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. 60,616 reviews and counting.
The review I'm bringing you today is special because, despite being a gay series, I really enjoyed it. In this series, I found something I haven't seen in other shows: these guys are shirtless most of the time and have incredible bodies. The series is called:
More Than Rivals:
It's the perfect, ideal, and incredibly compelling combination of romance, passion, and very handsome men with spectacular bodies. Just saying it makes me excited.
This series grabs you from the first minute, gets your heart racing, and leaves you breathless. Heated Rivalry didn't disappoint; this story has everything to make you fall in love. Super handsome guys, extreme sports, rivalry, an unexpected love, and raw desire.
The plot highlights the intense rivalry between Shane Hollander and Ilya Rozanov, two incredibly talented ice hockey players who are pure fire both on and off the ice. However, the true magic of this story begins when the cameras stop rolling and the professional rivalry transforms into a magnetic and irresistible attraction for both boys. They won't be able to hide their feelings for each other for long.
So incredibly handsome guys : Hudson Williams and Connor Storrie bring these athletes to life with unparalleled chemistry. They are young, incredibly attractive, and charismatic.
Killer Bodies: If you're a girl or guy who likes to see muscular and attractive men, I recommend you watch this gem because both guys spend a good part of the time without clothes, showing off spectacular physiques that you won't want to take your eyes off. I really enjoyed it.
Super Hot Scenes: The passionate sequences are very hot, explicit, and deeply sensual, but without ever losing their sense of humor or falling into vulgarity. Sex is their way of communicating and connecting, and they have a great time. I'd say too great a time. 😇
Although there are very hot scenes in each episode, what really captivated me is how romantic and intense they become. These two dominant men learn to be sensitive to each other, building a secret and passionate love while facing the pressure of sports and the social pressure to fit into common standards. It's quite a challenge for them to be able to live their love to the fullest.
I would say that once you understand the film as a modern reinterpretation of the Pinocchio story, you can't help but think that the story of a robot boy searching for the meaning of humanity and love can be a very terrifying concept to delve into in science fiction.
Directed by Steven Spielberg and released in 2001, the film A.I. Artificial Intelligence is a journey of discovery and self-discovery (at least that's how I've seen it).
Set in a future where climate change has transformed the world and humans have normalized living alongside highly advanced robots called "Mechas," the film presents a reality that could very well fit with our own in the distant future.
The plot follows David (Haley Joel Osment), a robot boy who is the first of his kind to be programmed with the capacity to genuinely love. The little robot is adopted by a couple grieving the loss of their biological son, who is in a coma. For a time, his presence brings them comfort, but at the same time, his constant company proves unsettling for the couple. When the real son recovers and returns home, the dynamics shift, and David ends up being abandoned. Faced with this, the little robot decides that if he can find a way to become a real boy, just like Pinocchio, he will be loved by his mother again.
From that moment on, the film becomes a modern version of Pinocchio. David embarks on a journey through a twisted world with the mission of finding the Blue Fairy.
What makes this film so special for me is its profound emotional impact, not only from the protagonist's perspective but also in the film's overall message. In a world where machines are so advanced they can simulate true self-awareness, the need arose to divide society between the "Orga" (Organic Humans) and the "Mecha" (Mechanical Robots with AI).
Humans are portrayed as abominable beings who treat their creations as easily disposable objects; some even fear them for being such advanced mechanisms with potentially unstable minds. Because "if a robot knows love, it most likely also knows hate."
This is not just a story about futuristic machines; it is a terrifying reflection on what it means to be human, addressing the fear of rejection and the immense need we all have to be loved.
Haley Joel Osment's performance often manages to convey a childlike innocence and a sadness so real that it is impossible not to empathize with his character. Furthermore, the film has a captivating visual style for its time, characteristic of Spielberg's classic warmth.
In these modern times, where artificial intelligence and its implications are constantly being discussed, this film is an excellent recommendation for reflecting on the future of humanity and all that we, as an intelligent species, can achieve. For those seeking science fiction that goes beyond spaceships and explosions, aiming for a narrative that speaks directly to the emotions, this is the crown jewel. Its ending will leave you pondering more than one thing.
Been sitting on this one to understand a bit more of what this movie is really about, first I watch it with zero knowledge of what the Backrooms are, if you only watch the movie without context its not that good, in fact its very hollow, it does scare you a bit but not even hard core psychological horror, and the best parts of Backrooms are when it just sits in that empty space below Clarks furniture store and lets the silence and the electrical hum carry the scene, on this movie the sounds are a big part of it. It does not need jump scares or a monster around every corner to keep you locked in, the walls, the old furniture, the fluorescent lights all look close enough to a normal store that just one thing being slightly off is what actually gets to you, very similar to other movies like Smile, that take something totally normal and turns it into horror without reshaping it. The movie develop the story of a man who is not doing well in life, his name is Clark and he walks through a wall in his own basement and ends up in another version of his store, one that keeps shifting the farther he walks and I liked that the movie just lets him be confused for a while before anything turns dangerous. Nothing even has to jump out at him for the place to feel wrong, there is no direction, no way out, nobody explaining anything and that is enough to create this extremely unsettling place. Even later on when Clark drags his assistant manager and her boyfriend down there to get proof on camera, the scariest part is not whatever attacks them, its just the feeling that these people wandered somewhere that never wanted them around. The pacing stays slow on purpose and works so good when it stays quiet and what gets me the most is how nothing makes sense, how an upside down world can be this scary, I guess part of fear itself comes from what we cant understand.
Clark himself is the first sign this movie is going to keep explaining itself, because his personal life gets spelled out long before the Backrooms do at therapy, we get this role play excersise that spill all the beans of how fucked up his life is and the core problems he is dealing with. He owns the furniture store, sleeps there, drinks too much and is still angry about his marriage ending, and Chiwetel Ejiofor makes his frustration feel real even when Clark is clearly the problem. He does not walk into the Backrooms as some regular guy who suddenly turns dangerous, his therapy sessions already show he wants Dr Mary to agree the divorce was not his fault and he gets angry the second she suggests he treated his wife badly. So when he ends up choosing to stay somewhere that never challenges him over facing what he did, it tracks it makes so much sense that he get to like the insanity he at first fear, Backrooms turn into his safe place. I feel like the movie gave out the secret sauce to easy, just as how fast Clark also accept the place without loosing much, once Clark explains the strange people and rooms are just damaged copies of memories, it hands you an answer to something that was scarier with no answer at all. Then a pirate shaped double of Clark shows up and goes after Mary, and its a replica of his ideas, fear and feelings, an exact replica of the mascot from his own store commercials that it is obviously his temper he never deals with. It is a decent idea, but it turns the Backrooms into an extension of one guy instead of something bigger than him and some of the uncertainty that made the first half so good goes out the window.
Renate Reinsve is doing just as much work as Ejiofor here, but her scenes with Clark are where the writing gets too direct again. She plays Mary as tired and worried and pretty unsure how much she can actually do for this guy, so she never feels like a therapist who is only there to explain Clark to us, but also her own backstory matters too, she grew up locked inside a house with a mother who was clearly not well and she still carries around this piece of concrete with her childhood handprint pressed into it, so she gets what it is like to need to escape somewhere someone else made unsafe. I liked that the only reason she goes into the Backrooms in the first place is because she gets worried after Clark stops showing up to sessions, so there is an actual reason for her to be there instead of some plot excuse. Once she finds him, the movie turns their conflict into another therapy session and says out loud what it already showed us, Clark wants Mary to play his ex wife and tell him he was right, and Mary tells him she cannot fix him and he can stay in there if he refuses to deal with what he did. I get the point, I just did not need it spelled out, Clark likes the Backrooms because none of the fake people there ever push back or expect better from him, and Mary only gets him to let her go once she stops giving him the answer he wants. The performances bot Renate and Chiwetel are so good on this movie but its the dialogue keeps translating fear into a lesson where the environment and sounds had already made without saying a word.
Towards the ending the movie starts to get a bit dragy, that part where both Clark and Mary are basically getting absorb by this Backrooms world, once it moves from the quiet horror of the rooms into a straight chase and a whole research group, with the big pirate creature that was creepy at first just because it is such a wrong version of Clark, but the more the movie ties it directly to his store mascot, the less scary and more explained it becomes. Mary running from it gives the ending some action but that chase feels more ordinary than earlier scenes where just a hallway or a pile of clothes or a badly copied person made the room feel dangerous, this movie already proved it could scare me without a full creature sprinting after somebody. Then the A Sync Research Institute shows up, this group that has apparently been watching the Backrooms and grabs Mary right after she gets out, and it barely gives you anything besides a promise there is more going on. Mark Duplass is fine in the small amount he gets, his calm way of questioning her makes it obvious she is not free, but the whole scene feels like it belongs to a different movie starting up right as this one should be ending. I get why that material is there, the opening already hints someone is watching footage from inside, but it makes the ending feel scared to stay with Clark and Mary and let their story be the whole point.
I still liked a good amount of Backrooms because the direction has real patience in the slower scenes and both of the main characters keep the personal stuff entertaining even when the script gets too clear about its own point. It knows how to make a big empty room feel wrong just from silence and distance and strange copies of normal objects, and that is stronger than anything it says out loud. I mention above how the Backrooms turn for Clark the perfec escape from reality, he would rather live angry than admit he hurt the people around him, and Mary fighting her way out works too because she finally stops doing his emotional work for him. I just wish the movie trusted them and the setting more instead of explaining every damaged person as a memory, giving Clark a literal pirate double, and tacking on a research group that might keep going. The final shot of a distorted version of Mary gets that uncertainty back, I am not sure if it means the real Mary got out while a copy stayed behind or if she is still stuck down there, and that is the kind of not knowing this movie needed more. Backrooms had a setup that is strong enough to carry something stranger than what we got, I felt things were just too simple and basic and this is where context lack. Backrooms does prove that Kane Parsons knows how to build fear out of space and patience alone, I just wanted it to stop explaining itself and let the fear stay confusing. They already working on a sequel that I hope gives out more context to the story with a direct connection to this one, and also run with a straight up horror and keep you confuse of whats going on but most likely it wont since a sequel would make sense if they start the story of the men who are studying the Backrooms.
Project Almanac (2015) When Time Travel Feels Real
The time-travel genre tends to fall easily into two extremes: either it gets so bogged down in theoretical paradoxes that it ends up alienating the viewer, or it relies on lighthearted fantasy where the rules change to suit the plot. That’s why, when a movie manages to strike a balance in its storytelling that makes me think, “Okay, this could actually happen this way,” it immediately earns my respect and attention. That’s exactly what *Project Almanac* accomplishes.
For me, credibility within a work of fiction is absolutely key to hooking me. If I don’t believe the story, there’s no way it will captivate me or leave me thinking long after the credits roll. Project Almanac takes a premise we’ve seen before—a group of teenagers who find the blueprints for a time machine—but approaches it from a realistic perspective, further enhanced by the found-footage format.
That aesthetic choice isn’t just for show; it lends an almost documentary-like immediacy to the trials, errors, technical logic, and consequences of altering the timeline. Watching a group of teenagers react with the selfishness, fascination, and natural recklessness typical of their age to such a discovery makes the story feel human and authentic. The screenwriters’ and director’s approach works because they aren’t trying to sell you a magical miracle, but rather a process of trial and error with logical and destructive repercussions.
That ability to make me believe in the real possibility of time travel, while maintaining the suspense and raising dilemmas that linger long after watching it, is why I give it a solid 90/100. A flawless surprise within the genre for those of us who value narrative plausibility.
Translated with DeepL.com (free version)
Screenshot von:IMDb
What about you guys—have you seen it yet? What do you think of its take on time travel?
Spanish
Project Almanac (2015) Cuando el viaje en el tiempo se siente real
El género de viajes en el tiempo suele caer fácilmente en dos extremos: o se complica tanto con paradojas teóricas que termina alienando al espectador, o se apoya en una fantasía desenfadada donde las reglas cambian a conveniencia de la trama. Por eso, cuando una película logra equilibrar la narrativa para hacerme decir "bien, esto realmente podría pasar así", se gana de inmediato mi respeto y atención. Eso es exactamente lo que logra Project Almanac.
Para mí, la credibilidad dentro de una ficción es la clave absoluta para engancharme. Si no le creo a la historia, es imposible que me atrape o que me deje pensando una vez que ruedan los créditos. Project Almanac toma una premisa que hemos visto antes un grupo de jóvenes que encuentra los planos de una máquina del tiempo, pero la aborda desde una perspectiva realista, impulsada además por el formato de metraje encontrado (found footage) o cámara en mano.
Esa decisión estética no es un mero adorno; le otorga una cercanía casi documental a los ensayos, los errores, la lógica técnica y las consecuencias de alterar la línea temporal. Ver a un grupo de adolescentes reaccionar con el egoísmo, la fascinación y el descontrol natural de su edad frente a semejante descubrimiento hace que la historia se sienta humana y auténtica. La propuesta de los guionistas y del director funciona porque no intentan venderte un milagro mágico, sino un proceso de prueba y error con repercusiones lógicas y destructivas.
Esa capacidad de hacerme creer en la posibilidad real del viaje en el tiempo, manteniendo la tensión y planteando dilemas que resuenan después de verla, es la razón por la que le doy un sólido 90/100. Una sorpresa impecable dentro del género para quienes valoramos la verosimilitud narrativa.
Traducido con DeepL.com (versión gratuita)
Captura de pantalla de: IMDb
¿Y ustedes, ya la vieron? ¿Qué opinan sobre su enfoque del viaje en el tiempo?
Well, yesterday I had the pleasure of seeing the new Descendants movie from Disney. These movies are particularly special and important to me because they've been around since my youth, and I was a huge fan back then. With their musical numbers and engaging stories, and the fact that they're the children of iconic Disney characters like Maleficent and Belle and the Beast adds a special touch, along with the fantasy and ever-present romance, I've been drawn to watch every film in the series—so much so that Disney even made me pay to see it.
Bueno, ayer tuve el gusto de ver la nueva película del universo de los Descendientes de Disney. Estas en particular son muy especiales e importantes para mí porque existen desde mi juventud y en su momento fui muy fan de ellas. Con sus musicales e historias que son muy interesantes, y que les da un poco de sabor el hecho de que son los hijos de personajes icónicos de esta compañía, como Maléfica o La Bella y La Bestia. Y así, con el toque fantástico que esta tiene y el romance que nunca falta, son los que me han atraído a ver cada película que sale de ella, tanto así que me hizo pagar Disney para poder verla.
A while back I shared a post about the Descendants saga, which you can read if you'd like. In this post, I specifically want to talk about the new movie, which premiered on July 16th on the Disney Channel, where they've always aired the films; it then arrived on Disney+ the following day. This movie follows the aftermath of the previous film, where the protagonists traveled back in time to undo the Queen of Hearts' evil deeds. However, despite achieving their goal, they've created new villains who are about to cause trouble.
Hace un tiempo les compartí un post sobre la saga de los Descendientes que puedes leer si gustas. En este en específico quiero hablar sobre la nueva película estrenada el día 16 de julio a través del canal Disney Channel, que es el que siempre las ha estrenado allí; posteriormente, llegó a Disney+ un día después. Esta sigue las consecuencias de la anterior película, en donde las protagonistas volvieron al pasado para corregir la maldad de La Reina de Corazones. Aquí, estas, a pesar de que lograron lo que quisieron, crearon a nuevos villanos que están a punto de dar problemas.
This new movie introduced a new cast that expanded the Descendants universe, and as I discussed in my previous post about "Enchantment," they introduced a son of the Madrigal family, which caused quite a stir on social media. This was mainly due to theories about his father's identity, as everything points to him also being Maui's son. And yes, in this universe, these kinds of pairings exist for iconic characters to give them backstories, since in their original stories we know they don't have romantic interests.
En esta se presentó un nuevo elenco que expandió un poco el universo de “Descendientes”, y como en mi anterior post hablé sobre “Encanto”, aquí trajeron a un hijo de los miembros de la familia Madrigal, y esto causó un poco de sensación en redes sociales. Principalmente por quienes están con teorías de quién es su padre, ya que todo apunta a que también es hijo de Maui, y sí, aquí en este universo existen estos tipos de Shippeos en los personajes icónicos, para darles orígenes a sus personajes, por el hecho de que en sus historias originales sabemos que no tienen intereses amorosos.
And regarding the performances, I must admit that some scenes seemed a bit over the top, but not completely unpopular. However, something I really enjoyed was the interaction between Ella and Bridged. Despite the passage of time, they remain best friends, and their scenes felt the most genuine, lightening the overall feel of the film. The protagonists' friendship also evolved, and they both learned to be better people. Even though many say this film series has been ruined, it still holds up, though only for a young audience that enjoys fantasy.
Y entre actuaciones, debo admitir que algunas escenas me parecieron un poco exageradas, pero no un disgusto total. Pero algo que sí me agradó mucho fue la interacción entre Ella y Britged, pues estas, con el cambio en el tiempo, siguen siendo mejores amigas y sus escenas me parecieron las más palpables de todas, aligerando las escenas donde ellas aparecen. También, las protagonistas, en donde su amistad evolucionó y quienes aprendieron a ser mejores personas, pues, a pesar de que muchos dicen que esta serie de películas se arruinó, pues aún se mantiene solo para un público joven que le guste lo fantástico.
Well, since this is a new generation, it's sad to see how they've gradually left some characters behind. While there are still connections to the previous films, the fact that Uma doesn't appear anymore is a bit disheartening. This saga is obviously available on Disney+ as well as on the Disney Channel. If you want to watch it, get a subscription, and I promise it will entertain you at least a little, especially if you have children, since younger viewers tend to enjoy these movies.
Bueno, como esta es una nueva generación, pues es triste ver cómo poco a poco han dejado personajes atrás; si bien aún hay conexiones con las demás, el hecho de que ya no aparezca Uma es algo un poco desesperanzador. Esta saga obviamente está disponible en Disney+ al igual que en el canal Disney Channel. Si quieres verla, obtén una suscripción y te prometo que te entretendrá al menos un poco y más si tienes hijos, ya que a los más jóvenes les suelen gustar estas películas.
Considera unirte a nuestro trail de curación en HIVEVOTE haciendo clic en la imagen inferior, Les agradecemos todo el apoyo.
A todos los artistas ahí afuera en HIVE, si alguna vez se sienten solos y perdidos, únanse al canal de Discord de Bokura No Digital World
Many Disney movies have been huge hits, and several of them have opted to release a sequel or adapt them into live-action versions—which can be a bit risky since they don’t always capture the same magic as the original film. That’s why a new version of Moana was released—one that sets itself apart from the very first minute with a world full of oceans, mysterious islands, and an adventure that, even though it follows the same story, conveys a wealth of messages perfectly suited for all ages. Therefore, beyond being a sequel, this film aims to show that growing up doesn’t mean stopping your sense of adventure.
I saw the first movie and really liked it, since it’s the start of an adventure, and now in this sequel, we’re introduced to a much older Moana, yet one who still possesses that adventurous spirit that defines her. Here, she enters a new phase, where every decision she makes can turn out to be either good or bad—a dynamic that adds depth to the film. The movie also features moments of emotion, others that are very funny, and scenes that remind us that leadership isn’t about being perfect, but about learning as you go, since we’re all human and we’re all bound to make mistakes.
Muchas películas de Disney han sido todo un éxito y varias de ellas han apostado en sacar una segunda parte o combatirlas en live action, la cual puede ser algo arriesgado al no conservar la misma de la primera película. Por eso se estrenó una nueva versión de Moana, donde llega para marcar la diferencia desde el primer minuto con ese mundo lleno de océanos, islas misteriosas y una aventura que aunque sea la misma dejará una gran cantidad de mensajes perfectamente para todas las edades. Por lo tanto, más allá de una continuación, esta película busca demostrar que crecer no significa dejar de explorar.
Vi la primera película y me gusto mucho, ya que es el inicio de una aventura y ahora en esta segunda parte nos presenta a Vaiana mucho más grande, pero con ese espíritu aventurero que la caracteriza. Aquí muestra una nueva etapa, donde cada decisión que se toma puede llegar a ser buena o mala, siendo algo que le da valor a la película, como también los diferentes momentos de emoción, otros muy divertidos y también escenas que recuerdan que el liderazgo no consiste en ser perfecto, sino en aprender mientras se avanza, ya que todos somos seres humanos y uno puede llegar a equivocarse.
Another aspect that continues to improve is the animation, where each scene outdoes the last, making the landscapes feel very real. In addition, the colors, the characters, and many other elements add value, making the adventure unique and wonderful. Furthermore, the film once again surprises with each piece of music it features, as the score accompanies both the film and the audience, allowing them to continue enjoying the adventure right up to the end.
The great thing about this sequel is that it doesn’t dwell on the first part but rather creates a new plot, new characters, and situations that perfectly expand this universe, paving the way for future installments. This ensures that the film is unique, has its own identity, and doesn’t feel like a rehash—unlike what has happened with many Disney movies.
Otras de las cosas que cada vez sigue mejorando es la animación donde cada escena supera la otra, logrando que los paisajes se sientan muy real, además los colores, los personajes y muchas otras cosas que le aportan valor para que la aventura sea única y maravillosa. Además, la película también vuelve a sorprender con cada una de las músicas que le colocan, ya que acompañan tanto a la película como al espectador para seguir disfrutando de la aventura hasta el final.
Lo bueno de esta continuación, es que no se detiene para contar la primera parte, sino más bien crear una nueva trama, nuevos personajes y situaciones que amplían este universo perfectamente para seguir sacando nuevas versiones. Logrando así que la película sea única, tenga identidad propia y no se sienta como una repetición, como le ha pasado a mcuhas peliculas de Disney.
I liked this new version of Moana because it shows one of the most challenging stages of life when you’re young. It also highlights growth, confidence, and the importance of moving forward even when the path seems uncertain—because every obstacle makes you much stronger. So, it was worth the wait, and it’s a movie that’s perfect for both kids and adults—because in addition to being entertaining, it conveys several positive messages. So if you’re looking for a new, animated, and entertaining movie, this one’s for you.
Me gusto esta nueva versión Vaiana, ya que muestra una de las etapas de la vida más fuerte cuando uno esta joven, además resalta el crecimiento, la confianza y la importancia de seguir adelante incluso cuando el camino parece incierto, por el hecho de que cada obstáculo uno se volverá mucho más fuerte. Por lo tanto, valió la pena esperar y es una película que es perfectamente tanto para los más pequeños como los adultos, porque además de entretener deja varios mensajes positivos. Por eso si buscas una película nueva, animada y entretenida esta será para ti.
Parallel Lives, or Ingress as it’s known by its original title, is a 2023 science fiction and drama film—an independent, low-budget production, so to speak—that offers two hours of mind-bending twists and confusion. Although it’s a science fiction film, you won’t find any jaw-dropping special effects that will make you go “wow”—and if you enjoy films in this genre for those effects, you might be disappointed. Obviously, it does have sci-fi elements because they’re necessary for the story’s development, since the protagonist moves between parallel worlds or different time periods, but they aren’t extraordinary.
Review
A woman feels constantly confused and seeks answers to unexplained events in her life. She goes to therapy with her psychologist in an effort to lead a somewhat normal life, but she doesn’t feel understood. She grapples with a past event that scarred her forever, while trying to get her husband back—a husband she lost during one of her parallel journeys.
One day, as a teenager, Riley (Rachel Noll James) left home and sensed subtle changes in the atmosphere; when she returned, she was in a different era—her house was different, and her parents had passed away. Time has passed; she is now an adult and doesn’t understand what happened to her. She is a lonely woman, once again going through another traumatic event—feeling as though she has lost her husband to murder. She doesn’t know how things unfolded, but she still loves him. The thing is, in that reality, she never got married, and her husband doesn’t exist—this happened in another timeline.
It was like grieving for something that hadn’t happened. I felt suffocated as I watched the protagonist shut herself away in her pain and only confide in her psychologist, who didn’t really believe her. It must be horrible to go through an experience like that. 😁 Let’s get back to the movie.
Riley is also exhausted from suffering; she doesn’t know if she’ll ever see her husband again in that other reality, but she wishes with all her heart to be with him before he dies so she can warn him about what’s happening—at least in part—and at this point, the suspense was so intense that it was driving me crazy with anxiety.
The thing is, she meets a writer who describes situations like the ones she’s experiencing in his books, and she decides to tell him about it. A relationship so intimate develops between them that they become a couple and start falling in love. It’s at this point that Riley doesn’t know what to do; she begins living parallel lives with two men—her former husband before he died and her current one—and finds herself in a romantic and moral dilemma.
Throughout most of the movie, we see her shifting from one life to the other; as she spends more time in one, the other fades away. The point is that she has to decide which life fulfills her more and which one to choose. It’s not an easy decision, but it’s the only way out.
In conclusion, I think it leans heavily toward the romance genre, and I don’t understand why it isn’t classified as such. It’s a somewhat slow-paced film that keeps the viewer engaged by incorporating moments of psychological tension, passion, and drama. It’s a good movie—I didn’t lose track of the story despite the parallel timelines—and I’ll admit I’m a fan of films that deal with time and parallel lives. If you like romance, time-travel themes, and characters with inner conflicts, this movie is for you.
Cover image created by me with canva Source with resources from imdb
International Viewers Turn on CLOSED CAPTION and choose your language in Settings and enjoy my Video Review ⚙️⚙️
JoJo's Bizarre Adventure Poses, How They Bring Brilliance to Life and Scrobble.Life 🤩🤩
Anyone who knows the world of Anime and Manga immediately recognizes the famous pose of the main character Giorno Giovanna, which I am performing right next to him 😁😁
I hope to catch your attention with the thumbnail so you watch my video review and let me recommend the saga titled Golden Wind. In my videos, I usually tend to focus on characters, but in this case—since it is the 5th saga of the franchise—I prefer to focus on reviewing its music and, through it, introduce you to the anime.
I tried to find the song on Scrobble but couldn't; regardless, the focus of recommending this great piece of content through the anime will reach you, the audience who watches and reads my work. Thank you 🤗🤗
Las Poses de JoJo's Bizarre Adventure como dan fulgor a La Vida y a Scrobble.Life 🤩🤩
Quien sabe del mundo del Anime y Manga, reconoce inmediatamente la famosa pose del personaje protagonista Giornno Giovanna la cual interpreto junto a el 😁😁
Espero captar tu atencion con la miniatura para ver mi video reseña y recomendarte la saga titulada Golden Wind. En mis Videos tiendo a enfocarme en personajes pero en este caso y al ser la 5 saga de la Franquicia, prefiero enfocarme en Reseñar su Musica y a partir de ella, darte a conocer el Anime.
Trate de ubicar la cancion en Scrobble pero no pude, de igual manera a partir del anime el enfoque de recomendacion de este buen producto llegara a ustedes, la audiencia que me ve y lee, Gracias 🤗🤗
In my video review, I sing the song 'il vento d'oro' a cappella. You can listen to it in its full harmonic glory and with all its instrumental backing through the verified YouTube channel link that I am sharing with you.
You will immediately notice the majesty that this song transmits. Whoever composed the music must have absolutely fallen in love with Giorno's poses, because they were clearly inspired to bring pure solemnity when creating this track.
I want to highlight something I mentioned in the video, for me, this is the best song because of its catchy rhythm and the use of the Saxophone, but that doesn't overshadow the rest of the soundtrack. There are characters like Mista who also inspire with their own themes, accompanied by their respective poses
En mi Video Reseña canto a Capella la Cancion il Vento D'oro la cual pueden escuchar a plenitud de armonia y complemento de instrumentos en el link de youtube de un canal verificado de youtube que les comparto.
Notaran inmediatamente la majestuosidad que transmite la cancion, quien hizo la Musica vaya que debe haber quedado enamorado de las poses de Giorno porque lo dejo bastante inspirado en Solemnidad al momento de crear esta cancion.
Resalto algo que mencione en el video, esta cancion es para mi la mejor por el ritmo pegajoso y uso de Saxofon pero eso no opaca el resto de canciones, hay personajes como Mista que tambien inspiran con sus musicas acompañadas de sus respectivas poses.
If you love this style of review, I will bring you more poses associated with each character from all the sagas in the future. If there is one thing that defines this show for its audience, it is exactly that, the intention behind each character's pose, along with the provocative nature that accompanies it.
I wouldn't title this work as Bizarre; the most appropriate term is 'subversive,' and people love that. It has an audience that is absolutely thrilled by it, which has helped this franchise stay relevant for years. In fact, they recently released new content on Netflix that I hope to watch soon.
You can enjoy all of this on Netflix, and I hope you tune into the vibe of this song, which puts the Golden Wind of JoJo's Bizarre Adventure on a pedestal.
Si les encanta este estilo de Reseña, a futuro les traere mas Poses asociadas a cada personaje de todas las sagas porque si hay algo que lo define a nivel de audiencia es justo eso, la intencion de la Pose que tiene cada personaje junto con la depravacion que le acompaña,
Yo no la titularia esta obra como Bizarra, el termino mas adecuado es Depravado y eso gusta, tiene una audiencia que le encanta eso, lo cual ha ayudado a esta Franquicia a mantenerse por años y de hecho recientemente saco nuevo producto en Netflix que espero pronto ver.
Todo esto lo pueden disfrutar en Netflix y espero entren en frecuencia de esta cancion que coloca en un pedestal al Viento de Oro de JoJo's Bizarre Adventure.
I dedicate each and every one of my posts and videos to my little dog named princess, we called her chiquito, she is no longer with us but from heaven she will see that her existence was valuable and the most beautiful thing that will exist in my heart and soul.
Resources used in this post in sequence:
Thumbnail is a Photo of Me taked with my Tecno Pova Nova 2 combined with AI Gemini of Google and Edited with Telegram
I am no classical scholar, but I am well aware of some of the Greek myths. The Trojan Horse is one of the best known and there have been some classic movies around those myths. I grew up watching those with the Ray Harryhausen animated monsters. Now we have a fresh take on this from Christopher Nolan who gave us some great Batman movies and Oppenheimer.
Nolan likes to film as much as possible for real rather than relying on CGI effects, but I suspect there are a fair few of those in the nearly three hours of this epic. There is a lot to fit in and he left plenty out. He also changed various things, but that is standard practice as a director will want to make the story flow in a certain way. Apparently the original story had a lot more sex, but we get enough violence. I am tempted to actually read it some time and there are lots of translations out there.
The story jumps around a bit in time, but then it is spanning about twenty years. You can sort of see where you are by how long and grey Matt Damon's beard is. I think he carries the lead role well. It does feel quite episodic as the crew visit various islands with strange inhabitants including a huge cyclops, armoured giants and a witch.
We have a couple of Marvel stars with Tom Holland (Spider Man) and Jon Bernthal (The Punisher). Robert Pattinson plays a bad guy trying to seduce Odysseus's queen Penelope. I think the cast is pretty good. Some period movies of this type can go for English accents, but this goes for American all the way, even with the British actors.
I know there has been some criticism of the casting. It is a mix of cultures, but then it is lacking Greek actors and it is not like they would do it all in ancient Greek with subtitles. It is a myth and so you can take liberties. I would trust Nolan to pick the right actors.
Apparently people flew to London to see this in the big IMAX cinema. There will not be many places you can see it at full quality, but it looked good on the biggest screen of our local cinema. It really did not feel like nearly three hours. I expect it will win some awards.
One of the trailers we saw before the main feature was for Digger featuring a heavily made-up Tom Cruise. That looks totally bonkers with some elements of Dr Strangelove.
**Synopsis**: *Three friends break into a mansion in search of some extra fun before Christmas Eve. However, what was supposed to be a “girls' night” with easy entertainment ends up turning into a brutal fight for survival after an unexpected accident occurs*.
How far would you go to hide the consequences of a mistake committed on impulse? How would you distinguish omission from lying? These are just some of the questions (very timely ones, by the way) that serve as the foundation for this movie’s screenplay, which dives (or at least tries to... with the best of intentions) into a spiral where the psychological mechanisms of self-preservation end up testing the bonds of friendship between three friends, while gradually revealing the darker personality traits that are inherent to their very nature.
Simple and straightforward, with a runtime of only 70 minutes (actually, a little less than that), this is a movie that has a lot to say but ultimately isn’t as immersive as it should be precisely because of its short running time (considering all the themes that form the basis of its narrative). On the other hand, the idea behind it is very interesting, and that doesn’t stop it from being a good movie. Basically, because it delivers solid narrative development within all of its limitations, effectively bringing out the most intriguing aspect of its central concept.
Holly, Cali, and Mel are three friends with completely opposite personalities. While Holly acts according to morality and proper values, Mel occupies the middle ground on that same side of the coin. On the other side, Cali represents the opposite, never missing an opportunity to present herself as a girl “ahead of her time” (in every sense, so to speak). On Christmas Eve, Holly and Mel are persuaded by Cali to break into a mansion in search of more excitement. However, the lie Cali invents doesn’t last long, and when they try to leave... something unexpected changes everything.
When Holly and Mel discover that Cali had lied about the mansion belonging to her uncle, they decide to leave. Before they can do so, someone arrives at the house. During their escape, they end up causing an accident and leave someone seriously injured. After this incident, they must deal with the consequences of their actions, and their chances of getting away unscathed are slim. Frightened and thinking about their futures, they decide to hide the truth by weaving a web of lies to cover up everything that happened that night (but things only get worse).
Although it’s quite clear that the screenplay needed a bit more time to let the story itself fully mature (because everything could have been even more impactful than it already is), this is the kind of project that grabs the audience’s attention through its naturally suspenseful atmosphere. The unpredictability of everything that happens after the accident they caused carries the weight of the narrative, which only fails to be more immersive because of its limited runtime. And although the ending also comes too quickly, it is very effective within its proposal of “reverse antagonism”.
The cast of relatively unknown actresses (at least to me) doesn’t do a bad job with their respective characters, who are responsible for balancing the weight of the events unfolding before them (which become increasingly tangled due to other sudden developments). At the same time, however, they’re limited by performances that occasionally feel too exaggerated within the context they’re in. Even so, I think the movie’s approach to everything that happens is quite thought-provoking, as it reveals each woman’s true nature under immense pressure.
The entire dynamic surrounding the decisions they - *cautiously* - begin to make changes throughout the movie because other narrative elements are skillfully introduced to increase the tension within the story. You genuinely become very curious about what they’ll do next. The emotional “roller coaster” keeps us engaged because the panic that “suffocates” the trio causes them, at certain moments, to turn against one another even after they’ve already decided what should be done. It’s a shame the screenplay is really so short.
**Dan Berk** and **Robert Olsen** are the duo responsible for writing and directing ***Body***, which, at its core, ends up working better on paper than on screen. Even so, it’s a very brisk movie, “wrapped” in a layer of suspense where the greatest threat is driven by psychological factors, showing us just how dangerous our own actions can become (toward anyone) when we’re under intense pressure. Technically, it’s a very simple movie with limited cinematography (as well as limited character development), but it’s still a good one.
---
CRÍTICA DE PELÍCULA: “El Cuerpo” (2015)
**Sinopsis**: *Tres amigas irrumpen en una mansión en busca de diversión extra antes de la víspera de Navidad. Sin embargo, lo que debía ser una “noche de chicas” con entretenimiento fácil terminó convirtiéndose en una brutal lucha por la supervivencia después de que ocurre un inesperado acidente*.
¿Hasta dónde irías para esconder las consecuencias de un error que fue cometido impulsivamente? ¿Cómo separarías la omisión de la mentira? Estos son apenas algunos de los cuestionamientos (por cierto, muy oportunos) que funcionan como base para la construcción del guion de esta película, que se sumerge (o al menos lo intenta... con todas las buenas intenciones) en una espiral donde los mecanismos psicológicos de autopreservación terminan poniendo a prueba los lazos de amistad entre tres amigas, y poco a poco revelando también sus rasgos oscuros de personalidad que son inherentes a la propia naturaleza de ellas.
Simple y directa, contando con apenas 70 minutos de duración (en realidad, un poco menos que eso incluso), aquí tenemos una película que tiene mucho que decir, pero que termina sin estar tan inmersa como debería precisamente por ser una película de corta duración (considerando todos los temas que fundamentan la base de su construcción temática). Por otro lado, la idea detrás de ella es muy interesante, y no deja de ser una buena película por eso. Básicamente, porque hay un buen desarrollo narrativo dentro de todas sus limitaciones, haciendo efectivo el lado más intrigante de toda la idea.
Holly, Cali y Mel son tres amigas con personalidades totalmente opuestas entre sí. Mientras Holly actúa de acuerdo con la moral y las buenas costumbres, Mel está en el término medio de ese mismo lado de la moneda. Del otro lado, Cali representa lo opuesto, sin perder nunca la oportunidad de mostrarse como una chica “adelantada a su tiempo” (en todas sus capas, por así decirlo). En la víspera de Navidad, Holly y Mel son influenciadas por Cali para invadir una mansión en busca de más diversión. La mentira inventada por Cali, sin embargo, no dura mucho tiempo, y al intentar irse... Algo inesperado lo cambia todo.
Cuando Holly y Mel descubren que Cali había mentido sobre que la mansión pertenecía a su tío, deciden irse. Antes de que eso sucediera, alguien llega a la casa. Durante la huida, terminan provocando un accidente y dejan a una persona gravemente herida. Después de este acontecimiento, necesitan lidiar con las consecuencias de ese acto, y las posibilidades de salir ilesas de este episodio son pocas. Asustadas y pensando en el futuro, deciden esconder toda la verdad al tejer una red de mentiras para omitir todo lo que ocurrió aquella noche (pero todo empeora aún más).
Aunque es obviamente claro que el guion necesitaba un poco más de tiempo para madurar la propia trama en sí (porque todo podría ser aún más impactante de lo que realmente es), este es ese tipo de proyecto que roba la atención del público por su atmósfera natural de suspenso. La imprevisibilidad de todos los actos después del accidente que ellas provocaron sostiene el peso de la narrativa, que solo no logra ser más inmersiva por la limitación del tiempo, y aunque el desenlace también sea demasiado rápido, es muy eficiente dentro de su propuesta de “antagonismo reverso”.
El elenco de actrices desconocidas (al menos para mí) no hace un mal trabajo con sus respectivos personajes, que, por cierto, son responsables de equilibrar muy bien el peso de los acontecimientos que tienen frente a ellas (cada vez más enredados debido a otros eventos abruptos); pero al mismo tiempo, quedan limitadas por actuaciones que a veces parecen demasiado exageradas dentro del contexto en el que se encuentran. A pesar de eso, creo que el enfoque sobre todo lo que ocurre es bastante provocador, al traer la verdadera naturaleza de cada una de ellas bajo una gran presión.
Toda la dinámica que involucra las decisiones que ellas - *cautelosamente* - comienzan a planear cambia a lo largo de la proyección, porque otros elementos narrativos son hábilmente insertados con el objetivo de aumentar el nivel de tensión dentro de la trama. Literalmente, te quedas con muy curiosidad por saber cuáles serán sus próximos pasos. La “montaña rusa” de sentimientos nos atrapa, porque el pánico que “asfixia” al trío hace que, en determinados momentos, ellas se vuelvan unas contra otras incluso después de haber decidido qué debería hacerse. Es una pena que el guion realmente sea tan corto.
**Dan Berk** y **Robert Olsen** son la dupla responsable de escribir y dirigir ***El Cuerpo***, que en esencia termina siendo mucho mejor sobre el papel que en el audiovisual. De cualquier forma, es una película muy ágil, y que está “envuelta” por una línea de suspenso donde la peor amenaza es desencadenada por factores psicológicos, mostrándonos cuánto nuestras propias acciones pueden ser altamente peligrosas (contra cualquier persona) cuando estamos bajo una fuerte presión. Técnicamente, es una película muy simple y con una cinematografía limitada (así como el desarrollo de sus personajes), pero aun así, es buena.
---
CRÍTICA DE FILME: “A Odisseia” (2015)
**Sinopse**: *Três amigas invadem uma mansão, em busca de diversão extra antes da véspera de Natal. No entanto, o que era para ser uma “noite de garotas” com entretenimento fácil, acabou se tornando numa luta brutal pela sobrevivência depois que um inesperado acidente acontece*.
Até onde você iria para esconder as consequências de um erro que foi impulsivamente cometido? Como você separaria omissão de mentira? Esses são apenas alguns dos questionamentos (aliás, muito oportunos) que funcionam como uma base para a construção do roteiro desse filme, que mergulha (ou ao menos tenta... com todas as boas intenções) numa espiral onde os mecanismos psicológicos de autopreservação acabam testando os laços de amizade entre três amigas, e pouco a pouco revelando também seus traços sombrios de personalidade que são inerentes a própria natureza delas.
Simples e direto, contando com apenas 70 minutos de duração (na verdade, um pouco menos do que isso até), eis aqui um filme que tem muito a dizer, mas que acaba não sendo tão imerso quanto deveria justamente por ser um filme de projeção curta (considerando todos os temas que fundamentam à base da sua construção temática). Por outro lado, a ideia por trás dele é muito interessante, e ele não deixa de ser um bom filme por causa disso. Basicamente, porque há um bom desenvolvimento narrativo dentro de todas as suas limitações, efetivando o lado mais intrigante de toda ideia.
Holly, Cali e Mel são três amigas com personalidade totalmente opostas entre si. Enquanto Holly age de acordo com a moral e os bons costumes, Mel está no meio termo desse mesmo lado moeda. Do outro lado, Cali representa o oposto, sem nunca perder a oportunidade se mostrar uma garota “frente do seu tempo” (em todas as suas camadas, por assim dizer). Na véspera de Natal, Holly e Mel são influenciadas por Cali a invadir uma mansão em busca de mais diversão. A mentira inventada por Cali, no entanto, não dura muito tempo, e ao tentarem ir embora... Algo inesperado mudo tudo.
Quando Holly e Mel descobrem que Cali havia mentido sobre a mansão pertencer ao tio dela, elas decidem ir embora. Antes que isso acontecesse, alguém chega até a casa. Durante a fuga, elas acabam provocando um acidente, e deixam uma pessoa gravemente ferida. Depois desse acontecimento, elas precisam lidar com as consequências desse ato, e as chances delas saírem ilesas desse episódio são poucas. Assustadas, e pensando no futuro, elas decidem esconder toda a verdade ao costurar uma teia de mentiras para omitir tudo o que aconteceu naquela noite (mas tudo fica ainda pior).
Embora seja obviamente claro que o roteiro precisasse de um pouco mais de tempo para amadurecer a própria a trama em si (porque tudo poderia ser ainda mais impactante do que já realmente é), esse é aquele tipo de projeto que rouba a atenção do público pela sua atmosfera natural de suspense. A imprevisibilidade de todos os atos após o acidente que elas causaram sustenta o peso da narrativa, que só não consegue ser mais imersiva apenas pela limitação do tempo, e apesar do desfecho também ser rápido demais, ele é muito eficiente dentro da sua proposta de “antagonismo reverso”.
O elenco de atrizes desconhecidas (ao menos por mim) não faz um trabalho ruim com suas respectivas personagens, que aliás, são responsáveis por balancear muito bem o peso dos acontecimentos que estão diante delas (cada vez mais enroscados por causa de outros eventos abruptos); mas ao mesmo tempo, ficam limitadas com performances que por vezes parecem ser exageradas demais dentro do contexto em que elas estão. Apesar disso, eu acho que a abordagem sobre tudo o que acontece é bem provocante, ao trazer a verdadeira natureza de cada uma delas sobre grande pressão.
Toda a dinâmica que envolve as decisões que elas - *cautelosamente* - começam a planejar mudam ao longo da projeção, porque outros elementos narrativos são habilmente inseridos com o objetivo de aumentar o nível de tensão dentro da trama. Literalmente, você fica bem curioso para saber quais são os próximos delas. A “montanha-russa” de sentimentos nos prende, porque o pânico que “sufoca” o trio faz com que, em determinados momentos, elas se voltem umas contra as outras mesmo depois de já terem decidido o que deveria ser feito. É uma pena que o roteiro realmente seja bem curto.
**Dan Berk** e **Robert Olsen** é a dupla responsável por escrever e dirigir ***O Corpo***, que na essência acaba sendo bem melhor no papel do que no audiovisual. De toda forma, é um filme muito ágil, e que é “envelopado” por uma linha de suspense onde a pior ameaça é desencadeada por fatores psicológicos, nos mostrando o quanto as nossas próprias ações podem ser altamente perigosas (contra qualquer pessoa) quando estamos sob forte pressão. Tecnicamente, é um filme muito simples e com cinematografia limitada (assim como o desenvolvimento dos seus personagens), mas ainda sim, é bom.
I love sniper movies; when I was young, I wanted to enlist in the army to be one, which is why I never miss any related stories. I've always felt they are decisive when it comes to deciding a combat, and that's usually what we see in the movies—a man with extraordinary skills like intelligence, stealth, patience, good observation, etc.
Sniper movies usually tell the story of a lone operative facing an enemy that outnumbers and out-resources them. When I read the title and saw that it was about seven, I immediately thought it would be great, plus I found it very original that this time the role was played by an actress. The story begins with Chris (Radha Mitchell) on a farm with her teenage daughter Anja (Annabel Wolfe), target shooting while receiving advice from her mother.
Anja is rebellious and skips school, spending the night away from home with her boyfriend. Chris receives a visit from a man whose attitude she doesn't like, so she confronts him and ends up killing him. This is where we learn that Chris is a retired sniper from the Australian army who is being hunted by a man nicknamed the Dragon. Upon finding out she's been tracked down, Chris calls her old unit for help; two of them respond accompanied by 3 new soldiers.
So far so good; the premise, although packed with clichés, worked well. However, it only takes a few minutes to realize this is the kind of movie where secondary characters are just filler—less than an NPC—because, boom, in a matter of seconds, their heads are blown off, leaving the main characters alone once again, with no chance for any other character to develop.
Not to mention the script; it's full of long silences where it looks like something is going to be said, but the character just turns around and starts doing something else. They left no room for drama, something that could have been exploited much better—come on, they're snipers holed up in a house, besieged by a super-soldier! They should be scared shitless, which some of them say in a few lines but don't reflect in their acting. Add to that the mediocre development of the action choreography and tactical movements—how they aim, how they hold their weapons, how they position themselves—you can tell preparation was lacking.
The only redeeming quality is the character of the Dragon, played by Tim Roth. For me, he does a good job; it reminded me of the soldier character he played in the 2008 movie The Incredible Hulk, where you can see he's really committed to the role. He transmits that same energy in Seven Snipers; even though he's the antagonist, his stage presence and sniper tactics are convincing, and at times they keep you from abandoning the movie and make you stay to see how the story ends.
All media from Seven Snipers | Official Movie Site
https://i.ibb.co/kswCBVtX/08a5882fde95.pngUnbowed and Unbent was such a good episode because how much context it gave, not only for the present time of the series but also how it connects with previous events, also because Rhaenyra and Daemon spend the episode arguing about the wrong danger while Ormund Hightower is already working them over from inside Kings Landing. Rhaenyra can feel something bigger coming for her, she even says out loud that the enemy is inside her own walls, but she is so locked onto Aemond and Vhagar she never points at Ormund as the one actually running this, they blind thinking that he is far on Tumbleton. Daemon reads the city better than she does and still treats her fear like grief and weakness instead of admitting she is onto something real, and that leaves both of them partly right and still losing. Their marriage is not helping and not working because Daemon thinks power alone should settle every challenge to her claim while she wants a partner who takes the rumors about her sons seriously, I have to agree with Daemon that every other claim to the throne must be exterminated because Rhaenyra wont take the throne so easily, there will always be some kind of danger because she is a woman taking the throne. They got this cool private argument in High Valyrian, probably the longest conversation in High Valyrian the show has given us so far, Rhaenyra is losing her grip and Daemon is tired of letting revenge call every shot, Daemon feels they got to move forward with this war and stop loosing time looking back at what has been lost and trying to make justice, also Daemon knows a secret plot can bring down a ruler. The dead Gold Cloaks, unpaid men and growing anger in the city should tell him that something is wrong, yet he dismisses Rhaenyra’s fear that one enemy is working against them, even while investigating the killings himself. Everything start making sense when the Daeron coin shows up while interrogating a man that had to do with the Gold Cloaks killing, this finally points to Ormund, it only confirms that Ormund has been one step ahead of them the entire time.
Ormund is the best part of the episode because he does not need a dragon or a battlefield win to make Rhaenyra look weak. Paying killers with coins stamped with Daeron as king is smart, especially with her own Gold Cloaks going unpaid and it does more than name Daeron as another claim to the throne, it tells everyone Ormund has money, the Faith behind him and a prince he can put forward as the safer option, this is the first time that Ormund puts Daeron out there to the public as a legitimate claim to the throne and not just playing his part in the army for the Greens. Rhaenyra has more dragons but Ormund gets that dragons do not fix unpaid soldiers or stop people wanting a different ruler, most of the small folk. His lesson with Daeron tells you how his brain works, he praises the Dornish for surviving through tricks and patience and fights that ignored every normal idea of honor, he does not care if it was right, only that it worked, reminds me of Serisawa "there are no rules in violence", which makes it even better when Daeron beats him at the game with the dragon piece exposing how thin Ormund patience is, specially since he is a bad looser. I also like that Daeron does not seem hungry for the throne, careful around Ormund and quick to apologize for winning, which makes the coin plot feel worse because Ormund is not building Daeron up for Daeron, he is using that face to give the campaign a cleaner look while other men do the killing, Daeron would be Ormund puppet king if he ever takes the throne.
Rhaenyra gets harder to root for here because grief has narrowed her focus despite evertyhing that is happening around, even while she understands her rule is in danger for the simple fact she is a woman taking the throne by force. The bounty on Aemond has pulled killers to Harrenhal but it has also blown up in her face with Lady Frey, who was promised that castle by Jace, its hilarious on this scene how Rhaenyra throw poor dead Jace under the bus when she said "my son is dead", like his word means nothing if he is dead so Lady Frey is getting no castle. Giving her a council seat is the right quick fix, but the meeting still feels like a mess with Rhaenyra steering everything back to Vhagar when there are much more important topics. She is not wrong to want Aemond dead, and Baela and Addam finding signs of Vhagar gives her reason to keep hunting, but she is using it to dodge everything else that needs patience instead of revenge. There is also this situation where she kinda keeps dodging seeing Joffrey and thats says a lot about her mental state, she has already lost two sons and seeing him hurts, but making him wait while she handles every political fire makes it look like the war is eating the rest of her family too. Baela feels that same distance since Jace died, still trying to prove her worth to Rhaenyra after the part she played in the battle that killed him, and Rhaenyra should understand that guilt better than anyone but barely has room to notice it, she doesnt openly says it was Baela fault but the truth is that Baela couldnt safe Jace. This is why Daemon refusing to fall in line, following every Rhaenyra's order that follows vengence is both annoying and needed, someone has to tell no to this woman, he disrespects her in front of the council, but he is also the only one close enough to tell her she is going to sink this ship with her grief and vengence plans.
Aegon as a character is starting to grow a lot and it really gives me the impression that the show is going to turn him around drastically to the point that we might root for him at certain point, because Larys finally stops feeding his excuses and tells him the truth. Aegon keeps blaming Aemond for everything, and some of that anger is fair, but his childhood complaints are just another way to dodge responsibility since he had the crown, a powerful dragon and people around him the whole time. Larys calling him a terrible king and a terrible man is exactly what he needed instead of sympathy that would keep him stuck, it does look like both Aegon and Larys are starting to touch the bottom. Aegon accepting the escape plan shows the words of Larys have landed, but for some reason didnt steer him to become a better man as he decides to kill the man who found his crown who on top is the one runnig the camp they in, honestly he just seem more active and with less pain, it is progress but only changes him from the outside and not the inside as Larys suggested. Aemond has the opposite problem at Harrenhal, without Vhagar he falls apart and admits how much of his personality is nothing without Vhagar, as a kid he always felt like that and was threated like that, even as a grown man he was humilated by Aegon back on Season 2 when he was a that brothel, and his dreams about Aegon and need for comfort from Alys make him look weaker without erasing what he has done, if only Rhaenyra knew all this about Aemond. I like the parallel scenes here, both brothers think Alicent loved the other more, both desperate for someone to tell them who they are. Helaena refusing the moon tea is another version of that fight over control, Alicent wants to end the pregnancy to save her, but Helaena will not give up the one thing that still belongs to her, at that scene I was like "dont do it" because then it would change drastically things in the future.
The end of the episode was so so crispy spicy when Criston Cole gave us his saddest moments because his clever plan turns into a march he already knows his men cannot survive, they even mention how they only have half of the man they started with, some have deserted and others dead. His attacks slow the Rivermen at first but once the traps cripple the horses so badly his own men have to put them down, and the Rivermen cross first and burn the bridge behind them, the mission is over, they got no food, no coin, way less men, the only thing that Criston is holding to is his "honor" and that someone will remember his doing during this war, as he describe himself as the greatest warrior this army has, referring to the Green's army. Gwayne offers the smart way out, joining Ormund at Tumbleton, but Criston says no, winning is not really the goal anymore, he wants to die in battle and be remembered as a great warrior, maybe get a song written about him. I get why he does not want to serve another house after a life spent depending on powerful people who could toss him aside, but marching his soldiers toward certain death for that reason is still selfish, he is picking his own ending and making them pay for it. That is basically the whole episode, everyone from Rhaenyra to Criston is trying to grab back control by making someone else carry the cost, Ormund is just better at hiding it, the Gold Cloak murders prove how far ahead he already is, and Alicent and Helaena trapped in that secret passage is one more problem waiting to blow up. Even though this episode spends more time setting up the next round of fights than delivering one, still create so many small scenarios that add so much intensity to the bigger problems, its the political moves that are strong enough to carry that, it makes Ormund the real threat, gives Aegon a reason to move again, and leaves Rhaenyra and Daemon in a weaker spot than ever because they still cannot agree on what they are even fighting.
[Source](https://www.hulu.com/series/house-of-the-dragon-%28with-asl%29-c9fb36d4-8b5f-4fd5-a892-9e14cff4dc48)
[Source](https://www.hulu.com/series/house-of-the-dragon-%28with-asl%29-c9fb36d4-8b5f-4fd5-a892-9e14cff4dc48)