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

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I said it many times already but 2024 and 2025 had some of the most amazing series. Not only in terms of quality but in quantity as well. One of these series is the one and only Dexter.

There were other attempts to make the newest Dexter adaptation, with success, i can say, but Dexter: Resurrection is on a whole other level if you ask me. In total, there are 10 episodes and the cast is amazing. David Zayas is coming back, we got Uma Thurman, Dominic Fumusa, James Remar and the one and only Peter Dinklage.

The plot is pretty straightforward at first. Dexter wakes up from a coma and he is searching for his son, Harisson. He finds out that his son is New York and he sets out to go there and visit him. At the same time, his only visitor is Angel Batista who basically believes that Dexter is Bay Harbor Butcher and asks him related questions. Dexter also realizes that he is in trouble and secretly leaves the hospital for New York.

There he basically finds out about another serial killer who kills Uber drivers and he decides to kill him, steal his identity in order to be around New York, learn the city better and find his son. At the same time though, the Uber driver's serial killer had been invited to a secret group of people and ofc Dexter, having his identity, went there as "Red".

This secret group is led by Leo Prater a billionaire who has ties everywhere but he holds a deep, dark secret. He is the number one fanboy of serial killers. He basically tracks them down due to the many resources he has, forms a group of serial killers with monthly or weekly meetups and he enjoys when they share their stories on how they killed their victims. At the same time, he has a room full of items that the serial killers had or used.

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To be honest, except for the fact that i like Dexter, i really liked the New York vibe. Also, when Dexter started and most of the seasons it had, consisted of a low to mid-level budget. This season though, has a high budget and it's quite easy to tell. The plot is awesome, there is action going on, humorous elements, and more in-depth moments.

There is a chance that there will be a second season and to be honest, i hope for that. The way the series ended, though, can provide a "final" ending and i think they did that on purpose in case they don't get the green light. Kudos to a series that started so many years ago and still remains as awesome and maybe even better! Btw a lot of Easter eggs!

• IMDB: https://www.imdb.com/title/tt26581740/

Rottentomatoes Rating

The whole thing about the missing children becomes the driving force behind everything that happens next and the movie builds this incredible tension around what really caused them to disappear in the first place. When Justine finally starts investigating deeper into Alex's home life things get really weird and uncomfortable to what at first look like his parents were Zombies after Justine watch through a window inside their house, until this point it was still a big WTF to everything going on but at least it was a start and confirmation that things at home for Alex were not normal. The movie does a good job of showing how isolation and obsession can turn someone into a ticking time bomb because thats exactly what happens with Justine when she starts to break boundaries without any remorse using the excuse that she wants to find the 17 missing kids, I can understand thats the center of the movie but at times felt very repetitive that some of the characters became a bit predictable. There's this scene where different parents are making accusations and the tension is brutal and you can see how much it hurts everyone involved but also how they are completely lost about what to do next, almost felt like that Simpsons meme with all the people with torches and pitch forks waiting. The movie does try to bring some context to everything that has been happening recently to each of the main characters before putting everything together, its a classic way of building up tension, character and world development, you see why they do what they do but you also see how wrong some of their choices become.

The biggest problem I have with Weapons is that it doesn't know when to stop piling on the mystery, some of the context they give out felt too much at times and even makes you feel like "this is fine...whats next?", there are multiple points where you think the story is about to wrap up but then it just keeps going and adding more terrible things to people's lives. It gets exhausting after a while because you are just watching these characters suffer for two hours straight and while I understand that is probably the point it still makes for a pretty draining viewing experience. The movie keeps building toward what you think is gonna be some kind of violent ending, especially when things get really dark and people start making desperate choices but then it pulls back making the violent ending a bit out of place because I would have love more of that gore by all this "Weapons" but in fact we only got two. There is also this whole subplot that feels kinda unnecessary and doesn't really add much to the story except to show that everyone in this town is hiding something from each other, like they wanted to get into peoples demons like cheating, alcoholism, drugs abuse and others but I feel like this were things that had nothing to do with Gladys and her methods to abduct or weaponiz people, after all the concern and main target were all this 17 kids. I know it might feel that Im ranting a bit here but also Im not dropping spoilers every other sentece and its because I think the movie is a very good one although two hours might be too much considering all the scenes that dont add too much too it, they could have probably add more to Alex family backstory and their relationship and ways of Gladys, the Witch.

#skiptvads, #inleo, #hive, #weapons, #horror, #cregger, #supernatural, #thriller, #barbarian, #mystery, #witch, #children, #vanishing, #scares, #tension, #community, #trauma, #practical, #effects, #garner, #brolin, #wong, #madigan, #creepy, #atmosphere, #suspense, #director, #evolution

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The Big Goodbye (S01E12)

Airdate: January 11th 1988

Written by: Tracy Torme Directed by: Richard L. Scanlan

Running Time: 45 minutes

Star Trek: The Next Generation (TNG) represented a quantum leap forward from its predecessor, The Original Series (TOS), demonstrating significant advancements not merely in production values and special effects, but crucially in the depth and sophistication of its storytelling. Gene Roddenberry’s reimagined 24th-century universe, liberated from the primitive technology and constrained budgets of 1960s American television, could finally manifest the technological marvels he had envisioned but been unable to depict credibly two decades prior. Nowhere was this progress more palpable, or more narratively fertile, than in the introduction of the holodeck. Whilst conceptually hinted at in The Practical Joker, the episode of The Animated Series a decade earlier, the holodeck truly came into its own as a central narrative device within TNG, being first depicted in the series premiere. Its potential was explored with particular flair and consequence in The Big Goodbye, an episode from the show’s challenging first season that stands as one of its more memorable and structurally significant outings, establishing tropes that would resonate throughout the franchise while simultaneously showcasing the format’s inherent strengths and weaknesses.

The episode’s plot is framed by the pressures of Starfleet diplomacy. The USS Enterprise-D is tasked with establishing crucial contact with the Jarada, an insectoid species possessing a notoriously precise and unforgiving protocol: their greeting must be delivered in their native language with absolute accuracy, lest it be deemed a mortal insult. Captain Picard, ever the consummate diplomat, has driven himself to near-exhaustion mastering this linguistic minefield. Seizing upon Counsellor Troi’s suggestion for restorative recreation, and buoyed by reports of significant technological upgrades to the holodeck facility, Picard eagerly immerses himself in a new programme – a meticulously crafted simulation based on the hardboiled detective pulp novels of Dixon Hill. His enthusiasm proves infectious; he promptly invites Lieutenant Commander Data and Dr. Beverly Crusher to join him, enlisting the services of Whalen (David Selburg), a historian specialising in 20th-century Earth, as their guide within this artificial reality.

Within the holodeck, Picard fully inhabits the role of Dixon Hill, private detective in a lovingly reconstructed 1941 San Francisco. The scenario unfolds with classic noir tropes: Hill is hired by the alluring Jessica Bradley (Carolyn Allport), only to learn of her subsequent murder. He becomes the prime suspect, subjected to a tense interrogation by the police, including his ostensibly friendly contact McNary (Gary Armagnac). The danger escalates when Hill is abducted and threatened by thugs working for the imposing crime lord Cyrus Roadblock (Lawrence Tierney). Crucially, Picard and his companions initially react to these perilous events with detached amusement. Holodeck safety protocols are assumed active; the physical laws of the simulation are understood to be non-lethal, rendering the simulated bullets and threats harmless illusions. Their nonchalance, however, is catastrophically misplaced. Unbeknownst to them, the Jarada probe’s subtle interaction with the Enterprise’s systems has induced a critical malfunction within the holodeck. Safety protocols are offline, transforming simulated dangers into genuine physical threats – Whalen is shot and critically wounded. Furthermore, the malfunction traps them within the simulation; attempting to exit risks complete neural pattern degradation. On the bridge, Commander Riker and his crew race against time to effect a rescue, acutely aware that any misstep could erase Picard and his team from existence. Picard, therefore, must utilise his intellect and Dixon Hill’s cunning to escape the malfunctioning holodeck and still accomplish the vital Jarada mission.

The Big Goodbye serves as a near-perfect microcosm of the holodeck episode archetype within TNG, encapsulating both its most compelling virtues and its most frustrating narrative crutches. On the positive side, it provides a vastly more plausible and integrated mechanism for the crew to engage with historical periods than the often-convoluted time travel or parallel dimension plots that plagued TOS (one recalls the jarring incongruity of Kirk encountering Nazi Germany or Roman gladiators). The holodeck offers a self-contained, logical reason for period costumes, sets, and dialogue, allowing the production to indulge in meticulous historical recreation without straining credulity. This aspect was clearly relished by the cast. Patrick Stewart, in particular, delivers a masterclass in layered performance, relishing the opportunity to step outside Picard’s rigid Starfleet persona and embody the swaggering, world-weary Dixon Hill. Brent Spiner, as Data, provides subtle comic gold in his earnest yet slightly off-kilter attempts to master 1940s vernacular and mannerisms. Gates McFadden is undeniably stunning in her period attire, a visual triumph that contributed significantly to William Ware Theiss securing the Emmy Award for Outstanding Costume Design for a Series – a tangible recognition of the episode’s production excellence.

Director Joseph L. Scanlan deserves considerable credit for establishing a convincing noir atmosphere within the constraints of a 1980s television budget and colour format. Despite scriptwriter Tracy Tormé’s reportedly rejected proposal to film the holodeck sequences in black and white – a bold choice that would have heightened the period authenticity – Scanlan utilises shadow, framing, and pacing effectively to evoke the genre’s signature mood. The casting of Lawrence Tierney, a genuine veteran of 1940s and 50s film noir known for playing tough guys, acts as a potent symbolic bridge between the real cinematic past and TNG’s simulated recreation, lending an undeniable authenticity to the proceedings.

Tormé also crafts what could have been the episode’s crowning moment: Picard’s poignant departure scene. Confronted by McNary’s desperate, existential question – "When you’ve gone, will this world continue to exist? Will my wife and kids still be waiting for me at home?" – Picard offers only a hesitant, non-committal reassurance before deactivating the programme. The holodeck plunges into darkness, leaving McNary’s fate and the nature of holographic consciousness chillingly unresolved. This brief exchange transcends the episode’s genre trappings, posing profound philosophical questions about artificial intelligence, consciousness, and the ethics of creation that remain deeply relevant, marking one of TNG’s earliest and most powerful dramatic beats.

Yet, the episode also lays bare the foundational flaw that would plague countless holodeck-centric stories: the inherent narrative problem that mere recreation rarely generates sufficient drama. To inject stakes, a catastrophic malfunction must occur, transforming the safe simulation into a lethal trap. Tormé attempts to justify this with technobabble involving the Jarada probe’s interference, but the explanation feels perfunctory. Keen viewers cannot help but question the logic: why would a probe designed for precise linguistic communication cause this specific holodeck failure? How does the malfunction selectively disable safety protocols whilst maintaining the programme’s complex integrity? Why can’t the bridge crew simply cut power or initiate a standard diagnostic? These inconsistencies, whilst perhaps forgivable in the context of early-season world-building, established a template of convenient, poorly explained technological failure that became a tiresome cliché.

Thankfully, the writers sidestep the most egregious pitfall of such scenarios – the threat to main characters. Killing off Picard, Data, or Crusher in Season 1 was narratively unthinkable, which would have rendered the danger toothless. Instead, the shocking shooting of the expendable guest character Whalen provides the necessary visceral stakes and suspense. His injury feels genuinely consequential, raising the dramatic temperature without violating the audience’s implicit contract regarding the core crew’s survival. This calculated sacrifice of a secondary character proves effective, focusing the tension on the immediate physical peril and the race to save Whalen’s life.

In conclusion, despite the narrative contrivances inherent in its central conceit and the technobabble required to set its crisis in motion, The Big Goodbye stands as one of The Next Generation’s strongest early achievements. It transcends the limitations of Season 1 through its exceptional execution of the noir pastiche, brimming with delightful homages to The Maltese Falcon and the broader genre. The production design is impeccable, the performances – particularly Stewart’s joyous immersion and Tierney’s authentic menace – are superb, and the light humour is expertly balanced with moments of genuine suspense and that lingering, profound philosophical unease surrounding McNary’s fate. Whilst it undeniably codified the "holodeck malfunction" trope that would become a source of frustration in later seasons, the sheer craftsmanship, thematic ambition, and sheer fun evident in The Big Goodbye elevate it far above mere formula. It is not just a good holodeck episode; it is a testament to how TNG, even in its formative stages, could leverage its technological advancements not just for spectacle, but to explore character, genre, and ideas in ways Roddenberry’s original vision, hamstrung by the era’s limitations, could only dream of.

RATING: 7/10 (+++)

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Witchboard 2024 left me a little confused because I don't know if I liked it or if I just had fun watching something so ridiculous that it made me laugh, this is the fourth installment of the Witchboard franchise and I admit I had never seen any of the previous ones, but this one caught my attention precisely because of Russell who directed Dream Warriors and The Blob, two movies that I love and that show that this man understands the genre and are movies I really respect, but here it seems he decided to do something different, like mixing 80's horror with modern comedy without taking anything too seriously. Madison Iseman plays Emily who is a young woman in the process of recovering from drugs along with her boyfriend Christian played by Aaron Dominguez who is opening a restaurant in New Orleans. That part of changing the classic Ouija board for a pendulum board seemed creative and different from what one would expect, Jamie Campbell Bower appears as Alexander Baptiste and he really steals every scene where he appears with that bad guy energy that even though he knows he is in a ridiculous movie he enjoys it to the fullest, to some extent it reminded me of his role as Vecna in Stranger Things but with more personality and less dramatic. This movie has no middle ground, you can find it boring and poorly made or you can see it as entertaining to have a good time although recognizing that it is nothing special, I think the key is in the expectations you have when watching it.

Witchboard del 2024 me dejó un poco confundida porque no sé si fue que me gustó o si solo me divertí viendo algo tan ridículo que daba risa, esta es la cuarta entrega de la franquicia Witchboard y admito que nunca había visto ninguna de las anteriores, pero esta me llamó la atención precisamente por Russell quien dirigió Dream Warriors y The Blob, dos películas que me encantan y que demuestran que este hombre entiende el género y son películas que realmente respeto, pero aquí parece que decidió hacer algo diferente, como mezclar terror de los 80 con comedia moderna sin tomar nada demasiado en serio. Madison Iseman hace el papel de Emily que es una joven en proceso de recuperación de las drogas junto con su novio Christian interpretado por Aaron Domínguez que anda abriendo un restaurante en New Orleans. Esa parte de cambiar la clásica tabla ouija por una tabla de péndulo me pareció creativa y diferente a lo que uno esperaría, Jamie Campbell Bower aparece como Alexander Baptiste y de verdad se roba cada escena donde aparece con esa energía de malo que aunqe sabe que está en una película ridícula la disfruta al máximo, hasta cierto punto me recordó a su papel de Vecna en Stranger Things pero con mas personalidad y menos dramático. Esta película no tiene puntos medios la puedes encontrar aburrida y mal hecha o la puedes ver como entretenida para pasar un buen rato aunque reconociendo que no es nada especial, creo que la clave está en las expectativas que llevas al verla.

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The story kicks off when Emily finds a Ouija board in the woods after following a cat, which in itself sounds ridiculous, but the movie sells you on the idea that this particular board has real powers and a dark history connected to a 17th century witch. What's interesting is that they don't use a traditional Ouija board but a pendulum board that looks much more elaborate and ancient, with weird symbols all astrological and designs that give it a personality of its own. All the lore behind the board is fine and they explain that the witch Nagasoth was persecuted by the church and cursed the board before she died, now anyone who uses it is connected to her vengeful spirit and the consequences are never good. The problem is that Emily obviously ignores all the danger signs and keeps using the thing like it's a toy, which is stupid because she already knows it's going to end badly but she acts like she's never seen a horror movie in her life. The movie has some pretty creepy moments when the tablet is activated and strange things start happening, like that part where Emily walks around the house following the pendulum as if it were a supernatural GPS, it's absurd but it works.

La historia arranca cuando Emily encuentra una tabla de ouija en el bosque después de seguir a un gato, lo cual ya de por si suena ridículo, pero la película te vende la idea de que esta tabla en particular tiene poderes reales y una historia oscura conectada con una bruja del siglo XVII. Lo interesante es que no usan una tabla de ouija tradicional sino una tabla de péndulo que se ve mucho más elaborada y antigua, con símbolos raros todos astrológicos y diseños que le dan personalidad propia. Toda ea tradición que hay detrás de la tabla está bien y nos explican que la bruja Nagasoth fue perseguida por la iglesia y maldijo la tabla antes de morir, ahora cualquiera que la use queda conectado con su espíritu vengativo y las consecuencias nunca son buenas. El problema es que Emily obviamente ignora todas las señales de peligro y sigue usando la cosa como si fuera un juguete, lo cual es una estupidez porque ya sabe que va a terminar mal pero ella actúa como si nunca hubiera visto una película de terror en su vida. La película tiene algunos momentos bastante creepy cuando la tabla se activa y empiezan a pasar cosas extrañas, como esa parte donde Emily camina por la casa siguiendo el péndulo como si fuera un GPS sobrenatural, es absurdo pero funciona.

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The special effects are a double-edged sword because when they use practical effects it looks amazing, but when they resort to CGI things get ugly really fast, like in the death scenes that are supposed to be shocking but end up looking like low-budget video game effects. There is a scene where a character loses his hand in a meat slicer and the blood looks so fake that it makes you laugh instead of horror, it's a shame because the idea was good but the way they did it ruins the moment completely. The same goes for the witch's appearances and some of the biggest scares in the movie, the CGI is too noticeable and completely takes you out of it when you should be feeling fear or tension. The monsters and supernatural creatures look better when they're in the shadows or shown halfway through, but when you see them fully it all goes to hell because you can tell they were done on a computer and not very well at that. Russell proved in previous films that he knows how to use practical effects to create real horror, here it seems that the budget or time didn't allow him to do what he really wanted and he had to settle for cheap CGI.

Los efectos especiales son un arma de doble filo porque cuando usan efectos prácticos se ve increíble, pero cuando recurren al CGI la cosa se pone fea rapidísimo, como en las escenas de muerte que se supone deberían ser impactantes pero terminan pareciendo efectos de videojuego de bajo presupuesto. Hay una escena donde un personaje pierde la mano en una rebanadora de carne y la sangre se ve tan falsa que da risa en lugar de terror, es una lástima porque la idea era buena pero la forma en que la hicieron arruina el momento por completo. Lo mismo pasa con las apariciones de la bruja y algunos de los sustos más grandes de la película, el CGI se nota demasiado y te saca por completo cuando deberías estar sintiendo miedo o tensión. Los monstruos y criaturas sobrenaturales se ven mejor cuando están en las sombras o se muestran a medias, pero cuando los ves completamente todo se va al carajo porque se nta que fueron hechos en computadora y no muy bien que digamos. Russell demostró en películas anteriores que sabe usar efectos prácticos para crear terror real, aquí parece que el presupuesto o el tiempo no le permitieron hacer lo que realmente quería y tuvo que conformarse con CGI barato.

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The third part is where the movie goes completely insane and depending on your tolerance for nonsense you are going to love it or hate it, personally I was really amused to see how Russell decided to throw all logic out the window and make pure ridiculous spectacle because since I was already watching it and had to enjoy it then I changed my chip and pretended I was watching another genre and not horror hehehe. Without making spoilers I can say that it has time travel, demonic possessions and a scene in a restaurant that seems to be taken from a completely different movie, everything is so absurd that you can't but laugh and go with the flow. The characters make increasingly stupid decisions as the story progresses and honestly you get to a point where you want them to die for assholes, especially Christian's character who always screws up and endangers everyone else. The last scene of the movie is so ridiculously bad you remember it but for the wrong reasons, clearly they are setting the stage for a sequel which I hope never gets made because they already exhausted all the decent ideas they had. Despite all its flaws Witchboard (2024) manages to be entertaining if you accept that it's quality trash and don't expect something deep, of course it's something to watch at home because no way would I pay to see it.

La tercera parte es donde la película se vuelve completamente loca y dependiendo de tu tolerancia a las tonterías vas a amarlo u odiarlo, personalmente me divirtió mucho ver como Russell decidió tirar toda lógica por la ventana y hacer puro espectáculo ridículo porque ya que ya la estaba viendo y tenía que disfrutarla entonces me cambié el chip y me hice como que estaba viendo otro género y no terror jejeje. Sin hacer spoilers puedo decir que tiene viajes en el tiempo, posesiones demoniacas y una escena en un restaurante que parece sacada de una película completamente diferente, todo es tan absurdo que no puedes más que reírte y seguir la corriente. Los personajes toman decisiones cada vez más estúpidas conforme avanza la historia y honestamente llegas a un punto donde quieres que se mueran por pendejos, sobretodo el personaje de Christian que siempre mete la pata y pone en peligro a todos los demás. La última escena de la película es tan ridículamente mala que la recuerdas pero por las razones equivocadas, claramente están preparando el terreno para una secuela que espero nunca se haga porque ya agotaron todas las ideas decentes que tenían. A pesar de todos sus defectos Witchboard (2024) logra ser entretenida si aceptas que es basura de calidad y no esperas algo profundo, por supuesto es algo para ver en la casa porque ni de vaina pagaría por verla.

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The movie lasts almost two hours and for me it was longer than necessary, there are too many filler scenes, in the second part the characters are just hanging around and nothing advances in the plot. There are things that I didn't like at all and have no discussion like the dialogues, some references to the previous movies is more like to capture fans than to really make a tribute and it's too obvious that it's a low budget movie. Here you can tell that Chuck Russell worked with a short budget and time that affected the final result, I hope his next project will give him more creative freedom to make something really special. The film works best if you haven't seen the previous films in the franchise because you have no prior expectations, just as it happened to me that's why in the end I gave up and finished watching it but I don't want to imagine someone who is a fan. Madison Iseman and Jamie Campbell Bower prove that they can make a B movie without problems especially Jamie who should have more roles as the bad guy because he has the perfect charisma for this type of character, hopefully he will appear in more horror projects, although neither of them will win an Oscar for these performances that's more than obvious. My score for Witchboard 2024 is 5.5/10 because I had more fun than I expected and it has a lot of flaws, I mean it shouldn't be that much fun in a horror movie hehehe, this is a movie just to watch in streaming.

La película dura casi dos horas y para mí fue más larga de lo necesario hay demasiadas escenas de relleno, en la segunda parte los personajes solo están dando vueltas y no avanza nada en la trama. Hay cosas que no me gustaron para nada y no tienen discusión como los diálogos, algunas referencias a las películas anteriores es más como para captar fanáticos que como para hscer un tributo realmente y se nota demasiado que es una peli de bajo presuepuesto. Aquí se nota que Chuck Russell trabajó con un presupuesto y tiempo corto que afectaron el resultado final, espero que su próximo proyecto le de más libertad creativa para hacer algo realmente especial. La película funciona mejor si no has visto las anteriores de la franquicia porque no tienes expectativas previas, así como me pasó a mi por eso al final me rendí y terminé de verla pero no me quiero imaginar alguien que sea fan. Madison Iseman y Jamie Campbell Bower demuestran que pueden hacer una película de género B sin problemas sobre todo Jamie que dbería mas papeles como el malo porque tiene el carisma perfecto para este tipo de personajes, ojalá y aparezca en más proyectos de terror, aunque ninguno de los dos va a ganar un Oscar por estas actuaciones eso está más que obvio. Mi puntuación para Witchboard 2024 es 5.5/10 porque me divertí más de lo que esperaba y tiene muchos defectos o sea no debería divertir tantio una película de terror jejeje, esta es ua peli solo para ver en streaming más nada.

"Translated to English with DeepL"

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Hello movie lovers /Bonjour les cinéphiles,

This second season arrived in two parts (2 x 4 episodes). With the final episodes arriving on Netflix on September 3, 2025, we began watching the first episodes on August 31, 2025, at our leisure, at a rate of 1 or 2 episodes per evening.

Cette 2e saison est arrivée en 2 parties (2 x 4 épisodes). Les derniers épisodes ayant débarqué sur Netflix, ce 3 septembre 2025, nous avons commencé à regarder les premiers épisodes le 31 août 2025, à notre aise, à raison d'1 ou 2 épisodes par soirée.

Source Poster of the 2nd season /Affiche de la saison 2

Synopsis :

Wednesday (Jenna Ortega) returns to Nevermore Academy and keeps the same room, as well as the same roommate, Enid (Emma Myers), whom she has grown to love.

Her visions are becoming more intense, but her power is diminishing. New principal Barry Dort (Steve Buscemi) offers Morticia (Catherine Zeta-Jones) a place to stay on the Nevermore grounds to be with his children, since Pugsley (Isaac Ordonez) is going into first grade. In exchange, he asks her to help raise money for the gala.

Mercredi (Jenna Ortega) est de retour à Nevermore Academy et garde la même chambre, ainsi que la même colocataire Enid (Emma Myers), qu'elle a appris à apprécier.

Ses visions sont de plus en plus intenses, mais son pouvoir s'amenuise. Le nouveau proviseur Barry Dort (Steve Buscemi) propose à Morticia (Catherine Zeta-Jones) de loger au sein du domaine de Nevermore pour rester auprès de ses enfants, puisque Pugsley Isaac Ordonez) rentre en 1ère année, et, en échange, il lui demande de s'occuper de récolter des fonds pour le gala.

Wednesday has become a star at the Academy since saving it the previous year, along with some other accomplices.

Pugsley will, unfortunately, wake a dead... and not just any dead man.

Wednesday will lead several investigations simultaneously, which will become intertwined. She will give several people a hard time and receive advice from her close and less close family.

Her relationship with her mother isn't great, but it seems to be genetic. Fixing this kind of thing could benefit them both.

Mercredi est devenue une star à l'Académie, depuis qu'elle l'a sauvée l'année précédente, avec d'autres comparses.

Pugsley va, malencontreusement, réveiller un mort .. et pas n'importe lequel.

Mercredi mènera plusieurs enquêtes de front, qui se retrouveront liées. Elle donnera du fil à retordre à plusieurs personnes et recevra des conseils de sa famille proche et moins proche.

Sa relation avec sa mère n'est pas au beau fixe, mais cela semble être génétique. Arranger ce genre de chose pourrait pourtant leur être bénéfique à toutes les 2.

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

A third season has already been ordered, and that's a good thing. Tim Burton will still be at the helm. He had originally wanted Johnny Depp for the role of Gomez Addams, but in the end, Luis Guzman took on the role.

In this second season, Lady Gaga is part of the cast, playing the role of Rosaline Rotwood.

I highly recommend this second season and I can't wait to watch season 3 (filming hasn't started yet, I think, so be patient!)

Have a good TV evening everyone, and see you soon!

Une saison 3 est d'ores et déjà commandée et c'est une bonne chose. Toujours avec Tim Burton aux manettes. Il avait d'ailleurs voulu Johnny Depp pour le rôle de Gomez Addams, mais finalement, c'est Luis Guzman qui a endossé le rôle.

Dans cette saison 2, Lady Gaga fait partie du casting, dans le rôle de Rosaline Rotwood.

Je vous conseille vivement cette saison 2 et j'ai hâte de découvrir la saison 3 (le tournage n'a pas encore commencé, je crois, donc patience !)

Bonnes soirées-tv à tous et à bientôt,

Florence

Source photo : image Qwant autorisée

Proud member of the Principality of Bastion

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🎞 ¡Hola! ¡Hola! 🎞

Acá les dejo la publicación donde hablo de su primera temporada

Binge-watch the second season of CONSUELO on VIX. Here's the post where I talk about the [first season]

Easy. First, it reminds us of the feminine struggle, the true struggle, that we women have had so that today we can enjoy benefits so unthinkable in the 1950s, such as pleasure, work, and the power to decide how many children we want to have. In the first season, Consuelo challenges all the canons of the conventional woman when she is abandoned by her husband and has to find a way to support her family. In this second season, everything spirals out of control. For better or worse, the business of products exclusively for women's pleasure breaks with all the paradigms and conventions of the 1950s.

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Alliances. Unfortunately, Carlos Julio (the husband who abandoned her appears at the end of the first season), in order to keep up appearances in her social class, must accept him into her home and include him in her business, always under the guise of blackmail, threats, and manipulation. Thankfully, Consuelo is no longer the same woman under the tutelage of a man; she knows how to defend herself and act in favor of what she wants in life. Also, protagonists from the first season emerge, along with unexpected alliances that keep us on the edge of our seats throughout the episodes, but that teach us great lessons. And speaking of lessons, friendship and loyalty are another lesson this season teaches us. Olga, who is a woman with "high morals," an example of good manners and proper, clean behavior, ends up receiving a great lesson from Consuelo, through twists of fate (which I didn't even see coming). Despite the damage she caused them, Consuelo is the only one who never turns her back on her and helps her in her most difficult moments. I really liked this part because it breaks with the biblical saying "an eye for an eye and a tooth for a tooth," but instead replaces it with "we all offer what we have." No one can offer love unless they know or practice it. In that sense, Consuelo is an empathetic protagonist. She knows what it's like to be humiliated, mistreated, and ostracized by society. Since she has no malice, she shows her kindness and solidarity in every act during difficult times. In that same vein, the family is discussed. Not all are perfect, not ideal, and they don't come with manuals. Consuelo's children play an important role in the seasonal madness that awaits them, but love always prevails. Likewise, it teaches us that sometimes it's not just about the problems between parents, but about listening and caring for their children. Marta and Ceci performed very well; Andrés, very weak and much to be desired.

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I almost forgot! Speaking of Fernando, Oops! He almost didn't tell the story with the mess his wife Theresa caused (you should watch it to realize that). For me, it was a great lesson, because even though there were bad men, women weren't far behind, and we would do anything to maintain a status or the social standing that simply having a husband gave us. And there were so many things seen in the series that Marta Patricia, as a secondary character, I think almost became the main character because she portrayed a more real struggle: women aren't just objects, and their only goal should be to be born, get married, have children, and take care of their husband and home. Women are more than that, and that can be demonstrated by what we are today. In addition, the role of the husband is fundamental, because even that has changed the way we live together in the home. Today, men provide, but they also take care of the home, contribute to it, and are present in raising the children. I loved his story and the ending because I imagined many things, except how it ended 😊. And regarding marriage, thank God, and women's struggles, today we have many more rights and can do many things that were previously unthinkable. Therefore, this series is a reminder of all those who today have no voice, cannot make decisions, or continue to suffer in a bad marriage because they think about the economic, social, cultural, or religious consequences that these may entail. Carlos Julio is a jerk, through and through. He is the kind of man who continues to haunt our society today, disguised as a helper, a protector, and not truly how a man should be and behave in the home. Finally, the series is a critique of society, both past and present, regarding the treatment of women. It's funny, it has drama, suspense, laughter, passion, heartbreaking scenes, and a lot of courage and inspiration from our protagonists. I recommend you rush out and see it and enjoy it as much as I did.

Hasta un próximo encuentro 🎞

I made the cover and banner in Canva. I made the separator in FotoJet. I used Google Translate. Until next time.

Bienvenidos | Welcome 💕

Hola Hivers ❤️ espero que se encuentren bien. Me vi una pelicula de comedia romántica no es nueva, pero las viejas son las mejores, ésta la protagonizan Sandra Bullock y Hugh Grant quienes hacen un gran duo en esta historia.

Hello Hivers ❤️ I hope you are all well. I watched a romantic comedy movie. It's not new, but the old ones are the best. It stars Sandra Bullock and Hugh Grant, who make a great duo in this story.

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Lucy es una abogada graduada en Harvard que se dedica a defender las causas injustas, conoce a George un millonario dueño de una constructora que a su vez está en busca de una asesora legal y ve en Lucy la persona indicada pars encargarse de sus asuntos legales y personales.

Lucy is a Harvard-educated lawyer who dedicates herself to defending unjust causes. She meets George, a millionaire construction company owner who is looking for a legal advisor and sees Lucy as the right person to handle his legal and personal affairs.

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Lucy pasa 4 años trabajando para George quien ya no puede dejar de depender de ella, se convierte en su niñera personal, esto tiene a Lucy exhausta, por lo que decide renunciar aunque George se niega termina accediendo con la condicion de que su suplente tiene que ser igual que ella.

Lucy spends four years working for George, who can no longer do without her. She becomes his personal nanny, which leaves Lucy exhausted, so she decides to quit. Although George refuses, he eventually agrees on the condition that her replacement must be just like her.

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En la busqueda consigue a June quien tambien es graduada en Harvard y es perfecta para el puesto pero tiene muchco mas interes en George. Pero en 4 años de trabajo tenia que haber crecido un sentimiento entre Lucy y George aunque quieran huir de esto no pueden. Me encantó esta película, son de mis favoritas, asi que la recomiendo.

In her search, she finds June, who is also a Harvard graduate and perfect for the job, but is much more interested in George. However, after four years of working together, feelings have grown between Lucy and George, and even though they want to escape this, they cannot. I loved this movie; it's one of my favorites, so I highly recommend it.

_✔️

♡ Imágenes y textos son propiedad del autor ♡ Edición: Canva - Picsart ♡ Traductor: DeepL

♡ Images and texts are property of the author. ♡ Editing: Canva - Picsart ♡ Translator: DeepL