Hola, mis amigos. Bienvenidos, una vez más, a mi blog. Mi saludo para todos, en especial a los miembros de esta comunidad.

Los más jóvenes quizás no recuerden esta serie que salió al aire en el 2004, conocida también como Mujeres Desesperadas o Amas de Casa Desesperadas, según el país. En Cuba fue vista un poco después (aquí todo llega tarde)y resultó ser una sensación entre los televidentes, por su mezcla de drama, misterio y humor negro. A mí, en particular, me fascinó. Recuerdo que la trasmitían en un horario que coincidía con el trabajo, pero siempre me las arreglaba para verla.

Hay un famoso refrán que dice: "no vayas a casa de nadie..." que se ajusta perfectamente a esta serie que trata, entre otras cosas, sobre las apariencias, el oscuro encanto de lo suburbano, los secretos tóxicos de las familias que aparentan ser perfectas a la vista de los demás mientras enconden terribles crímenes. Todo transcurre en una calle "idílica"de una hermosa y "tranquila" urbe.

Algo interesante es que la serie es narrada, desde ultratumba, por el personaje de Mary Alice Young (Brenda Strong). Cuenta con un elenco femenino de excelencia: Marcia Cross, Eva Longoria, Felicity Huffman, Teri Hatcher y Nicollette Sheridan. Cada una de estas mujeres es protagonista y encarnan un mundo de conflictos domésticos.

Creada por Marc Cherry, la serie se convirtió en un hit mundial. La trama posee un guión ingenioso y combina crítica social con elementos de telenovela. Entre los temas fundamentales que toca están la infidelidad, las adicciones, las crisis existenciales y la maternidad.

Esta no es una serie para ser vista por menores ya que tiene lenguajes y escenas propias de adultos (relaciones con menores, violencia, suicidio, asesinatos y lenguaje fuerte).

Esposas Desesperadas, desde mi punto de vista, es una serie inteligente y filosófica, con actuaciones inolvidables y diálogos afilados, cortantes, capaz de mantener enganchados a la pantalla a los espectadores más exigentes.

Review of the Series "Desperate Housewives"

Hello, my friends. Welcome once again to my blog. My greetings to all, especially to the members of this community.

Younger viewers might not remember this series that aired in 2004, also known as Mujeres Desesperadas or Amas de Casa Desesperadas depending on the country. In Cuba it was seen a little later (everything arrives late here) and became a sensation among viewers due to its mix of drama, mystery, and dark humor. I, personally, was fascinated by it. I remember it aired during my work hours, but I always managed to find a way to watch it.

There's a famous saying that goes, "no one knows what happens behind closed doors..." which fits this series perfectly. It deals, among other things, with appearances, the dark charm of the suburbs, and the toxic secrets of families who seem perfect to the outside world while hiding terrible crimes. Everything unfolds on an "idyllic" street in a beautiful and "tranquil" town.

Something interesting is that the series is narrated from beyond the grave by the character Mary Alice Young (Brenda Strong). It boasts an excellent female cast: Marcia Cross, Eva Longoria, Felicity Huffman, Teri Hatcher, and Nicollette Sheridan. Each of these women is a protagonist, embodying a world of domestic conflicts.

Created by Marc Cherry, the series became a worldwide hit. The plot features a clever script and blends social critique with elements of a soap opera. Among the fundamental themes it tackles are infidelity, addiction, existential crises, and motherhood.

This is not a series suitable for minors, as it contains adult language and scenes (involving relationships with minors, violence, suicide, murder, and strong language).

Desperate Housewives, in my view, is an intelligent and philosophical series, with unforgettable performances and razor-sharp dialogue, capable of keeping even the most demanding viewers glued to the screen.

Would you sit down and watch a series where all the characters are blind? But it's not a disability: it's their reality. An entire civilization that has never seen the light, where armies wage bloody wars in forests and rivers, guided by the sound of the wind and the feel of the earth.

In a television landscape saturated with generic dystopias, See emerges as a bold, original tale. Created by Steven Knight for Apple TV+, this series breaks molds, shattering them with a premise that forces the viewer to feel the world rather than observe it. Jason Momoa and Alfre Woodard lead a cast that transforms blindness into a form of violent poetry, every clash of swords and every whisper in the darkness a primal urgency.

But let's take it step by step while I briefly give you the synopsis.

The Earth has been devoured by a virus that has taken away humanity's sight. Generations later, the survivors have built mythologies, languages, and war tactics around the darkness. Until two children—Haniwa and Kofun—are born with the forbidden gift of seeing. Their existence unleashes a brutal hunt: for some, they are living heresies; for others, biological weapons. Baba Voss (Momoa), a warrior of ironclad loyalty, becomes their human shield, dragging them through forests he cannot see but defends tooth and nail.

Francis Lawrence and other directors weave a narrative that breathes, like a cornered animal. The battles are clumsy and hypnotic at the same time: men hear the rustling of the grass, smell fear, and gauge distances by the echo of the enemy's breathing. The camera crawls, stumbles, and rises, like its characters; subjective shots immerse us in a reality where a touch of fingers on a face is equivalent to a portrait.

Momoa, freed from the clichés of the banal hero, portrays Baba Voss as a force of nature: paternal and lethal, with a vulnerability that peeks through his precise blows. Alfre Woodard, as the priestess Paris, is the tribe's ancient soul, her voice acting like a map in the fog. But it's the young Archie Madekwe and Nesta Cooper who surprise, encapsulating the terror and wonder of discovering colors, faces, stars… in a world that calls them monsters.

The cinematography mutes the vivid tones, replacing them with ochres and jet blacks, as if light itself were an intruder. Sound is another character: the crack of a branch is a gunshot; the murmur of a river, a safe path. Bear McCreary composes a soundtrack that doesn't accompany, but rather drags, with tribal choirs and strings that mimic heartbeats. You have to listen to that beauty, you'll end up in love.

See wasn't perfect: some episodes slow down, and its dialogue sometimes falls into the grandiose. But its visual boldness and its exploration of disability as a narrative axis (not as a condiment) make it a unique experiment. It's not a series about blind people: it's about our own fear of the unknown, of what we can't, or won't, understand.

_{Content I Own}

_{The images are screenshots I took while watching the movie}

_{Google Translation Translation}

_{I'm a writer. My publications include: Ashes of the Banquet (2002), Behind the Skin (2004), On This Side of Death (2014), The Natural Order of Things (2015), The Blood of the Marabou (2020), The Sixth Cavalry of Kansas (2024), and Infinite Nothingness (2024).}

🎬"See" (2019-2022): Una odisea visceral en la oscuridad

¿Te sentarías a ver una serie donde todos los personajes son ciegos? Pero no es una discapacidad: es su realidad. Una civilización entera que nunca ha visto la luz, donde los ejércitos libran guerras sangrientas en bosques y ríos, guiados por el sonido del viento y el tacto de la tierra.

En un paisaje televisivo saturado de distopías genéricas, See emerge como un relato audaz, original. Creada por Steven Knight para Apple TV+, esta serie rompe moldes, los pulveriza con una premisa que obliga al espectador a sentir el mundo en lugar de observarlo. Jason Momoa y Alfre Woodard lideran un elenco que transforma la ceguera en una forma de poesía violenta, cada choque de espadas y cada susurro en la oscuridad son una urgencia primal.

Pero vayamos por partes mientras te hablo brevemente de la sinopsis.

La Tierra ha sido devorada por un virus que arrancó la vista de la humanidad. Generaciones después, los sobrevivientes han edificado mitologías, lenguajes y tácticas de guerra en torno a la oscuridad. Hasta que dos niños —Haniwa y Kofun— nacen con el don prohibido de ver. Su existencia desata una cacería brutal: para algunos son herejías vivientes; para otros, armas biológicas. Baba Voss (Momoa), un guerrero de lealtad férrea, se convierte en su escudo humano, arrastrándolos a través de bosques que él no puede contemplar pero que defiende con uñas y dientes.

Francis Lawrence y otros directores tejen una narrativa que respira, como un animal, acorralado. Las batallas son torpes y a la vez hipnóticas: los hombres escuchan el crujir de la hierba, huelen el miedo, calculan distancias por el eco de la respiración enemiga. La cámara se arrastra, tropieza, se levanta, como sus personajes, planos subjetivos nos sumergen en una realidad donde un roce de dedos sobre un rostro equivale a un retrato.

Momoa, liberado de los clichés del héroe banal, entrega a Baba Voss como una fuerza de la naturaleza: paternal y letal, con una vulnerabilidad que asoma entre sus golpes certeros. Alfre Woodard, como la sacerdotisa Paris, es el alma anciana de la tribu, su voz funciona como un mapa en la niebla. Pero son los jóvenes Archie Madekwe y Nesta Cooper quienes sorprenden, encapsulando el terror y la maravilla de descubrir colores, rostros, estrellas… en un mundo que los llama monstruos.

La fotografía apaga los tonos vivos, y los sustituye por ocres y negros azabache, como si la luz misma fuera un intruso. El sonido es otro personaje: el crujir de una rama es un disparo; el rumor de un río, un camino a salvo. Bear McCreary compone una banda sonora que no acompaña, sino que arrastra, con coros tribales y cuerdas que imitan latidos cardiacos. Hay que escuchar esa belleza, terminarás enamorado.

See no fue perfecta: algunos episodios bajan el ritmo, y sus diálogos a veces caen en lo grandilocuente. Pero su osadía visual y su exploración de la discapacidad como eje narrativo (no como condimento) la convierten en un experimento irrepetible. No es una serie sobre ciegos: es sobre nuestro propio miedo a lo desconocido, a lo que no podemos o no queremos, entender.

_{Contenido de mi Propiedad}

_{Las imágenes son capturas de pantalla que realicé mientras veía la película}

_{Traducción con Google Translation}

_{Soy escritor. He publicado: Convite de Cenizas (2002), Tras la piel (2004), En este lado de la muerte (2014), El orden natural de las cosas (2015), La Sangre del Marabú (2020), La Sexta Caballería de Kansas (2024) y La Nada Infinita (2024)}

Hello! 💙

En esta primera temporada nos vamos a enfocar mucho en lo que es el arco narrativo de Trigon y Raven, Y es que sí los grandes protagonistas de esta temporada terminan siendo el primer Robin y Raven en este caso es verdad que otros personajes en puesta en escena pero la verdad se siente muy de relleno que simplemente están ahí para complementar ciertos pedazos para llegar al final de la temporada del cual termina teniendo el foco de atención en Dick el primer Robin y obviamente Raven que en este caso la hacen llamar Rachel.

In this first season we are going to focus a lot on what is the narrative arc of Trigon and Raven, and yes the main protagonists of this season end up being the first Robin and Raven in this case it is true that other characters in staging but the truth feels very filler that are simply there to complement certain pieces to reach the end of the season which ends up having the focus on Dick the first Robin and obviously Raven that in this case they call her Rachel.

Fuente de imagen

Algo que es un poco extraño Es que la serie se llama Titans en esta primera temporada pero no terminan de decir el nombre como tal del equipo creo que es porque bueno esta temporada se enfoca mucho en reunir al equipo y por lo que he podido saber en una segunda temporada sí como tal tienen el nombre y le dan una excusa todo esto, lo que sí deben entender estas series que si es del género de superhéroes pero tiene mucho de intriga y misterio de ir resolviendo poco a poco todos los pedazos de la historia especialmente enfocados en Raven, en saber el origen de los personajes pero todo a través de un foco más dramático y no tanto en la acción, y esto creo que lo hacen porque esta primera temporada se le nota bastante un bajo presupuesto aunque eso sí la fotografía está súper bien lograda al punto que chico bestia solamente lo veremos transformado en un solo animal en toda la temporada.

Something that is a little strange is that the series is called Titans in this first season but do not end up saying the name as such the team I think it's because well this season focuses a lot on reuniting the team and as far as I have been able to know in a second season yes as such have the name and give you an excuse all this, what you should understand this series that if it is the superhero genre but has a lot of intrigue and mystery to go slowly solving all the pieces of the story especially focused on Raven, in knowing the origin of the characters but all through a more dramatic focus and not so much in the action, and this I think they do because this first season is quite noticeable a low budget although the photography is super well done to the point that we will only see beast boy transformed into a single animal throughout the season.

Sé que contestó que estoy diciendo puede parecer que las series mala pero no la verdad es es que esta serie enfocada mucho más en el drama pero a la vez teniendo todo este enfoque en los superhéroes la verdad resulta bastante llevadera y creo que puede llegar a gustarle Y sí el final de temporada te abre las puertas una segunda temporada también sé que esta serie salió hace algún tiempo y me habían recomendado bastantes veces y yo puedo decir lo mismo la recomiendo incluso si fueron fanáticos a la serie animada de los titans que salen cartoon network hace tiempo, porque bueno es como verlo a través de una versión mucho más adulta que si termina siendo la verdad es que bastante placentera de ver y Y sí es cierto que tiene uno que otro fallo pero creo que si llega a ser bastante entretenida en sus 11 episodios que dura esta primera temporada.

I know that answered that I'm saying may seem that the series bad but not the truth is that this series focused much more on drama but at the same time having all this focus on superheroes truth is quite bearable and I think you can get to like Y yes the end of season opens the door a second season also I know that this series came out some time ago and I had recommended quite a few times and I can say the same I recommend it even if they were fans to the animated series of the titaitas that come out cartoon network long ago, because well it is like watching it through a much more adult version that ends up being the truth is that it is quite pleasant to watch and yes it is true that it has one or another failure but I think that if it becomes quite entertaining in its 11 episodes that lasts this first season.

¡Hasta la próxima, un abrazo!

🐺 El Reino de las Bestias / The Kingdom of Beasts

🐾 Las Tres Bestias de Eurazania / The Three Beastketeers

🧪 El caso Phobio-Caligdis / The Phobio-Caligdis Incident

💥 Conflicto y combate con Milim / Conflict and Combat with Milim

🕊️ Relación con Rimuru y Frey / Relationship with Rimuru and Frey

📦 Tratados Comerciales y Diplomacia / Trade Agreements and Diplomacy

🫂 Agradecimientos especiales / Special thanks

Love in Cold War Times

**

Hola amigos, buenas vibras para todos.

Hello friends, good vibes to all.

Source!

There are series that were meant to be spectacular, the new faces of franchises, in this case Netflix, but things don't always go as expected and at the end of the day, things can go wrong along the way. This is more or less what happened to The Sandman, one of the company with the big red N's biggest bets; it fell into disgrace, and not exactly because of its quality or story per se. It turns out that Neil Gaiman, this British writer of fantasy novels and comics—who is actually quite good—began to face accusations of sexual abuse from several women, which forced the cancellation of all his projects, including this series. Netflix may not have had much intention of continuing the series either, but these events undoubtedly accelerated the executives' decision.

In this second season, we continue with Morpheus, or Dream, and his constant search to remedy his past actions. One of the things that characterizes this season is that, for me, behind everything we see—the conflicts, the different scenarios, etc.—it's very clear to me that we're witnessing a love story. Morpheus is driven by the guilt of not having reciprocated the love of the woman he loved, and that's why she ends up in hell. Hence, almost ten thousand years later, he wants to seek redemption. The question is, will this woman forgive him? But beyond the unrequited love, I feel this is a more human season, and we'll see familial love, between brothers, father and son, husband and wife. It's six very well-crafted chapters on a journey full of many surprises.

Source!

Source!

This series has many attractions, and one of them is the visual appeal. This feels like a $200 million movie. The things we see, the subtlety of the sets, the costumes, the CGI, the exteriors, what we used to call special effects—everything comes together to create an incredible experience. Honestly, it's been a long time since I've seen a series with this visual quality. It's very compelling to watch, the photography, the lighting. You can clearly see the effort they put into making it a great project and dazzling the viewer. At least it did for me; I really enjoyed watching it during its two seasons.

And the other relevant aspect worth mentioning is the journey we take with each chapter. The plot with Morpheus and his redemption, which I mentioned, takes him and other characters through various stages and places in history itself. In addition to seeking forgiveness from his former love, Dream, as he is also known, decides to help his sister (Delirium) find another of his lost brothers (Destruction), leading him at the same time to reconcile with his son (Orpheus). All these unresolved issues will take us through places such as: the underworld of Hades, the Kingdom of the Fairies, ancient Greece, the French Revolution, and Elizabethan England. Believe me, it's all super interesting; the nods to comics are very well done.

Source!

Source!

And the third aspect is the cast. Absolutely insane. Tom Sturridge as Morpheus is top-notch, his performance impressive, somber, quiet, and expressionless. Esme Creed-Miles is Delirium, his younger sister, and the chemistry is really good; as her name suggests, she rambles a lot in her interactions, and it's a lot of fun watching her act. The character of Desire, another of the siblings, also deserves a mention, played by Mason Alexander Park, a complete revelation. There we see historical figures like Thor, Loki, Johanna Constantine, Lucifer, Hades; it's a series that has it all.

The Sandman had everything it needed to succeed, or at least close on a high note, but they didn't even give any publicity to the premiere of this final season, which is a shame because I personally really liked it. In any case, it's something I'm going to recommend; it's very well made, you can tell there was a budget, and the cast is wonderful. I give this season a well-deserved 8/10. This final season has six episodes of approximately one hour each. I've left the trailer below.

***

Bueno mi gente por hoy es todo, espero que les haya gustado. ¡Un abrazo a todos, nos vemos en la próxima!

Well, that's all for today, everyone. I hope you enjoyed it. ¡Hugs to everyone, see you next time!

Wanted Dead or Alive: Part 1 (S07E06)

Airdate: 13 November 1998

Written by: James Yoshimura Directed by: Robert Harmon

Running Time: 43 minutes

In its seventh and final season, Homicide: Life on the Street embarked on a series of poor creative choices, oscillating between overcooked character studies and overly convoluted plots. Amidst this unevenness, however, the series occasionally hit its stride, particularly in its willingness to adopt a two-part structure for stories that demanded greater narrative depth. This decision was notably successful in two consecutive episodes—Wanted: Dead or Alive and Kellerman, P. I.—that tackled themes lying on the periphery of traditional law enforcement. The first such episode, centres on the morally ambiguous world of bounty hunting, a subject rarely explored in mainstream police procedurals at the time. By eschewing the constraints of a single episode, the writers allowed the story to breathe, weaving a complex web of motivations, ethical dilemmas, and real-world consequences that resonated far beyond procedural tropes

The first instalment opens with a rare, jarring act of violence for a show that often prioritised procedural nuance over graphic spectacle. A cold open introduces the viewer to a trio of bounty hunters—Dennis Knoll (Christopher Meloni), P.J. Johnson (Kris Arnold), and Jerry Lichte (Vic Noto)—raiding the home of Eric Scales to apprehend Joe Errico (Rico Rosetti), a fugitive who skipped bail on drug charges. The scene immediately establishes the blurred lines between justice and vigilantism: the bounty hunters, acting as hired enforcers, barge into Scales’ home with aggressive force, only for Errico to open fire. In the ensuing chaos, P.J. Johnson mistakenly identifies Eric Scales as the shooter and kills him. This tragic misfire sets off a chain of events that exposes the inherent risks and moral compromises inherent to bounty hunting. The episode’s inciting incident is both visceral and thematically rich, contrasting the cold calculus of the profession with its human cost. The fallout is swift: all three bounty hunters are arrested, but P.J. is charged with manslaughter, a legal consequence that ironically fuels his resolve to pursue Errico further, viewing the fugitive’s escape as a personal affront. Knoll and Lichte, however, offer their assistance to the Homicide Unit in tracking down Errico, reasoning that capturing him would also lead to P.J.’s apprehension—a pragmatic but morally fraught partnership that underscores the episode’s central tension between duty and self-interest.

The narrative escalates with a high-octane car chase through Baltimore’s streets, a sequence that culminates in a disastrous outcome for the Homicide team. Detective Lewis and an elderly female passenger are critically injured when one pursuing vehicle collides with another car, a moment that refuses the typical Hollywood trope of action scenes sparing civilians. This realism is a hallmark of the episode’s direction, as helmed by Robert Harmon, whose background in action-horror (evident in The Hitcher) lends the sequence a visceral, unglamorous edge. Unlike many crime dramas that sanitise violence, Homicide here acknowledges the collateral damage of police work, a choice that amplifies the episode’s gritty tone.

While the bounty hunting plot drives the episode forward, its true strength lies in its quieter, character-driven subplots. Perhaps most compelling is the simmering conflict between Detectives Gant and Munch, a running tension that takes on new dimensions here. After a night of heavy drinking at the Waterfront Bar, Gant returns to the station disoriented, only to learn he had spent the evening recounting his experiences as a Vietnam War veteran. Munch, an unapologetic 1960s counterculture adherent who proudly opposed the war, seizes the opportunity to mock Gant’s patriotism and question his moral authority. The exchange quickly spirals into a clash of ideologies and ethnic identities: Gant, a patriotic blue collar Irish Catholic, and Munch, a Jewish liberal, wield their backgrounds as weapons, each seeking to delegitimise the other’s worldview. This dynamic is both uncomfortable and revelatory, exposing the personal animosities that underpin professional relationships. Unlike earlier seasons, where their banter was often playful, here the stakes feel higher—a reflection of the show’s willingness to confront its characters’ vulnerabilities as they near their final season.

The script, written by James Yoshimura, further enriches the narrative by exploring the ethical ambiguities of bounty hunting through the perspectives of the Homicide Unit. Lt. Giardello voices the institutional disdain for the profession, dismissing bounty hunters as “people who hunt down others for money,” while Detective Brenda Leigh Johnson (Shepard) reveals a grudging respect for Knoll, acknowledging their past collaboration in the Fugitive Squad. This duality is mirrored in Knoll himself, portrayed with rugged charisma by Meloni, whose performance subtly hints at the moral complexity beneath his tough exterior. The actor’s later fame in Law & Order: SVU as Detective Stabler is ironic, given the stark contrast between his roles: here, Knoll operates in a shadowy, morally grey zone, far removed from the rigid proceduralism of his later character.

The episode also underscores the pervasive influence of drugs, framing them as the catalyst for the entire tragedy. Eric Scales’ death stems from his association with Errico, a fugitive entangled in the drug trade, while his widow, Angie (Suzanne Grover), spirals into addiction almost immediately after his murder. Even Errico’s mother (Marylin Bennett) is portrayed as a victim, forced to help capture of her son to avoid losing a home. These subplots collectively paint a bleak portrait of systemic failure, where poverty, addiction, and the criminal justice system perpetuate cycles of suffering. The writers avoid melodrama, instead opting for a stark, observational tone that amplifies the human toll.

A subtle yet effective touch is the subplot involving the Giardellos—father and son both working in law enforcement. Captain Gaffney suggests a joint interview to capitalise on their familial connection for public relations, but Lt. Giardello brusquely declines, underscoring the generational and professional divides within the family. This moment, brief but telling, adds another layer to the episode’s exploration of institutional and personal loyalties.

The episode concludes on a gripping, morally ambiguous cliffhanger that sets up its sequel. The car chase’s aftermath leaves two people hospitalised, a stark reminder of the human cost of high-stakes police work. Unlike many crime dramas, Homicide refuses to sanitise this violence, instead using it to question the efficacy of aggressive policing tactics. The unresolved tension between the bounty hunters, the Homicide Unit, and Errico’s continued evasion leaves audiences anticipating the sequel’s resolution while reflecting on the episode’s central themes of accountability and justice.

A minor but intriguing detail emerges in a conversation between Lewis and Bayliss, who debate 1950s and 1960s Westerns featuring bounty hunters. Lewis’s confusion over specific titles—mixing up classic series—serves as a nostalgic nod to the era’s pop culture, though its relevance is likely lost on contemporary viewers unfamiliar with those shows. This moment, while charming for fans of television history, underscores the series’ occasional indulgence in niche references that may alienate younger audiences.

Overall, Wanted: Dead or Alive: Part I is a standout entry in Homicide: Life on the Street’s final season. It leverages the two-part structure to explore complex themes with depth and nuance, offering a realistic portrayal of bounty hunting’s ethical quandaries and the collateral damage of law enforcement. While the series’ final season is uneven, this instalment reaffirms the show’s ability to tackle unconventional subjects with intelligence and heart, leaving a lasting impression on fans of police procedurals and character-driven drama alike.

RATING: 7/10 (+++)

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Hola, hola, querida comunidad de Hive

¿Cómo están el día de hoy? Yo muy bien y muy feliz, con ganas de contarles un poco que, viendo en el catálogo de Netflix, me pareció un anime bastante interesante, el cual me llamó mucho la atención más que nada por el elemento visual, por lo cual decidí darle una oportunidad y verlo. Sin más quiero comentarles que me pareció y todas las opiniones que tengo de él.

How are you today? I am very well and very happy, wanting to tell you a little bit that, looking at the Netflix catalog, I found a very interesting anime, which caught my attention mostly because of the visual element, so I decided to give it a try and watch it. Without further ado, I want to tell you what I thought of it and all the opinions I have about it.

Resumen

"Pluto" es una serie animada de Netflix que reinterpreta la trama de Astro Boy con un matiz considerablemente más sombrío y de adulto. La historia nos lleva a un futuro en el que la coexistencia entre humanos y robots sofisticados es habitual; sin embargo, la paz se encuentra en peligro debido a una serie de homicidios de robots de alta tecnología y sus aliados humanos. El personaje principal, Gesicht, un investigador robot cuyo cuerpo casi se asemeja al de un ser humano, tiene la tarea de desentrañar el enigma. A medida que explora, descubre que las víctimas son los siete robots más potentes del planeta, y que él mismo es uno de los blancos. La serie indaga en asuntos íntimos como el trauma, la discriminación y la construcción de la identidad.

"Pluto" is a Netflix animated series that reinterprets the plot of Astro Boy with a considerably more somber and adult tinge. The story takes us to a future where coexistence between humans and sophisticated robots is commonplace; however, peace is in jeopardy due to a series of homicides by high-tech robots and their human allies. The main character, Gesicht, a robot investigator whose body almost resembles that of a human being, is tasked with unraveling the enigma. As he explores, he discovers that the victims are the seven most powerful robots on the planet, and that he himself is one of the targets. The series delves into intimate issues such as trauma, discrimination and the construction of identity.

Durante los episodios, el relato se enfoca en la persecución de este homicidio, que aparenta ser un robot con inteligencia y poder inimaginables. Con una estética que evoca el cine de época, la serie se adentra en las complejidades de la robótica y la inteligencia artificial, poniendo en duda si un robot puede efectivamente crear emociones y una conciencia personal. Gesicht, tormentado por un pasado que no puede recordar totalmente, tiene que confrontar sus propios temores mientras se acerca a una verdad conmovedora que podría modificar el futuro de la civilización. A diferencia de las historias más ligeras del género, "Pluto" aborda la violencia y la pérdida con una seriedad que obliga al espectador a reflexionar sobre la naturaleza de la humanidad.

Throughout the episodes, the story focuses on the pursuit of this homicide, which appears to be a robot with unimaginable intelligence and power. With an aesthetic that evokes period cinema, the series delves into the complexities of robotics and artificial intelligence, questioning whether a robot can indeed create emotions and a personal consciousness. Gesicht, tormented by a past he cannot fully remember, must confront his own fears as he approaches a poignant truth that could alter the future of civilization. Unlike the lighter stories of the genre, "Pluto" approaches violence and loss with a seriousness that forces the viewer to reflect on the nature of humanity.

En su núcleo, "Pluto" es una historia de misterio y ciencia ficción con un componente profundo filosófico y emocional. No solo se trata de quién es el asesino, sino de por qué lo hace y qué significa su existencia en un mundo que lucha por aceptar a los robots como seres sintientes. La serie teje las vidas de varios personajes, tanto humanos como robots, cuyos destinos se entrelazan de maneras inesperadas, creando un tapiz de conexiones y conflictos que mantienen al espectador enganchado hasta el final. Al final, el anime nos deja con una profunda sensación de melancolía y esperanza, recordándonos que, sin importar el tipo de cuerpo que habitemos, el verdadero valor reside en nuestra capacidad de sentir y amar.

At its core, "Pluto" is a science fiction mystery story with a deep philosophical and emotional component. It's not just about who the killer is, but why he does it and what his existence means in a world struggling to accept robots as sentient beings. The series weaves together the lives of several characters, both human and robot, whose fates intertwine in unexpected ways, creating a tapestry of connections and conflicts that keep the viewer hooked until the very end. In the end, the anime leaves us with a deep sense of melancholy and hope, reminding us that, no matter what kind of body we inhabit, true value lies in our ability to feel and love.

Mi opinión

Pensé que Pluto es un hito en la narrativa, una de esas series que te llevan a reflexionar mucho tras concluir los créditos finales. Lo que más me conmovió fue cómo el anime se desvía del enfoque de "enigma de la semana" para indagar en la mente de sus personajes, ya sean humanos o robots. En vez de enfocarse únicamente en la búsqueda del homicidio, la serie dedica su tiempo a presentarnos las vidas de las víctimas y de los personajes principales, facilitando que forjemos un vínculo emocional con ellos. Sentís el desvanecimiento cuando uno de ellos se desvanece, algo que no muchas series consiguen. Es similar a si el anime te expresara: "Observa, esta vida tenía relevancia, y ahora ya no existe".

I thought Pluto is a milestone in storytelling, one of those series that lead you to think long and hard after the end credits roll. What touched me most was how the anime deviates from the "riddle of the week" approach to delve into the minds of its characters, be they human or robot. Instead of focusing solely on the hunt for the murder, the series spends its time introducing us to the lives of the victims and the main characters, making it easy for us to forge an emotional bond with them. You feel the swoon when one of them vanishes, something not many series manage to do. It's similar to if the anime expressed to you: "Look, this life had relevance, and now it's gone".

La sonoridad de la serie es otra de sus fortalezas. Es introspectivo y melancólico, lo que contrasta con la crudeza de los delitos que se perpetran. El personaje del detectivesco Gesicht es extremadamente complejo; su batalla con la memoria y el trauma no se percibe como obligada, sino que constituye un componente esencial de su identidad. Te cuestionas, ¿cuánto puede influir el pasado en un robot? ¿Son sus "recuerdos" meramente cifras, o poseen la misma carga emocional que los que tenemos? La serie no proporciona soluciones sencillas, sino que te mantiene con esas interrogantes en tu mente, y eso es uno de los aspectos que la distingue.

The sonority of the series is another of its strengths. It is introspective and melancholic, which contrasts with the rawness of the crimes that are perpetrated. The character of the detective Gesicht is extremely complex; his battle with memory and trauma is not perceived as forced, but an essential component of his identity. You wonder, how much can the past influence a robot? Are its "memories" merely ciphers, or do they possess the same emotional charge as the ones we have? The series does not provide simple solutions, but keeps you with those questions in your mind, and that is one of the aspects that sets it apart.

La manera en que se trata el asunto de la inteligencia artificial es simplemente espectacular. En vez de mostrar a los robots como dispositivos fríos o como entidades extremadamente poderosas, los presenta como personas con sus propias aspiraciones, temores y personalidades. La serie humaniza a los robots de tal forma que te lleva a cuestionar la distinción que nos distingue de ellos. La discusión acerca de si un robot puede convertirse en un "ser sintético" no se limita a la superficie, sino que se transforma en el núcleo de la trama, en la causa de los sucesos. Te provoca una reflexión acerca de lo que verdaderamente implica ser humano y si nuestra "conciencia" es tan singular como pensamos.

The way it deals with artificial intelligence is simply spectacular. Instead of showing robots as cold devices or extremely powerful entities, it presents them as people with their own aspirations, fears and personalities. The series humanizes robots in such a way that it leads you to question the distinction that distinguishes us from them. The discussion about whether a robot can become a "synthetic being" is not limited to the surface, but becomes the core of the plot, the cause of the events. It provokes you to reflect on what it really means to be human and whether our "consciousness" is as unique as we think.

En cambio, la animación de Studio M2 resulta impresionante. Cada escena está minuciosamente detallada, desde las expresiones delicadas en las caras de los personajes hasta los panoramas futuristas de las urbes. La fluidez de las acciones, particularmente en las secuencias de movimiento, resulta asombrosa. No obstante, la esencia de la animación reside en la dirección artística. Los tonos serenos y la atmósfera llena de misterio generan una impresión de intriga y misterio que te cautiva desde el primer instante. También tiene un papel fundamental la música, con una banda sonora que resalta de manera óptima el tono sombrío y sensible de la trama.

Studio M2's animation, on the other hand, is impressive. Every scene is meticulously detailed, from the delicate expressions on the characters' faces to the futuristic cityscapes. The fluidity of the actions, particularly in the motion sequences, is astounding. However, the essence of the animation lies in the art direction. The serene tones and the atmosphere full of mystery generate an impression of intrigue and mystery that captivates you from the very first moment. The music also plays a fundamental role, with a soundtrack that optimally highlights the somber and sensitive tone of the plot.

En resumen, Pluto es considerablemente más que un anime de intriga. Es una intensa reflexión acerca de la existencia, la muerte, el sufrimiento y lo que implica ser una persona en un entorno que siempre está transformándose. Es una serie que te reta tanto a nivel intelectual como emocional, y te deja con un sentimiento de asombro y melancolía. Si deseas una narración que te invite a reflexionar y emocionar, y que muestre que el anime puede narrar historias intrincadas y maduras, no puedo sugerir Pluto con más énfasis. Es, sin lugar a dudas, una de las mejores adaptaciones que he presenciado en años y una obra maestra que todo aficionado del género debería vivir.

In short, Pluto is considerably more than a thriller anime. It is an intense reflection on existence, death, suffering and what it means to be a person in an environment that is always transforming. It is a series that challenges you both intellectually and emotionally, and leaves you with a sense of wonder and melancholy. If you want a narrative that is thought-provoking and emotional, and one that shows that anime can tell intricate and mature stories, I can't suggest Pluto more strongly. It is, without a doubt, one of the best adaptations I've witnessed in years and a masterpiece that every fan of the genre should experience.

¡Gracias por leer!

¡Muchas, muchas gracias por pasarte y llegar hasta aquí! La verdad es que este anime me gustó muchísimo, más que nada desde un aspecto narrativo y visual, lo cual me hace recomendarlo al 100%. ¡Sí, más! ¡Nos vemos!

Thank you so, so much for stopping by and making it this far! The truth is that I really liked this anime, more than anything from a narrative and visual aspect, which makes me recommend it 100%. yes, more! see you!