Noah debe dejar su ciudad, novio y amigos para mudarse a la mansión del nuevo marido de su madre. Allí conoce a su nuevo hermanastro Nick y sus personalidades chocan desde el primer momento. Pero la atracción que sienten les llevará a vivir una relación prohibida, donde el carácter rebelde y atormentado de cada uno de ellos pondrá del revés sus mundos haciendo que acaben perdidamente enamorados.

Noah must leave her city, boyfriend, and friends to move into the mansion of her mother's new husband. There she meets her new stepbrother Nick, and their personalities clash from the start. But the attraction they feel will lead them to a forbidden relationship, where their rebellious and tormented natures will turn their worlds upside down, causing them to fall madly in love.

"Culpa Mía" es una adaptación que logra capturar fielmente la esencia y la intensidad emocional de la novela original. Dirigida con maestría y sensibilidad, la película se destaca por su excelente dirección, brillante actuación y una narrativa cautivadora.

El elenco escogido para interpretar a los personajes principales es simplemente magnífico. Cada actor logra transmitir las complejas emociones y los conflictos internos de sus respectivos personajes de manera convincente y con una gran profundidad. La química entre ellos es palpable, lo que añade una capa adicional de realismo y autenticidad a la historia.

La adaptación del guion es otro punto fuerte de la película. Aunque es difícil condensar una novela completa en una película, el guionista logra mantener la esencia y los momentos clave de la trama, sin perder el ritmo ni descuidar los detalles importantes. Además, la dirección logra captar los matices emocionales y la intensidad de cada personaje, creando una experiencia cinematográfica inolvidable.

La cinematografía y la dirección artística son excepcionales, con una cuidadosa selección de escenarios que refuerzan la atmósfera y la ambientación de la historia. La banda sonora también merece mención especial, ya que complementa perfectamente las escenas y realza las emociones de los personajes.

"Culpa Mía" es una adaptación impecable que logra capturar la esencia y el impacto emocional de la novela original. Con una dirección magistral, actuaciones brillantes y una narrativa cautivadora, esta película es un verdadero deleite para los fanáticos del libro y para cualquier amante del cine.

“Culpa Mía” is an adaptation that faithfully captures the essence and emotional intensity of the original novel. Directed with mastery and sensitivity, the film stands out for its excellent direction, brilliant acting, and captivating narrative.

The cast chosen to play the main characters is simply magnificent. Each actor manages to convey the complex emotions and internal conflicts of their respective characters in a convincing and deeply moving way. The chemistry between them is palpable, adding an extra layer of realism and authenticity to the story.

The adaptation of the script is another strong point of the film. Although it is difficult to condense an entire novel into a film, the screenwriter manages to maintain the essence and key moments of the plot, without losing pace or neglecting important details. In addition, the direction manages to capture the emotional nuances and intensity of each character, creating an unforgettable cinematic experience.

The cinematography and art direction are exceptional, with carefully selected settings that reinforce the atmosphere and setting of the story. The soundtrack also deserves special mention, as it perfectly complements the scenes and enhances the characters' emotions.

“Culpa Mía” is a flawless adaptation that manages to capture the essence and emotional impact of the original novel. With masterful direction, brilliant performances, and a captivating narrative, this film is a true delight for fans of the book and for any movie lover.

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Corner Boys (S04E08)

Airdate: November 5th 2006

Written by: Richard Price Directed by: Agnieszka Holland

Running Time: 58 minutes

David Simon’s The Wire remains a towering achievement in television drama, its power inextricably linked to its unflinching commitment to Baltimore as both setting and subject. This hyper-local focus bestowed the series with an unparalleled texture, a gritty, lived-in realism that resonated with profound authenticity. The city itself became the central character, its institutions – the docks, the police, city hall, the streets, and finally the schools – laid bare in all their systemic rot. Yet, this very strength, this deep immersion in the specific socio-political fabric of early twenty-first century Baltimore, America, also constituted a significant limitation. It demanded a level of contextual understanding from the viewer that often exceeded the show’s willingness or ability to provide exposition, creating barriers for audiences outside the United States, particularly those unfamiliar with the intricate, often baffling, details of American domestic policy during the George W. Bush administration. Nowhere is this tension between potent localism and potential alienation more evident than in Season Four’s eighth episode, Corner Boys, written by the formidable Richard Price. While a crucial instalment in the season’s devastating dissection of the city’s failing education system, it relies heavily on references to policies like the No Child Left Behind Act (NCLB), whose mechanics and consequences were second nature to many American viewers but would likely leave international audiences utterly perplexed, scrambling for search engines to grasp the fundamental drivers of the plot.

This reliance on unexplained context is, to a significant degree, compounded by the season’s deliberate, almost glacial pacing. Season Four’s exploration of the Baltimore public school system demanded patience. It took several episodes merely for the academic year to begin in earnest, for the audience to gradually perceive the sheer scale of dysfunction. Only by Corner Boys, the eighth episode, does the script, under Price’s masterful hand, begin to excavate the systemic rot at the core. Price, renowned for his street-level authenticity, cuts through the surface chaos to reveal the perverse incentives engineered by federal policy, making this episode a pivotal moment of revelation rather than merely another chapter in the slow burn.

The primary vehicle for this revelation is Prez, the former detective turned mathematics teacher. His valiant, increasingly desperate attempts to teach basic fractions to his eighth-grade class lay bare the catastrophic failure of prior instruction. The students’ inability to grasp concepts fundamental to their grade level is presented as the direct consequence of institutionalised fraud. Prez is explicitly informed by the weary, pragmatic staff that the school’s survival hinges entirely on students passing the state-mandated standardised tests under NCLB. This creates a toxic environment where teaching is reduced to relentless, narrow "test prep." Educators are forced to focus solely on drilling the specific, often trivial, skills needed to scrape by on the exam, sacrificing genuine mathematical understanding, critical thinking, and broader educational development. Knowledge is sacrificed at the altar of metrics; the pursuit of a passing score actively prevents the acquisition of useful skills. The episode argues that NCLB, with its punitive funding tied to test scores, didn’t just fail to improve education – it actively incentivised the hollowing out of the curriculum, creating generations of students who could pass a test but lacked foundational competence.

Prez’s classroom struggles form one crucial strand, but his growing concern for Michael Lee provides a devastating counterpoint rooted in the streets. Recognising Michael’s quiet intensity and burden, Prez offers help – a referral to the school social worker. Michael’s immediate, almost panicked refusal speaks volumes. The episode later reveals the source of his terror: the parole of his stepfather, Devar Manigault (Cyrus Farmer). Michael’s visceral horror at seeing his younger stepbrother, Bug, interacting with Devar is the show’s unflinching, indirect confirmation of past abuse. The narrative trusts the audience to understand the implication without graphic depiction; Michael’s protective rage and profound fear for Bug are the only evidence needed.

Conversely, the "special class" of disengaged students – the "corner boys" – overseen by Bunny Colvin and Dr. Parenti, offers a different, equally damning perspective. Colvin, the architect of Hamsterdam, undergoes a profound realisation: the school, far from being a refuge from the streets, has inadvertently taught these boys precisely how to navigate the corners. Their cynicism, street smarts, and understanding of power dynamics aren't innate; they've been honed by observing the hypocrisy and dysfunction within the very institution meant to educate them. The conversations between Colvin and the boys are revelatory. These young men, dismissed as unteachable, display startling political awareness. They dissect the absurdity of a system that criminalises street-level drug dealing while tolerating the legalised destruction wrought by alcohol, tobacco, and corporate malfeasance like the Enron scandal. Namond Brice, perpetually pulled between the street life he dabbles in and the suffocating demands of his mother De’Londa, embodies this tension – possessing street insight yet utterly powerless against domestic pressure. They aren't being taught by the school; they are teaching Colvin about the school and the society it reflects.

The episode’s greatest, most bitter irony, however, revolves around political ambition. Tommy Carcetti, the newly elected mayor whose improbable victory stemmed from his outsider stance, possesses the potential platform and, theoretically, the reformist zeal to tackle the education crisis head-on. Yet, his victory has attracted the attention of the Democratic National Committee. Viewed as a rising star with gubernatorial potential in Maryland within two years, Carcetti is counselled by his sharp advisor Norman Wilson that tangible, visible results are paramount for his ascent. Wilson explicitly dismisses education reform as too slow, too complex, and lacking immediate, headline-grabbing results. The "palpable change" required, he argues, is a dramatic reduction in the crime rate. Consequently, Carcetti turns his focus entirely towards the police department, touring precincts and seeking quick wins. His political calculus leads him to offer Cedric Daniels the rank of Colonel and command of the Criminal Investigations Division (CID), a move driven by the need for policing results. The man with the power and potential to fix the schools is actively choosing not to, seduced by the siren song of national politics, leaving the education crisis to fester. Prez, the qualified teacher witnessing the collapse firsthand, lacks the political capital to effect systemic change.

Meanwhile, the feud between Herc and Marlo Stanfield over a stolen police camera descends into the absurd. Herc’s relentless, heavy-handed raids on Marlo’s operations, intended to pressure the return of the expensive equipment, become a farcical escalation of police overreach. In one such botched action, Herc inadvertently destroy crucial evidence that could have definitively linked Marlo’s enforcers, Chris Partlow and Snoop, to the bodies hidden in the vacants. Ironically, Chris and Snoop are preoccupied with eliminating New York dealers encroaching on Proposition Joe’s territory. Proposition complains their efficient body disposal makes the murders invisible; the duo responds by shifting tactics to brazen street assassinations, using hyper-local Baltimore knowledge – specific neighbourhood shibboleths, understanding of local dynamics – to identify and target the "New York" interlopers, demonstrating how deeply embedded their violence is within the city’s fabric.

In contrast, Bunk Moreland exemplifies the rare, effective detective work. He persuades the initially reluctant Detective Vernon Holley to re-examine the case against Omar Little. Revisiting the crime scene and scrutinising Old Face Andre’s testimony, Bunk spots inconsistencies. Through skilled interrogation, he secures Andre’s recantation, freeing Omar. Yet, this act of justice – turning a black name on the clearance board back to red – infuriates Jay Landsman, highlighting the police department’s often perverse prioritisation of statistics over truth.

Directed by the accomplished Agnieszka Holland, Corner Boys is not without its flaws, primarily stemming from unintended repetition. The wake for Colonel Ray Foerster, held in the same Irish bar and featuring mourners singing "The Body of an American," feels jarringly familiar. It’s a near carbon copy of the wake for Detective Ray Cole in Season Three’s Dead Soldiers. This repetition, however, stems from tragic real-world circumstances: both actors, Richard De Angelis (Foerster) and Robert F. Colesberry (Cole, also a series co-creator), died during production. The show, respecting the actors and the established ritual, reused the powerful sequence, but within the narrative flow of Season Four, it momentarily disrupts the episode’s otherwise deliberate pace, feeling slightly redundant rather than resonant.

The episode aired on November 5th, 2006. Two days later, in a chilling echo of art imitating life, Martin O’Malley, the real-life Mayor of Baltimore whose own political trajectory mirrored Carcetti’s so closely – from city council to mayor, leveraging local office for statewide ambition – was elected Governor of Maryland. This uncanny coincidence underscored The Wire’s terrifying prescience. Simon and his team weren’t merely telling stories about Baltimore; they were dissecting the immutable machinery of American urban politics, a machinery so predictable that its fictional portrayal bled seamlessly into reality. Corner Boys, for all its potential opacity to international viewers grappling with NCLB, remains a masterclass in political and institutional critique. Its power lies precisely in that unyielding Baltimore specificity – a specificity that, while occasionally demanding, ultimately delivers a universal truth about the crushing weight of systemic failure and the seductive, corrupting nature of political ambition. The city’s limits, in the end, proved to be the show’s greatest strength, even if they occasionally became a hurdle for the uninitiated.

RATING: 6/10 (++)

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Es el mes del terror y obviamente es la época donde @lumpymoon y yo nos ponemos a ver películas de esa índole, así es como en esta ocasión toco ver la película de "Hereje", una película que en vez de darnos terror nos cuestiona más sobre nuestras creencias religiosas. O al menos eso es lo que enfrentan nuestras protagonistas, siendo dos chicas mormonas que en su búsqueda de unir a más gente en su religión van casa por casa, hasta que encuentran la casa de alguien que les hará cuestionar su propia fe mientras intentan escapar de él.

It's the month of horror, and obviously it's the time of year when @lumpymoon and I start watching movies of that genre. That's how this time around we ended up watching the movie “Heretic,” a film that, instead of scaring us, makes us question our religious beliefs. Or at least that's what our protagonists face, two Mormon girls who, in their quest to bring more people into their religion, go door to door until they find the house of someone who will make them question their own faith as they try to escape from him.

Translated with DeepL.com (free version)

Es aquí donde tanto nuestras protagonistas tendrán que defender intelectualmente su fe contra nuestro antagonista para intentar escapar de esa casa que mientras más se van adentrando se dan cuenta de que no es una casa ordinaria y que el Sr. Reed (nuestro antagonista) sabe manejar bien su retórica para manipular y hacer dudar de su fe tanto a la hermana Paxton y a la hermana Barnes

It is here that our protagonists will have to intellectually defend their faith against our antagonist in order to try to escape from that house. The deeper they go, the more they realize that it is not an ordinary house and that Mr. Reed (our antagonist) knows how to use his rhetoric well to manipulate and make both Sister Paxton and Sister Barnes doubt their faith.

Y es que el mismo Sr. Reed te da argumentos muy interesantes que incluso puedes llegar a darle la razón en ciertas cosas, por ejemplo, para mi caso personal, yo me considero una persona antirreligiosa, pero creyente de un dios, pero que sin ninguna duda a lo largo de mi vida he sido influenciado por el catolicísimo, pues esa fue con la fe con la que crecí, aunque actualmente no creo en ninguna fe, pero si en un dios, ¿Cuál sería mi pensar en esa deidad? Si mi vida hubiera sido influenciada por otra fe como el hinduismo, budismo u otra religión no abrahamica. Además de que toma el argumento de que no importa la fe que exista, todas buscan el control sobre sus fieles.

The thing is, Mr. Reed himself gives you very interesting arguments that you can even agree with him on certain things. For example, in my personal case, I consider myself an anti-religious person, but a believer in a god, and I have undoubtedly been influenced by Catholicism throughout my life, as that was the faith I grew up with. Although I currently do not believe in any faith, I do believe in a god. What would my thoughts be on that deity? What if my life had been influenced by another faith such as Hinduism, Buddhism, or another non-Abrahamic religion? In addition, he argues that no matter what faith exists, they all seek control over their followers.

Sin embargo, a pesar de que la retórica del Sr. Reed es muy buena, no podemos negar que solo son las palabras de todo un psicópata manipulador que solo busca dar válido su argumento, donde ya es cuestión de cada uno tomar lo que pensemos que es bueno o malo de lo que nos menciona el Sr. Reed

However, despite Mr. Reed's rhetoric being very good, we cannot deny that these are just the words of a manipulative psychopath who only seeks to validate his argument, where it is up to each of us to take what we think is good or bad from what Mr. Reed tells us.

En esta película se habla también de como algunas religiones son la versión sintetizada de otras o que cambian un poco sus ideologías, en el caso de esta película, hablan sobre el judaísmo, cristianismo y como de estas termino saliendo la religión mormona.

This film also discusses how some religions are synthesized versions of others or slightly alter their ideologies. In the case of this film, they talk about Judaism, Christianity, and how the Mormon religion emerged from these.

Esta película, más que ser una película de terror, es una de suspenso que tal vez te haga cuestionar cuáles son tus creencias o tal vez fortalecerlas

This film, rather than being a horror film, is a thriller that may cause you to question your beliefs or perhaps strengthen them.

No entraré en más detalle, pues creo que ustedes mismos deberían de verla y si la llegan a ver, por favor dejarme un comentario para saber que les pareció

I won't go into any more detail, as I think you should see it for yourselves. If you do see it, please leave me a comment to let me know what you thought of it.

*Todas las imágenes las he tomado de Filmaffinity*

All images taken from Filmaffinity

Hidimbha (2023): “A mystery hidden in the darkness of the city, impossible to look away!”

🎬 Movie: Hidimbha
⭐ IMDb Rating: 6.4/10
🎭 Genre: Action | Thriller | Drama
🌐 Language: Hindi Dub Available

Story

In Hyderabad, girls are disappearing one after another. The entire police department is quietly racking their brains, but no clues are found.

Enter Special Officer Adya (Nandita Swetha) and ACP Abhay (Ashwin Babu) to investigate the abductions. As the story unfolds, the mystery deepens.

Questions arise

Who is the kidnapper? And why are only girls being targeted? Each revelation brings new twists, violence, and an intense thriller experience.

Verdict

For those who love thrillers with a dark backdrop, Hidimbha is a must-watch. You can’t afford to lose focus for even a moment! There’s some violent content, so viewers with faint hearts, beware.

(My nephew KB, he's quite the singer/performer now)

https://www.instagram.com/reel/DPRcY27krK-/?utm_source=ig_web_copy_link

I luv this song. If you haven't seen this movie yet, I highly recommend it. I have kids, so I seen most of the kiddie stuff. :P

I'm also a big Jamie Fox fan. what a talented guy. This song is just a vibe.. so relaxing and cool..

ps. I remember like it wasn't too long ago.. I was watching Kahonu (he goes by KB now) dancing like MJ in his high school talent show. Believe it or not, this guy is totally self taught.. never even had a piano growing up. How awesome is that?

and this is my other ultra talented nephew..

Join our FOH discord fam

https://discord.gg/w4EefbaTcW

our goal: to massively increase onboarding to hive in philippines.

Hello! 💙

Fuente de imagen

Y llega Por fin la segunda temporada de peacemaker Y sí la primera temporada llega cercano dentro del nuevo universo de DC comics de hecho al principio esta temporada te van a hacer un pequeño resumen de los apenas dos cambios que tuvo porque literalmente todo es cano menos el detalle que aparece en la Liga de la justicia al final de la primera temporada de resto la segunda temporada es una continuación básicamente directa de los acontecimientos de la primera incluso también tiene una continuidad medio directa con comando de criaturas y con la película de Superman, aunque claro no es necesario ni ver la anterior serie antes mencionada y tampoco haber visto Superman pero sí es importante verlas de repente para entender todo el contexto que está sucediendo.

And finally, the second season of Peacemaker is here. And yes, the first season is closely linked to the new DC Comics universe. In fact, at the beginning of this season, they give you a brief summary of the two changes that took place, because literally everything is the same except for the detail that appears in Justice League at the end of the first season. Otherwise, the second season is basically a direct continuation of the events of the first season. It also has a somewhat direct continuity with Creature Commandos and the Superman movie, although of course it is not necessary to have seen the aforementioned previous series or Superman, but it is important to see them suddenly to understand the whole context of what is happening.

Fuente de imagen

Esta temporada diferencia de la primera es mucho más emotiva se encarga mucho más de desarrollar a peacemaker y a todos los personajes que le rodean incluso en como todas las relaciones que él va teniendo en su vida se van reflejando en este momento Y si bien el concepto de otra dimensión está puesto en escena la verdad es que es más utilizado como un elemento emocional que como una característica multiversal que vaya a ser relevante a largo plazo, pero este detalle de que peacemaker pueda ver la vida que hubiera tenido con un padre más amoroso con un hermano que hubiera estado vivo La verdad es que llega a ser bastante importante en él y aquí hice un pequeño spoiler incluso siendo que el mismo ni se dé cuenta que está en un universo en el cual bueno son fanáticos al pintor austriaco, pero si deben estar preparados porque esta temporada no tiene tanta dosis de acción como la primera ni tampoco como el escuadrón suicida pero si tiene un factor emocional y de guion que creo que la hace mucha más sólida que la primera temporada.

This season, unlike the first, is much more emotional. It focuses much more on developing Peacemaker and all the characters around him, including how all the relationships he has in his life are reflected at this moment. And while the concept of another dimension is brought into play, the truth is that it is used more as an emotional element than as a multiversal feature that will be relevant in the long term. But this detail, that Peacemaker can see the life he would have had with a more loving father and a brother who would have been alive, really becomes quite important to him. And here I've given away a little spoiler, even though he himself doesn't realize that he's in a universe where they're fans of the Austrian painter. but you should be prepared because this season doesn't have as much action as the first one, nor as much as Suicide Squad, but it does have an emotional and script factor that I think makes it much more solid than the first season.

El gran problema que le puedo ver esta temporada es el final y no porque esté malo de hecho creo que es bastante sólido y va acorde a dejarte ver ganas de más el problema es el hype desmedido que crea James gunn en las redes sociales que hacen parecer de que el cierre de temporada iba a ser mucho más épico pero más que algo épico en sí simplemente abre las puertas para lo que se viene el universo de DC esto no es del todo malo porque te hace querer seguir la historia de cierta forma pero también te obliga a tener que ver esta serie para entender bien lo que viene a continuación.

The big problem I can see with this season is the ending, and not because it's bad. In fact, I think it's quite solid and leaves you wanting more. The problem is the excessive hype that James Gunn creates on social media, which makes it seem like the season finale was going to be much more epic. But rather than being epic in itself, it simply opens the door to what's coming in the DC universe. This isn't entirely bad because it makes you want to continue the story in a certain way, but it also forces you to watch this series to fully understand what comes next.

Fuente de imagen

Hello, film lovers, /Bonjour les cinéphiles,

This French series, released in mid-October 2020, is available on Netflix. It consists of eight episodes and can be classified as alternate history drama and horror.

Nous sommes sur Netflix pour cette série française, sortie à la mi-octobre 2020, composée de 8 épisodes, à classer dans les catégories drame uchronique et horreur.

Source Series poster /Affiche de la série

Synopsis :

The story takes place in France in the 18th century, in 1787 to be precise. Joseph Ignace Guillotin (Amir El Kacim) is a doctor. He is tasked with investigating a series of disturbing murders.

He discovers blue blood, which has certain effects on the life and survival of those who have it in their veins.

L'histoire se déroule France, au XVIIIe siècle, en 1787 plus exactement. Joseph Ignace Guillotin (Amir El Kacim) est médecin. Il est chargé d'enquêter sur des meurtres inquiétants.

Il découvrira du sang bleu qui a certains effets sur la vie et la survie de ceux qui en ont dans leurs veines.

Albert Guillotin (Lionel Erdogan), Joseph's adoptive brother, had been declared dead, but neither Joseph nor his bourgeois girlfriend at the time, Elise de Montargis (Marilou Aussilloux), were able to see his body. And now, several years later, Albert reappears in the region.

Albert Guillotin (Lionel Erdogan), frère d'adoption de Joseph, avait été déclaré mort, mais ni Joseph ni sa petite-amie bourgeoise de l'époque, Elise de Montargis (Marilou Aussilloux) n'ont pu voir son corps. Et voilà que plusieurs années plus tard, Albert réapparaît dans la région.

Elise's father is supposedly in Versailles, according to Elise's uncle, who holds the title of baron, awaiting the return of the real baron. But Elise is surprised that she has not received any news from her father and does not believe her uncle, who wants to keep control over her and Madeleine, a mute girl whom Elise looks after with the help of her maid Ophélie (Coline Béal).

Le père d'Elise est soi-disant à Versailles, selon les dires de l'oncle d'Elise, qui occupe la fonction de baron, en attendant le retour du vrai baron. Mais Elise s'étonne de ne recevoir aucune nouvelle de son père et elle ne croit pas aux paroles de son oncle qui veut garder le contrôle sur elle et sur Madeleine, une jeune fille muette dont Elise s'occupe avec l'aide de sa servante Ophélie (Coline Béal).

The blue blood is spreading and causing more and more damage. The people can no longer tolerate it, a revolution is brewing, this must stop!

Dr Guillotin is making progress in his research to try to create an antidote, a vaccine, a cure, something that would destroy this evil.

Le sang bleu se propage et fait de plus en plus de dégâts. Le peuple ne le supporte plus, une révolution se prépare, il faut que cela cesse !

Dr Guillotin avance dans ses recherches pour tenter de créer un antidote, un vaccin, un remède, quelque chose qui détruirait ce mal.

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

So yes, I like it when it's about history, and despite the alternate history, there were references to real events in French history.

But I didn't like this series. There was far too much bloodshed, and it was unnecessary.

Alors oui, j'aime quand cela parle d'Histoire et malgré l'uchronie, il y avait des références à de réels événements de l'Histoire de France.

Mais je n'ai pas aimé cette série. Il y avait beaucoup trop d'hémoglobine et ce, inutilement.

I'm sure I saw this series at the end of 2020 and wrote an article about it, but maybe it was still on Steemit, because I can't find it here on Peakd. Since Ithara didn't remember seeing it at all, we watched it together.

Je suis persuadée d'avoir vu cette série en fin 2020 et d'en avoir fait un article, mais peut-être était-ce encore sur Steemit, car je ne le retrouve pas ici sur Peakd. Comme Ithara ne se souvenait pas du tout l'avoir vue, nous l'avons regardée ensemble.

The idea of mixing daylight vampires or talking zombies into this period of history is original, certainly, but... no thanks.

We don't watch many French films and series. The actors are familiar to me, but I couldn't have named them.

Halloween is approaching, so it's the perfect time to get scared... if you're up for it... let me know if you enjoyed this series or not.

Happy viewing, everyone!

L'idée de mêler des vampires diurnes ou des zombies qui savent parler à cette tranche d'Histoire est originale, certes, mais .. non merci.

Nous ne regardons pas beaucoup de films et séries françaises. Les acteurs ne me sont pas inconnus, de vue, mais je n'aurais pas pu citer leurs noms.

La période d'Halloween approche, se faire peur est donc de circonstance, .. si ça vous tente .. vous me direz si vous avez apprécié cette série ou non.

Bonnes soirées-tv à tous,

Florence

Source photo : image Qwant autorisée

I used Deepl Translator to translate French into English

Proud member of the Principality of Bastion

The Dauphin (S02E10)

Airdate: February 20th 1989

Written by: Scott Rubenstein & Leonard Mlodinow Directed by: Rob Bowman

Running Time: 46 minutes

In the annals of long-running television series, the mere timing of an episode's broadcast can have profound and lasting consequences on its reputation within the canon. This is particularly evident in Star Trek: The Next Generation, where The Dauphin (S2E10), airing on February 20, 1989, suffered significantly from its unfortunate scheduling position. Coming directly after The Measure of a Man – widely regarded as one of the series' undisputed classics and philosophical high points – which itself followed the highly regarded A Matter of Honor, this episode was inevitably destined to be viewed through an unfavourable comparative lens. Compounding this issue was its focus on Wesley Crusher, arguably the least popular among the regular characters, whose frequent portrayal as a Mary Sue had already wearied many viewers. These more obvious factors – the impossible act to follow and the unpopularity of its central character – are primary reasons why The Dauphin has never ranked among particularly memorable or well-regarded episodes of TNG, despite possessing several redeeming qualities that merit examination.

The plot opens with the USS Enterprise-D being dispatched on a delicate diplomatic mission to planet Klavdia III. There, they are to retrieve Salia, the sixteen-year-old future ruler of planet Daled IV, who has been living in exile and being carefully groomed to assume her role and bring peace after centuries of devastating civil war between the day and night sides of her tidally locked homeworld. When Salia is beamed aboard, the Enterprise crew is surprised to find she appears as a beautiful young woman (played by Jaime Hubbard), accompanied by her inquisitive and overprotective governess Anya (played by Paddie Edwards). Wesley Crusher happens to be present during their arrival, and he instantly and hopelessly falls in love with Salia, becoming so distracted that Geordi grants him the rest of the day off so he can get to know her.

During the journey to Daled IV, Wesley attempts to romance Salia, who appears genuinely intrigued by him. In his earnest efforts to woo her, he seeks romantic advice from various crewmates, including an amusing scene where Worf demonstrates the Klingon female mating call. Anya, however, remains consistently hostile toward other crew members, despite taking great interest in the everyday operations of the ship. During one confrontation, it is revealed that Anya is actually an allasomorph – a shapeshifter – whose additional role is to serve as Salia's protector. Picard, concerned about security implications, later asks Wesley to end his tentative romance with Salia for the safety of the mission, noting that she would be leaving the Enterprise upon arrival at her destination anyway. During a subsequent confrontation with Anya, it is further revealed that Salia is also a shapeshifter, making their potential future together even more complicated. When Salia departs, Wesley is heartbroken but receives some words of wisdom from Guinan in Ten Forward, who supports his courtship but helps him process his feelings about the whole experience.

The script, written by Scott Rubenstein and theoretical physicist Leonard Mlodinow, represents a surprisingly simple and serviceable work that takes the character of Wesley Crusher and, unlike most other episodes where he acted as a Mary Sue-like protagonist and alter ego for Gene Roddenberry, actually portrays him as a teenager going through rather banal and predictable issues of first true love and heartbreak. This grounded approach to Wesley's character was somewhat refreshing, though the teenage romance between Wesley and Salia has been criticised as being "far too on the nose," especially during their initial hallway meeting aboard the Enterprise.

Despite the lack of originality in its basic concept – essentially a standard "first love" story with a science fiction twist – the execution is satisfying due to the solid direction of Rob Bowman. The special effects, particularly for late 1980s standards, are quite impressive, especially the scenes depicting Salia's and Anya's transformations. However, their monstrous intermediate forms look poorly designed, bringing uncomfortable memories of the salt vampire in TOS's The Man Trap, and Bowman later admitted he was dissatisfied with these designs and directed the episode to dwell on those images as little as possible.

The acting is generally solid, with Jaime Hubbard, a relatively unknown actress at the time, providing the perfect idealised look for a young woman someone like Wesley would fall for. Despite being ten years older than Wheaton during production, she convincingly portrays someone of his age. British actress Paddie Edwards, best known for her voice acting work, efficiently embodies the enigmatically unpleasant Anya. Madchen Amick, who would soon become famous for her role in Twin Peaks and was actually the runner-up for the role of Salia, makes a brief but inexplicable appearance as the young and beautiful form of Anya – a casting choice that adds an intriguing layer to the character's complexity.

One of the episode's most delightful elements is the scene where Riker and Guinan flirt in front of Wesley in Ten Forward, attempting to provide him with romantic coaching. As they quickly get caught up in their back-and-forth banter, Wesley becomes exasperated at all three situations he has witnessed and finally decides just to go directly to Salia's quarters. Many fans have expressed that they "would happily watch Riker and Guinan flirting for a full episode", suggesting this dynamic could have carried more weight in the series.

The Dauphin , despite its technical merits and occasional moments of charm, ultimately fails to rise above its rather ordinary premise. It remains a serviceable but ultimately forgettable entry in the TNG canon – a perfectly adequate diplomatic mission story that suffers not from any particular flaws, but from the simple fact that Star Trek: The Next Generation produced so many truly exceptional episodes that this one simply cannot compete for attention.

RATING: 5/10 (++)

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This is a cross post of @syberia/trigger-a-korean-drama-that-critiques-the-right-to-bear-arms by @syberia.

A review of a Korean drama that deals with a controversial topic.

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