Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 34,438 reviews and counting.
Con la muerte super inesperada de Chance Perdomo, quien era uno de los protagonistas de la primera temporada, esta segunda entrega se tardó un poco más de lo planeado porque hubo que reescribir varias cosas. Había cierta intriga porque no se sabía que tanto podía afectar este suceso con el curso natural que iba a tener la serie. La verdad? - esta segunda temporada fue y por mucho bastante mejor que la primera. Nos introdujeron nuevos personajes y el desarrollo de los ya conocidos fue muy top, son muchas cosas las que terminan viviendo estos estudiantes universitarios en la busqueda de convertirse en los próximos "Seven".
With the incredibly unexpected death of Chance Perdomo, one of the main characters of the first season, this second season took a little longer than planned because several things had to be rewritten. There was some intrigue because it wasn't clear how much this event would affect the natural course of the series. The truth? This second season was, by far, much better than the first. They introduced new characters, and the development of the existing ones was top-notch. These college students experience a lot in their quest to become the next "Seven."
Evidentemente si no has visto la primera temporada o la serie The Boys pues sería muy bueno que lo hicieras porque creo que es de lo mejor que se ha visto en los últimos tiempos dentro del género de "superhéroes". Tenemos a estos 6 estudiantes que están en la universidad Godolkin, la encargada de formar a los Supers y que ya en el poco tiempo que llevan allí han experimentado el alto precio de tener poderes. En esta entrega se nos presenta a Cipher, el nuevo decano de la universidad, un tipo bastante extraño y que guarda un gran secreto además de uno de los poderes más llamativos que se han visto. Esta trama se centra en él y en Marie (Jaz Sinclair), siendo ella el eje principal de todo y muy probablemente de la última temporada de The Boys.
Obviously, if you haven't seen the first season or the series The Boys, you should definitely check it out because I think it's one of the best things to come out of the superhero genre in recent times. We have these six students at Godolkin University, the institution that trains Supes, who in the short time they've been there have already experienced the high price of having powers. This season introduces us to Cipher, the new dean of the university, a rather strange guy who harbors a big secret in addition to one of the most striking powers ever seen. This storyline focuses on him and Marie (Jaz Sinclair), with her being the central figure and very likely the focus of the final season of The Boys.
Lo realmente bueno de la serie es la conexión que hay con The Boys, desde un principio los creadores afirmaron que esto sería así pero saber ahora que en la temporada final, de la cual se dice será impresionante, veremos cosas que pasaron acá en Gen V sin dudas le dará una profundidad más grande de la que ya tenía. Siguiendo con la trama pues veremos el camino de estos amigos en descubrir quién es realmente Cipher y todo el misterio que hay con el origen de Marie (un proyecto de los años 60). Esta segunda temporada tiene mucha más emoción, más contexto y más acción que la primera. Y cuando hablo de acción me refiero a la violencia y al gore característico de estas producciones.
What's truly great about the series is its connection to The Boys. From the beginning, the creators stated this would be the case, but knowing now that the final season, which is rumored to be amazing, will feature events from Gen V will undoubtedly add even more depth. Continuing with the plot, we'll see these friends' journey to discover Cipher's true identity and the mystery surrounding Marie's origins (a project from the 1960s). This second season has much more excitement, context, and action than the first. And when I say action, I mean the violence and gore characteristic of these productions.
Basicamente lo que se trata en esta temporada es el origen de algunos de los Super y de la mente maestra que estuvo detrás de todo eso. Es una busqueda constante de respuestas que al final puede que de resultado o tengamos que esperar a The Boys el año que viene. Con respecto a la primera temporada esta segunda no baja la calidad, los efectos visuales son increíbles además de que es tremendamente explícita. Desde siempre esta serie ha sido disruptiva, no se guia por formalidades, le interesa poco las susceptibilidades que pueda generar en el público; es decir, le importa nada el qué dirán. Si la buscamos comparar con algo que quizás hayan visto podría ser Peacemaker, ambas tienen el mismo tono.
Basically, this season deals with the origins of some of the Supes and the mastermind behind it all. It's a constant search for answers that may ultimately lead to a resolution, or we might have to wait for The Boys next year. This second season doesn't lower the quality of the first; the visual effects are incredible, and it's also incredibly explicit. This series has always been disruptive, disregarding formalities and showing little concern for the sensitivities it might generate in the audience; in other words, it doesn't care what people will say. If we were to compare it to something you might have seen, it could be Peacemaker; both have a similar tone.
En cuanto a actuaciones y personajes pues hay que decir que todos lo hacen a la altura. Me gusta la personalidad de cada uno y la forma en cómo lo interpretan, es verdad que para este tipo de series no hay que ser un dotado de la actuación pero si que es verdad que desarrollar el papel de estos jóvenes que están tan afectados mentalmente puede ser medio complicado. De lo mejor podemos decir que Cate (Maddie Phillips) y Jordan, versión mujer, (London Thor) fueron las que para mi destacaron más. Es una serie espectacular, como dije, es de lo mejor que hay en la TV hoy en día. Le doy un 8/10. Cerró muy bien y dejó el camino despejado para todo lo que pasará en The Boys. Creo que las expectativas están bien arriba. Les dejo el tráiler por acá abajo.
As for the acting and characters, I have to say everyone delivers a solid performance. I like each actor's personality and how they portray them. It's true that you don't need to be a gifted actor for this kind of show, but developing the roles of these young people who are so mentally scarred can be quite challenging. Cate (Maddie Phillips) and Jordan (London Thor), the female version of the cast, were the standouts for me. It's a spectacular series, as I said, one of the best on TV today. I give it an 8/10. It ended very well and paved the way for everything that will happen in The Boys. I think expectations are set pretty high. I've included the trailer below.
I decided to watch this film probably for the same reason that most people did: The name caught my eye. I was thinking "is that really the name of the film?" and well, yes. It is.
This one is only going to appeal to people that enjoy lower-budget gore-oriented horror films that are intentionally kind of silly. I wouldn't call this movie particularly groundbreaking and I often wonder why they are made at all because based on the title alone, most streaming services are likely going to refuse to carry it.
You might look at the cast and see the name Steven Ogg and think to yourself that you know that name from somewhere. That was the feeling that I got and as it turns out he is one of the more famous voice actors on the wildly popular Grand Theft Auto 5. I am familiar with the voice acting but since I am not much a video game player, I have never actually known why people are so adamant about him in that game. It must be pretty great, who knows?
Ogg plays the main character "Don" who decides to team up with his germaphobic son Sonny who is played by some random Canadian actor (no offense, but this is common) and they are plumbers who get called out at night to deal with a particularly strange plumbing situation that just continues to escalate.
I'm not ruining anything by saying this but the thing that is blocking the pipes isn't a bunch of hair or poo poo, it is a multi-tentacled creature of some sort that seems dead-set on killing any and all things that get in its way.
It's in the pipes, so it isn't easy to find.
This movie has plenty of jump-scares but that is about it. The story is nonsensical and I am almost certain that it is meant to be stupid, not scary. It falls into the category of comedy-horror according to most people and that is precisely what it is.
The things that impressed me about this movie wasn't the inventive writing (there isn't any) or the acting (it's adequate, but not great) or even the amazing super-cheesy soundtrack that is definitely royalty-free. Nope, what impressive to me about this film is that I am presuming they were working with very little money with this production but outside of a few moments, nothing looks particularly fake.
I don't think they CGI'd very much of this because that would have been prohibitively expensive and instead needed to rely on some inventive puppetry and prosthetic to make the kills seem "not fake."
There is one scene at the very beginning of the film where a rather large building is on fire and I was already impressed at this point because this is something that when it is CGI on a low-level it looks really stupid and when it is an actual building it is really expensive. So I can't even guess what they did here... maybe coordinated with a fire department that was going to do a controlled burn and asked if they could use some of the footage. I mean, it looks real.
They do some old movie tropes from the 80's that I always appreciate but with a modern twist such as a sexy girl in the shower who is doing something that they don't call it this but is definitely OnlyFans and we know well ahead of time that she is going to get killed in the middle of her sexy livestream.
Should I watch it?
Well at least for now, it might be difficult for you to do so since it isn't streaming as part of any streaming service that I can find. However, if you are one of the kind of people that pays to rent movies, it is available in a surprisingly wide range of places including AppleTV, Amazon, and Plex. Plex will start offering it for free starting on the 4th of November.
As for whether or not you should do so I think that this film is only going to appeal to a very small range of people that appreciate strange and funny gore and also enjoy when producers are able to stretch a small budget into a film that looks like it cost a lot more than it did.
Although I did enjoy this movie you have to keep in mind that I have been a fan of low-budget horror films since the 80's and there are a lot of nostalgic moments in this movie that are obvious throwbacks to a time when having a bunch of gore and some boobs was really all you needed in order to get people to rent it on VHS.
If you don't even know what VHS means, I think there is very little chance this is going to appeal to you.
Hello everyone, my friends who are fans of good stories, I hope you're doing great. This time I want to share a new review with this great Hive community. This time I want to talk a little about my opinions on: The Playlist. You see, Spotify is like... part of our lives, right? I mean, it's like the air we breathe to listen to music, almost as if we had a chip in our brain to find just THAT song... the truth is, I had never thought about how the hell all this started, but wow! This series hooked me in a way... basically, it tells you how Spotify was born, how this little Swedish company, tiny at first, turned the entire music industry around 180 degrees and changed forever how we consume... everything! Not just music, but content in general... totally crazy!
And at the center of all this mess is the real deal, Daniel Ek... the series shows him as a technological genius, super talented but kind of quiet, from a young age, you see him as a child way ahead of everyone else, and then as a young adult, successful and everything, but it seemed like something didn't fit him, the guy was really dissatisfied, you could tell he was fed up with the system, with doing a job that didn't fulfill him, and he was always looking for something bigger, something with more meaning. And that same wave, that restlessness, is what leads him to the brilliant idea of Spotify... there you realize that the guy was a visionary, but also of that intensity that he had, that the series kind of lets you know that sometimes worked against him, the actor who plays him, Edvin Endre, does it brilliantly, transmitting that wave of quiet ambition, but that is there, about to explode... now, so that you understand well why Spotify was THE wave, the series throws you right in, headfirst!, back to the early 2000s. Those times were the Wild West of the internet, total chaos... remember Napster?
Well, the series goes all in on the topic of piracy with The Pirate Bay, which if you remember, was that super famous Swedish site where everyone shared games, programs and, obviously, a ton of free music, but pirated, the music industry, well obviously, was in total crisis... they were losing millions, artists were doing terrible, and it was like a war they couldn't win, impossible! And all this stuff is super key, because it makes it crystal clear why the world, and the industry itself (although maybe they didn't realize it yet), needed right now! a legal alternative, something different... I remember those times perfectly, downloading MP3s of dubious origin, feeling like a bit of a digital bandit, ha! So that whole part of the series, boom!, hit me straight in.
Hola a todos, amigos fanáticos de las buenas historias, espero que estén genial, en esta ocasión quiero compartir de nuevo con esta genial comunidad de Hive una nueva reseña, está vez les quiero hablar un poco de mis opiniones sobre: The Playlist, vieron que Spotify es como... parte de nuestras vidas, no? O sea, ya es como el aire que respiramos para escuchar música, casi como si tuviéramos un chip en el cerebro para encontrar justo ESA canción.. la verdad, yo nunca me había puesto a pensar cómo carajos empezó todo esto, pero ¡uf!, esta serie me enganchó de una manera.. básicamente, te cuenta cómo nació Spotify, cómo esta empresita sueca, chiquita al principio, le dio una vuelta de 180 grados a toda la industria de la música y cambió para siempre cómo consumimos... ¡todo! No solo música, sino contenido en general.. una locura total!
Y en el centro de todo este desmadre está el mero mero, Daniel Ek.. la serie te lo pone como un genio de la tecnología, súper talentoso pero medio callado, desde chiquito, lo ves de niño adelantadísimo a todos, y luego ya de joven adulto, con éxito y todo, pero como que algo no le cuadraba, bien inconforme el tipo, se nota que estaba hasta la madre del sistema, de hacer un trabajo que no le llenaba, y andaba todo el tiempo buscando algo más grande, algo con más sentido. Y esa misma onda, esa inquietud, es la que lo lleva a la idea brillante de Spotify.. ahí te das cuenta de que el tipo era un visionario, pero también de esa intensidad que tenía, que la serie como que te deja caer que a veces le jugaba en contra, el actor que lo hace, Edvin Endre, lo hace genial, transmitiendo esa onda de ambición callada, pero que está ahí, a punto de explotar.. ahora, para que entiendan bien por qué Spotify fue LA onda, la serie te mete de lleno, ¡de cabeza!, a principios de los 2000. Esos tiempos eran el Salvaje Oeste de internet, un descontrol total.. se acuerdan de Napster?
Bueno, la serie le entra con todo al tema de la piratería con The Pirate Bay, que si se acuerdan, era ese sitio sueco súper famoso donde todo el mundo compartía juegos, programas y, obvio, ¡un montón de música gratis, pero pirata, la industria de la música, pues obvio, estaba en crisis total.. perdían millones, a los artistas les iba fatal, y era como una guerra que no podían ganar, ¡imposible! Y todo este rollo es súper clave, porque te deja clarísimo por qué el mundo, y la misma industria (aunque chance ni se daban cuenta todavía), necesitaban ¡pero ya! una alternativa legal, algo diferente.. yo me acuerdo perfecto de esos tiempos, bajando MP3s de dudosa procedencia, sintiéndome medio bandido digital, ¡ja! Así que toda esa parte de la serie, ¡pum!, me pegó directo.
And then, boom! Daniel Ek comes along with his idea that changed everything: what if people could stream music, legally, for free, but with ads? Or pay a subscription and forget about interruptions? Today, that sounds totally normal to us; we have Spotify, Apple Music, YouTube Music... I mean, it's almost like daily bread in our digital lives. But The Playlist makes it crystal clear, crystal clear!, that about 15 years ago, this idea was completely crazy, you could hardly have imagined it... the music industry was guarding its content tooth and nail, and piracy was hitting them hard! So the idea of "giving away" music, even with ads, was greeted with brutal distrust and even malice. The series truly shows you how risky the whole thing was... which brings us to what, for me, was Spotify's biggest challenge: getting the music, simple as that!
Because it’s one thing to have a show that’s amazing—and the series goes deep into the technical side, showing you the race to make streaming instant, on the spot—but without the permission of the major record labels, Spotify was an empty shell, useless... this fight to get the rights is a huge part of the drama, the record labels saw Spotify not as a savior, but as yet another threat, yet another tech company looking to swindle their music, their treasures. There are some negotiation scenes that, ugh!, make your hair stand on end, and you really feel the horrible pressure Daniel and his team were under, it was like watching someone trying to convince a pack of angry lions to share their dinner, that tense! And what I thought was a stroke of genius, honestly, a real success, is the unique way the story is told.
The Playlist is a six-part miniseries, and instead of telling you everything in one go, in order, each episode shifts focus and tells it from the point of view of a different key character. So you have "The Vision," which is Daniel Ek's; then "The Industry," from the perspective of a super-skeptical record label executive; "The Law," with the company's lawyer getting into some serious legal trouble; "The Programmer" (which, mind you, was my favorite episode; it shows you the genius of Andreas Ehn, the guy who put together all the technology); "The Partner," which focuses on Martin Lorentzon; and finally, "The Artist," which gives you a taste of how this whole revolution has affected music makers. At first, I was like, "Okay, are we going to see the same story six times?" But come on! It's done in such an intelligent way... each chapter adds new layers, new ways of seeing things, and sometimes even contradicts what you thought you already knew from what you saw before. That makes the story super dynamic and makes you realize that there is no single "truth" in this whole thing.
Y entonces, ¡pum!, aparece Daniel Ek con su idea que lo cambió todo: ¿qué onda si la gente pudiera escuchar música por streaming, legal, gratis, pero con anuncios? ¿O pagar una suscripción y olvidarse de las interrupciones? Hoy, eso nos suena súper normal, tenemos Spotify, Apple Music, YouTube Music… o sea, ya es como el pan de cada día en nuestra vida digital, pero The Playlist te deja clarísimo, ¡clarísimo!, que hace unos 15 años, esta idea era una locura total, casi que ni te la imaginabas.. la industria de la música estaba cuidando su contenido con uñas y dientes, ¡y la piratería les estaba dando con todo!, así que la idea de "regalar" música, aunque fuera con anuncios, la recibieron con una desconfianza brutal y hasta con mala leche. La serie de verdad te muestra lo arriesgado que era el numerito.. eso nos lleva al que, para mí, fue el reto más grande de Spotify: conseguir la música, ¡así de simple!
Porque una cosa es tener un programa que sea una maravilla –y la serie se mete de lleno en el lado técnico, mostrándote la carrerita para que el streaming fuera instantáneo, al toque– pero sin los permisos de las grandes disqueras, Spotify era un cascarón vacío, no servía pa’ nada.. esta lucha por conseguir los derechos es una parte enorme del drama, las disqueras veían a Spotify no como una salvación, sino como otra amenaza más, otra empresa de tecnología queriendo malbaratar su música, sus tesoros. Hay unas escenas de negociación que, ¡uff!, te ponen los pelos de punta, y de verdad sientes la presión horrible que tenían Daniel y su equipo encima, era como ver a alguien tratando de convencer a una manada de leones bien cabreados de que compartieran su cena, ¡así de tenso! Y lo que me pareció una genialidad, honestamente, un verdadero acierto, es la forma única en que está contada la historia..
The Playlist es una miniserie de seis capítulos, y en lugar de contarte todo de corrido, en orden, cada episodio cambia el foco y te lo cuenta desde el punto de vista de un personaje clave diferente, así tienes "La Visión", que es la de Daniel Ek; luego "La Industria", desde la perspectiva de un ejecutivo de disquera súper escéptico; "La Ley", con la abogada de la compañía metida en unos líos legales de miedo; "El Programador" (que, ¡ojo!, fue mi capítulo favorito, te muestra la genialidad de Andreas Ehn, el tipo que armó toda la tecnología); "El Socio", que se centra en Martin Lorentzon; y al final "El Artista", que te da una probadita de cómo toda esta revolución le pegó a los que hacen la música. Al principio, yo pensé: "A ver, ¿vamos a ver la misma historia seis veces?". Pero ¡qué va!, está hecho de una forma tan inteligente.. cada capítulo le añade nuevas capas, nuevas formas de ver las cosas, y a veces hasta contradice lo que creías que ya sabías por lo que viste antes, eso hace que la historia sea súper dinámica y te des cuenta de que no hay una sola "verdad" en toda esta movida.
And speaking of Martin Lorentzon, wow! Daniel Ek and his co-founder, are like oil and water, but in a good way! And that vibe between the two is what gives the story a lot of momentum. He’s the tech genius, super-focused, focused, but a bit awkward when it comes to socializing, and Lorentzon, played by Christian Hillborg with an energy that’s contagious, almost as if he were over the moon!, is the most daring, charismatic businessman, who puts his own money into the business and becomes like the number one cheerleader. They’re like those friends who have nothing in common, who often come to blows over how to do things, but they both have blind faith in the idea... that duo is the heart of the story, and seeing how they live that roller coaster of creating Spotify is super, super interesting.
There you realize how each one needed what the other had for things to work, the whole series has that David versus Goliath vibe, totally! You cheer on these hard-working Swedish entrepreneurs and their team of programmers, who are geniuses and sometimes a bit weird, as they take on the music industry, which was a giant monster and firmly entrenched in its own ways. It inspires you to see how they deal with mistrust, legal disputes, and lack of money. But, and this is something I really liked, the series doesn't stop there, it shows you, sometimes very shallowly and sometimes not so much, how this "David" from the beginning, over time, has perhaps become another "Goliath." The last episode, from the artist's point of view, makes it very clear and makes you think about important things, like how much artists get paid and what the real price of "free" music is. It's a way of seeing things with more meat, which makes the series more than just a "happily ever after" story.
Let's see, can we have a A second to talk about the production? Because it's Swedish and it looks great! It has that elegant, well-curated, almost movie-like vibe that you often see in series from there, from the Nordic countries. The direction is superbly done, the pacing (almost always) is wonderful, and the music, well, obviously, is perfect. The performances are all very good, especially Edvin Endre as Ek and Christian Hillborg as Lorentzon, who really get into their characters and you believe it completely. You can tell they put a lot of effort into it, that they paid attention to every little detail. Later I found out that the miniseries is actually based on a book called "Spotify Untold," written by two Swedish journalists who did a thorough investigation, Sven Carlsson and Jonas Leijonhufvud. Knowing that it comes from such serious research gives it a plus that it's true, although they obviously add their touch of TV drama.
Y hablando de Martin Lorentzon, ¡uf!, es que Daniel Ek y él, su cofundador, son como el agua y el aceite, ¡pero en el buen sentido! y esa onda entre los dos es lo que le da un montón de empuje a la historia, Él es el genio de la tecnología, súper clavado, enfocado, pero medio rarito para socializar, y Lorentzon, que lo hace Christian Hillborg con una energía que te contagia, ¡casi como si estuviera pasado de vueltas!, es el empresario más aventado, carismático, que le mete su propia lana al negocio y se vuelve como el porrista número uno, son como esos amigos que no tienen nada que ver, que seguido se agarran a madrazos por cómo hacer las cosas, pero los dos le tienen una fe ciega a la idea.. esa dupla es el corazón de la historia, y ver cómo se la viven en esa montaña rusa de crear Spotify es súper, súper interesante.
Ahí te das cuenta de cómo cada uno necesitaba lo que el otro tenía para que la cosa funcionara, toda la serie tiene esa onda de David contra Goliat, ¡totalmente! vas animando a estos emprendedores suecos, bien luchones, y a su equipo de programadores que son unos genios, medio raritos a veces, mientras se enfrentan a la industria de la música, que era un monstruo gigante y bien aferrado a lo suyo.. te inspira ver cómo le hacen frente a la desconfianza, a las broncas legales y a la falta de dinero.. Pero, y esto es algo que me gustó un montón, la serie no se queda solo en eso, te va mostrando, a veces muy por debajito del agua y otras no tanto, cómo este "David" del principio, con el tiempo, chance se ha convertido en otro "Goliat".. el último capítulo, desde el punto de vista del artista, te lo deja bien claro, y te pone a pensar en cosas importantes, como cuánto les pagan a los artistas y cuál es el verdadero precio de la música "gratis".. es una forma de ver las cosas con más carnita, que hace que la serie sea más que una simple historia de "y vivieron felices para siempre"..
A ver, ¿podemos tomarnos un segundito para hablar de la producción? ¡Porque es sueca y se luce cañón! Tiene esa onda elegante, bien cuidada, casi como de película, que seguido ves en las series de por allá, de los países nórdicos, la dirección está súper bien hecha, el ritmo (casi siempre) va de maravilla y la música, ¡pues obvio!, está perfecta.. las actuaciones, todas muy buenas, en especial la de Edvin Endre como Ek y Christian Hillborg como Lorentzon, que de verdad se meten en sus personajes y te la crees todita, se nota que le echaron muchas ganas, que cuidaron cada detallito. Luego me enteré de que la miniserie en realidad está basada en un libro que se llama «Spotify Untold», escrito por unos periodistas suecos que se metieron a investigar a fondo, Sven Carlsson y Jonas Leijonhufvud.. saber que viene de una investigación así de seria, le da como un plus de que es verdad, aunque obvio le metan su toque de drama para la tele.
Mind you, it's important to know that this is fiction, okay? I mean, it's a series, not a straight-up documentary. As the series itself tells you at the beginning, it's based on things that actually happened, but some of the characters and plot twists were slightly altered to make it more dramatic, more flavorful... so, while you're watching it, you suddenly find yourself thinking, "Was it really the case?" But, honestly, that doesn't take away from how entertaining or important what it tells you. It's a story about being innovative, about breaking with the established, about having a ton of ambition, and the problems that all that can bring... What I liked most is that The Playlist really makes you think, it invites you to gossip.
It's not your typical series that just praises Spotify and that's it... it shows you all sides of the coin, the pros, the cons, the triumphs and the things they had to sacrifice. It makes you question the cost of progress, whether it's right or wrong to break away from everything, and who ultimately gets the most out of these giant technological changes. It doesn't give you the answers already digested, and I thought that was super cool, really refreshing... it wants you, the one watching, to get involved in the conversation. So, if you haven't gotten the hint yet, I'm telling you to watch it now! The entire series is on Netflix, so it's perfect for a weekend binge.
My rating? I give The Playlist a solid 8.5/10. It’s exciting, it makes you think and it’s super well done… I’m not giving it a perfect 10 just because, every now and then, the pace in one or two chapters in the middle seemed a little slow to me while they presented the different points of view, but that’s a minor detail for a series that, otherwise, is great… the truth is, it far exceeded what I expected, I went in thinking that maybe it was going to be a kind of boring business story, but no way! It’s much more than that… it’s a very human story, a technology thriller and a super interesting look at a revolution that changed how we live one of the coolest things in life: music… if you haven’t seen it, go see it, and that’s all for today, see you in the next reviews! Take care! Bye!
Ojo, es importante que sepan que esto es ficción, ¿eh? O sea, es una serie, no un documental clavado, como la misma serie te dice al principio, está basada en cosas que sí pasaron, pero algunos personajes y rollos los cambiaron un poquito para que tuviera más drama, más sazón.. así que, mientras la estás viendo, de repente te quedas pensando: "¿De verdad sí fue?".. pero, la verdad, eso no le quita lo entretenida ni lo importante de lo que te cuenta, es una historia sobre ser innovador, sobre romper con lo establecido, sobre tener un montón de ambición y los problemas que todo eso puede traer.. lo que más me gustó es que The Playlist de verdad te pone a pensar, te invita a echar chismecito.
No es la típica serie que solo le echa flores a Spotify y ya.. te muestra todos los lados de la moneda, los argumentos a favor, los en contra, los triunfos y las cosas que tuvieron que sacrificar, te hace cuestionarte sobre lo que cuesta el progreso, si está bien o mal romper con todo, y quiénes son los que al final le sacan más jugo a estos cambios tecnológicos gigantes. No te da las respuestas ya digeridas, y eso me pareció súper chido, bien refrescante.. quiere que tú, que la estás viendo, te metas en la plática. Así que, si todavía no se la olían, ¡les digo que la vean pero ya! Toda la serie está en Netflix, así que es perfecta para echarse un maratón el fin de semana.. mi calificación?
Yo le doy a The Playlist un buen 8.5/10. Está emocionante, te deja pensando y está súper bien hecha.. no le pongo el 10 perfecto solo porque, muy de vez en cuando, el ritmo en uno o dos capítulos de en medio se me hizo un poquito lento mientras te presentaban los diferentes puntos de vista, pero eso es un detallito mínimo para una serie que, por lo demás, está de lujo.. la verdad, superó por mucho lo que yo esperaba, entré pensando que chance iba a ser una historia de negocios medio aburrida, pero ¡qué va!, es mucho más que eso.. es una historia bien humana, un thriller de tecnología y una mirada súper interesante a una revolución que cambió cómo vivimos una de las cosas más chidas de la vida: la música.. si no la han visto, vayan a verla, y eso es todo por hoy, nos veremos en las próximas reseñas! Cuidense mucho! Bye!
Tell me... have you seen this series? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this series. You can leave me in the comments your recommendations for future publications! 😊
Cuéntame.. ¿Has visto esta serie? Te ha llamado un poquito la atención? Dime que te pareció esta reseña con mi opinión, y dime si te han dado ganas de ver esta series. Puedes dejarme en los comentarios tus recomendaciones para las próximas publicaciones!! 😊
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Hola amigos de la comunidad de Movies & Tv, espero que se encuentren muy bien. Ayer terminé de ver la primera temporada de una serie que me tenía muy emocionada, ya había visto imágenes de Nobody Wants This y también videos por TikTok por lo que me sentí emocionada con la trama de la historia y con los protagonistas Adam Brody y Kristen Bell a quien conocí por ver en diferentes apariciones como series y películas. Es una serie con mucho romance, drama, comedia y también momentos incómodos que causan más risas que incomodidad, así que los invito a leer mi reseña.
Hello, friends of the Movies & TV community, I hope you are all doing well. Yesterday, I finished watching the first season of a series that had me very excited. I had already seen images from Nobody Wants This and also videos on TikTok, so I was excited about the plot of the story and the protagonists, Adam Brody and Kristen Bell, whom I knew from seeing them in different appearances in series and movies. It's a series with a lot of romance, drama, comedy, and also awkward moments that cause more laughter than discomfort, so I invite you to read my review.
La trama de la serie se enfoca en la historia de un hombre de religión judía llamado Noah (Adam Brody) y Joanne una mujer con una vida muy distinta a la de una persona dentro de una religión. Joanne tiene un podcast donde comparte encuentros con su hermana para hablar sobre la sexualidad y cualquier otro tema que tenga que ver con las relaciones de parejas y también uno que otro chisme que pueda interesar a los oyentes. Mientras que Noah está dedicado por completo a la religión, tiene encuentros dentro de una iglesia a la que asiste pero aún no tiene el rango más importante que es el que lo convertiría en el párroco principal y esto conlleva a una responsabilidad bastante grande con restricciones que tiene que considerar sobre todo después de encontrarse por casualidad con Joanne y que la química de ambos sea tan agradable. ¿Podría el amor ser más fuerte que cualquier religión o creencia, haría que dos personas como ellos pudieran estar juntos? ¿Que podrían imaginarse ustedes?
The plot of the series focuses on the story of a Jewish man named Noah (Adam Brody) and Joanne, a woman whose life is very different from that of a religious person. Joanne has a podcast where she shares encounters with her sister to talk about sexuality and any other topic related to relationships, as well as the occasional piece of gossip that may interest listeners. While Noah is completely devoted to religion, he has encounters within the church he attends but does not yet have the most important rank, which would make him the senior pastor. This comes with a great deal of responsibility and restrictions that he has to consider, especially after meeting Joanne by chance and finding that they have such good chemistry. Could love be stronger than any religion or belief, allowing two people like them to be together? What do you think?
La historia es bastante divertida porque va desde el comienzo contando como se conocen Joanne y Noah en el lugar menos inesperado y en el momento en el que ambos están en etapas de sus vidas muy diferentes. Sin embargo, dicen que el amor es ciego y hasta sordo, por lo que ambos empiezan a conocerse con la intención de ser amigos pero luego de que van teniendo más cercanía se dan cuenta de que hay sentimientos entre ellos que no pueden evitar. Los episodios son sumamente rápidos de ver, cada uno dura unos 25 minutos y el más largo dura unos 30 minutos que ya sería el episodio final de esta primera temporada.
The story is quite entertaining because it begins by recounting how Joanne and Noah meet in the most unexpected place and at a time when they are both at very different stages in their lives. However, they say that love is blind and even deaf, so they begin to get to know each other with the intention of being friends, but as they grow closer, they realize that there are feelings between them that they cannot avoid. The episodes are extremely quick to watch, each lasting about 25 minutes, with the longest lasting about 30 minutes, which is the final episode of this first season.
Quería ver está historia porque me gusta mucho la manera en la que actúa Adam Brody y su forma natural de ser en pantalla, con este papel podemos ver a un hombre que sabe muy bien lo que quiere que es convertirse en un ejemplo para la comunidad judía y para su familia que también es parte de esta religión, la cuestión es que antes de conocer a Joanne tenía muchas ideas de las cosas que podría hacer luego de que le dieran su cargo y lo bien que sería poder vivir de la manera en la que fue criado y en la religión que tanto cree con devoción. Pero Joanne está ahí con cada expresión sarcástica, con muchas imprudencias, con bastante chistes malos y con una forma de adentrarse en la vida de Noah que hace que sea difícil no querer estar junto a ella.
I wanted to see this story because I really like Adam Brody's acting and his natural on-screen presence. In this role, we see a man who knows exactly what he wants, which is to become a role model for the Jewish community and for his family, who are also part of this religion. The thing is, before he met Joanne, he had lots of ideas about the things he could do after being appointed to his position and how great it would be to live the way he was raised and according to the religion he believes in so devoutly. But Joanne is there with every sarcastic remark, with many reckless acts, with plenty of bad jokes, and with a way of getting into Noah's life that makes it hard not to want to be with her.
Kristen Bell es una mujer muy carismática, llena de energía y con una buena vida como Joanne, quien tiene una hermana increíble con la que comparte su vida y también su trabajo, ambas se divierten de maneras que nadie entendería más que ellas solas. Joanne es libre, dice lo que piensa sin importar mucho lo que otros digan y además tiene una familia bastante diferente a la de Noah, sus padres están separados y tiene una relación algo distante con ellos a pesar de que si salen en la serie y muestran cómo es la relación junto a ella. Ella tiene la forma perfecta de encajar con Noah aunque vengan de mundos diferentes, siento que los une la forma en la que cada uno desde sus diferencias comparten el respeto y el aprecio que van llegando a sentir.
Kristen Bell is a very charismatic woman, full of energy and with a good life as Joanne, who has an incredible sister with whom she shares her life and also her work. Both have fun in ways that no one else would understand but them. Joanne is free, she says what she thinks without caring much about what others say, and she also has a family that is quite different from Noah's. Her parents are separated, and she has a somewhat distant relationship with them, even though they appear in the series and show what their relationship with her is like. She is the perfect match for Noah, even though they come from different worlds. I feel that what unites them is the way in which, despite their differences, they share the respect and appreciation they come to feel for each other.
Se respeta en la serie mucho de la religión judía, muestran con detalle la vida de Noah y todas las cosas que se permiten y las que no en la religión, entre ellas que deben siempre ser ejemplo para los más jóvenes y las personas que son parte de esta religión y demostrar su amor hacia sus creencias. Podemos ver palabras que para mí fueron totalmente extrañas pero que se van explicando en la serie, también ceremonias y eventos de la religión judía. Todo esto hace que la serie se sienta más real con el tema de que Noah es parte de la religión judía y esto genere un contraste con la vida de Joanne.
The series shows a lot of respect for the Jewish religion, giving a detailed look at Noah's life and all the things that are and aren't allowed in the religion, including how they should always be role models for younger people and others who are part of this religion, showing their love for their beliefs. We see words that were completely foreign to me but are explained in the series, as well as ceremonies and events of the Jewish religion. All of this makes the series feel more real with the theme that Noah is part of the Jewish religion, creating a contrast with Joanne's life.
Hay muchos momentos de risas, de tensión y de chistes incómodos, siento que la química entre Adam Brody y Kristen Bell fue increíble en esta primera temporada estrenada en Netflix, además de que la historia no se siente pesada o exagerada, todo fluye de la mejor manera y es una forma bonita de ver cómo dos personas totalmente diferentes pueden llegan a coincidir y a amarse. Los otros personajes que son el hermano de Noah y su esposa, la hermana de Joanne, la ex de Noah hacen que la historia cobre mayor interés y te quedes viéndola hasta el último episodio.
There are many moments of laughter, tension, and awkward jokes. I feel that the chemistry between Adam Brody and Kristen Bell was incredible in this first season released on Netflix. In addition, the story doesn't feel heavy or exaggerated; everything flows perfectly, and it's a beautiful way to see how two totally different people can come together and fall in love. The other characters, Noah's brother and his wife, Joanne's sister, and Noah's ex, make the story even more interesting and keep you watching until the last episode.
Realmente disfrute mucho de ver está primera temporada, me sentí por primera vez contenta con una historia que a pesar de ser del género de comedia me enganchó tanto que la vi hasta el final. Todos los personajes tienen algo bueno que aportar y hacen que el drama dentro de la relación que se va formando entre Noah y Joanne sea más divertido y que genere siempre la expectativa de ver que podría pasar, sea algo bueno o malo. Son nueve episodios que se pueden ver en Netflix fácilmente en un día, si te gusta la comedia, el tema de las relaciones entre personas con diferencias como en este caso de religión y también conectas con estos actores, seguro que te gustara esta primera temporada de la serie. Ya estoy emocionada por la segunda temporada y expectante sobre que va a pasar en la vida de Joanne y Noah. 🫣💗
I really enjoyed watching this first season. For the first time, I felt happy with a story that, despite being a comedy, hooked me so much that I watched it until the end. All the characters have something good to contribute and make the drama within the relationship that is forming between Noah and Joanne more fun and always generate the expectation of seeing what could happen, whether good or bad. There are nine episodes that you can easily watch on Netflix in one day. If you like comedy, the theme of relationships between people with differences, such as in this case religion, and you also connect with these actors, you will surely like this first season of the series. I am already excited for the second season and looking forward to seeing what will happen in Joanne and Noah's lives. 🫣💗
Trailer Oficial - Temporada 1
Espero que les gustara este post, también me gustaría que me dejen sus comentarios; con gusto los leeré y responderé. Un abrazo grande. 🤗
I hope you liked this post, and I would also like you to leave me your comments; I will gladly read them and will respond to them. Big hugs. 🤗
Todo el texto de esta publicación es de mi autoría - All the text in this publication is my own.
Los banners y el separador de texto fueron editados con la versión gratuita de Canva y PicsArt - The banners and the text separator were edited with the free version of Canva and PicsArt.
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Written by: Melinda M. Snodgrass
Directed by: Winrich Kolbe
Running Time: 45 minutes
Within the vast, meticulously charted expanse of Star Trek: The Next Generation’s legacy, where episodes like The Best of Both Worlds or Darmok command near-mythical status among a deeply invested fandom, it is an almost inevitable consequence that certain installments, which might have shone brightly as classics in the more modest context of The Original Series or even TNG’s own formative first season, gradually sink into comparative obscurity. Season 2’s Pen Pals stands as a prime exemplar of this phenomenon – an episode possessing a compelling core concept and moments of genuine merit, yet one whose reputation has, perhaps somewhat unjustly given its ambitions, faded significantly over time.
The narrative premise is undeniably intriguing. The Enterprise-D arrives in the Selcundi Drema sector to investigate the disturbing geological disintegration of multiple planets. Acting on Commander Riker’s suggestion, Captain Picard grants Ensign Wesley Crusher his first significant command opportunity: to lead a scientific team studying the phenomenon. This assignment serves as a crucial milestone for Wesley, acutely aware of the weight of responsibility resting on his young shoulders. Mentored subtly by Riker, he deals with the complexities of command with commendable competence.
Simultaneously, Lieutenant Commander Data, having spent weeks painstakingly refining the ship’s sensor array, detects an anomalous radio frequency emanating from the doomed planet Drema IV. It is a simple, plaintive cry for contact – "Is anybody out there?" – transmitted by Sarjenka (a young Nikki Cox), a child belonging to a pre-warp civilisation. Data’s terse but profound reply – "Yes" – ignites a clandestine correspondence that rapidly evolves into a genuine, albeit unconventional, friendship. The ethical dilemma intensifies when it becomes clear Drema IV faces imminent destruction. Picard, bound by the sacrosanct Prime Directive prohibiting interference with developing cultures, initially refuses intervention, even ordering Data to sever all contact. The situation escalates further when Wesley’s team identifies massive, unstable dilithium deposits as the root cause of the planetary disintegration, offering a potential solution but deepening the moral quandary.
The episode’s genesis held significant promise. Conceived by Hannah Louise Shearer and enthusiastically championed by producer Maurice Hurley, it aimed to explore two potent Trek themes: Data’s ongoing, poignant journey towards understanding humanity through his connection with Sarjenka, and a rigorous examination of the Prime Directive’s often brutal practical implications. Entrusting the script to Melinda Snodgrass, the acclaimed writer behind the undisputed classic The Measure of a Man, suggested a level of ambition that should have yielded profound results. Yet, Pen Pals ultimately fails to capitalise on this potential, its shortcomings largely attributable to a script that lacks narrative focus and tonal consistency. The burgeoning relationship between Data and Sarjenka, the episode’s emotional core, develops over weeks with inexplicable secrecy; one struggles to believe such prolonged, unauthorised communication by a senior officer, involving a child on an alien world, would go entirely unnoticed by the ship’s vigilant command structure beyond Data himself. Sarjenka’s physical appearance is also frustratingly delayed, diminishing the emotional investment. Compounding this, the Wesley subplot, while showcasing his maturation, feels disproportionately weighted. For many viewers already fatigued by the "Wesley Saves the Day" trope, his pivotal role in diagnosing the dilithium crisis risks overshadowing the more compelling ethical drama, further fragmenting the narrative.
Snodgrass’s script occasionally veers into sentimentality, particularly in Data’s interactions, where his behaviour sometimes crosses from endearing curiosity into territory that feels too human, undermining the very essence of his character’s struggle. The inclusion of Picard riding a horse in the holodeck – a scene shot on location at the Thousand Oaks ranch – feels like transparent fan service and a concession to production limitations rather than meaningful character development, adding little beyond superficial spectacle.
Despite the evident disappointment expressed later by Hurley and director Winrich Kolbe regarding the final product, the episode does possess notable strengths. The alien prosthetics for Sarjenka are genuinely impressive for 1989, creating a humanoid yet convincingly non-human appearance that avoids the pitfalls of many contemporary Trek aliens. Unfortunately, the complexity and cost of this makeup restricted its use, resulting in the rather unconvincing narrative device of Sarjenka being seemingly the only member of her race depicted, isolated from her family for the sake of the plot. Nikki Cox, enduring the arduous application process as a child, delivers a brave and affecting performance that belied her years and undoubtedly helped launch her subsequent successful adult career, notably in Las Vegas.
One scene, however, stands out as a near-perfect distillation of TNG’s ethical gravitas. The ready room debate, where Picard wrestles with Sarjenka’s fate, is exceptionally directed and acted. Dr. Pulaski, a character initially divisive among fans, delivers a passionate, humane plea that cuts through the rigid application of the Prime Directive. This moment is pivotal, showcasing Diana Muldaur’s nuanced performance and likely winning over many viewers previously sceptical of the doctor’s character. It is the dramatic heart of the episode, demonstrating the potential that lay within the script.
Ultimately, Pen Pals is a frustrating near-miss. Its fundamental premise – exploring the collision between cold principle and compassionate intervention through Data’s unique perspective – is rich with dramatic and philosophical potential, worthy of the series’ highest echelons. Strong individual elements, including Cox’s performance, the thoughtful Pulaski scene, and the effective alien design, offer glimpses of what might have been. However, the narrative’s critical flaw lies in its unfocused execution. The script dilutes its central ethical dilemma with an over-emphasis on Wesley’s command trial, introduces logistical inconsistencies regarding the secrecy of Data’s communications, and occasionally succumbs to tonal missteps that undermine Data’s characterisation. While it avoids the pitfalls of being actively bad, it lacks the laser focus, thematic depth, and seamless integration of character and concept that define TNG’s true classics.
¡Hola amigos! Seguimos con las películas de terror en este mes de octubre, hoy les traigo la reseña acerca de un film que me sorprendió bastante por su forma de presentar los hechos y lo atrapante de la trama. Les estoy hablando de Weapons.
Hello, friends! We continue with horror movies this October. Today, I bring you a review of a film that surprised me quite a bit with its presentation of events and captivating plot. I'm talking about Weapons.
La historia gira en torno a unos niños de una escuela que desaparecieron todos la misma noche a la misma hora, menos uno de ellos. Esa mañana fue el único que se presentó a clases conmocionando a todos. Nadie sabe qué pasó con los otros niños, la comunidad está muy conmovida por lo sucedido, la única pista son algunas cámaras que captaron a los niños corriendo solos hacia la oscuridad de la noche. La sospechosa principal, según los padres, es la maestra que es acusada de haber hecho brujería con ellos. Mientras tanto, no están poniendo el foco en donde deberían y cuando lo hagan quizá sea tarde para despertar.
The story revolves around a group of schoolchildren who all disappeared on the same night at the same time, except for one of them. That morning, he was the only one who showed up for class, shocking everyone. No one knows what happened to the other children, and the community is deeply affected by the incident. The only clue is some camera footage showing the children running alone into the darkness of the night. According to the parents, the main suspect is the teacher, who is accused of having cast a spell on them. Meanwhile, they are not focusing their attention where they should, and by the time they do, it may be too late to wake up.
Una película bastante peculiar, está dividida en varios puntos de vista de diversos personajes que aparecen en la historia que nos harán conocer y llegar al fondo del asunto. Me gustó esta manera de contar la trama, la hizo interesante y ayudó a entender mejor a cada personaje que fue parte de la trama. También me encantó la manera de relatar los hechos al comienzo con la voz en off de un niño contando lo que había sucedido hasta ese momento y lo mismo al final.
A rather peculiar film, it is divided into several points of view from different characters who appear in the story, allowing us to get to know them and get to the bottom of the matter. I liked this way of telling the story; it made it interesting and helped me to better understand each character that was part of the plot. I also loved the way the events were recounted at the beginning with the voice-over of a child telling what had happened up to that point, and the same at the end.
Me pareció una película entretenida y misteriosa, con bastante suspenso por momentos más que escenas de terror, pero este apareció en algunas partes. Quizá me pareció un tanto rebuscado el asunto, aunque me gustó que se tratara de una película que trate sobre la brujería. No es muy profunda, ni tiene mucha explicación. No van a encontrar una obra maestra acá, pero se deja ver y está buena. A mí me gustó mucho, me mantuvo enganchada intentando descifrar cómo iba a terminar todo porque parecía no tener mucha solución.
I found it to be an entertaining and mysterious film, with more suspense than horror scenes, although there were some scary moments. Perhaps I found the plot a bit far-fetched, although I liked that it was a film about witchcraft. It's not very deep, nor does it offer much explanation. You won't find a masterpiece here, but it's watchable and enjoyable. I liked it a lot; it kept me hooked, trying to figure out how it was all going to end because it didn't seem to have much of a solution.
Tampoco entendí ciertas actitudes de padres de algunos niños y la comunidad en sí, es un lugar pequeño en el que desaparecieron 17 niños, o sea, hay 17 familias que perdieron un hijo o una hija y no se vio esa desesperación por encontrarlos, quiero decir, entiendo que no es una película dramática, pero me hubiera gustado que fuera más real en ese sentido. Es más, había un hombre, un único padre que fue al que se lo vio más vulnerable, intentando investigar por sus propios medios y se lo veía muy afligido por la desaparecieron de su hijo. Incluso dormía todas las noches en el cuarto del niño y en una ocasión fue juzgado por su esposa, o no se qué es lo que era, de que se la pasaba deprimido. Y sí, desapareció su hijo y no sabe nada, me parece que tiene todo el derecho de estar mal y no poder superar el tema. Esas cosas no me gustaron para nada la verdad. No se sintió muy realista o es como si estuvieran faltos de alma. Pero bueno.
I also didn't understand certain attitudes of some of the children's parents and the community itself. It's a small place where 17 children disappeared, meaning there are 17 families who lost a son or daughter, and you didn't see that desperation to find them. I mean, I understand that it's not a dramatic film, but I would have liked it to be more realistic in that sense. What's more, there was one man, a single father, who seemed the most vulnerable, trying to investigate on his own and looking very distressed by his son's disappearance. He even slept in his son's room every night and on one occasion was judged by his wife, or I don't know what it was, for being depressed all the time. And yes, his son disappeared and he knows nothing, I think he has every right to feel bad and not be able to get over it. I didn't like those things at all, to be honest. It didn't feel very realistic, or it's as if they were soulless. But anyway.
Creo que tuvo un final acorde y eso me gustó, no fue esperanzador, pero tampoco tan pesimista, tuvo la cuota justa de lo que dejó la historia. Aunque creo que tampoco se entendió muy bien lo que pasó y uno pensaría que como el mal ya estaba desterrado, por decirlo de alguna manera, las cosas iban a volver a la normalidad, pero parece que estaba equivocada. Igual me gustó, una historia de terror no tiene porque tener un final totalmente feliz. Pero me hubiera gustado tener una mejor explicación acerca de cómo funcionaba la magia o de dónde salió la bruja y por qué el niño fue capaz de manipularla haciendo lo mismo que le vio hacer a ella. Me dejó pensando mucho en esto.
I think it had a fitting ending, and I liked that. It wasn't hopeful, but it wasn't overly pessimistic either; it had just the right amount of what the story left behind. Although I don't think it was very clear what happened, and one would think that since evil had been banished, so to speak, things would return to normal, but it seems I was wrong. Still, I liked it. A horror story doesn't have to have a totally happy ending. But I would have liked a better explanation of how the magic worked, where the witch came from, and why the boy was able to manipulate her by doing the same thing he saw her do. It left me thinking about it a lot.
Como les dije, no es un mal film, al contrario. Sin embargo, si nos ponemos a analizarlo hay cosas que no se logran entender. Igual es una película ideal para ver en estas fechas y dejarse seducir un poco por la magia negra ah. Está más que recomendada por mi parte.
As I said, it's not a bad film, quite the contrary. However, if we analyze it, there are things that are difficult to understand. Still, it's an ideal film to watch at this time of year and let yourself be seduced a little by black magic. I highly recommend it.
Bueno amigos, hasta acá mi opinión acerca de esta película. Espero que les haya gustado y los animo a verla si les llama la atención. Si ya la vieron me encantaría saber qué les pareció.
Gracias por llegar hasta acá y apoyar mi contenido.
¡Hasta la próxima!
Well, friends, that's my opinion about this movie. I hope you liked it, and I encourage you to watch it if it catches your attention. If you've already seen it, I'd love to hear what you thought.
Thank you for reading and supporting my content.
See you next time!
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When i first saw this movie flyer i was like "Y'all better have Tron himself show up, last we saw of him was in Legacy where he fell into the digital sea after regaining his program."
Oh man, watching Tron: Ares felt like stepping into a neon-drenched dream you were told would be epic… only to wake up halfway through wondering whether all that glow was just a reflection of something empty inside. From the moment the film opens—with slick light cycles tearing through rain-slick streets, red and blue trails cutting into darkness—you’re hit with the sensory overload: music by Nine Inch Nails pounding like a second heartbeat, visuals that feel like a circuit board come alive. But as much as it dazzled, it also left me strangely cold.
The story begins 15 years after the previous grid-adventure: two giant tech firms, ENCOM and Dillinger Systems, competing to introduce digital constructs into physical space. It is high-concept and it sounds that way. Or there is the “Permanence Code” by Kevin Flynn (here again Jeff Bridges, making a slick appearance) which can give the objects of the virtual world physical existence in the real world, but only 29 minutes before they turn to ashes. Then we have Ares (played by Jared Leto), a program sent by the Grid to do havoc, but who strangely begins to feel. And some time I bent forward and wondered how an AI can find humanity.
It has one great opening scene. This is the initial appearance of Ares in our world. He looks over at the raindrops on his arm and then lifts his arm and observes the drops come off it as they should not belong to him. That silent scene led me to suspend my breath- because it had the effect of letting the movie pose: What becomes someone like this when he/she feels? And some time--I believed in such question. I believed in Ares.
And now the mech-plot of the studio takes over. Julian Dillinger (Evan Peters) desires this technology to be weaponized. Eve Kim (Greta Lee) desires that it be based on hope. It has political intrigue, corporate betrayal, digital armies, laser stunts and chases on light cycles that should fall so hard yet seem to fall so softly. I sat in the spectacle, and was delighted at the sight of it--those light-cycles glittering through city streets of blackness, the Grid oozing into reality--then I continued to wait patiently the emotional referent.
And there I thought the movie had failed me. And there is so much going on, and so little that is sticking. The character arcs were thin. The awakening to emotion in Ares is interesting on paper, but in practice I was left asking myself: why do I care? The supporting characters were like props. The novel hurried itself to great scenes--without allowing the great scenes ample breathing time. Critics say: The film is visually spectacular, programmatic in storytelling.
Nevertheless, I cannot lament about everything. The Nine Inch Nails score comes down heavy. The structure, the cinematography of it--they are a banquet. I leaned into those parts. However, each time the feeling was to be felt--each time Ares was to be more than a smooth shell--a faint dislocation occurred in me. It was struck by one user in Reddit: “Good pictures... so what is the point of that when there is no urgency or gravity to any of the pictures?
At the last act we are speeding away to lasered cities, digital worlds breaking down, the destiny of both human and program in the air. Ares chooses. Eve sacrifices. The permanence code turns out to be hope and curse. The passages are enormous, and the reward made me speechless, rather than breathless. there should have been some scenes of hubris and fall--of the creation spun round to its destruction--but instead I found myself in that bit I had experienced so early on, of dripping rain on the arm of Ares.
and later, coming out of the theater, I found myself divided. On the one hand I had got a big screen IMAX ride: heart stopping beats, lights. I was a bit vacant on the other hand. I mean, the film is not a bad one. It is fantastic in its sensual desires. It is also a reminder that spectacle in the absence of soul is a hollow echo. The story develops interesting ideas, but the conclusion is not proper and unfinished, as the reviewer of Roger Ebert remarked.
In the end, Tron: Ares made me feel like a program looking for purpose in a code-heavy world. It showed me a future where AI blends with flesh, where corporations build gods out of laser light—but it didn’t fully convince me why any of it matters. I walked away dazzled by the neon, moved by the music, but craving that human heart the visuals promised. If you’re searching for big sci-fi flash, this has it. If you’re seeking truth, emotional ruin, and character that breathes beneath light-trails—well, you might still be watching the credits roll.
Forced to balance their roles as heroes with the strength of their family bond, the Fantastic Four must defend Earth against an insatiable cosmic god named Galactus and his enigmatic herald, the Silver Surfer. But does Marvel’s latest creation truly deliver?
🟢🟢🟢🟢
The overall production design and retro-futuristic aesthetic were visually stunning.
Vanessa Kirby as Sue Storm was, in my opinion, the heart and soul of the team.
Pedro Pascal was also a solid choice as Mr. Fantastic.
Galactus, though I was initially skeptical, turned out to be quite menacing.
The depiction of the Silver Surfer was nicely done.
The first encounter between the Fantastic Four and Galactus in space looked fantastic.
It’s an enjoyable and easy watch.
The film focuses on the characters and the family dynamic at its core.
Great chemistry among the four.
Good pacing.
Excellent soundtrack.
Very solid visual effects (for the most part).
🔴🔴🔴🔴
The CGI baby felt a bit off.
Joseph Quinn, though a talented actor, didn’t quite fit the role of Johnny.
The Thing was well-designed, but didn’t have much to do story-wise.
The script is rather simple, with a few plot holes — though they didn’t really bother me.
Some said it lacks action — true, but what bothered me more was that it doesn’t fully showcase the visual potential of their powers.
It’s missing that one “wow” scene that makes a superhero film stand out.
Fight or Flight
A former secret agent is assigned to locate a high-profile international target aboard a plane — but ends up having to protect him when they’re both surrounded by people who want them dead. Surprisingly, it’s better than I expected… just don’t go in with high expectations.
🟢🟢🟢🟢
Josh Hartnett’s performance was a pleasant surprise — he’s genuinely entertaining.
Well-choreographed fight scenes that keep you hooked.
Plenty of blood 🩸 — and I mean plenty.
Easy and enjoyable to watch.
It doesn’t take itself too seriously, which is part of its charm.
Humor is well-balanced throughout.
There’s one trippy, anarchic, over-the-top sequence that’s pure fun to watch.
🔴🔴🔴🔴
The script is simple, predictable, even formulaic 🤷♂️.
Apart from Hartnett, the rest of the cast doesn’t really live up to expectations.
It constantly feels like a low-budget imitation of Bullet Train — but on a plane ✈️ and far less ambitious.
Lacks that cinematic polish — it gives off more of a TV-movie vibe (though it didn’t really bother me).
Me gustan los juegos de mesa, y recuerdo que de niño tuve mi época de aficionado al ajedrez, de alguna manera esta película me recordó esos días. Se estrenó en 1993, siendo su director Steven Zaillian.
I like board games, and I remember that as a child I went through a phase of being a chess enthusiast. In a way, this film reminded me of those days. It was released in 1993 and directed by Steven Zaillian.
Sinopsis: Josh Waitzkin es un niño que tras ver de manera reiterada partidas de ajedrez en un parque, comienza a gustar del juego, mostrando una gran habilidad. Su padre, al enterarse del don de su hijo, decide buscarle un maestro y potenciar su posible futuro como un gran ajedrecista.
Synopsis: Josh Waitzkin is a boy who, after repeatedly watching chess games in a park, begins to enjoy the game and shows great skill. His father, upon learning of his son's gift, decides to find him a teacher and promote his potential future as a great chess player.
La trama muestra el rumbo que puede seguir cualquier niño que tiene una gran habilidad con algo, y que si bien puede parecer que partes con ventaja, no es tan sencillo, pues para ello tendrás una vida condicionada a seguir rutinas estrictas, superar derrotas e inclusive sufrir las expectativas de tus familiares.
The plot shows the path that any child who is highly skilled at something can follow, and that although it may seem like you have an advantage, it is not so simple, because to do so you will have a life conditioned to follow strict routines, overcome defeats, and even suffer the expectations of your family.
La trama es lineal y vemos eventos como: el descubrimiento del don de Josh, el conseguir un maestro, el participar en torneos y la clásica valla que debe superar el protagonista, superado por sus circunstancias. Ver a niños siendo presionados por padres en escenarios competitivos, no es algo que deje de ser actualidad, es algo que deja secuelas en ellos.
The plot is linear, and we see events such as the discovery of Josh's gift, finding a teacher, participating in tournaments, and the classic hurdle that the protagonist must overcome, overcome by his circumstances. Seeing children being pressured by parents in competitive settings is not something that is no longer relevant today; it is something that leaves scars on them.
También se hace varias referencias a Bobby Fischer, el gran ajedrecista americano, que luego de ganar el Mundial de ajedrez desapareció, y que de alguna manera afectó al devenir del juego en USA, donde se buscaba un reemplazo en los nuevos niños talentosos.
There are also several references to Bobby Fischer, the great American chess player who disappeared after winning the World Chess Championship, which somehow affected the future of the game in the US, where a replacement was sought among talented new children.
La película condensa bien sus eventos, no perdiendo ritmo, aunque claro, para hacer interesantes juegos de ajedrez al público general, se usa bastante la edición y fotografía. La actuación es destacable, en especial el realizado por el pequeño Max Pomeranc dando vida a Josh. La música hace un buen acompañamiento.
The film condenses its events well, without losing pace, although of course, to make chess games interesting to the general public, editing and photography are used extensively. The acting is remarkable, especially that of little Max Pomeranc, who brings Josh to life. The music provides a good accompaniment.
Las películas de juegos de mesa, ya son un género favorito para mi, y esta película es un gran añadido a lo ya visto. Recomendable.
Board game movies are already a favorite genre of mine, and this film is a great addition to what I've seen so far. Highly recommended.
It has finally happened. The Star Wars film not only underperformed but, judging by its commercial results, represented an undeniable and undisputed flop. That failure was quite significant, considering Disney, today’s most powerful global studio, had poured hundreds of millions of dollars into it, which cinema audiences failed to recoup. Such an outcome would have been unimaginable just a few years earlier, thanks to Star Wars being, perhaps not the longest-running, but undoubtedly the largest media franchise, having transformed over less than half a century into an institution of global popular culture with the most extensive and fanatical fanbase, which turned even the otherwise disappointing prequel trilogy into a major triumph. Solo’s failure, however, is not particularly surprising today. The greatest credit for this goes to The Last Jedi, the final film of the official trilogy, which represented the series’ most profound disappointment for fans and prompted many of them to become critics who would tear apart new Star Wars instalments with the fervour of recent religious converts. To this must naturally be added the now rather justified fears that George Lucas, creator of the original series, by selling the rights to Disney, had placed his magnum opus in the hands of a greedy yet soulless corporation that neither understands nor respects it, and which, in its ruthless pursuit of profit, is prepared to transform it beyond recognition. Among the symptoms of these “new” Star Wars films were plans for prequels or spin-offs dedicated to individual characters or minor events from the original trilogy. After the acclaimed Rogue One, it was time for Solo, focusing on Han Solo, likely the most popular character across the entire franchise, depicting his youthful years in a film simply titled Solo.
Harrison Ford, at seventy-five, was definitively too old to portray this role, and CGI technology was insufficiently advanced to “de-age” him convincingly. Thus, the part was entrusted to Ford’s forty-seven-years-younger counterpart, Alden Ehrenreich. The plot begins on Corellia, an industrial planet renowned for shipbuilding but whose dark streets are ruled by a criminal underworld often forcing even children into its service. Among them was the now-adult Solo, who decides to rob his employers and flee with his girlfriend Qi’ra (Emilia Clarke) to start a new life. He fails, however, and Qi’ra remains stranded on Corellia while Solo is forced to join the Imperial fleet as a pilot trainee. Three years later, expelled from the Academy for insubordination and reassigned to the infantry, he stumbles upon a gang of criminals led by Tobias Beckett (Woody Harrelson), who have assumed the identities of Imperial shock troopers intending to exploit them for a heist targeting coaxium, a legendary valuable spacecraft fuel. Solo joins them and meets a Wookiee named Chewbacca (Joonas Suotamo). The first heist attempt fails, leaving the gang in trouble since the entire operation was on behalf of Dryden Vos (Paul Bettany), head of the powerful criminal organisation Crimson Dawn. Vos, in whose company Solo is greatly surprised to find Qi’ra, agrees to an alternative plan: extracting unrefined and highly volatile coaxium from the planet Kessel and transporting it along a perilous asteroid route to a refinery on Savareen. For this, a spacecraft resembling the Millennium Falcon is required, owned by Lando Calrissian (Donald Glover).
Much like Rogue One, Solo had, months before its premiere, become the subject of alarming production difficulties. This included Disney producers uncomfortably enlisting a special acting coach for Ehrenreich, reportedly struggling intensely to capture Ford’s mannerisms. Worse still was the decision to dismiss directors Phil Lord and Christopher Miller from the set following fierce clashes with the screenwriting duo of Lawrence Kasdan (renowned for The Empire Strikes Back, the franchise’s finest film) and his son Jake. Ron Howard, a reliable Hollywood veteran, was brought in as a replacement and ultimately had to reshoot numerous scenes. All this boded poorly, and fears largely proved justified, though Solo is actually not as bad a film as its commercial failure or the bile fanatical Star Wars fans spill online might suggest.
The main issue with Solo, of course, lies in its very concept—the expectation that an audience devoted for decades to Harrison Ford’s incarnation of the character would accept it embodied by the young Ehrenreich, who, regardless of what anyone may refuse to admit, lacks Ford’s charm and charisma. Star Trek successfully weathered the transition to a younger cast because its foundation lay in the concept rather than an iconically cultural character. Solo could not overcome this hurdle from the outset and was doomed to become merely a curiosity—or a kind of fan film backed by hundreds of millions of dollars. The Kasdans’ screenwriting duo manages the ungrateful task of crafting an exciting story from apocryphal, casually mentioned details of Solo’s youth with some degree of competence, though not always successfully. Particularly disappointing is the explanation of how Han Solo acquired his name, and his character undergoes no convincing transformation from naive youth to charming antihero. On the other hand, Solo features several engaging action sequences, and its finale refreshingly avoids succumbing to unnecessary spectacle and CGI excess, offering the audience several intriguing plot twists. Unlike the pale performance of Ehrenreich, the rest of the cast proves lively enough to carry the film, breathing life into characters that might otherwise have been quickly forgotten—this applies both to Harrelson and Bettany, who delivers one of the franchise’s most impressive villains. Direction, however, remains problematic throughout much of the film, particularly regarding cinematography, which is frequently too dark.
The film is often saved by scenes or characters that unintentionally provoke laughter. An interesting detail is the Mimban battle sequence, whose atmosphere may remind some viewers of World War One. Nevertheless, the most striking aspect of Solo is undoubtedly the character of the socially engaged droid L3-37, who seizes every opportunity to voice dissent against the oppression of marginalised groups, whose revolutionary act inadvertently triggers a series of spectacular yet perilous events for the other characters. Some critics considered L3-37 a reflection of producer Kathleen Kennedy’s publicly stated efforts to align Star Wars with contemporary moral, political, and other standards of Hollywood’s salon left-wingers, but in reality, this character became a parody of everything nowadays encapsulated by the acronym SJW. That Solo will be remembered for its fanatical droid rather than its main character is one of many explanations for why the film failed and why the future of Star Wars seems far darker than anyone could have imagined just a few years earlier.
RATING: 5/10 (++)
(Note: The text in the original Croatian version is available here.)
I was kind of surprised to have finished watching this series to look over at the reviews and found out that almost all professional reviewers of this series gave it very low marks.
Despite being a fan of horror films for a very long time I had never heard of Ed Gein who apparently was the inspiration behind Psycho, The Texas Chainsaw Massacre and other films as well. Unlike those stories though, Ed Gein was a real person who did cut skin off of people and "wear them."
He was an unusual criminal in that he didn't see anything wrong with what he was doing and when busted by the police he didn't run, didn't fight, didn't do anything other than tell them exactly what had happened. Along the way though, he was a very violent person at times but also very kind in others. A true psychopath if you will.
The series does a pretty decent job showcasing this and how his relationship with his mother is what got it all started, or at least that is what the story would have us believe.
While Ed is a bit strange, he is polite and even generously helpful to other people in his small Wisconsin town. I think the idea here is that when someone would go missing, the last person that anyone would suspect is the mild-mannered farm boy who for the most part keeps to himself, is always very well-groomed, and will help people in need.
The fact that he shot people and dragged them off to his barn so that he could remove their body parts to wear as masks was something that of course is truly awful and difficult to understand the mind of a person that would do that. But to Gein, this was just a hobby and for whatever reason, it never registered to him that this is something that you definitely shouldn't do.
While I found the show to be very tense and entertaining, I guess I can understand why some of the critics would state that it was overly graphic and bordered on being a cheesy slasher gore flick rather than some sort of dramatic representation of a truly awful person. Towards the end of it they almost seem to romanticize his life and maybe that is what ticked off many of the professional critics.
Critics also stated that the number of side stories, such as how his life inspired many film-makers, were a distraction from the actual story of his life. Most of them would admit that they did enjoy that part of the series, but could have done without the extra stuff such as an entire episode where Alfred Hitchcock has more screentime than Ed Gein does.
As is often the case though, the critics and regular viewers differ quite a lot in their opines but overall it seems as though most people didn't enjoy this series nearly as much as I did.
perhaps I enjoyed it so much more than the average person because I had no idea that Ed Gein was a real person and I knew nothing of his existence or history. At one point I had to look up to make sure that this wasn't another "true story" the likes what the Coens did to me with the Fargo series.
But if we are looking at reviews it is worth noting that on IMDB this series has a 7.8 out of 10 so what gives? I know that both of these sites are rigged to some degree but this is the first time I have seen a discrepancy this high between the two big ones.
At first I was upset at Charlie Hunnam's portrayal of Ed Gein because his voice is so high pitched and difficult to hear that I had to turn on the subtitles, but then I later found out that this is actually how the real Ed Gein sounded, so I guess I can say, well done to you Charlie.
Critics claimed that the series was too long and I'm not going to argue with that. Like a lot of things that Netflix does, this thing was more than double the length that it actually needed to be. For me though this was actually fine because again, I had no idea about the man's life and to me it was kind of surprising the very high level of freedom that he had at the mental institution including having unsupervised access to things that definitely could be considered weapons such as scissors and not the plastic edged ones that you would let children use in elementary school either.
Should I watch it?
It depends. If you enjoyed the jeffrey Dahmer Story that was made by the same people I think you will like this one too. It does move a bit slower and just like the critics said, it focuses on the impact that Gein had on horror cinema culture a bit too much but I guess that was just a creative decision that didn't go over too well. If there is one way to piss off a self-absorbed movie-critic it would be to make definitive statements about the origin of cinema.
I liked it, but the gore factor is definitely there and there are some very shocking and gross moments in it as well. This is definitely not something you want to watch with the kiddos because it is of a very depraved sexual nature as well.
I found it entertaining and informative although I can kind of agree with the critics that the "side missions" detract from the real story here which should be the actual life of the actual person in question. Perhaps it is because not a great deal is actually known about Ed Gein that they decided to go this route.
I say give it a shot (if you are an adult) and let the first couple of episodes make that choice for you.
currently, the only legal way to watch this is with a standard Netflix subscription
Conocedor de Futbol y las MMA pero malo practicando deportes, me gusta las peliculas y series por eso ahora..."Soy critico de Cine". Viviendo en Venezuela
El pasado domingo se dio inicio a una de las producciones originales de HBO que más quería ver en el año, me refiero a "It: Welcome to Derry", serie basada en la novela llamada "IT", escrita por Stephen King a mediados de los 80' y que nos dio a conocer a uno de los míticos villanos tanto en la literatura como en la TV y en el cine; justamente en la versión cinematográfica de esa historia que se dividió en dos capítulos, nos presentó una versión del demoníaco payaso a la cual no generó una aceptación inmediata, pero el trabajo realizado por Andy Muschietti en la dirección y con historias escritas por Chase Palmer, Cary Fukunaga y Gary Dauberman, presentó a nuevas generaciones esta maravillosa historia en donde primeramente un grupo de niños y después en su etapa adulta, deberán enfrentar a todos sus miedos representado por el atemorizante "Pennywise". Todo el éxito de ambas películas hizo que, después de finalizar esta gran historia, lo que falta por profundizar era relatar una historia de origen del apetito de un ente maligno que usa a un pueblo para sumergirlo en el terror y así obtener un sin fin de alimento infantil.
Last Sunday saw the premiere of one of the HBO original productions I was most looking forward to seeing this year, namely "It: Welcome to Derry", a series based on the novel of the same name written by Stephen King in the mid-1980s, which introduced us to one of the most legendary villains in literature, television, and film. It was precisely in the film version of that story, which was divided into two chapters, that we were introduced to a version of the demonic clown that did not generate immediate acceptance, but the work done by Andy Muschietti in the direction and with stories written by Chase Palmer, Cary Fukunaga and Gary Dauberman, introduced new generations to this wonderful story in which first a group of children and then, in their adult stage, must face all their fears represented by the terrifying "Pennywise." The success of both films meant that, after finishing this great story, what remained to be explored was the origin story of the appetite of an evil entity that uses a town to plunge it into terror and thus obtain an endless supply of child food.
Un factor atrayente y más que positivo es que está serie cuenta con la dirección de Muschietti quien también cumple como productor junto a su esposa Barbara y el necesario retorno de Bill Skarsgård como "Pennywise"; a todo eso sumo que la historia se enfoque en el enfrentamiento entre niños contra el Payaso Bailarín, lo cual aprecio porque de las dos películas, disfrute mucho más la primera en dónde creo que se hace un mejor desarrollo de historia así como mejor balance entre el terror, drama y humor y mis expectativas estaban dirigidas sobre si esas características hacen presenciales en esta nueva historia basada en ese clásico del terror.
An appealing and very positive factor is that this series is directed by Muschietti, who also serves as producer alongside his wife Barbara, and features the welcome return of Bill Skarsgård as Pennywise. I would add to all this that the story focuses on the confrontation between children and the Dancing Clown, which I appreciate because of the two films, I enjoyed the first one much more, where I think there is better story development as well as a better balance between horror, drama, and humor, and my expectations were focused on whether those characteristics would be present in this new story based on that horror classic.
Enfocándome en lo que fue el primer episodio el cual recibió como título "The Pilot", como es de esperar propone las bases para esta nueva historia que se desarrolla en Derry, Maine en los 60'; en esta oportunidad el pueblo.es hermoso, pacífico y posiblemente eso se deba que posiblemente no está tan influenciado completamente por la maldad, aunque si hay demostraciones, en niños y adultos lo cual considero que es necesario para generar a las predilectas víctimas del hambriento payaso; justamente pienso que ese será la historia a relatar en esta serie, ir viendo como el poder de Pennywise va creciendo, desarrollándose e influyendo a todo una población hasta alcanzar el dominio que se observa en las dos películas y creo que es eso lo que me fascina no solamente del primer episodio, sino de todo lo que puede ofrecer la serie en sus próximos episodios en dónde tuve la sensación errónea de pensar que tendría un desarrollo lento, pero al finalizar el primer episodio, estoy seguro de que había una gran necesidad de crear un fuerte impacto.
Focusing on the first episode, titled "The Pilot," as expected, it lays the foundation for this new story set in Derry, Maine, in the 1960s. This time, the town is beautiful and peaceful, possibly because it is not yet completely influenced by evil, although there are signs of it in children and adults, which I believe is necessary to create the favorite victims of the hungry clown. I think that will be the story told in this series, to see how Pennywise's power grows, develops, and influences an entire population until it reaches the dominance seen in the two films. I think that's what fascinates me not only about the first episode, but about everything the series has to offer in its upcoming episodes. I had the mistaken impression that it would develop slowly, but after finishing the first episode, I'm sure there was a great need to create a strong impact.
Me gusta mucho que la historia se desarrolla en los 60' porque eso invita a que las escenografías y filtros de cámara funcionen como una máquina del tiempo y nos traslade a esa época; yo no nací en 1960, pero la gran cantidad de producciones televisivas que pude ver de ese tiempo, me invita a relacionar lo que he visto en otras series y lo que sucede en esta y es que no es solamente la vestimenta, los autos, show televisivos, películas y comics de la época, es los modales, la manera de hablar y de como los niños enfrentan su cambio a la adolescencia, ese es un tema importante en esta historia y por supuesto no podía faltar al estar representando en personajes que están muy bien escritos y que cumplen con los requisitos fundamental de ser considerados como "The Losers Club" en esta historia, son curiosos, inteligentes, divertidos, demuestran que son buenas personas, pero también demuestran mucha inocencia lo cual puede ser peligroso al enfrentarse a un ente sobrenatural.
I really like that the story takes place in the 1960s because that allows the sets and camera filters to function as a time machine and transport us back to that era. I wasn't born in 1960, but the large number of television productions I was able to watch from that time invites me to relate what I've seen in other series to what happens in this one. It's not just the clothes, the cars, the television shows, the movies, and the comics of the era, it's the manners, the way of speaking, and how children deal with their transition to adolescence. This is an important theme in this story, and of course it couldn't be left out, as it is represented in characters who are very well written and who meet the fundamental requirements to be considered "The Losers Club" in this story. They are curious, intelligent, funny, and show that they are good people, but they also show a lot of innocence, which can be dangerous when facing a supernatural entity.
El episodio está muy bien escrito porque ofrece un excelente balance entre humor, terror y la necesaria introducción de los personajes; justamente esa introducción hace que la historia se divide en dos en dónde una está enfocada en los niños y otras en los adultos y aunque mi dirección estuvo más enfocado en la historia de las víctimas inmediatas, estoy seguro de que la historia de los adultos debe ser de suma importancia para lo que será el futuro no solamente de la serie, sino de toda la historia en sí; creo que esto es otro aspecto inteligente que ofrece el primer episodio porque saben cómo dividir el relato que en un futuro cercano debe obligatoriamente unirse, pero espero que se tome el tiempo necesario para así madurar aún más la historia que se quiere contar.
The episode is very well written because it offers an excellent balance between humor, horror, and the necessary introduction of the characters; it is precisely this introduction that divides the story into two parts, one focused on the children and the other on the adults. Although my direction was more focused on the story of the immediate victims, I am sure that the story of the adults must be of utmost importance for the future not only of the series, but of the entire story itself. I think this is another clever aspect of the first episode because they know how to divide the story, which will inevitably have to come together in the near future, but I hope they take the time necessary to further develop the story they want to tell.
Ahora, ya he escrito de como me parece la historia y lo importante de la época en dónde se desarrolla, he hecho referencia a sus protagonistas y al necesario humor para no sobre usar el género del terror, pero del cual es la característica que más relevancia debe tener en la historia y en el primer episodio de una hora de duración, creo que tiene una excelente representación en dónde las referencias a lo conocido de la historia hace presencia en una excelente manera, pero no hay duda que el body horror, el gore y demás escenas de terror es lo que sin ninguna duda será lo que más se señale de este primer episodio en dónde nunca se contuvieron y que posiblemente han creado uno de los mejores finales en una serie de HBO desde hace un tiempo. It: Welcome to Derry, tendrá un episodio nuevo cada domingo hasta el mes de diciembre, la temporada está compuesta por 8 episodios y todos serán estrenados en HBO y HBO Max; como es lógico, recomiendo está serie y sí por casualidad no han visto el film de IT estrenado en el 2017 y el segundo capítulo estrenado en el 2019, entonces que esperan para hacerlo y así disfrutar aún más de la experiencia que ofrece está serie.
Now, I have already written about what I think of the story and the importance of the era in which it takes place. I have referred to its protagonists and the necessary humor to avoid overusing the horror genre, but which is the most relevant feature in the story and in the first hour-long episode. I think it is excellently represented, with references to the well-known aspects of the story appearing in an excellent way. However, there is no doubt that the body horror, gore, and other horror scenes are what will undoubtedly be most notable about this first episode, in which they never held back and possibly created one of the best endings in an HBO series in quite some time. It: Welcome to Derry will have a new episode every Sunday until December. The season consists of eight episodes, all of which will premiere on HBO and HBO Max. Naturally, I recommend this series, and if by chance you haven't seen the IT movie released in 2017 and the second chapter released in 2019, then what are you waiting for? Watch them so you can enjoy the experience this series offers even more.
