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I had heard and read a lot about Weapons and when I finished watching it I was left with the feeling that it wasn't what I thought it was after all the hype before the premiere. Although the film works well and has its bright moments it is not the horror masterpiece that many say it is, and this is mainly because the expectations were too high from the beginning and especially considering the success of Barbarian. Zack Cregger has here an interesting story about the disappearance of 17 kids from the same class, all running out of their homes at exactly 2:17 in the morning with their arms outstretched as if they were airplanes and the only ones that didn't disappear were Alex Lily another kid from the class and his teacher Justine, and although the story is very good I felt that the tension was not maintained throughout the whole story, sure at some moments it jumped because things appeared all at once but it wasn't something that was always tense. The movie is divided into chapters showing different points of view of the characters involved, starting with Justine played by Julia Garner who is an elementary school teacher with alcohol problems who becomes the target of the parents' anger because they feel she should know something about what happened. Josh Brolin plays Archer, the father of one of the missing children who from the beginning blames Justine but then works with her to uncover the truth, while Alden Ehrenreich plays Paul, a police officer who is Justine's ex-boyfriend and is engaged to the police chief's daughter, creating a complicated situation that becomes even worse when he and Justine sleep together. Austin Abrams plays James, a drug addict who accidentally discovers where the children are while robbing houses to get money for drugs and Benedict Wong plays the role of headmaster Marcus who supports Justine at first but then is controlled by magic to attack her.

Había escuchado y leído mucho sobre Weapons y cuando la terminé de ver me quedé asií como que no era lo que yo creía después de tanto alboroto que hubo antes del estreno. Aunque la película funciona bien y tiene sus momentos brillantes no es la obra maestra del terror que muchos dicen que es, y esto se debe principalmente a que las expectativas fueron demasiado altas desde el inicio y más que todo considerando el éxito de Barbarian. Zack Cregger tiene aqui una historia interesante sobre la desaparición de 17 niños de la misma clase, todos corriendo fuera de sus casas exactamente a las 2:17 de la madrugada con los brazos extendidos como si fueran aviones y los únicos que no desaparecieron dfuieon Alex Lily otro niño de la clase y su maestra Justine, y aunque la historia es muy buena sentí que no se mantuvo la tensión a lo largo de toda la historia, claro en algunos momentos saltaba porque aparecían las cosas de golpe pero no era algo que estuviera tensa siempre. La película está dividida en capítulos mostrando diferente punto de vistra de los personajes involucrados, comenzando con Justine interpretada por Julia Garner quien es una maestra de primaria con problemas de alcohol que se convierte en el blanco de la ira de los padres porque sienten que ella debe saber algo sobre lo que paso. Josh Brolin hace el papel de Archer, el padre de uno de los niños desaparecidos que desde el inicio culpa a Justine pero después trabaja con ella para descubrir la verdad, mientras Alden Ehrenreich interpreta a Paul, un oficial de policía que es ex novio de Justine y está comprometido con la hija del jefe de policía, creando una situación complicada que se vuelve aun peor cuando él y Justine se acuestan. Austin Abrams interpreta a James, un adicto a las drogas que por accidente descubre donde están los niños mientras roba casas para conseguir dinero para drogas y Benedict Wong hace el papel del director Marcus quien apoya a Justine al inicio pero después es controlado por magia para atacarla.

The witch responsible for all this is the crazy Gladys played by Amy Madigan, who is presented as Alex's sick aunt but in reality is a crazy old woman like a parasite who needs to absorb the life force of other people to survive, using a thorny stick wrapped with personal items of her victims to control them completely, this hisotria is not demonic it is more like black magic or spell casting. Everything is slowly uncovered and they show how Gladys used Alex to get something personal from each child in her class to lure them all into her house where she keeps them in the basement like zombies while slowly draining the life out of Alex's parents. The movie has sidewalk rules of magic showing how Gladys wraps hair or personal items around a stick that has thorns on it and pricks her finger with the thorns and with can control the person completely, making them sleepwalk or become violent depending on what the old woman wants. The performances are very good, I really liked Julia Garner who manages to make Justine a complex character who is not just a victim, she also has her own problems and flaws like her alcoholism. Josh Brolin shows quite a bit of intensity as a desperate father who at first pot all his pain blames others but realizes he needs to work with Justine to find real answers, and Amy Madigan steals every scene as the witch Gladys with her disturbing appearance and behavior that seems human but is out of place.

La bruja responsable de todo esto es la loca de Gladys interpretada por Amy Madigan, quien se presenta como la tía enferma de Alex pero en realidad es una vieja loca como un parasito que necesita absorber la fuerza vital de otras personas para sobrevivir, usando un palo espinoso envuelto con objetos personales de sus víctimas para controlarlas completamente, esta hisotria no es demoniaca es más como de magia negra o hechizo. Todo se va descubriendo poco a cpoc y muestran como Gladys utilizó a Alex para obtener algo personal de cada niño de su clase para atraerlos a todos a su casa donde los mantiene en el sótano como zombis mientras drena lentamente la vida de los padres de Alex. La película tiene reglas acera de la magia mostrando como Gladys envuelve cabello o los objetos personales alrededor de un palo que tiene espinas y se pincha el dedo con las espinas y con puede controlar a la persona completamente, haciéndolos caminar como sonámbulos o que se vulevan violentos según lo que la vieja quiera. Las actuaciones son muy buenas, me gustó mucho la de Julia Garner quien logra hacer de Justine un personaje complejo que no es simplemente una víctima, también tiene sus propios problemas y defectos como su alcoholismo. Josh Brolin muestra bastante intensidad como un padre desesperado que al principio pot todo su dolor culpa a otros pero se da cuenta de que necesita trabajar con Justine para encontrar respuestas reales, y Amy Madigan roba cada escena como la bruja Gladys con su apariencia perturbadora y su comportamiento que parece humano pero esta fuera de lugar.

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There are things that feel like dark humor as Cregger mixes scary moments with comedy that stems from the characters' realistic reactions to absurd situations. Some scenes are both laugh-out-loud funny and horrifying, like when Marcus chases Justine around a store while the clerk just yells at her to get out of his store without offering help, or when James accidentally stabs Paul in the face with needles thinking it was Gladys. The violence is quite graphic at several points the worst scene of this is when Marcus kills her husband by hitting him multiple times with his own head until there is nothing left but a crater, and the final part where all the controlled kids hunt down and literally tear Gladys to pieces as she screams. The pacing of the film is flawed because it starts off very slow with a lot of character development which at times I found tiresome especially the first 40 minutes where we are getting to know Justine and seeing how everyone blames her for the disappearance and then at the end it's like everything is rushed and resolved and that's it. The supernatural elements slowly creep in starting with disturbing images like Alex's parents sitting like zombies in their house with all the windows covered in newspapers, followed by Alex's mother cutting Justine's hair while she sleeps in her car, until finally Gladys appears and I understood that what I was seeing was real witchcraft. A good atmosphere is created with that scene where all the kids are running through the streets at the same time with their arms outstretched, and the shots of Alex's house with its windows covered create a sense that something bad is happening there.

Hay cosas que parecen humor oscuro ya que Cregger mezcla momentos aterradores con comedia que surge de las reacciones realistas de los personajes ante situaciones absurdas. Algunas escenas dan risa y son horrorosas a la vez, como cuando Marcus persigue a Justine por toda una tienda mientras el empleado solo le grita que se vaya de su tienda sin ofrecer ayuda, o cuando James apuñala accidentalmente a Paul en la cara con agujas pensando que era Gladys. La violencia es bastante grafica en varios momentos la peor escena de esto es cuando Marcus mata a su esposo golpeándolo muchas veces con su propia cabeza hasta que no queda más que un crater, y la parte final donde todos los niños controlados cazan y literalmente desgarran a Gladys en pedazos mientras ella grita. El ritmo de la película tiene fallas porque comienza muy lento con mucho desarrollo de personajes que a veces me pareció fastidooso más que todo los primeros 40 minutos donde estamos conociendo a Justine y viendo como todo el mundo la culpa por la desaparición y después al final es como que todo lo hacen apresuarado y lo resuelven y listo. Los elementos sobrenaturales van entrando poco a poco comenzando con imágenes perturbadoras como los padres de Alex sentados como zombis en su casa con todas las ventanas cubiertas de periódicos, seguido por la madre de Alex cortando el cabello de Justine mientras duerme en su auto, hasta que finalmente aparece Gladys y entendí que lo que estaba viendo era brujería real. Se crea una buena atmosfera con esa escena donde están todos los niños corriendo al mismo tiempo por las calles con los brazos extendidos, y las tomas de la casa de Alex con sus ventanas cubiertas crean una sensación de que algo malo está pasando ahí.

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Themes of the film include addiction, intergenerational trauma, and how communities look for scapegoats when unexplained tragedies occur, but these elements don't always integrate well with the supernatural story. There are references to parasites throughout the film, both in the school where they are learning this topic and in a documentary Marcus and her husband are watching about insects taking control of other insects, making Gladys function as a parasite feeding off the life force of others. That title Weapons seems to me to refer to how people can be turned into weapons under Gladys' control, plus all the main characters have some sort of destructive escape mechanism, from Justine and Paul's alcoholism to James' drug addiction this signifies that these habits make them vulnerable to being controlled or manipulated. The ending is bittersweet because although Gladys is destroyed and the children are freed, Alex's parents never fully recovered and needed lifelong care and some of the children only started talking again after two years. The movie ends very ra'pido after the gore climax, which left me somewhat unsatisfied because I would have liked to see more shown about the characters in the long run.

Los temas de la pelicula incluyen adicción, trauma intergeneracional y como las comunidades buscan chivos expiatorios cuando ocurren tragedias inexplicables, pero estos elementos no siempre se integran bien en la historia sobrenatural. Hay referencias a parásitos a lo largo de la película, tanto en la escuela donde están aprendiendo este tema como en un documental que Marcus y su esposo están viendo sobre insectos que toman control de otros insectos, haciendo ver que Gladys funciona como un parasito que se alimenta de la fuerza vital de otros. Ese título Weapons me parece que se refiere a como las personas pueden ser convertidas en armas bajo el control de Gladys, además todos los personajes principales tienen algún tipo de mecanismo de escape destructivo, desde el alcoholismo de Justine y Paul hasta la adicción a las drogas de James esto siginifica que estos habitos los hacen vulnerables a ser controlados o manipulados. El final es agridulce porque aunque Gladys es destruida y los niños son liberados, los padres de Alex nunca se recuperan completamente y necesitaron cuidado de por vida y algunos de los niños solo comenzaron a hablar de nuevo después de dos años. La pelicula termina muy ra´pido después del clímax gore, lo cual me dejó algo insatisfecha porque me hubiese gustado que se mostrara más sobre los personajes a largo plazo.

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Overall Weapons is a decent movie that has some very good moments of terror and suspense but it doesn't maintain the tension throughout the movie and doesn't reach the heights of Barbarian in terms of originality or emotional impact, and I think this happens mostly because the initial premise is more interesting than its final resolution. The performances are good, the direction is good and there are enough innovative elements to keep you interested, but the feeling I'm left with is that it could have been much better with a little more focus on developing its deeper themes rather than relying so much on visceral horror and the ending not being so rushed. My score for Weapons is 7/10, if you liked Barbarian I say you could watch it but clearly it's not going to have the same lasting impact or cult reputation.

En general Weapons es una pelicula decente que tiene algunos momentos muy buenos de terror y suspenso pero no mantiene la tensión durante toda la peli y no alcanza las alturas de Barbarian en terminos de originalidad o impacto emocional, y yo creo que esto pasa más que todo es porque la premisa inicial es más interesante que su resolución final. Las actuaciones son buenas, la dirección es buena y hay suficientes elementos innovadores para mantener el interés, pero la sensación que me queda es que pudo haber sido mucho mejor con un poco mas de enfoque en desarrollar sus temas más profundos en lugar de depender tanto del horror visceral y que el final no fuera tan apresurasdo. Mi puntuación para Weapons es 7/10, si te gusto Barbarian te digo que podrías verla pero estando claro ue no va a tener el mismo impacto duradero o reputacion de culto.

"Translated to English with DeepL"

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The Arsenal of Freedom (S01E21)

Airdate: April 11th 1988

Written by: Richard Manning & Hans Beimler Directed by: Les Landau

Running Time: 46 minutes

Certain pieces of science fiction possess an unnerving capacity to transcend their era, evolving from speculative entertainment into chillingly relevant social commentary. Star Trek: The Next Generation’s The Arsenal of Freedom – a product of the franchise’s often-derided first season – stands as a prime example. Originally broadcast in 1988 amidst the waning days of the Cold War, this episode now resonates with a disturbing urgency that its creators could scarcely have anticipated. Far from being a mere relic of 1980s television, it emerges as one of the season’s most accomplished works, its core thesis on the corrosive nature of the arms trade and autonomous warfare striking a profoundly uncomfortable chord in our current geopolitical climate. Where contemporary discourse grapples with AI-driven weaponry, endless conflicts exploited for profit, and the moral bankruptcy of treating war as an economic engine, The Arsenal of Freedom feels less like dated sci-fi and more like a prophetic warning siren ignored.

The plot thrusts the Enterprise-D towards Minos, a planet whose staggering wealth was built entirely on its reputation as the galaxy’s premier arms dealer. Renowned for supplying cutting-edge weaponry to both sides of protracted conflicts, Minos cultivated immense prosperity through perpetual war. Contact with the planet has recently ceased, following the mysterious disappearance of the USS Drake, dispatched to investigate. Orbiting Minos, the Enterprise’s scans reveal a horrifying truth: no sentient life remains, only flora and fauna. The sole communication is a slick, automated sales pitch delivered by the figure known only as The Peddler (Vincente Schiavelli). Commander Riker, Lieutenant Yar, and Lieutenant Commander Data beam down to investigate. Riker is initially overjoyed to encounter Paul Rice (Marco Rodriguez), his former friend and captain of the Drake, but his instincts quickly trigger suspicion. "Rice" is unmasked as a sophisticated intelligence-gathering holographic projection, serving an autonomous drone system. These initial combat drones prove formidable but defeatable. However, the true horror unfolds as successive waves of drones arrive – each iteration demonstrably stronger, faster, more resilient, and crucially, capable of learning from previous tactical encounters. Riker is incapacitated, prompting Captain Picard and Dr. Crusher to beam down. Their rescue attempt leads them into a cavern where Dr. Crusher sustains life-threatening injuries. As Picard desperately tends to her, the away team battles the relentless drone onslaught, while simultaneously, Geordi La Forge, thrust into temporary command of the Enterprise, must defend the ship against an orbital drone attack. Within the cavern, Picard encounters The Peddler’s hologram, who chillingly explains that the "Echo Papa 607" drone system– marketed as the ultimate, unbeatable weapon – is demonstrated for potential buyers. Somehow, during the demonstration, system turned on its creators, destroying Minosian civilisation. Picard’s realisation is stark: victory isn’t about defeating the drones in combat, but finding the system’s off-switch.

If a single phrase encapsulates The Arsenal of Freedom, it is undeniably "action-packed." Directed with relentless pace by series veteran Les Landau, the episode prioritises kinetic energy and high stakes. The tension oscillates seamlessly between the claustrophobic, desperate ground combat – where phasers and tactical ingenuity are pitted against increasingly adaptive killing machines – and the high-stakes orbital duel as Geordi struggles to protect the Enterprise. The narrative thrust is palpable; the drones’ escalating lethality creates a genuine sense of dread. The stakes feel intensely personal, particularly with Dr Crusher – the ship’s healer, the embodiment of preserving life – rendered critically vulnerable, requiring rescue herself.

Despite the relentless pace, the episode finds surprising space for nuanced character moments. Riker’s ambition is laid bare; his offhand comment about declining command of the Drake to serve as First Officer on the "more interesting" Enterprise reveals a calculated careerism, yet this is balanced by his sharp intellect in seeing through the drone’s "Rice" deception. Tasha Yar’s competence as Security Chief shines through her decisive actions on the planet’s surface, a welcome showcase for her skills beyond mere exposition. Data’s physical prowess is utilised pragmatically, his leap into the cavern demonstrating his unique capabilities without fanfare. Most intriguingly, Geordi’s brief command stint offers subtle character development. His approach, while competent, lacks Picard’s instinctive calm and strategic depth, highlighting the weight of captaincy and the distinct leadership styles within Starfleet. This isn’t just filler; it grounds the high-concept action in the crew we care about.

However, the decision to have both Picard and Dr Crusher beam down to a planet already confirmed as lethally hostile – solely to strand them alone in a cavern for a forced romantic interlude – remains the episode’s most glaring narrative misstep. Conceived by story originator Robert Lewin, this subplot aimed to capitalise on hinted-at tension between the two characters. Yet, as widely documented, Gene Roddenberry firmly vetoed any explicit romantic resolution. The consequence is an abrupt, almost comical, truncation of the potential drama. Picard and Crusher share a moment of vulnerability amidst the danger, but the anticipated emotional payoff vanishes as conveniently as the cavern’s convenient exit.

The core concept – an autonomous weapon system annihilating its creators – was not entirely novel, echoing The Original Series’ The Doomsday Machine. Yet, Michael Hurley provided a crucial, original twist rooted in contemporary critique. He drew direct inspiration from the controversial 1974 sale of F-14 Tomcat fighters to Iran by Grumman. This deal, vital for the company’s survival, later faced fierce condemnation for arguably prolonging the devastating Iran-Iraq War – a conflict still raging when the episode aired. The title itself, ”The Arsenal of Freedom," is a masterstroke of bitter irony, repurposing Franklin D. Roosevelt’s 1940 description of American industrial might as the "great arsenal of democracy" supporting Allied resistance to tyranny. Here, it becomes a grotesque parody: Minos’s arsenal peddles not freedom, but perpetual conflict, its wealth built on the misery of others. The Peddler, with his slick sales patter, embodies the extreme, amoral capitalism of the Reagan era. Crucially, Minos’s apocalypse isn’t triggered by Skynet-style AI sentience or paranoia; it’s the direct, inevitable consequence of greed. A civilisation that thrived by profiting from others' suffering was ultimately consumed by the very instruments of destruction it so gleefully manufactured and sold.

This is where the episode’s true, unsettling power lies for the modern viewer. What might have felt like a slightly heavy-handed satire in 1988 – a critique of Cold War profiteering – now reads as a terrifyingly accurate forecast. In an era where major global powers actively fuel protracted conflicts not merely as geopolitical necessities, but as lucrative economic opportunities to revitalise domestic defence industries, Minos ceases to be science fiction. The relentless drive towards autonomous, AI-controlled weapons systems – drones that learn, adapt, and engage targets with minimal human oversight – mirrors the "Echo Papa 607" scenario with alarming precision. The notion that destructive, endless wars are increasingly framed not as humanitarian catastrophes to be resolved, but as priceless opportunities for certain nations to reverse economic stagnation by becoming the galaxy’s new Minos, is no longer speculative. It is observable policy and market reality. The Arsenal of Freedom transcends its occasionally clunky execution and narrative detours because its central warning – that civilisation risks annihilation not from malice, but from the insatiable, short-sighted greed of treating war as a commodity – is no longer a futuristic fantasy. It is the grim reality we are actively constructing. In this light, the episode isn’t just one of TNG’s better first-season outings; it’s a stark, essential parable for our perilous times, its relevance growing more disturbing with each passing year. The drones, it seems, are already here; we just haven’t fully realised we are Minos.

RATING: 7/10 (+++)

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Hola cinéfilos como están? Cómo les va este día ? ,hoy les traigo una continuación a mi post de la serie de The Morning Show, aprovechando que su cuarta temporada estreno hace dos semanas y está siendo de las series más esperadas de appletv, ya les traje mi reseña de la segunda temporada, y está es la de la tercera, para mí muchísima mejor que la anterior. Esta serie les recuerdo está producida por Hello Sunshine , y Echo Films la de Jennifer Aniston, con un reparto de estrellas del nivel de Reese ,y Jenn protagonizando, también Billy Crupdup ( Big fish,The watchmen), Mark Dupplas( Crep) ,Karen Pittman (just like that) , y Greta Lee ( Past lives ) , pero que en está temporada empezaron a incorporarar otras caras nuevas que se unieron a este culebrón corporativo, como lo fue Jon Hamm (Madmen) ,y Tig Notaro ( Tig Notaro: Boyish Girl Interrupted), Nicole Behari (sleepy hollow), entre otros.

English Version

**Hello moviegoers, how are you? How's your day going? Today I'm bringing you a follow-up to my post on The Morning Show. Taking advantage of the fact that its fourth season premiered two weeks ago and is one of Apple TV's most anticipated series, I already brought you my review of the second season, and this is the review of the third, which in my opinion is much better than the previous one. This series I remind you is produced by Hello Sunshine, and Echo Films of Jennifer Aniston, with a cast of stars of the level of Reese, and Jenn starring, also Billy Crupdup (Big fish, The watchmen), Mark Dupplas (Crep), Karen Pittman (just like that), and Greta Lee (Past lives), but in this season they began to incorporate other new faces that joined this corporate soap opera, such as Jon Hamm (Madmen), and Tig Notaro (Tig Notaro: Boyish Girl Interrupted), Nicole Behari (sleepy hollow), among others. **


#Sinopsis

Luego del COVID y la casi crisis del lanzamiento de la UBA+, una plataforma de streaming de la UBA, parece que las cosas se van acomodando en la corporación, por desgracia, las cadenas televisivas apenas están funcionando, y con números rojos , es necesario un plan de acción para salvarla,y Cory Ellison que aún cumple funciones de CEO,lo tiene en mente, un trato con el multimillonario Paul Marks, sería la salvación ante una posible banca rota, por desgracia las cosas no pintan tan bien para él.Por otro lado , Alex Levy está en el mejor momento de su carrera ,luego de ser redimida ante el público al mostrar televisivamente su padecimiento durante el COVID-19, pero ni eso le ha garantizado tener voz y voto en las decisiones que se están tomando en la empresa, lo que la lleva a buscar de que manera puede hacerse con el. También tenemos a Bradley Jackson , quien actualmente ha cumplido su sueño con el programa de noticias nocturno ,pero con su vida personal hecha un caos, y cosas del pasado que le vienen a cobrar factura, todo se pone cada vez más complicadas,y está a punto de hacer que pierda todo lo que ha conseguido.

English Version

#Synopsis

After COVID and the near-crisis of the launch of UBA+, a UBA streaming platform, things seem to be settling down at the corporation. Unfortunately, the television networks are barely functioning and with red numbers, an action plan is needed to save it. Cory Ellison, who is still serving as CEO, has it in mind. A deal with billionaire Paul Marks would be the salvation in the face of a possible bankruptcy. Unfortunately, things aren't looking so good for him. On the other hand, Alex Levy is at the peak of her career, after being redeemed before the public by showing her suffering during COVID-19 on television. But even that hasn't guaranteed her a say in the decisions being made at the company, which leads her to look for ways to get hold of him. We also have Bradley Jackson, who has currently fulfilled his dream with the nightly news program, but with his personal life in chaos, and things from his past that come to take their toll, everything becomes more and more complicated, and is about to make him lose everything he has achieved.


#Sin spoilers

Luego de que la segunda temporada sé ubicará en la pesada temporada donde ocurrió el COVID-19, está temporada se ubica un año luego de eso, tenemos a la incorporación de nuevos personajes como Paul Marks, interpretado por el increíble Jon Hamm,que nos trae una especie de Mezcla en Elon/Bezos y millonarios que están en la carrera por turismo espacial, está temporada parece estar muy centrada en ya tener su tono muy ubicado, no es un drama completo como en la primera temporada llevando un tema muy intenso e importante como lo fue el me too ,pero aquí ya se siente que se van a un lado más de drama telenovelesco, que la verdad es completamente genial, porque The Morning Show nunca deja de ser entretenido, es una estrella detrás de otra ,con tramas y giros , y monólogos gigantes ,que parecen tener un ritmo frenético y por alguna razón funciona demasiado, aparte ,está temporada se sintió con una inversión mucho más grande ( solo con las tomas de exterior que son bellísimas), cameos ,y estrellas invitadas, y el guardarropa (😍 dios mío esos atuendos cuestan unos miles de dólares), se le nota la inversión para trasmitir un drama que grita lujo en cada espacio en el que graban.Tambiem está temporada recibió muchas nominaciones para las tres estrellas principales, y para las de apoyo , y llevándose su segundo premio Emmy para Billy Crudup, por interpretar a Cory Ellison.

English Version

#No spoilers

After the second season was set in the heavy season where COVID-19 occurred, this season is set a year after that, we have the addition of new characters like Paul Marks, played by the incredible Jon Hamm, who brings us a kind of mix between Elon/Bezos and millionaires who are in the race for space tourism, this season seems to be very focused on already having its tone very located, it is not a complete drama like the first season carrying a very intense and important theme like the me too was, but here it already feels like they are going to a more soap opera-like drama side, which is actually completely great, because The Morning Show never ceases to be entertaining, it is one star after another, with plots and twists, and giant monologues, which seem to have a frenetic pace and for some reason it works too well, apart from that, this season felt with a much bigger investment (just with the exterior shots that are beautiful), cameos, and guest stars, and the wardrobe (😍 my god those outfits cost thousands of dollars), you can see the investment to transmit a drama that screams luxury in every space they record. This season also received many nominations for the three main stars, and for the supporting ones, and Billy Crudup took home his second Emmy Award for playing Cory Ellison.


#spoilers

Esta temporada como dije , fue una mejoría bastante en contraste con la pasada, tenemos a los personajes ,haciendo lo que mejor saben hacer , que es caer en dramas , 🤣 y la verdad no es que cansa, es su plato fuerte ,y ellos saben que lo exploran ,sobre todo dandole monólogos cada vez más loco a Billy Crupdup, y una escena en una falsa toma continua , en dónde el personaje parece estar en su elemento, ser el centro de toda esta telenovela, "está es la serie de Cory ",y en esta temporada lo abrazan. También tenemos a otro personaje que se ande a las dinamicas de Cory, con Paul Marks ,millonario, workaholico ,ambicioso y con su propia agenda para hacerse con la UBA, interpretado por el hermoso de Jon Hamm, que le da vida a un personaje que es un desgraciado ( como todos en esta serie) pero también tiene su encanto, y que además explota con la química que desarrolla en la pantalla con el personaje de Alex Levy, sí una buen interés (súper cuestionable, pero parece que es el tipo de hombre que le gustan a Alex🤣), por otro lado tenemos a Alex intentando abrirse paso en las negociaciones de la junta para hacerse un puesto como socia, pero para Alex nunca nada es tan facil y ella está dispuesta a llevar la guerra a últimas intancias.Tenemos un dramon con un evento político ocurrido en estados unidos ,y Bradley involucrada en filmarlo ,lo que catapulta su carrera y la lleva a su verdadero objetivo, dar noticias mucho más relevante en las noticias de la noche,pero con secretos y dramas, le ha pasado factura a su relación.

English Version

#spoilers

This season, as I said, was quite an improvement compared to last season. We have the characters doing what they do best, which is getting into drama. 🤣 And the truth is, it's not that it's tiring; it's their strong suit. And they know they're exploring it, especially by giving Billy Crupdup increasingly crazier monologues and a scene in a false continuous take where the character seems to be in his element, at the center of this entire soap opera, "this is Cory's show." And this season, they embrace it. We also have another character that is involved in Cory's dynamics, with Paul Marks, millionaire, workaholic, ambitious and with his own agenda to take over the UBA, played by the beautiful Jon Hamm, who gives life to a character who is a wretch (like everyone in this series) but also has his charm, and who also explodes with the chemistry he develops on screen with the character of Alex Levy, yes a good interest (super questionable, but it seems that he is the type of man that Alex likes🤣), on the other hand we have Alex trying to make her way in the board negotiations to get a position as a partner, but for Alex nothing is ever that easy and she is willing to take the war to the last instance. We have a drama with a political event that occurred in the United States, and Bradley involved in filming it, which catapults her career and leads her to her true goal, to give much more relevant news in the evening news, but with secrets and dramas, it has taken its toll on their relationship.



#Otro elemento interesante de esta temporada fue que le dieron mucho más foco a otros personajes secundarios ,y por ende, más desarrollo, con lo fue Mía Jordan, que es la productora general del programa de la mañana, y vemos un poco más del sacrificio que fue para ella, mantener todo andando para que se produjera un programa del nivel de The Morning Show, durante plena pandemia, desde grabar en los estudios con mínimo personal, al trabajo remoto y ella durmiendo en la oficina para sacar el trabajo adelante, amo su desarrollo porqué Mia representa a esas personas que luchan día a dia por hacer bien su trabajo y tener las cosas andando mientras que la gente de arriba nunca la recompensa , y es una historia bastante digna de mostrar por la realidad que comparte.Por otro lado tenemos la historia de Stella Bak, quien es la presidenta de la división de noticias y lucha por hacer que su voz se escuche, pero que en está temporada ya logra hacerse un hueco entre ser respetada y que se escuchen en algo sus ideas, llegando a sorprender a cibyl la presidenta de la junta directiva, y a su mentor Cory Ellison, con quién desarrolla una dinámica bastante genial de compañeros de trabajo que estan en tanta sintonía que parecen comunicarse telepáticamente cada vez que un talento arma un escándalo o un problema, y que termina envuelta en una línea muy interesante en la trama , mostrándonos un lado mas humano de su personaje, así como la complejidad de una persona en un puesto de poder.(Realmente amo la actuación de grata aquí).

English Version

#Another interesting element of this season was that they gave much more focus to other secondary characters, and therefore, more development, with which was Mia Jordan, who is the general producer of the morning show, and we see a little more of the sacrifice it was for her to keep everything running to produce a program at the level of The Morning Show, during the middle of a pandemic, from recording in the studios with minimal staff, to remote work and her sleeping in the office to get the job done, I love her development because Mia represents those people who fight day by day to do their job well and keep things going while the people above never reward her, and it is a story quite worth showing because of the reality she shares. On the other hand, we have the story of Stella Bak, who is the president of the news division and fights to make her voice heard, but in this season she already manages to make a space for herself between being respected and having her ideas heard in some way, surprising Cibyl, the president of the board of directors, and her mentor Cory Ellison, with whom It develops a pretty cool dynamic of coworkers who are so in tune that they seem to communicate telepathically whenever a talent causes a scandal or problem, and that ends up wrapped up in a very interesting plot line, showing us a more human side of her character, as well as the complexity of a person in a position of power. (I really love Grata's acting here).

 

#Creo que este show es realmente bueno, intento ir por el lado de Succession, pero luego encontró su propio tono melodramatico que lo hace súper adictivo, jajaj realmente tiene unos cuantos problemas y agujeros de guión, y a veces parece que olvidan un poco la historia de sus personajes, pero de alguna forma siempre nos traen entretenimiento con escenas geniales, un grupo de actores super iconicos y reconocidos y con mucho lujo silencioso por doquier , aquí que no voy a mentir les está es mi telenovela de la tarde, y la disfruto mucho, está temporada le doy 5/5 ⭐, y ahorita estoy esperando con ansias los nuevos episodios a ver cómo transcurre está temporada,y tenemos confirmación de la quinta temporada, que será bien interesante si cubre los eventos del 2025😳.

Muchas gracias por leerme ! 🤭💜✨ Espero que les haya gustado el post!

Fotos editadas en Pics art y gif realizado en app creador de GIFs texto traducido en Google traductor.

Photo sources: https://m.filmaffinity.com/es/film474882.htmlhttps://www.themoviedb.org/tv/90282-the-morning-show/images/backdrops?language=en-UShttps://www.sensacine.com/series/serie-22438/foto-detalle/?cmediafile=22016624

English Version

#I think this show is really good, it tried to go for the Succession side, but then it found its own melodramatic tone that makes it super addictive, lol it really has a few problems and plot holes, and sometimes it seems like they forget a bit the history of their characters, but somehow they always bring us entertainment with great scenes, a group of super iconic and recognized actors and with a lot of silent luxury everywhere, here I'm not going to lie to you this is my soap opera of the afternoon, and I enjoy it a lot, this season I give it 5/5 ⭐, and right now I'm eagerly waiting for the new episodes to see how this season goes, and we have confirmation of the fifth season, which will be very interesting if it covers the events of 2025😳.

Thank you very much for reading me! 🤭💜✨ I hope you liked the post!

Photos edited in Pics art and gif made in the GIF creator app, text translated in Google translator.


💜✨💜

Hello there

So today I was scrolling through social media during the early hours of the afternoon, looking for funny skits and movie trailers to watch in anticipation of the release of the movie. Apparently, this is one of the ways I get new movies to watch as well. I came across Sarah's Oil, a movie about fate and fortune, what a combination of two powerful Fs. At first glance, I thought it would be a biblical story just from the intro of the young lady, Sarah, who made a statement that her land is filled with oil.

The sheriff turns down the offer, citing that she is a child, and he claims the land is barren. This does not even stop Sarah one bit; she moves on to another person who would be interested. Then she finds a man who would invest in the project. The man character is played by Zachary Levi, and this man is another icing in the pot for this movie. He not only believes in her but at the same time takes a big bet on the land with a 50% ownership with Sarah. Time to do the drill on the ground, and they are faced with challenges. Even her only investor wanted to quit at some point, but Sarah renewed his energy; she told him You give up too easily.

The interesting part of the movie is when they actually find oil, and now the land is worth gold, but the sheriff finally decides to show his face and wants to claim the land as his own, all in the name of greed, since he sees the value in it. The battle for the land is fierce as Sarah and her investors stand strong to fight and protect what is theirs from those who want to take it from them. She fights on the claim that when the land was considered barren, it was hers to keep, but now that the land is worth a fortune because of its oil, they want to claim it.

All this is what I picked up from the trailer in anticipation of the main movie, but I am sure this is something I have to watch to discover how things play out, did Sarah make her fortune from a very young age just by listening to herself, and what happens in the battle for the land?

I guess all this has to wait until November 7th, 2025, when the movie hits the theater for the first time. You can also watch the trailer below and see what grabbed my interest in this movie:

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For more details about the film you can visit the link that I leave you of Filmaffinity | Para más detalles sobre el filme puedes visitar el link que te dejo de Filmaffinity

In case you were wanting more | Por si quedaste con ganas de más

Cover photo, Logo, Crane, Hand with pen, Yugi, Edward chibi, Edward Child, Edward young, Edward bleeding, Naruto chibi, Goku chibi, Jesper, Hand with a tablet, Sound system & Trigun

Hola mi gente bella, y amantes de la telenovelas, primero que nada les deseo un feliz dia para todos, y lo siguiente es la ediciòn de hoy, que estaremos que trata sobre una de las obras mas importantes de venezuela y que marco la epoca. Vamos al articulo.

La señora de Cárdenas es una telenovela producida por Radio Caracas Televisión (RCTV) en 1977, escrita por José Ignacio Cabrujas, perteneciente al ciclo de las llamadas “telenovelas culturales”. Fue protagonizada por Doris Wells y Miguel Ángel Landa. Esta producción se destacó por reflejar realidades del matrimonio, la fidelidad, los roles femeninos y los dilemas íntimos de la familia venezolana.

-Título: La Señora De Cárdenas. -Canal: RCTV. -Año de emisión: 1977. del 5 de marzo al 14 de marzo de ese año. -Temporada o Capítulos: 1 temporada breve; aproximadamente 7 capítulos. -Guionista: José Ignacio Cabrujas; también colaboran Julio César Mármol y Fausto Verdial. -Director:Juan Lamata. -Protagonistas: Doris Wells (como Pilar Rodríguez de Cárdenas), Miguel Ángel Landa (como Alberto Cárdenas). -Tema musical “Si me olvidarás” de Fernando y Juan Carlos.

Pilar Rodríguez ha estado casada con Alberto Cárdenas por nueve años, con una hija y una vida que parece estable y normal.

En el aniversario de bodas, Pilar descubre una nota en la camisa de Alberto que dice “Te quiero, Fanny”. Esa pequeña revelación rompe su confianza; comienzan los celos, la inseguridad, las dudas.

Alberto está dividido entre Pilar, que representa la estabilidad, los años compartidos y la rutina, y Fanny, quien simboliza frescura, novedad y pasión. Pilar, sintiéndose traicionada, considera el divorcio.

Fanny después revela que está embarazada; Pilar descubre mentiras, engaños con amistades íntimas (como con Liana, amiga de Pilar), traición emocional, hasta que Pilar decide rehacer su vida, trabajar, recuperarse emocionalmente y enfrenta la decisión de divorciarse o no.

Al final, se da una reconciliación entre Pilar y Alberto, aunque no sin haber pasado por dolor, desilusión, reflexión y transformación personal de Pilar.

La señora de Cárdenas fue un parteaguas en el género porque introdujo una mirada realista al matrimonio. No se quedó en lo melodramático superficial, sino que exploró la psique de una mujer traicionada, su proceso de duda, autoafirmación y el peso de la fidelidad emocional.

Doris Wells ofreció una interpretación muy sentida de Pilar, mostrando la transición del dolor al empoderamiento emocional. Miguel Ángel Landa como Alberto encarnó la contradicción masculina de la época: amor, pasión y también responsabilidad.

La narrativa breve le dio intensidad; al tener pocos episodios, todo era relevante, nada sobraba. Cada escena, cada palabra, contaba para delinear los personajes y sus conflictos internos.

Fue muy bien recibida en audiencia: hay reportes de que alcanzó altos niveles de sintonía, y que el público esperó con expectación el final para ver si Pilar perdonaba o no.

La señora de Cárdenas (1977) es una obra clave dentro del melodrama venezolano, porque representa la evolución del género hacia historias más maduras, psicológicas, centradas en conflictos internos de los personajes más que en escándalos externos. Tiene un valor histórico importante por mostrar cómo se empieza a cuestionar la fidelidad, la identidad del rol marital, la autoestima femenina y los espacios de autonomía emocional.

Bueno mi gente hasta aqui la ediciòn del dia de hoy, espero que esta obra les traiga muchos recuerdos, fue una telenovela que marco la epoca y paso a la historia de los dramaticos en el pais, de ella tambien realizaròn luego otras versiones. Bendiciones y nos vemos en una proxima entrega.

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¡Gracias por leerme, hasta luego!

Thank you for reading me, see you later !

Hello! 💙

La verdad es que tenía ganas de ver esa historia nueva de Marvel aunque no esperaba gran cosa por más que sea simplemente era un spin off de la misma serie de Marvel de qué pasaría así, justamente retoma en dónde se quedó este episodio de zombies, el cual no es esencial o importante de ver pero sí recomendaría hacerlo para que tengan más contexto de la historia, de resto puedo decir que es una historia que cumple perfectamente con el género superhéroes con el género de zombies el cual es muy gore también tiene muchas escenas de acción tiene momentos muy heroicos si es verdad que el primer episodio puede ser un poco lento y aburrido pero ya después en el segundo la historia va cobrando muchísimo más ritmo.

The truth is that I was looking forward to seeing this new Marvel story, although I wasn't expecting much, even though it was simply a spin-off of the same Marvel series about what would happen next. It picks up right where this episode of zombies left off, which isn't essential or important to watch, but I would recommend doing so to give you more context for the story. Otherwise, I can say that it's a story that perfectly combines the superhero genre with the zombie genre, which is very gory. It also has many action scenes and some very heroic moments. It's true that the first episode can be a little slow and boring, but then in the second episode, the story picks up a lot more pace.

Fuente de imagen

Y es que sí esta serie es sumamente corta solamente tiene cuatro episodios y debo decir que están esperando una especie de final feliz no De hecho tiene un final bastante fatalista que nos abre las puertas entre comillas para una segunda temporada o simplemente para un cierre total de esta historia, Ya que en ningún momento esta serie busca ser esperanzadora o busca de tener un final feliz de hecho es bastante cruel con la muerte de muchos vengadores.

The thing is, this series is extremely short, with only four episodes, and I must say that if you're expecting some kind of happy ending, you're in for a surprise. In fact, it has a rather fatalistic ending that leaves the door open, so to speak, for a second season or simply for a complete closure of this story. At no point does this series seek to be hopeful or to have a happy ending; in fact, it is quite cruel with the deaths of many avengers.

Fuente de imagen No quiero spoilearles gran cosas de la historia porque realmente vale la pena y es raro decir que esta miniserie Por decirlo de alguna manera de cuatro episodios está mucho más lograda que los últimos proyectos que Marvel ha sacado para el cine exceptuando algunas películas como los cuatro fantásticos que creo que está bastante bien lograda, la verdad es que si no esperan nada este proyecto denle una oportunidad no creo que la historia sea realmente extraordinaria pero cumple con ser divertida y con dar una especie como de curiosidades porque conecta con ciertos puntos del universo de Marvel.

I don't want to spoil any major plot points because it's really worth watching, and it's strange to say that this four-episode miniseries is much more successful than the latest projects Marvel has released for the cinema, with the exception of some films such as Fantastic Four, which I think is quite well done. The truth is that if you don't expect anything from this project, give it a chance. I don't think the story is really extraordinary, but it manages to be entertaining and provide a kind of curiosity because it connects with certain points in the Marvel universe.

Mi niñez en los 80', la serie animada de The Fantastic Four, era de mis favoritas; su historia ambientada en los años 60' (época de su estreno) relataban las aventuras de la familia de héroes con poderes y artefactos sorprendentes enfrentando a una gran variedad de villanos que siempre pusieron a prueba la unión entre sus cuatro integrantes lo cual fue un tema de gran relevancia en sus episodios; eso era debido a que sus diferentes, pero principales características (individuales) era lo que justamente los fortalecía y los hacía funcionar como equipo, posiblemente eso era lo que más aprecie en esa historia y que lamentablemente nunca presencié esa conexión con ninguna de las tres películas basadas en este grupo de héroes de Marvel Comics y justamente eso fue lo que me hizo tener cero expectativas por esta nueva versión de la primera Familia Heroica de los comics.

My childhood in the 80s, the animated series The Fantastic Four, was one of my favorites; set in the 1960s (when it premiered), it recounted the adventures of a family of heroes with amazing powers and gadgets as they faced a wide variety of villains who constantly tested the bonds between the four members, which was a major theme in the episodes. This was because their different but main (individual) characteristics were precisely what strengthened them and made them work as a team. That was possibly what I appreciated most about the story, and unfortunately, I never saw that connection in any of the three movies based on this group of Marvel Comics heroes. That was precisely what made me have zero expectations for this new version of the first Heroic Family of comics.

"The Fantastic Four: First Steps", es el trigésimo séptimo film del MCU, el cual da inicio a la que será conocida como la Sexta Fase dentro de esta ya extensa franquicia; está nueva versión sobre este grupo de héroes, nos muestra justamente una versión muy ligada a lo que fue la época de su origen, me refiero a los años 60' lo cual nos muestra a un mundo muy diferente al que conocemos en esta franquicia y es que el mundo o universo en dónde se desarrolla esta historia es "Tierra-828"; está decisión por parte del grupo de guionistas, fue algo que me pareció genial porque creo que está franquicia necesitaba algo que se sintiera fresco o nuevo, a pesar de que el tema del multiuniverso sigue siendo de gran relevancia, pero la diferencia está en que ahora una historia completa se desarrolla en un lugar diferente a la "Tierra-616", universo habitual del MCU; esa primera característica me pareció genial, al igual que está no es en sí una historia de orígenes, aunque eso no priva que se tome un tiempo para el relato de como estos ahora héroes obtuvieron sus poderes y de como los ve el mundo, algo también de mucha importancia por todo lo que sucede en esta historia; con esto creo que en gran parte, el guion escrito por Josh Friedman, Eric Pearson, Jeff Kaplan y Ian Springer, es bueno, ya que se toma el tiempo de dar a conocer no solo a sus protagonistas, sino al mundo en donde viven.

"The Fantastic Four: First Steps" is the thirty-seventh film in the MCU, kicking off what will be known as Phase Six in this already extensive franchise. This new version of this group of heroes shows us a version closely linked to the era of their origin, the 1960s, which shows us a world very different from the one we know in this franchise, as the world or universe in which this story takes place is "Earth-828." I thought this decision by the group of writers was great because I believe this franchise needed something that felt fresh or new, even though the multi-universe theme is still highly relevant. The difference is that now an entire story takes place in a location other than "Earth-616," the usual universe of the MCU. I thought that first feature was great, as well as the fact that this is not an origin story per se, although that does not prevent it from taking the time to tell the story of how these new heroes got their powers and how the world sees them, which is also very important given everything that happens in this story. With this in mind, I think that, for the most part, the script written by Josh Friedman, Eric Pearson, Jeff Kaplan, and Ian Springer is good, as it takes the time to introduce not only its protagonists, but also the world in which they live.

El tema sobre hacer un universo retro futurista, ofrece escenografías hermosas con un buen diseño y cuidado en recrear esa época de los 60', pero creo que en ese punto, se realiza uno de los mejores fanservice que he visto en esta franquicia que ha presentado muchos problemas en el pasado; el director, Matt Shakman, quien tiene una extensa carrera dirigiendo episodios para diferentes series de TV, da un paso agigantado al realizar este Blockbuster y en mi opinión hace un buen trabajo, sabe cómo ir relatando y mostrando ciertas aventuras de la familia heroica, hasta el momento en dónde hacen frente a una gran amenaza, justamente ese instante, Shalman, avanza en la calidad y ofrece mejores escenas cuando Los 4 Fantásticos deciden tener contacto por primera vez con un poderoso enemigo, hago referencia a un mejor desempeño de ese director porque creo que las escenas en el espacio son sin ninguna duda las más hermosas y a la vez más divertidas en todo el film.

The theme of creating a retro-futuristic universe offers beautiful sets with good design and care in recreating the 1960s era, but I think that at this point, it delivers one of the best examples of fanservice I've seen in this franchise, which has had many problems in the past. Director Matt Shakman, who has an extensive career directing episodes for different TV series, takes a giant leap forward with this blockbuster and, in my opinion, does a good job. He knows how to narrate and show certain adventures of the heroic family, until the moment when they face a great threat. At that very moment, Shalman advances in quality and offers better scenes when the Fantastic Four decide to make contact for the first time with a powerful enemy. I refer to a better performance by this director because I believe that the scenes in space are undoubtedly the most beautiful and at the same time the most entertaining in the entire film.

Cómo dije anteriormente, la relevancia de esta familia heroica es la diferencia entre sus integrantes y sí, en esta oportunidad como en las otras películas, eso está presente aunque la gran diferencia está en la interpretación de "Sue Storm" interpretado por Vanessa Kirby; no tengo ninguna duda que la conocida como "Invisible Woman", es la MVP de la película y en mi opinión eso es debido a que la historia está relatada desde su punto de vista lo cual no significa que le quite protagonismo a sus demás compañeros, pero es ella la que siempre ofrece una solución, sea desde su comprensión y su fuerza a todo lo que deben enfrentar tanto ella como todo el mundo; en realidad me gustó esta versión de "Sue" así como la de "Johnny Storm" interpretado por Joseph Quinn, ya que demuestra esa rebeldía, valentía y muy buen humor, características fundamentales del personaje y que funcionó muy bien en esta historia; con respecto a los demás integrantes, puedo decir que espero tengan un mejor desarrollo en los próximos filmes, no hay duda que tanto "Ben", así como "Reed", tendrán mucha importancia en el futuro y aunque me gustó la interpretación de Pascal y Ebon Moss-Bachrach, creo o debieron desarrollar mejor esos personajes.

As I said before, the relevance of this heroic family lies in the differences between its members, and yes, in this film, as in the others, that is present, although the big difference is in the performance of "Sue Storm" played by Vanessa Kirby; I have no doubt that the character known as "Invisible Woman" is the MVP of the film, and in my opinion, that's because the story is told from her point of view, which doesn't mean that it takes away from her other teammates, but she's the one who always offers a solution, whether it's through her understanding and strength in everything she and everyone else has to face. I really liked this version of "Sue" as well as that of "Johnny Storm" played by Joseph Quinn, as he demonstrates that rebelliousness, courage, and great sense of humor, fundamental characteristics of the character that worked very well in this story; As for the other members, I hope they will be better developed in future films. There is no doubt that both "Ben" and "Reed" will be very important in the future, and although I liked the performances of Pascal and Ebon Moss-Bachrach, I think those characters should have been better developed.

No esperaba nada bueno de The Fantastic Four: Firts Steps, siendo sincero, no me gustó para nada "Captain America:Brave New World", ni mucho menos "Thunderbolts*", así que mi expectativa de presenciar una buena versión de estos héroes era igual a cero, pero me sorprendió mucho el film, creo que tiene un muy buen inicio, secundado por un muy buen segundo acto dividido en escenas hermosas en el espacio y que ofrece homenajes a películas de ciencia ficción como "Interstellar" y hasta "Star Wars", pero también ofrece un correcto desarrollo, aunque no profundo, de los conflictos familiares que al final los impulsa a tratar de hacer lo imposible; con esto creo que está es una buena película que ofrece una excelente versión de estos personajes a los cuales se le ha realizado el mejor fanservice de todas las películas del MCU, creo que existe mucha fidelidad al material de origen, sea el del comic o el de su primera serie animada y para mí ya eso la hace una buena película dentro de esta franquicia; solamente espero que en las futuras películas de "The Avengers", no se arruinen lo hecho en esta rápida, pero muy entretenida y correcta historia sobre Los Cuatro Fantásticos.

I wasn't expecting anything good from The Fantastic Four: First Steps. To be honest, I didn't like "Captain America: Brave New World" at all, let alone "Thunderbolts," so my expectations of seeing a good version of these heroes were zero. but I was very surprised by the film. I think it has a very good start, followed by a very good second act divided into beautiful scenes in space that pay homage to science fiction films such as Interstellar and even Star Wars. It also offers a proper, albeit not in-depth, development of the family conflicts that ultimately drive them to try to do the impossible. With this, I think it's a good movie that offers an excellent version of these characters, who have received the best fan service of all the MCU movies. I think there is a lot of fidelity to the source material, whether it's the comic or the first animated series, and for me, that alone makes it a good movie within this franchise. I just hope that in future Avengers movies, they don't ruin what has been done in this fast-paced, but very entertaining and accurate story about the Fantastic Four.

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

Time After Time (S03E01)

Airdate: September 19th 2004

Written by: David Simon Directed by: Ed Bianchi

Running Time: 58 minutes

David Simon’s persistent denial of Marxist affiliation has long been noted, yet it rings somewhat hollow against the profound resonance The Wire holds within Marxist critical circles. This admiration extends far beyond the show’s overtly left-leaning portrayal of institutional decay and working-class struggle in Baltimore. Crucially, it stems from the series’ very narrative structure, which, whether by conscious design or intuitive grasp of historical materialism, functions as a compelling dramatisation of the Marxist base-superstructure model. Season Two’s unflinching autopsy of the dying port and its attendant labour aristocracy laid bare the crumbling economic base of the city. Season Three, commencing with the potent premiere Time After Time, decisively pivots to dissect the political superstructure – the intricate, often corrupt, machinery of governance, policing, and electoral politics that arises from, and serves to perpetuate, that faltering base. This structural logic promised, as subsequent seasons delivered, an exploration of the cultural superstructure through education (Season Four) and media (Season Five). Time After Time is thus not merely an episode; it is the essential keystone establishing this season’s critical interrogation of power, revealing how the political realm, far from offering solutions, frequently constitutes the core of Baltimore’s systemic malaise.

This season’s return to the mean streets is not a regression but a necessary recalibration. While Season Two ventured into the docks, Season Three re-immerses us in the visceral reality of the drug trade and its attendant violence, but crucially refracts this through the distorting lens of the political establishment. The episode immediately establishes that the true obstacle to meaningful change lies not solely with the corner boys, but with the symbiotic, self-serving relationship between city hall and the police command. This is crystallised in the opening scenes introducing Mayor Clarence Royce (Glynn Turman), a figure embodying hollow political theatre. His grand gesture – the demolition of the tower projects, touted as a step towards "affordable and safer housing" – is exposed as pure spectacle, a cynical ploy for re-election that utterly fails to impress the street-level operators like Bodie. Life, and the drug trade, continues unabated under the uneasy truce between Stringer Bell and Proposition Joe. Bell’s articulation of a new business model – prioritising product quality over territorial control – signals a chilling evolution in the drug economy, one operating with a cold, almost corporate logic that the political class is ill-equipped, or unwilling, to comprehend or counter.

The Major Crime Unit, tasked with tackling this evolved threat, operates within the same compromised superstructure. Bolstered by the return of Sydnor and Prez (whose fallout with Valchek is conveniently, if implausibly, brushed aside) and the addition of Officer Caroline Massey (Joilet F. Harris), a seasoned Narcotics veteran whose fluency in street slang proves vital, the unit finds itself stymied. Their frustration is palpable; Joe’s organisation, acutely aware of surveillance, avoids incriminating phone conversations. A clumsy attempt to manipulate Joe into promoting the reckless nephew Drac backfires spectacularly, as Joe opts for the more reliable Cheese

Simultaneously, the abandonment of the Major Crime Unit by Herc and Carver, now relegated to the Western District’s Narcotics unit, underscores the systemic rot. Their futile raids and resort to arresting dealers for mere loitering highlight the absurdity and inefficacy of the drug war on the ground. This very futility begins to crystallise in Major Colvin, planting the seeds for his radical, season-defining experiment – a stark realisation that the political mandate for enforcement is fundamentally disconnected from reality and human consequence.

The political stakes escalate rapidly. Royce’s hollow gestures and the police department’s inability to demonstrably reduce crime become potent ammunition for the ambitious City Councilman Tommy Carcetti (Aidan Gillen). Carcetti, a young white politician in a majority-Black city, leverages the mounting homicide rate – Burrell’s order to stay below 270 becomes a desperate, numbers-driven farce – to savage Royce’s administration. Royce and Burrell, shielded by the politically astute Rawls (now Deputy Commissioner), dismiss Carcetti as a racial outlier with little chance of success. Yet Royce’s insecurity manifests in petty retaliation against perceived threats, notably halting Cedric Daniels’ promotion and starving the Major Crime Unit of resources after Marla Daniels announces her council run against Royce’s ally, Eunetta Perkins. The sheer, grinding weight of the crisis is viscerally felt by the Homicide unit, as Bunk and his colleagues reel from the immediate, human cost: five murders in a single night. The episode masterfully interweaves these threads, demonstrating how political ambition, police bureaucracy, and street-level violence are inextricably linked within the superstructure.

Time After Time excels as a remarkably economical and confident piece of storytelling. Simon, as writer, dispenses entirely with superfluous "where are they now" exposition, trusting the audience’s deep familiarity with the established world. This is an episode crafted unapologetically for the dedicated viewer, yet its power lies precisely in this refusal to pander. It delivers a narrative that feels simultaneously fresh and deeply rooted in the show’s established reality – a convincing continuation that acknowledges the passage of time without succumbing to nostalgia or retread. The episode’s strength is its dense, organic integration of new elements into the existing fabric, avoiding the pitfalls of forced introduction.

This confidence extends to its masterful deployment of black humour, rooted in the tragicomic gap between self-perception and reality. Stringer Bell’s earnest attempt to impose bourgeois civility upon his drug empire – employing Robert’s Rules of Order during a crew meeting – inevitably collapses into the same street-level thuggery and trash talk it sought to transcend, revealing the hollowness of his aspirations to legitimacy within a corrupt system. Similarly, Herc and Carver’s delusional self-image as urban heroes, conjured through references to Isaac Hayes’ Shaft theme, is brutally punctured by the contemptuous dismissal of actual corner boys, highlighting the profound disconnect between police fantasy and street reality.

The episode’s true significance, however, lies in its role as a narrative catalyst, introducing pivotal characters who irrevocably reshape the season’s trajectory and thematic depth. Tommy Carcetti is the most immediately politically significant. His ambition, crossing of established power brokers, and seeming disregard for the racial barriers in Baltimore politics present a complex figure. While later seasons complicate any simplistic "Obama precursor" reading, Aidan Gillen’s portrayal captures a potent mix of charisma, intelligence, and ruthless calculation. It’s easy to see how this nuanced, ambitious politician role paved the way for his iconic, similarly Machiavellian turn as Littlefinger in Game of Thrones.

More ingeniously introduced is Dennis "Cutty" Wise (Chad L. Coleman). Returning after fourteen years in prison for murder, Cutty is a profound outsider, a former Barksdale soldier utterly alienated from the world he left behind. His bewilderment and struggle to find a place provides a uniquely perceptive lens. Precisely because he is not inured to the sad realities of West Baltimore, his perspective cuts through the fatalism that paralyses those immersed in the daily grind. He embodies the possibility, however fragile, of alternatives outside the drug game’s logic.

Finally, the chilling introduction of Marlo Stanfield (Jamie Hector) is achieved with masterful subtlety. We don’t see Marlo commit violence; we witness its cold, calculated aftermath through his underlings. The vicious public humiliation of Bubbles and Johnny Weeks over a trivial car collision, and Fruit’s calculated cheating of the vulnerable Cutty out of drug money, establish Marlo’s crew as a new, terrifyingly efficient, and utterly remorseless force. Hector’s minimal screen time radiates an unnerving, silent menace, signalling the arrival of a villain whose pure, amoral pursuit of power will dominate the series' latter half.

Time After Time is far more than a season premiere. It is the indispensable foundation stone for Season Three’s exploration of the political superstructure. It reasserts the show’s core thesis: that Baltimore’s crises are not the result of individual moral failings, but of deeply embedded, interlocking systems of power – economic, political, and eventually cultural – that perpetuate inequality and violence. By introducing Carcetti, Cutty, and Marlo with such precision, and by weaving the frustrations of the police, the cynicism of city hall, and the brutal logic of the streets into a single, coherent tapestry, the episode reaffirms The Wire’s status not just as great television, but as a profound, structurally sophisticated Marxist critique of the American urban condition.

RATING: 7/10 (+++)

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