The Measure of a Man (S02E09)

Airdate: February 13th 1989

Written by: Melinda Snodgrass Directed by: Robert Scheerer

Running Time: 46 minutes

It is widely acknowledged that Star Trek: The Next Generation, despite its subsequent canonisation as a cornerstone of the franchise’s so-called Golden Age, endured an exceptionally turbulent and uncertain first season. Behind the polished veneer of the 24th century, the production was mired in dysfunction, creative chaos, and a litany of missteps that left cast and crew deeply sceptical about the series’ viability. Years later, numerous participants, including key figures like Jonathan Frakes and Marina Sirtis, openly admitted they harboured genuine doubts about whether the show possessed any sustainable future. This pervasive atmosphere of uncertainty began to dissipate only as the series gradually refined its identity and storytelling prowess. Many within the production circle pinpoint the Season 2 episode The Measure of a Man as the pivotal moment that finally eradicated their lingering scepticism, convincing them they were contributing to something truly grand. Unsurprisingly, this episode remains consistently lauded as not merely one of the finest instalments of The Next Generation, but as a high watermark for the entire Star Trek franchise, revered for its intellectual rigour and profound thematic exploration.

The episode commences with a cold open establishing a now-iconic TNG tradition: a poker game aboard the Enterprise. Data, possessing computational intellect far exceeding any human, participates alongside Riker, Geordie, Pulaski and O'Brien. His defeat stems from a fundamental gap in understanding human nature; he cannot grasp the concept of bluffing, a purely psychological gambit reliant on deception and emotional manipulation. Riker exploits this, demonstrating that Data’s inability to fathom the illogical, the emotional, and the intentionally deceptive renders him vulnerable in a contest governed by human frailty. This seemingly minor scene is far from mere character colour; it sets the precise thematic stage for the episode’s central conflict. Data’s vulnerability in the poker game foreshadows his existential vulnerability in the main plot, where he faces a far more consequential contest.

The narrative swiftly pivots to the arrival of Admiral Nakamura (Clyde Kusatsu) and Commander Bruce Maddox (Brian Brophy) at Starbase 173. Maddox, Starfleet’s cybernetics expert, outlines his intention: to deactivate and physically disassemble Data in order to study his positronic brain, with the explicit goal of reverse-engineering and mass-producing androids. Picard and the crew react with visceral horror, but their dismay deepens upon learning Data has already been transferred to Maddox’s lab under orders to comply. Data’s polite but firm refusal triggers Maddox’s core argument: Data, as property, not a person, possesses no right to refuse. Data’s subsequent resignation from Starfleet is met with Maddox’s retort that resignation is impossible for "it," reinforcing the dehumanising stance that Data is mere Starfleet equipment. This stark confrontation crystallises the episode’s central question: what constitutes personhood, and who gets to decide?

The resolution is thrust into a formal hearing presided over by Captain Phillipa Louvois (Amanda McBroom), the base’s Judge Advocate General. With qualified Starfleet JAG officers absent, Louvois makes the ruling that Picard must defend Data’s personhood while Riker, Maddox’s subordinate, must argue against it. Riker is initially appalled at the prospect of prosecuting his friend, yet his sense of duty compels him to prepare rigorously. His courtroom performance is masterful; he constructs a compelling case that Data, despite his sophistication, is ultimately a complex machine – a product of design and manufacture, lacking true consciousness, emotions, or the capacity for growth beyond his programming. Picard, however, delivers a transcendent counter-argument. He shifts the focus from Data’s origins to his capabilities and potential: his drive to grow, learn, experience, and define himself. Picard’s argument transcends legal technicalities, appealing to fundamental principles of liberty and the inherent value of consciousness itself. Louvois, visibly moved and intellectually convinced, rules decisively in Data’s favour, affirming his right to self-determination and allowing him to remain aboard the Enterprise. The episode concludes with Data, embodying the very humanity he was fighting to be recognised as possessing, expressing no bitterness towards Riker or even Maddox, instead offering his assistance with future research – a moment of profound grace that resonated deeply with viewers.

The Measure of a Man epitomises Star Trek at its most intellectually ambitious and morally resonant. It transcends the genre’s potential pitfalls of space opera spectacle, simplistic action, or heavy-handed allegory, instead diving fearlessly into the murky philosophical depths of consciousness, autonomy, and the definition of life itself. While the outcome feels inevitable to modern audiences steeped in Data’s established character, the episode’s greatness lies in the meticulous, respectful, and genuinely suspenseful presentation of the debate. Both sides are granted compelling, logically coherent arguments, avoiding caricature. Stewart’s commanding moral authority, Frakes’ nuanced portrayal of professional duty clashing with personal loyalty, and Spiner’s subtle conveyance of Data’s quiet yearning for recognition combine to create an unparalleled dramatic intensity within the courtroom setting.

The script, written by Melinda M. Snodgrass – a former attorney making her screenwriting debut – is a masterclass in structure and thematic cohesion. Originally crafted during the 1988 Writers Guild of America strike, Snodgrass infused the narrative with her professional experiences, ensuring procedural authenticity. Her battle with Gene Roddenberry over the inclusion of lawyers is particularly revealing; Roddenberry, clinging to his vision of a conflictless 24th century, initially deemed the legal profession obsolete, conveniently overlooking its presence in the original series’ episode Court Martial. Snodgrass prevailed, recognising that law, even in a utopia, is the essential framework for resolving disputes and defining rights. Her script integrates every element flawlessly: the poker cold open isn’t just character development but a thematic blueprint; the courtroom drama leverages established continuity, notably referencing Data’s relationship with Tasha Yar from the maligned Season 1 episode The Naked Now as evidence of his capacity for emotional connection and growth; and it subtly builds on earlier character dynamics, such as Data’s previous dehumanisation in The Schizoid Man or Riker’s professional rigour in A Matter of Honour. Director Robert Scheerer expertly modulates the tone, balancing the heavy philosophical weight with moments of human warmth, including Picard’s crucial, morally charged conversation with Guinan about slavery’s legacy and the subtle history between Picard and Louvois, adding layers of emotional complexity without overwhelming the central argument.

If a flaw exists, it resides primarily in Brian Brophy’s performance as Maddox. While effectively portraying scientific arrogance and ambition, his delivery occasionally veers into the realm of the melodramatic, bordering on hammy. Maddox’s fervour sometimes feels less like the passion of a dedicated researcher and more like the cartoonish zeal of a villain, a slight misstep in an otherwise impeccably balanced narrative where the true antagonist is institutionalised prejudice and narrow definitions of life, not necessarily the individual advocating them.

Nevertheless, The Measure of a Man stands as a monumental achievement. It is the episode where The Next Generation definitively shed the shadow of its own shaky beginnings and, perhaps more significantly, the long shadow cast by The Original Series. It moved beyond replicating Kirk’s swashbuckling heroics to embrace Picard’s role as a thoughtful diplomat, philosopher, and guardian of principle. By tackling questions of personhood, rights, and the ethical implications of creating life with such unflinching intelligence and emotional depth, it demonstrated the unique potential of Star Trek to engage with profound ideas within a science fiction framework. It proved the series was not merely a competent successor, but a vital evolution of the franchise’s core mission: to explore the final frontier of human (and non-human) understanding.

RATING: 9/10 (++++)

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_{The pictures that didn't have a source were screenshots I took while watching the movie.}

First of all, it’s been forever since I last watched an Indian movie, so when I played on Mirai, I was in for a shock. Two hours and forty-six minutes?? My God. I almost felt like I’d just signed up for a long-term relationship.

But honestly? It was worth every minute. Unlike those old Indian movies where an hour was dedicated to dancing and singing (no shade, I miss them dearly), Mirai didn’t have a single unnecessary scene. Every moment carried weight, and the storytelling was tight. That’s one thing about Indian filmmakers, nobody builds characters and plot like they do.

Still, talking about old Indian movies makes me a little sentimental. I miss those days of Ashoka, Prem Di Kiwani Hoon, and that one movie where a snake goes on a revenge mission after they killed her mate (don’t act like you didn’t watch that one too, lol). Those songs still live rent-free in my head. The music, the costumes, the facial expressions, the drama! No one does cultural expression and femininity quite like Indians. They can make heartbreak look like an art form.

So, Mirai has nine powerful books, ancient, dangerous, and of course, one evil idiot decides to start collecting them. You already know where that leads. 😂

Vedha Prajapati is living a modest, rough-around-the-edges life, an orphan surviving by his wits and minor thefts. He doesn’t know who he truly is. But there’s a prophecy: after the Kalinga War, Emperor Ashoka endowed nine ancient grandhas, holy scriptures, with the ability to grant mortals godlike powers. These grandhas are guarded through time by secret protectors.

The villain, Mahabir Lama and his Black Sword army are collecting these grandhas to amass power and dominate. Eight of the nine have already fallen into Mahabir’s hands. Vedha, guided by the wisdom of spiritual allies like Vibha and Sage Agastya, gradually learns that he is destined to protect the ninth grandha, Amaragrandha, and to stand against the darkness threatening to engulf the world.

What I love about Indian fantasy: they take mythical, spiritual, sometimes downright outrageous concepts and make them feel alive. The worldbuilding reminded me a bit of Bahubali, grand, layered, full of flying men, fire, destiny, and devotion.

And look, I won’t lie. Some things felt a little too over the top for my adult brain. But did I enjoy the sky-high flying and shameless fantasy? Absolutely. I love that Indian fantasy doesn’t try to mimic Western storytelling. It stays rooted in its own mythos, colorful, emotional, slightly dramatic, and proud of it.

Let's talk about the love story. Because, of course, there has to be one. 😂 Tell me why this man fell in love like 20 minutes into a 3-hour movie? Not “getting to know each other,” not “slow-burn romance”, straight to “marry me.”

Now, the pacing… hmm. For a movie that lasted almost three hours, it still somehow felt rushed in parts. Important emotional moments didn’t have enough time to breathe. Especially the ending, it didn’t land for me.

Yes, I loved the symbolic tie to his mother’s death and the whole burning scene, but come on. He’s human (at least at that point), and he just stood there like fire was room temperature? No flinch? No struggle? Not even one scream? Nah. I wanted to feel that pain, that inner breaking before victory. Instead, it felt like a mimic of suffering, not the real thing.

Now, Ambica. My God, WHO IS THAT WOMAN?! Her performance gave me everything, grace, emotion, and that old-school Indian movie fire. She reminded me of when Kareena Kapoor or Aishwarya Rai ruled the screen. It was pure nostalgia.

And her son? The main character? Beautiful work. Together, they brought that raw, emotional intensity I’ve always loved about Indian cinema.

The villain though… I almost hated him in real life. How can someone be that twisted? Life gave him lemons, and instead of making lemonade, he swallowed them whole and got bitter from the inside out. Pitiful and powerful at the same time.

Honestly, Indian fantasy movies are not what I watch to “learn.” I watch them to feel. The drama, the magic, the emotion. If I were to dig deeper, sure, I’d say Mirai speaks about purpose, fate, and walking one’s destined path. But mostly, I just enjoyed being taken on a ride through a world that didn’t need to make sense to be magical.

Because the pacing and ending didn’t sit right with me, I’ll give Mirai a solid 6/10. But don’t get me wrong, I loved the story, the acting, and the nostalgic reminder of why I love with Indian cinema in the first place.

Now, someone tell Bollywood to bring back the musical numbers and the heartbreak songs. I miss screaming “Tere liye” at the top of my lungs with no idea what it means. 😂

Godspeed (S02E04)

Airdate: February 15th 2017

Written by: Dan Nowak Directed by: Jeff Woolnough

Running Time: 40 minutes

Each episode of The Expanse operates under the stringent constraints inherent to premium television drama: a relatively brief running time of barely forty minutes and the non-negotiable requirement that every instalment conclude with a compelling, often breathless, cliffhanger. This structural tightrope walk would represent a near-impossible challenge for many scriptwriting teams, demanding relentless pacing, efficient character beats, and constant narrative propulsion. Yet, particularly at the dynamic start of Season 2, these constraints are, for the most part, met with remarkable dexterity and confidence. The fourth episode, Godspeed, stands as a potent testament to this skill, transforming potential limitations into the very engine of its gripping, morally complex narrative. Far from buckling under the pressure, the episode leverages its compact form to deliver a masterclass in tension-building and thematic resonance, proving that within the confines of the format lies fertile ground for sophisticated science fiction.

The episode picks up precisely where the previous one left off, with the high-stakes gamble initiated by Fred Johnson. Facing the apocalyptic threat of the protomolecule-infested Eros Station, Johnson has reluctantly accepted Detective Miller’s desperate plan: to use the colossal Mormon generational ship, the Nauvoo, as a cosmic billiard ball, nudging Eros onto a collision course with the Sun. This audacious scheme requires the uneasy cooperation of James Holden and Naomi Nagata, who reluctantly agree. Their repaired Rocinante will play a crucial role, while a team of Belter volunteers, including Miller and Diogo, must undertake the perilous task of boarding Eros’s surface to plant bombs, permanently sealing its airlocks and preventing any escape of the horrific pathogen within. The initial execution appears flawlessly orchestrated, a ballet of orbital mechanics and human courage against the silent void.

However, the fragile hope sustaining the operation shatters with the sudden, unexpected appearance of the Marasmus, a ship seemingly tethered to Eros in blatant defiance of the quarantine. When hailed, Dr. Mesplede (Alex Woods) delivers a plea of humanitarian intent, claiming his vessel arrived only to aid Eros’s victims and insisting no breach of the station occurred. This facade of noble intervention quickly crumbles. Miller and Diogo, deep within Eros’s labyrinthine corridors setting the final charges, discover a horrifying truth: an entrance has been forcibly hacked, and one of Mesplede’s colleagues lies dead, having made fatal contact with the protomolecule. The Rocinante, utilising the asteroid configuration to jam Marasmus’s communications, confronts the deception. Holden, acutely aware that exposure of their mission could trigger interplanetary panic or intervention, issues a stark ultimatum: desist or be destroyed. Mesplede, convinced the Rocinante is a Martian vessel, frantically attempts to broadcast warnings to Earth and the Belt, framing Eros as a Martian bioweapon. When these pleas are ignored Holden, with grim necessity, orders the Marasmus’s destruction.

The violent disintegration of the Marasmus proves devastatingly counterproductive. Shrapnel from the explosion strikes one of critical bombs, crippling its timing mechanism. This forces Holden into an agonising, self-sacrificial decision: he must remain aboard the doomed Eros, manually ensuring the bomb detonates at the precise moment of Nauvoo’s impact, sealing the station’s fate. The tension reaches its zenith as the Nauvoo hurtles towards collision… only for the unthinkable to happen. At the very last moment, Eros itself moves, altering its trajectory and miraculously averting the impact. This sudden, inexplicable shift – the protomolecule asserting its terrifying agency – renders Holden’s potential sacrifice moot but plunges the situation into even deeper, more terrifying uncertainty.

Simultaneously, the episode weaves in a crucial political subplot, demonstrating the far-reaching consequences of Johnson’s covert alliance with Avasarala. Information provided by Johnson enables the UN to locate and recover the wreckage of the stealth ship. This forensic treasure trove yields irrefutable evidence linking Protogen, and crucially, its shadowy financier Jules-Pierre Mao, to the conspiracy. Summoned before a steely Avasarala and the visibly uncomfortable Undersecretary Errinwright, Mao delivers a masterclass in corporate denial, deflecting all blame onto "rogue employees" with practiced insouciance. His subsequent private dismissal of Errinwright is a chilling declaration of independent, ruthless ambition, foreshadowing the escalating power struggle on Earth.

Written by Dan Nowak and directed with taut efficiency by Jeff Woolnough, Godspeed excels precisely because it focuses relentlessly on the deceptively simple, physics-driven problem at hand: moving a rock. The brilliance lies in how this seemingly straightforward engineering challenge is constantly undermined by human fallibility, deception, and unforeseen cosmic intervention. The arrival and destruction of the Marasmus is the pivotal moment; while Holden’s decision is utterly justifiable within the desperate context – protecting billions from panic and potential Protogen exploitation – it indelibly stains the protagonists. The Rocinante crew, particularly Holden, cross a moral event horizon, transforming from idealistic heroes into necessary executioners. This moment, more than any preceding one, plunges the series’ already dark undertones into near-abyssal territory. The special effects, particularly during the Eros surface sequences and the Marasmus destruction, are exceptionally well-realised, grounding the spectacle in tangible reality. Miller and Diogo’s bomb-setting mission feels less like swashbuckling space opera and more like the gritty, dangerous work of blue-collar labourers – sweaty, physically demanding, and utterly vital, a hallmark of the show’s commitment to authenticity.

The episode’s emotional core resides in Miller’s burgeoning, hard-won camaraderie with Diogo. Their shared ordeal, the dark humour amidst the horror, and Miller’s ultimate willingness to step into young man's place for the final, fatal task is a beautifully understated moment. It provides Thomas Jane with a showcase for his nuanced portrayal, revealing the haunted detective’s buried capacity for selfless connection beneath the cynicism. Miller’s apparent, almost expected, demise – a logical culmination of his obsessive quest – is rendered profoundly poignant by this connection. Yet, true to the episode’s title and its mastery of the cliffhanger format, the very last seconds deliver the unexpected: Eros’s movement. Miller’s sacrifice is not just averted; it becomes irrelevant against the terrifying new reality of the protomolecule’s awakening intelligence. This twist doesn’t cheat the audience; instead, it elevates the stakes exponentially, transforming a personal tragedy into a terrifying omen for all humanity. Godspeed is a pivotal, morally uncompromising chapter that exemplifies The Expanse at its absolute best – where physics, politics, and profound human drama collide with devastating, unforgettable force.

RATING: 7/10 (+++)

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I just returned from seeing (hearing) Tron:Ares and boy are my eyes and ears tired... but in a good way.

​

I was about eleven years old when the first Tron movie came out back in 1982. I did not really like. I know I was supposed to like it. I was an eleven year old boy with an Atari who wanted to go to the arcade any time he could get a ride and who had HBO (not hideous body odor). Tron was on all the time but it just wasn't good... but I still watched it because it looked kind of cool for the time. To be honest, the only thing I really liked about Tron in the 80s was the awesome Atari 2600 video game joystick that came with a bad Tron game.

Although I know I saw Tron:Legacy that was released in 2010, I honestly don't even remember it and had no urge to ever see it again.

So why was I so eager to rush out and see Tron:Legacy? That is simple, I found out Nine Inch Nails was doing the music for the movie. As soon as I heard that a few months ago, I was in. I love industrial music. NIN is one of my favorite bands of all time. In addition, Trent Reznor (who is NIN) has become an amazing music composer for movies. He really knows how to set a mood and punctuate cool movie scenes. Although he won an Oscar for his score on The Social Network, I feel his best work is in The Girl With The Dragon Tattoo. So when I heard he'd actually be going back to industrial for this movie, I absolutely had to see it in the theater with the best sound I could find.

Knowing that it would also have stunning visuals, I decided to go all out and see it in LieMAX (that is not a typo, I did not see it in real IMAX as there is only 1 in my state... and most likely yours). I was not disappointed. The visuals were incredible. The only problem is that after playing some video games lately, these visuals simply looked like expensive and well made cut scenes from a sci-fi video game. The big difference was seeing them from a LieMAX projector on the (relatively) big screen did make them way cooler.

But the star of this movie for me was Nine Inch Nails original soundtrack (with a little Depeche Mode love tossed in for fun). The songs reminded me of why I fell in love with NIN when I was a teen. The bets were hard. The guitars were distorted. The BPMs were perfect for stomping. I'm actually a bit surprised I didn't just get up and dance. the songs were that good. They were also a ton of them. I would say there was cool music playing about 70% of the time. Nearly every scene that did not have dialogue was accompanied by incredible electronic music.

If it were not for the visuals and music, this movie would have completely sucked. Every second there is dialogue is wasted time. Luckily there is not much. But what little dialogue exists is so cliche. There was actually one pretty cool and insightful line late in the movie... but then they repeat it and explain it so it lost all of its coolness and meaning. This caused a serious eye-roll by me. Luckily then another song started so I was fine. For me, that is what this movie was: killing time until another song came on. I enjoyed it when the time killing method was a cool visual but most of them were along side cool music rather than instead of it. The only thing that disappointed me was that a secondary reason for my excitement was that I love Jodie Turner-Smith who plays Athena. Sadly, she barely speaks so she was totally wasted.

There is a McGuffin that they chase throughout the movie to at least provide some kind of reason and urgency for the action, but honestly, that didn't matter. The creators clearly wanted an excuse to show really cool special effects while vehicles chased each other and blew up real good. If this was indeed their goal, they definitely accomplished it.

So do I recommend this movie? If you like Nine Inch Nails, you must see it in a theater with awesome sound. If you think it would be cool to see a bunch of real awesome video game cut scenes projected on a big screen, see this in a premium theater. If you like movies with a plot, never watch this. In fact, if you aren't seeing it in a theater, I have no idea why you'd watch.

​

It must have been over 6 months since I last wrote a Movie or TvShow review. You can imagine that my watchlist is now packed with a bunch of stuff that will be up for a review. From that same list comes the TvShow I selected for this review.

Title: Top Boy.

Theme: Crime, Action, Family.

Season: 5

Country: British

Duration: 2011 - 2023

Top Boy as a show is raw, realistic, and a really exciting show to dig into. It also helps if you are a big fan of the British Mandem slangs. I know I vibe with that and that's particularly the reason I even decided to start watching this.

This Deserves More Attention.

Just for the record, I only heard about this show recently. Prior to that, I never got a sniff of anything that has to do with it. That's either because I'm not well informed about TvShows or the show is insanely underrated. I sure know my TvShows. So, the latter gotta be the answer.

With that said, this show deserves a shitload of attention. Everything you want in a raw street-life crime story is fully highlighted in this TvShow. However, don't just jump in for the sake of watching a TvShow. If your heart isn't built for the chaos, I strongly suggest you sit this out.

Yeah!

• Your favorite characters will get smoked and you will surely crash out.

• Kids will get used, deceived, and even smoked up.

• A bunch of tough and emotional social issues were highlighted without sugarcoating anything.

About The Show;

TOP BOY is majorly centered around two drug dealers, Dushane and Sully. We started off by watching their struggle to survive in the shit hole of Summerhouse estate and the decisions they had to make as they try to move up the ladder.

They both started off as friends and built several ties on their journey. However, there were several distasteful moments of betrayal as the story evolved and it didn't take long for viewers to realize that a series of tragedies are lined up on this show.

In reality, we all know that there's rarely a happy ending for anyone that gets into the shit show of the criminal underworld.

Having someone like Sully who strikes impulsively whenever he senses betrayal was a really smart move by the writer. Characters like him made it possible for this show to mirror the reality of being involved with crimes.

The Side Characters Are Lit Too.

This is where the killing-off of characters get tough for viewers. Each season of the show, we get a bunch of new and exciting characters. A lot of those characters could easily get a spinoff show of their own and I will dig it.

Real talk!

Jamie, Jacq, Ra'Nell, Stefan, Modie, Gem, Jermaine, etc. Those are just a few of the side characters who I would happily clock in to watch in a TOP BOY spin-off show.

Each Season Got Better;

Since I just watched this recently, I had the pleasure of watching the entire 5 seasons at my own pace without waiting for years for a new release. It was very easy to notice how each season got better and a lot more money was spent cinematically.

I did a little digging and realized that the show got backing from Netflix and Drake from 2019. The impact of that backing was significant in the revival and expansion of the show in latter seasons.

The above trailer will give you a graphic snippet about what to expect in this show. Check it out and enjoy.

Thanks For Not Missing Any Full-stop or Comma. _{Trailer is taken from YouTube. All attached pictures are taken from IMBD}

Hola amigos || Hello friends

La serie no la hubiera visto o tenido presente gracias al amigo @davidpena21. Sinceramente me llenó de entusiasmo pues soy un fanático de este tipo de producciones animadas y más aún si van referentes a algún cómic como es el caso de Marvel Zombies. En esta serie los héroes que ya conocemos son infectados por el virus que está por acabar con toda la raza humana y aunque conservan su inteligencia y poderes, su personalidad es dominada por un deseo voraz de consumir carne humana. Y la verdad, es que desde el inicio de la serie da la sensación de estar siempre corriendo hacia la línea de meta. Una carrera que definirá el desenlace de lo que conocemos como la Tierra.

I wouldn't have seen or even known about the series if it weren't for my friend @davidpena21. Honestly, it filled me with enthusiasm because I'm a fan of this type of animated production, especially if they're based on a comic book, as is the case with Marvel Zombies. In this series, the heroes we already know are infected by a virus that is about to wipe out the entire human race, and although they retain their intelligence and powers, their personalities are dominated by a voracious desire to consume human flesh. And the truth is that from the beginning of the series, it feels like they are always running towards the finish line. A race that will define the outcome of what we know as Earth.

Curiosamente muchos de los héroes que encontramos en esta serie de 4 capítulos no son tan desconocidos de hecho, estuvieron muy presentes en estas últimas producciones de Disney y Marvel lo cual me pareció increíble. Los personajes dan bastante papel y entretienen en la serie. Además, las historias entre ellos son bastante conmovedoras. No cabe duda que si sacan la segunda temporada y viajan al multiverso me gustaría ver a los héroes clásicos y nuevos en una pelea multiversal intentando detener la destrucción de nuestro mundo.

^{Image source}

Interestingly, many of the heroes we find in this four-episode series are not so unknown; in fact, they were very present in these latest Disney and Marvel productions, which I found incredible. The characters play a significant role and entertain throughout the series. In addition, the stories between them are quite moving. There is no doubt that if they release a second season and travel to the multiverse, I would like to see the classic and new heroes in a multiversal fight trying to stop the destruction of our world.

Otra de las cosas que me gustó de la serie fue el nivel de violencia y es que cuando la vean verán que no es algo muy visto en estos tiempos. Sinceramente me dejó un poquito mal el final, pero no está del todo mal pues deja el suspenso vivo. Solo espero que la segunda parte no tarde mucho en ser estrenada y así mantener ese suspenso y no dejar que muera. Esta de verdad es una serie que revive los buenos tiempos de Marvel así que bueno, si son amantes de estas arriesgadas aventuras, vayan, búsquenla y veanlaaaaa....

^{Image source}

Another thing I liked about the series was the level of violence, which, when you watch it, you will see is not something often seen these days. Honestly, I was a little disappointed with the ending, but it's not all bad because it leaves the suspense alive. I just hope that the second part doesn't take too long to be released so that the suspense is maintained and doesn't die out. This is truly a series that revives the good old days of Marvel, so if you love these risky adventures, go find it and watch it!

There’s always a reason why I every hyped movie receives it’s hype. From the cast, to the storyline, any of these could influence the masses interest. However, what appeals to the masses might not be IT for me, and so I try to stay unbothered. Succeeding, most of the time, lol.

All of a sudden, there was this term everyone around me used. I could walk up to a friend and he would stretch out his hand saying ‘Wagwan’. In confusion, I would stare blankly. I later got to find out it was a famous line from this trending series and because I am the last person to know about trends, much less, follow it, I stalled my watching it. Anyways, I am here now, reviewing it with fullness in my heart.

Source

Supacell is a six episode British fantasy series, that follows the lives of five individuals who suddenly develop different abilities. Individually, they master the use of their newly-found abilities, imagining how much more they could achieve, with the aid of their powers. One of them has the ability to teleport, and so, teleports to the future, giving him an edge over the others, on what to do next to prevent the tragic future he foresaw.

Having adapted to using their newfound powers for personal gain, the rest of the individuals are skeptical about Mike’s vision but when experiences, like Mike foretold, starts to occur, they have no choice but to work towards their own safety, TOGETHER. What they encounter, takes them on a darker route. Darker than any possibility they ever imagined.

Oh boy! this six episodes flew by so fast. One moment i started the first episode, unsure, and the next, I was on google, hustling for information on the next season, it’s release date and all that. Safe to say, I lost track of time while watching and I couldn’t help it. I’m the last person you’d see, so invested in an action film, worse still, one revolving around gang life but I couldn’t care less here. This series had a way of keeping your sole focus on all its parts, so you didn’t look forward to just one part but every part instead. That was one of my favorite things about it.

As a lover of fantasy, who’s used to seeing poor imitations of the genre, this one wasn’t bad to watch. The animations and the CGI were realistic enough to not distract you from the plot of your movie. They weren’t exceptional but they were worthy of notice, considering the fact that I didn’t cringe at seeing humans hoisted up in the air and whatnot.

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The actors in this show delivered a stellar performance bringing their characters to life. I enjoyed the acting, and the diverse roles they all brought to life, some relatable and some not. I could understand why many of the characters did what they did but there were two characters that I couldn’t understand the rationale behind their behaviors. One, was Tazer - a fellow gifted person. For someone who is the leader of a notorious gang group, he was too irrational. He tried in some cases to embody the calm nature of these thug leaders but there were situations where his actions defied the role.

The other was Sharleen, a side character. I liked her at first but she didn’t think through so many situations. She was lucky she had her sister in so many cases, otherwise things would have gone worse for her than they already did.

This fast-paced series checked all the boxes for me. From the visuals, to the storyline, to the pacing, everything blended together to provide the wonderful cinematic experience. I’ll rate this show a clean 8.5/10. It is worth every hype it got, and hopefully the next season will continue from where exactly this one stopped - somewhere very close to perfection.

Thanks for reading.

Unsourced image is a screenshot from me during watching.

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Alliances (S04E05)

Airdate: October 8th 2006

Written by: Ed Burns Directed by: David Platt

Running Time: 58 minutes

The relentless march of the zombie – a creature once confined to B-movie schlock – has permeated contemporary culture to such an extent that its decaying grasp now seems inescapable, seeping even into the most rigorously grounded narratives. To witness such an icon of speculative fiction fleetingly brush against the uncompromisingly realist canvas of The Wire feels, initially, like a jarring dissonance, a genre collision utterly out of place. Yet, in the haunting cold open of Season 4’s "Alliances," we encounter a figure stumbling through the pre-dawn gloom of West Baltimore: a drug-addled man, eyes vacant, movements jerky and uncoordinated, emitting guttural moans that send the season’s young protagonists – Michael, Randy, Namond, and Dukie – run in primal fear. This is no Romero-esque horde, but the chillingly plausible zombie of addiction, a human reduced to a shambling shell. The episode then closes with an image of profound, quiet horror: the boys, led by the unassuming Dukie, standing frozen in the desolation of an abandoned rowhouse, staring down at the corpse, a victim not of the undead, but of Marlo Stanfield’s ruthless regime. These bookends frame a masterclass in how The Wire absorbs and subverts pop culture tropes, using the idea of the zombie not as fantasy, but as a lens through which the traumatised children of the corners interpret their incomprehensible reality.

Crucially, writer Ed Burns, stepping into the show’s demanding narrative framework, commits no betrayal of The Wire’s foundational realist ethos. The zombies exist solely as the desperate figments of the boys’ imagination, born from the terrifying void left by vanishing neighbours. Faced with the inexplicable absence of so many familiar faces from their corner – individuals who, they dimly perceive, crossed paths with Marlo Stanfield – these children, starved of adult explanation and institutional trust, turn instinctively to the cultural vocabulary most readily available: horror films and video games. Their neighbourhood’s grim mysteries find expression through the only mythological framework they possess. This stands in stark, ironic contrast to the efforts of Lester Freamon, newly returned to Homicide and burdened with the task of investigating these disappearances. Lester, the consummate professional, methodically searches the most logical dumping grounds – the woods, the sewers – engaging in utterly futile investigations blind to the brutal, banal reality of Marlo’s disposal methods. Lester operates within the system’s flawed logic; the boys, operating outside it, grasp the terrifying truth far sooner, albeit through a distorted, pop-culture-filtered lens.

Indeed, the boys are significantly closer to solving the mystery than Lester’s entire unit. Their urban legend crystallises around Chris Partlow, Marlo’s chillingly efficient enforcer. Having seen Chris near the rowhouses with some of the missing, and witnessing the zombie-like stupor of addicts daily, the narrative forms itself: Chris turns victims into zombies. This theory gains chilling credence during the cold open’s encounter and fuels Randy’s paralysing fear after his inadvertent role in Lex’s disappearance – he believes he might be next. The terror intensifies when Michael is summoned by Chris; the boys interpret this as a death sentence, a transformation awaiting him. The episode’s narrative brilliance lies in how this "zombie" mythology, while factually wrong, is psychologically and contextually understandable for children in a world where people simply vanish without trace or explanation. It is the quiet, observant Dukie, often overlooked, who pierces the myth. His street-level perception, honed by necessity, leads him to the grim reality of an abandoned rowhouse, where the body provides the horrifying, undeniable truth that no zombie apocalypse could match.

This nocturnal descent into myth and fear starkly contrasts with the boys’ diurnal reality: the stifling confines of Edward J. Tilghman Middle School. Here, Prez, still bearing the scars of his disastrous policing career, struggles to connect with his pupils. Yet, Alliances reveals tentative, fragile progress. His disastrous start is acknowledged, but now he actively seeks bridges. Namond, the boy desperately trying to emulate his incarcerated father Wee-Bay’s gangster persona, undergoes a significant moment of vulnerability, returning to apologise after lashing out at Prez – a crack in the facade of performative toughness. Even Prez’s own minor incompetence (locking himself out of his car) is mitigated by the unexpected utility of his students; Donut’s (Nathan Corbett) car-theft skills, learned on the corner, become a practical tool for the teacher, highlighting the complex, often contradictory, transfer of knowledge between the street and the classroom.

Simultaneously, at Tilghman, Howard "Bunny" Colvin finalises the controversial framework for his "Hamsterdam" pilot program. His goal is starkly pragmatic: to identify the true "corner boys," those deeply embedded in the drug trade and its attendant dysfunction, separating them from students from relatively stable homes. Dr. Parenti, young intellectual, embodies a certain liberal ideology, initially dismissing Bunny’s approach as discriminatory and contrary to the ideal of equal treatment for all. His stance, while well-intentioned, reveals a dangerous naivety, a refusal to acknowledge the vastly different realities and needs of children raised in environments saturated with violence and poverty. Bunny’s realism finds support in Mrs. Grace Sampson, the English teacher, who recognises the futility of applying a one-size-fits-all educational model to students whose primary concerns are survival. This tension – between ideological purity and pragmatic intervention – mirrors the larger societal failures the series dissects.

West Baltimore itself becomes the target of another ill-conceived operation, this time by the Major Case Unit under the arrogant and incompetent Lieutenant Charles Marimow. His heavy-handed, poorly planned drug raids predictably collapse into humiliating failure. Marimow, unable to accept his own tactical ineptitude, immediately assumes Marlo Stanfield must have received an "inside tip." The bitter irony, of course, is that Marlo needed no informant; Marimow’s unit was so visibly clumsy and loud that anyon* with eyes could see them coming. Marlo himself quickly discerns the video surveillance operation targeting him. This pressure becomes the catalyst for a pivotal strategic shift: Marlo, the fiercely independent new kingpin, finally acknowledges the limitations of his isolation. He realises that a temporary alliance with Proposition Joe, whose strength lies in his deep connections within the established co-operative and crucially, his own sources within law enforcement, is not a sign of weakness, but a necessary, coldly rational move for survival. Power, the episode argues, demands pragmatic, however temporary, alliances.

Marlo’s strategic recalibration extends to his handling of Omar Little. Eschewing the futile and reputation-damaging pursuit of directly hunting the legendary stick-up man, Marlo employs a far more insidious, diabolically clever tactic. Chris Partlow, embodying Marlo’s ruthless efficiency, enters Old Face Andre’s store. In a scene of stomach-churning normalcy preceding horror, Chris calmly assists a delivery woman with her packages before shooting her execution-style in front of Andre. He then forces the terrified shopkeeper to falsely identify Omar as the robber and murderer. This act is profoundly more terrifying than any zombie myth. It weaponises the police system itself; Marlo doesn’t just kill an innocent bystander, he manipulates the entire justice apparatus to do his dirty work, framing Omar and potentially eliminating him through the courts or a police bullet. Chris’s fleeting kindness makes the act not less monstrous, but more so, revealing the banality of evil within the drug trade’s new, hyper-rational order.

The Homicide Unit is simultaneously embroiled in its own scandal, stemming from the murder of witness Braddock. This killing, occurring just before Mayor Royce’s crucial primary, creates political panic. Royce, seeing his poll numbers slip, is furious when the media spotlight falls on Kima Greggs replacing the experienced Detective Patrick Norris on the case. He blames Commissioner Ervin Burrell for the perceived misstep, a move eagerly watched by Deputy Commissioner William Rawls, who sees an opportunity to topple Burrell. To contain the scandal, Kima is sacrificed: humiliatingly removed from the case and forced to publicly lie, claiming she was merely Norris’s partner and that he had always been in charge.

Royce’s political woes deepen when State Delegate Odell Watkins breaks their long-standing alliance. Rawls, ever the political predator, swiftly gathers this intelligence and delivers it to Tommy Carcetti, Royce’s ambitious challenger. Carcetti seizes the opportunity, successfully wooing Watkins to his camp. This shifting political landscape, driven by raw ambition and the fracturing of old loyalties, underscores the episode’s title: "Alliances" are fragile, transactional, and constantly in flux, whether on the corners, in the police department, or City Hall.

Alliances stands as another high-calibre episode in The Wire’s formidable canon. It proves that even without David Simon’s direct, hands-on scripting for every beat (he delegated significant showrunning duties to Burns for Season 4), the series retains its unparalleled depth, complexity, and narrative power. The episode’s structure, particularly the journey of the boys telling tales by night and searching for the dead body, functions as a semi-ironic, deeply melancholic homage to Rob Reiner’s Stand By Me. The narrative cohesion, weaving the boys’ story, the school dynamics, Marlo’s strategic moves, and the political machinations into a seamless tapestry, is exemplary.

Ultimately, Alliances is a profoundly dark chapter, arguably darker than its predecessors. It starkly illustrates how Marlo Stanfield’s ascension marks a qualitative shift for Baltimore. Gone is the (relative) code and community of the Barksdales; in its place is a regime defined by chilling efficiency, absolute paranoia, and a terrifying rationality that makes its violence more horrifying, not less. The cold-blooded murder of the delivery woman, staged to manipulate the police against Omar, exemplifies this new nadir. Chris Partlow’s momentary, almost gentle assistance before pulling the trigger is not a contradiction, but the essence of Marlo’s world: evil wears a calm, even helpful, face. The episode masterfully uses the suggestion of the zombie – a pop culture phantom – to illuminate the far more pervasive and devastating horror of the real: a city where children interpret disappearances through horror movies because the truth is too terrible to comprehend, where institutions fail at every turn, and where power consolidates through the most diabolical of pragmatic alliances. This is The Wire at its most devastatingly clear-eyed.

RATING: 8/10 (+++)

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Dangerous Animals came out on 2025 and probably became one of my favorite shark movie that I actually give a damn about because honestly there is that stiga to Jaws where the shark is always the bad guy of the movie although here we got a hybrid, most shark movies bore me or feel way too fake but this one hit diferent, because as it starts to unfold you start to realize that this isnt even really about the sharks at all, its about Jai Courtney playing this absolutely insane serial killer named Tucker who runs one of those shark tour boats in Australia where he lowers people in cages to see the sharks up close, except Tucker uses the sharks as his weapon to kill people and records everything on VHS tapes like some twisted collector keeping trophys of his victims. The hook alone had me interested right from the trailer so I knew this was worth waiting for and Im glad I went in without watching only the first official trailer and not much context, sometimes its hard because you basically have to be dodging content online because discovering how messed up Tucker really is made the experiance so much better, this guy dangles victims over shark infested water while their loved ones watch them get torn apart and films the whole damn thing. Sean Byrne directed this and hes the same guy who made 'The Loved Ones" and "The Devils Candy", the first one I havent seen but did enjoy "The Devils Candy" so I had some faith going in that he would deliver something entertaining and he absolutely did. Jai Courtney is a good actor although we havent seen him doing a movie like this one in a wile or at least in one that he is one of the main protagonist and not just support actor, he probably deserve better roles, ones that let him do much more but this role as Tucker might be the best work Ive seen from him ever, he completly owns every scene hes in and makes Tucker feel terrifying, menacing, but also weirdly fun to watch in that villain way where you cant look away.

• IMDB: https://www.imdb.com/title/tt32299316/
• Platform: PRIME VIDEO

Rottentomatoes Rating

The story starts with Tucker taking this couple out on his boat for a shark tour and just in a couple minutes you get the first peak behind the courtin as he stabs the boyfriend in the neck and throws him to the sharks while keeping the girlfriend with him in the boar, thats how this movie basically goes from 0 to 100 real quick, what kind of sick bastard Tucker is and it sets the tone perfectly putting any kind of character build up necessary aside. Then we meet Zephyr played by Hassie Harrison who is this American surfer traveling around Australia in her van looking for good waves, shes got this loner vibe and seems like someone who keeps moving to avoid getting too close to anyone so my first thoughts were, who broke her?. She meets this guy Moses at night when his moms car needs a jump start and they end up having a one night stand, I guess thats what loner travelers do? look too cliche to be honest but if you go with it seem to really click together even though Zephyr ghosts him the next morning because commitment isnt her thing. She heads to the beach super early before sunrise to surf at a spot Moses recomended and realizes she forgot this key tool she needs for her surfboard, she sees Tuckers truck parked and goes looking for help when Tucker comes out of nowhere without shoes, this guy is creepy AF, he had to be hiding something all looking back because he was probably dumping a body or something. He gives her the key and drives off but then comes back and captures her, just like that shes chained up in the bottom of his boat with another woman named Heather who he had captured earlier. The whole setup happens so fast that it keeps the momentum going and doesnt waste time with unnecessary build up, by the time were twenty minutes in weve already got our main drama / kidnap and I was like wtf, if I try to pull this it would never happen so easy in a million years, this guy.

I thought were were going to get a lot of shark action throughout the movie but I think is smart to keep it low key because when the sharks do show up it actually matters and feels tense, Tucker straps people into this harness and slowly lowers them into the water after throwing food around to attract sharks. Most of the time you only see the fin circling and imagination kicks in and classic Jaws memories take care of the rest, its way more efectiv than showing CGI sharks constantly because the fear comes from not knowing exactly where they are or how close, just like Jaws did it back in the day. The CGI they do use looks pretty convincing most of the time, theres defintely some computer effects mixed with real shark footage but they hide it well enough that it doesnt pull you out of the movie. Tucker has this whole philosophy about being like an apex predator and compares Zephyr to a marlin because shes such a challange to catch, he tells this story about how fishermen prize marlins because they fight so hard to escape and that gets a bit tiresome by the third time he brings it up. The ending goes a bit overboard with fake endings where it feels like the movies wrapping up but then keeps going, this happens like three or four times and it does make the ending feel longer than it needs to be. Eventually Zephyr gets dropped in the water and this great white shark shows up, the movie makes it seem like the shark spares her because Tucker had stabbed it earlier so now it wants revenge on him which feels like a stretch but whatever. Zephyr gets back on the boat and shoots Tucker with a harpoon into the water where the great white immediatly kills him, that final shot of Tucker getting eaten looked a bit rough CGI wise compared to the rest of the movie probably because they want it to look savage and agressive enough.

My biggest complaint is that I wanted way more gore, its a shark movie with a serial killer using this predators as his tools with the perfect place to disapear his victims so use the damn thing, like we get some blood here and there but for a movie about people getting fed to sharks I expected more brutal shots and that classic sound when people are about to drawn like taking in more water than breathing. The romance between Zephyr and Moses also felt rushed, like they had one good night together and suddenly hes risking his life to find her when most people would just assume she ghosted them and move on, the movie needed to give them more chemistry or more time together to make his dedication feel earned. Tucker keeps all these VHS tapes of his kills with pieces of victims hair attached to the cases and that was a nice creepy touch, you see hes got dozens of them so this guys been doing this for years without getting caught. Later on after watching the movie I find out he soundtrack for the movie is by Michael Yazerki and it really stood out and nail it, it matches the tone shifts between fun and terrifying, such sweet spot and sometimes the music lets you know things are about to get dark before you even see it on screen. Overall I had a really good time with Dangerous Animals, its not perfect and the pacing issues came up but mostly towards the ending, after all that dopamine rush I guess writers had a hard time wraping things up and bring it down a bit but its easily one of the best shark movie that is not about sharks, the contradiction right there, besides Jaws and Deep Blue Sea. Jai Courtney completly surprised me with how good he is as this unhinged killer and I hope he gets more roles like this that let him do some entertaining stuff and more screen time. If you like serial killer movies or shark movies or just want to see something thats a bit different than the usual stuff, Dangerous Animals is worth checking out, Im giving it a solid 7 out of 10 for being way better than most shark movies.

#skiptvads, #inleo, #hive, #dangerous, #animals, #shark, #thriller, #courtney, #killer, #serial, #horror, #survival, #byrne, #harrison, #tucker, #zephyr, #australia, #revenge, #ocean, #predator, #chase, #escape, #violence, #suspense, #terror, #victim, #cage, #bloodshed

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**

Hola amigos, buenas vibras para todos.

Hello friends, good vibes to all.

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If there's one director who knows how to do things, it's James Gunn, the mastermind behind this new version of DC Comics and director of Peacemaker, Superman, and Suicide Squad. But why did I mention this latest film? Because it's canon in this universe, and especially in this series. So, for anyone who wants to really stay up-to-date with the direction DC is taking, you're going to have to sit down and watch these three things. But today we're going to focus on the second season of Peacemaker, which just ended last week. A season that left a bittersweet taste in the mouth, considering two things: how extraordinary the first installment is, and the plot that had been developing in this second one, leading us to have an ending with so many questions.

Peacemaker makes his appearance in Suicide Squad, and from there, Gunn decides to give him a leading role in what will be the main story in this universe. For those who don't know, he's a rather unusual hero whose main power is concentrated in the helmet he wears. In this second installment, the plot has something to do with travel through multiverses or dimensions thanks to a device capable of opening portals in any door. This ties it in somewhat with the main plot of Superman and the famous rift created by Lex Luthor. The point is that throughout the eight chapters, a background is created that will lead to the season finale, the "birth" of a new villain, and the fate of Peacemaker.

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Personally, I liked this season. The problem is that the last episode didn't live up to people's expectations. It was a bit slow, yes, but it's one that needs to be analyzed for the medium and long term. James Gunn doesn't do anything without a thimble, as they say. The good thing about Peacemaker is that John Cena is made for this role; he's a natural comedian, and yes, he's a very good actor, despite the fact that he entered the world of Hollywood late and acting isn't, or wasn't, his strong suit. And when I say he's made for the role, it's because the series' main focus is mostly comedy, but it's a fairly direct and unvarnished one. In fact, the series is super straightforward with some topics; the blessed woke culture doesn't exist here, which is greatly appreciated.

A dark comedy and a few nods to current events in the United States at a social level are some of the things Gunn dared to show in this second season. The action is very good, the scenes are very graphic in terms of violence, everything is very visual, it reminds me a bit of what you see in The Boys. What makes this season a little less intense than the first is that I feel it's a bit more emotional and personal. We get to know an unknown side of Chris Smith, his feelings, his traumas, and how he feels about his other classmates, in this case toward Emilia Harcourt (Jennifer Holland).

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James Gunn has already clarified that there are no plans for a third season, so we'll have to wait a while to find out how this story will continue in any of the upcoming films. The ending is extremely open-ended, leaving room for endless possibilities and speculation about what might happen next. Speaking a bit about the characters, it's worth noting that they're the heart and soul of the series. Cena has a special charisma; it's impossible to dislike him; Jennifer Holland, Gunn's wife, is another who surprises us greatly; she has top-notch fighting skills, and her acting skills are evident in certain passages throughout the season. In reality, everyone contributes something: Adrian, Adebayo, Economos, Judomaster, etc.

Overall, this second season is very good, with the intensity of the first, but it certainly paves the way for what's to come from DC, and that has to be taken into account. It's a fun series, you laugh a lot, it has great visual effects, very good CGI, and above all, it's irreverent and daring. The "what people will say" thing is fading, and we're going back a bit to the "politically incorrect." I give it an 8/10. You can't sacrifice a product just because you didn't like the last 20 minutes of the final episode, especially if we think in the medium and long term, as I already said. I'll leave the trailer below. Highly recommended; the superhero genre is slowly resurfacing.

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***

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

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