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Master and Commander immerses you in the naval era of the early 19th century, where a duel of strategies unfolds in the seas off the South American continent.

The Captain of the frigate HMS Surprise, nicknamed "Lucky Jack," will push the ship and its crew to the limits of their strength in his zeal to destroy the Acheron, a swift and formidable French privateer that threatens the interests of the British crown.

Master and Commander, te sumerge en la era naval de principios del Siglo XIX, donde se protagoniza un duelo de estrategias en los mares del sur del continente americano.

El Capitán de la fragata HMS Surprise, apodado "Afortunado Jack", empujará la nave y sus tripulantes al borde de sus fuerzas, en el el afan de destruir al Acheron, un veloz y formidable corsario francés que amenaza los intereses de la corona británica.

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This adventure is not just a series of exciting battles, but a journey to another time, with an analysis of complex characters and a reflection on friendship, duty, and the sacrifices that leadership demands.

Esta aventura no es solo una sucesión de batallas emocionantes, sino un viaje a otra época, con un análisis de personajes complejos y una reflexión sobre la amistad, el deber y los sacrificios que exige el liderazgo.

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For many, it is one of the best films of the genre. At the time,it received 10 Academy Award nominations, winning two: Best Cinematography and Best Sound Editing.

Para muchos, es una de las mejores películas de este genero, en su momento obtuvo 10 nominaciones a los Premios Óscar, ganando dos: Mejor Fotografía y Mejor Edición de Sonido.

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An intelligent film with beautiful cinematography, solid performances, and an attention to detail not very common in modern cinema.

Have you seen Master and Commander? It is simply a journey worth taking.

Inteligente, de bella filmografia, con actuaciones sólidas y una atención al detalle no muy abundante en el cine moderno.

¿Has visto Master and Commander? Es simplemente un viaje que vale la pena emprender.

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Written by @marabuzal|Escrito por @marabuzal

To all of you artists out here at HIVE! If you ever are lost, please join Bokura No Digital World at our Discord chat.

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Since the beginning of The Killer 2023 gave me that weird feeling of when you see a movie where everything is so tidy, so clean, that I even came to believe that Fincher the director is mopping every scene so that there is not a single spot, this is something crazy because the man is really too neat with this film, and that didn't make me feel connected, rather the opposite happened to me, I felt like I was an intruder watching the life of someone who doesn't even know I exist, and although here Michael Fassbender breaks it acting as the most insensitive guy you can see, it's not something weird, it's like if the movie has something in store and it doesn't get it out, I don't know if you understand what I mean, it doesn't give it all. Now the atmosphere is brutal, no one can take that away, the director has that hand to grab a camera and put it where he wants and the guy makes it look cool even recording a guy putting Amazon Prime, zero James Bond, zero top secret inventions, just a guy who keeps asking for shit on the internet a normal person like you and me only that this instead of installing a webcam is putting together a new murder, all like he's cooking his lunch like this normal guy, because the guy sees killing as if it's a job that nobody wants but somebody has to do it and I think that's what makes it weird and what the movie lacks because it's so routine and you get bored of so much that the guy just sits and waits.

Desde que arrancó The Killer 2023 me dio esa sensación rara de cuando ves una peli donde todo está tan ordenado, tan limpio, que hasta llegué a creer que Fincher el director estaa trapeando cada escena para que no quedara ni una manchita, esto es algo loco porque de verdad que se pasa de pulcro el hombre con esta vaina, y eso no me hizo sentir conexión más bien me pasó lo contrario me sentí como que si estaba de intrusa viendo la vida de alguien que ni sabe que existo, y aunque aqui Michael Fassbender la rompe actuando como el tipo más insensible que se pueda ver igual no spe es algo raro es xcomo que si la peli tiene algo guardado y no lo termina de sacar no sé si me entienden como que no termina de dar el todo. Ahora la atmósfera está brutal, eso no se lo quita nadie, el director tiene esa mano de agarrar una cámara y meterla donde le da la gana y el tipo la hace ver cool hasta grabando a un tipo poniendo Amazon Prime, cero James Bond, cero inventos ultra secretos, solo un tipo que se la pasa pidiendo mierdas por internet una persona normal como tu y como yo solo que este en vez de instalar una webcam está armando un asesinato nuevo, todo como si estuviera cocinando su almuerzo así tipo normal, porque el tipo ve el matar como si fuera un trabajo que nadie quiere pero alguien tiene que hacerlo y creo que eso es lo que lo hace raro y lo que le falta a la peli porque es mucha rutina y uno se aburre de tanto que el hombre se sienta y espera.

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The thing about The Killer is that it doesn't try to make you sit through all the drama and emotion, there's not a single scene where Fassbender screams, he's always got his poker face on even when he's being beaten up, the man doesn't even blink and of course that's annoying because you don't want to see a robot. Everyone wants to see someone break even a little bit and here there is no such thing, here everything is planned to the millimeter, so much so that it seems that the guy lives measuring every step, every word, every shot and sometimes the plan can go to hell and he doesn't even flinch and doesn't lose control, and I didn't like that. The plot is very direct and punctual, the guy makes a mistake and the movie becomes a return to clean up the brutal mess he left, without much embellishment or extra rolls. It didn't seem to me one of those movies that make you think you saw something deep but you come out a little confused, here the script is a routine just like the killer, it takes you from place to place, the guy eliminates obstacles, but I didn't feel that real emotional tension because you never see anyone beyond what is strictly necessary, it has scenes where people's lives are just another procedure that this guy has to dispatch and almost no one has a name.

La vaina con The Killer es que no busca que uno se aguante todo el drama ni la emoción, no hay una sola escena donde al Fassbender se le salga un grito siempre está con su cara de póker hasta cuando lo están apaleando, el hombre ni pestañea y esto claro que llega a fastidiar porque uno no quiere ver un robot. Todos quieren ver a alguien quebrarse aunque sea solo un poquito y aquí no hay de eso, aquí todo es planificado al milímetro, tanto que parece que el carajo vive midiendo cada paso, cada palabra, cada tiro y a veces el plan se le puede ir al carajo y el ni se inmuta no pierde el control, y esto no me gustó. La trama está bien directa y puntual, el tipo comete una cagada y la peli se convierte en una vuelta de limpiar el desastre brutal que dejó, sin mucho adorno ni rollos adicionales. No me pareció una peli de esas que te hacen pensar que vistes algo profundo pero sales algo confundido, aquí el guion es una rutina igual que el asesino, te lleva de sitio en sitio, el tipo elimina obstáculos, pero yo no sentí esa tensión emocional real porque nunca ves a nadie más allá de lo estrictamente necesario, tiene escenas donde la vida de la gente solo es un trámite más que este tipo tiene que despacharvy casi que nadie tiene nombre.

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What really made me crazy was that scene where The Killer fights with the bodybuilder, they really put everything in there, there's so much physical contact, that raw action that I like that you even hear how the bones break against the wall hehehehe, it all sounds like you're being beaten right there next to you, but what pisses me off the most is that just when the guy gets out of his rules and loses control is that here it feels like the movie has life instead where most of the time there is no emotion, everything goes back to routine and again everything is predictable, even at a certain point it made me angry because maybe if there can be some drama but not the guy settles quickly and it's not even funny. At times the music caught me off guard, sometimes it sounds The Smiths and that detail is good although it seems more like a nice piece than a real connection, and I think that's what makes this film does not feel good because it is a lot of technique and little soul, everything works perfectly even the long pauses are well placed it seems as if it were a machine that is recording.

Lo que sí me dejó medio loca fue esa escena en la que The Killer pelea con el fisicoculturista, ahí sí si le metieron todo, hay much contacto físico esa acción cruda que a mí me gusta que hasta escuchas como los huesos se quiebran contra la pared jejeje, todo suena como si te estuvieran golpeando allí al lado de uno, pero lo que más jode es que justo cuando el tipo más se sale de sus reglas y pierde el control es que aquí se siente como si la película tiene vida en cambio donde la mayoría del tiempo no hay emoción, todo vuelve a la rutina y otra vez todo es predecible, hasta en cierto punto me dio rabia porque quizás si puede haber algo de drama pero no el tipo se acomoda rápido y ni gracia hace, ya que. Por momentos la música me agarró desprevenida, a veces suena The Smiths y ese detalle está buno aunque parece más una pieza bonita que conexión real, y creo que eso es lo que hace esta peli no se sienta bien porque es mucha técnica y poca alma, todo funciona perfecto hasta las pausas largas están bien puestas parece como si fuera una máquina la que está grabando.

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There is a detail that caught my attention is about the script that relies so much on the internal voice of the character, the guy spends half the movie talking in his head and almost nothing comes out in real voice, it's more like following someone who thinks nonstop but does not let anyone see what is really going on inside, it's like me when I'm thinking about something that the mind never shuts up and as a spectator one is like stuck in the head of a maniac who does not let go, that tires because there are parts where it seems that he is repeating a mandra of do not think, do not feel, do not affect you, it makes you pass the emotion provokes you to tell the guy to start doing yoga and leave the movie there. Of course it's not all bad either, the movie has those moments of weird humor, the dialogues sometimes throw things that make you smile, and you notice that even though the guy says he doesn't feel anything, he always gets a spark, a scene where you see that even the toughest guys have a human side, even if it's to screw it up. Tilda Swinton doesn't appear much but every time she does, she's a presence, and the food scene with her is pure gold, there the tension of knowing what's going to happen is like sitting down to watch a chess game where nobody wants to make the first move, that's when the movie shines.

Hay un detalle que sí me llamó la atención es sobre el guion que se apoya tanto en la voz interna del personaje, se pasa media película el tipo hablando en la cabeza y casi ni sale nada en voz real, es más como seguir a alguien que piensa sin parar pero que no deja que nadie vea lo que está pasando de verdad por dentro, se parece a mi cuando estoy piensa que piensa en algo que la mente nunca se calla y uno como espectador queda como metido en la cabeza de un maniático que no suelta prenda, eso cansa porque hay partes donde parece que está repitiendo un mandra de no pienses, no sientas, no te afectes, hace que se te pase la emoción provoca decirle al tipo que se ponga a hacer yoga y deja la peli ahí. Claro no todo es malo tampoco la peli tiene esos momentos de humor raro, los diálogos a veces tiran cosas que te sacan una sonrisa de esas sarcásticas, y por ahí notas que aunque el tipo dice que no siente nada, siempre le sale una chispa, una escena donde ves que hasta los más duros tienen su lado humano, aunque sea para cagarla. Tilda Swinton sale poco pero cada vez que aparece mete presencia, y la escena de la comida con ella es oro puro, allí la tensión de saber qué va a pasar es como sentarte a ver una partida de ajedrez donde nadie quiere hacer el primer movimiento, ese rato la peli se luce.

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When the movie ends you are left wondering if it's worth being so right? Because The Killer is the living proof that you can do everything right, without mistakes, but if everything is so clean, so cold, it can end up boring you, it's like cleaning your house and you don't have a single stain left but nobody comes to visit you and everything stays cold. I think with this plei it became clear to me that I like it better when a story feels messy or chaotic something asu like real life because when it's too perfect, you end up looking the other way waiting for something exciting to happen. My score for this movie is 6.5/10 because even though the visuals, acting and sound are good it lacks that thing that makes you scream, suffer, feel like you were watching someone alive and not a robot, I like chaos and real action so this movie is not really my type.

Cuando la peli termina uno se queda pensando si vale la pena ser tan correcto? Porque The Killer es la muestra viva de que puedes hacer todo bien, sin errores, pero si todo es tan limpio, tan frío, te puede terminar aburriendo, es como que limpies tu casa y no te quede ni una mancha pero nadie vaya a visitarte y todo se quede frío. Creo que con esta plei me quedó claro que me gusta más cuando una historia se siente desordenado o caótica algo asu como si fuera la vida real porque cuando está demasiado perfecto, uno termina mirando para otro lado esperando que pase algo emocionante. Mi puntuación para esta peli es 6.5/10 porque aunque en la parte visual, actuaciones y sonido esté bien le hace falta eso que te haga gritar, sufrir, sentir que estabas viendo a alguien vivo y no un robot, a mí me gusta el caos y la acción real así que esta peli no es mucho mi tipo.

"Translated to English with DeepL"

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I honestly don't know what took me so long to watch this show. It was released back on August 1st but I kept getting distracted by other things. I finally watched it and I loved it.

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Although I have enjoyed all of the Marvel Disney+ content, perhaps I was getting a little burnt out. I figured that there couldn't be much new stuff to do and it would just be a different version of what I had already seen. When it comes to Eyes of Wakanda, boy was I wrong.

Instead of just creating a cartoon set during this current timeline (which I think would have also been pretty good), they decided to do something very unique. Each of the four thirty minute episodes is a stand alone story that leads right up to the events of the original Black Panther movie.

Each episode takes place in a different time period of history (which was awesome for a World History teacher like me). The overarching theme is that throughout history, vibranium has been stolen from Wakanda and fallen into the wrong hands. War Dogs (warriors and spies) from Wakanda must get the stolen artifacts back.

The first episode takes place in Crete in 1260 B.C.E. In this episode a War Dog must confront a traitor and defector from Wakanda who has stolen tech from the isolated Wakandan kingdom. Like all of the episodes, the Wakandans have incredibly advanced tech compared to the people at the time. It is as if aliens form an advanced civilization have landed on earth. But instead they are just an isolated civilization in Africa.

The second episode takes place during the Trojan War in the 12th century B.C.E. In thsi episode a Wakandan War Dog fights along Achilles himself as they battle the Trojan who have a stolen Wakandan artifact. Of the four episodes, I think this wa smy favorite as I'm a huge fan of Greek mythology.

The third episode takes place in 15th century China. This one is very cool because the introduction of a a lot of very cool martial arts action.

The fourth episode takes place in a few time periods (but I don't want to spoil anything). The main portion is during a battle in Ethiopia in 1896. This is the one that leads directly to the Black Panther movie.

These are all must see shows for any marvel fan. Not only is the animation and music incredible, but the stories are very cool.

Back Burners (S03E07)

Airdate: November 7th 2004

Written by: Joy Lusco Directed by: Tim Van Patten

Running Time: 55 minutes

The oft-quoted adage that "the paths to hell are paved with the best intentions" serves as a chillingly accurate descriptor for the central thematic thrust of Back Burners, the sixth episode of The Wire's seminal third season. David Simon's Baltimore epic never shies away from examining how ostensibly noble initiatives within broken systems inevitably curdle into something far more sinister. This episode represents a pivotal moment in the series' narrative arc, where well-meaning interventions by those in positions of authority reveal themselves as dangerous miscalculations with profound human costs. Far from offering simplistic moral judgments, Back Burners forces viewers to confront the uncomfortable reality that in Baltimore's fractured ecosystem, even the most thoughtful interventions can accelerate the very problems they seek to solve.

Major Colvin's radical experiment—designating specific zones where drug dealers could operate without police interference—initially appears as the pragmatic solution Baltimore desperately needs. His intention to redirect resources toward solving more serious crimes while reducing overall street-level violence seems almost visionary in a city drowning in statistics and political expediency. On the surface, the numbers don't lie: crime statistics begin their long-awaited descent. Yet beneath this statistical veneer lies a moral quagmire that grows increasingly treacherous with each passing scene. The demoralisation of Narcotics detectives forced to stand idly by while dealers they'd spent years arresting operate with impunity creates palpable tension within the unit. Carver's growing unease about children wandering freely through Hamsterdam's drug-saturated streets reveals the experiment's most damning flaw—it has created a space where societal norms have completely collapsed. By night, Hamsterdam transforms into something resembling Dante's vision of the seventh circle of hell: desperate addicts squat in abandoned buildings stripped of power, violence erupts with impunity, and the most vulnerable members of society are left to fend for themselves in this lawless zone. What appears to Bubbles as an unmitigated disaster represents, paradoxically, a "soldier's paradise" for his permanently high friend Johnny Weeks.

Colvin's scheme reveals even greater flaws when we learn his superiors remain completely unaware of his radical social experiment. This lack of oversight transforms what might have been a carefully monitored pilot program into a dangerous rogue operation with potentially catastrophic consequences. The situation reaches critical mass when the Major Case Unit arrests Bodie and his crew while they're transporting drugs to Hamsterdam, forcing Colvin to improvise explanations on the fly. McNulty, ever the opportunist, chooses to play along with the deception, recognising the statistical benefits while simultaneously exploiting the situation to pursue his own agenda. Kima Greggs and Snydor, however, visibly struggle with the moral compromise, their discomfort manifesting in terse exchanges and meaningful glances that speak volumes about the erosion of professional ethics.

The Major Case Unit simultaneously fractures along internal lines as McNulty leverages his friendship with Colvin to redirect investigations toward the escalating war between the Barksdale organisation and Marlo Stanfield's crew. This strategic pivot infuriates Snydor and Prez, who had painstakingly gathered evidence against their original target, Kentell Williams. While Lieutenant Daniels pragmatically acknowledges the need to pursue higher-value targets, he remains incensed by McNulty's backchannel manoeuvring, threatening to expel him from the unit once Stringer Bell is apprehended. This internal conflict exposes the fundamental tension between effective policing and institutional protocol—a recurring theme throughout The Wire.

Meanwhile, Stringer Bell navigates his own precarious position as McNulty's carefully planted seeds of doubt about D'Angelo Barksdale's death begin to germinate. The knowledge that Avon Barksdale and Brianna might seek retribution should the truth emerge creates palpable anxiety for Bell, whose attempts to transition the organisation toward legitimate business now seem increasingly precarious. His calculated exterior barely conceals the growing panic beneath.

Avon Barksdale, meanwhile, finds himself embroiled in a brutal war against Marlo Stanfield's rising organisation. The episode delivers one of its most harrowing sequences as Chris Partlow (Gbenga Akinnagbe) and Felicia "Snoop" Pearson (Felicia Person) execute another devastating strike against Avon's territory, leaving Avon's „muscle” Rico (Rico Whelchel) dead and Poot barely surviving by feigning death. These scenes showcase The Wire's unparalleled ability to depict violence not as spectacle but as tragic inevitability—the casual brutality feels less like dramatic licence and more like documentary footage from a city tearing itself apart.

Perhaps most insidiously, the Barksdale organisation faces an unseen threat as the Major Case Unit prepares to wiretap even their soldiers' burner phones. This critical advantage emerges not from sophisticated police work but from simple mistake of Avon's soldier Bernard (Melvin Jackson, Jr.)—purchasing all disposable phones from a single location rather than multiple outlets as instructed. His girlfriend Squeak (Mia Arnice Chambers) with her nagging inadvertently creates the very vulnerability that will eventually bring down the entire organisation, illustrating The Wire's recurring theme that catastrophic failures often stem from mundane human errors rather than grand conspiracies.

Amidst this institutional chaos, personal lives unravel with equal intensity. McNulty continues his self-destructive pattern, using his detective skills to locate Tina d'Agostino while simultaneously providing political intelligence to Councilman Carcetti. Kima's relationship with Cheryl collapses under the weight of her inability to adapt to domestic life and motherhood, a quiet tragedy that speaks volumes about the personal costs of police work. Omar's continued refusal to cooperate in Tosha's murder investigation—despite offering Dozerman's recovered gun as a gesture of goodwill—highlights the complex moral code governing street life. Cutty's conversation with Deacon confirms his tentative steps toward redemption, offering one of the episode's few glimmers of hope.

Written by Joy Lusco, Back Burners exemplifies The Wire's unparalleled ability to weave disparate narrative threads into a coherent, thematically rich tapestry. The episode deserves particular commendation for its nuanced character development—Herc's transformation from competent narcotics detective to increasingly unfocused liability mirrors the institutional decay surrounding him, while Marlo Stanfield reveals his first hint of humanity when praising a soldier for caring for pigeons. These subtle character beats elevate the episode beyond mere procedural drama into the realm of profound social commentary.

The episode continues The Wire's unflinching examination of Baltimore's systemic dysfunction, exposing how Royce's administration lacks even basic resources to protect witnesses while the Major Case Unit operates in dangerous ignorance of fundamental facts—Avon Barksdale's parole status and Colvin's radical experiment both existing outside their awareness. This institutional blindness proves far more dangerous than any criminal enterprise, suggesting that the city's greatest threat stems not from those operating outside the law but from those entrusted to uphold it.

Tim Van Patten's direction elevates Back Burners from excellent television to cinematic masterpiece. His nighttime depiction of Hamsterdam remains one of the series' most disturbing sequences—the flickering streetlights, the hollow-eyed addicts, the pervasive sense of societal collapse create an atmosphere of profound dread that lingers long after the credits roll. The final shot, capturing Kima's violent reaction to learning of Avon's freedom as she lashes into the camera, serves as a perfect visual metaphor for the episode's central thesis: good intentions without proper oversight or accountability don't just fail—they actively create new hells where none existed before.

Back Burners ultimately functions as a devastating critique of quick-fix solutions to deeply entrenched social problems. Colvin's Hamsterdam experiment, however well-intentioned, demonstrates how even the most thoughtful interventions can accelerate the very problems they seek to solve when implemented without proper oversight, community input, or consideration of long-term consequences. The episode's enduring power lies in its refusal to offer easy answers or moral absolutes—it forces viewers to confront uncomfortable truths about the systems we've created and our collective complicity in their failures. In doing so, it stands not merely as one of The Wire's strongest episodes but as one of television's most profound examinations of good intentions gone catastrophically astray.

RATING: 8/10 (+++)

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Mi gente, feliz metida de semana, y feliz mes de octubre, que mi Dios les traiga muchas bendiciones. Bueno seguimos en nuestra lavor de traer las mejores produciones dramaticas de Venezuela, y les hablare de una telenovela que al igual que otras tambien realizaròn versiones, eso quiere decir que tambien marco una epoca.

No consegui imagenes de la novela como tal pero aqui estan de algunos de los actores que trabajaròn en ella.

María del Mar es una telenovela venezolana producida por Venevisión en 1978, con historia original de Delia Fiallo. Los protagonistas principales son Chelo Rodríguez y Arnaldo André, y los antagonistas incluyen nombres como Martín Lantigua, Herminia Martínez y Hilda Carrero. Dirigida por Daniel Farías.

-Título: María Del Mar. -Canal & Productora: Venevisión. -Año de emisión: 1978, del 20 de febrero al 6 de septiembre. -Autora & Guion: Delia Fiallo. -Dirección: Daniel Farías. -Protagonistas: Chelo Rodríguez como María Celeste / María del Mar y Arnaldo André como Víctor Manuel Galíndez. -Antagonistas principales: Hilda Carrero, Martín Lantigua, Herminia Martínez. -Tema Musical: Por Ti de Buddy Richard Interpretado por Pecos Kanvas.

María Celeste es una joven soñadora, alegre y rebelde que vive en un pueblo costero de Venezuela. Fue recogida y criada por una familia de pescadores, pues ella es fruto de una violación, y su madre perdió la razón tras su parto.

Llega al pueblo Leónidas Parras Montiel junto con sus hijas, Walkiria (ingeniera, fuerte carácter) y Zulay (tímida). También regresa Víctor Manuel Galíndez, quien tiene un pasado oscuro. Él se enamora de María Celeste.

Leónidas, con poder económico, tiene planes de construir un hotel, y pone a Walkiria y a Víctor Manuel al frente del proyecto. Surgirán tensiones cuando Walkiria también se interesa por Víctor Manuel, pero éste está cada vez más atraído por María Celeste. Leónidas, por su parte, también se siente atraído por ella, lo que genera intrigas.

En el pueblo surge un mito de una mujer del mar, “una sirena”, cuando Víctor Manuel rescata a una mujer del mar que todos creen un ser encantado. Esa mujer es Miriam, quien perdió la razón luego de que Leónidas destruyera su hacienda, provocando la ruina y tragedias para su familia.

Un publicista llamado Daniel llega, descubre a María Celeste, la lleva a la ciudad para hacerla modelo, y adopta su nombre artístico María del Mar. Ahí triunfa, pero su felicidad se ve interrumpida por un trágico accidente que la deja paralítica.

La novela mezcla varios elementos clásicos del melodrama: origen humilde, abandono, identidad secreta, triángulo amoroso, tragedia personal, ascenso social. Lo que la hace atractiva es que estos elementos están acompañados también de un componente de lo sobrenatural y mítico con la figura de la “sirena” falsa que añade un aire de misterio.

Chelo Rodríguez logra interpretar bien ese contraste entre la joven costeña, cerca de la naturaleza del mar, con sueños de vida diferente, y la dureza que le impone su destino (la parálisis, los engaños). Arnaldo André aporta como galán con conflictos propios, historia pasada, lucha entre lo que debe hacer y lo que siente.

Aunque la novela no alcanzó el estatus de gran fenómeno estimado por Venevisión (no fue un fracaso, pero tampoco el hit esperado) —las críticas señalan que se le reprochaba cierta repetición de fórmulas, especialmente ya después del éxito de Rafaela con la misma pareja protagonista.

Destaca también el número de personajes secundarios, lo que permitió que la trama tuviera muchas subtramas, aunque para algunos espectadores esas subtramas no aportaban tanto al desarrollo principal.

María del Mar es una telenovela que representa bien el estilo dramático de finales de los 70 en Venezuela: pasión, sacrificio, tragedia personal, identidad transformada por el destino, combinada con sueño de superación. A pesar de algunas críticas por fórmulas ya muy vistas, cumple con emocionar y mantener al espectador pendiente, gracias al carisma de sus protagonistas y la riqueza de personajes. esta novela es importante porque es un ejemplo de cómo Delia Fiallo seguía explorando historias con femenino protagonista fuerte, con muchos obstáculos, y con mezcla entre lo real y lo mítico. Destaca también por su ambientación costera, lo que le da sabor local, y por su intento de combinar lo urbano y lo rural, lo tradicional con la modernidad.

Wednesday made its debut on Netflix in November 2022 and it became one of the most popular series, which is mostly talked-about. The lead actress as Wednesday is Jenna Ortega, she successfully has carried the iconic Wednesday Addams character. The genre of the show is dark comedy with mystery and supernatural.

The gothic aesthetic theme is the cherry on the top which made the story feel nostalgic and not for once it felt old fashioned, it's completely a modern version that we all needed. The season one has eight episodes, before watching Wednesday season two I wanted to rewatch the season one because I had forgotten the main elements of the story. Each episodes in season 1 successfully balanced the Addams Family legacy and I didn't expect it to be this good. The independent storyline is centered around Wednesday’s teenage years at Nevermore Academy.

Storyline

The story follows from the part where Wednesday Addams got expelled from her high school because she took revenge for her younger brother because others bullied him. So, her mother Gomez and father Morticia Addams decided to send her to Nevermore Academy, where Gomez had studied before and this school is specifically for the outcasts.

This school is for freaks such as who has supernatural power. Wednesday did not want to go there because she didn't want to follow her mother's foot print, she was resisting, but she got forced to stay with her roommate who is a quirky werewolf and very colorful. When Wednesday got involved into a murder mystery which was tied to a monstrous creature terrorizing the town she got interested and found some clues about her decades-old secret connected to her family, this curiosity of Wednesday made her stay at Nevermore to solve the mysteries.

Jenna Ortega as Wednesday

Jenna Ortega’s is the most important role in Wednesday and she totally slayed in her character. She felt so real it was like I was watching the real Wednesday Addams.

For the new generation Wednesday Addams character is supposed to be maintaining her roots of previous image. Jenna Ortega's monotone voice and not blinking while starring like giving a death stare, and cutting wit are pitch-perfect. Wednesday’s has cold personality and is very calculative which Jenna has performed so well in her teenage era.

One of the most outstanding thing was the physical acting of Jenna. For her unique posture the dance scene got viral which was in episode four (“Woe What a Night”), with her charm she has played Wednesday perfectly which can not be described in words. I must say that the role is justified and it's done by one of the most promising young actresses in Hollywood.

Supporting Cast

Even if Wednesday is the focus, the supporting characters has added the color and energy into the story. Most importantly my favourite character Enid Sinclair which is played by Emma Myers, she is an overly cheerful roommate which everyone needs, she creates a balance into the story.

I know their friendship is not normal like other people it's odd-couple friendship but it is one of the most heartwarming parts of the show. It shows that unique cold people like Wednesday can also find some connection in unlikely places.

Principal Weems was played by Gwendoline Christie, she's so tall and beautiful I have never seen her before but for the first time I have liked her very much she has embodying authority and mystery.

I couldn't believe my eyes that Christina Ricci is the same girl who had played Wednesday Addams from the 1990s films. Ricci got the role in this new series version where she's not Wednesday but a teacher at nevermore who is a clever character and known as Ms. Thornhill. I have not watched the previous film but I had seen few clips on reels and her acting was on point and she did the same thing again by playing the character of Thornhill it was pure nostalgic moment.

The other characters also has done notable performances and that includes Bianca, Tyler, and Xavier. All of them are the essential characters and they add layers to the drama. Their unique personality made it more interesting and thrilling.

The show leans with Wednesday trying to solve mysteries as like a detective. She unlocks the secrets of her parents and is determined to find out the culprit of the murders, the episodes does not reveal about the culprit and will leave the audiences confused and they will be left with guessing until the final episodes. It's true you can't guess who is the murderer until you reach episode 7-8.

Visuals & Style

The costume design and the dark theme everything is blended very well according to the story. Enid was represented with colorful wardrobe and Wednesday always was found discovering unique fashion sense in black. Everything looked realistic and I didn't feel like it was CGI, the horror tension was so real, that I couldn't move my eyes away from the screen.

Weaknesses

Many people complaint that romance didn't suit Wednesday, but her mother is so in love with her father. I believe Wednesday can also find love with her cold personality. Just because her way of expressing love is different that doesn't mean she can't have any love angle. The love triangle between Wednesday, Tyler and Xavier was spicy. I really loved seeing them together. I have always shipped Wednesday with Xavier, I liked him from the very beginning of the story. I believe Wednesday will be the same even if she has a partner. She's independent and does not let anyone enter her space.

I have read online that this show was a hit and broke viewership records which was almost like going over Stranger Things. The extreme amount of memes and the viral dance was played everywhere. I have encountered many recreations of the dance scene. I really enjoyed Jenna's performance, I think it was her best decision for signing to Wednesday.

Conclusion

If you don't mind gothic storytelling then you will enjoy this series because it also has dark comedy, I will say that Wednesday is a must-watch. The second season is also out there which looks as darkly delightful as season one. I will be soon reviewing season two after finishing it.

Ratings: 8.5/10

_{Thumbnail source The other images are from imdb}

Thanks for reading 🌷

September has been a rough month and recently got some news that got my income stumbling but as usual I will figure out things, this has throw me off a bit out of focus so havent been really posting or threading, hopefully October turns into Uptover for all of us in crypto, at least to cheer me up a bit. Didnt want to pass on Episode 6 of Peacemaker Season 2 titled "Ignorance Is Chris" actully deliver more drama and context, at least for me who havent seen Season 1; in full, Im starting to catch and I have to admit its way better from what I can tell, none the less Episode 5 was a satisfying one to see everything start coming together. This episode finally gives us the payoff we have been waiting for with the whole alternate dimension thing and the way they reveal it as the Nazi Earth X was dark as hell, if you are new to Peacemaker, you will not see it coming. Now that they reveal it I can tell the clues were there from the begining with no people of color anywhere and they kept hiding the American flag until the big reveal at the end with that massive swastika, witch was shocking even though I saw it coming. Nicholas Hoult showing up as Lex Luthor was cool but I gotta say it felt more like fan service than something really necessary for the story at this point in the season like they literally forcing the merge, though his whole conversation with Rick Flag about redemption sets up some interesting stuff for Man of Tomorrow. The multiverse portal device finally gets some real use this episode too and watching the 11th Street kids stumble around Vigilantes moms house while covered in cocaine dust was hillarious, especially when his sweet old mother calls out Harcourt for being "super slutty" witch made me crack up. Vigilantes insane money collection in his basement felt like something straight out of Breaking Bad and that Beanie Baby investment joke was perfect becuase it shows how weird his character aside from all the violence.

• IMDB: https://www.imdb.com/title/tt13146488/
• Platform: HULU

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Another thing that felt like a lot of weight of is Chris finaly telling Harcourt he loves her and watching her completely break down because she literaly cannot handle someone caring about her that much, she gets all worked up when she feels someone cares about her like full of rage, its a weird feeling what she goes through, she is incapable of feeling loved. Jennifer Holland killed it in those scenes, you could feel how messed up Harcourt is and how she has no idea how to deal with deep emotions from someone who actualy gives a shit about her well being. The whole conversation at ARGUS where she calls herself a "freaking nightmare" was one of the best acted moments in the entire season and it made their relationship feel real for the first time instead of just sexual tension. Meanwhile, the other Vigilante in the Nazi dimension being completely opposite as been enemy with Peacemaker compared to our Vigilante was a nice touch because at first every of their weird likes was the same, but this other version hating Peacemaker instead of worshipping him and being part of the Sons of Liberty resistance group. After the episode I notice how people online where going hard on the Spider Man meme reference, like James Gunn just wanted to throw it in just because, but the idea that this universes Sons of Liberty are actually the good guys fighting against the Nazi regime was a clever twist, it also shows how everything makes sense to be a bizarre alternative world where Chris dad and brother are alive and Harcourt is inlove with him, the one thing he wanted work out but everything else is upside down.

The Lex Luthor cameo felt like it was setting up bigger things but also kind of felt disconnected from what was happening with the main characters this episode, he also looked beat up like he is still recovering from his fight with Krypto, this at least gives a nice continuation feeling and his whole speech about metahumans taking over international politics was an interesting way to connect this show to the larger DCU, especialy with his comments about the Justice Gang and Superman determining what happens in conflicts like the Juropo situation and honestly during the recent Superman movie at a point they did make him look like a questionable Super Hero acting on his own probably causing more conflicts between nations than solving them, at its core we know its not true but thats what the story went for to create a sense of controversy. Lex deal with Rick Flag for portal detection technology in exchange for eventual redemption feels like the beginning of whatever role he plays in the upcoming Man of Tomorrow movie, where he probably teams up with Superman to fight Brainiac or something similar. The whole setup with him being transferred to a prison in Metropolis also makes it easier for Superman to visit him when they need his help, which is probably gonna happen sooner rather than later given how James Gunn has been talking about connecting all these DCU projects, while the Luthor stuff was entertaining, it felt like it took time away from the main plot with Chris and Harcourt and the whole Nazi dimension crisis that should have been the focus of this episode but I can undertand it has to be this way, they connecting stories that previously where not exactly design to be this way, patching up things and putting them together.

The ending sequence where everything goes to shit at the same time was exactly what this season needed, with Adebayo getting chased by racist neightbors for being black in Nazi America while Keith calls her "a black" like she is some kind of animal, ngl that made me laugh, I know many are going to get trigered but hey its a comedy show so dont take it personal. Danielle Brooks performance in those scenes was great, you could see the terror on her face as she realizes what kind of world she has stumbled into, who wouldnt when you see how people literally want to take you down and the scene of all those white people chasing her down the street was disturbing and effective. Economos spilling everything to Auggie Smith about the other dimension and the other Peacemaker killing his son was such a dumb move but also exactly the kind of mistake you would expect from someone who is high on cocaine and scared out of his mind, I dont know how they didnt all end up feeling high after the amount of blow they get blasted with when they open the dimension at Vigilante basement. The reverse Harcourt showing up at Argus to demand that OG Harcourt be arrested was a great cliffhanger moment and you can tell that next episode is gonna be chaos with everyone trapped in the wrong dimension and the Nazi versions of everyone trying to hunt them down, I would love to see Chris fight his brother and father.

Today been thursday and how Season 2 has basically skyrocket through its last three episode damn Im looking for tonight episode, it finnaly felt like Peacemaker Season 2 finally found its ground and its not trying to put up filler content or link with the Superman movie, cameos are cool and everything although new drama and context is what drives the series, hey we havent even had true action scenes like Chris facing someone who can beat him up, reason why I want him to fight his dad and brother. The pace picked up significantly, the character development actualy mattered and everything Chirs puts on the line now felt real because everyone is now stuck in a dimension where they could literaly be killed for existing. The Crisis on Earth X vibes were strong throughout the entire episode and while that crossover was not perfect either, at least this version of the Nazi dimension concept feels like it has purpose beyond just being a shocking twist. James Gunn and his team clearly knows how to write emotional moments between characters, and the Chris and Harcourt scenes proved that when he focuses on character relationships instead of just throwing random superhero cameos at it, the show actualy works really well. The episode ended with everyone in deep trouble from multiple angles, witch sets up what should be an exciting final two episodes if they can maintain this level of tension and character focus. I am giving this episode a solid 7/10 because it finnaly delivered on the promises that have been building all season, even if it took way too long to get here and some parts still felt like they were just setting up future movies instead of serving the current story.

#skiptvads, #inleo, #hive, #peacemaker, #ignorance, #chris, #nazi, #dimension, #harcourt, #lex, #luthor, #vigilante, #argus, #multiverse, #portal, #cocaine, #adebayo, #economos, #auggie, #smith, #superman, #dcau, #james, #gunn, #nicholas, #hoult, #jennifer, #holland

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About three years ago, almost by accident—it was a TV program that was showing a new film and I didn't want to watch anything—a film critic's comment glued me to my armchair to watch the film he had recommended. His comment suggested it would be a strange and completely different experience. I remember him saying that if you weren't in the mood or emotionally stable, it wasn't healthy to watch it. And it was there that the challenge led me to a disquieting experience that I still can't describe with any other word.

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I'm talking about "LAMB".

"Cordero" in Spanish, it's a film that takes you on a sensory and emotional experience that is seared into your memory.

This is the feature film debut of Valdimar Jóhannsson. It is an exercise in narrative audacity and atmospheric mastery that achieves what few films do: it creates a world with its own rules and immerses you in it without the need for explanations.

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The created atmosphere is a true protagonist. This is, without a doubt, the film's greatest achievement. Jóhannsson, in collaboration with the legendary Hungarian director Béla Tarr as executive producer, builds a tone that is at once melancholic, abominable, and strangely moving. The silence, broken only by the wind, the bleating of sheep, and a minimalist soundtrack, is overwhelming. Every shot, from an extreme close-up of a sheep's eye to an epic landscape of Icelandic mountains, is loaded with meaning and a gloomy beauty. The film breathes sadness and suspense.

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The film is almost mute. Dialogue is extremely scarce, and the story is told through actions, glances, and the environment. This forces us, the viewers, to read between the lines, to interpret the pain of María and Ingvar. The decision to present the fantastic premise—the "human-lamb"—with total naturalness is a masterstroke. There is no room for skepticism; the film tells you "this is what there is" and forces you to accept its rules, focusing on the human and not-so-human drama that derives from it.

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Something that happens in many films is that one of the performances elevates the film. In this case, it's Noomi Rapace, who delivers a physical and visceral performance. With a largely impassive facial expression, she manages to convey an ocean of pain, determination, and distorted maternal love. Her character is a force of nature, a woman who has decided to take what life or fate has denied her, no matter the consequences. It's a performance full of nuance and silent strength.

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At its core, "Lamb" is a powerful metaphor about how unprocessed grief can lead to irrational and dangerous behavior. The adoption of Ada is not an act of evil, but one of desperation. The film rawly explores how humans try to "replace" what is lost, often ignoring ethics and natural laws, creating a fragile and artificial happiness.

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There is a filter for the audience: "Lamb" is slow, deliberately slow. The shots are extended, the actions are mundane, and there is no conventional plot that moves quickly. Those looking for a thriller or a traditional horror story will find it a test of patience. This is not a flaw, but a characteristic, yet it's important to warn about it.

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The film has an abrupt and interpretative ending; the finale is a hard blow. It's one of those endings that you will either love or hate. It closes the fable in a circular and poetic way, but also brutally and without concessions. It leaves questions unanswered and demands that we activate our interpretation to make sense of the whole story. For some, it will be a perfect and coherent closure consistent with the film's themes: the cycle of life, nature's revenge. For others, it may be frustrating or too cynical.

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The film refuses to give any explanation about Ada's origin, which is an extreme ambiguity. Is it a miracle? A punishment? A creature from Icelandic folklore? This ambiguity is central to its power, but it may leave some with the feeling that the premise wasn't fully developed.

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"Lamb" is a strange, bold, and unforgettable cinematic work of art. It is a film that is felt more than it is understood, and it lingers in your mind days after you've seen it—well, for years, because I still have it etched in mine.

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Is it worth watching? Absolutely yes, but with the right expectations. Don't go looking for a horror movie with jump scares, but rather a gothic-toned psychological fable about loss. It is a contemplative, sad, and beautifully filmed experience that demonstrates the power of cinema to tell universal stories through the most unusual means.

It's one of those films that divides audiences, but which enriches the cinematic landscape through its pure daring. A black sheep, or in this case, a very peculiar one, in the herd of conventional cinema.

I am a Doctor of Microbiology, a lover of nature, literature, music, cooking, and life itself. A staunch defender of family and children.

The texts are written by me without the use of AI.

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Thank you for visiting my blog.

The photos are from the movie

VERSIÓN EN ESPAÑOL

Hace unos 3 años, casi sin quererlo, porque era un programa de televisión donde ponían una película nueva y no quería ver nada, el comentario de un crítico de cine me dejó amarrada al butacón para asistir aquel filme que había recomendado. Su comentario dejaba ver que sería una experiencia extraña y completamente diferente. Recuerdo que dijo que si no estabas de humor o sentimentalmente estable no era saludable verla. Y fue ahí donde el desafío me llevó a una experiencia inquietante que aún no puedo describir con otra palabra.

Hablo de "LAMB".

"Cordero" en español, es una película que nos lleva a una experiencia sensorial y emocional que se te queda grabada a fuego.

Esta es la ópera prima de Valdimar Jóhannsson, es un ejercicio de audacia narrativa y maestría atmosférica que logra lo que pocas películas consiguen, crear un mundo con reglas propias y sumergirte en él sin necesidad de explicaciones.

La Atmosfera creada es una verdadera protagonista. Este es, sin duda, el mayor logro de la cinta. Jóhannsson, en colaboración con el legendario director húngaro Béla Tarr como productor ejecutivo, construye un tono que es a la vez melancólico, abominable y extrañamente conmovedor. El silencio, roto solo por el viento, el balido de las ovejas y una banda sonora minimalista, es abrumador. Cada plano, desde un primerísimo plano de un ojo de oveja hasta un paisaje épico de montañas islandesas, está cargado de significado y una belleza lúgubre. La película respira tristeza y suspense.

La película es casi muda. Los diálogos son escasísimos, y la historia se cuenta a través de las acciones, las miradas y el entorno. Esto fuerza nos fuerza como espectador a leer entre líneas, a interpretar el dolor de María e Ingvar. La decisión de presentar la premisa fantástica "el cordero-humano" con total naturalidad es un acierto magistral. No hay lugar para el escepticismo; la película te dice "esto es lo que hay" y te obliga a aceptar sus reglas, enfocándose en el drama humano y no tan humano que se deriva de ello.

Hay algo que pasa en muchas peliculas y es que la actuación de alguno de sus personajes engalana el filme. En este caso es Noomi Rapace que ofrece una actuación física y visceral. Con una expresión facial mayormente impasible, logra transmitir un océano de dolor, determinación y amor maternal distorsionado. Su personaje es una fuerza de la naturaleza, una mujer que ha decidido tomar lo que la vida o el destino le ha negado, sin importar las consecuencias. Es una interpretación llena de matices y fuerza silenciosa.

En el fondo, "Cordero" es una metáfora potentísima sobre cómo el duelo no elaborado puede llevar a comportamientos irracionales y peligrosos. La adopción de Ada no es un acto de maldad, sino de desesperación. La película explora con crudeza cómo los humanos intentamos "reemplazar" lo perdido, a menudo ignorando la ética y las leyes naturales, creando una felicidad frágil y artificial.

Hay un filtro para el público y es que "Cordero" es lenta, deliberadamente lenta. Los planos se extienden, las acciones son cotidianas y no hay una trama convencional que avance con rapidez. Quienes busquen un thriller o una historia de terror tradicional encontrarán aquí una prueba de paciencia. No es un defecto, sino una característica, pero es importante advertirlo.

La película tiene un final abrupto e interpretativo, el final es un mazazo. Es uno de esos desenlaces que nos hace amar u odiar. Cierra la fábula de manera circular y poética, pero también brutal y sin concesiones. Deja preguntas sin responder y nos exige que activivemos la interpretación para darle sentido a toda la historia. Para algunos, será un cierre perfecto y coherente con la temática de la película, el ciclo de la vida, la venganza de la naturaleza. Para otros, puede resultar frustrante o demasiado cínico.

La película se niega a dar ninguna explicación sobre el origen de Ada, lo cual es una ambigüedad extrema. ¿Es un milagro? ¿Un castigo? ¿Una criatura del folclore islandés? Esta ambigüedad es central para su poder, pero puede dejar a algunos con la sensación de que la premisa no se desarrolló por completo.

"Cordero" es una obra de arte cinematográfica extraña, audaz e inolvidable. Es una película que se siente más de lo que se entiende, y que perdura en la mente días después de haberla visto, bueno y años porque aún la tengo grabada.

¿Merece la pena verla? Absolutamente sí, pero con las expectativas correctas. No vayas buscando una película de terror con sustos, sino una fábula de tono gótico y psicológico sobre la pérdida. Es una experiencia contemplativa, triste y bellamente filmada que demuestra el poder del cine para contar historias universales a través de los medios más inusuales.

Es una de esas películas que divide al público, pero que enriquece el panorama cinematográfico por su puro atrevimiento. Una oveja negra o en este caso, una muy peculiar en el rebaño del cine convencional.

Soy Médico Microbióloga, amante de la naturaleza, las letras, la música, la cocina y la vida en sí. Férrea defensora de la familia y los niños

Los textos son creados por mi, sin uso de IA

Banners creados en Adobe Fireworks por cortesía de @azufrecs

Gracias por entrar a mi blog

*Las fotos son de la pelicula *

You know there are movies that make you laugh, and then there are movies that make you laugh in spite of yourself, like your body refuses to hold it in no matter how hard you try. Bad Trip falls right in the middle of that chaos. Watching it felt like being thrown into this reckless carnival ride where you don’t know whether to hold your stomach from laughing too hard or cover your eyes from sheer embarrassment. The thing is, it isn’t your typical comedy. It’s a hidden-camera, prank-style road trip that somehow manages to stitch an actual love story and a friendship arc into one long string of outrageous public stunts. And sitting through it, I kept asking myself: how do they get away with this? And why does it hit so hard?

The movie starts with Chris (Eric André), a guy who’s pretty much a lovable loser. He’s working at a car wash, nothing glamorous, when he bumps into Maria, this beautiful girl he had a crush on back in high school. And in that moment, he feels this rush of “this is it, this is my chance.” And what happens? Boom. He gets literally sucked into the vacuum cleaner. That’s the kind of ridiculousness the movie kicks off with — not even subtle, just straight-up humiliating comedy. And the best part is that everyone around — all real people who have no clue it’s a movie — are standing there watching this guy get obliterated by his own crush in the most embarrassing way possible. That’s when I knew this wasn’t just going to be silly, it was going to be raw and messy.

Enter then Bud (Lil Rel Howery), the best friend of Chris. This madness is supported by their friendship. Chris decides to visit Maria in New York where she operates an art gallery and confess to her. Naturally he does not own a car and a plan. However, Bud has a sister, Trina (Tiffany Haddish, and my God she is so terrifyingly funny) who has a car, a glittering pink car with the name Bad Bitch etched in it, so they steal it when her sister gets herself into jail and follow this wild idea. That’s where the trip begins.

Each spot along the road is anarchy. Similar to that nightclub scene in which Chris gets drunk and decides to go crazy. He finds himself naked, literally stripped running round and those in the bar, all ordinary people, are completely horrified. Others are laughing in fear, others are putting their hands over their eyes and the entire affair borders on being upsetting and laugh outright. I kept on thinking as I watched it: had I been there in the bar would I have fled to the door or would I have sat there trying not to knock out my drink?

Then, there is the scene in the zoo and I must say it is one of the most eye-opening scenes I have ever witnessed in a comedy. Chris gets into a cage filled with gorillas to impress a girl and what occurs? The gorilla literally destroys him. And not even in a manner you expect - it becomes this sick-squeezing, graphic, oh-my-God-why-am-I-seeing-this series in which it seems like the gorilla is, in fact, doing something to him. And the shot is shot off to the terrified audience in the zoo, mouths agape, parents shielding the eyes of their children. I laughed, and was half-ashamed of myself. It is vulgar, it is outrageous, and yet you are unable to take your eyes off it.

Bud has his own humiliations along the way, too. One of the funniest yet most uncomfortable scenes was when they get into this Chinese restaurant, and Chris suddenly bursts into a full-on musical number about his love for Maria. It’s loud, dramatic, over-the-top, and everyone in the restaurant just freezes, staring like “what the hell is happening?” That’s when you realize the genius of Bad Trip — the comedy isn’t just in the scripted lines but in the real reactions of real people caught in madness they never signed up for.

And then Tiffany Haddish, my God, she takes the entire show. Being Trina, the former con sister, she is a powerhouse. She breaks out of prison when she learns that they have stolen her car and proceeds to become the full-fledged Terminator. She rushes into barbershops, convenience stores and gas stations screaming at strangers to tell her about Chris and Bud. And how ordinary people treat her? They are terrified. Some attempt to soothe her, some simply do not want anything to do with her, and some even attempt to stand up to her. She is so unpredictable, that she may easily swing a punch at anyone and that is what keeps you addicted. Frankly speaking, when she appeared on the screen, I had this nervous excitement, as though I were saying, what she will next do?

There was one particular scene, however, that has actually made me stop and think, and this involved Chris hanging off the side of a building, desperately clinging on as he screams at the top of his lungs and Bud attempts to rescue him. Anybody on the street below, the actual, innocent passers-by, is panicking, screaming, some even attempting to assist. You momentarily lose the fact that it is a comedy and experience the true dread of the faces of the people. and then, just as it would shatter you, they drag it again out of the absurd, and you are laughing again at the shock of it. It is this persistent alternating horror/hilarity that makes the movie so addictive.

And behind all the mess about, it was the heart. Chris is not a reckless person laughing to get away, he is out rightly seeking love. Bud is not simply trailing behind, he is attempting to protect his best friend. Trina is as wild as she is but she feels like part of the family. Around the time that Chris manages to locate Maria, and he embarrassingly spills his heart out, you get to understand that there was more than pranks over this rollercoaster. It was all about friendship, devotion and the absurdity of making crazy decisions when you desire something.

I believe that the most striking thing to me was the weakness of comedy. So, you are literally watching these guys take their own hits in the street, and run the risk of being punched or arrested, or even killed, all just to laugh and have a story. And in a bizarre manner, it reflects life, in that most of us evade doing something, fearing to appear daffy. Bad Trip turns that terror on its head and punches it in the face:Yes, this is what it looks like to be stupid but you will live and possibly even enjoy it.

At the credits, I was not only laughing but I was almost thinking. There is something oddly uplifting about the two friends coming through the toughest and weirdest circumstances together, despite all the gross-out jokes and the mayhem. It made me think back to those moments in life when everything goes into a spin and you become embarrassed, humiliated, even scared, yet the people who remain on your side during this uncontrolled situation are the ones you end up being thankful to. It is what makes it all bearable.

Nah, Bad Trip is vulgar, outrageous, beyond the excess, the extreme. It is also one of the most raw, as well as human comedies. It made me ponder on fear, friendship and how an awful bad experience in life can sometimes become the best story you will ever get to tell.

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Hello film lovers/Bonjour les cinéphiles,

We enjoy films and series about witches and magic. A few years ago, we watched the series Charmed. When we came across the series Good Witch, we hoped to find the same spirit.

This series consists of six seasons in total, but only five are available on Netflix in our geographical area. A seventh season was planned but has reportedly been cancelled. Each season consists of 10 episodes.

Nous apprécions les films et séries qui parlent de sorcières et de magie. Il y a quelques années, nous avions regardé la série Charmed. En tombant sur la série Un Soupçon de Magie (Good Witch en anglais), nous espérions trouver le même état d'esprit.

Cette série se compose de 6 saisons en tout, mais seules 5 sont disponibles sur Netflix, dans notre zone géographique. Une 7e saison était prévue mais aurait été annulée. Chaque saison se compose de 10 épisodes.

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Source Catherine Bell alias Cassie Nightingale

Synopsis :

Cassandra Nightingale, known as Cassie, lives in Middleton, a small town where life is good.

She runs a guest house and manages a shop selling potions, candles and antique books. She always has good advice to give, even without being asked.

Her husband Jake Russell passed away, leaving behind two children from his first marriage, Brandon and Laurie, as well as Grace, whom he had with Cassie. Brandon and Laurie are adults and have their own lives, but they don't hesitate to come and spend a few days with their stepmother.

Cassandra Nightingale, surnommée Cassie, vit à Middleton, une petite ville où il fait bon vivre.

Elle y tient une maison d'hôtes, tout en étant gérante d'une boutique de potions, bougies et livres anciens. Elle a toujours de bons conseils à donner, même sans que vous ne lui en demandiez.

Son mari Jake Russell est décédé, laissant 2 enfants d'un 1er mariage, Brandon et Laurie, ainsi que Grace qu'il a eue avec Cassie. Brandon et Laurie sont majeurs et ont leur vie, mais n'hésitent pas à venir passer quelques jours chez leur belle-mère.

There is no longer a doctor in Middleton, but there is a hospital not too far away for emergencies or more complex cases. In the meantime, people ask Cassie for advice.

A doctor moves into the house next door to Cassie, Dr Samuel Radford, a renowned surgeon from New York, who arrives with his son Nick. Nick's mother is still in New York, but she travels a lot for work, which is what led to Sam and his wife Linda's divorce. Dr Radford needed to spend more time with his son, and Nick needed to get away from his New York friends.

Il n'y a plus de médecin à Middleton, mais il y a un hôpital pas trop loin de là, pour les urgences ou cas plus complexes. En attendant, les gens demandent conseil à Cassie.

Un médecin emménage dans la maison voisine de Cassie, le Dr Samuel Radford, un chirurgien réputé de New-York, qui débarque avec son fils Nick. La mère de Nick est toujours à New-York, mais elle voyage beaucoup pour son boulot et c'est ce qui a provoqué le divorce de Sam et de son épouse Linda. Le Dr Radford avait besoin de retrouver du temps avec son fils et Nick avait besoin de s'éloigner de ses fréquentations newyorkaises.

Each season features one or two episodes dedicated to Halloween, mainly because Cassie's guest house, The Grey House, is reputed to be haunted.

Otherwise, episodes generally begin with the arrival of new guests at The Grey House and evolve depending on the reason for their visit, whether it's to plan a wedding, a business merger, or simply to get away from it all.

Dans chaque saison, il y a 1 ou 2 épisodes consacrés à Halloween, notamment parce que la maison d'hôtes tenue par Cassie, The Grey House, est réputée hantée. Sinon, de manière générale, les épisodes commencent par l'arrivée de nouveaux hôtes à Grey House et cela évolue en fonction de la raison de leur venue, que ce soit pour préparer un mariage, une fusion d'entreprises ou encore pour se déconnecter.

My appreciation and little informations /Mon avis et petites infos :

It wasn't that bad, but a little too sentimental. The magic wasn't really revealed, it was more about intuitions and premonitions. However, if such a life were possible somewhere in the world, we would like to live there. It would be a dream to live without stress, wouldn't it?

Ce n'était pas si mal, mais un peu trop à l'eau de rose. La magie n'était pas vraiment dévoilée, il s'agissait plutôt d'intuitions et de pressentiments. Toutefois, si une pareille vie était possible quelque part dans le monde, nous aimerions vivre là-bas. Ce serait un rêve de vivre sans stress, non ?

The main actors are not entirely unknown:

• Catherine Bell (Cassie Nightingale) played Major then Lieutenant Colonel Sarah ‘Mac’ Mackenzie in the series JAG.
• James Denton (Dr Sam Radford) played Michael ‘Mike’ Delfino in the series Desperate Housewives.
• Bailee Madison plays Grace Russell, Cassie's daughter.
• Rhys Matthew Bond plays Nick Radford, Sam's son.

Les acteurs principaux ne sont pas totalement inconnus :

• Catherine Bell (Cassie Nightingale) interprétait le rôle du Major puis - Lieutenant-Colonel Sarah "Mac" Mackenzie dans la série JAG.
• James Denton (Dr Sam Radford) jouait Michael "Mike" Delfino dans la série Desperate Housewives.
• Bailee Madison joue Grace Russell, la fille de Cassie.
• Rhys Matthew Bond joue Nick Radford, le fils de Sam.

Please let me know if you've seen this series and what you thought of it. I know there are also spin-off films, but I'm not sure if I'll watch them. Two of these films are available on Prime Video, while we watched the series on Netflix.

Enjoy your evenings in front of the telly, everyone!

N'hésitez pas à me dire si vous avez vu cette série et ce que vous en avez pensé. Je sais qu'il existe aussi des films dérivés, mais je ne suis pas certaine de les regarder. Deux de ces films sont disponibles sur Prime Video, alors que nous avons regardé la série sur Netflix.

Bonnes soirées-tv à tous,

Florence

Source photos : images Qwant autorisées

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