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@marabuzal
@marabuzal (71)
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364 following
346d
Movie · on Battleship Potemkin
📽️ Ten films that shook the world: "Battleship Potemkin"| Diez películas que estremecieron al mundo: "El acorazado Potemkin" (ENG -ESP)
Source: FilmAffinity

Welcome to the hivers of Cine TV!

In these pages, I'm opening a series on celluloid classics. I'll be reviewing a group of films that, in my opinion, shook the world. I invite you to discuss and join me on this journey.

Today I'm going to talk to you about a 100-year-old film. And no, it's not just any old film.

It's considered a masterpiece of world cinema. A gem that transcends its time. Directors like Hitchcock, Coppola, Scorsese, and Tarantino revere it. Not out of nostalgia, but because he understood the power of cinema before anyone else. That film is "Battleship Potemkin," directed by Sergei Eisenstein.

Yes, you read that right, this film is a century old. And yet, it remains one of the most powerful, studied, and revered films in the entire history of cinema. It's a silent film. In black and white. No Hollywood stars. No CGI. No dialogue.

But it has something that few modern films possess: an overwhelming visual power and a cinematic language that was revolutionary in its time… and that still feels fresh today.

Why did I choose this film to open the series "10 Films That Shook the World"?

Because Eisenstein didn't just film a story of rebellion, he reinvented the language of cinema. He pioneered the use of montage as an emotional and political tool.

My grandmother, who smelled of tobacco and cinnamon, once told me that silent films were the most honest. "They don't fool you with pretty words, son," he said as he mended my shirt. "They show you life as God sees it."

The Battleship Potemkin is just that: a splendor before the world. One hundred years ago, when Havana smelled of molasses and failed revolutions, in Moscow, a skinny Russian named Eisenstein grabbed a camera and filmed the precise moment when fear turns into rage and rage into shrapnel.

He didn't make a movie. He amassed gunpowder in the form of celluloid.

Source: FilmAffinity

The story is simple, like all great myths. Russian sailors, fed up with eating maggot-ridden meat, rebel against their officers in 1905. But Eisenstein filmed the smell of injustice. The rotten meat the sailors reject is a symbol of an entire system that devoured them. The shots of that flesh—white, shining, with larvae writhing in the light—are images and accusations. The frames smell rancid, of saltpeter, of the sweat of a cornered man. The actors' faces are maps of hunger and rage. The Tsarist captain, with his impeccable uniform and icy smile, could be the very devil my great-uncle described in his stories of the War of Independence.

There's a scene that has haunted me since the first time I saw The Battleship Potemkin, at the age of fourteen. The rebel sailors cover the body of Vakulinchuk, their murdered comrade, with a tarp. Over it they paint: FOR A SPOONFUL OF SOUP. It's more than a phrase. It's a shot to the heart of power. And Eisenstein doesn't need speeches to do it. Cinema, when it's true, strikes.

Source: FilmAffinity

Then there's the staircase. The cursed, glorious Odessa staircase. In Santiago, there's a steep street, Padre Pico, that always reminds me of it. Eisenstein filmed the massacre that would change cinema forever. The Tsarist soldiers descend like a killing machine, their boots pounding the steps in the same rhythm as the bullets leaving their rifles. People are falling, screaming, bleeding. And in the midst of the chaos, a baby stroller rolls down the stairs, alone, abandoned, as if the whole world had ceased to matter. My mother, the first time she saw it, covered her mouth with both hands.

Eisenstein dodged the shots and showed the consequences. A mother falls with her stomach open. A student clutches his stomach, blood oozing through his fingers. An old man stares at the camera with wide eyes, as if asking, "Why?" And the stroller, damn it, keeps falling, its wheels spinning in the air like a roulette wheel. Today, any director can film a massacre with a hundred extras and digital effects, but none of them make you feel the lead in your gut, as Eisenstein does in four shots and a deafening silence.

Source: FilmAffinity

The secret is in the editing. And that's what makes it great. And that's why I'm opening this Hive series on the "10 films that shook the world." Eisenstein didn't cut film: he tore it apart. Each shot is a well-calculated blow. An Orthodox priest swings his censer (three seconds). A sailor clenches his fists (two seconds). The censer crashes to the floor (for one second). Rebellion. No dialogue needed. No music needed. Rhythm is the revolution. Today, in the age of frenetic edits and two-second TikToks, no one understands this. They think cutting fast is cutting well. Eisenstein knew that every cut matters.

Another highlight is the original soundtrack. Composed by Edmund Meisel, it's another character. It's a call to arms. The violins strum like sabers and the drums boom like cannon shots. In Germany, in 1926, it was banned because it "incited riots." Imagine: a silent film that frightened governments.

Source: FilmAffinity

Modern directors could learn something if they stopped navel-gazing. Scorsese knows this. Tarantino worships him. But most of them film as if Eisenstein never existed. They use drones, CGI, millions of dollars... and in the end, their films are forgotten before they even leave theaters. Battleship Potemkin, on the other hand, lives on. It breathes. It screams. Because it's not about special effects: it's about the hunger for justice, for freedom. The same thing that moved the mambises in the jungle, the workers in the factories...

Hive should understand this better than anyone. In a decentralized network, every post, every comment, every vote is a shot in the collective montage. When you put the fragments together, you create something greater than the sum of its parts: an idea that can change minds. Eisenstein did it with images. We do it with code. The Odessa Steps are our algorithm, the Tsarist soldiers are the Big Tech bots, and the falling stroller... that's us, rolling into the future without knowing if anyone will catch us before impact. Let's hope so.

True cinema has no era. As the great Cuban writer Guillermo Cabrera Infante said: "Time doesn't pass for masterpieces. It passes through them."

Source: FilmAffinity

Now tell me: how many movies from a hundred years ago still make a guy in 2025 want to go out and break something? Exactly. There's the proof. Battleship Potemkin is a hammer. And the world is still full of nails to drive in.

If this analysis has piqued your curiosity, if you like debating cinema and unearthing gems from the past, don't miss my series "10 Films That Shook the World" in this wonderful CineTV community on Hive.

The next installment promises to be even more controversial and revealing.

Stay tuned!

🎞️. Original Content

🎞️ Referenced Images

🎞️ Google Translation

Fuente: FilmAffinity

📽️ El acorazado Potemkin

¡Saludos cordiales, amigos hivers de Cine TV!

Abro en estas paginas un ciclo sobre clásicos del celuloide. Reseñaré un grupo de peliculas que desde mi punto de vista estremecieron al mundo. Te invito a debatir y a acompañarme en este viaje.

Hoy te voy a hablar de una película que tiene 100 años. Y no, no es una película cualquiera.

Está considerada una obra maestra del cine mundial. Una joya que trasciende su época Directores como Hitchcock, Coppola, Scorsese o Tarantino lo veneran. No por nostalgia, sino porque entendió el poder del cine antes que nadie. Esa película es "El acorazado Potemkin", dirigida por Sergei Eisenstein.

Sí, has leído bien, esta película tiene un siglo. Y aún así, sigue siendo una de las películas más potentes, estudiadas y reverenciadas de toda la historia del cine. Es una película muda. En blanco y negro. Sin estrellas de Hollywood. Sin CGI. Sin diálogos.

Pero tiene algo que pocas películas modernas tienen: una fuerza visual arrolladora y un lenguaje cinematográfico que fue revolucionario en su tiempo… y que todavía se siente fresco hoy.

¿Por qué elegí esta cinta para abrir el ciclo "10 películas que estremecieron el mundo"?

Porque Eisenstein no solo filmó una historia de rebelión, sino que reinventó el lenguaje del cine. Fue pionero en el uso del montaje como herramienta emocional y política.

Mi abuela, olía a tabaco y canela, una vez me dijo que las películas mudas eran las más honestas. "No te engañan con palabras bonitas, hijo —decía mientras remendaba mi camisa—. Te muestran la vida, como Dios la ve".

El Acorazado Potemkin es eso: un esplendor frente del mundo. Hace cien años, cuando La Habana olía a melao y revoluciones fallidas, en Moscú, un ruso flaco llamado Eisenstein agarró una cámara y filmó el instante preciso en que el miedo se convierte en rabia y la rabia en metralla.

No hizo una película. Amasó pólvora en forma de celuloide.

Fuente: FilmAffinity

La historia es simple, como todos los grandes mitos. Marineros rusos, hartos de comer carne llena de gusanos, se rebelan contra sus oficiales en 1905. Pero Eisenstein filmó el olor de la injusticia. La carne podrida que los marineros rechazan es el símbolo de todo un sistema que los devoraba. Los planos de esa carne —blanca, brillante, con larvas que se retuercen bajo la luz—son imágenes y son acusaciones. Los fotogramas huelen a rancio, a salitre, a sudor de hombre acorralado. Las caras de los actores son mapas de hambre y rabia. El capitán zarista, con su uniforme impecable y su sonrisa de hielo, podría ser el mismo diablo que mi tío abuelo describía en sus historias de la Guerra de Independencia.

Hay una escena que me persigue desde la primera vez que vi El acorazado Potemkin, a los catorce años. Los marineros rebeldes, cubren el cuerpo de Vakulinchuk, su compañero asesinado, con una lona. Sobre ella pintan: POR UNA CUCHARADA DE SOPA. Es más que una frase. Es un disparo al corazón del poder. Y Eisenstein no necesita discursos para hacerlo. El cine, cuando es verdadero, golpea.

Fuente: FilmAffinity

Luego está la escalera. La maldita, gloriosa, escalera de Odesa. En Santiago hay una calle empinada, Padre Pico, que siempre me la recuerda. Eisenstein filmó la masacre que cambiaría el cine para siempre. Los soldados zaristas bajan como una máquina de matar, las botas golpeando los escalones al mismo ritmo que las balas salen de sus fusiles. La gente cae, grita, sangra. Y en medio del caos, un cochecito de bebé rueda escaleras abajo, solo, abandonado, como si el mundo entero hubiera dejado de importar. Mi madre, la primera vez que lo vio, se tapó la boca con las dos manos.

Eisenstein eludió los disparos y mostró sus consecuencias. Una madre cae con el vientre abierto. Un estudiante agarra su estómago y la sangre se le escapa entre los dedos. Un anciano mira a cámara con los ojos desorbitados, como preguntando ¿por qué? Y el cochecito, maldito sea, sigue cayendo, sus ruedas girando en el aire como una ruleta. Hoy cualquier director puede filmar una masacre con cien extras y efectos digitales, pero ninguno te hace sentir el plomo en las entrañas, como lo hace Eisenstein en cuatro planos y un silencio ensordecedor.

Fuente: FilmAffinity

El secreto está en el montaje. Y eso es lo que la hace grande. Y por eso, abro este ciclo en Hive sobre las “10 peliculas que estremecieron al mundo”. Eisenstein no cortaba película: la destazaba. Cada plano es un golpe bien calculado. Un sacerdote ortodoxo balancea su incensario (tres segundos). Un marinero aprieta los puños (dos segundos). El incensario se estrella contra el suelo (un segundo). Rebelión. No hace falta diálogo. No hace falta música. El ritmo es la revolución. Hoy, en la era de los edits frenéticos y los TikTok de dos segundos, nadie entiende esto. Piensan que montar rápido es montar bien. Eisenstein sabía que cada corte es importante.

Otro elemento a destacar es la banda sonora original. Compuesta por Edmund Meisel, es otro personaje. Es un llamado a las armas. Los violines rasgan como sables y los tambores retumban como cañonazos. En Alemania, en 1926, la prohibieron porque "incitaba al motín". Imagínense: una película muda que asustaba a los gobiernos.

Fuente: FilmAffinity

Los directores modernos podrían aprender algo si dejaran de mirarse el ombligo. Scorsese lo sabe. Tarantino lo venera. Pero la mayoría filma como si Eisenstein nunca hubiera existido. Usan drones, CGI, millones de dólares... y al final, sus películas se olvidan antes de salir de cartelera. El acorazado Potemkin, en cambio, sigue viva. Respira. Grita. Porque no es sobre efectos especiales: es sobre hambre de justicia, de libertad. Lo mismo que movió a los mambises en la manigua, a los obreros en las fábricas...

Hive debería entender esto mejor que nadie. En una red descentralizada, cada post, cada comentario, cada voto es un plano en el montaje colectivo. Cuando juntas los fragmentos, creas algo más grande que la suma de sus partes: una idea que puede cambiar mentes. Eisenstein lo hizo con imágenes. Nosotros lo hacemos con códigos. La escalera de Odesa es nuestro algoritmo, los soldados zaristas son los bots de las big tech, y el cochecito que cae... ese somos nosotros, rodando hacia el futuro sin saber si alguien nos atrapará antes del impacto. Esperemos que sí. El cine verdadero no tiene época. Como dijo el gran escritor cubano Guillermo Cabrera Infante: "El tiempo no pasa para las obras maestras. Pasa a través de ellas".

Fuente: FilmAffinity

Ahora dime: ¿cuántas películas de hace cien años siguen haciendo que un tipo en pleno 2025 quiera salir a la calle y romper algo? Exacto. Ahí está la prueba. El Acorazado Potemkin es un martillo. Y el mundo sigue lleno de clavos por hundir.

Si este análisis te ha picado la curiosidad, si te gusta debatir sobre cine y desenterrar joyas del pasado, ¡no te pierdas mi saga "10 películas que estremecieron al mundo" en esta maravillosa comunidad de CineTV de Hive.

La próxima entrega promete ser aún más polémica y reveladora.

¡Mantente conectado!

🎞️. Contenido Original

🎞️ Imágenes referenciadas

🎞️ Traducción en Google Translation
maaasha
@maaasha (63)
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10 following
346d
Movie · on The Unforgivable
The Unforgivable (2021) - REVIEW - [ENGLISH-SPANISH]
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Netflix's The Unforgivable 2021 is with Sandra Bullock and the truth here we see her doing something completely different to what we are used to from her, after watching the whole movie I can't stop thinking that this pod deserved more recognition than it got, because I was quite surprised and I never expected that a story about an ex-convict trying to reintegrate into society would hit me as hard as it did. This movie is directed by Nora Fingscheidt who is German and comes from making documentaries but here she showed that she knows how to handle an intense drama, the script is based on a British miniseries called Unforgiven from 2009 that supposedly was brutal I don't know I have never seen it but it made me want to look it up even though I am not watching many series right now. This adaptation was written by Peter Craig, Hillary Seitz and Courtney Miles and they really managed to create something that feels fresh even though it's a remake, Sandra Bullock also appears as a producer so you know the quality is there from the start, among the actors are Viola Davis, Vincent DOnofrio, Jon Bernthal, Rob Morgan and Richard Thomas who are all very good. Although the premise is pretty simple it works, Ruth Slater gets out of prison after 20 years for killing a cop and now has to adapt to a world that completely changed while she was locked up. The most fucked up thing is that everyone in town hates her because killing a cop in a small community is like the worst crime you can commit, but this is what makes the movie interesting because it doesn't give you the answers all at once but reveals the real story bit by bit through flashbacks. The pain and guilt that Ruth carries throughout the movie is something that Sandra Bullock conveys with a performance that I honestly think is one of the best of her career.

The Unforgivable 2021 de Netflix es con Sandra Bullock y la verdad aquí la vemos haciendo algo completamente diferente a lo que estamos acostumbrados de ella, después de ver toda la película no puedo dejar de pensar que esta vaina se merecía mas reconocimiento del que tuvo, porque me sorprendió bastante y nunca esperé que una historia sobre una ex convicta tratando de reintegrarse a la sociedad me fuera a pegar tan duro como lo hizo. Esta película es dirigida por Nora Fingscheidt que es alemana y viene de hacer documentales pero aqui demostró que sabe manejar un drama intenso, el guion está basado en una miniserie británica llamada Unforgiven del 2009 que supuestamente era brutal no lo sé nunca la he visto pero me dieron ganas de buscarla aunque ahorita no estoy viendo muchas series. Esta adapatación la escribió Peter Craig, Hillary Seitz y Courtney Miles y la verdad lograron crear algo que se siente fresco aunque sea un remake, Sandra Bullock tambien aparece como productora asi que ya sabes que la calidad esta ahi desde el arranque, entre los actores están Viola Davis, Vincent DOnofrio, Jon Bernthal, Rob Morgan y Richard Thomas que todos son muy buenos. Aunque la premisa es bastante simple funciona, Ruth Slater sale de prisión después de 20 años por matar a un policía y ahora tiene que adaptarse a un mundo que cambio completamente mientras ella estaba encerrada. Lo mas jodido es que todos en el pueblo la odian porque matar a un policía en una comunidad pequeña es como el peor crimen que puedes cometer, pero esto es lo que hace que la pelicula se ponga interesante porque no te da las respuestas de una vez sino que va revelando la historia real poco a poco a traves de flashbacks. El dolor y la culpa que carga Ruth durante toda la peli es algo que Sandra Bullock transmite con una actuación que honestamente creo que es de las mejores de su carrera.

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What I liked most about The Unforgivable is the theme of second chances and forgiveness, it is not a movie that is going to tell you what is right or wrong, it simply shows you the consequences of decisions and how they affect not only the person who makes them but everyone around them, Ruth wants to find her younger sister Katie who was just a child when everything happened and was adopted by a family, John and Liz Ingram who are Vincent D'Onofrio and Viola Davis buy the house where Ruth used to live and when she shows up there looking for some peace, John decides to help her legally although his wife does not agree at all, the scenes between Viola Davis and Sandra Bullock are incredible especially the one at the end where Davis realizes the whole truth, that woman can act a five minute scene and steal the whole movie, Vincent Cross the parole officer played by Rob Morgan is super hard on Ruth at first but gradually he understands that there is more to the story than meets the eye, Jon Bernthal appears as Blake a co-worker who is interested in Ruth but when he discovers her past he immediately abandons her, I would have liked to see more of Bernthal because the guy always has presence and makes his characters look real, the brothers of the dead cop are out for revenge and that subplot gives enough tension because you never know when they are going to show up to screw Ruth.

Lo que más me gusto de The Unforgivable es esto del tema de la segunda oportunidad y el perdón, no es una película que te va a decir que esta bien o mal, simplemente te muestra las consecuencias de las decisiones y como estas afectan no solo a la persona que las toma sino a todos a su alrededor, Ruth quiere encontrar a su hermana menor Katie que era solo una niña cuando paso todo y fue adoptada por una familia, los padres adoptivos obviamente no quieren que se acerque a ella porque ya Katie tiene una vida establecida y no recuerda nada de su vida anterior, John y Liz Ingram que son Vincent D'Onofrio y Viola Davis compran la casa donde vivia Ruth y cuando ella aparece ahi buscando algo de paz, John decide ayudarla legalmente aunque su esposa no esta de acuerdo para nada, las escenas entre Viola Davis y Sandra Bullock son increibles especialmente la del final donde Davis se da cuenta de toda la verdad, esa mujer puede actuar una escena de cinco minutos y robarse toda la pelicula, Vincent Cross el oficial de libertad condicional interpretado por Rob Morgan es super duro con Ruth al principio pero gradualmente va entendiendo que hay mas en la historia de lo que aparenta, Jon Bernthal aparece como Blake un compañero de trabajo que se interesa por Ruth pero cuando descubre su pasado la abandona inmediatamente, me hubiera gustado ver mas de Bernthal porque el tipo siempre tiene presencia y hace que sus personajes se vean reales, los hermanos del policía este muerto andan buscando venganza y esa subtrama da bastante tension porque nunca sabes cuando van a aparecer para joder a Ruth.

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They managed to create that heavy and depressive atmosphere that the story needs because everything looks gray and dirty as if the world had lost its color, the scenes in Washington perfectly capture that feeling of isolation that Ruth feels, I thought that the direction of Nora Fingscheidt is very good in the way she handles the flashbacks without confusing you, each thing is revealed at the right time to maintain the tension and interest. Although I must say that the pace of the movie is slow at the beginning but when you start to understand what really happened that night 20 years ago everything makes sense, the scenes of Ruth working in the fish factory and later in the construction show how society treats ex-convicts, nobody wants to give them real opportunities and everyone assumes that they will commit a crime again, I really liked how they show that Ruth is not a victim but she is not the bad guy either, she is just a complex person who made an impossible decision in a horrible situation.

Lograron crear esa atmosfera pesada y depresiva que necesita la historia porque todo se ve gris y sucio como si el mundo hubiera perdido el color, las escenas en Washington capturan perfecto esa sensacion de aislamiento que siente Ruth, me pareció que la direccion de Nora Fingscheidt es muy buena de la forma como maneja los flashbacks sin que te confuindan o te saquen de onda, cada cosa se va revelando en el momento correcto para mantener la tensión y el interés. Aunque debo decir que el ritmo de la pelicula es dem lento al principio pero cuando empiezas a entender lo que realmente paso esa noche hace 20 años todo cobra sentido, las escenas de Ruth trabajando en la fábrica de pescado y después en la construcción muestran como la sociedad trata a los ex convictos, nadie quiere darles oportunidades reales y todos asumen que van a volver a cometer un delito, me gusto mucho como muestran que Ruth no es una victima pero tampoco es la mala del cuento solo es una persona compleja que tomo una decision imposible en una situacion horrible.

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The great twist of the movie is that it was not Ruth who killed the cop but her sister Katie who was only five years old at the time, when the men came to evict them from the house Ruth was outside negotiating while Katie was inside with a shotgun and the cop entered the house trying to calm the situation but Katie shot him by accident, the recoil of the gun knocked her out and when Ruth found that scene with the man dead and her sister unconscious she decided to take the blame to protect her, for 20 years Ruth carried that lie while Katie grew up with a foster family without remembering anything that happened, that revelation completely changes how you see the whole movie because you realize that Ruth sacrificed herself completely for her younger sister, not only spending 20 years in prison but she lost the opportunity to see the person she loved most in the world grow up. When they meet in the final part after Ruth saves Katie's adopted sister from the crazy cop's brother is a super emotional moment, Katie starts to remember and recognizes Ruth but the movie doesn't tell you exactly what is going to happen next, if they are going to have a relationship or if they are just going to say goodbye forever, that open ending works because real life doesn't give you easy answers either and sometimes things are left unresolved, the important thing is that Ruth finally could see that her sister was ok and that her sacrifice was worth it even if it was painful, I must confess that I was crying for a few minutes when the movie ended is that it gets to you too much.

El gran twist de la pelicula es que no fue Ruth quien mato al policía sino su hermana Katie que tenia solo cinco años en ese momento, cuando los hombres llegaron a desalojarlas de la casa Ruth estaba afuera negociando mientras Katie estaba adentro con una escopeta y el poli entro a la casa tratando de calmar la situacion pero Katie le disparo por accidente, el retroceso del arma la noqueo y cuando Ruth encontro esa escena con el hombre muerto y su hermana inconsciente decidio tomar la culpa para protegerla, durante 20 años Ruth cargó con esa mentira mientras Katie crecia con una familia adoptiva sin recordar nada de lo que paso, esa revelación cambia completamente como ves toda la película porque te das cuenta de que Ruth se sacrificó completamente por su hermana menor, no solo pasando 20 años en prision sino que perdio la oportunidad de ver crecer a la persona que mas amaba en el mundo. Cuando se encuentran en la parte final despues de que Ruth salva a la hermana adoptiva de Katie del loco hermano del policia es un momento super emotivo, Katie empieza a recordar y reconoce a Ruth pero la pelicula no te dice exactamente que va a pasar despues, si van a tener una relacion o si simplemente se van a despedir para siempre, ese final abierto funciona porque la vida real tampoco te da respuestas faciles y a veces las cosas se quedan sin resolver, lo importante es que Ruth finalmente pudo ver que su hermana estaba bien y que su sacrificio valio la pena aunque fuera doloroso, debo confesar que me quedé llorando por unos minutos cuando la pelicula terminó es que te llega demasiado.

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My score for The Unforgivable is 7.5/10, it may not be the best movie but it tells a story about redemption and second chances in a very honest way and without falling into cheap melodrama, I really like the way Sandra Bullock works and here she proves that she can do serious drama when given the right material. This is a movie that makes you think about justice, forgiveness and the consequences of our actions, so if you like these stories it's definitely worth watching, although it's a bit slow at first and I warn you it's not something light or to disconnect you, it's going to leave you thinking for a while after it ends and maybe make you cry. I was surprised that Netflix finally did something good here, they showed a difficult story with respect and honesty without falling into the easy emotional manipulation that many movies of the genre use, ah this story will not give you simple answers.

Mi puntuación para The Unforgivable es 7.5/10, quizás no sea la mejor peli pero cuenta una historia sobre redencion y segundas oportunidades de una forma muy honesta y sin caer en un melodrama barato, a mí me gusta mucho como trabaja Sandra Bullock y aquí demuestra que puede hacer drama serio cuando le dan el material correcto. Esta es una peli que te hacen pensar sobre la justicia, el perdon y las consecuencias de nuestras acciones, así que si te gustan estas historias definitivamente vale la pena verla, aunque al principio es un poco lenta y te advierto que no es algo ligero ni para desconectarte, te va a dejar pensando un rato después que termine y quizás te haga llorar. Me sorprendió que Netflix al fin hizo algo bueno aquí, mostraron una historia dificil con respeto y honestidad sin caer en la manipulacion emocional facil que usan muchas peliculas del genero, ah esta historia no te dará respuestas simples.

"Translated to English with DeepL"

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@chimaobi
@chimaobi (64)
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Software developer | tech enthusiast | God Chaser
346d
Movie · on Wall to Wall
Wall to Wall – A South Korean Thriller That Surprised Me
[Source]( https://www.imdb.com/title/tt32237537/reviews/)
I just finished watching Wall to Wall, and I must say, I didn’t expect to enjoy it this much. I’m not really into Korean films, but this one caught my attention from start to finish.

Tension, mystery,and some serious plot twists is what this movie was filled with.

Kim Tae Joon is the director of the movie, and it stared Kang Ha-neul, Yeom Hye-ran , and Seo Hyun-woo

If you don’t watch Korean films often, the names might not sound familiar. But trust me, they all acted really well. Kang plays Woo Sung, the main character. Yeom plays Euh Hwa, the apartment rep, and Seo plays Jin-ho, a man who turns out to be more than just a neighbor.

The story is centered around Woo sung ,who purchase not just any other apartments ,but an expensive one that is worth over 1.1 billion won.

But soon, the apartment loses value because of the poor economy. To deal with his debt, he starts working as a delivery guy and gets introduced to a crypto investment by a friend. At first, he refuses to take a loan, but he later sells his apartment to join the scheme, hoping to make quick money.

But things go wrong. On the day he’s supposed to cash out, he gets arrested over a noise complaint — something he’s always been blamed for in the apartment. Because of this, he misses his chance and loses all his money. Feeling hopeless, he tries to take his life but hears a strange noise from a nearby apartment and goes to check it out. This leads him to Jin-ho, who beats him up but then joins him to find the truth about the noise.

From there, things spiral.

They got to know that a lot of secrets was hidden inside the apartment.

People who seem innocent aren’t, and betrayal comes from the least expected places — including Jin-ho, who turns out to be behind many of Woo’s problems. In the end, Woo is the only one who survives after a deadly showdown. He burns the apartment and walks away, but the noise returns in the final scene, and he just laughs.

From this movie,we can learn that betrayal,lies ,and struggles are the main content of life.

Woo tried to find peace and success, but the people around him made life harder.

The stress of debt, making bad investment,and having neighbors who are not trustworthy is what the movie shows.

I liked the suspense the most. The quality was great, the subtitles were clear, and the actors did a good job. I rate it 7 out of 10.

Of you are a lover of thriller and twist,you should definitely give this mov

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Florence Boens
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📍 Somewhere
887 followers
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Belge, mariée, apprentie écrivain, aimant la nature
346d
TV · on The Sandman
The Sandman (saison 2 : fin)
Bonjour,

Cette 2e saison a été découpée en 3 parties pour sa diffusion.

Elle se compose de 12 épisodes : les 6 premiers sont disponibles depuis le 3 juillet 2025, les 5 suivants sont arrivés le 24 juillet 2025 et le dernier épisode a débarqué le 31 juillet 2025.

Nous avons regardé les 6 premiers épisodes de cette 2e saison, nous sommes le 9 juillet. Je rédige cet article au fur et à mesure pour ne pas oublier une partie, sans pour autant spoiler.

Source Affiche de la série

Il n'y aura pas de saison 3, selon les dires de Netflix. Nous voilà fixés.

Source Image tirée du Comics The Endless, de Neil Gaiman : dans le sens des aiguilles d'une montre à gauche en noir : La Mort, Destin, Rêve/Morphée, Destruction, Désir, Délire et Désespoir.

Si vous avez bonne mémoire ou si vous le savez, cette série est adaptée des Comics écrits par Neil Gaiman, qui est aussi scénariste et co-producteur de la série.

Neil Gaiman a vraiment un style bien à lui, mais il incite à réfléchir et c'est appréciable. Il nous avait déjà gâté avec la série Good Omens 😇. Il nous faut toujours un petit temps d'adaptation en début de saison, mais après ça va.

Synopsis :

Suite à une réunion familiale des Infinis, Lord Morpheus/Rêve (Tom Sturridge), partira à la recherche de Destruction, avec sa jeune sœur Delire (Esme Creed-Miles).

Ensuite, il se résigne à retrouver son fils Orphée (Ruairi O'Connor) qu'il avait abandonné alors que celui-ci venait de se marier et de perdre sa nouvelle épouse dans la même journée. Quand il le retrouve, Orphée l'implore de mettre fin à ses souffrances. En accédant à sa demande, Morpheus se condamne. Son destin est scellé. Les Parques ne l'épargneront pas.

Morpheus va même consulter son père, le Temps (Rufus Sewell), qui lui conseille d'aller consulter sa mère, la Nuit (Tania Moodie). La Nuit propose à Morpheus de rester vivre avec elle, ce qui le protègera de son destin tracé, mais Morpheus ne peut accepter, il a son propre royaume à diriger.

Il se met alors en quête de son successeur, qu'il a déjà choisi, mais qui doit être amené en son royaume. Il fera appel à ses connaissances, comme Le Corinthien (Boyd Holbrook) et Johanna Constantine (Jenna Coleman), puisque les obstacles seront légion, notamment à cause de Loki (Freddie Fox) et de Puck (Jack Gleeson), qui se mettront en travers de leur chemin.

Mon avis et petites infos :

Ne vous laissez pas avoir, à la fin du 5e épisode, il y a du post-générique et, ensuite, il y a le 6e et dernier épisode qui pourrait presqu'annoncer une spin-off pour l'histoire de la Mort, sœur de Rêve.

Comme j'en parlais + haut, on peut regarder cette série au 1er degré, c'est une jolie histoire et voilà .. ou on essaye de comprendre le(s) message(s) que Neil Gaiman a voulu nous transmettre. Neil Gaiman interprète Matthew, le corbeau, dans la série, parce que, oui, un corbeau, ça parle.😜

Les acteurs : de nombreux acteurs connus, même dans de petits rôles, comme Rufus Sewell, qu'on aperçoit 5 minutes, le temps d'une discussion avec son fils. En plus de ceux déjà cités, je pourrais ajouter Jacob Anderson, qui joue le nouveau Rêve, et que vous avez certainement vu dans The Game of Thrones (Ver Gris). Gwendoline Christie pour Lucifer Morningstar qui jouait Brienne de Torth dans Game of Thrones aussi.

Qu'avez-vous pensé de cette série et de cette fin, si vous l'avez vue. J'ai trouvé que c'était bien géré, c'est une vraie fin.

Bonnes soirées-tv à tous,

A bientôt,

Florence

Source photos : images Qwant autorisées

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@genesishealthy (75)
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346d
Movie · on The Ritual
Review - El ritual
Hello! 💙

Fuente de imagen

Esta película de terror puede pasar desapercibida para muchas personas ya que no es la típica película de sustos fáciles o de gore excesivo, es una película que se toma su tiempo para mostrar el terror de una forma completamente diferente y de una cultura completamente distinta porque no estamos hablando de demonios no estamos hablando de brujas estamos hablando de una criatura nórdica, y este detalle y la ambientación, le dan un toque singular que hace que se diferencie de cualquier otra película de terror que haya visto.

This horror film may go unnoticed by many people as it is not your typical film full of cheap scares or excessive gore. It is a film that takes its time to show terror in a completely different way and from a completely different culture, because we are not talking about demons, we are not talking about witches, we are talking about a Nordic creature, and this detail and the setting give it a unique touch that sets it apart from any other horror film I have seen.

Fuente de imagen

Tampoco puedo afirmar que es la mejor película que haya visto de terror pero sí puedo decir que es una de las más diferentes que he tenido la oportunidad de ver y con esto no quiero decir ni que sea mala ni tampoco voy a decir que es una obra de arte pero lo puesto en escena es lo suficientemente entretenido e interesante para verla hasta el final, y hasta cierto punto es una alegoría de Cómo superar el miedo o cómo dejar atrás ciertos traumas Antes de que los mismos te consuman claro estos puestos bajo una perspectiva secundaria porque lo principal es ver como este grupo de amigos se comienzan a perder en un entorno el cual no terminan de entender del todo, mezcla pequeños detalles de terror cósmico pero para los que son fanáticos de las novelas de lovecraft puedo decir que les puede llegar a gustar esta película.

I can't say it's the best horror movie I've ever seen, but I can say it's one of the most unique I've had the opportunity to watch. That's not to say it's bad, nor am I going to call it a work of art, but the staging is entertaining and interesting enough to watch until the end. and to a certain extent, it's an allegory about how to overcome fear or how to leave certain traumas behind before they consume you. Of course, these are secondary perspectives because the main thing is to see how this group of friends begin to lose themselves in an environment they don't fully understand. It mixes small details of cosmic horror, but for those who are fans of Lovecraft's novels, I can say that you might like this movie.

Fuente de imagen Creo que uno de los detalles más flojos de la película pudiera ser de que tarda tal vez mucho en comenzar incluso Me atrevo a decir que pudieras disminuirle 10 minutos de película fácilmente pero la verdad es que para hacer una película que apenas dura una hora y media puede haber si un pequeña parte del metraje que te resulte lenta pero no puedes decir que sea malo de hecho cada punto de la película está muy bien llevado desde Cómo Inicia con un trauma inicial con la muerte de un amigo y como todo esto va ayudando a darle forma a la historia de los personajes sobre todo del protagonista, la manera en la cual por decirlo de alguna manera cuentan qué es lo que está pasando en este misterioso bosque es muy ligera y no terminan declarar de todos los detalles pero eso es lo interesante porque dejan abierto el misterio a la interpretación del público Y en este caso sí resulta más interesante que lo hayan hecho de esta manera que simplemente hayan contado todo.

I think one of the weakest aspects of the film could be that it takes a long time to get started. I would even go so far as to say that you could easily cut 10 minutes from the film, but the truth is that for a film that lasts barely an hour and a half, there may be a small part of the footage that seems slow, but you can't say that it's bad. In fact, every aspect of the film is very well done, from how it begins with an initial trauma with the death of a friend, and how all of this helps shape the story of the characters, especially the protagonist. the way in which, so to speak, they tell what is happening in this mysterious forest is very light and they don't end up revealing all the details, but that's what's interesting because they leave the mystery open to the audience's interpretation. And in this case, it is more interesting that they did it this way than if they had simply told everything.

Fuente de imagen

¡Hasta la próxima, un abrazo!
@wiseagent
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📍 Brazil
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346d
TV · on Pluribus
What's "Pluribus" hiding?
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

I recently wrote this post about Pluribus, Vince Gilligan's next television series. If you don't know who he is, or haven't seen anything he's done yet, don't waste any time and start watching Breaking Bad and Better Call Saul (preferably starting with the second recommendation, and then moving on to the first, because both are worth every second). Once you know what he can do (both as a screenwriter and director), add Pluribus to your list, because this is a project that certainly deserves to be seen.

After having its first seemingly "useless" TV spot revealed by Apple+ (the streaming channel that will broadcast all the episodes), a new TV spot has been released, bringing a little more substance to a story that is still unknown to the general public. This time, in the preview, we get a glimpse of a character named Carol, who, after calling an unknown number, receives a message encouraging her to take an important step in her life. Nothing beyond that was revealed, further increasing the viewer's level of curiosity.

Considering the single poster and two TV spots that have already been released, I personally already have a few theories about what might be behind Pluribus, and in some way, it has something to do with the Breaking Bad universe (more specifically). I won't comment on it in this article to avoid sounding like a potential spoiler, but I believe it has to do with the production of some chemical substance capable of altering people's moods so they can cope with situations of emotional vulnerability (not in a psychedelic way, as is currently the case, but rather, maintaining control).

I may have created a completely dismissible theory in my head, but this production has already generated enormous hype, and the release of the promotional materials is making me think about different possibilities. Until then, all I can do is wait until the premiere, because Pluribus only arrives on Apple+ (with the release of two consecutive episodes and then one episode per week) on September 7th. Rhea Seehorn returns to work with Gilligan, here starring in a story where the very unhappy character must fight to save the world of happiness.

¿Qué esconde “Pluribus”?

Hace poco escribí esta entrada sobre Pluribus, la próxima serie de televisión de Vince Gilligan. Si no sabes quién es o aún no has visto nada de lo que ha hecho, no pierdas tiempo y empieza a ver Breaking Bad y Better Call Saul (preferiblemente empezando por la segunda recomendación y luego pasando a la primera, porque ambas merecen cada segundo). Una vez que sepas lo que puede hacer (tanto como guionista como director), añade Pluribus a tu lista, porque este es un proyecto que sin duda merece ser visto.

Tras el primer anuncio de televisión, aparentemente "inútil", revelado por Apple+ (el canal de streaming que emitirá todos los episodios), se ha estrenado un nuevo anuncio que aporta algo más de sustancia a una historia aún desconocida para el público general. En esta ocasión, en el avance, vemos a un personaje llamado Carol, quien, tras llamar a un número desconocido, recibe un mensaje que la anima a dar un paso importante en su vida. No se reveló nada más allá de eso, lo que aumentó aún más el nivel de curiosidad del espectador.

Considerando el póster y los dos anuncios de televisión que ya se han publicado, personalmente ya tengo algunas teorías sobre qué podría estar detrás de Pluribus, y de alguna manera, tiene que ver con el universo de Breaking Bad (más específicamente). No lo comentaré en este artículo para evitar parecer un posible spoiler, pero creo que tiene que ver con la producción de una sustancia química capaz de alterar el estado de ánimo de las personas para que puedan afrontar situaciones de vulnerabilidad emocional (no de forma psicodélica, como ocurre actualmente, sino más bien, manteniendo el control).

Puede que haya creado una teoría completamente descartable, pero esta producción ya ha generado un enorme revuelo, y el lanzamiento del material promocional me hace pensar en diferentes posibilidades. Hasta entonces, solo me queda esperar al estreno, porque Pluribus solo llega a Apple+ (con el lanzamiento de dos episodios consecutivos y luego uno por semana) el 7 de septiembre. Rhea Seehorn vuelve a trabajar con Gilligan, protagonizando aquí una historia donde el muy infeliz personaje debe luchar para salvar el mundo de la felicidad.

O que “Pluribus” está escondendo?

Recentemente eu escrevi este post, falando sobre Pluribus, que será a próxima série de televisão de Vince Gilligan. Se vocês não sabem quem é ele, ou nunca assistiu nada do que ele fez até então, não percam tempo e comecem a assistir Breaking Bad e Better Call Saul (de preferência, começando pela segunda recomendação, e seguindo logo depois para a primeira porque ambas valem à pena cada segundo). Uma vez sabendo o que ele pode fazer (tanto como roteirista como diretor), adicione então Pluribus à sua lista, porque esse é um projeto que certamente também merece ser visto.

Depois de ter o seu primeiro spot TV aparentemente “inútil” revelado pela Apple+ (que é o canal de streaming que irá transmitir todos os episódios), um novo spot TV foi revelado, trazendo um pouco mais de substância para uma estória que ainda é desconhecida de todo o grande público. Desta vez, na prévia é possível ter o vislumbre de uma personagem chamada Carol, que após ligar para um número desconhecido, recebe uma mensagem encorajando-a a dar um passo importante na sua vida. Nada além disso foi revelado, aumentando ainda mais o nível de curiosidade do telespectador.

Considerando o único pôster e os dois spots TV que já foram divulgados, eu particularmente já tenho algumas teorias sobre o que pode estar por trás de Pluribus, e de uma certa maneira tem haver com o universo de Breaking Bad (mais especificamente). Não comentarei neste texto para não soar como um possível “spoiler”, mas acredito que tem haver com a produção de alguma substância química capaz de alterar o humor das pessoas para que elas enfrentem situações de vulnerabilidade emocional (não de maneira psicodélica, como já existe atualmente, mas sim, mantendo o controle).

Eu posso ter criado uma teoria totalmente descartável na minha mente, mas essa produção já trouxe um hype enorme, e a divulgação dos materiais promocionais está me fazendo pensar sobre diferentes possibilidades. Até lá, tudo o que me resta fazer é esperar até a estreia, porque Pluribus só chega a Apple+ (com o lançamento de dois episódios seguidos e após isso, um episódio por semana) no dia 07 de setembro. Rhea Seehorn volta a trabalhar com Gilligan, sendo aqui a protagonista de uma trama onde a personagem bem infeliz precisa lutar para conseguir salvar o mundo da felicidade.

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Drax
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Blogger, film critic, columnist (writes in Croatian and English)
346d
TV · on Homicide: Life on the Street
Television Review: Self Defense (Homicide: Life on the Street, S7X18, 1999)

Self Defense (S07E18)

Airdate: 9 April 1999

Written by: Yaphet Kotto Directed by: Barbara Kopple

Running Time: 44 minutes

The United States, often mythologised as a nation built on liberty and equality, has historically struggled to reconcile its founding ideals with the stark realities of systemic inequality. By the 1990s, a series of high-profile scandals and criminal cases laid bare a truth many Americans were forced to confront: privilege, race, wealth, and political influence could insulate the powerful from accountability. From corporate white-collar criminals to celebrities evading charges, the era revealed a justice system that operated with dual standards—one for the elite and another for the common citizen. This duality permeated American television, where shows like Homicide: Life on the Street dissected the cracks in societal structures. In its final season’s episode, Self Defense, the series confronts this theme head-on, blending procedural rigor with a sharp critique of institutional complicity. Airing in 1999, just months before the show’s cancellation, the episode serves as both a fittingly incisive commentary and a microcosm of the systemic inequities that continue to define American life.

The episode opens with Detectives Falsone and Terri venturing into a wealthier area of Baltimore to investigate the murder of Loren Burke, a 43-year-old corporate executive found dead in his bed with five gunshot wounds. The case initially appears straightforward: Burke’s ex-wife, Eleanor (Haviland Morris), a U.S. attorney, confesses to the crime. Her motive seems clear—the pair’s bitter divorce and ongoing disputes over alimony. However, the narrative takes a sharp turn when Eleanor claims she acted in self-defence, citing years of documented physical abuse from her husband. Her legal expertise, gained through her profession, suggests she meticulously orchestrated her confession to exploit the “battered woman syndrome” doctrine, a legal precedent designed to protect victims of domestic violence.

Falsone suspects Eleanor’s admission is a calculated ploy. Yet, when the judicial and police hierarchy—including Assistant State Attorney Danvers—appear eager to rubber-stamp a lenient sentence, the detectives grow incensed. The episode’s core conflict arises as a shadowy network of Eleanor’s political allies, including Colonel Barnfather, pressures Lt. Giardello to ensure her acquittal. Barnfather offers Giardello a promotion to captain in exchange for manipulating the case. Giardello, however, grants Falsone and Stivers latitude to investigate further, leading them to uncover Eleanor’s secret: she had taken out a substantial life insurance policy on her husband, a detail that undermines her self-defence claim. With this evidence, the assistant state attorney is forced to re-charge her, but Giardello’s career suffers as Barnfather is certain to withdraw his support.

The plot hinges on the tension between personal morality and institutional corruption. Eleanor’s privilege—a career in law, political connections, and gendered assumptions about abused women—initially shields her, yet her overconfidence in manipulating the system leads to her downfall. The episode underscores how systemic inequities protect the powerful while ordinary citizens face harsher consequences, a theme mirrored in the parallel storyline.

In a subplot, Detective Lewis pursues a masked robber wielding a bayonet, who attacks liquor stores and bars, leaving one dead and two injured. Unlike Eleanor’s case, this investigation is a dead end until the robber is shot dead by a bartender (played by Nat Benchley). Though the bartender’s actions fit self-defence, Lewis arrests him for illegal gun ownership. This stark contrast highlights the show’s central thesis: the justice system’s mercy is reserved for those who can game it. The bartender, a working-class individual with no political leverage, faces prosecution despite acting in survival, while Eleanor, a lawyer with insider knowledge, nearly evades consequences altogether.

The subplot also touches on class-based undertones—the bartender’s arrest reflects how systemic biases disproportionately penalise the marginalised. Lewis’s reluctance to partner with Ballard after a prior incident involving another female colleague underscores the show’s recurring theme of institutional misogyny, though this thread is underdeveloped here.

Yaphet Kotto, whose Lt. Giardello is the series’ moral compass, wrote this episode. While Giardello plays a pivotal role, the narrative focuses on broader societal inequality. Kotto avoids a simplistic “good vs. evil” framework, instead presenting a world where even well-intentioned figures like Giardello are caught in a web of political expediency. The episode’s title, Self Defense, becomes ironic: justice is not about protection but about who can manipulate its mechanisms.

The episode resists moral binaries. Loren Burke is undeniably a despicable character—a physically abusive, manipulative husband—but Eleanor’s downfall stems not from his actions but her own hubris. Her belief that her legal acumen and status would shield her blinds her to the insurance policy’s implications, rendering her as flawed as her ex. Meanwhile, Judge Clifford Ramsey (Paul Butler) epitomises institutional hypocrisy while explaining his true motives for blocking Eleanor’s plea deal to Giardello. As a Black judge, he has built his career on harsh sentences for poor Black defendants and rural “hillbillies,” fearing backlash if he appears “soft” on a white, privileged defendant like Eleanor. His motives are purely transactional, exposing how the justice system’s inequities are perpetuated by those tasked with upholding it.

Despite its strengths, Self Defense suffers from subplots that dilute its impact. The focus on Falsone’s unresolved feelings for Ballard—evident when he grows jealous of her friendship with medical examiner Dr. Griscom—feels gratuitous, a tired trope of workplace romances. Similarly, Detective Gharty’s day off, spent brooding in a bar and pursuing Billie Lou (already engaged to Munch), adds little beyond filler. These threads, while common in procedural TV, risk overshadowing the episode’s sharp social commentary. Homicide often balanced personal and professional dynamics effectively, but here, the romantic entanglements feel indulgent, diverting attention from the systemic critiques that define the show’s legacy.

Self Defense remains a standout episode of Homicide: Life on the Street, offering a biting examination of how privilege warps justice. Its strengths lie in its refusal to simplify moral dilemmas: Eleanor is neither a victim nor a villain, nor is the system categorically evil—it is merely human, corrupted by power and politics. Kotto’s writing avoids didacticism, instead letting the characters and plot reveal the rot beneath the surface. However, the intrusive subplots weaken its impact, reminding viewers that even great television can falter when personal drama overshadows thematic depth. As a critique of American inequality, the episode is a stark reminder that the scales of justice have always been tipped toward the powerful—a truth as relevant in 2025 as it was in 1999.

RATING: 7/10 (+++)

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Jesús Escalona
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Reviews | Movies - TV Series - Anime - Books
346d
Anime · on Hyouka
Review: Hyouka | The Slice-of-Life Gem That Deserves to Be Rediscovered [ENG-ESP]

Greetings, and welcome to all, anime lovers! 💗

Saludos, y bienvenidos a todos, amantes del anime! 💗

Created with Canva Pro. Image source

Hello everyone, my Otaku friends, I hope you are all feeling great today. Today I want to talk about an anime that was really popular, but I feel like some of you have forgotten about it, so I think it’s a good idea to go over this interesting story and share my opinion with you. Today we’ll be talking about Hyouka. Make some space in your schedule, get your popcorn ready because you REALLY need this in your lives. I heard a while ago that it was good and that it was from Kyoto Animation, and I honestly loved it. First, let’s talk a little about KyoAni. You already know their style, and that’s totally reflected here. It’s not just animation, it’s like… breathing art, you know? Visuals are a great thing, they leave you with a ‘wow’ look on your face, it’s beautiful. The character designs are super expressive – don’t stain your eyes, the level of detail is so great! – but it’s also the little things, the way the light comes through the living room windows, the level of detail is brutal! from the backgrounds... the reflections in the water, even the creative transitions between scenes are a gem!

There are times when the animation alone tells you part of the story, using visual metaphors or changing the style a little to show what a character is thinking... it's a feast for the eyes from beginning to end, it immerses you in this very particular and well-drawn world. I remember a scene at the beginning, with the cherry trees blooming, and I was thinking: "Ok, this is going to be good".. but hey, looking pretty isn't everything, right? So, what's it about? Well, it focuses on this guy, Houtarou Oreki... he's basically me on a Monday morning, hahaha! His motto in life is "save energy", if he doesn't have to do something, forget it! He doesn't do it. He avoids wasting energy that isn't necessary at all... it's not that he's stupid, not at all! – in fact, he's super smart and observant – he's just… lazy by strategy? He wants a 'gray' high school life, normal, without attracting attention.

Hola a todos, amigos Otakus, espero que hoy se encuentren genial, en el día de hoy, quiero hablarles de un anime que fue muy popular, pero que siento que algunos han olvidado, así que creo que es buena idea repasar está interesante historia, y compartirles mi opinión, hoy hablaremos de: Hyouka.. hágale un espacio en su agenda, preparen las palomitas porque DE VERDAD necesitan esto en sus vidas, yo hace tiempo había escuchado que estaba bueno y que era de Kyoto Animation, y sinceramente me encantó, primero, hablemos un poco de KyoAni.. ustedes ya saben cómo es su estilo, y eso lo reflejan aquí totalmente, no es solo animación, es como… arte que respira, ¿saben? Lo visual es una cosa genial, te deja con la cara de 'wow' de lo hermoso.. los diseños de los personajes son súper expresivos – ¡no manches los ojos, qué nivel de detalle tienen! – pero también son las cositas chiquitas, la forma en que la luz entra por las ventanas del salón, el nivel de detalle ¡brutal! de los fondos.. los reflejos en el agua, ¡hasta las transiciones creativas entre escenas son una joya!
Hay momentos en que la animación solita te cuenta parte de la historia, usando metáforas visuales o cambiando un poquito el estilo para mostrar lo que está pensando un personaje.. es un banquete para los ojos de principio a fin, te mete de lleno en este mundo tan particular y tan bien dibujado. Me acuerdo de una escena al principio, con los cerezos floreciendo, y me quedé pensando: "Ok, esto va a estar bueno".. pero bueno, que se vea bonito no es todo, ¿cierto? ¿Entonces, de qué va? Pues se centra en este chico, Houtarou Oreki.. él es básicamente yo un lunes en la mañana, ¡jajaja!.. su lema en la vida es "ahorrar energía", si no tiene que hacer algo, ¡olvídate!, no lo hace. Evita a toda costa gastar energía que no sea necesaria.. no es que sea tonto, ¡para nada! – de hecho, es súper inteligente y observador – es solo que es… ¿flojo por estrategia? Quiere una vida de prepa 'gris', normalita, sin llamar la atención.

Imagen Source

Obviously, fate (or rather, his older sister) had other plans... he's sort of forced to join the Classical Literature Club so it wouldn't get shut down... and who does he run into there? Eru Chitanda! What a character! She's the complete opposite of Oreki; she's this super polite, very proper, incredibly sincere girl, from a well-off family, like important farmers, and she has a never-ending curiosity, it's almost scary! If something catches her attention, if there's something I don't understand, no matter how small or silly it may seem, she HAS to know what's up... she comes up to you like that, with those big purple eyes wide open, and she lets Oreki know her typical line: "I'm curious!" or "I'm interested!" Poor Oreki, who only wants to save energy, simply can't say no when she asks him like that, so genuinely.

It's like her kryptonite, this connection between them is the heart and soul of the series, absolutely! He, who doesn't want to do anything, versus her, who insists and asks questions, her head, which is pure logic and deduction, always ends up being caught by Chitanda's endless curiosity... It's not just that it's funny, which it often is, but it's also super interesting to see how they get along and, little by little, how one begins to influence the other. She sort of drags him into her world of questions, and she's fascinated by how he finds the answers for her. And what are these "questions" that she's curious about? This is another thing I loved about Hyouka... they're not super-dramatic murders or international spy chases or anything like that ghost thing... not at all!

The "mysteries" they solve are normal, everyday things, things like, why was a classroom door locked when it shouldn't have been? Why did a teacher make a mistake in the curriculum? What's the real story behind an old anthology the club put together years ago? Why did someone borrow too many books from the library? These are small, personal, relatable mysteries that touch on high school life and what people are like.

Obvio, el destino (o bueno, más bien su hermana mayor) tenía otros planes.. lo medio obligan a meterse al Club de Literatura Clásica para que no lo cierren.. y con quién se topa ahí? Con Eru Chitanda! qué personaje! Ella es todo lo contrario a Oreki, es esta chica súper educada, muy propia, increíblemente sincera, de una familia con buena plata, como de agricultores importantes, y tiene una curiosidad que no se le acaba nunca, ¡casi que da miedo! Si algo le llama la atención, si hay algo que no entiendo, por más chiquito o tonto que parezca, ella TIENE que saber qué onda.. se te acerca así, con esos ojazos morados bien abiertos, y le suelta a Oreki su frase típica: "¡Tengo curiosidad!" o "¡Me interesa!".. el pobre Oreki, que lo único que quiere es ahorrar energía, simplemente no le puede decir que no cuando se lo pide así, tan de verdad.
Es como su kriptonita, esta onda entre ellos es el corazón y el alma de la serie, ¡totalmente!.. él, que no quiere hacer nada, contra ella, que insiste y pregunta, su cabeza, que es pura lógica y deducción, siempre se termina prendiendo por la curiosidad sin fin de Chitanda.. no es solo que dé risa, que muchas veces sí da, sino que es súper interesante ver cómo se llevan y, poquito a poco, cómo uno empieza a influir en el otro. A él como que lo arrastra a su mundo de preguntas, y ella se queda fascinada con cómo él le encuentra las respuestas. ¿Y cuáles son esas "preguntas" que le dan curiosidad?esto es otra cosa que me encantó de Hyouka.. no son, asesinatos súper dramáticos ni persecuciones de espías internacionales ni nada de fantasmas.. para nada!
Los "misterios" que resuelven son cosas normales, del día a día, cositas como, ¿por qué la puerta de un salón estaba cerrada con llave cuando no debía? ¿Por qué un profe se equivocó en el plan de estudios? ¿Cuál es la historia real detrás de una antología vieja que hizo el club hace un montón de años? ¿Por qué alguien pidió prestados demasiados libros de la biblioteca? Son misterios chiquitos, personales, con los que te puedes identificar fácil, que tienen que ver con la vida de la prepa y cómo es la gente.

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Let's see, I know what you're probably thinking right now: "Mysteries like that, from day to day life? How lazy, right?" But believe me, the cool thing is HOW Oreki finds a way around them, uses his head, looks at everything with a magnifying glass, draws conclusions... he notices little details that the rest of us miss, it's like watching Sherlock Holmes solving riddles in Japanese high school, but without the little hat, and since they are well-grounded mysteries, you, while watching the anime, can try to put the puzzle together with them! I had a lot of times where I paused the episode, thinking: "Wait a minute, what did that person say again? What was weird in that room?"... that makes watching the anime interactive, it really hooks you in, you feel good when you get something right, and you appreciate Oreki's intelligence even more when he shows you something that you completely missed! And here comes another key thing, people: Hyouka isn’t really THAT much about the mysteries… they’re more like… the excuse, you know?

The real show is in the characters and how they grow, especially Oreki, because, by solving these little things, with Chitanda always piquing his curiosity, and hanging out with the other two from the Literature Club – the cool guy who knows everything, Satoshi Fukube, and the semi-sarcastic manga fan, Mayaka Ibara – Oreki starts to change… it’s a super subtle change, it’s not like he suddenly has a revelation or totally changes his way of being. But slowly, almost without realizing it, you see how he starts to get more involved in things, how maybe he even starts to like it a little bit, solving mysteries, connecting with people... his 'gray' world seems to start to take on some color, thanks a lot to Chitanda who illumines everything with her curiosity, seeing how he changes little by little, that struggle he has inside between his strategic laziness and what is happening to him, was one of the things I enjoyed most about the series.

A ver, yo sé lo que tal vez están pensando ahorita: "¿Misterios así, del día a día? Qué flojera, ¿no?". Pero créanme, la onda chida está en CÓMO Oreki les encuentra la vuelta, usa su cabeza, mira todo con lupa, saca conclusiones... se fija en detallitos que a todos los demás se nos pasan, es como ver a un Sherlock Holmes resolviendo acertijos en la prepa japonesa, pero sin el sombrerito, y como son misterios bien aterrizados, ¡tú, mientras ves el anime, puedes intentar armar el rompecabezas con ellos! Me pasó un montón de veces que le ponía pausa al capítulo, pensando: "A ver, espérate, ¿qué dijo esa persona otra vez? ¿Qué era lo raro en ese cuarto?".. eso hace que ver el anime sea interactivo, te engancha un montón, te sientes bien pro cuando le atinas a algo, y valoras todavía más la inteligencia de Oreki cuando te muestra algo que a ti se te pasó ¡completamente! Y aquí viene otra cosa clave, mi gente: Hyouka en realidad no se trata TANTO de los misterios.. son más bien como... la excusa, ¿saben?
El verdadero show está en los personajes y cómo van creciendo, especialmente Oreki, es que, resolviendo estas cositas, con Chitanda siempre picándole la curiosidad, y conviviendo con los otros dos del Club de Literatura – el buena onda que se sabe todo, Satoshi Fukube, y la medio sarcástica fan del manga, Mayaka Ibara – Oreki empieza a cambiar.. es un cambio súper sutil, no es que de repente tenga una revelación o cambie totalmente su forma de ser. Pero despacito, casi sin que te des cuenta, ves cómo se empieza a meter más en las cosas, cómo chance hasta le empieza a gustar un poquito, eso de resolver misterios, de conectar con la gente.. su mundo 'gris' como que empieza a agarrar colorcito, mucho gracias a Chitanda que anda iluminando todo con su curiosidad, ver cómo va cambiando poco a poco, esa lucha que tiene adentro entre su flojera estratégica y lo que le está pasando, fue una de las cosas que más disfruté de la serie.

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The vibe between the four in the club is also great! Fukube is like the opposite of Oreki in a lot of ways – he does have energy, he wants to get involved in everything, but he doesn't seem to have Oreki's spark to solve things. Ibara has her somewhat complicated thing with Fukube, like it's been a while, and she often clashes with Oreki, but in a way that's hilarious, the dynamic between them feels real; they support each other, they annoy each other, like real friends... the series mixes this mystery vibe really well with pure slice-of-life, that is, those everyday stories, there are episodes about school festivals, vacations, or just hanging out together. It perfectly captures that half-nostalgic, half-calm vibe of high school... you get hooked not only on the mysteries, but on their lives, their conversations, their calm moments. It's a series with a lot of atmosphere, it makes you think often, and sometimes it even feels a little melancholic... this mix is sure to please both people who like chill slice-of-life series and those who like a good mystery to solve.

Now, I have to be honest, my people, some of you might find it's going a bit slow... if you're looking for full-on action or super dramatic things happening all the time, this is not the series for you. Hyouka takes its time... it lets things breathe, you know? It focuses on the little details, on how the faces change little by little, on how Oreki calmly puts together the answers, I really loved this pace, calm... I felt like it fit perfectly with how introspective the story and the characters are, it kind of gives you the chance to think... it lets you really enjoy the animation, which is a gem, and realize how intelligent the script is and how the characters get along, it's not slow, it's... like you want to enjoy it calmly... but anyway, I'll leave the information there if you prefer something more upbeat...

I was expecting a nice high school series, maybe a bit weird, but I found something much deeper, that makes you think and reaches you, the way it talks about talent, what is expected of you, how we see ourselves versus how others see us... all of that, using the little mysteries as an excuse... phew!, it was great. So, my final verdict? A 9/10 for me... KyoAni's visual level, the dynamic between Oreki and Chitanda that draws you in, that unique touch of everyday mysteries that really make you think, how the characters grow little by little but in a super important way, and that perfect mix of mystery to reflect and relaxed slice-of-life... everything works super well together! It's smart, it's beautiful, it has its charm and it's one of those series that you constantly remember... and well, that would be all for today, we'll see you in the next reviews, take care! Bye!

La onda entre los cuatro del club también está ¡buenísima! Fukube es como lo opuesto a Oreki en un montón de cosas – él sí tiene energía, quiere meterse en todo, pero como que no tiene esa chispa de Oreki para resolver las cosas, Ibara tiene su rollo ahí medio complicado con Fukube, como de hace tiempo, y seguido choca con Oreki, pero de una forma que da risa, la dinámica entre ellos se siente real; se apoyan, se molestan, como los amigos de verdad.. la serie mezcla superbién esta onda de los misterios con el puro slice-of-life, o sea, esas historias del día a día, hay capítulos de festivales de la escuela, de vacaciones, o nomás de pasar el rato juntos. Captura perfecto esa vibra medio nostálgica, medio tranquila, de la prepa.. te enganchas no solo con los misterios, sino con su vida, sus pláticas, sus momentos de calma, es una serie con mucha atmósfera, te pone a pensar seguido, y a veces hasta se siente un poquito melancólica.. esta mezcla seguro le va a gustar tanto a la gente que le laten las series tranquilitas de slice-of-life, como a los que les gusta un buen misterio para resolver.
Ahora, tengo que ser honesto, mi gente, a algunos les va a parecer que va medio lenta.. si andan buscando acción a full o que todo el tiempo estén pasando cosas súper dramáticas, esta no es la serie para ustedes. Hyouka se toma su tiempo.. deja que las cosas respiren, ¿entienden? Se enfoca en los detallitos, en cómo cambian las caras poquito, en cómo va armando las respuestas Oreki tranquilamente, a mí, la verdad, me encantó este ritmo así, calmado.. sentí que quedaba perfecto con lo introspectiva que es la historia y los personajes, como que te da la oportunidad de pensar.. te deja disfrutar bien la animación, que es una joya, y darte cuenta de lo inteligente que es el guion y cómo se llevan los personajes, no es lenta, es... como para disfrutarla con calma.. pero bueno, ahí les dejo el dato si prefieren algo más movido...
Yo esperaba una serie de prepa bonita, tal vez medio rara, pero me encontré con algo mucho más profundo, que te hace pensar y te llega, la forma en que habla del talento, de lo que esperan de ti, de cómo nos vemos nosotros contra cómo nos ven los demás... todo eso, usando los misterios chiquitos como excusa... ¡uff!, estuvo genial. Así que, ¿mi veredicto final? Un 9/10 para mí.. el nivelazo visual de KyoAni, la dinámica entre Oreki y Chitanda que te atrapa sí o sí, ese toque único de los misterios del día a día que de verdad te ponen a pensar, cómo crecen los personajes poquito a poquito pero de forma súper importante, y esa mezcla perfecta de misterio para reflexionar y slice-of-life relajado... ¡todo funciona súper bien junto! Es inteligente, es hermosa, tiene su encanto y es de esas series que recuerdas constantemente.. y bueno, esto sería todo por hoy, nos veremos en las próximas reseñas, cuidense! Byebye!

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📀 Official Intro:

Tell me... have you seen this anime? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this anime. You can leave me in the comments your recommendations for future publications! 😊

Cuéntame.. ¿Has visto este anime? Te ha llamado un poquito la atención? Dime que te pareció esta reseña con mi opinión, y dime si te han dado ganas de ver este anime. Puedes dejarme en los comentarios tus recomendaciones para las próximas publicaciones!! 😊

📲 My social media:

See you next time! 👀🎞💗

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Yasmarit Pérez
@yasmarit (73)
📍 Venezuela
428 followers
778 following
Ordenada. Ingeniosa. Colaboradora. Creativa.
346d
TV · on Brewing Love
My opinion of Brewing Love/Mi Opinión de Preparando el Amor [ENG/ESP]
Hello dear friends of @MoviesTvShows, greetings and happy day, this time I come to talk about a k-drama that captivated me a lot, where emotions and the desire to do a good job are felt, for beer lovers this story can captivate them, since its basis is to achieve the best beer they can offer, it is Preparing love.

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It is the story of Chae Young-ju (Kim Se-jeong) a woman dedicated to work in order to support her grandmother, as she is the only relative she has, she works in the sales area of a liquor company, which is dedicated and relies heavily on her skills to keep the sales as they should be and that the company continues to grow, But not everything is always so easy, the branch where she works is in danger of closing, the only chance she has to save it is to get a man, a master brewer, and with him create a new product, a new beer that can overcome the current standards and thus move forward the branch that has struggled so hard to keep afloat.

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That's when he meets Yoon Min-ju (Lee Jong-won) the young brewmaster, focused on working on his product in a humble village, where no one can bother him, just him with his field to be able to make craft beers, when Chae decides to look for him he thinks it will be simple, but really Min-ju is not a simple person, since he is a sensitive man, or rather empathic enough, able to feel the true feelings of the other person, how he feels, if he lies, if he is well, all of it, which makes him prefer to stay away from people and focus only on getting ahead with those he has considered close to deal with.

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From their meeting will begin the battle to convince him that they both need to work together, not only because she needs him to save his coworkers, he also needs her to overcome his fears of treating others and not being understood for being so emotional, that's when each one can learn from the other and find the way to create what they both long for, a beer capable of meeting the standards that customers want and with the taste they want at the time, a challenge for his team to face.

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We will also be able to appreciate the elaboration of liquors, how they are handled, as well as to know how a person feels when he is not able to express his feelings and the other one knows it so well, that he is able to bear everything, just for the fact that he is well and that he can gradually show his real feelings.

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Technical data

Genre: Comedy, Drama and Romance Directed by: Park Sun-ho Country of Origin: South Korea No. of seasons: 1 No. of episodes: 12 Broadcasting media: ENA, Genie TV First broadcast November 4, 2024.

Thank you very much for reading it. I hope you like it. If you have any comments I'll be glad to answer and if you want to know more about me I leave you my:

Translated Using Deepl

ESPAÑOL

Hola queridos amigos de @MoviesTvShows, saludos y feliz día, en esta oportunidad vengo para hablarles sobre un k-drama que me cautivo mucho, donde las emociones y las ganas de poder hacer un trabajo bien se hacen sentir, para los amantes de la cerveza esta historia los puede cautivar, ya que su base es lograr la mejor cerveza que puedan ofrecer, se trata de Preparando el amor.

Fuente

Es la historia de Chae Young-ju (Kim Se-jeong) una mujer dedicada a trabajar para poder mantener a su abuela, ya que es el único familiar que tiene, trabaja en el área de ventas de una compañía de licores, la cual es dedica y confía mucho en sus habilidades para poder mantener las ventas como deben ser y que la empresa siga creciendo, pero no todo siempre es tan fácil, la sucursal donde ella trabaja está en peligro de cerrar, la única oportunidad que tiene de salvarla es en conseguir a un hombre, un maestro de la cervecería, y con él crea un nuevo producto, una nueva cerveza que pueda superar los estándares actuales y así sacar adelante la sucursal que tanto ha luchado por mantener a flote.

Fuente

Es ahí cuando conoce a Yoon Min-ju (Lee Jong-won) el joven maestro cervecero, enfocado en trabajar en su producto en un humilde pueblo, donde nadie lo pueda molestar, simplemente él con su campo para poder hacer cervezas artesanales, cuando Chae decide buscarlo cree que será sencillo, pero reamente Min-ju no es una persona sencilla, ya que es un hombre sensible, o mejor dicho lo suficientemente empático, capaz de sentir los verdaderos sentimientos de la otra persona, como se siente, si miente, si está bien, todo ello, lo cual hace que prefiera alejarse de las personas y enfocarse solo en salir adelante junto a los que ha considerado cercanos para tratar.

Fuente

A partir de su encuentro comenzara la batalla para convencerlo de que ambos necesitan trabajar juntos, no solo porque ella lo necesita para salvar a sus compañeros de trabajo, él también la necesita para superar sus miedos de tratar a otros y de que no lo entiendan por ser tan emotivo, es ahí cuando cada uno podrá aprender del otro y encontrar el camino para crear lo que tanto anhelan, una cerveza capaz de cumplir los estándares que los clientes desean y con el sabor que ellos quieran en el momento, un reto para que su equipo lo pueda enfrentar.

Fuente

También podremos apreciar la elaboración de los licores, como es el manejo de ello, así como él saber cómo se siente una persona cuando no es capaz de expresar sus sentimientos y la otra lo sabe tan bien, que es capaz de soportar todo, solo por el hecho de que este bien y que pueda poco a poco demostrar sus sentimientos reales.

Fuente

Ficha técnica

Género: Comedia, Drama y Romance Dirigido por: Park Sun-ho País de origen: Corea del Sur N.º de temporadas: 1 N.º de episodios: 12 Medio de difusión: ENA, Genie TV Primera emisión4 de noviembre de 2024.

Muchas gracias por leerlo. Espero sea de su agrado. Cualquier comentario con gusto estaré para responder y si quieren saber más de mi les dejo mis:
@duvinca
@duvinca (74)
📍 In the middle of...
366 followers
192 following
Nice things, thoughts, trips and photo shots.
346d
TV · on Ballard
Ballard: Deep Investigation TV Show (My Review)
Hello friends!

Summertime continues, and we continue watching yet another TV series. We return to the era of action series, police investigations, and caring about those forgotten cases. A series like no other, with a personal touch, empathy for others, for victims of the past and their families, in an almost altruistic way, with genuine concern and interest, while still maintaining suspense and a good plot.

And what TV show am I talking about? This TV show is called Ballard, and it has been quite popular recently on Amazon Prime Video's top 10 since July. And I would like to share my review with you after watching it completely.

Let's tell something about this TV show. Here my review:

What is this about?

It's about a new department is created within the Los Angeles police force to focus on unsolved homicide cases. It was actually created by a politician who wanted to solve his sister's murder, since the culprit was never found. He entrusts Renée Ballard with the primary responsibility of solving this case, creating a small department in the basement of the police station. She wants to return to being the detective she once was, but she had a personal problem with one of her colleagues that ultimately caused her to be relegated. Now she has a new opportunity to prove who she is.

But they don't have much money, so her few colleagues are actually volunteers: a woman with a lot of free time but very good intuition, a retired police officer, another reserve officer with a successful private security company, and a law student intern who didn't want to do an internship serving coffee in an office. They are all motivated and want to help.

Finally, another police officer joins the force after leaving the force due to a personal matter that deeply affected her, but also, curiously, Ballard. Furthermore, both policewomen simultaneously try to unravel a network of corrupt police officers and thus seek revenge on the one who wronged them. In fact, Ballard was the victim who was left out for speaking out, and throughout the entire time, she feels a certain helplessness and, at the same time, a desire for them to trust her and return to the Homicide Department, but not always... [SPOILER?]

And so, they all form a great team, committed to investigating and getting to the bottom of some cases that seemed completely forgotten, but that can still be solved. The future mayor pushes for the resolution of his sister's case, before his campaign, and also so that his father wouldn't feel so bad after so much time, but surprises arise... while they also investigate other cases, some even move them, and a human side is seen that drives them even more to get to the truth of what happened.

The characters

The actors aren't really well-known, or at least not to me. But they have a charming quality, especially the woman who helps out from the office and the retired police officer who helps Ballard so much. And it's worth noting that they all actually work as volunteers for the boss.

Anything else to comment?

Yes, a few small things. On the one hand, I should mention that this series is a spin-off of another similar series called "Bosch" (with the same creator Michael Connelly), and this is about an agent or detective and lots of action, although I hadn't seen it before. But [SPOILER!] the main character appears briefly a couple of times, advising and helping Ballard in the shadows when he needs it. That's when I realized why it keeps the same name. On the other hand, I like the relationship between the characters, between the volunteers. I think that's what makes this action-investigation series different from so many others.

It also has a Hawaiian touch, not only because of the protagonist's house near the ocean, where she lives with her grandmother, but also because she goes surfing in the mornings as a way to relax and remember her father. There, we enjoy that Hawaiian atmosphere, somehow...

But there are surprises. Suddenly, everything ends abruptly, leaving us with a complex situation hanging over us when it seemed all over. What will happen to him? A total cliffhanger.

And finally, regarding surprises and the episodes themselves, they're not entirely independent; they follow a plot, and the case of the politician's sister could be one of the most important threads, as well as the corrupt police plot. But the resolution of that case is what surprised me the most. Do they discover who the culprit was? Yeah... but... I didn't expect that!

I have been telling so much, it's better to enjoy the TV show by yourselves. There is just one season of ten episodes for now! And who knows (probably yes) if there will be another one! Take a look!

More information about the TV show and all the shared images here: Original title: Ballard (2025-Now) - IMDB: Ballard

Thanks for reading! Have a nice and cool day.

The text is totally mine by ©Duvinca

The images screenshots and some info are from imbd.com and the lead image has been done by me using Canva.com - NO AI -
Drax
@drax (77)
893 followers
106 following
Blogger, film critic, columnist (writes in Croatian and English)
347d
TV · on Star Trek: The Animated Series
Television Review: Albatross (Star Trek: The Animated Series, S2X04, 1974)

Albatross (S02E04)

Airdate: September 28th 1974

Written by: Dario Finelli Directed by: Bill Reed

Running Time: 22 minutes

Star Trek: The Animated Series (1973–1974) occupies a curious niche in the franchise’s canon: it is often overshadowed by its live-action predecessors and successors, rarely invoked in pop culture discussions, and frequently dismissed as a lesser entry in the Trek pantheon. Its relative obscurity is underscored by the scarcity of its episodes becoming enduring cultural touchstones, even as its themes occasionally align with contemporary issues. Albatross, the second-season episode, exemplifies it. The episode’s narrative—centring on a medical controversy involving a vaccine gone tragically awry—could have resonated powerfully in the post-pandemic era had it been part of The Original Series or The Next Generation. The episode’s exploration of scientific accountability, societal panic, and the moral ambiguity of medical intervention makes it a prescient yet underappreciated work, particularly in hindsight.

Set in 2270 AD, Albatross opens with the USS Enterprise delivering medical supplies to Dramia, a remote planet inhabited by the Dramens, a humanoid species with distinctive angular facial features. Captain Kirk leads a landing party to greet the Dramens, only to be met with an unexpected demand: McCoy is arrested on charges of genocide, accused of causing a plague that devastated Dramia II, a colony of their people. The roots of this accusation trace back nineteen years prior, when McCoy administered a vaccine against the Saurian flu—a move that the Dramens now claim led to the collapse of their sister colony. Kirk, fearing the Dramens’ swift justice system will condemn his friend without due process, collaborates with Spock to investigate. After impounding a Dramen ship that trails the Enterprise, the pair beams down to Dramia II, discovering the colony’s ruins and a handful of survivors reduced to feral, zombie-like states. Among them is Kol-Tai, a survivor who retains his senses and recalls McCoy’s role in saving his life. Beaming Kol-Tai aboard as a potential witness, the crew soon finds themselves infected by the same plague. With Spock immune, he takes command, beams down to free McCoy from Dramen custody, and the doctor works tirelessly to synthesise a cure. The breakthrough comes when McCoy identifies an aurora phenomenon on Dramia II as the true cause of the plague, absolving him of blame and resolving the crisis.

Albatross is a middling entry in the Trek universe, neither groundbreaking nor entirely forgettable. Its simplicity aligns with the animated series’ mandate to cater to younger audiences, yet it offers enough dramatic tension to satisfy adult viewers within its brisk runtime. The episode is part of a subgenre within the franchise where a major character faces a trial, yet it diverges from courtroom theatrics to focus on mystery-solving and worldbuilding. The exploration of Dramia II’s desolate landscape and its eerie, half-converted survivors introduces a horror element uncommon in the typically optimistic Trek ethos. The Dramens’ design is visually engaging, a reminder of the series’ capacity to experiment with alien aesthetics in ways the live-action shows could not due to budget constraints. However, these strengths are tempered by the script’s lack of ambition: the plot unfolds in a predictable manner, and the resolution hinges on McCoy’s heroics rather than deeper philosophical inquiry.

The ruined world of Dramia II is the episode’s most compelling element. The depiction of skeletal survivors creates a haunting visual metaphor for societal collapse. Kol-Tai’s survival as a lucid individual adds narrative urgency, as his testimony becomes pivotal to exonerating McCoy. Yet the episode’s brevity—typical of the animated series’ 22-minute format—leaves the planet’s fate underdeveloped. The plague’s origins, while eventually tied to the auroras, are never fully explained beyond a vague scientific handwave. This abbreviated exploration robs the setting of its potential to become a haunting, multifaceted tragedy akin to Star Trek’s more celebrated episodes.

The episode’s structure adheres to a familiar Trek template: a crisis arises, the crew investigates, and the resolution hinges on the ingenuity of the protagonist (here, McCoy). While this formula ensures a satisfying arc, it lacks the surprise or depth that distinguishes the franchise’s best work. The revelation that the aurora phenomenon caused the plague is a neat twist, but it undermines the episode’s scientific credibility. This reliance on unexplained phenomena shifts the episode from “science fiction” to pure “fiction,” a choice that may frustrate viewers seeking logical consistency.

The most provocative aspect of Albatross is its treatment of McCoy’s prosecution for genocide. Accused of unleashing a plague through a vaccine, he embodies the tension between scientific authority and public distrust—a theme that resonates eerily with modern debates over mass vaccination during the pandemic. The episode’s premise—where a well-intentioned medical intervention backfires catastrophically—parallels real-world criticisms of rushed vaccine rollouts and their contested long-term effects. While the narrative absolves McCoy by pinning the blame on an external force (the aurora), it sidesteps the moral ambiguity of his actions. The Dramens’ anger, though portrayed as misguided, reflects a valid fear: that institutions entrusted with public health may prioritise expediency over thoroughness, with devastating consequences.

Albatross is a serviceable but unremarkable entry in Star Trek’s animated legacy. Its strengths lie in its eerie setting, inventive alien design, and thematic resonance with contemporary concerns about medical ethics. However, its predictable plot, rushed pacing, and reliance on unexplained phenomena prevent it from achieving greatness. For all its flaws, Albatross reminds us that even lesser-known Trek episodes can harbour ideas worth revisiting—particularly in an era where their themes have become all too relevant.

RATING: 5/10 (++)

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Firefighter Daigo: Rescuer in Orange — review by @franz54

Frank Córdova

@franz54 (76)

📍 Ciudad Bolívar, Venezuela.

510 followers

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Ingeniero Geólogo. Amante de Hive ❤️. Me encantan los deportes 🏎️🏍️ y los videosjuegos 🎮🕹️

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Anime · on Firefighter Daigo: Rescuer in Orange

Megumi no Daigo: Kyuukoku no Orange // Anime Review [ENG-ESP]

Cover created in Canva. Source of images || Portada creada en Canva Fuente de las imágenes

Friends of The Anime Realm community, I hope you are all well. Today I bring you a new anime called Megumi no Daigo: Kyuukoku no Orange. This anime was released in 2023, created by Brain's Base and directed by Masahiko Murata. The animated series began in the aforementioned year, with a total of 23 episodes, and the first season concluded in March 2024. I don't really know if there will be a second season, as I just finished watching the first one. This is an anime that I didn't expect much from; I watched it just to pass the time. On this occasion, I am going to give you my opinion on the animated series.

Megumi no Daigo is an anime in the action, drama, and shōnen genres, which is a subgenre of Japanese animation aimed at a young male audience. Anime almost always features heroic stories, full of action, with themes of friendship, which we find a lot of in anime. The story tells us about three young men, Daigo Toake, Shun Onoda, and Yuki Nakamura, three different characters who share a passion for being firefighters and becoming rescuers to save people's lives. The story takes place at the Tokyo Fire Department's Special Rescue Training Center, as well as in various parts of the Japanese city where accidents occur and rescuers must often spring into action.

Amigos de la comunidad The Anime Realm, espero que estén bien. El día de hoy les traigo un nuevo anime llamado Megumi no Daigo: Kyuukoku no Orange. Este es un anime que salió en el año 2023, una creación de Brain's Base, bajo la dirección de Masahiko Murata. La serie animada comenzó en el año ya mencionado, con un total de 23 capítulos, donde la conclusión de la emisión de la primera temporada fue en marzo de 2024. Realmente no sé si hay una segunda temporada, pues apenas terminé de ver la primera. Este es un anime del cual no esperaba tanto, la vi simplemente para pasar el rato. En esta oportunidad les voy a dar mi opinión sobre la serie animada.

Megumi no Daigo es un anime del género de acción, drama y shōnen siendo un subgénero de animación japonesa que está destinada a una audiencia de hombres jóvenes. El anime casi siempre presenta historia heroica, llenas de mucha acción, con temas de amistad de la cual encontraremos mucho en el anime. La historia del mismo nos cuenta sobre tres jovenes, Daigo Toake, Shun Onoda y Yuki Nakamura, tres personajes distintos, pero como algo en común que es su pasión por ser bomberos y convertirse en rescatistas para salvar las vidas de las personas. La historia se desarrolla en el Centro de Entrenamiento de Rescate Especial de la Brigada de Bomberos de Tokio, además en varias parte de la ciudad nipona donde ocurren accidentes y los rescatistas deben actuar a menudo.

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This anime is one of the few I've seen of this type, as I usually like supernatural ones, where the characters have powers, magic, and where the story takes place in medieval times, but it's always nice to find different stories. Often they disappoint us, but there are also many occasions where we get pleasant surprises. With Megumi no Daigo: Kyuukoku no Orange, I think it was positive, and I'll give you the reasons why. What I can highlight most is that we have a real story in the sense that our central characters are good at what they do, but there are also moments when they can't save everyone, showing that in the end they are human, they make mistakes, and they must overcome things in order to move forward.

Daigo is a young man with a great talent for rescue work, who suffered a great trauma in the past, which drove him to join the elite rescue team of the Japanese fire department. He is a rather mysterious character who cares about other people and values teamwork and friendship. Shun is very passionate and works hard at everything he does because he wants to be the best. He even competes with Daigo, but in the end, he feels great admiration for him. Finally, we have Yuki, who is the only woman in the rescue team and who wants to excel to show that it's not just men who can do the job. These characters have a story behind who they are and what they want to achieve, and each chapter brings us one step closer to understanding the story of our characters.

I liked the anime in terms of its story. It has a lot of drama, action, and quite emotional moments, but it's not perfect; it has its flaws. Many moments are slow, which makes the anime tedious, and certain episodes recap things from previous episodes, which I don't think is necessary. The animated series conveys a powerful and deeply human message about courage, vocation, and sacrifice in the world of professional rescue. It also makes us reflect on the fact that true heroes do not seek recognition, but rather to save lives, even at the cost of their own. An anime that I loved in terms of the message it conveyed.

Este anime es de los muy poco que he visto de este tipo, pues normalmente me gustan los de sobrenatural, donde los personajes tengan poderes, magia, donde se desarrolle en tiempos medievales, pero encontrar con historias distintas, siempre es grato. Muchas veces nos suelen decepcionar, pero también hay bastantes ocasiones donde nos llevamos gratas sorpresas. Con Megumi no Daigo: Kyuukoku no Orange, creo que fue positivo y a continuación les voy a dar las razones. Los que más puedo resaltar es que tenemos una historia real en el sentido que nuestros personajes centrales son buenos en lo que hacen, pero también hay momentos no pueden salvar a todos, mostrando que al final son humanos, comenten errores y deben superar las cosas para poder continuar adelante.

Daigo es un joven con un gran talento para el rescate, que sufrió un gran trauma en el pasado, que lo impulsó para formar parte de los rescatistas de élite en el cuerpo de bomberos de Japón. Este es un personaje bastante misterioso quien le importa las demás personas y quien valora mucho el trabajo en equipo y la amistad. Shun es bastante apasionado, se esfuerza mucho en lo que hace, pues quiere ser el mejor, incluso tiene cierta competencia junto con Daigo, pero al final lo que siente es una gran admiración. Finalmente, tenemos a Yuki, quien es la única mujer en el cuerpo de rescate y quien quiero sobresalir para mostrar que no solo los hombres pueden hacer el trabajo. Estos personajes tiene una historia detrás de lo que son y lo quiere quien terminar haciendo, cada capítulo nos brinda un paso más en la historia de nuestros personajes.

El anime me gustó en cuento a su historia, tiene bastante drama, momentos de acción y momentos bastante emotivos, pero no es perfecto, tiene sus detalles. Muchos momentos son lentos, lo que hace que sé tedioso el anime, además que ciertos capítulos donde se recopilan cosas de episodios anteriores, lo cual considero que no es necesario. La serie animada transmite un mensaje poderoso y profundamente humano sobre el valor, la vocación y el sacrificio en el mundo del rescate profesional. También nos da una reflexión sobre que los verdaderos héroes no buscan reconocimiento, sino salvar vidas, incluso a costa de la suya. Un anime que amé en el sentido del mensaje que nos transmitió.

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As far as the animation is concerned, I can say that I think it's a positive point of the anime, as we find very well-developed characters, and the settings are carefully designed to reflect the seriousness of the rescue environment. The characters' features are quite realistic, and I also like the visual effects, such as fire, the movement of water, and the various natural phenomena and accidents that often occur and that firefighters must face. In this regard, I think the anime is a 10/10. At least, that's the impression it left me with. The soundtrack is another aspect I liked, especially the background music for the most sensitive moments, which undoubtedly touches us deeply and connects us with the moment.

Megumi no Daigo: Kyuukoku no Orange is a good anime, quite entertaining although not perfect in terms of its story. There are several details that could have been better, but I don't think that ruins the overall experience. We can still enjoy watching the story, and I like the main characters, as I liked all three of them despite their differences, but what they have in common is their love for rescuing people. Visually, the anime is very good, and the sound is not far behind, so we are in the presence of a great story that is worth watching. It's not what I usually watch, but I came across an interesting anime, something different from what I normally watch, but I can assure you that it left me with great emotions.

En cuanto a la animación se refiere, les puedo decir que me parece un punto positivo del anime, pues nos encontramos con unos personajes muy bien elaborados, además qué escenarios están cuidadosamente diseñados para reflejar la seriedad del entorno de rescate. Las facciones de los personajes son bastante realistas, además que me gustan los efectos visuales, como el fuego, el movimiento del agua y los diversos fenómenos naturales y accidentes que se suelen presentar y que los bomberos deben enfrentar. La verdad es que en este sentido el anime creo que es un 10/10. Al menos estas son las sensaciones que me dejó. La banda sonora es otro aspecto que me gustaron sobre todo las músicas de fondos para los momentos más sensibles, que sin lugar a dudas nos llega bastante y conectamos con el momento.

Megumi no Daigo: Kyuukoku no Orange es un buen anime, bastante entretenido aunque no perfecto en lo que a su historia se refiere. Tiene varios detalles que pudieron ser mejor, pero considero que de igual manera no arruina la experiencia final, podemos pasar un momento agradable al ver la historia, me quedo con los protagonistas, pues los tres me gustaron a pesar de ser distintos, pero en común es el amor por rescatar a las personas. Visualmente, el anime es muy bueno, sin quedarse atrás el sonido, así que estamos en presencia de una gran historia que vale la pena ver. No es lo que más observo, sin embargo, me topé con un anime interesante, algo diferente a lo que normalmente veo, pero les puedo asegurar que me dejó grandes emociones.

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Data sheet 🎟
Original title 📼: Megumi no Daigo: Kyuukoku no Orange
Year: 2023
Length ⏱️: 23 episodes, each lasting 23 minutes
Country: Japan
Direction 🎥: Masahiko Murata

Trailer:

Source

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Gracias por su visita. Espero que les haya gustado.

Hasta una próxima oportunidad.

Sin más que decir, se despide de ustedes, su cordial servidor @franz54.

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[English]

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Thank you for your visit. I hope you liked it.
Till a next chance.
Without further ado, he bids farewell to you, his cordial server @franz54.

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What is this about?

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The text is totally mine by ©Duvinca

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📽️ El acorazado Potemkin

Hello! 💙

¡Hasta la próxima, un abrazo!

📀 Official Intro:

📲 My social media:

See you next time! 👀🎞💗

Traduced with DeepL Banners y separadores hechos con Canva Pro.Banners and dividers made with Canva Pro.

What is this about?

The characters

Anything else to comment?

Thanks for reading! Have a nice and cool day.

The text is totally mine by ©Duvinca

The images screenshots and some info are from imbd.com and the lead image has been done by me using Canva.com - NO AI -

Trailer:

Translated with www.DeepL.com/Translator (free version)

Traduced with DeepL Banners y separadores hechos con Canva Pro.
Banners and dividers made with Canva Pro.