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Recientemente, me vi una película llamada Así somos, un filme de 2012 dirigida por Alex Kurtzman que nos habla sobre la empatía, el perdón y la reconstrucción de vínculos rotos. Un drama familiar, cuyo guion estuvo a cargo del mismo cineasta en colaboración con Jody Lambert y Roberto Orci. Una de las cosas que más resalto de la producción es sobre la trama que toca, sobre la familia y el perdón, donde muchas veces nos alejamos de nuestros seres queridos por la mentira, que pueden cambiar las perspectivas de las cosas. Un filme que vale la pena ver y reflexionar sobre este tema tan interesante.

La película nos habla de Sam Harper, un ejecutivo que tiene problemas en la empresa donde trabajo y le llega una noticia inesperada, como es la muerte de su padre, aunque rápidamente nos damos cuentas como este no tenía una buena relación con su progenitor. La noticia la tomó con ligereza, pero aun así fue al funeral del mismo. Pero inesperadamente también se entera de que tiene una hermana, a la cual su padre le dejó 150.000 dólares. La hermana de Sam se llama Frankie, quien tiene problemas de alcoholismo, y aunque no se toque en la película, paso a creer que es porque nunca tuvo una relación con su padre. Allí se empieza a desarrollar la trama, con los hermanos conociéndose, pero ambos con problemas para asimilar la situación.

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As is often the case in most families, there are always secrets, siblings we don't know about, and envy because the father usually decides to stay with one of the families. A film in which the protagonist's mother also has a rather distant relationship with her son, all because of overprotection, because I believe that truth is the most important thing above all else, that any problem can be solved, and that when there is love and family, anything is possible. Sam is a complicated character, and as he gets to know his sister Frankie and his nephew, he begins to question his own family history, his prejudices, and the emotional legacy left by his father. Frankie is also a complicated character, with problems with drinking and her son's bad behavior. Not knowing that they were siblings, the relationship was good, but when they find out, the real drama begins.

The story may be somewhat cliché and repetitive, but I appreciate the themes it touches on, such as reconciliation between family members and empathy towards others. We often repeat the mistakes of our parents, and it is important to break the emotional cycle in order to move forward without resentment. Beyond blood ties, what unites the characters is their willingness to connect, understand, and forgive. This film leaves us with a powerful message, which is why I think it's worth watching. It's entertaining and takes us through a range of emotions, from laughter, as it has a touch of humor, to the inevitable family drama that can bring us to tears. But most importantly, it captures our attention from beginning to end. The director did a great job with the story, and I thought the dialogue was spot on, although to be perfect I would have liked to delve deeper into the characters' stories and see their development.

Chris Pine played the role of Sam, while Elizabeth Banks brought Frankie to life. Both did a magnificent job, portraying their characters very well and conveying what they wanted to convey to the audience through the screen. Their performances were quite realistic, especially in the saddest moments where their looks showed the moment. Michelle Pfeiffer played Sam's mother, and I also liked her performance. Overall, I thought the cast was perfect, both the main characters and the supporting characters in the story. On the other hand, we have the cinematography by Salvatore Totino, where we often appreciate the intimate moments of different scenes, with the family scenes, the moment they find out about things, and the reconciliation that can take place.

Como suele ocurrir en la mayoría de las familias, siempre suelen guardar secretos, de hermanos que no conocemos, donde existe le envidia porque normalmente el padre decide quedarse con una de las familias. Una película donde la madre del protagonista también tiene una relación bastante lejana con su hijo, todo por la sobreprotección, pues la verdad ante todo creo que es lo más importante, cualquier problema se puede resolver, cuando hay amor y más de familia, todo es posible. Sam es un personaje complicado y al ir teniendo trato con su hermana Frankie y su sobrino, este comienza a cuestionar su propia historia familiar, sus prejuicios y el legado emocional que dejó su padre. Frankie también es un personaje complicado, con problemas con las bebidas y el mal comportamiento de su hijo, hace que al no saber que eran hermanos, la relación era buena, pero al enterarse, comienza el verdadero drama.

Puede que la historia sea algo cliché, repetitiva, pero me quedo con el tema que toca, la reconciliación entre familiares, la empatía hacia las demás personas. Muchas veces solemos repetir los errores de nuestros padres y es importante romper el ciclo emocional para continuar adelante, sin rencor. Más allá de la sangre, lo que une a los personajes es la voluntad de conectar, entender y perdonar. Una película que nos deja un gran mensaje, por lo que creo que vale la pena verla, es entretenida, pasamos por varios emociones, desde la risa, pues tiene un toque de humor, pero el drama de familia que nunca puede faltar, que nos puede sacar las lágrimas, pero lo más importante es que capta nuestra atención de principio a fin. Un gran trabajo por parte del director con la historia, los diálogos me parecieron acertados, aunque para ser perfecta me fuese gustado profundizar más en la historia de los personajes y ver el desarrollo de los mismos.

Chris Pine interpretó el papel de Sam, mientras que a Frankie le dio vida Elizabeth Banks, ambos haciendo un magnífico trabajo, interpretando muy bien sus personajes y traspasando la pantalla lo que querían transmitir al público. Sus actuaciones bastante reales, sobre todo en los momentos más tristes donde sus miradas mostraban el momento. Michelle Pfeiffer interpretó a la madre de Sam y su actuación también fue de mi agrado. En general, el cast me pareció perfecto, tanto de los personajes principales, como más secundarios de la historia. Por otro lado, tenemos la fotografía del filme por Salvatore Totino, donde muchas veces apreciamos el momento íntimo de diferentes escenas, con las escenas familiares, el momento de que se enteran de las cosas y la reconciliación que se puede llegar a dar.

A.R. Rahman was responsible for the soundtrack of the film Así somos, with really good compositions, especially during the sad moments where we can connect with the scenes and the sad atmosphere. The film was a great success in this regard. The film is a good film, with a very well-executed story. I didn't find it tedious at any point, I liked the ending, I think the cinematography is impeccable, and the soundtrack lives up to what one expects as a viewer. This is a film that I recommend. It has a good story, which doesn't start in the best way in terms of the events that take place, but with a pleasant ending. I hope you get to see it.

A.R. Rahman fue el encargado de la banda sonora de la película Así somos, con composiciones realmente buenas, sobre todos los momentos tristes donde podemos conectar con las escenas, con la atmosfera triste. Un filme que fue un gran acierto en este sentido. La película es una buena película, muy buena ejecutada la historia, no se me hizo tediosa en ningún momento, el desenlace me gustó, la fotografía me parece impecable y la banda sonora a la altura de lo que uno se espera como espectador. Esta es una película que se las recomiendo. Tiene una buena historia, que no comienza de la mejor manera en cuanto a los sucesos que se dan, pero con un final agradable. Espero que la vean.

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Widely, and often justly, regarded as the nadir of the Star Trek film franchise, Star Trek V: The Final Frontier (1989) is a film of grand, even noble, ambition that is tragically undone by a profound lack of execution. It is generally regarded to be the worst in the history of the franchise, a reputation cemented by its messy plot, tonal dissonance, and, most notoriously, its shoddy production values. Yet, to dismiss it as a complete failure is to ignore the flickers of a compelling idea buried beneath its many flaws.

The film’s premise is undeniably intriguing. It begins on the Nimbus III, the “Planet of Galactic Peace,” a desolate wasteland in the Neutral Zone. Here, we are introduced to Sybok (Laurence Luckinbill), Spock’s long-lost Vulcan half-brother, who has rejected his people’s rigid logic in favour of embracing emotion. Sybok possesses a unique and dangerous ability: he can delve into a person’s psyche, uncover their deepest, most hidden pain, and then “take it away,” offering a form of cathartic release that is indistinguishable from religious conversion. Using this power, he amasses a devoted cult, seizes control of Paradise City, and takes hostage the three galactic consuls—the Federation’s cynicial St. John Talbot (David Warner), Klingon Korrd (Charles Cooper), and the Romulan Caithlin Dar (Cynthia Gouw). This act is merely a ruse to lure the newly refitted USS Enterprise to Nimbus III, where Sybok intends to commandeer the ship for his true quest: to journey to the mythical planet of Sha Ka Ree at the very centre of the galaxy, a place he believes is the abode of God.

This central theme—the confrontation between faith, science, and the human need for a higher power—was a bold and mature direction for the franchise, inspired by William Shatner’s own critical view of the televangelist scandals that plagued 1980s America. However, this serious philosophical inquiry is fatally compromised by Paramount Pictures’ commercial mandate. Fresh off the enormous success of the light-hearted and comedic Star Trek IV: The Voyage Home, the studio insisted that its successor maintain a similar, crowd-pleasing tone. The result is a catastrophic tonal shift. The film lurches awkwardly from cheap, often crass, humour—such as the infamous scene in a Mos Eisley-style saloon featuring a four-breasted alien dancer, or Uhura’s moonlit fan dance seduction of Sybok’s followers—to the profound, almost mystical, journey to Sha Ka Ree. This dissonance renders the film’s climax, which could have been a powerful episode of The Original Series, into a messy conflic” that feels artificially padded with a pointless Klingon subplot (Captain Klaa, played by Tood Bryant, searching for glory) and unnecessary fan-service, like the opening sequence of the “Big Three” camping in Yosemite National Park.

The script, written by David Loughery from Shatner’s story, is another major failing. The dialogue is frequently clunky and uninspired, failing to capture the gravitas of its central theme. Even the potentially powerful scenes where Sybok forces Dr. McCoy and Spock to confront their deepest traumas—the death of McCoy’s father and Spock’s childhood rejection by his father—feel emotionally hollow and lame compared with the higher emotion and melodrama of Wrath of Khan or Search for Spock. The film’s ambition is further crippled by its notoriously poor special effects. With Industrial Light & Magic (ILM) unavailable due to their work on Indiana Jones and the Last Crusade, Paramount was forced to rely on the clearly subpar work of Bran Ferren . The result is a film that, despite a respectable $27-33 million budget , often looks like a cheap episode of the television series , its space vistas and alien landscapes lacking the polish and grandeur expected of a summer blockbuster.

Much of the blame for this disaster has historically fallen on William Shatner, who directed the film in an effort to prove his mettle behind the camera, following Leonard Nimoy’s successful directorial turns. Shatner himself has since admitted, “I failed horribly” . His vision was further hampered by a bitter conflict with Star Trek’s creator, Gene Roddenberry. Shatner’s story bore a striking resemblance to Roddenberry’s own unproduced 1975 project, The God Thing, leading Roddenberry to accuse him of plagiarism. This created a deep rift between the two men in the final years of Roddenberry’s life, and the creator of Star Trek vehemently distanced himself from the film, famously labelling it “apocryphal” . This official disavowal only served to legitimise the feelings of many “trekkies” who would prefer to pretend the film never existed.

It would, however, be unfair to declare the film utterly worthless. Jerry Goldsmith’s score is, as ever, a masterclass in orchestral storytelling, providing a sense of grandeur the visuals cannot match. Laurence Luckinbill’s Sybok is a genuinely compelling and charismatic antagonist, one of the more interesting in the franchise’s history. Most importantly, the core trio of Shatner, Nimoy, and DeForest Kelley retain their decades-old chemistry, bringing a sense of dignity and gravitas to even the most poorly written scenes. Their final confrontation with the malevolent entity masquerading as God—a being Kirk rightly suspects because it asks for a starship, a decidedly un-Godlike request—is the film’s one true moment of philosophical clarity.

At the box office, The Final Frontier was a significant disappointment, earning a domestic gross of just $52 million, less than half of its predecessor’s haul . It was savaged by critics and its failure was felt even more acutely because it arrived just as Star Trek: The Next Generation was finding its stride in its acclaimed second season. For a moment, it seemed the entire franchise was at a nadir, its cinematic future dead. Yet, this very disaster served as a necessary corrective. Paramount, recognising the need for a strong, sure hand, brought back Nicholas Meyer to helm the next film. The result, Star Trek VI: The Undiscovered Country, was a critical and commercial triumph that provided the original crew with the dignified and poignant farewell they deserved, a stark and welcome contrast to the messy, ambitious, but ultimately failed odyssey of The Final Frontier.

RATING: 4/10 (+)

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As part of my recent addiction with the 4:3 aspect ratio and dive back into the more arthouse genre, I've found myself searching through the Internet in attempt to itch an itch that seems to never end. I think this is with some difficulty at the moment in finding good recent films. It appears as if much of the world's global distribution attempts have slightly shrunk. I remember back in the day I'd easily find international arthouse films to watch, endless lists and many articles on the upcoming releases through various festivals. Perhaps there are still some gems to find and I'm just not as patient; though today's little search had me finding a film that definitely seemed more up my alley: Crystal Swan. A film from Belarus which depicts the struggles of the mid 1990s as a result of the USSR's collapse, and how people attempted to push forward and escape their economic struggles. And yes, shot in beautiful 4:3!

I was intrigued by the film for its narrative which explored a person that was fooled into the concept of the American dream, the idea that the US was the place to be, after all, Belarus had lost almost everything. And a few short years after the USSR's collapse, the rise of nightclubs and American music had become the norm. The supposed western way of life had influenced the people, telling them that freedom was to party, drink and dance long into the night. Velya, a female DJ has the intent on following many out of the crumbling remains of Belarus and to the US where a wishful concept of immigration and success remains at the forefront of her mind. Of course, like for many others, the promised western dream never actually came, nor was it ever likely to happen in the first place. Resulting in a lot of challenges and personal growth back home. In a city of partying, no salaries with everyone selling everything they own, and rampant drug abuse, Velya sees a better life abroad. Though in her case the plans are put to a halt through an error in her visa application which results in it being rejected.

From the start it's already easy to feel for Velya. The film does a great job at showing some of the decaying aspects of the society. Where everyone around her is void of purpose. There's clearly no future there for her beyond drugs and crime. The film mostly shows this through the environment and her interacts with other people, where her life itself isn't all the bad. As the film progressed I noticed quite an interesting touch on the whole situation appearing in the dialogue, one line of which pertained to how there were no longer any jobs, but they can now party all night. During the Soviet Union they had all they needed, but now they've got what they fought so desperately for. Quite a strong line which speaks on the regret and the emptiness of what was won over in the people. Sure they had a bit more freedom, but that freedom meant nothing when everyone was barely capable of affording to live.

The film handles the total degradation of the society really well, even down to how nothing functions properly anymore. Nobody has any care in their work. People are basically mindless zombies that sit behind a piece of glass and pay attention to their makeup instead of working. Which makes perfect sense even today in our society in which people are made to work for a salary that doesn't offer much to live from. While the film does speak more fondly of the USSR through its characters, it doesn't ultimately suggest that everything should return to its former order, more that it portrays the difficulties of the present then for those characters. Sometimes this is shown through the former bureaucracy that the Soviet Union had and still somewhat maintained.

Though, one character in particular does spread that pain for the nation quite expressively. The pain in watching it sell itself off to foreign powers. The lack of direction and the degeneracy that followed. The history that was simply forgotten and underappreciated due to the sacrifices made. Quite an interesting set of takes from a character that stood out quite a bit. More on the nose in that sense. All of this works beautifully alongside the directing which shows that history rather well. Beautiful historic buildings and architecture, now covered in secondhand clothes to be sold. Markets of poverty. The crumbling architecture and infrastructure as the funding continues to disappear all around.

I ended up loving this film. Loving the directing and cinematography which utilised that 4:3 aspect ratio really well. The handheld feel of the camera movements which had everything feeling more reel and in motion. Especially with Velya as she attempts to find purpose and pursue that impossible American dream. The old, traditional interiors that she roams through under this pursuit, the rejection of those traditions and that culture which are portrayed like sad ghosts which linger on despite the changing times, incapable of moving forward just like the people. Even as Velya returns home to the most traditional and cultural space she knows.

Hello! 💙

Esta serie regresa con un cambio de protagonista, pero no cambiando el personaje como tal básicamente el actor fue reemplazado por otro y muchas personas estaban a la expectativa de Cómo iban a abordar esto en la serie o si de alguna manera lo iban a mencionar, pero no simplemente el traspaso del actor se hace de manera natural y la verdad lo consigue ser muy bien esta nueva cara sí es cierto que se extraña al anterior y por momentos especialmente en el primer episodio nos parece raro todo esto especialmente porque en los resúmenes de la anterior temporadas buscan de mostrar más momentos en la espalda de lado nunca han demostrar la cara del actor como para que vas a familiarizar mucho más rápido con este nuevo actor, Y la verdad es que la actuación sí la consigue hacer bastante bien yo también era una de esas personas que tengo una expectativa bastante baja esta temporada pero la verdad tuvo elementos con los cuales consiguió sorprenderme.

This series returns with a change of lead actor, but without changing the character as such. Basically, the actor was replaced by another, and many people were waiting to see how this would be addressed in the series or if it would be mentioned in any way. However, the transition between actors is handled naturally, and the new face does a great job. It's true that we miss the previous actor, and at times, especially in the first episode, it all seems strange, especially because in the recaps of the previous seasons, they try to show more moments from behind, never showing the actor's face, so that you can familiarize yourself much more quickly with this new actor. And the truth is that the acting is quite good. I was also one of those people who had fairly low expectations this season, but the truth is that it had elements that managed to surprise me.

Voy a empezar por lo malo y todo el desarrollo que tiene la hija de Geralt en esta temporada el cual la verdad es bastante nulo y a la vez extraño ya que termina con un grupo de maleante justamente como vimos la temporada anterior incluso apenas habiendo pasado dos semanas terminé enamorándose de manera muy acelerada es como que se siente forzada la relación que tiene con estos personajes de manera tan íntima y fraternal, incluso haciendo cosas cuestionables cuando ni siquiera ha pasado tanto tiempo para acostumbrarse como al grupo, A lo mejor un pequeño salto de tiempo lo hubiera sentado bastante bien a esta trama pero la verdad al hacer algo tan apurado incluso pequeño spoiler este mismo grupo que se encargan de desarrollar entonces temporada termina muerto al final entonces no termina de tener sentido y más bien sientes que es como el pequeño relleno de la temporada, Pero por otro lado tengo que decir que lo que son las coreografías de acción los efectos especiales la actuación de todos los personajes y algunos nuevos personajes que están junto a Geralt que y algunos son completamente nuevos consiguen enamorar con su carisma y la dinámica del grupo de Geralt Es bastante palpable el desarrollo que consiguen con este grupo es magnífico.

I'll start with the bad stuff and all the development that Geralt's daughter has this season, which is actually pretty much non-existent and at the same time strange, since she ends up with a group of thugs just like we saw in the previous season. Even though only two weeks have passed, she ended up falling in love very quickly. It feels like her relationship with these characters is forced, in such an intimate and fraternal way, even doing questionable things when she hasn't even had enough time to get used to the group. Maybe a little time jump would have worked well for this plot, but the truth is that by doing something so rushed, even a small spoiler, this same group that is responsible for developing the season ends up dead at the end, so it doesn't really make sense and you feel like it's just a little filler for the season. But on the other hand, I have to say that the action choreography, the special effects, the acting of all the characters, and some new characters who are with Geralt, some of whom are completely new, manage to win you over with their charisma and the dynamics of Geralt's group. The development they achieve with this group is quite palpable and magnificent.

Otro punto favor de esta temporada es Jennifer que si ve las entregas temporadas no terminamos de sentir que ella haga algo más allá de aprovecharse del protagonista, ahora sí tiene un peso bastante fuerte de la sentimos como una líder sentimos que tiene un desarrollo de personaje bastante adecuado y sentimos que tiene un cambio bastante positivo, creo que esta temporada si le dan una oportunidad a pesar del cambio de actor podrá enamorar a más de uno incluso podrá enganchar a muchas personas que terminaron dejando la serie tras su tercera temporada, y además debo decir que si bien el desarrollo de algunos elementos en la trama puede tornarse bastante lento o sin sentido porque no va a terminar aportando nada al final la verdad es que esta temporada si sigue siendo bastante buena no creo que esté la par de la primera temporada que A mi parecer fue la fue la mejor pero si puedo decir que consigue llegarle bastante bien al público.

Another positive point this season is Jennifer. If you watch the previous seasons, you can't help but feel that she does nothing more than take advantage of the protagonist. Now, however, she has a much stronger presence. We feel that she is a leader, that her character has developed appropriately, and that she has undergone a very positive change. I think that this season, if they give her a chance despite the change of actor, she will be able to win over more than one viewer and may even hook many people who ended up leaving the series after its third season. And I must also say that although the development of some elements in the plot can become quite slow or meaningless because they don't end up contributing anything in the end, the truth is that this season is still quite good. I don't think it's on par with the first season, which in my opinion was the best, but I can say that it manages to reach the audience quite well.

Hello, film lovers, /Bonjour les cinéphiles,

As you can see in the image, we are on Netflix watching the fourth season of The Witcher, which consists of eight episodes.

For those who don't know, this American medieval fantasy series is a loose adaptation of the Polish literary saga The Witcher, written by Andrzej Sapkowski, which has also been adapted into a series of video games.

Comme vous le voyez sur l'image, nous sommes sur Netflix pour regarder la quatrième saison de The Witcher, qui se compose de 8 épisodes.

Pour ceux qui l'ignorent, cette série de fantasy médiévale américaine est une adaptation libre de la saga littéraire polonaise The Witcher/L'Ensorceleur, écrite par Andrzej Sapkowski qui a déjà été adaptée en une série de jeux vidéos également.

Source Series poster /Affiche de la série

Synopsis :

Geralt of Rivia (Liam Hemsworth), Jaskier (Joey Batey) and Milva (Meng'er Zhang) travel together to Nilfgaard, believing they will find Ciri (Freya Allan) there, who is believed to be held captive by Emhyr var Emreis (Bart Edwards). Geralt is still recovering, but continues on his journey to find Ciri and Yennefer (Anya Chalotra), who is seeking to destroy Vilgefortz (Mahesh Jadu) to avenge the death of her friend Tissaia and the injury inflicted on Geralt.

Geralt de Riv (Liam Hemsworth), Jaskier (Joey Batey) et Milva (Meng'er Zhang) voyagent ensemble vers Nilfgaard, pensant y retrouver Ciri (Freya Allan) qui serait retenue par Emhyr var Emreis (Bart Edwards). Geralt est encore en convalescence, mais poursuit sa route pour retrouver Ciri et Yennefer (Anya Chalotra), qui, de son côté, cherche à détruire Vilgefortz (Mahesh Jadu) pour venger la mort de son amie Tissaia et la blessure infligée à Geralt.

Geralt, Jaskier and Milva will be joined throughout their adventure by other travellers, each with their own story, experiences and goals. In these often inhospitable lands, it is better to travel in a group for support and protection, even if it means you will be less discreet.

Ciri, meanwhile, will join a small group of outlaws known as the Rats, as she is wanted by the authorities, with a bounty on her head.

Geralt, Jaskier et Milva seront rejoints au fil de leur aventure, par d'autres voyageurs qui ont chacun leur histoire, leur vécu et leur but. Dans ces contrées souvent inhospitalières, mieux vaut être en groupe pour avancer et se soutenir, même si cela implique que vous serez moins discret.

Ciri, elle, se joindra à un petit groupe de hors-la-loi, appelé les Rats, alors qu'elle est recherchée, avec récompense à la clé.

My opinion and useful information /Mon avis et petites infos :

Henry Cavill played Geralt of Rivia in the first three seasons and was replaced by Liam Hemsworth. This didn't bother me too much, as the two actors are almost identical in build.

This fourth season has been quite criticised, mainly because it no longer adheres to the strict criteria of the previous Geralt. The new Geralt is more ‘sentimental’ and smiles more. The writers have added a little humour and more violence to the fights. I think we should give this wave of small adaptations here and there a chance.

Henry Cavill était Geralt de Riv dans les 3 premières saisons et il a été remplacé par Liam Hemsworth. Cela ne m'a pas perturbée outre mesure, la morphologie des 2 acteurs étant quasiment identique.

Cette 4e saison a été assez critiquée, parce qu'elle ne collait plus aux critères stricts du précédent Geralt, notamment. Le nouveau Geralt est plus "sentimental" et plus souriant. Les scénaristes ajoutent un peu d'humour et davantage de violence dans les combats. Je pense qu'il faut laisser sa chance à cette vague de petites adaptations de ci de là.

The cast, apart from Liam Hemsworth as Geralt, is the same as in previous seasons. Laurence Fishburne makes an appearance as Regis, a mysterious barber-surgeon.

Personally, it was the violence of the fights that bothered me the most.

The series has been renewed for a fifth and final season, but we don't have a release date yet.

How about you, did you enjoy this fourth season?

Happy viewing, everyone!

Les acteurs, à part Liam Hemsworth dans le rôle de Geralt, sont les mêmes que pour les saisons passées. Laurence Fishburne fait son apparition en interprétant Regis, un barbier-chirurgien mystérieux.

Personnellement, c'est la violence des combats qui m'a le plus dérangée.

La série est renouvelée pour une 5e et dernière saison, mais nous n'avons pas encore de date de sortie.

Et vous, avez-vous apprécié cette 4e saison ?

Bonnes soirées-tv à tous,

Florence

Source photo : image Qwant autorisée

I used Deepl Translator to translate French into English

Proud member of the Principality of Bastion

**

Hola amigos, buenas vibras para todos.

Hello friends, good vibes to all.

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A couple of weeks ago, something many of us were waiting for finally arrived: this prequel to one of the most well-known stories in the world of horror cinema. The series that tells the origins of all the evil threatening and haunting the small town of Derry has arrived. As a fan of this genre, and without mincing words, I have to say I'm very surprised and impressed with the level of this production we're seeing in just two episodes. Yes, I've read a few people here saying the same thing, but it's necessary given the huge buzz surrounding this new side of the "It" story.

For those who don't know, "It" isn't a ghost or anything like that; it's a kind of cosmic entity that existed before the universe itself and is capable of taking any form that evokes fear in people. The connection with Derry is that this creature "landed" there thousands of years ago, which explains all the military activity in the series. Basically, the series revolves around the disappearance of some children in that town, coinciding with strange phenomena and events. With only two episodes aired, it's difficult to predict where the plot is headed, but we can discuss what they've shown so far.

Source!

Source!

And what have they shown us? - Well, some of the best horror scenes we've seen so far this year. The first episode gave us a sequence inside a movie theater that is pure art; it's the true meaning of what horror is supposed to be: macabre, grotesque, bloody, surprising, full of suspense, and with great acting. We should also mention what we saw at the beginning of the episode with the scene inside the car with the dysfunctional family. Few things in horror impress me, but that birth scene was absolutely insane. It seems there's an obsession with "giving birth" because in the second episode we see something even more powerful and terrifying.

The soundtrack, all the references to other films, the special effects and CGI—everything is meticulously crafted to create the marvel we're witnessing. Add to that the incredibly cool 1960s setting, and the experience becomes even more captivating. It's important to clarify that this has nothing to do with the film, at least not yet; there's no Pennywise or anything of the sort. Perhaps we'll see a reference later on. I believe that if this series continues on this path, we could be looking at one of the best horror series of recent years. (With all due respect to Mike Flanagan.)

Source!

Source!

To wrap things up, I'd say the dual plot is very interesting. Everything centers on the same issue, but it's handled from two perspectives. The children's perspective is filled with terror and traumatic experiences, almost supernatural; and the military's point of view is more about showing force, the intrigue surrounding what might be lurking in the town in order to protect the country, or to use whatever is there as a weapon in the future. We'll see how both perspectives on the same problem converge.

The acting from the kids is amazing; Clara Stack's portrayal of Lilly has been excellent. Taylour Paige is also giving a great performance; she looks like she'll be making waves in the future. If you haven't started watching this series yet, it's time to jump on the bandwagon because it's well worth it. The first two episodes have been far better than most horror movies this year.

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***

Bueno mi gente por hoy es todo, espero que les haya gustado. ¡Un abrazo a todos, nos leemos en la próxima!

Well folks, that's all for today. I hope you enjoyed it. ¡Hugs to everyone, see you next time!

The 2003 BBC two-parter Byron, starring Johnny Lee Miller as the eponymous poet, arrives burdened by the weight of its subject’s mythos. George Gordon Byron – aristocrat, revolutionary, literary titan, and self-appointed "bad boy" of Regency England – demands a treatment as complex and incendiary as his life. While the miniseries, written by Nick Dear, boasts the BBC’s customary production polish and Miller’s magnetic lead performance, it ultimately falters in its core ambition: to dissect the man beyond the scandal. Instead, it leans heavily, often exploitatively, on the very sensationalism that Byron both cultivated and lamented, sacrificing historical nuance for titillation and reducing profound tragedy to a lurid soap opera.

The plot ostensibly traces Byron’s tumultuous trajectory from his 1811 return to England after travels through Ottoman Greece (where his documented predilection for young male companionship began) through his brief, disastrous tenure in the House of Lords, the explosive success of Childe Harold’s Pilgrimage, the obsessive, destructive affair with the unhinged Lady Caroline Lamb (Camilla Power), his ill-fated marriage to the intellectually formidable Annabella Milbanke (Julie Cox), the suffocating rumours of incest with his half-sister Augusta Leigh (Natasha Little), his self-imposed exile to Italy, and finally his death in the Greek War of Independence. Structurally, it follows the expected biopic beats. Yet, the narrative feels curiously hollow, a somewhat routine recitation of the key facts. The miniseries prioritises the events of scandal – the Lamb obsession, the marital collapse, the exile – over the psychological and ideological currents that drove them. Byron’s genuine political radicalism, his searing critiques of industrial exploitation and Tory oppression, are relegated to background noise, mere set dressing for his sexual exploits. The profound intellectual ferment of the Romantic era feels absent; this is Byron as celebrity gossip column, not as a thinker who reshaped European consciousness.

Where the production undeniably succeeds is in its visual authenticity. The production design and costumes are, as noted, commendable. Theyl evoke the early 19th century with meticulous, almost fetishistic detail. This is the legendary high standards of British TV production in full effect. One feels the weight of the fabrics, the chill of the unheated mansions, the constrained elegance of the era. Yet, this very authenticity becomes ironic. The sumptuous visuals often serve merely as a gilded cage for the miniseries’ primary focus: sex and nudity. True to Byron’s scandalous ‘bad boy’ reputation, the screen is saturated with it. Scenes in Greece featuring young boys, explicit encounters with married aristocrats, Lady Caroline Lamb’s near-naked hysterics – the miniseries equates historical accuracy regarding Byron’s libertinism with graphic depiction. The problem isn’t the inclusion of his sexuality, but the framing. It rarely explores the power dynamics, the emotional devastation Byron wrought, or the societal constraints that made such behaviour simultaneously transgressive and, within certain circles, tolerated. Instead, the nudity often feels gratuitous, a cheap tool to signal "scandal" and titillate, reducing complex human relationships to prurient spectacle. It panders to the modern viewer’s expectation of a "dark and edgy" historical drama, mistaking explicitness for depth.

Johnny Lee Miller, however, is the production’s undeniable anchor. He captures Byron’s intoxicating duality with remarkable skill. He embodies the talented artist and iconoclast effortlessly – the razor-sharp wit, the languid arrogance, the magnetic charisma that drew admirers like moths to a flame. Miller perfectly channels the Regency-era "rock star," radiating a dangerous, knowing charm that makes Byron’s allure utterly believable. Crucially, he doesn’t shy away from the poet’s profound cruelty. We see the casual contempt for servants, the calculated emotional evisceration of Annabella, the callous dismissal of Caroline Lamb’s genuine mental anguish. This refusal to romanticise the protagonist is the miniseries’ greatest strength, offering glimpses of the tormented, insecure man beneath the bravado, particularly in quieter moments of creative struggle or exile-induced melancholy.

Alas, Miller’s nuanced performance is undermined by Nick Dear’s script, which historians rightly lambasted for its reckless distortions. The portrayal of Lady Caroline Lamb as a near-psychotic caricature, played with unhinged intensity by Camilla Power, is particularly egregious. While Lamb was undoubtedly obsessive and emotionally volatile, historical accounts reveal a sharp intellect, a talented writer in her own right (Glenarvon being a thinly veiled roman-à-clef about Byron), and a victim of societal gaslighting regarding her mental health. Reducing her to a shrieking, half-naked menace solely serves to vilify her and absolve Byron of significant blame for the relationship’s destruction. Equally problematic is the depiction of Annabella Milbanke. Historically, she was a progressive thinker, deeply interested in mathematics, science, and social reform – a woman far ahead of her time intellectually. Julie Cox portrays her instead as a cold, rigid, stuck-up traditionalist, a prudish foil whose inability to handle Byron’s genius justifies his cruelty. This erases Annabella’s formidable intellect and agency, transforming her from a complex woman dealing with an impossible situation into a cardboard symbol of repressive morality. Dear’s script seems determined to make Byron the only interesting, complex figure, flattening everyone around him into simplistic archetypes to heighten his tragic grandeur.

In the end, Byron possesses the superficial trappings of a prestige historical drama – superb production values, a career-best performance from Johnny Lee Miller, and a subject of undeniable fascination. Yet, its soul is compromised. By fixating on the salacious at the expense of the substantive, by distorting key historical figures to serve a reductive "tortured genius" narrative, and by mistaking graphic nudity for psychological insight, it ultimately fails the man it seeks to portray. It captures the glittering, scandalous surface of Byron’s life but remains blind to the profound intellectual and emotional depths beneath. The miniseries shocks, it entertains with its glossy sheen, and Miller compels, but it leaves the viewer no closer to understanding the revolutionary spirit, the devastating self-awareness, or the genuine human wreckage that defined Lord Byron. It is a stylish, exploitative rehash of the very tabloid frenzy Byron both despised and perpetuated. It’s a miniseries that prioritises the myth over the man, and in doing so, does both a profound disservice.

RATING: 6/10 (++)

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