Yesterday I finished watching this beautiful anime series, one I hadn't seen in many years, more or less since my adolescence. It tells the story of two travelers: mother and daughter, both aboard a wagon accompanied by their donkey Parical and their faithful dog Baron. They head to Maraucourt, France, to the house of Perrine's paternal grandfather, after the death of the girl's father. To survive, they dedicate themselves to taking photographs in every town they reach. The adventure becomes even more enjoyable when they are joined by Marcel, a young acrobat who intends to find his parents at a traveling circus in Milan, Italy.

Ayer terminé de ver esta hermosa serie de anime, una que yo no había visto en muchísimos años, más o menos desde mi adolescencia, el cuál relata la vida de dos viajeras: madre e hija, ambas a bordo de un carromato en la compañía de su burro Parical y su fiel perro Barón. Se dirigen a Maraucourt en Francia a la casa del abuelo paterno de Perrine, luego del fallecimiento del padre de la niña, y para sobrevivir se dedican a sacar fotografías en cada pueblo al que llegan. La aventura se hace incluso más amena cuando a ellas se une Marcel, un niño acróbata que pretende encontrarse con sus padres en un circo ambulante de Milán, Italia.

The series has a very emotional beginning, as it begins with the death of Perrine's father, both she and her mother must leave the inn in Bosnia where they were staying those days and continue the journey, this time without her father, so it is something very difficult, you can perfectly perceive the pain in the characters, but at the same time they are an example of fortitude and resilience, in fact at some point in the journey Perrine is left completely alone with her donkey and her dog because her mother also dies, so it is a story about loss and grief but at the same time it is a story of overcoming.

In addition to all these difficulties, there is the economic factor, the itinerant life is very hard, especially for women at a time when almost no one believed in them, they did not trust the work of two photographers, just for the simple fact of being a woman, so this made it very difficult to earn an income, not to mention that there were times when other photographers wanted to sabotage them on purpose just because they could not stand the competition, but just as there were difficult moments, there were also moments of learning and pleasant situations, they made friends along the way and realized that there were many good-hearted people willing to help.

I really liked the series because it touched on many deep themes such as death, loss, prejudice, and even racism and culture clashes. Not everyone was willing to welcome foreigners into their lands, much less people who were divided between two cultures like Perrine's mother (half Indian, half English), but in the midst of all that, the search for family ties and a place to belong is emphasized.

I fell in love with this story the moment I saw it. If you want to watch it, do so knowing that you'll experience some very intense moments of drama and melancholy, but you'll also laugh a lot at several scenes. It's a full story, full of emotions and great lessons. Thank you for letting me share my opinion. I send you virtual hugs and kisses. 😘 🤗

Greetings, movie and series lovers! 🎥

Hello everyone, fans of good stories, I hope you are doing super well, this time I want to talk to you about a great movie, I've been wanting to talk about it for a while, I'll tell you about: Nomadland ... it has won many important awards, and wow ... it's one of those movies that not only entertains you, it's one of those that gets under your skin and stays there, turning in your head long after the credits roll. First, let's talk about Frances McDormand, see, we all know she's a great actress.. but here? She plays Fern, the lead, and the truth is ... she is tremendous, her performance is not one of those that screams "look at me", it's super subtle, super real. It's wonderful, one of the best in its history, and watching it you can only say: "Yes, totally agree", she carries the movie on her shoulders with a quiet strength and a vulnerability that leaves you frozen.

She’s like the heart of it all, it makes you feel every little thing that passes across Fern’s face, even when she doesn’t say a word, you feel like without her, the movie wouldn’t be the same. Hold on to this: it seems like McDormand really lived in her van during filming and even worked some of the same semi-complicated temporary jobs that her character does, like that one at the giant Amazon warehouse. Can you imagine that level of commitment? It comes through the screen, you believe everything she says, every second. So what’s it about? Well, the story follows Fern, a woman in her sixties... and life has hit her hard. They tell you pretty quickly that she lost almost everything: her husband passed away, the economic crisis of 2008 left her without a job, and the factory where she and her husband worked for years closed... it wasn’t just her job, she lost her house and literally her entire town in Nevada, called Empire, which basically disappeared from the map, they even took her zip code! Can you believe it? Everything that connected her to a place... poof, gone.

Hola a todos, fanáticos de las buenas historias, espero que estén super bien en esta ocasión les quiero hablar una pelicula genial, ya tenía ganas de hablar de ella desde hace tiempo, les hablaré de: Nomadland.. ha ganado muchos premios importantes, y wow.. es de esas películas que no solo te entretienen, es de las que se te meten en la piel y se quedan ahí, dándote vueltas en la cabeza mucho después de que salen los créditos.. primero, hablemos de Frances McDormand, ver, todos sabemos que es una gran actriz.. pero acá? Interpreta a Fern, la prota, y la verdad... está descomunal, su actuación no es de esas que gritan "mírenme", es súper sutil, súper real.. Es maravillosa, una de las mejores de su historia, y viéndola solo puedes decir: "Sí, totalmente de acuerdo", echa la película al hombro con una fuerza tranquila y una vulnerabilidad que te dejan helado.
Es como el corazón de todo, te hace sentir cada cosita que pasa por la cara de Fern, incluso cuando no dice ni media palabra, sientes que sin ella, la peli no sería lo mismo.. agárrense con esto: parece que McDormand de verdad vivió en su van durante la filmación e incluso hizo algunos de los mismos trabajos temporales medio complicados que hace su personaje, como ese en el almacén gigante de Amazon.. se imaginan ese nivel de compromiso? Es que traspasa la pantalla, le crees todo, cada segundo. Bueno, ¿y de qué va? Pues la historia sigue a Fern, una mujer que anda por los sesenta y pico.. y la vida le ha dado duro, te cuentan bastante rápido que lo perdió casi todo: su esposo falleció, la crisis económica del 2008 la dejó sin trabajo, y la fábrica donde ella y su esposo trabajaron por años cerró.. no fue solo el trabajo, perdió su casa y, literal, todo su pueblo en Nevada, llamado Empire, que básicamente desapareció del mapa, le quitaron hasta el código postal! ¿Pueden creerlo? Todo lo que la conectaba a un lugar... puf, se fue.

And so, instead of staying in one place or trying to rebuild her life the... let's say, normal way, Fer does something really radical: she decides to become a modern nomad. She buys a used van, fixes it up herself, names it 'Vanguard' – which is a really cool name – and with that, she sets out to live and travel all over the western United States. I mean, her van is her home, her car, her whole world on wheels. This is where things get interesting and, honestly, really profound. It shows you a side of the United States that we almost never see in movies. It shows you a reality of the United States today, showing this whole group of people, mostly older people, that the system kind of used them and threw them out.

They live in their vans, in trailers, moving from one place to another, looking for seasonal jobs: harvesting beets, cleaning campsites, working in those giant Amazon warehouses at Christmas... The film gives you the impression that these people, after the economic system failed them, are like 'refugees', but not from a war, but from economic problems, it's not that they travel for fun, they're looking for ways to survive, how to move forward when their usual path has fallen apart... mind you, the film doesn't hold back anything when it comes to criticizing this savage, unforgiving capitalism.

It hits hard that idea we all have of the 'American Dream', you know, that if you work hard, follow the rules, save your money, you'll have a peaceful old age assured... Nomadland shows you, without a filter, that for a lot of people, that promise no longer exists, it's broken, it shows you how any little thing - a doctor's bill, a broken van, losing a temporary job - can send all stability (the little they have) to hell... you see how fragile everything is for them, they live day to day, on a tightrope. There's a character who even says something like 'the ship is sinking and we're just looking for a lifeline'. And that... ugh, it hits you hard.

Y bueno, en lugar de quedarse en un solo sitio o intentar reconstruir su vida de la forma... digamos, normal, Fer hace algo bien radical: decide volverse una nómada moderna.. se compra una van usada, la arregla ella misma, le pone 'Vanguard' –que es un nombre genial, como con fuerza– y con eso se lanza a vivir y viajar por todo el oeste de Estados Unidos. O sea, su van es su casa, su carro, su mundo entero con ruedas.. aquí es donde la cosa se pone interesante y, la verdad, bien profunda, te muestra como una cara de Estados Unidos que casi nunca vemos en las pelis.. te muestra una realidad de Estados Unidos de ahora, enseñando a todo este grupo de gente, más que nada gente mayor, que el sistema como que los usó y los botó.
Viven en sus vans, en casas rodantes, moviéndose de un lado a otro, buscando trabajos por temporada: que si cosechando remolacha, limpiando campamentos, trabajando en esos almacenes gigantes de Amazon en Navidad... La peli te da a entender que esta gente, después de que el sistema económico les falló, son como 'refugiados', pero no de una guerra, sino de los problemas económicos, no es que viajen por gusto, están buscando cómo sobrevivir, cómo seguir adelante cuando el camino de siempre se les vino abajo.. ojo, la película no se guarda nada para criticar a este capitalismo salvaje que no perdona.
Le da duro a esa idea que todos tenemos del 'Sueño Americano', ya saben, esa de que si trabajas duro, sigues las reglas, ahorras tu plata, vas a tener una vejez tranquila asegurada.. Nomadland te muestra, sin filtro, que para un montón de gente, esa promesa ya no existe, está rota, te enseña cómo cualquier cosita –una cuenta del médico, que se te dañe la van, perder un trabajito temporal– puede mandar al carajo toda la estabilidad (la poca que tienen).. ves lo frágil que es todo para ellos, viven al día, en la cuerda floja. Hay un personaje que hasta dice algo como que 'el barco se está hundiendo y nosotros solo buscamos un salvavidas'. Y eso... uff, te pega fuerte.

And what makes it even more powerful is how the film mixes fiction and reality... I mean, Fer, the one played by McDormand, is a made-up character, based on the book, but many of the people she meets along the way... are real people, real nomads, playing themselves! They share their stories, what they’ve really experienced, many of them were in the original book on which the film is based... there’s Linda May, Swankie, Bob Wells (who is like a... a teacher, a guide for the real community of people who live in vans)... they give the film an authenticity... brutal, at times it almost seems like a documentary, as if the line between what is written and real life is blurred, and that gives it a sense of realism... wow, tremendous.

You feel like you’re really peeking into that world, but here’s the important thing: although it does show you how difficult the nomadic life is – and it really does show you the hard work, the freezing cold nights, the lack of privacy, even ugly moments like cleaning bathrooms or having your van break down – it’s not just to show misery and that’s it, not at all. This is where the director, Chloé Zhao, shines! She works her magic. Because in the midst of all the sadness, the loneliness, how hard it is to live like this, the film finds moments... like poetry, of endurance, of a quiet peace and a beauty in the landscapes that leaves you speechless. Fer finds people, right? Like a community around a fire, they share stories, they help each other...

And she also finds calm in those gigantic and spectacular landscapes she travels through. Zhao’s direction is brilliant in how she focuses on finding the good within the bad, of course she acknowledges how difficult it is, obviously, but she doesn’t get stuck there, in the suffering. He's more interested in Fer's spirit, how he adapts, that quiet strength he has... he manages to create a story that, although it has its rough side, in the end feels super positive and hopeful, but not in a silly way, but in a very human way... it's like a tribute to that strength we as people have to keep going and find meaning in things, even when it seems like everything has gone to hell.

Y lo que la hace todavía más poderosa es cómo la peli mezcla ficción y realidad.. a ver, Fer, la que hace McDormand, es un personaje inventado, basado en el libro, pero, mucha de la gente que ella conoce en el camino... son personas reales, nómadas de verdad, ¡haciendo de ellos mismos! Comparten sus historias, lo que han vivido de verdad, muchos salían en el libro original en el que se basa la peli.. están Linda May, Swankie, Bob Wells (que es como un... un maestro, un guía para la comunidad real de gente que vive en vans)... le dan una autenticidad a la peli.. brutal, a ratos parece casi un documental, como que se borra la línea entre lo que está escrito y la vida real, y eso le da una sensación de realismo... ¡uff!, tremenda.
Sientes que de verdad te estás asomando a ese mundo, pero aquí viene lo importante: aunque sí te muestra lo difícil que es la vida nómada –y de verdad te enseña el trabajo pesado, las noches con un frío que pela, la falta de privacidad, hasta momentos feos como limpiar baños o que se te dañe la van–, no es solo para mostrar miseria y ya, para nada.. aquí es donde la directora, Chloé Zhao, ¡se luce!, hace su magia. Porque en medio de toda la tristeza, la soledad, lo duro que es vivir así, la peli encuentra unos momentos... como de poesía, de aguante, de una paz tranquila y una belleza en los paisajes que te deja sin palabras, Fer encuentra gente, ¿no?, como una comunidad alrededor del fuego, comparten historias, se ayudan unos a otros...
Y ella también encuentra calma en esos paisajes gigantes y espectaculares por donde viaja.. la dirección de Zhao es genial en cómo se enfoca en encontrar lo bueno dentro de lo malo, claro que reconoce lo difícil que es, obvio, pero no se queda pegada ahí, en el sufrimiento. Le interesa más el espíritu de Fer, cómo se adapta, esa fuerza tranquila que tiene.. logra crear una historia que, aunque tiene su lado rudo, al final se siente súper positiva y esperanzadora, pero no de forma tonta, sino de una manera muy humana.. es como un homenaje a esa fuerza que tenemos las personas para seguir adelante y encontrarle un sentido a las cosas, incluso cuando parece que todo se fue al carajo.

And the visual part? My people, the visual part of this film is... what a spectacular thing! The photography, wow! They've gone all out. Joshua James Richards, the director of photography, shows you landscapes... beautiful!, gigantic: the deserts, the mountains, those lost places, the Pacific coast... he has incredible shots of sunsets that paint the sky, nights full of stars, open spaces that make you feel free but also alone. These images give you a kind of respite, a fresh air that contrasts completely with how trapped Fer is in the van or that loneliness that sometimes knocks her down... it's beautiful to look at, seriously, and the visuals give a lot of strength to what the story makes you feel. And you know what's also interesting? Chloé Zhao, the director, is an immigrant from China. It’s crazy how someone from outside can capture the vibe of the United States, or well, of this part that almost no one observes, with such clarity and affection... could it be that sometimes you need to see things from the outside to notice the details, the good and the bad of what you already know?

The truth is that she hit the nail on the head with this very particular American experience... in the end, Nomadland touches on some pretty deep themes, huh? It talks about grief, about how we handle losing... not just people, but places, ways of living, it talks about closing chapters and that fear and uncertainty of searching for a new meaning to your life when what was before no longer works... it talks about searching for freedom, but it asks you what true freedom is: is it just the road, or is it connecting with others? It's a journey of self-discovery, watching Fer move not only through the landscapes outside, but through those within as well... and it makes you think a lot about life, connection, loneliness, finding your place... or maybe realizing that your place isn't a fixed location. It's a calm film, yes, one meant to be watched slowly... it moves at its own pace, like Fer's life. Some might find it slow, but it drew me right into the story... it's not one of those with gigantic dramas every now and then; it's more about the little details, the people you meet and sometimes let go, that quiet strength to endure.

So, my note? I give it a... 9/10 It's not an easy movie to watch, it moves things inside you, but it's totally worth it, it's beautiful, it breaks your heart a little, it gives you hope and it's super human... it left me thinking about community, about the people who endure, about what 'home' really means... and about the decisions one makes when life puts you between a rock and a hard place, it's one of those movies that stays with you, that makes you talk, if you're looking for a drama that makes you think, that moves you, focused on the characters, with spectacular images and first-rate acting, you have to see Nomadland... and well, that's all for today, take care of yourselves! Byebye!

¿Y la parte visual? mi gente, la parte visual de esta peli es... ¡qué cosa más espectacular! La fotografía, ¡wow!, se pasaron. Joshua James Richards, el director de foto, te muestra unos paisajes... ¡bellísimos!, gigantes: los desiertos, las montañas, esos lugares como perdidos, la costa del Pacífico.. tiene unas tomas increíbles de atardeceres que pintan el cielo, noches llenas de estrellas, espacios abiertos que te hacen sentir libre pero también solito, estas imágenes te dan como un respiro, un aire fresco que contrasta full con lo encerrada que está Fer en la van o esa soledad que a veces la tumba.. es hermosa de ver, en serio, y lo visual le da muchísima fuerza a lo que te hace sentir la historia. ¿Y saben qué es interesante también? Chloé Zhao, la directora, es inmigrante, de China, es loco cómo alguien de afuera puede captar la onda de Estados Unidos, o bueno, de esta parte que casi nadie observa, con tanta claridad y cariño.. será que a veces necesitas ver las cosas desde afuera para notar los detalles, lo bueno y lo malo de lo que ya conoces?
La verdad es que le dio al clavo con esta experiencia gringa tan particular.. al final, Nomadland toca temas bien profundos, ¿eh? Habla del duelo, de cómo manejamos perder... no solo gente, sino lugares, formas de vivir, habla de cerrar etapas y de ese miedo e incertidumbre de buscarle un nuevo sentido a tu vida cuando lo de antes ya no funciona.. habla de buscar libertad, pero te pregunta qué es la libertad de verdad: ¿es la carretera nomás, o es conectar con otros? Es un viaje para encontrarse a uno mismo, viendo a Fer moverse no solo por los paisajes de afuera, sino por los de adentro también.. y te pone a pensar un montón sobre la vida, conectar, la soledad, encontrar tu lugar... o talvez y darte cuenta de que tu lugar no es un sitio fijo. Es una peli tranquila, sí, como para verla con calma.. va a su propio ritmo, como la vida de Fer, algunos quizás les parezca lenta, pero a mí me metió de lleno en la historia.. no es de esas con dramas gigantes a cada rato; es más de los detallitos, de la gente que conoces y a veces dejas ir, de esa fuerza calladita para aguantar.
Así que, ¿mi calificación? Yo le doy un... 9/10 No es una peli fácil de ver, te mueve cosas por dentro, pero vale muchísimo la pena, es hermosa, te rompe un poco el corazón, te da esperanza y es súper humana.. me dejó pensando en la comunidad, en la gente que aguanta, en qué significa 'hogar' de verdad... y en las decisiones que uno toma cuando la vida te pone entre la espada y la pared, es de esas pelis que se te quedan dando vueltas, que te hacen hablar, si andan buscando un drama que los haga pensar, que los conmueva, enfocado en los personajes, con imágenes espectaculares y una actuación de primera, ¡tienen que ver Nomadland.. y bueno, esto es todo por hoy, cuidense mucho! Byebye!

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Tsunade Senju is the true will of fire that inspires any woman to be truly independent in voice, conviction, and fists.

When I see this character who rose to the highest level of ninja power in the history of the Naruto universe, I think of two criticisms of humanity, one of which is the patriarchal structure that for millennia in the vast number of cultures that have existed on earth has stunted the contribution that women could make in any branch of human growth, and at the same time the fact that by nature women, almost always in search of a partner, want the protection and security that their male companion must provide.

Tsunade kicks all of the above to the curb, destroying those old ways of thinking that no longer fit into modern competition. I like to take the characters to the max because what you would typically mention about Tsunade is her beauty, fighting style, and character dynamics as she improves the kinetics of battles and dialogues. But if there's one thing that Kishimoto, the mangaka of Naruto, was terrible at, it was giving willpower, power, and conviction to the female characters, where Tsunade is the only one who managed to fully shine in the narrative and values that the mangaka wanted to convey.

Tsunade Senju es la verdadera voluntad de fuego que inspira a cualquier mujer para ser verdaderamente ser independiente en voz, convicción y puños.

Cuando veo a este personaje que llego a escalar al mayor nivel de poder jerárquico ninja en la historia que hace vida llamado Naruto, pienso en dos criticas a la humanidad donde una de ellas es la estructura patriarcal que por milenios en la gran cantidad de culturas que han existido en la tierra atrofio el aporte que podían dar las mujeres en cualquier rama del crecimiento humano y a la vez el hecho de que por naturaleza la mujer casi siempre en búsqueda de pareja quiere la protección y seguridad que su compañero masculino debe dar.

Tsunade patea todo lo anterior destrozando esos modos de pensamiento antiguos que ya no encajan en la competencia moderna. Me agrada llevar a los personajes al máximo porque lo típico que se pudiera nombrar de Tsunade es su belleza, estilo de pelea, dinámica de personaje al mejorar la cinética de batallas y diálogos pero si hay algo en lo que era pésimo Kishimoto el mangaka de Naruto, era en darle voluntad,poderío y convicción a los personajes femeninos donde Tsunade es la única que logro brillar plenamente en la narrativa y valores que el mangaka quería transmitir.

Synopsis: Shelly is a dancer in her 50s who must face a sad professional reality: a show that has been her lifeblood for over 30 years is coming to an end. Now, she must find a new professional path while simultaneously dealing with her personal frustrations (which include a troubled relationship with her own daughter).

Aging is a natural process for human beings (and fortunate are those who experience it), but it tends to become quite complex when it occurs within environments that constantly strive for the "eternal youth" of bodies (especially female ones) to the detriment of skills and talents acquired over the years. This movie offers a sensitive and raw portrayal of this reality, as Shelly, a 57-year-old woman who has made her living dancing for 30 years, must face the unexpected end of her stage career. Fighting against yourself can be your greatest challenge, because you understand that it's a constant struggle.

Le Razzle Dazzle, as the protagonist herself describes it, is an exquisite show that "follows the tradition of the Lido in Paris". However, unlike the reality of the past, modern society values other types of shows, and this production full of feathers and sequins no longer attracts audiences (thus justifying its ending, which, even so, was somewhat unexpected for Shelly... perhaps because she believed she would be a lifelong dancer, physically speaking). From this event on, things begin to change in her life, but everything changes very quickly, bringing with it intense emotions. The crux of the issue that justifies the existence of this movie is very important and certainly deserves much discussion.

The way this script developed the story isn't groundbreaking, but it was very assertive in its approach (although it lacked considerably more depth in terms of not only its dilemmas, but especially its characters within a broader context). Amidst the dramatic episodes with significant weight, the plot brings to the light themes such as ageism, the clash of reality between generations, and redefinition... as well as a nice return to the past in a mother-daughter dynamic, seeking to untie knots still brutally tied. The script navigates the themes well, but does so a bit too shallowly, even though it was "functional".

There's a very consistent duality of concepts here, and primarily, it all centers on how the two generations view the same scenario: while Shelly and her friend Annette (older women) see their jobs as their greatest achievements, Jodie and Mary Anne (younger women) simply view their jobs as "professional rituals" that are easy to overcome. However, for Shelly, everything is more intense and becomes more important here because it connects with who she is as a person and represents everything she had to give up to live all this. How far will someone go to achieve a dream? And once they achieve it, what are they willing to do to stay there?

Sometimes, the movie seems a bit superficial (even due to the sometimes very clear "visual plasticity"), but the vulnerability of the plot will certainly resonate with those who have experienced something similar in their lives. Aging is never the issue, but rather how the people around us (especially those who hold power in the capitalist world) view age (which is just another number among many others). Shelly is in the midst of the conflict, and because of it, she begins to reevaluate her life, but she doesn't regret anything. This ultimately leads to an existential crisis, which worsens as the final show approaches.

Her greatest "loss" was the estrangement from her own daughter, Hannah, with whom she struggles to have a good relationship today. Both are trying to better understand what happened in the past, and in the midst of this search for explanations, an opportunity for reconciliation, long awaited by both sides, arises. The script's pacing is slow and intimate, all in an attempt to make the plot development more personal, which it does. However, there are moments where everything is so "slow" that it becomes emotionally "inert" (even though it's a fast-paced movie, its 80 minutes don't do it much favors when we consider the full context of all the plot threads).

Anyway, this doesn't diminish the brilliance of this project at all, which, incidentally, is Pamela Anderson's best starring role to date. Building a dreamy, sensitive, and somewhat "naive" character in the face of the world around her, what she did here certainly showed the audience that she can act (and it was a powerful performance). Alongside her, we have Jamie Lee Curtis, who delivers interesting moments (even within a more "artificial" bubble), as well as Dave Bautista, Kiernan Shipka and Brenda Song (with much less screen time, and even less relevance within the overall context... despite being "functional" and notable characters).

The Last Showgirl is a very simple movie (including all its technical aspects), but very precise in addressing the themes it brings to the table. Gia Coppola did a very moving job as director, because even without major scenes, the plot still manages to impact the magnitude of what needs to be said and shown to the audience (such as a scene where Shelly exposes the industry's approach to older dancers). The courage of the project makes it something worth watching, especially since it avoided the "clichés" of the universe to which it belongs (such as avoiding vulgar scenes involving gratuitous nudity or episodes involving physical violence), and this is significant.

Sinopsis: Shelly es una bailarina de unos 50 años que debe enfrentarse a una triste realidad profesional: un espectáculo que ha sido su alma durante más de 30 años llega a su fin. Ahora, debe encontrar un nuevo camino profesional mientras lidia con sus frustraciones personales (que incluyen una relación problemática con su propia hija).

Envejecer es un proceso natural para los seres humanos (y afortunados son quienes lo experimentan), pero tiende a volverse bastante complejo cuando ocurre en entornos que buscan constantemente la "eterna juventud" de los cuerpos (especialmente los femeninos) en detrimento de las habilidades y talentos adquiridos con los años. Esta película ofrece un retrato sensible y crudo de esta realidad, ya que Shelly, una mujer de 57 años que se ha ganado la vida bailando durante 30 años, debe enfrentar el final inesperado de su carrera escénica. Luchar contra uno mismo puede ser su mayor desafío, porque comprende que es una lucha constante.

Le Razzle Dazzle, como lo describe la propia protagonista, es un espectáculo exquisito que "sigue la tradición del Lido de París". Sin embargo, a diferencia de la realidad del pasado, la sociedad moderna valora otros tipos de espectáculos, y esta producción llena de plumas y lentejuelas ya no atrae al público (lo que justifica su final, que, aun así, fue algo inesperado para Shelly... quizás porque creía que sería una bailarina de por vida, físicamente hablando). A partir de este suceso, las cosas empiezan a cambiar en su vida, pero todo cambia muy rápidamente, trayendo consigo intensas emociones. El quid de la cuestión que justifica la existencia de esta película es muy importante y sin duda merece mucho debate.

La forma en que este guion desarrolla la historia no es innovadora, pero su enfoque es muy asertivo (aunque le faltaba mucha más profundidad, no solo en sus dilemas, sino especialmente en sus personajes dentro de un contexto más amplio). Entre los episodios dramáticos de gran peso, la trama ilumina temas como la discriminación por edad, el choque de realidades entre generaciones y la redefinición... además de un agradable regreso al pasado en una dinámica madre-hija, que busca desatar nudos aún brutalmente atados. El guion aborda bien los temas, pero lo hace con demasiada superficialidad, a pesar de ser "funcional".

Aquí hay una dualidad conceptual muy consistente, y principalmente, todo se centra en cómo las dos generaciones ven el mismo escenario: mientras Shelly y su amiga Annette (mujeres mayores) ven sus trabajos como sus mayores logros, Jodie y Mary Anne (mujeres más jóvenes) simplemente los ven como "rituales profesionales" fáciles de superar. Sin embargo, para Shelly, todo es más intenso y cobra mayor importancia aquí porque conecta con su identidad como persona y representa todo lo que tuvo que renunciar para vivir todo esto. ¿Hasta dónde llegaría alguien para alcanzar un sueño? Y una vez que lo logra, ¿qué está dispuesto a hacer para mantenerse?

A veces, la película parece un poco superficial (incluso debido a su a veces muy evidente "plasticidad visual"), pero la vulnerabilidad de la trama sin duda conectará con quienes hayan experimentado algo similar. El envejecimiento nunca es el problema, sino cómo quienes nos rodean (especialmente quienes ostentan el poder en el mundo capitalista) perciben la edad (que es solo un número más entre muchos otros). Shelly se encuentra en medio del conflicto, y debido a ello, comienza a reevaluar su vida, pero no se arrepiente de nada. Esto finalmente la lleva a una crisis existencial, que se agrava a medida que se acerca el último show.

Su mayor pérdida fue el distanciamiento de su hija, Hannah, con quien lucha por mantener una buena relación. Ambas intentan comprender mejor lo sucedido en el pasado, y en medio de esta búsqueda de explicaciones, surge una oportunidad de reconciliación, largamente esperada por ambas partes. El ritmo del guion es lento e íntimo, con el objetivo de que el desarrollo de la trama sea más personal, lo cual logra. Sin embargo, hay momentos en los que todo es tan lento que se vuelve emocionalmente inerte (aunque es una película de ritmo rápido, sus 80 minutos no le hacen mucho favor si consideramos el contexto completo de todos los hilos argumentales).

De todos modos, esto no disminuye la brillantez de este proyecto, que, dicho sea de paso, es el mejor papel protagonista de Pamela Anderson hasta la fecha. Al construir un personaje soñador, sensible y algo ingenuo frente al mundo que la rodea, lo que hizo aquí sin duda demostró al público que sabe actuar (y fue una actuación poderosa). Junto a ella, tenemos a Jamie Lee Curtis, quien ofrece momentos interesantes (incluso dentro de una burbuja más artificial), así como a Dave Bautista, Kiernan Shipka y Brenda Song (con mucho menos tiempo en pantalla y aún menos relevancia en el contexto general... a pesar de ser personajes "funcionales" y muy notables).

The Last Showgirl es una película muy sencilla (incluyendo todos sus aspectos técnicos), pero muy precisa al abordar los temas que plantea. Gia Coppola realizó una labor de dirección muy conmovedora, pues incluso sin escenas importantes, la trama logra impactar la magnitud de lo que debe decirse y mostrarse al público (como una escena en la que Shelly expone el enfoque de la industria hacia las bailarinas mayores). La valentía del proyecto la convierte en algo que vale la pena ver, especialmente porque evitó los clichés del universo al que pertenece (como evitar escenas vulgares con desnudez gratuita o episodios de violencia física), lo cual es significativo.

Sinopse: Shelly é uma dançarina que, na casa dos 50 anos, precisa enfrentar uma triste realidade profissional: um show que foi à sua vida por mais de 30 anos vai chegar ao fim. Agora, ela precisa encontrar um novo caminho profissional, e ao mesmo tempo, lidar com suas frustrações pessoais (que inclui um relacionamento conturbado com à própria filha).

Envelhecer é o processo natural dos seres humanos (e felizes são aqueles que vivem essa experiência), mas isso tende a se tornar um processo bastante complexo quando vai acontecendo dentro de ambientes que estão sempre buscando pela “eterna juventude” dos corpos (em especial, os femininos) em detrimento das habilidades e talentos ao longo dos anos. Neste filme, temos uma personificação sensível e muita crua sobre essa realidade, onde Shelly, uma mulher que está com 57 anos e ganhou à vida dançando por 30 anos, precisa enfrentar o inesperado fim da sua carreira nos palcos. Lutar contra você mesmo pode ser o maior dos seus desafios, porque você entende que é uma luta sempre recorrente.

*Le Razzle Dazzle, segundo a definição da própria protagonista, é um show requintado e que “segue a tradição do Lido em Paris”, mas ao contrário da realidade vivida no passado, a sociedade nos dias atuais valoriza outros tipos de shows, e esta produção repleta de plumas e lantejoulas já não atrai mais o público (justificando assim o seu final, que mesmo assim, ainda foi algo inesperado por Shelly... talvez por acreditar que seria uma eterna dançarina, fisicamente falando). A partir desse evento as coisas começam a mudar na vida dela, mas tudo muda bem rápido, e trazendo fortes emoções. O cerne da questão que justifica a existência desse filme é muito importante, e certamente precisa ser muito discutido.

O modo como esse roteiro desenvolveu a estória não tem nada de inovador, mas foi muito assertivo em sua abordagem (embora tenha ficado devendo uma profundidade consideravelmente maior em relação não apenas aos seus dilemas, mas principalmente aos seus personagens dentro de um contexto geral). Em meio aos episódios dramáticos com pesos muito relevantes, a trama traz luz a temas como etarismo, choque de realidade entre gerações, ressignificação... além de um bom retorno ao passado numa dinâmica entre mãe e filha, buscando desatar nós ainda brutalmente amarrados. O roteiro navega bem sobre os temas, mas faz isso de maneira um pouco rasa demais, ainda que tenha sido “funcional”.

Há uma dualidade de conceitos muito consistente aqui, e primariamente, tudo se concentra em como as duas gerações enxergam um mesmo cenário: enquanto Shelly e sua amiga Annette (mulheres mais velhas) enxergam seus empregos como suas maiores conquistas, Jodie e Mary Anne (mulheres mais jovens), apenas encaram seus trabalhos como “ritos profissionais” fáceis de serem superados. No entanto, para Shelly tudo é mais intenso, e se torna mais importante aqui porque está conectado com quem ela é como pessoa, e representa tudo que ela teve que abdicar para viver tudo isso. Até onde alguém conseguir ir para realizar um sonho?... E uma vez conseguindo, o que é capaz de fazer para ficar nele?

Em certos momentos o filme parece um pouco superficial (até pela “plasticidade visual” que por vezes é muito nítida), mas a vulnerabilidade da trama certamente poderá ser sentida por aquelas pessoas que já vivenciaram algo parecido em suas vidas. Envelhecer nunca será o problema, mas sim, como as pessoas ao nosso redor (principalmente aquelas que são detentoras de poder no mundo capitalista) olham para a idade (que é só mais um número no meio de tantos outros). Shelly está no meio do conflito, e por causa dele começa a reavaliar à sua vida, mas não se arrepende de nada. Isso acaba gerando uma crise existencial, que vai sendo agravada à medida em que o último show vai se aproximando.

A maior das suas “perdas” foi o distanciamento da própria filha, Hannah, com quem ela luta para ter uma boa relação atualmente. Ambas tentam entender melhor o que aconteceu no passado, e no meio dessa busca por explicações, vai nascendo uma oportunidade de reconciliação tão esperada pelos dois lados. O ritmo do roteiro é lento, intimista, tudo isso numa tentativa de tornar o desenvolvimento da trama em algo mais pessoal, o que de fato acontece, mas existem momentos onde tudo é “lento” demais a ponto de se tornar algo “inerte” de emoções (mesmo sendo um filme rápido, onde os seus 80 minutos não lhe favorecem muito quando consideramos o contexto por completo de todas as tramas).

De qualquer modo, isso não diminui em nada o brilho deste projeto, que aliás, é o melhor trabalho protagonizado por Pamela Anderson até então. Construindo uma personagem bem sonhadora, sensível e de certo modo um tanto quanto “ingênua” perante o mundo que a cerca, o que ela fez aqui, certamente mostrou ao público que ela sabe atuar (e foi uma atuação poderosa). Ao lado dela temos Jamie Lee Curtis, que entrega momentos interessantes (mesmo dentro de uma redoma mais “artificial”) além de Dave Bautista, Kiernan Shipka e Brenda Song (com muito menos tempo de tela, e ainda menos relevância dentro do contexto geral... apesar de serem personagens “funcionais” e realmente notáveis).

A Última Showgirl é um filme muito simples (inclusive em todos os seus aspectos técnicos), mas muito preciso ao tratar dos temas que trouxe para à mesa. Gia Coppola fez um trabalho muito tocante como diretora, porque mesmo sem ter grandes cenas, a trama ainda consegue impactar magnitude do que precisa ser dito e mostrado ao público (como uma cena onde Shelly expõe o modo de ação da indústria ao tratar as dançarinas mais velhas). A coragem do projeto torna ele em algo digno de ser visto, principalmente por ter fugido dos “clichês” do universo do qual ele pertence (como por exemplo, evitar cenas vulgares envolvendo nudez gratuita ou episódios envolvendo violência física), e isso é relevante.

Hello, anime fans. This time, I'm going to talk about an animated series that's very different from what I usually bring you. It's a story full of music, drama, and some comedy that caught my attention because of its plot and characters. Aired last season, this work was underrated by many despite having at least a couple of interesting things going for it. Based on the manga series of the same name written and illustrated by Hiroshi Fukuda, Rock Is a Lady's Modesty is an adaptation produced by Bandai Namco Pictures. Discover one of those musical anime series that may interest you, especially if you're a Rock fan.

Plot

The anime begins by introducing us to Lilisa Suzunomiya, a young woman who has enrolled in the prestigious and elite Oshin Girls' Academy. This is thanks to her mother's new marriage to a real estate mogul. Lilisa decides to strive to excel at the academy by getting the best grades and proving herself to be a model student in order to earn the title of Noble Maiden. One day, our protagonist strays a little from her path and heads to an abandoned school building where she hears a familiar sound. There she meets another student who is playing the drums alone. She is Otoha Kurogane and, to Lilisa's surprise, she is a Rock lover, just like Lilisa.

Trailer & Review

Next, I'll leave you with the trailer for the anime:

Once again, it's time to talk about a type of anime that I'm not used to or whose genre I don't know as well as I should. And it's ironic that I say that, since I'm a big fan of music, as well as anime and movies. However, for some strange reason, series or stories related to bands or musicians never interested me as much as they should have. Obviously, this doesn't mean that I'm completely unaware of masterpieces in this genre, such as Bocchi The Rock (a perfect blend of music and comedy) and Your Lie in April (a perfect blend of music and drama). But beyond these gems, I don't know many anime of this style. That's why last season I decided to watch this anime to try something new.

To my surprise, Rock Is a Lady's Modesty was a mix of rock with some drama and somewhat heavy humor. What hooked me at first was its plot and the peculiar way it presented and developed its characters. It starts with a very stereotypical view of high society with a new student at an academy for upper-class girls. In this place where modesty and good manners are the rule, it's absurd to think that a heavy instrumental rock band would be born out of nowhere. However, it is both our protagonist's past and her encounter with a girl who will make her completely doubt her ideals, principles, and dreams that will unleash all of this.

Both Lilisa and Otoha serve as examples of the enormous difference between what people appear to be and what they really feel and are inside. This pure and simple way of representing rock in this anime is simply fascinating for a fan of the genre like me. And it's entertaining to see that the protagonist of this story, the same one who seeks to leave her past with the guitar and this type of music behind to become a model high society maiden, ends up being swept away by the strong vibes and influences of a crazy and unbridled drummer. All this may sound funny, but it's exactly what we see in this anime at the beginning.

And it's curious how these instrumental battles between drums and guitar end up becoming a whole rock band made up of members who are somewhat peculiar in their style. In this regard, I am struck by the fact that each character has something distinctive that sets them apart from the others. Whether it's their behavior, their tastes, or their personality, they end up being divided between what they appear to be and what they really are. The latter is a very interesting detail, personally, as it says a lot about what this story is trying to convey or interpret about real life. For example, in the case of the protagonist Lilisa Suzunomiya, it's normal to see her appear to be a model student and maiden in front of the public because of her goal in life.

However, the problems she faces both at school and at home make it very difficult for her to maintain this innocent and elegant appearance all the time. Not to mention the social and family pressure she is under. When she plays the guitar because of Otoha, she vents all her anger and frustration through music, allowing her rebellious and rude personality to surface for a few moments. On the other hand, we have Otoha Kurogane herself, another student at the same prestigious academy where Lilisa studies, who from the beginning is not afraid to show her wild side by playing the drums alone in an abandoned room at school. While she is a famous model girl in society, the rest of the time she is a rock fan who is not afraid to speak her mind.

There are also other characters who become members of the maiden band who stand out on their own due to their unique personalities, which are very different from who they really are. An example of this is Tina Isemi, who at first appears to be the typical female character who fulfills her role as a "knight" due to her appearance, tall stature, and confident personality. But inside, she is actually a person with quite a few self-esteem issues and a real persona that is very different from what she appears to be in public. As you may have noticed, this way of dividing the characters by what they appear to be and what they really are seems to be the hallmark of this story, and I think this is because something similar happens in real life.

Sometimes people are not what they appear to be in public or on screen. We all have secrets and things we don't like to talk about or show to others for fear of being criticized, judged, or labeled. Unfortunately, human beings tend to judge themselves by their appearances, and no one escapes this bad habit. While in some parts of the world this is not considered so important, in Japan the situation is worse because people depend heavily on what society will say about them. In a country where class distinctions have been common for generations, it is normal to see people pretending to be one thing when they are secretly another. This anime touches a lot on the subject of prejudice and how people in high society have to put aside what they like in order to be accepted into a social group.

This is where Rock comes in, not just as a musical genre or an excellent soundtrack option for an animated series, but as a movement, a form of expression that frees people from their rigid and superficial way of thinking and allows them to be carried away by what they feel from the depths of their hearts and minds. Rock is shown in this work as a form of expression, a kind of liberation from everything that binds us and hurts us. While rock is a genre that not everyone likes, what can be learned from this movement is interesting, to say the least. Of course, this anime serves to entertain with musical sequences that can become unforgettable moments for some.

Now, it's time to talk about the negative aspects I've seen in this anime. To begin with, I want to clarify that I have nothing against the fact that, at all times and in all anime of this style (especially if they are Slice of Life), there are purely female protagonists. In other words, it seems that male protagonists are left for Isekai or action Shōnen, I guess. That's fine by me, it's normal, but knowing the "dark side" of the anime industry, it's undeniable that there's a somewhat morbid purpose behind this habit. That's right, I'm talking about fanservice, that tool that many works currently use solely to attract attention, and this anime is no exception, unfortunately. Of course, it doesn't abuse this too much, and it only happens once or twice, at least.

Otherwise, we have to talk about the type of humor in this anime, which is very different from what we see in famous works such as Bocchi The Rock, for example (seriously, watch Bocchi The Rock instead). In Rock Is a Lady's Modesty, we see a heavier humor, leaning towards the typical humor with bad words, embarrassing moments, and rebellious characters with clearly cancelable speeches. It's not that I don't like this type of humor, but seeing it in an anime where the protagonists are girls in long skirts from high society is something that doesn't really fit. Although I think this is also part of it all as a great irony. And obviously, the irony also serves as a kind of comedy.

Last but not least, let's talk about the audiovisual aspect of this anime. Considering which studio was in charge of this adaptation, the final result is quite disappointing, to be honest. And it's not that I'm basing this on a large number of references from previously known works. I'm saying this simply because I HATE the use of 3D animation (CGI) to give fluidity to the characters at certain moments in the anime. This should give you an idea of what I mean, and it's something that can be seen every time we see this girl band perform throughout the 13 episodes.

Otherwise, I admit that they do a good job, such as with the character design, for example. There is also the drawing style, the use of light and shadow, the vivid color palette, and the style of transitions in the anime. I like that they know how to play with the motion effects in some scenes, especially during the moments when they are playing. The sound effects are also good, although I prefer to talk more about the soundtrack of this anime. Since it's rock music, it's normal to hear one composition after another of melodies that generate excitement and euphoria, as expected from this work. Especially in the opening, with the song playing in the background, which is both catchy and hard to forget, to be honest. In short, this is an anime made for all lovers of Rock and Waifus alike.

Personally, I give it a rating of 8/10 in terms of the music and drama genres.

Tell me, have you seen this anime yet? What did you think of it? You can leave your answer in the comments.

Dime, ¿ya has visto este anime? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.

All the best.

By: Nattosheru.

Hello, fellow series lovers!

I hope you are all well. Today I'm recommending a series that I watched a while ago and absolutely loved. It's a young adult romance series called Maxton Hall: A World Between Us.

I have to start by saying that I don't really like teen romance series beyond K-dramas. Simply because they bore me and I find many of these series awful, with bland, flat protagonists, poorly developed and mediocre plots, full of obscenities and no love.

But one day, scrolling through TikTok, I came across a German series, newly released at the time, whose trailer caught my attention. And it has nothing to do with the handsome male😃 lead who, for the first time, didn't make me cringe (pardon my French). I'm not saying the series is a work of art, but it's one of the best I've seen in terms of romantic series. The story is good, the characters are well developed, and I love the plot. It's a good romance series for those of us who enjoy this genre, and the quality of the scenes is incredible; you can tell they put a budget into it.

Without further ado, Maxton Hall presents the story of Ruby Bell, a young scholarship student who is focused, intelligent, and, most importantly, self-confident, who enters the elite British boarding school Maxton Hall. Ruby's plan is simple: graduate at the top of her class, go to a good university, and help her family, but everything falls apart when she discovers the secret of her beloved twin sister, the handsome scoundrel James Beaufort, the arrogant heir to a fashion empire. James, in "protective brother" mode, behaves like an idiot towards Ruby, and she puts him in his place (I know we've seen this before, but this is better). And what began as a classic enemies-to-lovers story turns into a severe confrontation between social classes, forbidden love, entanglements, lies, and people who, for one reason or another, do not want Ruby and James together, as if they had nothing else to do.

I want to highlight the chemistry between the protagonists, which is simply incredible. You can feel the tension, the love, and the longing for not being able to be together. The two of them on screen convey what a couple in love should convey: love. And beyond being just a romantic series, it explores other themes quite well, such as the differences between rich and poor, the privilege with which some are born, discrimination, forbidden relationships (I'm not just referring to James and Ruby's) and what you are willing to do for love.

Another thing I like about the series is its polished aesthetic. The set design, the settings, and even the costumes of the main characters are well thought out, with a classic British aesthetic and a modern, youthful touch that gives the scenes an incredible look. That's why I say they put a budget into the story.

This is honestly a series that I loved watching. I enjoyed all six episodes and am eagerly awaiting the second season, which will premiere soon and which I will definitely watch. Everything is well developed and, although it falls into genre clichés, I think that when we look for romantic youth series, we want these clichés, not so clichéd, of course, well developed and with characters that are not as questionable as I have seen in other series or films. But the latter is something I emphasise, because I sincerely believe that Maxton Hall is really good and brings us a genuine romance of the genre.

Maxton Hall doesn't revolutionise the genre or anything, but what it offers is enough to excite us and keep us watching the screen.

If you've made it this far, I hope you liked it and are encouraged to watch this great series!

¡Hola, quienes disfrutan de una buena serie!

Espero que se encuentren bien. Hoy les traigo por recomendación una serie que vi hace un tiempo y que adoré totalmente. Esta serie es de romance juvenil y se llama Maxton Hall: Un mundo entre nosotros

Tengo que partir diciendo que no me gustan mucho las series románticas juveniles más allá de los k-dramas. Por el simple hecho de que me aburren y muchas de estas series se me hacen horribles, es decir, con protagonista, planos y sin identidad, y con tramas mal desarrolladas y mediocres, llenas de obscenidades y nada de amor.

Pero un día, bajando por TikTok, encontré una serie alemana, recién estrenada en dicho momento, que con un tráiler me llamó la atención. Y no tiene nada que ver con el bello protagonista masculino😀 que, por primera vez, no me provocó cringe (perdonen mi francés). No digo que la serie sea un séptimo arte, pero es de lo mejorcito que he visto en cuanto a series románticas. La historia es buena, los personajes bien desarrollados y la trama me encantan. Es una buena serie de romance para quienes disfrutamos este género y la calidad de las escenas es increíble, se nota que le pusieron presupuesto.

Sin más preámbulo, Maxton Hall, nos presenta la historia de Ruby Bell, una joven estudiante becada, centrada, inteligente y con lo más importante amor propio, quien entra al elitista internado británico Maxton Hall. El plan de Ruby es sencillo: graduarse como la mejor, ir a una buena universidad y ayudar a su familia, pero todo se desbarata cuando descubre el secreto de la querida hermana gemela, del bello sinvergüenza James Beaufort, el arrogante heredero de un imperio de la moda. James, en modo “hermano protector”, se comporta como un idiota con Ruby y ella le pone los pies en la tierra (sé que hemos visto esto antes, pero esto es mejor). Y lo que comenzó como un clásico de enemigos a amantes, se trasforma en una severa confrontación entre clases sociales, amor prohibido, enredos, mentiras y gente que por una u otra razón no quieren a Ruby y a James juntos, como si no tuvieran nada más que hacer.

Quiero destacar la química entre los protagonistas, que es simplemente increíble, se siente la tensión, el amor y el anhelo por no poder estar juntos, Ellos dos en escena trasmiten lo que una pareja enamorada debe transmitir: amor. Y más allá de ser solo una serie romántica explora bastante bien otros temas, como las diferencias entre ricos y pobres, el privilegio con el que nacen algunos, la discriminación, las relaciones prohibidas (no me refiero solo a la de James y Ruby) y lo que estás dispuesto a hacer por amor.

Otro punto que me gusta de la serie es la estética bien cuidada que tiene, la escenografía, los ambientes y hasta el vestuario de los protagonistas está bien pensado, con una estética clásico británico con un toque juvenil moderno que aporte un visual increíble a las escenas. Por eso digo le pusieron presupuesto a la historia.

Esta es sinceramente una serie que me encantó ver. Disfruté los 6 capítulos que tenía y me quedé con las ganas de la segunda temporada que se estrenará dentro de poco y sin duda veré. Todo está bien desarrollado y, aunque cae en clichés del género, creo que cuando buscamos ver series románticas juveniles queremos estos clichés, no tan clichés, por supuesto, bien desarrollados y con personajes que no sean tan cuestionables como he visto en otras series o películas. Pero esto último es algo que recalco, porque sinceramente considero que Maxton Hall, es realmente buena y nos trae un romance genuino.

Maxton Hall no revoluciona el género ni nada, pero lo que ofrece es suficiente para emocionarnos y mantenernos viendo la pantalla.

¡Si llegaron hasta aquí, espero que les haya gustado y se animen a ver esta gran serie!

Christopher Bell, uno de los candidatos al título desde el inicio de la temporada, pero quien en estos playoffs y en las últimas carreras de la ronda regular, anduvo perdido, pero en Bristol logró quedarse con el triunfo y posicionarse de buena manera en la siguiente ronda de estas eliminatorias de la serie de autos stocks más famosos de los Estados Unidos. A Bell se unió Denny Hamlin, William Byron, Kyle Larson, Ryan Blaney, Chase Briscoe, Chase Elliott, Bubba Wallace, Austin Cindric, Joey Logano, Ross Chastain y Tyler Reddick. Alex Bowman, Austin Dillon, Shane van Gisbergen y Josh Berry fueron los 4 pilotos eliminados y para nada me sorprende, pues ellos estaban dentro de mis posibilidades, como se los mencionó en la anterior reseña publicada en el feed de la comunidad.