Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 59,962 reviews and counting.
This is one of the funniest messes of a heist film I’ve seen in a while and I mean that as a compliment. This movie cracked me up from start to finish. I couldn’t even pay attention to the action because I was busy laughing.
Anyway…
Synopsis
The story follows Rory (Matt Damon), a desperate man trying to hold his life together, and Cobby (Casey Affleck), a down-on-his-luck ex-con. The two team up for a heist which at first seems simple. All they have to do is rob a crooked politician. But sadly, nothing goes according to plan.
The robbery goes sideways almost immediately, and before long, they’re on the run across Boston with cops, criminals, and just about everyone else in hot pursuit. Oh, and Rory’s therapist (Hong Chau) gets dragged into the madness, which only makes things more unpredictable.
comedy in the chaos
What made me laugh and kick my feet wasn’t just the banter (though there’s plenty of sharp one-liners), but the sheer absurdity of how everything unravels. I suspected from the trailer that this film isn’t the sleek, calculated heist of Ocean’s Eleven but this is the version where everything goes wrong, and the guys are basically winging it while chaos follows them around like a shadow. Half the time, I was laughing not because they were clever, but because they were so spectacularly not.
Matt Damon and Casey Affleck slip into their roles perfectly. Damon gives Rory a kind of “everyman stuck in over his head” vibe, while Affleck nails the awkward, jittery partner energy. Together, they’re so hilarious, bickering, panicking and you know, surviving.
Hong Chau steals every scene she’s in too. She grounds the insanity with this sharp wit and no-nonsense delivery that had me grinning. And kudos to the supporting cast, who keep piling on the tension while never losing the comedic rhythm.
Doug Liman (the director) first time coming across his work leans into chaos here. The pacing is fast, almost frantic at times and the Boston setting gives it grit without getting too dark. The action sequences are messy in the best way. It’s like watching a domino line fall apart because someone sneezed in the middle. It’s not glossy, it’s not neat, but that’s what makes it so funny.
If I’m being fair, the story itself isn’t really revolutionary. Some jokes don’t land and there are moments where the frantic pace feels more exhausting than exciting. But honestly, the cast’s energy makes up for the rough edges.
But…
It worked for me anyway because sometimes, you don’t want the perfect heist. Just the chaos, the mishaps, the “how are these guys still alive?” moments. I laughed not just at the jokes, but at the sheer ridiculousness of the situations they found themselves in. It’s the kind of film that reminds you that comedy doesn’t always need polish, sometimes, just a little scrappy energy does it nicely.
I am not really a fan of comedy because what they make these days are dry and absurd but this one, it’s absurd, yes but it’s also entertaining and it also gives you two lovable screw-ups to root for even when they’re in way over their heads.
Where other police procedurals would have long since resolved their central narrative knots through forensic breakthroughs or convenient confessions, The Wire’s second season persists in its glacial, almost stubbornly deliberate pacing. It is not until the fifth episode, Undertow, that the two seemingly disparate investigations – the Major Crimes Unit’s surveillance of Frank Sobotka’s dockside operations and the homicide inquiry into the dead women in the shipping container – finally and almost accidentally converge. The Wire refuses to indulge the genre’s typical adrenaline rushes; instead, it immerses us in the grinding, often futile mechanics of institutional work, where connections are forged not through brilliance but bureaucratic necessity and sheer happenstance. In most television crime drama, this linkage would be a foregone conclusion by episode two. Here, it arrives as a quiet, uncelebrated inevitability, underscoring the show’s commitment to realism over narrative convenience.
The script, written by Ed Burns, masterfully orchestrates this convergence through institutional pragmatism rather than dramatic revelation. Lieutenant Cedric Daniels, desperate to bolster his under-resourced Major Crime Unit targeting Sobotka, makes a calculated decision: resurrect the disbanded task force that dismantled the Barksdale organisation. This means reassembling Kima Greggs, Prez Pryzbylewski, and Herc Hauk, alongside the newly rehabilitated Ellis Carver. Daniels’ wry observation that Carver’s exposure as a double agent during previous investigation renders him "unlikely to repeat the same stunt" speaks volumes about the show’s cynical view of loyalty and rehabilitation within the system. Far more pivotal, however, is the arrival of Lester Freamon. With his quiet, methodical precision, Freamon informs Daniels of the container murder case, noting the probable link to the docks investigation. Daniels’ reaction is pure institutional realism: he is visibly displeased, knowing dockside murders are historically unsolvable and politically toxic, yet he grudgingly accepts the cooperation out of sheer operational necessity. The connection isn’t a eureka moment; it’s a bureaucratic compromise, a reluctant marriage of two failing investigations.
Meanwhile, the homicide unit, stripped of Freamon and assigned the ineffectual Ray Cole as his replacement, flounders. Bunk Moreland and Beadie Russell resort to the blunt instrument of issuing grand jury subpoenas to union members, hoping intimidation might yield a confession about the fatal container. Predictably, this tactic fails – the working-class solidarity of the docks proves impervious to legal strong-arming. Beadie’s breakthrough comes not from police procedure, but from leveraging her personal history. Advised by seasoned colleagues to seek a steady informant, she turns to her former lover, Maui, a cargo checker. Through this fragile, human connection – a conversation steeped in past intimacy and unspoken regret – Beadie learns the crucial detail that all container records are digitally archived. This single piece of information, gleaned outside official channels, becomes the key to reconstructing the crime.
The Major Crimes Unit, conversely, pursues a more conventional, albeit ethically dubious, path: targeting Sobotka through the drug trade. They begin in the Southeastern District’s open-air drug markets, a move that energises Kima, Herc, and Carver. This subplot delivers one of the episode’s sharpest sociological observations. Carver, observing young white dealers aping the mannerisms, slang, and fashion of the established Black crews from the projects, is visibly amused. His reaction isn’t mere mockery; it’s a quiet indictment of performative gangsterism and cultural appropriation, highlighting how marginal white youth mimic a romanticised, media-fuelled "gangsta" aesthetic, utterly detached from the systemic realities that forged the Black drug trade. Their operations are haphazard, inefficient – a pale imitation revealing the profound difference between cultural signifiers and the brutal socioeconomic structures that sustain the real game.
Frank Sobotka’s desperation intensifies as he attempts to extricate himself from the Greeks’ smuggling operation. A chillingly calm reminder from his handler underscores the brutal reality: this illicit trade is the only viable economic lifeline left for him and his men in a post-industrial landscape where the docks are dying. His nephew Nick, sharing Frank’s misgivings but seduced by the promise of a better home for Aimee and their child, agrees to participate in stealing chemicals – rationalising it by convincing himself the substances are for drug processing, not terrorism. Simultaneously, Ziggy’s impulsive foray into drug dealing backfires catastrophically, landing him deeply in debt to Melvin "Cheese" Wagstaff (Method Man), Proposition Joe’s ruthless Eastside lieutenant.
McNulty’s parallel struggles epitomise the show’s theme of institutional futility. His attempt to leverage Omar Little’s testimony in the Gant case founders on Omar’s intimidating appearance and courtroom demeanour, threatening to sink the prosecution – a brutal commentary on how the justice system often convicts based on perception, not truth. His investigation into the container victims hits a dead end at the ICE detention facility; conversations with traumatised Eastern European women yield no clues, underscoring the invisibility of the exploited migrant underclass.
Meanwhile, Stringer Bell grapples with declining drug purity from Atlanta, applying sterile business-school logic to a trade where human volatility defies spreadsheets. Avon Barksdale, meanwhile, faces the crumbling loyalty of his incarcerated nephew D’Angelo, disillusioned by the previous neglect by Donette and empty promises of future legitimacy. These threads, while seemingly tangential to the docks, reinforce The Wire’s central thesis: all institutions, whether criminal or civic, are failing the people who depend on them.
Undertow is undoubtedly solidly written and competently directed, yet it lacks the searing memorability of The Wire’s strongest episodes. Its true significance lies not in plot mechanics but in the quiet, incisive socio-economic and historical asides woven into the narrative fabric by Burns. Carver’s observation of white dealers appropriating Black culture transcends mere scene-setting; it’s a microcosm of America’s fraught relationship with race and class performance. Nick’s house hunt, navigating the gentrification of his old working-class neighbourhood, captures the visceral displacement of the urban poor as capital reshapes the city. Most powerfully, Frank Sobotka’s rousing speech to his union men – invoking how they repulsed union-busting campaigns under RFK, Nixon, and Reagan – isn’t just rhetoric; it’s a lament for a vanishing era of organised labour’s power, a historical anchor that resonates with profound melancholy in today’s fractured labour landscape.
Crucially, for a 2025 audience steeped in relentless US immigration controversies, one seemingly throwaway detail gains startling historical weight: McNulty’s passing observation of the INS (Immigration and Naturalization Service) insignia being replaced by ICE (Immigration and Customs Enforcement) signage. This mundane bureaucratic transition, a direct consequence of the post-9/11 security apparatus, transforms The Wire from contemporary drama into vital historical document. What was merely background detail in 2003 now reads as the prelude to decades of escalating border militarisation and the weaponisation of immigration policy. Undertow inadvertently chronicles the birth pangs of a system whose devastating legacy we now fully comprehend.
In the end, Undertow works not as a plot-driven thriller but as a meticulously observed sociological snapshot. Its power derives from the spaces between the action – in the weary pragmatism of Daniels accepting an unsavoury alliance, in Beadie’s reliance on a personal connection over procedure, in Frank’s invocation of labour’s past glories against present decay. This episode, seemingly unremarkable in its progression, is in fact quintessential Wire: a testament to the idea that the most profound stories are often told in the quiet moments where institutions falter, and humanity, flawed and desperate, tries to keep its head above water. Its true legacy, especially viewed through the lens of 2025, is its unwitting documentation of societal fractures that have only widened, proving that Simon and Burns weren’t just chronicling Baltimore – they were mapping America’s future.
It's always sad when one's life is based on lies. For every lie one tells, you will surely get someone to prove you wrong. I never thought I would still see a good movie like this movie titled Alakada Bad and Boujee. I have seen a movie before, which is The Return of Alakada, but it's been years now, and in those days we see how Toyin Abraham, formerly known as Toyin Aimakhu, shows her lifestyle as a liar on social media that most people believe. Now, in this version of the Alakada, which is the Bad and Boujee, Toyin Abraham also showed herself as a fake person by portraying a fake lifestyle on social media. This movie is one of the hilarious movies directed by Adebayo Tijani and written by Toyin Abraham.
From what I saw about this movie, it is a continuation of the former Alakada movie that was released some years back. In this new series that was released in 2024, we see Toyin Abraham in combination with Bimbo Ademoye and Abebi Yetunde, who is the food monger, and they are also both friends, and they try to showcase their fake lifestyle to people online. There are other popular actors who featured in this movie to make the comedy-drama worth watching. Like Kola Ajeyemi, Bimbo Akintola, Ini Edo, Chimezie Imo, Lizzy Jay, Ololade Okunsanya, Ronke Odusanya, IK Ogbonna, Olumide Oworu, Adebimpe Oyebade, and many others.
One of the joyful things is that when you watch this movie, you will laugh out your sorrow. It has the action part where you see Madam Sharon, who claims to be a philanthropist but yet does her dirty jobs underneath. There are a lot of things you won't want to miss in this movie because it's worthwhile. The cinematography is really top-notch, the graphics really caught my attention, the effect was perfect, and the music and the sound effects were really top-notch. Truly, the social media lifestyle is really shit.
One of the most interesting and intriguing things is that the most popular Mr. Portable, whom we all know as Zazu, also featured in this movie and other supporting artists. There are some things we find so attractive in a movie when we watch, and also we find some not attractive to watch and some it are;
What I like;
The movie is very entertaining.
It's filled with action and comedy at the same time.
It's captivating.
I love the atmosphere in the movie and also the fiction in the movie.
I like how Yetunde has been exposed at every instance where she lied.
source
What I don't like;
1. I feel like the start of the movie does not really soothe well.
2. The movie was not too direct, and it lacks pace.
Rating: I would love to rate this movie 9 out of 10.
In conclusion, Alakada is just a blockbuster. It's a movie that is filled with comedy and also a series of dramatic scenes and characters you just don't want to miss. If you really want to watch a movie that will make you so entertained, and you want to learn something good from it. This movie is one that I can recommend to anyone. I hope you enjoy this as you plan to watch and share your thoughts about it.
Muy buenas mi gente bella espero tengas todos un gran dia, hoy seguimos con nuetra revista conmemorando los dramticos de nuestro pais Venezuela. Asi que disfreten del recuerdo del dramatico de este dia.
Portada realizada por mi.
INTRODUCCIÒN.
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Sabrina fue una telenovela venezolana realizada por RCTV en 1976, con una extensa duración y emitida en horario vespertino. Se convirtió en un gran fenómeno de audiencia, especialmente a la 1:00 p.m., y ayudó a fijar a sus protagonistas como figuras populares del melodrama venezolano.
-Título: Sabrina.
-Canal: RCTV.
-Año de emisión: 1976-1977.
-Protagonistas: Helianta Cruz, Jorge Palacios.
-Otros miembros del elenco: Chony Fuentes, Hilda Carrero, Gioia Lombardini, Roberto Gray, Agustina Martín, Carlos Olivier, Zulay García, Fernando Ortega, entre otros.
-Director: Ibrahín Guerra.
-Guion & adaptación: Olga Ruilópez originariamente, con versiones libres de Mercedes Antón y María Antonieta Gómez.
-Número de episodios: Aproximadamente 507 capítulos de media hora cada uno.
-Género: Melodrama romántico, con conflictos familiares, identidad, traición, redención.
Sabrina es una joven humilde, que vive con su madre, su hermano delincuente juvenil y un hombre en silla de ruedas al que cree su padre, pero que en realidad no lo es.
Ella trabaja como secretaria de Alberto, un hombre casado con Blanca, quien finge estar inválida para mantener el control sobre su esposo. Sabrina y Alberto se enamoran. Blanca descubre la relación y usa engaños para separarlos.
Más adelante, se descubre que el hombre en silla de ruedas no es su padre real; su verdadero padre es un millonario que la ha buscado durante años. Alberto se divorcia de Blanca y se casa con Sabrina, al darse cuenta de que Blanca ha fingido su incapacidad.
La felicidad de Sabrina no es permanente: sufre un accidente que la deja paralítica. Blanca le quita a su hijo, que Sabrina tuvo con Alberto, haciéndole creer al muchacho que Sabrina es mala y que lo abandonó. Pasado el tiempo, el hijo ya adulto, confronta esas mentiras. Al final, Sabrina recupera la movilidad, se reconcilia con su padre biológico y logra reunirse con su hijo y con Alberto, mientras Blanca muere.
Sabrina tuvo un gran impacto en la audiencia del mediodía. Fue un éxito que consolidó la fama de Helianta Cruz y Jorge Palacios como pareja protagónica en las tardes.
Uno de los factores fuertes de la producción fue su combinación de deseo romántico con un alto nivel de drama: identidades falsas, traiciones, antagonismo fuerte (el personaje de Blanca), enfermedades, robo de identidad afectiva, etc. Esto la hizo muy atractiva para quienes seguían novelas con emociones intensas.
También destaca la extensión de la historia (más de 500 episodios), lo que permitió desarrollar tramas secundarias, personajes intermedios complejos y mantener el interés durante mucho tiempo.
Técnicamente, se le reconoce una estructura clásica del melodrama sesentero-setentero venezolano: escenarios de contraste entre lo humilde y lo adinerado, sacrificios personales, amores imposibles, engaños, redención final.
Sabrina (1976-1977) es una de esas telenovelas que definieron la fórmula del éxito de RCTV en ese período: una protagonista con fuertes conflictos personales, antagonistas muy definidos, engaños que se extienden por años, reconciliaciones dramáticas, y una audiencia que se identificaba con lo emocional.
Se le puede considerar un clásico dentro del melodrama venezolano de los 70, tanto por su popularidad como por cómo articuló temas de identidad, justicia, maternalidad y amor.
Bueno mi gente bella espero que sea de su agrado esta ediciòn de la revista y que les traiga mucha nostalgia y recuerdos, y recuerden suguimos dia a dia en la publicaciòn de esta revista digital sobre las telenovelas de nuestro pais. Nos vemos en la proxima mil bendiciones.
Saludos cinéfilos de #CineTV. Tenía pensado hacer un post sobre The Last of Us apenas terminó el estreno de su segunda temporada, pero al final no hice nada porque al ver tantos posts sobre ella en ese momento decidí dejar la mía para después y después se me olvidó. Pero ya estoy de nuevo por aquí para darles mi opinión al respecto.
Greetings #CineTV moviegoers. I was planning on making a post about The Last of Us as soon as the second season premiered, but I ended up not doing anything because I saw so many posts about it at the time that I decided to leave mine for later and then forgot about it. But now I'm back to give you my opinion on the matter.
Y para muchos tal vez sea un post más pero para mí es una publicación especial ya que esta serie me tocó el corazón desde el primer capítulo que vi de ella en su primera temporada. Además de que conozco el juego más nunca lo he jugado pero sé de qué iría la trama y sé que el video juego es una nota y también ha recibido muy buenas críticas por el desarrollo de su historia.
And for many, this may be just another post, but for me, it's a special one, as this series touched my heart from the first episode I saw in its first season. Besides being familiar with the game, I've never played it, but I know what the plot is about, and I know that the video game is a notable one and has also received rave reviews for its story development.
HBO como siempre es una empresa de televisión que se caracteriza por siempre ir un paso más allá de su competencia. Arriesgándose a elaborar series basadas en hechos reales, de ficción, de algún libro famoso o en este caso de un video juego muy popular entre los jóvenes.
HBO, as always, is a television company known for always going one step further than its competitors. It takes risks by creating series based on real events, fiction, a famous book, or, in this case, a video game that is very popular among young people.
Pero, lo que más me agrada de esta empresa es que se mantiene firme y fiel a la historia previamente desarrollada en libros o video juegos, dándole a los fans una serie de detalles con actuaciones increíbles y memorables que son dignas de aclamar por la audiencia a un nivel descomunal.
But what I like most about this company is that it remains firm and faithful to the story previously developed in books or video games, giving fans a series of details with incredible and memorable performances that are worthy of acclaim from the audience at a tremendous level.
Pasó con Juego de Tronos y está pasando ahora con The Last of Us. Y aunque actualmente muchas personas critiquen a Pedro Pascal por abarcar tantas series y películas bajo su protagonismo, yo soy de las que prefiere sentirse feliz por él, por alcanzar el auge de su carrera y disfrutar su momento a todo dar. Para mí, él se lo merece. Es un actor increíble que sabe conectar con el público.
It happened with Game of Thrones and it's happening now with The Last of Us. And although many people currently criticize Pedro Pascal for starring in so many series and films, I'm one of those who prefer to feel happy for him, for reaching the peak of his career and enjoying his moment to the fullest. For me, he deserves it. He's an incredible actor who knows how to connect with the audience.
Y para esta segunda temporada, como era de esperarse, apenas terminó la primera parte, lamentablemente me hice spoiler y creo que a muchos también les pasó, que se enteraron de la noticia de que Joe no trabajaría más en la serie porque moriría en la segunda temporada. Yo, como toda fan, indagué en internet para corroborar la información y resultó ser cierta.
And for this second season, as expected, the first part had barely ended. Unfortunately, I got a spoiler, and I think many others did too. They heard the news that Joel would no longer be working on the series because he would die in the second season. Like any fan, I searched the internet to corroborate the information, and it turned out to be true.
Sin embargo, no quise profundizar mucho en el tema para no enterarme cómo moría. Además mi hermano, quien es un gran fan del video juego me cofirmó lo que pasaría pero le insistí que no me diera detalles de ningún tipo sobre su muerte. Y luego de ver los dos primeros capítulos, todo fue tan repentino que quedé en shock.
However, I didn't want to delve too deeply into the subject, so I wouldn't find out how he died. Also, my brother, who's a huge fan of the video game, confirmed what would happen, but I insisted he not give me any details about his death. And after watching the first two episodes, everything happened so suddenly that I was in shock.
Además la forma en la que murió, me resultó tan injusta y cruel. O sea, no entiendo por qué le dieron ese final. Así que apoyo a Ellie a que lleve a cabo su venganza y proclame la justicia que merece Joel por morir así.
Also, the way he died seemed so unfair and cruel to me. I mean, I don't understand why they gave him that ending. So I support Ellie in carrying out her revenge and proclaiming the justice Joel deserves for dying like that.
En cuanto a la actuación de Bella Ramsey me parece que hizo un trabajo estupendo con su papel, ella me resulta una excelente actriz y soy su fan desde que la vi actuar en Juego de Tronos. Así que apenas supe que ella sería la protagonista para The Last of Us me sentí feliz y sabía que haría un gran trabajo.
As for Bella Ramsey's performance, I think she did a fantastic job with her role. I think she's an excellent actress, and I've been a fan of hers since I saw her act in Game of Thrones. So as soon as I found out she was going to be the lead in The Last of Us, I was thrilled and knew she'd do a great job.
Por otro lado debo agregar que la segunda temporada, a pesar de tener una introducción bastante impactante, su desarrollo tomó un tono muy conmovedor y sutil, en la que muestran la relación familiar que existió entre Joel y Ellie luego de haber llegado al ayuntamiento.
On the other hand, I must add that the second season, despite having a rather shocking introduction, its development took on a very moving and subtle tone, in which they show the family relationship that existed between Joel and Ellie after arriving at the city hall.
Ver todo lo que Joel hizo por ella, cómo le demostró con detalles tan simples pero enormemente importantes, lo mucho que la amaba para mí fue lo más hermoso de la segunda temporada. Además de ver tantos detalles en escenografía, ambiente y ni hablar de los efectos de maquillaje. Para mí todo fue hecho por fans para fans.
Seeing everything Joel did for her, how he showed her how much he loved her with such simple yet enormously important details, was the most beautiful thing about season two for me. Not to mention seeing so many details in the sets, the atmosphere, and the makeup effects. For me, everything was made by fans for fans.
Por ahora sólo me resta esperar por la tercera temporada y entender finalmente el punto de vista de Abby. Porque en esta historia, por lo que tengo entendido según la trama del videojuego, es que cada quien tiene su bando y todos tienen razones justas para hacer lo que hicieron. Por lo que no se pueden considerar villanos a todo el que hace algo para ajustar cuentas. Por mantenerme al filo de la silla y conmoverme con su trama, yo le otorgo sus bien merecidas:
For now, all I have to do is wait for the third season and finally understand Abby's point of view. Because in this story, from what I understand based on the video game plot, everyone has their own side, and everyone has justifiable reasons for doing what they did. Therefore, not everyone who does something to settle scores can be considered a villain. For keeping me on the edge of my seat and moving me with her plot, I give her her well-deserved awards:
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|[Imagen de Portada 【Cover Image】](https://www.imdb.com/es/title/tt3581920/mediaviewer/rm3909955073/?ref_=ttmi_mi_635_1)|
|[Imágenes Usadas a lo Largo del Post 【Images Used Throughout the Post】](https://www.filmaffinity.com/ve/filmimages.php?movie_id=845402)|
|Edición hecha con 【Edited with】[Canva](https://www.canva.com/)|
|Traducción hecha con 【Translation made with】[Traductor Google Translate](https://translate.google.com/?hl=es&tab=TT)|
El género del terror es uno que a mi modo de ver ha venido haciendo las cosas un poco mejor de lo que se había visto en un pasado reciente, últimamente siento que están saliendo mejores películas, films originales, cosa que es importante, por lo que mi fe en el género de nuevo está aumentando. Weapons está llamado a ser una de los mejores films del año, así lo dice la crítica y es que con una historia muy atractiva, un elenco decente y un director que sabe lo que es estar involucrado en películas de este estilo (Barbarian - Companion) esta trama llega para darle a los espectadores un cóctel o combinación de estilos que hacen que las dos horas de film sean bien inquietantes.
The horror genre is one that, in my opinion, has been doing a bit better than what we've seen in the recent past. Lately, I feel like better, more original films are coming out, which is important, so my faith in the genre is once again growing. Weapons is set to be one of the best films of the year, according to the critics. With a very engaging story, a decent cast, and a director who knows what it's like to be involved in films of this style (Barbarian Companion), this plot arrives to give viewers a cocktail or combination of styles that make the two-hour film quite disturbing.
Estamos en un pueblo promedio en los Estados Unidos, uno tranquilo, de esos en donde pasan pocas cosas. Un día Justine (Julia Garner) llega al colegio en donde es maestra para dar su clase pero se da cuenta que de los 18 alumnos que están a su cargo solo fue a clase uno solo, es decir, hay 17 niños desaparecidos. Esto como es obvio prende las alarmas del pueblo haciendo que los padres exigen respuestas al mismo tiempo que señalan a Justine como una de las responsables. La frustración y la falta de avances en el caso hace que nuestra maestra sea objeto de un acoso incesante lo que nos lleva a pensar si de verdad ella está detrás de todo o no. Pronto sabríamos la verdad.
We're in an average town in the United States, a quiet one, one where little happens. One day, Justine (Julia Garner) arrives at the school where she teaches to teach her class, but she realizes that only one of the 18 students in her care showed up—that's 17 missing children. This obviously sets off alarm bells in the town, causing parents to demand answers while pointing fingers at Justine as one of those responsible. Frustration and the lack of progress in the case lead our teacher to be the target of incessant harassment, which leads us to wonder whether she's really behind it all. We would soon learn the truth.
Además de ella hay otros 5 protagonistas en los que se centra la trama, de hecho la película está dividida en 6 actos que vienen siendo las perspectivas de los hechos según cada personaje. La trama la encontré muy interesante, es una que te mantiene alerta en todo momento porque como dije hay una mezcla de thriller psicológico, suspenso, terror, hay unas pinceladas de comedia negra, por momentos es muy grotesca y evidentemente tiene una violencia innata en muchas de las acciones que terminamos viendo. No entiendo como hay personas que la catalogan "sencilla". Creo que es una propuesta arriesgada que terminó saliendo bastante bien. Se los adelanto pero para mi es una buena película de terror.
Besides her, there are five other protagonists on whom the plot focuses. In fact, the film is divided into six acts, which are the perspectives of the events according to each character. I found the plot very interesting; it keeps you on your toes at all times because, as I said, it's a mix of psychological thriller, suspense, horror, and there are touches of black comedy. At times, it's very grotesque, and there's obviously an innate violence in many of the actions we end up seeing. I don't understand how some people classify it as "simple." I think it's a risky proposition that ended up turning out quite well. I'll tell you in advance, but for me, it's a good horror film.
¿Y por que para mi es buena? - pues porque desarrolla muy bien todos los elementos que les nombré antes. Constantemente hay una intriga en el ambiente por saber qué está pasando y quién puede estar detrás de los hechos; el suspenso y el misterio es claro porque pareciera que hay algo paranormal que se esconde en ese pueblo, esto es muy sugerente siempre; el terror porque hay par de escenas que son los jumpscare que puede que los veas venir pero igualmente funcionan a la perfección, esto va de la mano con el personaje central del film, la tía Gladys (Amy Madigan) quien es alguien verdaderamente perturbador. Y finalmente la parte grotesca porque no se esconde en mostrar diversas muertes súper llamativas y vistosas que para mi son un plus.
And why do I think it's good? Well, because it develops all the elements I mentioned before very well. There's a constant intrigue in the air to find out what's happening and who could be behind the events; the suspense and mystery are clear because it seems like there's something paranormal lurking in that town, which is always very suggestive; the horror because there are a couple of jump scares that you might see coming but still work perfectly; this goes hand in hand with the film's central character, Aunt Gladys (Amy Madigan), who is truly disturbing. And finally, the grotesque part because it doesn't shy away from showing various super-striking and eye-catching deaths, which for me are a plus.
A parte de Garner y Madigan tenemos a Josh Brolin, Austin Abrams y Benedict Wong como protagonistas. Creo que todos hicieron buenas interpretaciones, hay varios en donde la exigencia fue un poco mayor por lo que si, en líneas generales es un film con buenas actuaciones. Creo que la tía Gladys será sensación en el próximo Halloween, realmente es un muy buen personaje, todo lo que la rodea, la oscuridad que hay en ella; su forma de actuar; es la imagen perfecta del terror. Y hago un comentario especial para Julia Garner, soy fan de ella, todavía estoy esperando verla actuar mal, todos sus trabajos los hace a la altura.
Aside from Garner and Madigan, we have Josh Brolin, Austin Abrams, and Benedict Wong in the leads. I think they all gave good performances, but there are several where the challenge was a little higher, so yes, overall it's a film with good performances. I think Aunt Gladys will be a sensation next Halloween; she's a really good character, everything that surrounds her, the darkness within her, her way of acting; she's the perfect image of terror. And I have a special comment for Julia Garner. I'm a fan of hers, and I'm still waiting to see her act badly; she's done it on top of all her work.
En fin, como digo en el título pareciera que el terror de a poco está reviviendo o por lo menos eso quiero pensar. Si eres amante del género este film es uno que tienes que ver, está dando de qué hablar pero para bien. Le doy un 8.5/10. Siempre voy con las expectativas al mínimo y resulta que terminó siendo una gran sorpresa. Dura como 2 horas. Les dejo el tráiler por acá abajo.
Well, as I say in the title, it seems like horror is slowly making a comeback, or at least that's what I'd like to think. If you're a fan of the genre, this film is a must-see; it's generating buzz, but in a good way. I give it an 8.5/10. I always go in with minimal expectations, and it turns out to be a great surprise. It's about two hours long. I'll leave the trailer below.
In 1960, Alfred Hitchcock (a true genius of the Seventh Art, who made suspense his first and only home in cinema, becoming a classic and timeless figure for the legacy he built throughout his career) shocked the world with the release of Psycho, a high-quality psychological thriller about a mentally disturbed man. The screenplay was based on a book of the same name by Robert Bloch (which had been released the previous year), and brought to the screen major issues that, for society at the time, were seen as completely "out of touch" due to their "controversial" nature at the height of their "boldness" (which perplexed audiences at the time).
The movie adaptation also used, somewhat vaguely, some real cases (such as that of the Wisconsin murderer, Ed Gein), and embracing a very interesting creative freedom throughout its social and quite complex context (psychologically speaking), Bloch himself helped write part of the script for this film (alongside Joseph Stefano), thus delivering to Hitchcock a true cinematic treasure ready to carve his name within the legacy of American cinema (something that the skilled, demanding and methodical filmmaker managed to do, without great effort, paving - and sedimenting - the suspense genre as one of the most promising in the history of cinema).
In the plot, Marion Crane is a secretary who makes a misstep by robbing the firm where she works. Afterward, she hopes to start her life over somewhere else and decides to travel in a specific direction, but ends up being surprised by a storm in the middle of the road while traveling by car. Forced to take shelter somewhere and wait for the bad weather to improve, she ends up staying at a roadside hotel. The place is run by the friendly and helpful (at least at first glance) Norman Bates. However, when Marion mysteriously disappears, her sister and her lover decide to investigate what happened and are surprised by an unimaginable secret.
An intricate plot with major plot twists (in fact, defying the standards of scripts from that decade... by relying on decisions that clashed with what the audience was already expecting, offering them an immersion within this narrative, so well-orchestrated in its argumentative basis), brought to life through a fast-paced, intelligent script and performed by a top-notch cast. The (more than obvious) highlights are Anthony Perkins (playing an unforgettable antagonist) and Janet Leigh (a protagonist who revolutionized the narrative with her impact). It's also worth noting the technical aspects, such as the cinematography, set design, and especially the brutal soundtrack.
Psycho is a highly transgressive, impactful, and visceral movie, primarily because it was so far ahead of its time. Few people understood its true meaning at the time, so much so that its recognition came relatively late (but fortunately, it did happen). Today, this project even serves as study material in psychology courses worldwide. Surprising from start to finish, this film represents the great black-and-white film genre within an argumentative context that is deeply reflective, inherently challenging. An impeccable classic from the unforgettable master of cinema, Alfred Hitchcock.
Concurso CineTV: “Psicosis”, una inmersión total en la complejidad de una mente perturbada.
En 1960, Alfred Hitchcock (un auténtico genio del Séptimo Arte que hizo del suspense su primer y único hogar en el cine, convirtiéndose en una figura clásica e intemporal por el legado que construyó a lo largo de su carrera) conmocionó al mundo con el estreno de Psicosis, un thriller psicológico de gran calidad sobre un hombre con problemas mentales. El guion se basaba en el libro homónimo de Robert Bloch (publicado el año anterior) y trajo a la pantalla importantes problemas que, para la sociedad de la época, se consideraban completamente ajenos a la realidad debido a su naturaleza controvertida en el auge de su audacia (lo que desconcertó al público de la época).
La adaptación cinematográfica utilizó también, de forma un tanto vaga, algunos casos reales (como el del asesino de Wisconsin, Ed Gein), y abrazando una libertad creativa muy interesante en todo su contexto social y bastante complejo (psicológicamente hablando), el propio Bloch ayudó a escribir parte del guión de esta película (junto a Joseph Stefano), entregando así a Hitchcock un verdadero tesoro cinematográfico dispuesto a labrar su nombre dentro del legado del cine norteamericano (algo que el habilidoso, exigente y metódico cineasta consiguió hacer, sin grandes esfuerzos, pavimentando - y sedimentando - el género del suspense como uno de los más prometedores de la historia del cine).
En la trama, Marion Crane es una secretaria que comete un error al robar la empresa donde trabaja. Después, espera empezar de cero en otro lugar y decide viajar en una dirección específica, pero una tormenta la sorprende en medio de la carretera mientras viaja en coche. Obligada a refugiarse en algún lugar y esperar a que mejore el mal tiempo, termina alojándose en un hotel de carretera. El lugar está regentado por el amable y servicial (al menos a primera vista) Norman Bates. Sin embargo, cuando Marion desaparece misteriosamente, su hermana y su amante deciden investigar lo sucedido y se sorprenden con un secreto inimaginable.
Una trama intrincada con grandes plot twists (que, de hecho, desafía los estándares de los guiones de la década... al basarse en decisiones que chocaban con las expectativas del público, ofreciéndole una inmersión en esta narrativa, tan bien orquestada en su base argumental), cobra vida gracias a un guion ágil e inteligente, interpretado por un elenco de primera. Los momentos más destacados (más que obvios) son Anthony Perkins (interpretando a un antagonista inolvidable) y Janet Leigh (una protagonista que revolucionó la narrativa con su impacto). También cabe destacar los aspectos técnicos, como la fotografía, la escenografía y, sobre todo, la brutal banda sonora.
Psicosis es una película sumamente transgresora, impactante y visceral, principalmente por su gran adelanto a su tiempo. Poca gente comprendió su verdadero significado en aquel entonces, tanto que su reconocimiento llegó relativamente tarde (pero afortunadamente, sucedió). Hoy en día, este proyecto incluso sirve como material de estudio en cursos de psicología de todo el mundo. Sorprendente de principio a fin, esta película representa el gran género cinematográfico en blanco y negro en un contexto argumentativo, profundamente reflexivo y, por naturaleza, desafiante. Un clásico impecable del inolvidable maestro del cine, Alfred Hitchcock.
Esta publicación es mi entrada para el Concurso CineTV #144, que está siendo promovido por la comunidad CineTV.
Concurso CineTV: “Psicose”, um mergulho de cabeça na complexidade de uma mente perturbada.
Em 1960, Alfred Hitchcock (um verdadeiro gênio da Sétima Arte, que fez do suspense à sua primeira e única casa dentro do cinema, tornando-se então uma figura clássica e atemporal pelo legado que foi construído ao longo de sua carreira) chocou o mundo ao lançar Psicose, um suspense psicológico de alto nível sobre um homem mentalmente perturbado. O roteiro foi baseado em um livro homônimo escrito por Robert Bloch (que foi lançado no ano anterior), e trouxe para as telas grandes assuntos que, para a sociedade daquela época, eram vistos como algo totalmente “fora da realidade” por ser bem “controverso” no auge da sua “ousadia” (que trouxe perplexidade ao público na época de seu lançamento).
A adaptação cinematográfica também usou, de maneira um tanto quanto vaga, alguns casos reais (como o do assassino de Wisconsin, Ed Gein), e abraçando uma liberdade criativa interessantíssima por todo o seu contexto social e bastante complexo (psicologicamente falando), o próprio Bloch ajudou a escrever parte do roteiro deste filme (ao lado de Joseph Stefano), entregando então para Hitchcock um verdadeiro tesouro cinematográfico prestes a cravar o seu nome dentro do legado do cinema americano (algo que o hábil, exigente e metódico cineasta conseguiu fazer, sem grandes esforços, pavimentando - e sedimentando - o gênero do suspense como um dos mais promissores dentro da história do cinema).
Na trama, Marion Crane é uma secretaria que dá um passo em falso ao roubar a firma onde ela trabalha. Após isso ela espera recomeçar à sua vida em outro lugar, e decide viajar em rumo definido, mas acaba sendo surpreendida por uma tempestade no meio da estrada enquanto viajava de carro. Sendo obrigada a se abrigar em algum lugar e esperar esse tempo ruim melhorar, ela acaba se hospedando em um hotel de beira de estrada. O local é administrado pelo simpático e prestativo (ao menos à primeira vista) Norman Bates. No entanto, quando Marion desaparece misteriosamente, sua irmã e o amante dela decidem investigar o que aconteceu e acabam sendo surpreendidos por um segrego inimaginável.
Uma trama intricada e com grandes plot twists (aliás, desafiando os padrões dos roteiros daquela década... por apostar em decisões que iam de encontro ao que o público já estava esperando, o que lhes oferecia uma imersão dentro dessa narrativa muito bem orquestrada na sua base argumentativa), que ganhou vida através de um roteiro ágil, inteligente e que foi interpretado por um elenco de primeira qualidade. Os destaques (mais do que óbvios) são Anthony Perkins (vivendo um antagonista inesquecível) e Janet Leigh (uma protagonista que revolucionou pelo seu impacto narrativo). Vale à pena reconhecer também aspectos técnicos, como fotografia, cenografia e principalmente a trilha sonora brutal.
Psicose é um filme altamente transgressor, impactante, visceral, principalmente por estar muito à frente do seu tempo. Poucas pessoas conseguiram entender o que ele realmente significava na época, tanto que o seu reconhecimento foi relativamente tardio (mas felizmente acabou acontecendo), e hoje, esse projeto funciona até como material de estudo em cursos de Psicologia mundo à fora. Surpreendente do início ao fim, eis aqui o filme que representa a grande galeria dos filmes em preto e branco dentro de um contexto argumentativo extremamente reflexivo pela sua essência que se mostra como algo naturalmente desafiador. O clássico irretocável do inesquecível mestre do cinema, Alfred Hitchcock.
Este post é a minha participação para o Concurso CineTV #144, que está sendo promovido pela comunidade CineTV.
What struck me most about Spy X Family wasn’t just the premise—though it’s wild and clever enough to hook anyone. A spy who needs a fake family, an assassin who pretends to be his wife, and a little girl with telepathic powers? On paper, it sounds like chaos waiting to happen. But watching it unfold felt surprisingly tender, like beneath all the espionage and ridiculous misunderstandings, the story is really about people learning to love each other without meaning to.
Honestly speaking, the heart of the show is Anya. The manner in which she misunderstands the circumstances, shouts out the funniest things and makes those gross faces--I lost count of the amount of time she caused me to laugh outright. This is one of those instances when she attempts to impress at school so much that it is both funny and heartbreaking since you can only see how she is trying to ensure that she fits in. That struck me in that, who has not been there? An attempt to assert oneself, the attempt to become part of a world that is too large to you? Depending on how difficult it was to watch her struggle, and then to watch her little successes, made me cheer her in a manner that startled me.
However, there are the gut-punch moments. Loid (or Twilight) is allegedly this cold, calculating spy, and yet when he warms up on Anya, when he loses an instant that this is a mission, it was breaking me. You can sense the kind of desire he feels to protect her and not because it is his task, but something real is beginning to develop in him which he does not know what to call. One scene is when he asks himself whether he is doing enough to her, and I can tell it was like a silent thunderclap. It was at this moment that the show ceased to be fun, and something I have carried with me.
Yor had brought, as well, superstrata which I had not anticipated. Surface-wise she is deadly, graceful and nearly comically awkward at home. However, the instances of her loneliness oozing through, as she questions whether she is good enough as a wife or a mother, despite this family being a fake one in technical terms, hurt. It reminded me of the frequency with which people conceal their insecurities with competence or humor. She desires to be a part of it as much as Anya does and that strand of longing holds them all together.
The thing that left the anime in my head was the fact that it was absurd and, at the same time, sincere. One second I could be laughing at the wild heh face of Anya, and the next second I could have this lump in my throat when Loid was able to tell me in his own manner that this so-called fake family was coming home. It was the whiplash between comedy and silent emotion that made it memorable, because that is what real life is all about, having joy and pain intertwined all the time.
When I fell behind with the episodes, I came to a conclusion: it is not about spies or assassins and secret missions that Spy X Family is about. It is about a discovered family, how love creeps in between the cracks even when you are trying to keep it out. It is about how those people who begin by pretending to be something can end up creating something that is real, something to fight.
then what was it like to watch. Similar to being duped into laughter until your stomach aches only to realize that you had been robbed of your heart in the process. And honestly? It is the type of anime I will never leave.
Thumbnail is designed by me on pixelLab and other images are screenshot from the movie
Luis Estrada's latest film was ¡Que viva México! and it generated some controversy. There was a lot of negative criticism of the film, it upset a lot of people. I liked it and defended it in my publication a couple of years ago. I agreed that the film was quite long, but I laughed a lot. It also helped that I have been a fan of Luis Estrada's films since I saw La Ley de Herodes and his subsequent films.
A characteristic feature of his films is that they always portray Mexican idiosyncrasies. In his latest film, he went to extremes, exaggerating everything that popularly characterizes Mexicans, and that caused a lot of controversy. Many people were upset by the portrayal he made at that time, even though he had done it quite successfully in other films. He uses satire and black humor to show the flaws and virtues of his people, which I find brilliant and entertaining. I understand that some people are upset by it, because being portrayed in this way is sometimes unpleasant.
Las Muertas has all the good things he has shown in his filmography over the years. It captures a time when all the problems that are still present in his country's society already existed. Politicians and corruption, two words destined to always be together, especially in the countries of our hemisphere. In this film, Estrada adapts a novel inspired by real events, written by one of the great writers of Spanish America: Jorge Ibargüengoitia.
I haven't read the novel, but I knew about the case that inspired it because I had read about it years ago on an old website about murderers that no longer exists. I think there's also a movie about that case, but it's very old and I've never seen it. If anyone has read the novel and has the opportunity to watch the miniseries, I'd like to know what you think of Estrada's adaptation.
La última película de Luis Estrada fue ¡Que viva México! y generó cierta polémica. Hubo muchas críticas negativas a la película, molestó a mucha gente. A mí me gustó y la defendí en mi publicación de hace un par de años. Estaba de acuerdo en que la película era bastante larga, pero me reí mucho. También influyo el que soy fan del cine de Luis Estrada desde que vi La Ley de Herodes y sus siguientes películas.
Algo característico de sus películas es que siempre retratan la idiosincrasia mexicana. En su última película se fue a los extremos, exagerando todo lo que popularmente caracteriza a los mexicanos, y eso causó mucha controversia. A mucha gente le molestó el retrato que hizo en ese momento, a pesar de que lo había hecho con bastante éxito en otras películas. Utiliza la sátira y el humor negro para mostrar los defectos y virtudes de su pueblo, lo que me parece brillante y divertido. Entiendo que a algunos les moleste, porque verse retratado a veces no es agradable.
Las Muertas tiene todo lo bueno que ha mostrado en su filmografía a lo largo de los años. Plasma una época en la que ya existían todos los problemas que aún están presentes en la sociedad de su país. Políticos y corrupción, dos palabras destinadas a estar siempre juntas, sobre todo en los países de nuestro hemisferio. En esta película, Estrada adapta una novela inspirada en hechos reales, escrita por uno de los grandes escritores de hispanoamerica: Jorge Ibargüengoitia.
No he leído la novela, pero conocía el caso que la inspiró porque lo había leído hace años en una vieja web sobre asesinos que ya no existe. Creo que también hay una película sobre ese caso, pero es muy antigua y nunca la he visto. Si alguien ha leído la novela y tiene la oportunidad de ver la miniserie, me gustaría saber qué opina de la adaptación de Estrada.
The real case that inspired the novel and this adaptation is that of the macabre González Valenzuela sisters. A family that committed horrible crimes against women who worked as prostitutes. In the miniseries, they have another name, Las Hermanas Baladro, and I think that, as in the novel, several of the facts have been changed. They are still terrible, but the real events were worse than those shown in this fiction. It was a case that shocked Mexican society at the time, and the murderers became famous, largely due to the influence of the media, something that is clearly shown in the miniseries.
The photography and setting are very well done, giving it that traditional rural Mexican feel. Estrada also manages to play with genres in each episode. Each chapter is like a mini-movie. The last episode is the longest and the one that tired me a little; the whole trial part feels long, but overall, it's an excellent miniseries.
The cast is fantastic. The filmmaker brings out the best in each of them. Arcelia Ramírez is brilliant as Arcangela Baladro, the madam and leader. Her character is a real bitch. Paulina Gaitán is fabulous. What a character and performance, as well as showing a lot of flesh for the enjoyment of the male viewer. Although her sex scenes with Joaquin Cosio's Cochiloco can cause disgust and laughter. I still call Cosio El Cochiloco since he played that character in El infierno, also by Luis Estrada. Cochiloco plays Captain Bedoya, a very influential character in the Baladro sisters' chain of torture and murder. Another actor who shines in his role is Mauricio Isaac, playing the prostitute and accomplice nicknamed La Calavera. Yes, this man plays a woman, but he gets a 10/10.
There are only six episodes, and you're going to enjoy a great production by Luis Estrada. I also invite you to look for other films in his filmography and watch them. This miniseries is available on Netflix, and I recommend it so you can enjoy it and then look up information about the real case, which was even more shocking.
Tell me what you think in the comments.
El caso real que inspiró la novela y esta adaptación es el de las macabras hermanas González Valenzuela. Una familia que cometió horribles crímenes contra mujeres que ejercían la prostitución. En la miniserie tienen otro nombre, Las Hermanas Baladro, y creo que, como en la novela, se han modificado varios de los hechos. Siguen siendo terribles, pero los hechos reales fueron peores que los que se muestran en esta ficción. Fue un caso que conmocionó a la sociedad mexicana de la época, y los asesinos se hicieron famosos, en gran parte por la influencia de los medios de comunicación, algo que se muestra claramente en la miniserie.
La fotografía y la ambientación están muy cuidadas, dándole ese aire tradicional del México rural. Estrada también consigue jugar con los géneros en cada episodio. Cada capítulo es como una minipelícula. El último episodio es el más largo y el que me cansó un poco; toda la parte del juicio se siente larga, pero en general, es una excelente miniserie.
El reparto es fantástico. El cineasta saca lo mejor de cada uno. Arcelia Ramírez está brillante como Arcangela Baladro, la madame y líder. Su personaje es una auténtica hija de puta. Paulina Gaitán está fabulosa. Qué personaje e interpretación, además de mostrar mucha carne para el disfrute del espectador macho. Aunque sus escenas de sexo con el Cochiloco de Joaquin Cosio pueden causar asco y risa. A Cosio le sigo llamando El Cochiloco desde que interpretó ese personaje en El infierno, también de Luis Estrada. Cochiloco interpreta al capitán Bedoya, un personaje muy influyente en la cadena de torturas y asesinatos de las hermanas Baladro. Otro actor que brilla en su papel es Mauricio Isaac, interpretando a la prostituta y cómplice apodada La Calavera. Sí, este hombre interpreta a una mujer, pero se lleva un 10/10.
Son sólo seis episodios, y vas a disfrutar de una gran producción de Luis Estrada. También te invito a que busques otras películas en su filmografía y las veas. Esta miniserie está disponible en Netflix, y te la recomiendo para que te diviertas y luego busques información sobre el caso real, que fue aún más impactante.
Dime qué opinas en los comentarios.
Gifs and separators made by me in photoshop. Translation with Deepl
I was reading through a post that @tarazkp made yesterday and it got me thinking about a Netflix movie that my wife and I had just watched. This is going to be a difficult post to write, because I don't want to give away any of the details and spoil it for you. I will do my best. If you live in the US, there is a good chance you may have heard about this. It's actually a true story and it made national news.
Spoilers may be in the comments, you have been warned!
The main reason we decided to watch this documentary was because the events took place in a town that is little more than an hour away from where we live. In fact, a couple of weekends ago our niece played with her volleyball team against the young ladies from Beal City, MI.
Being a school social worker, my wife was also interested in this movie given it deals with cyberbullying and harassment in a school setting. As a technology director, I was skeptical going into the movie, but it was only about 90 minutes long, so I figured I could be spending my evening doing more stupid things.
It actually ended up being a pretty good show and while the production quality wasn't the best and there were some things I found a bit cringy about it, it was fascinating and led to a good deal of conversation over the next couple of days.
The actual title of the show is Unknown Number: The High School Catfish. I just changed the title a bit for this post so you could know where you could find it. Before I get too far, let me say this, you will be livid after watching this. If you aren't, then you might want to check to see if something is wrong with you. It goes beyond despicable and makes you wonder how anyone could be so horrible.
The basic premise is this, a young lady and her boyfriend were dating in school (middle school, early high school), when they started getting text messages from some unknown number that were pretty filthy, mean, and harassing. This goes on for years with the police, the school, the friends, and the families having no clue what is going on or where these messages are coming from.
Years.
That's crazy. It's honestly a miracle that one of the kids didn't harm themselves after the relentless abuse. I've heard of kids doing far worse to themselves over far less. As I said before, the production quality isn't up to Hollywood standards, but it is decent. I think the thing that annoyed me the most, besides the big reveal at the end was how they used like a computerized voice to read the texts from the unknown number. It sounded stupid and I know they intended for it to seem menacing, but it just sounded lame.
I found it interesting how willing everyone was to participate in the interviews. Even and especially the school staff. Most superintendents I know and have worked for wouldn't want to participate in something like this even if they were getting paid. With public opinion being so polarizing these days, one word spoken wrong or heard wrong could be career suicide.
I think they handled it well and while some people might argue the school should have done more, I'd follow up by asking them what. As you will see from the show, it took the FBI getting involved to figure out what was going on. Schools simply don't have the resources to do the kind of forensic investigation necessary.
I think this is an example of the CSI effect, where juries think there should be all this obvious evidence in cases these days. The same is true here. People expect the tech department to just be able to pull phone dumps and look at logs and solve the mystery. Sorry, but it's not always that easy.
I can't even imagine my nieces when they were that age getting the kinds of messages that these young kids were getting. It bugs me just thinking about it honestly. As I said in the beginning of this post, the comments may contain spoilers. I don't plan on specifically posting anything in there, but I want to encourage you to talk about it if you have seen the show.
It's not that this was groundbreaking, but it's definitely one of those things you stand around the watercooler and talk about. Simply because it's so hard to wrap your head around the big reveal at the end.
On a totally separate subject, keep a keen eye out for a scene near the end of the show. They are in a house and in the background you can see a table and the table is covered with something. I'm pretty sure I know what it is, but I'd be interested in hearing if you noticed the same thing I did.
Also, if you don't feel like watching the show, just go ahead and Google Beal City, MI catfish, but trust me, it doesn't hit quite as hard unless you see or hear some of the messages that these kids were getting.
Hello everyone, my anime fanatic friends, I hope you're doing great today, this time I want to share a new review with you, I'm going to talk a little about the second season of Solo Leveling... I know, I know, you just whisper on the internet that you like it and a battalion of people come out to tell you that it's overrated, but let's be honest... sometimes you just want something that works, something that knows what it is and delivers, and believe me, Solo Leveling delivers everything... I understand why it's breaking records, they say it broke records on Crunchyroll and has viewership numbers that overshadow even the biggest ones, it has that something that hooks you... I remember when I started the first season, and yes, the first episode was brutal, super dark, almost shocking, it definitely hooked me right away. But the rest of S1, although it was good, didn't seem to maintain that same intensity for me... it felt solid, it was enjoyable, but it didn't keep me up at night, then S2 started... and what a level!
It seems like the series itself has leveled up, just like our friend Sung Jinwoo... it's almost poetic, the series literally gets more pro along with the protagonist, improving and becoming more addictive with almost every chapter, S2 was a total addiction for me... in fact, luckily I caught it already started, so I was able to binge-watch several chapters in one go, because the way they end... what a way to cut! They leave you just when things get craziest, there screaming at the screen asking for more... and that's the main hook, the series promises you one key thing: seeing Sung Jinwoo looking incredible while he smashes enemies to pieces in spectacular fights, and it delivers on that promise, the animation is simply beautiful, A-1 Pictures really showed off, the fights are super fluid, dynamic, full of flashy lights and attacks that, boom!, you feel.
You feel the impact, it's pure visual spectacle, and sometimes, that's just what you want. Is the story super innovative? Well... the truth is, no, it's pretty straightforward: the classic weak protagonist who suddenly gains a unique power and becomes OP... we've seen a thousand stories like that, but the execution here is so, so good... it's polished, it has style and it knows exactly how to keep you hooked.
Hola a todos, amigos fanáticos del anime, espero que hoy estén genial, en esta ocasión, les quiero compartir una nueva reseña, les voy a hablar un poco de la segunda temporada de Solo Leveling.. ya sé, ya sé, tú apenas susurras en internet que te gusta y te sale un batallón de gente a decirte que está sobrevalorada, pero siendo sinceros... a veces uno solo quiere algo que funcione, algo que sepa lo que es y lo cumpla, y créanme, Solo Leveling lo cumple con todo.. es que entiendo por qué la está rompiendo, dicen que batió récords en Crunchyroll y tiene números de audiencia que le hacen sombra hasta a los más grandes, tiene ese algo que te engancha.. recuerdo cuando empecé la primera temporada, y sí, el primer capítulo fue brutal, súper oscuro, casi chocante, definitivamente me enganchó al toque. Pero el resto de la T1, aunque estuvo buena, como que no mantuvo esa misma intensidad para mí.. se sintió sólida, se disfrutaba, pero tampoco me quitaba el sueño, entonces arrancó la T2... y qué nivel!
Parece que la serie misma subió de nivel, igualito que nuestro amigo Sung Jinwoo.. es casi poético, la serie literalmente se pone más pro junto al protagonista, mejorando y volviéndose más adictiva casi con cada capítulo, la T2 fue una adicción total para mí.. de hecho, por suerte la agarré ya empezada, así que pude mandarme una maratón de varios capítulos de una, porque la forma en que terminan... ¡qué manera de cortar! Te dejan justo cuando la cosa se pone más loca, ahí gritándole a la pantalla pidiendo más.. y ese es el gancho principal, la serie te promete una cosa clave: ver a Sung Jinwoo luciendo increíble mientras hace pedazos a los enemigos en peleas espectaculares, y cumple esa promesa, la animación es simplemente una belleza, A-1 Pictures realmente se lució, las peleas son súper fluidas, dinámicas, llenas de luces flashy y ataques que ¡pum!, se sienten.
Sientes el impacto, es puro espectáculo visual, y a veces, eso es justo lo que uno quiere. ¿Que si la historia es súper innovadora? Pues... la verdad, no, es bastante directa: el clásico prota débil que de la nada consigue un poder único y se vuelve OP.. ya hemos visto mil historias así, pero la ejecución aquí es tan, tan buena.. está pulida, tiene estilo y sabe perfecto cómo mantenerte enganchado.
Now, let's talk about Jinwoo himself, the guy starts out as, literally, the 'Weakest Hunter in the World', he got beaten up all the time! Watching his whole journey, how he rises in rank, is truly enjoyable, but it's not just because of the power levels, the guy as a protagonist, honestly, is well-liked... he's not one of those super loud or annoying ones, he has his motives very clear and strong: at first it's all about finding a cure for his sick mother, and that makes him super close, it gives him a solid foundation, he has his doubts, his ambitions, those moments where he looks vulnerable even though on the outside he becomes more and more serious, colder... and when it's his turn to fight... that's when you really feel the adrenaline, he transforms completely! How he analyzes fights, how he uses his powers, those intense looks he gives, the killer phrases he lets out... you get excited with him, he has that calm charisma, but with an air of danger that never stops growing... Season 2 gave us truly epic moments! Do you remember that fight against the Ice Elf in the snow? That whole part of the Red Portal was totally crazy! Not only did the fight look spectacular, but there were also those clues that there was like a higher force, pulling the strings, sending monsters with specific orders...
Then came the whole Demon Castle arc: climbing 100 floors, nothing more, nothing less, the fight against the Demon King Baran, and ending it with that brutal punch after the beating he was receiving? Pure hype, my people, but the big moment, THE big moment that I'm sure everyone is still talking about, has to be the fight against Beru, the Ant King, on Jeju Island... that whole sequence was incredibly intense... that fight was, easily, the best the series has given us so far, it wasn't just a fight and that's it; it showed Jinwoo's strategy, his speed, his enormous power, and there it was clear that he is on another level, he went from being the 'strong hunter' to being a fully-fledged 'monster'... and how good that battle looked... visually crazy!
Ahora, hablemos del mismísimo Jinwoo, el pana empieza siendo, literal, el 'Cazador más Débil del Mundo', ¡le daban unas palizas a cada rato! Ver todo su viaje, cómo va subiendo de rango, la verdad es que da gusto, pero no es solo por los niveles de poder, el tipo como prota, la verdad, cae bien.. no es de esos súper ruidosos o molestos, tiene sus motivos bien claros y fuertes: al principio todo es por encontrarle la cura a su mamá que está enferma, y eso lo hace súper cercano, le da como una base sólida, tiene sus dudas, sus ambiciones, esos momentos donde se ve vulnerable aunque por fuera se ponga cada vez más serio, más frío.. y cuando le toca pelear.. ahí sí que se siente la adrenalina, ¡se transforma por completo! Cómo analiza las peleas, cómo usa sus poderes, esas miradas intensas que pone, las frases matadoras que suelta.. e emocionas con él, tiene ese carisma tranquilo, pero con un aire de peligro que no para de crecer.. la T2 nos regaló momentos ¡épicos de verdad! ¿Se acuerdan de esa pelea contra el Elfo de Hielo en la nieve? Toda esa parte del Portal Rojo fue ¡una locura total! No solo la pelea se veía espectacular, sino que ahí nos soltaron esas pistas de que hay como una fuerza mayor, moviendo los hilos, mandando monstruos con órdenes específicas..
Después vino todo el arco del Castillo Demoníaco: ¡subir 100 pisos, nada más y nada menos, la pelea contra el Rey Demonio Baran, ¿y terminarla con ese puñetazo brutal después de la paliza que le estaban dando? Puro hype, mi gente, pero el momentazo, EL momentazo del que seguro todo el mundo sigue hablando, tiene que ser la pelea contra Beru, el Rey Hormiga, en la Isla Jeju.. toda esa secuencia fue intensísima.. esa pelea fue, fácil, la mejor que nos ha dado la serie hasta ahora, no fue solo una pelea y ya; mostró la estrategia de Jinwoo, su velocidad, su poder descomunal, y ahí sí quedó claro que está a otro nivel, paso de ser el 'cazador fuerte' a ser un 'monstruo' hecho y derecho.. y lo bien que se vio esa batalla.. una locura visual!
But be careful, it’s not all about fighting and leveling up. The series actually surprised me with some really emotional moments this season that gave it a really cool balance. The strongest, obviously, was when Jinwoo finally gets the elixir and cures his mom… after everything he’s been through, all the risks he took, the times he almost didn’t tell… seeing him finally achieve that… his reaction was perfect, this guy who doesn’t even blink when facing horrible monsters, there he was, shaking and crying with pure relief and joy. Speaking of the army, can we talk about how incredibly cool! the Shadow Army is? Seeing how it’s growing, especially with “generals” like Igris (I wish we’d seen more of him this season), the tank Iron, the mage Tusk (now powered up!), and of course, the absolute beast that is Beru, who even talks! It gives such a unique and brutal touch to Jinwoo's power set, seeing him order them around, strategize with them, even pass them items... it's like watching someone playing with the most broken necromancer build in history, Beru joining feels like his forces got a massive level boost!
Pero ojo, que no todo es pura pelea y subir de nivel, la serie la verdad me sorprendió con unos momentos bien emotivos esta temporada que le dieron un balance súper chévere, el más fuerte, obvio, fue cuando Jinwoo por fin consigue el elixir y cura a su mamá.. después de todo lo que pasó, todos los riesgos que corrió, las veces que casi no la cuenta... verlo por fin lograr eso.. su reacción fue perfecta, este tipo que ni parpadea enfrentando monstruos horribles, ahí estaba, temblando y llorando de puro alivio y alegría. Hablando del ejército, ¿podemos hablar de lo ¡increíblemente genial! que es el Ejército de las Sombras? Ver cómo va creciendo, especialmente con los "generales" como Igris (ojalá lo hubiéramos visto más esta temporada), el tanque Iron, el mago Tusk (¡ahora repotenciado!), y por supuesto, la bestia total que es Beru, ¡que hasta habla! Le da un toque tan único y brutal al set de poderes de Jinwoo, verlo darles órdenes, armar estrategias con ellos, hasta pasarles ítems... es como ver a alguien jugando con la build de nigromante más rota de la historia, que Beru se uniera se siente como que sus fuerzas pegaron un subidón de nivel ¡masivo!
Now, is the series perfect? Neeel, it's not perfect... my main complaint, or what bothered me the most, is the pace at which Jinwoo becomes so strong, so quickly... I mean, the other S-Rank hunters are already in a bad position, they were presented as the best, and Jinwoo flew over them in this S2! It leaves you wondering how anyone else is going to be able to keep up or contribute anything important in the future... well, Cha Hae-In, who seems like she's going to put in the effort... also, while Jinwoo does develop, many of the secondary characters feel kind of flat... sometimes they are introduced and boom!, they are quickly abandoned (yes, I'm talking to you, Japanese S-Ranks!). As others have said, the story itself is simple, and maybe it does take a lot of ideas from other clichés or series that we already know, but for me, how much I enjoyed it and how well done it is trumps those little things! And that ending! Phew, people! They left us totally hooked with some really interesting stuff, and on top of that, those two spooky humanoid figures talking about a "hunt" starting and spotting Jinwoo's dad?
It gives you the creeps! It leaves everything ready for Season 3 (which has to come NOW, please!, although rumors say it won't be available until 2026... sigh). So, in short... despite some criticisms about how simple it is or the pacing, I loved Solo Leveling Season 2! It delivered exactly what I wanted: incredible action, a super-engaging power trip, impressive animation, and even some emotional moments that really hit me and that I didn't expect. It's pure uncut hype, brilliantly executed... it knows its strengths and squeezes the most out of them. For sheer fun and spectacle, it's easily one of the series I've enjoyed the most lately. My rating? I have to give it a solid 9/10. I'm giving it a few points for the sometimes crazy power-up and the missing supporting characters, but it adds a ton for the incredible action, Jinwoo's journey, the emotional moments, and just for being ridiculously fun and addictive! If you just want to have a good time with some brutal fights and a super-badass protagonist, don't miss it. What did you think? And well... that's all for today. We'll see you in the next reviews, take care! Bye!
Ahora, ¿que si la serie es perfecta? Neeel, perfecta no es.. mi queja principal, o lo que más me hizo ruido, es el ritmo con el que Jinwoo se vuelve tan fuerte, tan rápido.. o sea, los otros cazadores Rango S ya casi que quedan muy mal parados, los presentaron como lo máximo, ¡y Jinwoo les pasó por encima volando en esta T2! Te deja pensando cómo alguien más va a poder seguirle el paso o aportar algo importante en el futuro... bueno, Cha Hae-In, que parece que sí le va a echar ganas.. además, mientras Jinwoo sí se desarrolla, muchos de los personajes secundarios se sienten medio planos... a veces los presentan y ¡pum!, los dejan botados rapidito (¡sí, les hablo a ustedes, Rango S japoneses!). Como ya han dicho otros, la historia en sí es simple, y quizás sí toma muchas ideas de otros clichés o series que ya conocemos, pero para mí, lo mucho que la disfruté y lo bien hecha que está le gana a esas cositas! ¡Y ese final! ¡Uff, mi gente! Nos dejaron picadísimos con unas cosas bien interesantes, y encima esas dos figuras humanoides medio tétricas hablando de que empieza una "cacería" y detectando al papá de Jinwoo? ¡Uff, te deja con escalofríos
Deja todo listo para la T3 (¡que tiene que llegar YA, por favor!, aunque los rumores dicen que hasta 2026... suspira). Así que, en resumen.. a pesar de algunas críticas que sí tienen sentido sobre lo simple o el ritmo, ¡me encantó Solo Leveling T2! Cumplió justo lo que quería: acción increíble, un viaje de poder súper atrapante, animación impresionante y hasta unos momentos emotivos que pegaron fuerte y que no me esperaba, es puro hype sin cortar, ejecutado brillantemente.. conoce sus puntos fuertes y le saca todo el jugo, por pura diversión y espectáculo, es fácil una de las series que más he disfrutado últimamente. ¿Mi calificación? Tengo que darle un sólido 9/10. Le bajo algún puntito por esa subida de poder a veces muy loca y los secundarios que les faltó, pero ¡suma un montón por hacer una increíble acción, el viaje de Jinwoo, los momentos emotivos y, simplemente, por ser ridículamente divertida y adictiva! Si solo quieren pasarla bien con unas peleas brutales y un prota mega badass no se la pueden perder. ¿Qué pensaron ustedes? Y bueno.. esto es todo por hoy, nos veremos en las próximas reseñas, cuidense mucho! Byebye!
Tell me... have you seen this anime? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this anime. You can leave me in the comments your recommendations for future publications! 😊
Cuéntame.. ¿Has visto este anime? Te ha llamado un poquito la atención? Dime que te pareció esta reseña con mi opinión, y dime si te han dado ganas de ver este anime. Puedes dejarme en los comentarios tus recomendaciones para las próximas publicaciones!! 😊
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Tengo una lista super larga de dramas viejos y no tan viejos que quiero ver, pero me concentro en ver los dramas en emisión y se me olvida, uno de esos dramas es It's Okay to Not Be Okay me llamó la atención porque he visto que lo han recomendado como uno de los mejores dramas y ahora que lo ví entiendo el porqué, aunque debo admitir que fue muy diferente a lo que esperaba, pero aún así logro enamorarme. 😍
I have a super long list of old and not so old dramas that I want to watch, but I focus on watching dramas on air and forget, one of those dramas is It's Okay to Not Be Okay it caught my attention because I've seen it recommended as one of the best dramas and now that I watched it I understand why, although I must admit it was very different from what I expected, but I still managed to fall in love with it. 😍
It's Okay to Not Be Okay, sigue la historia de tres personas Moon Kang Tae(Kim Soo Hyun ),Ko Moon Young(Seo Ye Ji) y Moon Sang Tae (Oh Jung Se).Ko Moon Young es una escritora de libros infantiles con trastorno de personalidad antisocial, conoce a Moon Kang Tea enfermero que trabaja con pacientes psiquiátricos, él tiene un hermano mayor autista Moon Sang Tea que además es fan de los libros de Ko Moon Young la historia cuenta como se involucran en sus vidas y lidian con sus demonios del pasado.
It's Okay to Not Be Okay, follows the story of three people Moon Kang Tae (Kim Soo Hyun),Ko Moon Young (Seo Ye Ji) and Moon Sang Tae (Oh Jung Se).Ko Moon Young is a children's book writer with antisocial personality disorder, she meets Moon Kang Tea a nurse who works with psychiatric patients, he has an autistic older brother Moon Sang Tea who is also a fan of Ko Moon Young's books the story tells how they get involved in their lives and deal with their past demons.
Cuando comencé a ver este drama me imaginé el típico drama ligero y para mi sorpresa me encuentro con un drama bastante oscuro y al principio debo admitir que eso me afectó un poco, me sentí como cuando voy a la nevera a tomar agua normal y resulta que es agua de coco, o sea, no sé si me explico, me gusta el agua de coco, pero si voy por agua natural y encuentro agua de coco en su lugar pues mi paladar la va a rechazar, así que al principio me costó un poco acostumbrarme pero cuando entendí que no era un drama ligero sino más bien oscuro y sombrio solo me deje llevar. 😎
When I started watching this drama I imagined the typical light drama and to my surprise I find a pretty dark drama and at first I must admit that affected me a little, I felt like when I go to the fridge to drink normal water and it turns out to be coconut water, that is, I don't know if I make myself clear, I like coconut water, but if I go for natural water and I find coconut water instead well my palate is going to reject it, so at first it took a little getting used to but when I understood that it was not a light drama but rather dark and shady I just let myself go. 😎
La historia incia contando un cuento de hadas con ilustraciones muy al estilo de Tim Burton, creo que eso fue lo que en un principio me desagrado, ya que no soy fan de Tim Burton y sus sombrias historias, me resultan escalofriantes los dibujos, pero creo que va totalmente con la escencia del drama que gira en torno a los problemas de salud mental y sí lees mi reseñas seguido sabrás que me encantan los dramas que abordan temas profundos sobre todo el tema de la salud mental.
The story starts telling a fairy tale with illustrations very much in the style of Tim Burton, I think that's what initially turned me off, as I'm not a fan of Tim Burton and his shady stories, I find the drawings creepy, but I think it totally goes with the essence of the drama that revolves around mental health issues and if you read my reviews often you will know that I love dramas that deal with deep issues especially the issue of mental health.
Este drama examima las dificultades que enfrentan las personas que sufren traumas y enfermedades mentales, a demás hace énfasis en como las relaciones tóxicas entre padres e hijos pueden descencadenar dichos problemas, es una historia bastante oscura con mucho que desentrañar, es un poco difícil de ver si lo que quieres es una comedia romántica ligera, yo me quedé enganchada porque amo las historias con misterios por resolver ya que se despierta el detective que llevo dentro de mí. 🤭
This drama examines the difficulties faced by people suffering from trauma and mental illness, it also emphasizes how toxic relationships between parents and children can trigger such problems, it's a pretty dark story with a lot to unravel, it's a bit difficult to watch if you want a light romantic comedy, I was hooked because I love stories with mysteries to solve because it awakens the detective in me.🤭
Me encantó ese mensaje de "está bien, no estar bien" los creadores hicieron un excelente trabajo para decir que está bien y es normal como seres humanos tener problemas mentales y no por eso debemos ser excluidos, en la clínica psiquiátrica en la que trabaja Moon Kang Tea, se pueden ver los casos de varios enfermos mentales y me encantó que también mostrarán sus procesos de recuperación.
I loved that message of "it's okay, not to be okay" the creators did an excellent job to say that it's okay and normal as human beings to have mental problems and not because of that we should be excluded, in the psychiatric clinic where Moon Kang Tea works, you can see the cases of several mentally ill people and I loved that they will also show their recovery processes.
Los conflictos y traumas de nuestros personajes principales no se quedaron atrás, fue realmente satisfactorio ver el crecimiento de estos personajes, la forma en la que se rompieron más de lo que ya estaban para volverse a armar me encantó, fue doloroso de ver y angustiante, pero valió por completo la pena, pienso que es otro de esos dramas para sanar y también para aprender y empatizar con las personas a nuestro al rededor que puedan estar pasando por problemas similares.
The conflicts and traumas of our main characters were not left behind, it was really satisfying to see the growth of these characters, the way in which they broke more than they already were to put themselves back together again I loved it, it was painful to watch and distressing, but it was completely worth it, I think it is another of those dramas to heal and also to learn and empathize with the people around us who may be going through similar problems.
Pero no todo es sombrío y triste, no, este drama también tiene su buena dosis de comedia, como tiene que ser y algo que me pareció no solo cómico sino también un poco inusual fue la actitud de la protagonista, creo que en este drama se intercambiaron un poco los roles el protagonista masculino era más introvertido y contenido mientras la protagonista femenina era más abierta y yo diría que bastante descarada en ocasiones 🤭 sin miedo a decir lo que piensa y siente, el hecho de fuese ella la millonaria y no el protagonista masculino le da más frescura a la trama, es bastante divertido ver a una protagonista sin pelos en la lengua, muy segura de si misma y además adinerada tomar la inciativa en una relación y más cómico aún es ver al protagonista masculino intentando de huir de todo eso. 🤣
But not everything is gloomy and sad, no, this drama also has its good dose of comedy, as it has to be and something that I found not only comical but also a little unusual was the attitude of the protagonist, I think that in this drama the roles were exchanged a little the male protagonist was more introverted and restrained while the female protagonist was more open and I would say quite brazen at times 🤭 not afraid to say what she thinks and feels, the fact that she was the millionaire and not the male protagonist gives more freshness to the plot, it's quite funny to see an outspoken, very self-confident and also wealthy protagonist taking the initiative in a relationship and even more comical is to see the male protagonist trying to run away from all that. 🤣
En cuanto a las actuaciones, como siempre un elenco de lujo, Soe Ye Ji hizo un buen trabajo interpretando a Ko Moon Young siento que nadie más que ella hubiese podido hacerlo igual, creo que fue perfecto para ella,🤩 Kim Soo Hyun pues que puedo decir de él, maravilloso como siempre,😍 pero quién definitivamente se merece una ovación de pie es Oh Jung Se quién hizo un extraordinario trabajo interpretando a un hombre autista ya lo había visto interpretar otros personajes, pero este sin duda ha sido el mejor y hasta el momento el más difícil de hacer diría yo, pero el realmente lo hizo con una naturalidad increíble quedé encantada.
As for the performances, as always a luxury cast, Soe Ye Ji did a great job playing Ko Moon Young I feel that no one else could have done it like her, I think it was perfect for her, 🤩 Kim Soo Hyun well what can I say about him, wonderful as always, 😍 but who definitely deserves a standing ovation is Oh Jung Se who did an extraordinary job playing an autistic man I had already seen him play other characters, but this was definitely the best and so far the most difficult to do I would say, but he really did it with an incredible naturalness I was delighted.
En fin, mi puntuación para este drama es 9/10 se los súper recomiendo realmente vale la pena cada capítulo. 😍
Anyway, my rating for this drama is 9/10 I super recommend it really worth every chapter. 😍
Cuéntenme en los comentarios si ya vieron este drama ¿Qué les pareció? Y si no lo han visto ¿Se animan a verlo? 😉😊
Tell me in the comments if you have already seen this drama, what did you think? And if you haven't seen it, do you dare to watch it 😉😊.
Y esto es todo por hoy, sí les gusto no olviden darle amorshito a mi post dejando un lindo comentario o dando click en el corazoncito. 💜😉😊🤭🥰
Nos vemos en un próximo post, que estén bien y Dios los bendiga, bye.🥰😘💜🌹🪷
And that's all for today, if you like me don't forget to give love to my post by leaving a nice comment or clicking on the little heart. 💜😉😊🤭🥰
See you in a next post, be well and God bless you, bye.🥰😘💜🌹🪷
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