The Schizoid Man (S01E05)

Airdate: October 27th 1967

Written by: Terence Feely Directed by: Pat Jackson

Running Time: 50 minutes

The Prisoner earned its enduring legendary status because its creators, spearheaded by the formidable Patrick McGoohan, relentlessly experimented with narrative structure, genre, and thematic depth in each instalment. Among these bold creative gambits, Terence Feely’s script for The Schizoid Man stands out as one of the most intellectually rigorous and psychologically intricate. It transcends the standard spy thriller framework to deliver a superbly constructed fusion of espionage tension and profound psychological drama, directly confronting the very essence of self. This episode presented, by far, the greatest acting challenge of the series for McGoohan himself, demanding not merely a performance but a complete, convincing fracturing of identity – a feat he executes with chilling precision.

This spirit of relentless innovation permeates both the production and the narrative. Just as McGoohan and his team laboured to devise fresh, conceptually daring plots for every new episode, so too do the fictional masters of the Village perpetually refine their psychological torture techniques in their obsessive quest to break Number Six and extract the elusive reason for his resignation. The Village operates as a laboratory of control, where conventional interrogation has long been abandoned in favour of ever more sophisticated assaults on the psyche. The Schizoid Man exemplifies this escalation, moving beyond mere physical coercion or blunt psychological pressure into the terrifying realm of manufactured reality.

The episode begins deceptively, presenting a Number Six seemingly adapting to Village life. He cultivates what appears to be genuine camaraderie, particularly with the Number Twenty-Four, Allyson (Jane Merrow). Her introduction – visiting Six’s cottage under the guise of testing questionable psychic abilities with Zener cards – initially suggests a potential vulnerability or point of human connection for the isolated protagonist. Yet, this apparent softening is merely the prelude to a far more insidious operation. The new Number Two (Anton Rodgers), younger and radiating a chillingly efficient bureaucratic ruthlessness, eschews parapsychology. Instead, he employs a method far more complex and diabolical: during Six’s sleep, he undergoes a series of strange procedures. Upon waking, the transformation is jarring – a moustache adorns his face, he uses left hand, and his culinary preferences are utterly altered. Summoned before Number Two, he is coldly informed he is now "Number Twelve," an agent meticulously conditioned to break the real Number Six by inducing a psychotic break through the ultimate confrontation: facing a doppelgänger.

The core brilliance of Feely’s script lies in the ensuing identity collision. "Number Twelve" meticulously assumes Number Six’s appearance and role, infiltrating his life. However, when he encounters the man claiming to be the true Number Six, the expected psychological collapse doesn’t occur. Instead, the confrontation becomes a fierce, mutual denial of legitimacy: each man adamantly asserts his own authenticity while branding the other an impostor. Their attempts to resolve the matter through competitive shooting and fencing – action sequences seamlessly integrated into the narrative’s psychological stakes, avoiding the empty spectacle common in contemporary spy fare – only heighten the confusion and tension. The Village’s final test, orchestrated by Number Two, ironically relies on Allyson’s purported psychic ability. Her pronouncement that "Number Twelve" is the impostor seems to confirm the original Six’s victory, shattering the fabricated identity.

Yet, the episode’s true masterstroke is the reversal. Just as "Number Twelve" appears utterly defeated and resigned to his manufactured reality, a seemingly insignificant detail – a bruise sustained during Allyson’s earlier psychic session – triggers a cascade of repressed memory. He recalls the aversion therapy used to overwrite his identity. Through sheer force of will, inducing an electric shock upon himself, he erases the conditioning. Confronting the impostor (revealed as "Curtis," a fellow agent), a violent struggle ensues, culminating in the accidental intervention of Rover. The inflatable guardian’s brutal crushing of Curtis is pivotal; it transforms Rover from a merely sinister plot device into a genuinely terrifying instrument of the Village’s absolute, lethal authority, irrevocably raising the stakes for Number Six’s future battles. Seizing the opportunity presented by Curtis’s death, Six adopts his identity, seemingly securing his escape via helicopter. The final, devastating twist – Number Two’s casual instruction to "give regards to Susan," referencing Curtis' dead wife – instantly exposes the ruse. This cruel, intimate knowledge confirms Six’s true identity, trapping him once more. The predictable nature of this final anchor back to the Village is undeniable, yet its execution, rooted in such specific, personal history, remains a powerful narrative punch.

Feely’s script was so labyrinthine that director Pat Jackson reportedly struggled to grasp its full complexity during production. Whether this confusion was genuine or apocryphal matters less than the result: Jackson steered the intricate plot with remarkable clarity. He allowed crucial details – the bruise, the subtle shifts in conditioned behaviour – to register for perceptive viewers long before Number Six himself could piece them together, rewarding attentive audiences with a sense of shared discovery. The episode also benefits immensely from exceptional performances. Anton Rodgers, as the youngest Number Two yet, embodies a terrifyingly plausible bureaucratic villain, his calm efficiency more unnerving than overt menace. Jane Merrow brings intriguing ambiguity to Allyson, suggesting depths beyond her apparent role as a mere agent, and her prior work with McGoohan on Danger Man lends a subtle, unspoken history to their scenes. However, the ultimate accolade must go to Patrick McGoohan. His dual performance – capturing the steely resolve of the original Six, the bewildered confusion of the conditioned "Twelve," and the dawning horror of the reawakened self – represents the series’ most demanding and accomplished acting achievement. He doesn’t just play two roles; he embodies the visceral terror of having one’s very self stolen and replaced.

The Schizoid Man is a cornerstone of The Prisoner’s legacy. It is far more than a clever spy story; it is a profound, unsettling exploration of identity as the ultimate battleground. In its relentless psychological assault and masterful execution, it stands as one of the series’ very finest hours, a testament to the bold, uncompromising vision that secured The Prisoner’s place in television history.

RATING: 7/10 (+++)

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

InLeo: https://inleo.io/signup?referral=drax.leo Leodex: https://leodex.io/?ref=drax Hiveonboard: https://hiveonboard.com?ref=drax Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9

**

Hola amigos, buenas vibras para todos.

Hello friends, positive vibes to everyone.

Source!

Everything seems to indicate that the superhero genre is experiencing a resurgence, with both Marvel and DC Comics producing high-quality, top-tier films. Focusing on Marvel, we've already seen "Thunderbolts," and the experience was very positive. It's a film that's quite different from what we're used to, and its post-credits scene sets the stage for the movie we'll be discussing today. ​​The Fantastic Four franchise hasn't had much luck on the big screen throughout its history, with some truly awful films that failed to connect with audiences. Fortunately, we can now say that we finally have a film that's worth watching, with a stellar cast.

We are in Earth-828, one of the many alternate realities in the Marvel universe. Its main characteristic is its retro-futuristic look, reminiscent of the 1960s, and it features one of the first superhero families in the MCU. This is the work of Matt Shakman, who also directed "WandaVision," hence the similarities we can observe. This family is very beloved on this Earth, as they protect it from any minor threat. One day, in the middle of the sky, the Silver Surfer appears—one of the legendary characters associated with this family—arriving as the herald or messenger of the true villain, Galactus, to announce this being's plan for Earth.

Source!

Source!

This threat sets off alarm bells, as the very existence of Earth is in danger, meaning Reed, Sue, Ben, and Johnny must act quickly before it's too late. There are several things worth highlighting about this film. First, it feels incredibly fresh, like a true reboot of the Marvel Universe. It's as if everything that came before never happened, paving the way for a new generation of heroes and villains. I think including the Fantastic Four was a brilliant decision, as they have always been among the most underutilized characters in the MCU, yet also some of the most interesting and beloved by fans. Ultimately, we're left with a very warm and relatable film, one that, at the same time, ventures into the furthest reaches of space, challenging and potentially even shattering that familiar family dynamic.

The crux of the story is that Reed (Pedro Pascal) and Sue (Vanessa Kirby) have a baby, a child who is apparently the catalyst for the plot of this film and very likely for everything that will come in the Marvel universe. As I said, this story is anything but boring; it's funny, entertaining, and very well-structured, because it effectively establishes the characters and their motivations. It also has that element of suspense and intrigue, making you wonder what will happen with this threat and how they manage to neutralize it. This isn't a movie where we'll see huge battles or epic fight scenes; everything feels more subdued and understated, not over-the-top or grandiose. The villain, Galactus, isn't your typical villain; he's something like a planet-devouring entity, so you can imagine how extraordinary he is.

Source!

Visually, it's absolutely stunning. They finally understood the importance of using good CGI that looks great on screen. The Silver Surfer's design is particularly impressive, from the way everything reflects off his body to the beautifully rendered silhouette of Julia Garner—those are some of the things I enjoyed most. The space scenes, the moments when the four main characters use their powers, especially Johnny with his flames, and even something as seemingly simple as Galactus's eyes; all these details make the film an incredible visual experience. These elements reinforce the idea that this genre is indeed making a comeback, and as fans and viewers, we should be delighted and happy about it.

To wrap things up, let's talk about the cast. Having Pascal, Vanessa Kirby, Joseph Quinn, Ebon Moss-Bachrach, Julia Garner, and others is an absolute privilege. All the characters are endearing and well-developed, and the natural chemistry between the four, who also happen to be family, makes the viewing experience even more enjoyable. And as a Julia Garner fan, seeing her in this role is fantastic; for me, she's one of the best actresses in Hollywood today. ​​There isn't a single performance of hers that isn't top-notch. Overall, 9/10. A great movie, emotional and full of action. Don't miss the post-credits scene, which sets the stage for what's to come. Highly recommended. Here's the trailer below.

Source!

Source!

***

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

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

HOSPITAL PLAYLIST DRAMA

When it comes to Korean dramas able to warm your heart, Hospital Playlist (슬기로운 의사생활) must be watched for entertainment. Shin Won-ho was in the director's chair for this drama, and Lee Woo-jung was the one who wrote it. The pair previously found success together within the Reply Series. Hospital Playlist, rich with meaning yet also lighthearted as well as relatable, immediately became a hit upon first airing in 2020.

DRAMA PREMISE

Hospital Playlist tells of five friends Ik-jun, Jung-won, Joon-wan, Seok-hyung, and Song-hwa, intimate since 1999 at school for medicine. Yulje Medical Center is surely the same hospital at which they can finally work again after so many years. Each doctor has a specialty, challenging patients, also personal dramas. One thing makes each doctor unique as well as that they have a small band in which they de-stress together. So just imagine, after a serious surgery, they can get together to play music and reminisce about old songs.

CHARACTERS THAT MAKE YOU FEEL AT HOME

• Lee Ik-jun (Jo Jung-suk) A super-genius liver surgeon, hilarious, and always the mood booster for the gang. Despite his busy schedule, he's still a very sweet father to his daughter, U-ju.

• Ahn Jung-won (Yoo Yeon-seok) A pediatrician with an angelic heart. He originally wanted to become a priest, but was torn apart by his love for the medical world. His inner struggles will make viewers feel emotional.

• Kim Joon-wan (Jung Kyung-ho) A stern and outspoken thoracic surgeon, but he turns out to have a very soft heart. His love story? It'll make you smile!

• Yang Seok-hyung (Kim Dae-myung) A quiet, awkward ob-gyn who loves his mother. It's this innocence that makes him adorable.

• Chae Song-hwa (Jeon Mi-do) The only girl in the group, a mature, competent neurosurgeon who's always there to confide in. Her character captivates many.

WHY IS THIS DRAMA DIFFERENT?

1. Hospital Playlist has a feel unlike many other doctor shows. It is not all hospital intrigue without dramatic cases. It is more of a slice-of-life feel in that it connects the audience.

2. Each episode features for you a patient whose very own story is quite touching, so making you smile at some times, and making you cry at other times.

3. Their five-person dynamic feels natural so the audience feels like it's hanging out with them. Their band plays Korean hits from the 90s as well as from the 2000s. This performance creates just a warm and sincere atmosphere.

4. All characters have a human side for that makes them more realistic and relatable.

A VERY POWERFUL MESSAGE

Hospital Playlist teaches how to enjoy small moments among work, life's struggles, and genuine friendship's meaning via stories of doctors and patients. Many viewers say this drama feels just like everyday life because of tears, laughter, loss, and small joys that make life meaningful.

CONCLUSION

“Hospital Playlist” exceeds a usual TV hospital show. The story involves life as well as love, family, also friendship. The atmosphere is warm within and enjoyable. This drama is necessary viewing if you seek a show both heartwarming and exciting.

It is light and funny yet also quite deep earning 9.5/10. At one minute, be prepared for laughing out loud, then you suddenly burst into some tears.

Pictures by : www.imdb.com

Source Imagen

Source Imagen 2

Posted Using INLEO

Portada diseñada por mi en el editor de Canva

Alice es un joven tokiota que vive con su hermano y su padre, pero todo apunta a que es una especie de hikikomori (es así como los japoneses llaman a la gente que vive confinada en su casa, en especial su habitación, jugando videojuegos, navegando por internet o leyendo mangas) Alice no tenía sentido de la responsabilidad y constantemente se iba con sus amigos a buscar diversión, pero todo esto cambió cuando, en medio de una persecución (la policía iba detrás de ellos porque habían causado un choque de autos en el famoso cruce de Shibuya), los tres se refugian en el baño de la estación del metro, pero cuando deciden salir se dan cuenta que todo el mundo desapareció, era como si solo quedaran ellos tres en el mundo, sin embargo luego comprueban que son parte de un juego macabro en el que su vida está en constante riesgo.

Esto me lleva al siguiente punto, el desarrollo de personajes, es simplemente excelente y se evidencia más en los personajes principales como Alice y sus amigos, quienes pasaron de ser tres irresponsables a tomar consciencia de su propia situación, llegando incluso al sacrificio para que uno de ellos pudiera pasar al siguiente nivel. En los capítulos subsiguientes Alice evoluciona aún más, tornándose más responsable y consciente de su entorno. Usagi también aprende a ser menos individualista y más receptiva.

Es tan impredecible que incluso llegamos a encontrar juegos donde los contrincantes no son necesariamente malas personas, sino simplemente seres que están luchando por sus vidas y que aceptan los resultados con gallardía, dando una gran lección de vida a los sobrevivientes. En ese mismo episodio vemos un nuevo juego en el que Alice no está involucrado (el de la cárcel) y me gustó tanto por la gran enseñanza que deja en la audiencia, se trata de la importancia que tiene la confianza en los seres humanos, somos seres sociables y por ende debemos confiar para poder coexistir, pero la confianza es frágil y se puede romper muy fácilmente, lo cuál genera ansiedad, incomodidad, frustración y finalmente el caos, en este juego era incluso un asunto de vida o muerte.

Algo que tengo que mencionar obligatoriamente es la ambientación, la serie está tan bien lograda a nivel artístico, fotográfico y en materia de escenografía que realmente pareciera que los personajes se mueven dentro de un universo distópico, en especial resulta asombroso ver completamente desolado el cruce de Shibuya que normalmente es tan concurrido, y por supuesto me gustaría ovacionar el trabajo de caracterización porque la mayoría de los personajes son idénticos a sus homónimos del manga.

La serie no solo está hecha para entretener sino para reflexionar acerca de muchas cosas, pero en especial acerca de como vivimos la vida actualmente, pasando desapercibidos muchos detalles que sin dudas serían indispensables cuando definitivamente lo pierdes todo, pero también está hecha para mantener activo tu cerebro, incluso cuando no estás viendo la serie, porque es inevitable ponerse a pensar en las miles de razones por las cuales los personajes llegaron allí o como podrían retornar al mundo real. Así que la recomiendo totalmente, tanto si te gustan las historias sobre mundos paralelos o distópicos, como si no, porque estoy segura que te gustará mucho. Gracias por permitirme dejar mi opinión.

Imagen diseñada por mi en el editor de Canva.

Todas las imágenes de este post son de mi propiedad, las tomé con un teléfono celular ZTE Blade A51.

Around this time of year, the Breaking Bad episode “Ozymandias” aired, considered one of the best—not only of the series but in the history of television in general. The title comes from the poem of the same name by Percy Shelley (husband of Mary Shelley, the author of Frankenstein), published in 1818. The poem uses the image of a statue of Ozymandias to describe the inevitable decline of all rulers and empires, no matter how powerful they once were. In the series, we see Walter White collapsing in the sand, just as the famous statue is said to have collapsed.

Of course, this slow-burning transformation across five seasons was aided by the television format itself, being closer to a literary structure, with episodes functioning like the chapters of a book. At that point, we believed that television could become the new cinema. But greed-driven profiteering began to “stretch” series with unnecessary seasons whenever success was in sight, with the result that today we give priority (at least when we activate our quality instincts) to mini-series, which remain the closest thing to the literary structure of chapters mentioned above.

For those (probably very few) who don’t know the plot: it all started when a mild-mannered chemistry teacher discovered he had cancer. Since his meager salary didn’t allow him to cover the expenses, he turned to a former student of his who was dealing crystal meth. He suggested upgrading the “product” using his scientific knowledge, “cooking” in a camper in the middle of the New Mexico desert.

What could one recall first? Hank, heading the case as a DEA agent, without even knowing himself that his brother-in-law was involved? Tuco’s uncle, Hector Salamanca, confined to a wheelchair in a nursing home, paying back an old vendetta against Gus Fring, the owner of a fried-chicken chain “front”? The attic cliffhanger with Skyler? The execution scene with the silent twin sicarios? Anthology moments, back in the days when you had to wait several months for the next season to begin—something that skyrocketed anticipation.

Oh, and one more thing: if it ever crosses your mind to quit the series somewhere early in Season 2 (affected by the writers’ strike in Hollywood at the time), I advise you not to do it. You would be making a huge mistake, because afterward you will be more than rewarded.

P.S. One of the supporting characters in the series was the lawyer who laundered the dirty money of the two uneasy partners. His name was Saul Goodman, and he had his own personal story before reaching that point. But that’s a story for another time.

Straight and True (S03E05)

Airdate: October 17th 2004

Written by: Ed Burns Directed by: Dan Attias

Running Time: 58 minutes

David Simon’s The Wire remains unparalleled in its forensic dissection of urban decay and institutional failure, and Season 3’s Straight and True stands as a masterclass in weaving this intricate tapestry. The series presents Baltimore as a city defined by a profound, unsettling paradox: it is simultaneously a claustrophobic village where social, professional, and criminal networks are astonishingly interwoven, operating on the principle that everyone is separated by no more than one or two degrees, yet it is also a place where those ostensibly in positions of authority and insight regard the very communities they police or govern as utterly inscrutable alien territories. This central tension – the coexistence of intimate proximity and profound ignorance – permeates the urban landscape Simon constructs. Straight and True crystallises this paradox with exceptional clarity, demonstrating how systemic myopia persists even amidst the dense web of human connection that characterises the city, rendering the obvious invisible to those who should see it most clearly.

Nowhere is this blindness more starkly illustrated than in the valiant yet increasingly desperate efforts of Major Howard "Bunny" Colvin in the Western District. Colvin’s radical "Hamsterdam" experiment – concentrating drug activity into designated zones with minimal police interference to reduce overall street-level violence – founders on a fundamental failure of communication and understanding. His own officers, including seasoned narcotics detectives Herc and Carver, remain utterly incapable of grasping the basic structure of the drug trade they patrol daily. Street-level dealers, operating under immediate, brutal pressures, cannot comprehend Colvin’s strategic vision of controlled zones. Following another humiliating dressing-down from the Deputy Commissioners for failing to produce conventional crime statistics, Colvin realises his fatal error: he has been trying to negotiate with the foot soldiers while remaining completely ignorant of the actual managers orchestrating the trade. The bitter irony is palpable: despite Herc and Carver’s relentless, often brutal, street-level enforcement, they possess zero intelligence on the mid-level operators – the crucial link between drug lords and the corners. Colvin’s salvation arrives not from the vaunted narcotics unit, but from the sidelined Major Crimes Unit (MCU), whose meticulous, intelligence-driven work, conducted while battling institutional neglect, has painstakingly mapped the very hierarchy Colvin needed. This allows Colvin, in a move emblematic of both pragmatism and chilling dehumanisation, to finally corral the dealers into his designated zones and even arrange for police vans to bus in addicts – treating human beings as mere logistical components in his social engineering project.

This institutional blindness stands in stark contrast to the intuitive, almost accidental navigation of the city’s hidden networks by Jimmy McNulty. Later revealed as Colvin’s former protégé, McNulty embodies the paradox by effortlessly crossing boundaries that baffle his superiors. Attending a mundane school fundraiser with his ex-wife, he stumbles into a brief liaison with Tina d’Agostino, a politically connected figure whose connection to the rising mayoral challenger, Tommy Carcetti, remains unknown to him as she angrily ejects him from her bed. Simultaneously, Carcetti, leveraging his colleague Councilman Anthony Gray’s increasingly vitriolic public evisceration of Commissioner Burrell over the murder of a key crime witness, intensifies his campaign against the Royce administration. McNulty’s movement through these disparate worlds – from the school hall to Tina’s bedroom, from the MCU bullpen to the corridors of nascent political ambition – highlights a fluidity utterly absent in the rigid, self-blinding structures of the police command. Yet McNulty’s own sense of agency is shattered when he confronts Stringer Bell at his legitimate printing business. Bell, having meticulously laundered his empire and cultivated powerful political and business connections (including State Senator Clay Davis), stands on the precipice of shedding his criminal past entirely. McNulty’s desperate, almost pathetic attempt to reignite their old conflict is met with Bell’s cool, triumphant mockery – a dismissal that strips McNulty of his purpose and leaves him slinking back to the MCU office, defeated and adrift, ready to chase the next corner boy simply to feel relevant again.

Bell’s apparent triumph, however, is as fragile as Colvin’s Hamsterdam. While seemingly mastering the transition from street kingpin to respectable businessman, he faces mounting pressures. Colvin’s experiment directly impacts his operations, forcing Bodie and others into the chaotic Hamsterdam zones. More significantly, Avon Barksdale’s return from prison creates a seismic rift. Avon, a creature of the raw street logic that built their empire, is profoundly alienated by the "brave new world" Bell has constructed – the sterile boardrooms, the polite negotiations with figures like wealthy developer Adam Krawczyk and the oily Clay Davis. Avon’s discomfort underscores the fundamental incompatibility between the old code of the corners and Bell’s corporate ambitions. This internal fracture is catastrophically exploited by Marlo Stanfield, the young, psychopathically ambitious drug lord who embodies the new, terrifying face of the trade. Marlo’s deliberate rejection of both Colvin’s pragmatic zones and Bell’s attempts at negotiation is a declaration of war based on pure, amoral power. Bell’s decision to meet Marlo, driven by a misplaced belief in reason and negotiation, proves disastrous. Not only is the meeting surreptitiously recorded by the ever-vigilant MCU – providing McNulty with a vital lifeline back into the investigation – but Marlo interprets Bell’s very attempt at dialogue as weakness. His chilling instruction to his troops signals the imminent, brutal dismantling of Bell’s carefully constructed world, revealing the fatal flaw in his belief that the rules of legitimate business could govern the streets.

Written by former detective and teacher Ed Burns, Straight and True maintains the exceptional narrative density and thematic coherence that defines The Wire’s peak. The episode weaves its complex political, institutional, and criminal threads with masterful precision. Cutty Wise’s subplot – his reluctant return to the Barksdale fold and growing disillusionment with the escalating violence and recklessness of the younger crew – resonates perfectly with the central theme of seeking legitimacy versus succumbing to the street’s gravitational pull. Similarly, Bubbles’s futile attempts to convince the perpetually strung-out Johnny Weeks that being a police informant offers a more sustainable path than petty crime underscore the tragic cyclical nature of addiction and desperation. While the pacing occasionally falters, particularly in some of the Hamsterdam establishment sequences, these moments are minor blemishes on an otherwise flawless tapestry. The episode also deftly employs dark humour to alleviate its oppressive weight: Stringer Bell’s furious eruption at Shamrock for meticulously recording Barksdale Organisation meetings using Robert’s Rules of Order (a potential goldmine of conspiracy evidence) is both hilarious and tragically illustrative of Bell’s struggle to impose order on chaos; Bunk Moreland’s Sisyphean quest to recover Dozerman’s lost service weapon, yielding only absurdly useless "tips" from incarcerated informants, provides a perfect counterpoint of weary, absurdist comedy.

Straight and True ultimately serves as a pivotal moment in Season 3, exposing the inherent contradictions and inevitable fragility within every attempted solution to Baltimore’s systemic rot. Colvin’s Hamsterdam, McNulty’s fading relevance, Bell’s precarious ascent, and Avon’s displaced rage all stem from the same core failure: the inability of those within the system, whether police, politicians, or criminals, to truly see and understand the complex, interconnected reality they inhabit. They operate within a city where everyone is connected, yet persist in treating it as an impenetrable mystery. The true mystery isn’t Baltimore’s streets; it’s the persistent refusal of those who shape its fate to comprehend the world right before their eyes.

RATING: 7/10 (+++)

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

InLeo: https://inleo.io/signup?referral=drax.leo Leodex: https://leodex.io/?ref=drax Hiveonboard: https://hiveonboard.com?ref=drax Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9

Source

American Fiction is a comedy by Jeffrey Wright that has an interesting story about Thelonius Ellison which is the role he plays himself, an academic writer who fails to sell his books until he decides to write something completely different under a pseudonym and create a whole business that no black author has had before, this when you think about it crudely is something quite strong because it has a lot of things that are implied there on a social and cultural level. The screenplay by Cord Jefferson seems good to me and it's clever in certain apstects, like when it handles the issues of racial stereotypes and how the publisher exploits them for profit, but on an execution level I didn't feel it lived up to the ideas it presents and I also felt that the movie was a bit scattered between so many things that the story has that it tries to handle at the same time.

American Fiction es una comedia de Jeffrey Wright que tiene una historia interesante sobre Thelonius Ellison que es el papel que hace él mismo, un escritor académico que no logra vender sus libros hasta que decide escribir algo completamente diferente bajo un seudónimo y crear todo un negocio que ningún autor negro ha tenido antes, esto cuando lo piensas crudamente es algo bastante fuerte porque tiene muchad cosas que están allí implicadas a nivel social y cultural. El guión de Cord Jefferson me parece bueno y es inteligente en ciertos apstectos, como cuando maneja los temas de estereotipos raciales y cómo la editorial los explota para obtener ganancias, pero a nivel de ejecución no me pareció que estaba a la altura de las ideas que presenta y también me pareció que la peli era un poco dispersa entre tantas cosas que tiene la historia que trata de manejar al mismo tiempo.

Source

What I liked most to me about the movie is that family relationship between Monk and his brothers I would go as far as to say it is the most solid thing about the whole movie, Sterling K Brown as Cliff has some brilliant moments when he is dealing with his recent divorce and coming out of the closet, there is also Tracy Ellis Ross as Lisa who I really would have liked to see more of her in the movie because her early death really changes the whole emotional direction of the story in a way that feels a bit of a shock. Leslie Uggams as the mom Agnes who is developing Alzheimer's I think she does a very good job showing that little by little deterioration that is so hard to see in real life and more so when you know that your loved one is slowly fading away in front of your eyes without you being able to do anything to stop it, luckily I have not had to live it but a co-worker of mine had his dad with that disease and it was a very hard process everything he had to go through. The tension between Monk and his siblings is really felt because they all have their own financial and emotional problems but it made me angry to hear that sometimes the movie gets lost in trying to balance everything that is going on at the same time and doesn't focus on what needs to be. Erica Alexander as Coraline is a key player and it works quite well because she represents a different take on black literature that Monk so despises, but the relationship between them develops too quickly and I didn't feel it was all that natural.

Lo que más me gustó a mi de la peli es esa relación familiar que hay entre Monk y sus hermanos me strevería a decir que es lo más sólido de toda la película, Sterling K Brown como Cliff tiene algunos momentos brillantes cuando está lidiando con su reciente divorcio y salida del closet, también está Tracy Ellis Ross como Lisa que la verdad me hubiese gustado verla más en la peli porque su muerte temprana realmente cambia toda la dirección emocional de la historia de una manera que se siente un poco de golpe. Leslie Uggams es la mamá Agnes que está desarrollando Alzheimer me parece que hace un trabajo muy bueno mostrando ese deterioro poco a poco que es tan difícil de ver en la vida real y más cuando sabes que tu ser querido se está desvaneciendo poco a poco frente a tus ojos sin que puedas hacer nada para detenerlo, por suerte no me ha tocado vivirlo pero un compañero de trabajo tenís a su papá con esa enfermedad y fue un proceso muy duro todo lo que le tocó pasar. La tensión entre Monk y sus hermanos se siente de verdad porque todos tienen sus propios problemas económicos y emocionales pero me dio rabia oirque a veces la película se pierde en tratar de equilibrar todo lo que está pasando al mismo tiempo y no se enfoca la atención en lo que debe ser. Erica Alexander como Coraline es una pieza clave y funciona bastante bien porque ella representa una visión diferente sobre la literatura negra que Monk tanto desprecia, pero la relación entre ellos se desarrolla muy ráipo y no sentí que fuera tan natural.

Source

Source

The central point of the film where Monk writes his satirical book under the pseudonym Stag R Lee is too good because of the way Jefferson visualizes the writing with Keith David acting out the scenes Monk is creating in his head, that felt like pure cinema to me and I love it when films find creative ways to show the artistic process instead of just showing someone typing on a computer. The film's critique of how the publisher wants specific black stories that confirm certain stereotypes is very valid and necessary although sometimes the message is a bit heavy handed and repetitive, like they don't trust that the viewer is going to understand because they repeat it so many times. Issa Rae as Sintara Golden works well as Monk's counterpoint, representing that author who is willing to give the market what it wants even if it means maintaining harmful stereotypes, and their confrontation at the literary judging panel is probably one of the strongest scenes in the whole movie because both characters have valid points about artistic responsibility versus economic survival. That pado that Monk has to live through from pretentious intellectual to someone who is forced to participate in the same system that he criticizes is very well done when he has to play the Stag R Lee character in front of Hollywood editors and producers.

El punto central de la película donde Monk escribe su libro satírico bajo el seudónimo de Stag R Lee es demasiado bueno por la forma en que Jefferson visualiza la escritura con Keith David actuando las escenas que Monk está creando en su cabeza, eso me pareció cine puro y a mi me encanta cuando las películas encuentran formas creativas de mostrar el proceso artístico en lugar de solo mostrar a alguien escribiendo en una computadora. La crítica que hace la película sobre cómo la editorial quiere historias negras específicas que confirmen ciertos estereotipos es muy válida y necesaria aunque a veces el mensaje es un poco pesado y repetitivo, como que no confían en que el que está viendo la peli va a entender porque lo repiten muchas veces. Issa Rae como Sintara Golden funciona bien como contrapunto de Monk, representando a esa autora que está dispuesta a dar al mercado lo que quiere incluso si eso significa mantwner estereotipos dañinos, y su confrontación en el panel de jueces literarios es probablemente una de las escenas más fuertes de toda la película porque ambos personajes tienen puntos válidos sobre la responsabilidad artística versus la supervivencia económica. Ese pado que tiene que vivir Monk de intelectual pretencioso a alguien que se ve forzado a participar en el mismo sistema que crítica está muy bien hecho cuando tiene que interpretar al personaje de Stag R Lee frente a los editores y productores de Hollywood.

Source

Source

Something that seemed forced to me is that at the end it is discovered that we are possibly seeing the film adaptation that Monk is developing with the Hollywood producer, I say it seemed forced because it gave me the impression that Jefferson did not know how to end the story and decided to add something complex but that does not generate much impact emcoinoal. The themes about the monetization of black trauma and how the white audience consumes these stories to feel better about themselves are important and well presented, but it's what I already said sometimes it's too explicit about what they are trying to communicate. The performances overall are good, Jeffrey Wright does a good job of showing his character's frustration without falling into exaggeration although at times it feels like he is playing more of an idea than a real person and this makes one not connect much on a personal level but something more intellectual. Sterling K Brown has some really touching moments when he is dealing with his family's rejection of his sexuality although it would have been better to see more about his experience as a black gay man as this relates to the broader themes of authenticity that the film is exploring.

Algo que me pareció forzado es eso de que al final se descure que posiblemente estamos viendo la adaptación cinematográfica que Monk está desarrollando con el productor de Hollywood, digo que me pareció formzado porque me dio la impresión de que Jefferson no supo cómo terminar la historia y decidió agregar algo complejo pero que no genera mucho impacto emcoinoal. Los temas sobre la monetización del trauma negro y cómo la audiencia blanca consume estas historias para sentirse mejor consigo misma son importantes y están bien presentados, pero es lo que ya dije a veces es demasiado explícito sobre lo que están tratando de comunicar. Las actuaciones en general son buenas, Jeffrey Wright hace un buen trabajo mostrando la frustración de su personaje sin caer en la exageración aunque a veces parezca que está interpretando más una idea que una persona real y esto hace que uno no conecte mucho a nivel personal sino que sea algo más intelectual. Sterling K Brown tiene algunos momentos realmente conmovedores, cuando está lidiando con el rechazo de su familia por su sexualidad aunque hubiese sido mejor ver más sobre su experiencia como hombre gay negro ya que esto se relaciona con los temas más amplios sobre autenticidad que la película está explorando.

Source

Cord Jefferson's direction is good although for me it's not something that stands out, the film looks good and is well edited but there aren't many moments that really stand out on a visual level or demonstrate anything beyond the cleverness of the script. Another thing I didn't like about the movie is the pacing which at some points is very rushed while at others it's over extended, mostly in the parts where Monk is around the publishing world and Hollywood producers, which at times feel more like comedy sketches than parts of a congruent story. To me the film works best when it focuses on Monk's family relationships and personal dilemmas, but when it tries to be a broader satire on the entertainment industry it sometimes loses focus and gets scattered among too many different ideas. I give American Fiction a 8/10 because it is an intelligent film that touches on important issues of race, class and authenticity on an artistic or literary level, but it doesn't always manage to balance all its elements in a satisfying way and leaves you with a feeling that if it went deeper into the characters it could have been something more special, but it has some good stuff and is worth watching for its ideas and performances.

La dirección de Cord Jefferson es buena aunque para mí no es algo que sobresale, la película se ve bien y está bien editada pero no hay muchos momentos que realmente destaquen a nivel visual o que demuestren algo más allá de la inteligencia del guión. Otra cosa que no me gustó de la peli es el ritmo que en algunos momentos es muy apresurado mientras que en otros se extienden demasiado, más que todo en las partes donde Monk está por el mundo editorial y los productores de Hollywood, que a veces se sienten más como sketches cómicos que como partes de una historia congruente. A mí parecer la película funciona mejor cuando se enfoca en las relaciones familiares y en los dilemas personales de Monk, pero cuando trata de ser una sátira más amplia sobre la industria del entretenimiento a veces pierde el foco y se dispersa entre demasiadas ideas diferentes. Yo le doy un 8/10 a American Fiction porque es una película inteligente que toca temas importantes sobre raza, clase y autenticidad a nivel artístico o literario, pero que no siempre logra equilibrar todos sus elementos de manera satisfactoria y te deja con una sensación de que si profundizaba más en los personajes podría haber sido algo más especial, pero tiene cosas buenas y vale la pena verla por sus ideas y actuaciones.

"Translated to English with DeepL"

Posted Using INLEO