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The thing that has impressed me the most about Philip K Dick's Electric Dreams series is that production values for each and every one of these short movies is maintained at an incredibly high level. They're gloriously rich with detail, costumes, gadgets and sets that each episode is full of visual splendour, and "Real Life" is no exception.

Sarah is a traumatised cop. She looks at the world through the eyes of a person who looks around at all of the things, the people, the life she has, and she constantly tells herself it is too perfect, and that she doesn't deserve it.

Apart from the trauma. Apart from the constant thoughts that something is wrong, and that she doesn't quite belong. Her wife, Katie tries to fix this, by bringing her a little gift.

The gift?

She gets a "vacation chip" that puts her into a dream state - a vacation away from her life. In the first few moments of her new "life", the dream is filled with darkness and mystery - what is portrayed as a small time gang-war incident is the catalyst for much more, in terms of storytelling.

It hardly seems like a vacation at all, with several people left dead, a concussion, and Sarah finding herself back in her normal body, with a question mark hanging over what she had just experienced - The sort of thing that would traumatise a normal person. So... how is this meant to help a cop relax?

Very quickly, this episode plays at the suggestion that we are capable of becoming another being, another person in our dreams, and in our sleep, particularly when Sarah finds herself in her own body once more the following day, feeling that something is off.

"A vacation from your life". A line repeated throughout this movie. A suggestion that is constant, and one that seems less like a vacation, and more like a parallelism between two individuals that seemed to be interlinked in a single psyche.

And a vacation chip that keeps our traumatised cop attached to both her own reality, and the one she encounters in her chip-led dreams. One in which both individuals know there is something brewing, something wrong with the reality they are perceiving.

The line between the real world and the vacation world is one that increasingly loses its sense of distinction. As the viewer, you are never quite sure which is the true reality that Philip K Dick's story is trying to tell.

In one world a traumatised cop, in the other, George multi-billionaire company owner with an assassinated wife - also Katie. But they both want a different life. They both want a vacation. They're linked. Somehow. Through the dream machine, through different worlds.

This is a theme that I am noticing increasingly in Philip K Dick's work as I explore his catalogue of story telling more deeply. The stories are all interesting. They are fundamentally about people, and this makes them incredibly accessible, even if they are often gatekept behind the barrier of being "science fiction".

Really good, thought provoking stuff.

Hello, film lovers, /Bonjour les cinéphiles,

We are on Netflix for this American series, consisting of eight episodes, which falls into the heist category.

Nous sommes sur Netflix pour cette série américaine, composée de 8 épisodes, qui se classe dans la catégorie braquage.

Source Series poster /Affiche de la série

Synopsis :

Leo Pap/Ray Vernon (Giancarlo Esposito) is a long-time criminal, mainly involved in burglary. He has even served time in prison for this offence.

He lost his wife shortly before being incarcerated, at the scene of a robbery, when she was not supposed to be there. Fortunately, their daughter Hannah was not present.

Leo found refuge with a lawyer friend, Ava Mercer (Paz Vega), while he rebuilt his life.

Leo Pap/Ray Vernon (Giancarlo Esposito) est un criminel de longue date, principalement en cambriolage. Il a d'ailleurs fait de la prison pour ce motif.

Il a perdu son épouse peu de temps avant d'être incarcéré, sur les lieux d'un braquage, alors qu'elle n'était pas censée être sur place. Heureusement, leur fille Hannah n'était pas présente.

Leo a trouvé refuge chez une amie avocate, Ava Mercer (Paz Vega), le temps de se reconstruire.

Leo reconnects with his daughter, who has grown up and now works for Salas Logistics Systems (SLS), a company founded by Roger Salas (Rufus Sewell), formerly Graham Davies, Leo's ex-partner in crime.

Leo learns that $7 billion is stored in SLS's high-security vaults. He quickly decides to steal it with a team he will lead and a plan he will devise. Each member of the team has their strengths, but also their weaknesses. And when it comes to money, people think differently, especially with such a large sum.

Leo reprend contact avec sa fille qui a bien grandi et qui travaille pour la société Salas Logistics Systems (SLS), créée par Roger Salas (Rufus Sewell), anciennement Graham Davies, ex-complice de Leo.

Leo apprend qu'un montant de 7 milliards de dollars est réparti dans les coffres hypersécurisés de SLS. Il décide assez rapidement de s'en emparer avec une équipe qu'il dirigera et un plan qu'il élaborera. Chaque membre de l'équipe a ses atouts, mais aussi ses défauts. Et quand il s'agit d'argent, on réfléchit différemment, surtout avec une telle somme.

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

I really appreciated the fact that we could watch the episodes in any order we wanted, even though we watched them in the pre-determined order.

As for the cast, the main actors need no introduction:

• Rufus Sewell, an excellent British actor who regularly appears in films and series
• Giancarlo Esposito, who recently appeared in the series The Residence (as AB Wynter).

Paz Vega (Ava), Rosaline Elbay (Judy), Jai Courtney (Bob) and Tati Gabrielle (Hannah) complete the cast.

J'ai bien apprécié le fait que nous puissions regarder les épisodes dans l'ordre que l'on souhaite, même si nous les avons visionné dans l'ordre préétabli.

Pour le casting, les acteurs principaux ne sont plus à présenter :

• Rufus Sewell, un excellent acteur britannique, que l'on voit régulièrement dans des films et séries
• Giancarlo Esposito, que l'on a vu récemment dans la série La Résidence (dans le rôle AB Wynter).

Paz Vega (Ava), Rosaline Elbay (Judy), Jai Courtney (Bob) et Tati Gabrielle (Hannah) complètent le casting.

I recommend this mini-series, which I found original. If you've seen it, what did you think?

Enjoy your evenings in front of the telly, everyone!

Je vous conseille cette mini-série que j'ai trouvée originale. Si vous l'avez vue, qu'en avez-vous pensé ?

Bonnes soirées-tv à tous,

Florence

Source photo : image Qwant autorisée

Deepl translator helped me with the translation from French to English.

Proud member of the Principality of Bastion

A Matter of Honor (S02E08)

Airdate: February 6th 1989

Written by: Burton Armus Directed by: Rob Bowman

Running Time: 46 minutes

Gene Roddenberry’s initial insistence upon banning the portrayal of Vulcans, Romulans, and Klingons—the bedrock alien races that defined The Original Series—in Star Trek: The Next Generation stands as one of the most astonishingly myopic decisions in science fiction history. Had this purist dogma been enforced beyond the first episodes, it would have amputated the very limbs that gave Star Trek its cultural resonance, potentially consigning the franchise to obscurity as a sterile, directionless echo of its predecessor. Roddenberry argued, with characteristic hubris, that recycling these established species would stifle creative exploration, preventing the discovery of new and even more fascinating alien civilisations within his vast fictional universe. Yet by the time A Matter of Honor aired in Season 2, Roddenberry had been forced to confront the profound folly of his stance. This episode does not merely serve as a counter-argument to his twin assertions—that legacy races would hinder innovation or dilute the show’s originality—it actively dismantles them, emerging instead as one of TNG’s most incisive, culturally rich, and narratively sophisticated hours. It proves that revisiting Klingon honour, Romulan intrigue, or Vulcan logic was not regressive but essential; these races were not crutches but conduits for examining humanity through radically other lenses. Without them, Star Trek’s moral and philosophical engine would have sputtered into irrelevance.

The episode opens with the Enterprise-D docking at Starbase 179 to receive crew replacements, including Ensign Mendon (John Putsch), a Benzite whose uniformed, prosthetic-masked appearance causes Wesley Crusher to mistake him for her old friend Mordok—a subtle nod to the species’ homogeneity. This seemingly minor detail becomes pivotal when the Enterprise encounters the Klingon vessel IKS Pagh, prompting Commander Riker to volunteer for Starfleet’s officer exchange programme. Riker beams aboard the Pagh as first officer under Captain Kargan (Christopher Collins), a decision rooted in meticulous preparation: he has studied Klingon customs, endured the gut-churning ritual of eating gagh, and psychologically steeling himself for immersion in a warrior culture where authority is seized, not granted. His arrival is met with immediate hostility from Klag (Brian Thompson), a subordinate whose defiance Riker swiftly quells with a moment of physical theatre that earns him grudging respect from Kargan’s crew. This sequence is masterful in its economy; Frakes conveys Riker’s calculated risk-taking, demonstrating that Klingon loyalty is won not through diplomacy but through the uncompromising assertion of strength.

The narrative tension escalates when Mendon, conducting a routine diagnostic on the Pagh, discovers subatomic bacteria corroding its hull—a crisis mirroring one recently solved aboard the Enterprise. After being justifiably reprimanded by superiors for procedural errors in his initial report, Mendon redeems himself by devising a solution for the Enterprise’s own infection. Yet his lapse in protocol proves catastrophic: the Pagh remains unaware of the bacteria’s nature, and Captain Kargan, interpreting Starfleet’s silence as deliberate sabotage, cloaks his vessel and prepares to attack the Enterprise. Riker now faces an agonising dilemma: uphold Klingon loyalty by aiding Kargan’s assault, or betray his temporary crew to save his true ship. His resolution is a stroke of narrative brilliance. He leverages the very culture he has immersed himself in to avert war, embodying Roddenberry’s optimistic vision where intellect and cultural understanding triumph over blind aggression.

Written by Burton Armus, the script is a masterclass in TNG’s golden-era storytelling. It deftly resurrects the Benzites—a species introduced in Season 1’s Coming of Age —not as window dressing but as a catalyst for the central conflict. This avoids the trap of treating legacy races as mere nostalgia bait; instead, the Benzites are woven into the plot’s DNA, proving Roddenberry’s fear of "repetition" was misplaced. New species could coexist with, and even enhance, established ones. The Benzite subplot also showcases remarkable originality: Mendon’s identical appearance to Mordok (also played by Putsch) was pragmatically driven by prosthetic reuse, yet it becomes a character-defining trait. Unlike Mordok’s calm competence, Mendon is a pedantic, sycophantic figure whose desperate attempts to curry Picard’s favour underscore his inexperience. His arc—from floundering neophyte to solution-finding engineer—feels earned, not contrived, highlighting how new species could offer fresh perspectives on Starfleet’s ideals.

The Klingon narrative, meanwhile, is handled with unprecedented depth. Rob Bowman’s direction transforms the Pagh’s cramped, crimson-lit corridors into a visceral antithesis of the Enterprise’s sterile minimalism, emphasising cultural dissonance through production design alone. We gain genuine insight into Klingon hierarchy (Kargan’s volatile command style), warrior ethos (Riker’s physical integration), and even mating rituals via Vekma (Laura Drake), whose flirtation with Riker unsettles him. The episode balances tension with levity (Riker’s handling gagh) and action (a brief but kinetic martial arts sequence), yet its triumph lies in the resolution. Riker doesn’t "defeat" Kargan; he shames him into reason using Klingon tradition itself—a testament to the franchise’s core belief that cultural empathy, not weaponry, secures peace. Jonathan Frakes delivers a career-best performance, capturing Riker’s vulnerability beneath the bravado, while Thompson’s Klag evolves from antagonist to ally, foreshadowing his future Star Trek incarnations across four series.

If the episode stumbles, it is only at the precipice of its climax. Kargan’s descent into paranoia—leaping to conclusions about Federation treachery—strains credulity. Klingons value honour, but Kargan’s actions here feel less like cultural authenticity and more like an "idiot plot" contrivance to force Riker’s dilemma. A more nuanced portrayal might have shown Kargan’s suspicion rooted in historical Klingon-Federation betrayals, rather than mere obstinacy.

Ultimately, A Matter of Honor is a triumph of Star Trek’s philosophical ambition. It validates the inclusion of Klingons not as relics but as dynamic vessels for exploring honour, loyalty, and the perils of miscommunication. Roddenberry’s early resistance to revisiting these races was born of insecurity, not vision; this episode proves that legacy species, when treated with intelligence, could propel TNG to new heights. By interweaving the Benzites’ introduction with Klingon cultural immersion, Armus and Bowman crafted a narrative where the old and new coalesce into something greater than the sum of its parts—a living rebuttal to Roddenberry’s fear that familiarity breeds stagnation. In doing so, they gifted Star Trek with one of its most enduring lessons: that true progress lies not in discarding the past, but in reimagining it with courage and insight. Without episodes like this, The Next Generation might indeed have been remembered as a noble failure. Instead, it stands as proof that sometimes, the most radical act is to honour what came before.

RATING: 8/10 (+++)

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The two attached movie poster is two movies sitting on opposite ends. Especially when talking about the correct way to copy (pastiche) and a bad way of doing it.

The Killer is a 2024's John Woo directed movie with the same title with the 1989 classic masterpiece which stars Chow Yun-Fat. It has all the trademarks - doves in church, gun-fu etc. But it is quite appalling at this age of tech and information, the one with the money could just settle on the skin-deep cosmetics without any shame. Apart from that, it is quite apparent that this is another attempt to womanised every male archetype IP (havent what happened with MCU past End Game thought them any lesson).

It is not about the sex of the protagonist but more of the bad character writing. Zee (Nathalie Emmanuel) background story does not justify her physical ability to hold a male twice her size nailed on the floor. Unless the writer gave her some super power ability and gave the audience the little suspension of disbelief. But none of them happened here. So unlike classic John Woo, who made us feel how it is being shot in slow motion, empathy is non-existent on this one. The attempt to write a ‘femme fatale’ resulted in a Mary Sue instead.

Many have successfully done a good pastiche out of John Woo’s Gun-Fu - The Matrix, John Wick and Face-Off just to name a few from the classic list. This The Killer is just another unabashed blatant use of the brand by some rampant capitalist with an agenda. Bad pastiche, borderline Kitsch. Avoid this one like a plague.

On the other hand, The Woman in Cabin 10 is a good example of good pastiche. From the start the director gave the audience a good exposition of the main protagonist, which is a Lois Lane type kind of journalist. She was invited by a wife of a rich man whos dying of leukemia for a ride in a luxury yacht to cover a story of her charity gala event. During the journey, a pandora’s box opens and this has taken Laura (Kiera Knightley) and also the audience into a well written (and well directed) mystery-thriller. We will finally understand why she was selected to be on the cruise.

A good pastiche because it copies (intelligently) from other classics with similar template like Vertigo (1958) or more relevant, Murder on the Orient Express (both 1974/2017). For the protagonist female character arch, this film reminded me of Black Swan (2010) with good pay-off and closure in the end. Worth a watch.

Cover image edited in canva; the image was taken from the following source

This is a season that has seriously under perform, its not even close to Season 2 but I guess the cat is out of the bag, Daryl is with Carol and Laurent who was they kid they were once trying to safe is far away from danger so I guess it was hard to keep this show running at the same pace, not all episodes have been bad, at least this was fun as hell to watch, not gonna lie this show has been throwing so much variety at us that Im actually enjoying the ride, just enough to keep watching even tho nothing too crazy has happend yet but this episode really delivered on multiple fronts but its not the same anymore, after this three spin off are over they need to do some drastic changes if they want to keep pumping TWD content, for some everything died with the OG series but I have enjoy most of the spin off at some level, even Dead City. The thing is they split up Daryl and Carol again which is working so much better than earlier in the season when they were kinda stuck together doing not much, now we got two separate stories happening and both are actually interesting for once which is a nice change of pace from what we have been getting, its WOT all over all.

• IMDB: https://www.imdb.com/title/tt13062500/
• Platform: PRIME VIDEO

Rottentomatoes Rating

Back with Carol there is Roberto, annoying as fuck though he speaks his mind sure but damn he can be a pain in the ass sometimes curious to see what happens with him next episode because the kid got poisoned by Fede wich was messed up and the cat clue was a nice touch. The Antonio and Carol stuff was actually expected to have them kiss, it felt earned after all the buildup even tho I was not buying their chemistry at first but it grew on me throughout the episode also there is Valentina pushing Carol closer to the edge of tasting the "local wine", that flashback scene of Antonio with his wife dying and turning into a walker right there on camera while everything falls apart around them was beautifully done one of the best death scenes this show has pulled off in a while probably because it has so meaning to him and what his life turn to but what an idiot to hold it from Roberto for so long and let Fede bully him for it. The fact that it happened right when the outbreak started in Spain was a cool reveal even tho some people might think its unnecessary I thought it added context to the whole situation and showed us something we hadnt seen before wich was the beginning of everything in Barcelona, they mentioned Rick Grimes brother was there during the outbreak so were getting closer to that whole storyline even tho they refuse to actually say Ricks name which is still frustrating as hell.

Fede is still being shady and I cannot wait for him to get killed to beat up badly as he has been lying to everyone for years about the whole Alcazar situation and now hes trying to cover it up by literally poisoning a kid, like what kind of leader does that shit. Carol breaking into his place to steal medicine was a bold move and Im glad Fedes mother finally figured out what her son was doing because she gave Carol the antidote without hesitation once she understood but I think she did it because it was Roberto and not necessary because he understood or recognize Fede's reasons, that compass coming back into play was smart writing because it tied everything together and proved Roberto was telling the truth about finding Justina. The whole Salas Delmare situation is about to explode next episode because Antonio called out Fede in front of everybody and theres no way that ends well for him Im thinking hes gonna die saving Carol and Roberto which would suck and I think Daryl is the only that could safe him and is very far away in Barcelona, if they kill him off like they did Isabelle in my opinion is just lazy writing but then again this is not the OG TWD anymore, this spin off are probably whats last on the fuel talk, although I notice on IMDB there is a forth season and I think they should stop there.

Only one episode left for season 3 and I have no idea how they wrap all this up are we leaving Spain or staying for season 4 opener so many damn questions. The Daryl flashbacks with young Merl were honestly pointless and I dont understand why they keep showing them now after all these years like what does losing Isabelle have to do with his childhood trauma it feels like they dont know what to do with Daryl when Carol getting all the good scenes which is weird because usually its the other way around. That whole refugee camp with the girls who escaped Alcazar was a nice touch showing that not everyone in this world is a psychopath and some people are actually trying to help others survive, Lias group agreeing to help attack the convoy made sense once they realized killing the fake king of Spain would end the whole La Ofrenda system but the reasons and decision process felt stupid, honestly they should have stay put and just tell NO to Daryl. The river of walkers they had to cross was a cool visual even tho we have seen similar stuff before it still looked cool, this show knows how to do fight scenes and make them feel grounded unlike Dead City that is the other end of the rope going way over the top. Overall this episode was way better than I expected especially after a few weaker ones earlier in the season and Im a bit more excited for the finale now that we finally getting somewhere with killing The Alcazar wich is saying something because I was getting bored with the pacing before, they finaly gave us what we wanted with both Daryl and Carol doing interesting things separately instead of just standing around talking about nothing but I have to be honest and I doubt they could cram up all that content that is left on a single episode.

#skiptvads, #inleo, #hive, #walkingdead, #daryl, #carol, #paz, #barcelona, #justina, #antonio, #roberto, #fede, #alcazar, #zombies, #walkers, #convoy, #shootout, #flashback, #outbreak, #spain, #episode, #season, #review, #action, #betrayal, #poison, #rescue, #finale

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The Accountant 2 felt like a movie that starts with everything, because when you see Ben Affleck again as Christian Wolff, that guy who although is a bit weird socially but a genius with numbers and guns you get the feeling it's going to be a total hit because the first one left a mark. When it starts Christian is semi retired, only taking cases that really matter to him and suddenly they put him on a search for a missing Salvadoran family, with the son Alberto who seems to have something special like himself and that hooks him because he feels a connection even if he doesn't say it. Affleck's performance is good he manages to show that awkwardness when he interacts with people, like when he goes to a speed dating event and ends up scaring everyone away with his logical explanations about algorithms and love at first sight that part made me laugh a lot because he's so honest and doesn't pretend to be normal. Jon Bernthal as Braxton is the crazy protective brother who gives him a perfect balance, they're like two opposite poles one is calculating and the other impulsive. The production is well done there are investigation scenes with photos of corpses and maps of Central America that make everything seem serious, and when Christian reorganizes all the mess of clues while Marybeth Medina sleeps, you realize the script knows how to play with his neurodivergent abilities without overdoing it at the start.

The Accountant 2 me pareció una película que arranca con todo, es que cuando uno ve de nuevo a Ben Affleck como Christian Wolff, ese tipo que aunque es un poco raro en lo social pero un genio con los números y las armas a uno se le viene a la cabeza que será un hit total porque la primera entrega dejó una marca. Cuando comienza Christian esta semi retirado, solo tomando casos que le importan de verdad y de repente lo meten en una búsqueda de una familia salvadoreña desaparecida, con el hijo Alberto que parece tener algo especial como el mismo y eso lo engancha porque siente una conexión aunque no lo diga. La actuacion de Affleck es buena logra mostrar esa torpeza cuando interactúa con la gente, como cuando va a un festival de citas y termina espantando a todas con sus explicaciones lógicas sobre algoritmos y amor a primera vista esa parte me dio mucha risa porque es tan honesto y no finge ser normal. Jon Bernthal como Braxton es el hermano loco y protector que le da un balance perfecto, son como dos polos opuestos uno es calculador y el otro impulsivo. La producción está bien hecha hay escenas de investigación con fotos de cadáveres y mapas de Centroamérica que hacwen que todo parezca serio, y cuando Christian reorganiza todo el desorden de pistas mientras Marybeth Medina duerme, te das cuenta que el guion sabe jugar con sus habilidades neurodivergentes sin exagerar al inicio.

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What I liked most was how they show Christian's autism not as a magic superpower but as part of him, my coworker's son is autistic and she tells me things and I also see his behavior and you learn a bit, it's not easy at all because you have to be in therapy for those social skills but when they focus on something they really are stars. The movie in the technical parts like gun handling and operations is decent, you can tell they had advisors because the shooting and hand to hand fights seem real, not like in cheap movies where everyone misses. Plus the inclusion of agent Medina, played by Cynthia Addai Robinson is a good contrast, she wants to go by the rules and Christian doesn't and that creates tension without being repetitive. I felt empathy for Christian when in one scene he tries to dance in a bar to impress a girl and counts the steps and everything, but it ends in a fight because a jealous guy confronts him and Braxton comes in ready to back him up, those moments like that make the movie more human, the movie hooks you with that mix of subtle action and character development that makes you want to keep watching and the chemistry between the brothers is really good.

Lo que más me gustó fue como muestran el autismo de Christian no como un superpoder mágico sino como parte de el, el hijo de mi compañera de trabajo es autista y ella me cuenta cosas y también veo su comportamiento y uno va aprendiendo un poco, no es nada fácil porque tienes que estar en terapia para eso de las habilidades sociales pero cuando se enfoncan en algo de verdad que son unas estrellas. La peli en las partes técnicas como el manejo de armas y operaciones está decente, se nota que tuvieron asesores porque los tiros y las peleas cuerpo a cuerpo parecen reales, no como en películas baratas donde todos fallan. Además la inclusión de la agente Medina, interpretada por Cynthia Addai Robinson es un buen contraste, ella quiere ir por las reglas y Christian no y eso genera tensión sin ser repetitivo. Snetí empatía por Christian cuando en uan escena intenta bailar en un bar de para impresionar a una chica y cuenta los pasos y todo, pero termina en una pelea porque un tipo celoso lo confronta y Braxton entra listo para respaldarlo, esos momentos así hacen que la película sea más humana, la peli te engancha con esa mezcla de acción sutil y desarrollo de personajes que hace que quieras seguir viendo y la química entre los hermanos es muy buena.

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Now talking about how the story moves forward, Christian and Braxton end up joining forces to track down the Sanchez family and here is where the script shines showing how they work as a team, one hacking finances and the other handling the physical stuff, like when they go to a pizza factory and Christian discovers money laundering just by looking at invoices, and Braxton interrogates the owner with direct methods, breaking arms if necessary. I liked that they show that human trafficking part, with the immigrants forced to work so they don't lose their kids that gives quite a bit of reality to the plot and Christian becomes obsessed with rescuing Alberto because he sees in him a reflection of his own complicated childhood. The direction is by Gavin O'Connor and he always manages to keep the pace between investigation and action, the script has its pros like the humor in the things the brothers do with Braxton practicing how to talk to a dog breeder to adopt a puppy and Christian entering the world of dating. That autism theme is well handled, they don't romanticize it but they don't use it for cheap drama either or as an excuse, plus those flashbacks about their military father help understand why they are like that, overall the movie maintains the momentum with witty dialogue and action that doesn't bore.

Ahora hablando de lo que avanza la historia, Christian y Braxton terminan uniendose para rastrear a la familia Sanchez y aqui es donde el guion brilla en mostrar como trabajan en equipo, uno hackeando finanzas y el otro manejando lo físico, como cuando van a una fábrica de pizzas y Christian descubre lavado de dinero solo mirando facturas, y Braxton interroga al dueño con métodos directos, rompiendo brazos si hace falta. Me gustó que muestran esa parte de tráfico humano, con los inmigrantes forzados a trabajar para no perder a sus hijos eso da bastnate realidad a la trama y Christian se obsesiona con rescatar a Alberto porque ve en el un reflejo de su propia infancia complicada. La dirección está a cargfo de Gavin OConnor y siempre logra mantener el ritmo entre investigación y acción, el guion tiene sus pros como el humor en las cosas que hacen los hermanos con Braxton practicando como hablar con una criadora de perros para adoptar un cachorro y Christian entrando al mundo de las citas. Esa tema del autismo está bien manejado, no la romantizan pero tampoco la usan para drama barato ni como excusa, además esos flashbacks sobre su padre militar ayuda a entender por que son asi, en general la película mantiene el momento con dialogos ingeniosos y accion que no aburre.

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Now for the third part things start to get a bit weak, the plot gets tangled with many twists that seem straight out of a video game, like those kids hacking everything, from air traffic to home printers and although the idea of an academy for talented autistic people is cool, it seemed somewhat unrealistic and exaggerated they could have made it more believable showing real things instead of digital magic. The rescue is intense, with shootouts and truck chases, Christian and Braxton trying to get the kids out, but the ending deflates because the bad guys fail so much it loses tension. In this part the acting remains strong but the script doesn't give them much to do beyond shooting. It has its pros like the chemistry between the brothers but its cons like the plot where the bad guys don't kill the kids immediately to not leave traces, just so the heroes arrive on time, that seemed forced to me. That part gave me some frustration because the plot was coming along really well but loses focus, going from an intelligent investigation towards generic action, and the ending with everyone saved and happy seems too clean.

Ahora ya como para la tercera parte las cosas empiezan a flojear un poco, la trama se enreda con muchas cambios que parecen salidos de un videojuego, como esos niños hackeando todo, desde trafico aéreo hasta impresoras caseras y aunque la idea de una academia para talentosos autistas es cool, me pareció algfo irreal y exageraod pudieron haberlo hecho más creíble mostrando cosas reales en vez de magia digital. El rescate es intenso, con tiroteos y persecuciones en camión, Christian y Braxton tratando de sacar a los niños, pero el final se desinfla porque los malos fallan tanto que pierde tensión. En esta parte la actuación sigue fuerte pero el guion no les da mucho que hacer más allá de disparar. Tiene sus pros como la quimica entre los hermanos pero sus contras como la trmaa donde los malos no matan a los niños de inmediato para no dejar rastros, solo para que lleguen los héroes a tiempo, eso me pareció forzado. Esa parte me dio algo de frustración porque venía muy buiean la trama pero pierde elñ foco, pasando de una investigación inteligente hacia acción genérica, y el final con todos salvados y felices parece demasiado limpio.

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Looking beyond the action, what makes this sequel unique is how it deals with themes of family and loyalty without being obvious, Christian and Braxton reconnecting after years with jabs about the past but unconditional support that resonates because it shows that even in a world of assassins and lethal accountants, humanity persists. The plot with the Sanchez family touches on immigration and trafficking without politicizing, focusing on the personal rescue, plus the movie doesn't judge, it just shows consequences, however by the end the action is predictable, the bad guys die easy and several twists don't impact much because you see them coming. My score for The Accountant 2 is 7.5/10 it's a good sequel that takes the best from the original, with an excellent performance from Affleck and Bernthal and a script that mixes action, humor and family drama in a balanced way at the start. The brothers have great chemistry and that neurodivergent theme weighs more than any technical problems. So if you liked the first one this one is worth it mostly to see Christian come out of his shell a bit, trying real connections.

Mirando más allá de la acción, lo que hace única a esta secuela es como trata temas de familia y lealtad sin ser obvia, Christian y Braxton reconectando después de años con pullas sobre el pasado pero apoyo incondicional eso resuena porque muestra que incluso en un mundo de asesinos y contadores letales, lo humano persiste. La trama con la familia Sanchez toca inmigracion y trafico sin politizar, enfocándose en el rescate personal, además la película no juzga, solo muestra consecuencias, sin embargo para el final la acción es predecible, los malos se mueren fácil y varios cambios no impactan mucho porque se ven venir. Mi puntuación para The Accountant 2 es 7.5/10 es una buena secuela que toma lo mejor de la original, con una excelente actuación de Affleck y Bernthal y un guion que mezcla acción, humor y drama familiar de forma equilibrada al inicio. Los hermanos tienen mucha química y ese tema neurodivergente pesa más que cualquier problema técnico. Así qiue si te gustó la primera esta vale la pena más que todo por ver a Christian salir de su caparazón un poco, intentando conexiones reales.

"Translated to English with DeepL"

Posted Using INLEO

_{© Contenido Original con Traducción al inglés Copilot/© Original Content with English Translation by Copilot}

_{Para el diseño visual del post he utilizado como herramientas: cámara de mi teléfono Samsung y Banner Maker/For the visual design of the post I have used the following tools: my Samsung phone's camera, and Banner Maker}

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I am going to miss this show so much. From the opening credits of the very first episode, I have had an unnatural love for Peacemaker (the show... not the character).

Peacemaker does not have the most action of any super hero shows. It does not have the most humor (but it is pretty close). It doesn't have the most mystery or drama. But it may very well have the best characters. That is the beauty of this show. It is about a bunch of friends leaning on each other as the world around them goes to shit (sadly that seems way to familiar). They just happen to live in a world where giant bug/cow monsters try to destroy it while there are portals to infinite universes that can be visited when the plot suits it.

Although I said, it isn't the funniest super hero show, it definitely has some of the funniest moments and characters. Basically every scene with Vigilante makes me giggle at the very least. Often this leads to laugh out loud moments. The idea of a nerd who lives with his mom training himself to be an elite ninja like assassin really warms my heart. And he might not even be the funniest basement dwelling nerd in the show. That tile may go to John Economos the "guy in the chair" for the team. He's neurospicy and quite cowardly, but he will do anything for his friends. The addition of Tim Meadows as Langston Fleury was a very welcome comedic surprise. Chris Smith and Adebayo are also good for a laugh or two in each episode. The only character that usually doesn't generate laughs is Jennifer Holland's Amelia Hardcore... I mean Harcourt (everyone makes that mistake). But even her role as "the straight man" of the bunch leads to some of the biggest laughs. Oh. And then there is the eagle named... Eagly... of course. It is brilliant how they use him as both a loyal sidekick and excellent comic relief. You can see how Eagly was a test case for Krypto in the new Superman movie.

If you are looking for another mindless comic book show with lots of action, skip this. But if you remember getting emotionally involved as you read comics, this is the show for you.

When the show isn't cracking me up, most episodes have some decent action. There are some that are flat out action packed. But I don't think that is the point of the show. This show is a vehicle for some really great characters to develop and grow. They figure out their lives and their relationships. Like many of Gunn's projects, this show has a ton of heart. It also knows how to work in music to help propel the stories and action. That use of music is one of my favorite things about James Gunn's movies. he doesn't just rely on the hits, he likes to find B sides and deep cuts that help enhance his storytelling. He does this every episode in Peacemaker.

Now why did I say I'd miss this show? I mean it was only the season finale that just dropped. Ummmm nope. According to Gunn himself, he has no plans for a third season of Peacemaker. Although I am bummed, he assured fans like me that this is not the last we will see of Peacemaker and his pals. In fact, Gunn has said Peacemaker and the plot of this season will play a significant role in the DCU moving forward. I for one cannot wait for the next time I get to see any of my favorite characters from this show (which is basically every character).

If you are looking for another mindless comic book show with lots of action, skip this. But if you rememebr getting emotionally involved as you read comics, this is the show for you.

Static (S02E03)

Airdate: February 8th 2017

Written by: Robin Veith Directed by: Jeff Woolnough

Running Time: 40 minutes

After the first season, even the most ardent admirers of The Expanse must acknowledge that even the most ambitious science fiction productions face inherent budgetary constraints. These limitations become particularly evident when attempting to visualise worlds fundamentally different from our own, forcing creators to employ narrative sleight of hand to compensate for what cannot be practically depicted. Nowhere is this more apparent than in the opening sequence of Static, the third episode of Season 2, where the production's financial realities begin to fray the edges of its otherwise impressive world-building ambitions. While the series has consistently delivered exceptional storytelling within its means, Static represents a moment where the gap between narrative ambition and production capability becomes uncomfortably visible to even casual viewers.

The episode opens with Earth executing its retaliatory strike against Mars, a decision made at a United Nations meeting in the preceding episode. What unfolds is, to this point in the series, the most spectacular visual event—the complete destruction of Mars' moon Deimos. This isn't merely a tactical strike against a radar station; it's a planetary-scale alteration of the Solar System's geography. The implications are staggering: an entire celestial body obliterated, fundamentally changing Mars' orbital dynamics and permanently altering what generations of Martians have known as their sky. The series wisely suggests that while the immediate body count might be minimal (given Deimos' sparse habitation) and Mars' technological capabilities allow them to manage the debris field, the psychological impact on the Martian population should be seismic. After all, one's sky is perhaps the most fundamental constant in any civilisation's collective consciousness—change that, and you fundamentally alter a culture's relationship with its environment.

Yet Static curiously fails to depict these very consequences on Mars and its ordinary citizens. Instead, the Martian reaction remains confined to speculation in discussions between Avasarala and Errinwright, political figures whose perspectives are inherently detached from the common populace. The only direct Martian reaction we witness occurs aboard the MCRN Scirocco, where Draper's Martian Marine unit vents their frustration on their Earth-born comrade Private Travis (played by Mpho Koaho), before Draper herself intervenes to end the fight. While Draper shares her crew's outrage at Earth's action, Lieutenant Sutton informs her that instead of the anticipated war, they've been assigned a seemingly routine mission to Ganymede Station. This narrative choice represents a significant missed opportunity to ground the episode's high-stakes politics in the lived experiences of ordinary people—a hallmark of the series' earlier strengths.

Meanwhile, on Tycho Station, the aftermath of Miller's killing of Dresden has burned all bridges between him and both the Rocinante crew and Fred Johnson, who asks him to leave. In a moment of unexpected humanity, Miller meets Amos and two men who were recently bitter enemies, only to find them suddenly reconciled through their shared experience of violence—a subtle commentary on how trauma can forge unlikely connections. With Dresden eliminated, the only remaining source of information about the protomolecule and Eros' situation is Cortazar (Carlos Gonzalez-Vio), his surviving subordinate and chief scientist. Cortazar's apparent lack of cooperation and violent tendencies are later revealed to stem from brain surgery that removed his empathy centres, enabling him to work callously on experiments that would murder hundreds of thousands. Amos suggests unconventional methods to "indulge" Cortazar into talking, and the plan succeeds, revealing crucial information about the corporation known as Protogen and their diabolical schemes.

Miller, now adrift with nowhere to go, is temporarily welcomed by Diogo in his room, where he learns about strange noises emanating from Eros that have been sampled into a musical hit. Later, Miller visits a Latter Day Saints temple to inquire about the Nauvoo generation ship, while Johnson receives intelligence from Avasarala about UN factions pushing for war with Mars. The episode culminates with Miller approaching both Avasarala and the Rocinante crew with his plan to use the Nauvoo to destroy Eros—a plan that would have profound consequences for the series' trajectory.

Static exhibits a relative lack of action compared to other episodes, theoretically allowing more space for character development. However, this potential is only partially realised. While scenes depicting Holden and Naomi attempting to deal with their new relationship offer genuine depth, other attempts at character exploration fall flat. The Scirocco scene, for instance, is poorly written and reduces the Martian Marines to every tired military fiction cliché imaginable—aggressive, undisciplined, and prone to violence against perceived outsiders.

Perhaps the most interesting element of Static is its use of the "Eros Song," which creates a mixed impression. The scene reveals Tycho Station residents enjoying music that incorporates samples from the strange noises emanating from Eros, creating an unsettling parallel to the infamous Zion dance sequence from The Matrix Reloaded—though thankfully avoiding that scene's level of cheesiness. More importantly, this sequence provides unexpected depth to Camina Drummer (Cara Gee), who transitions from her initial depiction as a stern, Prussian-style authority figure to someone enjoying the club scene alongside ordinary citizens. This subtle character expansion proves to be one of the episode's strongest elements, making Cara Gee's Drummer arguably the best casting addition of the season.

The episode's greatest failing lies in its inability to visualise the Martian population's reaction to the destruction of Deimos. While budgetary constraints undoubtedly played a role (depicting widespread Martian society would require extensive sets, costumes, and extras), the narrative choice to focus exclusively on military and political perspectives creates a significant gap in the story's emotional resonance. The destruction of an entire moon should trigger societal upheaval, cultural trauma, and widespread anxiety—not merely contained military frustration aboard a single ship. This omission transforms what should be a series-defining moment of collective trauma into a relatively minor tactical consideration.

At the end of the day, Static represents a transitional episode that struggles to balance its ambitious narrative with practical production limitations.The series' creators, forced to make difficult choices within their budget, opted for military and political perspectives over civilian experiences, resulting in a somewhat hollow treatment of what should have been one of the series' most emotionally resonant moments. Despite these limitations, the episode's stronger character moments and the continued excellent performances—particularly from Cara Gee—demonstrate why The Expanse remains compelling viewing, even when it stumbles in its execution. The series' willingness to tackle complex political and social dynamics continues to outweigh its occasional narrative shortcomings, though Static serves as a reminder that even the most ambitious science fiction must sometimes compromise its vision to accommodate practical realities.

RATING: 6/10 (++)

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