde mi punto de visto y no creo que valga la pena.

También tenemos la opción de Galería donde encontramos los jugadores, cada semana se desbloquea una galería nueva con grandiosos jugadores, así que lo más normal es reunir los fragmentos y al final ver cuáles son los jugadores ideales para armar el equipo. En lo personal estoy en búsqueda de nuevos iconos en la posición de delanteros, sobre todo un extremo izquierdo y un delantero centro. Sí, puedo obtener otros, pues bien. Puede que también sea momentos de obtener un MCO de más GRL y también un portero, pero que sea mejor al que tengo actualmente. Si logro obtener otros jugadores mejores a los que tengo y más de 115, pues bienvenidos sean.

As for the skill missions, they consist of the same thing: completing training tests where we must obtain certain points. This way, we earn gold coins or tokens. Along the way, we have two skill missions and a match where we earn 100 tokens. We also have three special matches where we earn 300 to 400 tokens, depending on whether we complete everything that is asked of us. Upon completing the three matches, we earn a reward and a logo of the legendary Liverpool captain, Gerrard. Personally, I don't find this last reward very appealing. This will change in the coming weeks. This week also gives us the option to select an iconic player from 112 GRL, although I don't yet know how to unlock the pack. One is free and the other is worth 12,000 event tokens, which is quite a lot in my opinion and I don't think it's worth it.
We also have the Gallery option where we can find players. Every week, a new gallery with great players is unlocked, so the normal thing to do is to collect the fragments and then see which players are ideal for putting together the team. Personally, I'm looking for new icons in the forward positions, especially a left winger and a center forward. Yes, I can get others, fine. It may also be time to get a higher GRL MCO and a goalkeeper, but one that is better than the one I currently have. If I manage to get other players who are better than the ones I have and over 115, then they are welcome.

Tanto las pruebas de habilidades consiste en correr contra otro jugador, pasar los obstáculos y hacerlo durante el tiempo. También tenemos lanzamientos de tiros libres donde hay que derribar cajas. Hasta el momento esto es lo que he visto, supongo que en las siguientes semanas habrás nuevas pruebas o al menos es lo que espero porque hacer lo mismo cada día es bastante tedioso. En cuanto a los partidos, estos son sumamente sencillos, hay que cumplir sub misiones como marcar con jugadores de diferentes posiciones, países y por su puesto que ganar el encuentro. Sí, les soy sincero, esto me parece tedioso, quiero más variedad, hacer cosas nuevas durante los días de eventos y no que lo cambien luego de una semana.

Lo que si encuentro positivos es el cambio en la interfaz, ese color rojo de Liverpool, nuevas animaciones, la verdad es que visualmente es un acierto. También puedo decir lo mismo con la nueva animación de jugadores de GRL considerablemente alto, donde sale un tablero de ajedrez blanco, la bandera del país y posición del jugador, antes de saber de cuál se trata. Muy contento con lo visual. Las recompensas en cierto son buenas, en estos cuatro semanas creo poder ganar al menos uno o dos jugadores de GRL alto, pero como dije voy a esperar hasta la última semana y también para ver si tengo suerte y me salen buenos jugadores en los sobres de la tienda. Este evento tiene un buen atractivo, pero le falta algo para ser entretenido, nuevos partidos un poco más complicados y con mejores recompensas, además de otras pruebas de habilidades. Creo que al juego le falta un lavado de cara en este sentido, en cuanto a la jugabilidad se refiere. Al menos puedo expresarles que son mis emociones relacionadas con lo que he visto hasta el momento del evento Épocas gloriosas.

The skill tests consist of racing against another player, passing obstacles, and doing so within a time limit. We also have free throw shots where you have to knock down boxes. So far, this is what I've seen. I guess in the coming weeks there will be new tests, or at least I hope so, because doing the same thing every day is quite tedious. As for the matches, they are extremely simple. You have to complete sub-missions such as scoring with players from different positions and countries, and of course winning the match. Yes, to be honest, I find this tedious. I want more variety, to do new things during event days, and not have them change after a week.
What I do find positive is the change in the interface, that Liverpool red color, new animations, the truth is that visually it's a success. I can also say the same about the new animation for considerably high GRL players, where a white chessboard, the country's flag, and the player's position appear before you know who it is. Very happy with the visuals. The rewards are certainly good. In these four weeks, I think I can win at least one or two high GRL players, but as I said, I'm going to wait until the last week and also see if I'm lucky and get good players in the store packs. This event has a lot of appeal, but it lacks something to make it entertaining, such as new, slightly more complicated matches with better rewards, as well as other skill tests. I think the game needs a facelift in this regard, in terms of gameplay. At least I can tell you that these are my feelings about what I've seen so far in the Glorious Times event.

Las imágenes usadas en esta reseña son captures de pantallas del juego, exceptuando aquellas que poseen su respectiva fuente.

Separador de textos tomador del Post fue creado por mi persona en: Canva

Fuente de la imagen usada para crear la portada de la reseña: EA Sports FC Mobile 25 (FIFA Fútbol)

Gracias por su visita. Espero que les haya gustado.

Hasta una próxima oportunidad

Sin más que decir, se despide de ustedes, su cordial servidor @franz54.

The images used in this review are screenshots of the game, except those that have their respective source.
Post taker text separator was created by myself at: Canva.

Translated with www.DeepL.com/Translator (free version)

Posted Using INLEO