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‎I am ending today's writing here with best wishes and thanks. I am sincerely grateful for your valuable time and attention after reading the post. Don't forget to tell me in the comments how you felt. If you have any questions, InshaAllah, I will try to answer them to the best of my ability. If you enjoyed this article, then that is the reward for my hard work. See you again very soon. 🌸

‎ ‎https://youtu.be/sHb6vV_xcN8?si=VLm9yd5b0eJD86gS ‎

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Roger Corman, the self-styled king of B-movies, earned his status as a cinema legend not just through the sheer volume of films he produced but through his role as a mentor to countless talents who would later dominate mainstream Hollywood. From the 1950s to the 1980s, Corman’s influence stretched across both front and back ends of the film industry, nurturing directors, writers, and actors who would go on to shape the modern cinematic landscape. Yet, while some of his proteges rose to prominence in the mainstream, others remained rooted in the world of low-budget exploitation cinema. One such figure is Jim Wynorski, whose career began under Corman’s guidance in the late 1970s and has continued to this day. While Wynorski’s filmography is numerically impressive, his most enduring work remains Chopping Mall (1986), a science fiction horror film that, despite its lack of mainstream appeal, has carved out a niche as a cult classic.

The plot of Chopping Mall is relatively simple, but its execution is a masterclass in exploitation cinema. The film opens with a public demonstration of a new security system: high-tech robots equipped with tasers and tranquilizer darts, designed to prevent theft in large stores. These robots are later deployed to Park Plaza Mall to guard shops overnight. The story then follows a group of partygoers who decide to stay in the mall for a night of revelry. The characters include Allison Parks (Kelli Maroney), a reserved and somewhat aloof woman who is the object of affection for her date, Ferdy Meisel (Tony O’Dell). Suzie Lynn (Barbara Crampton), a sex-obsessed woman, is with her date Greg Williams (Nick Segal), while another couple, Rick (Russell Todd) and Linda Stanton (Karrie Emerson), and a pair of sexually insatiable lovers, Mike (John Terlesky) and his girlfriend Leslie (Suzee Slater), also make the trip. The party is held in a furniture store owned by Ferdy’s uncle, and it quickly becomes a chaotic, drunken affair. However, the group is unaware that a freak lightning strike has disabled the robots’ failsafe mechanisms, causing them to misinterpret their programming as a command to eliminate anyone in the mall. The robots, now devoid of restraint, begin to target the partygoers, killing their human supervisors and a janitor before turning their focus on the group. As the robots escalate their attacks, the survivors must find a way to survive the mall’s deadly confines, with the robots growing more aggressive and seemingly unstoppable.

At first glance, Chopping Mall resembles a typical 1980s slasher film, featuring a group of young, attractive characters who become victims of a relentless killer. However, the film’s twist lies in the identity of the killer: a trio of robots, a detail that nods to The Terminator (1984) but with a more absurd, B-movie flair. This choice transforms the film into a unique hybrid of horror and exploitation, blending the visceral horror of slasher films with the mechanical unpredictability of a sentient, if poorly programmed, machine. The film delivers the expected doses of exploitation content—action, black humor, nudity, and cleverly designed moments of absurdity. One of the most memorable scenes is the explosion of Leslie’s head after she is hit by a laser, a moment that is repeated in the film’s end credits as a nod to the film’s self-aware, campy tone. The film also retains the slasher trope of sex meaning death, with Allison, the “Final Girl,” surviving the ordeal. Her date, Ferdy, is initially uninterested in her, but she remains a good girl who, despite her initial naivety, ultimately survives the massacre and is rewarded with a surprise reunion with her date. This moment underscores the film’s adherence to the slasher genre’s conventions while adding a layer of irony, as the protagonist’s survival is not due to any extraordinary bravery but rather a combination of luck and the film’s own absurd logic.

Chopping Mall was produced by Roger Corman’s Concorde Pictures and co-produced by Corman’s wife, Julie Corman. The film’s production design reflects Corman’s signature style, with the Sherman Oaks Galleria, a location previously used for 1985 action film Commando, serving as the mall’s primary setting. The film also features a number of nods to Corman’s earlier work, including references to his 1950s classic Attack of the Crab People, which is shown by Allison during a party scene. The film also includes cameo appearances by Corman’s old associates, such as Paul Bartel and Mary Woronow, who reprise their roles from Eating Raoul (1973). Dick Miller, who had previously appeared in many Corman's folms, reprises his role as Walter Paisley, this time as ill-fated janitor of the mall. These references, while subtle, delight hardcore cinephiles and highlight Corman’s ability to weave his own legacy into his films, even when the films themselves are not his most ambitious works.

Despite its flaws, Chopping Mall is a film that, for all its simplicity, delivers an entertaining experience. The film is not particularly intelligent or deep, and its plot lacks the narrative complexity of a mainstream horror film. However, its brevity—running just over an hour—means that it does not have the time to develop its shortcomings. Instead, it focuses on the visceral horror of the robots’ rampage, the chaotic party scene, and the film’s own self-deprecating humour. This approach makes it a film that is accessible to fans of exploitation cinema, who may find its lack of depth to be an intentional design choice. The film’s success in the home video market and its minor cult status suggest that it resonates with audiences who appreciate the raw, unpolished energy of B-movies. In fact, the film’s cult following has even led to attempts to remake it in a modern context, a testament to its enduring appeal. While Chopping Mall may not be a film that would win awards or be remembered for its artistic merit, it is a product of its time, a film that, in its own way, captures the spirit of 1980s horror and the B-movie aesthetic that Corman helped define.

RATING: 5/10 (++)

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

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Your Name

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Hello anime lovers, I'm back with another anime: Your Name. If there's a beginner, I would ask them to start with this anime because it's phenomenal. I feel this anime movie is a perfect choice for new anime watchers. In fact, I have suggested this anime to many of my friends who don't watch anime, but they still loved it very much. Also, they started to watch anime often; this anime has influenced them to start watching more anime. I will leave a review about it, and let's have a discussion about why you should watch this anime as a beginner.

The music that is playing in the background is just amazing; it makes the viewers want to watch this anime more. It's shown that the main protagonists are two people: one boy and one girl. They talk about switching their places, which means they switch souls into different bodies. This kind of story is very appreciated. They don't seem to know each other, but they switch their bodies, and that's the interesting part—to find out how it happened and why. If you watch the trailer once, you would like it very much but it does not serve the half of the anime version which you will realize later that how emotionally wrecked they can make you feel.

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The story begins with Mitsuha; she is the daughter of the mayor of a small mountain town. She's a high school student and lives with her sister and her grandmother. She has no interest in her father's electoral campaign; instead, she desires to leave the town because she finds it boring and wants to try her luck in Tokyo.

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On the other hand, there's Taki; he is also a high school student in Tokyo. Besides studying, he works part-time in an Italian restaurant. He wants to become an architect or an artist. Every night, a strange thing happens: he dreams of waking up in a high school girl's body who lives in a small mountain town, and that is none other than Mitsuha.

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When you want to watch this movie, you're about to embark on an emotional rollercoaster that you won't be ready to handle. To be honest, I was never mentally prepared for this movie. This masterpiece was released in 2016, and now it's 2025, but this anime is still holding that higher place. Well, even with real actors, you can't get this quality of acting. The movie might not have much to offer, but the animations were great, and one thing I would say is that you can't review emotions; you can only feel them.

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This movie will break anyone down in tears. I am never going to forget the emotions I went through while watching this anime. I don't need my memories to be erased to watch this movie again because I will never be bored of it. The plot, the storyline—everything was simple yet gorgeous. Why would anyone not like this anime? I feel that those who are watching anime for the first time would love this at first glance.

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I am somehow emotionally attached to this movie; hats off to the team who made this phenomenal anime. This type of anime will make you believe in fate and to cherish every connection. The powerful visuals and plot wrap everything around beautifully. Makoto Shinkai is one of my favorite directors and novelists; his works are fine as Oscar-level winnings. The storyline keeps you going because you want to know what happens until the end. It keeps you wondering about what's going to happen next. I feel that no artwork has emerged to suppress this masterpiece.

I would definitely recommend everyone to watch this movie. Let me know in the comment section if you liked this anime movie or not.

Thanks for reading 🌷

Magazine Dreams

Killian Maddox dreams of becoming a world-famous bodybuilder and gracing the covers of fitness magazines. He lives a lonely, strictly disciplined life, and the relentless pursuit of perfection pushes him more and more toward self-destruction. Is it worth it? Yes and no.

🟢🟢🟢🟢

• Jonathan Majors delivers an outstanding performance, at times even moving — his acting is the strongest element of the film.

• It nicely portrays the psychological dead ends of the modern American man.

• I liked the soundtrack.

• The whole project has a sense of honesty.

• Inventive in places.

• Good direction.

🔴🔴🔴🔴

• It copies, to the point where it feels like it’s outright imitating — entire scenes from Taxi Driver, Fight Club, and other films.

• It has a rather pessimistic tone that can really bring you down. 🤷‍♂️😅

• At times, it loses narrative cohesion.

• The third act — which should be the climax — falls short of the emotional intensity promised in the previous two parts.

In the Lost Lands

A queen, determined to fulfill her love, hires the witch Grey Alice and assigns her a mission. Sent into the eerie desert of the Lost Lands, Alice and her guide struggle to complete it. Now, what can I say? Should you watch it? For me — not even close.

🟢🟢🟢🟢

• Plenty of neo-western elements. If that’s your thing, great.

• It has a post-apocalyptic tone.

• Dave Bautista somewhat saves face.

🔴🔴🔴🔴

• Bad CGI that really stands out — and not in a good way.

• Can I say I saw good performances? I'd be lying (not that I expected otherwise from this kind of movie).

• The constant slow-motion in the fight scenes feels a bit outdated.

• Totally second-rate — but I think they’re aware of that.

• The plot is completely incoherent. You just sit there watching without making sense of anything.

• Over-the-top campy aesthetic and stylization.

• One-dimensional characters.

Good Day The Anime Realm!

It has been quite tough to juggle work and hobbies recently, when i am stressed with real life problems i like to draw or sketch on a paper or tablet. For me sketching anime-related stuffs is one of the best thing to comfort myself, if for some people going out or eating their favorite food.

Law with Chopper on top of his head is one of the most mememable moment in One Piece world. And that is basically the inspiration of my drawing.

Anyway let me share the process below of Trafalgar Law wearing Chopper's hat.

• First i like to sketch the rough draft or the draft in a different color from the lineart, i chose blue all the time

• Then i top it off with a clean lineart, i used smooth webtoon brush from Clip studio.

• Then fill the whole subject with color gray. The reason is to separate it from the background

• Then right after that i color Law per layer from the hat to the skin and to the other parts, i like to separate the layers so that i could easily edit out stuffs.

I just got to know about the Die Hart series. Initially when I saw Die Hart 2 from a site where I download movies I began to search for the part one. Until I found out that it is just a direct sequel to the Die Hart series. Die Hart 2 is an action comedy which stars Kevin Hart, obviously. The title must have been an inspiration from the original Die Hard movie which stars Bruce Willis.

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The Premise

In Die Hart 2: Die Harter, we see a more exaggerated version of Kevin Hart. Following the events of the original "Die Hart," where he famously attended an "Action Star School" to transition from comedy to action, Kevin is now seen as a successful and sought-after action star. However, despite his fame and fortune in the action genre, he still harbors an ambitious desire, and that is to cement legacy and prove that he has more to over beyond simply being a comedic actor performing action stunts.

His vision is to create an unprecedented, truly unscripted, live-action film. This project is meant to be a raw, authentic cinematic experience, whereby it is absolutely free of CGI, or green screens. He believes this a groundbreaking piece of cinema that will redefine the action genre.

Yet, as is often the case with Kevin Hart's character, his ambitious plan quickly goes sideways. What begins as an experimental film production begins to turn into a genuine, life-threatening situation.

Kevin finds himself entangled in a complex situation by mysterious figures from his past. It didn't take him too long to realize that things just got real and begins to realize that what was going on might not actually be a movie anymore. In order to make it out of this freakshow alive, he has no choice but to team up with co-star, Jordan King, (played by Nathalie Emmanuel), and his assistant, Andre, (played by Ben Schwartz). The film also introduces the legendary stuntman, Mr. 206 (played by the charismatic John Cena), whose presence adds another action and slice of comedy as well to Kevin's predicament.

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Kevin is stuck in between trying to survive while constantly questioning whether the next explosion or gunshot is part of his "movie" or a genuine threat.

My Review

I acknowledge the film for its comedy and action accompanied with it. I couldn't help but notice beyond the comedy and the rest that the film was directly addressing Kevin Hart's real-life career and public persona. I found Hart's character to be really dumb in the sense that for a good amount of time he kept on believing that what was happening in front of his eyes was a movie even when we was faced with a life and death situation, if not for his costar Jordan King who apparently was the sensible one, he would have been toast.

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Compared to the Die Hart series, the production value seemed to be on a higher scale. The same goes for the action sequences. I think the creators clearly invested more resources to make the action feel bigger and more cinematic. I was a bit disappointed at the aspect of John Cena and the role assigned to him. I didn't have any problem with him being one of the bad guys but I felt his character wasn't utilized enough considering that he was the one taking that role. I mean, I expected a lot more from his side but at the end he didn't really seem to do much.

Final thoughts

So, Die Hart 2: Die Harter is what I'd say to be a bigger, bolder, and more explosive continuation of Kevin Hart's action-comedy journey. It's ending seemed to me like there's going to be a continuation and I hope I am right because if that's the case I'd really love to see what happened next. My rating for the film is 8/10.

I would say that I have a normal amount of interest in the cosmos. I briefly became very interested in it when I was on a Stephen Hawking binge in my 20's but other than that I look up into the sky with a sense of wonderment like most people do.

The exploration of Mars is something that kind of goes in and out of the news. I knew we had a rover on Mars at one point but there was so much about it all that I had no idea about. The extremely huge success of the NASA operation involving Opportunity which would later be colloquially known as "Oppy" was something I knew extremely little about and that is part of the reason why this documentary was so impactful for me.

Obviously, trying to send anything to something as far away as Mars is would require a tremendous amount of planning and huge amounts of resources and this doco goes into, albeit briefly, exactly how huge of an investment the operations have been.

I didn't know that there had been another Mars rover in the past as I don't think it was publicized as much as Opportunity and Spirit were, even though the latter 2 didn't really make the news all that frequently because most of what they had discovered isn't Hollywood exciting enough to hold the attention of the average person these days.

A great deal of the footage that you are going to see in this documentary is CGI, because there is no way that they would possibly have footage of the rovers moving around like they pretend to show in the film. It's still all accurate though and when they show you the actual footage next to the simulated one, you can see how slow and arduous this exploration must have been. The first rover that arrived on Mars managed to only make it 100 meters from where it landed. When you think about the fact that NASA's second attempt managed to make it 7.73km and that Oppy managed to make it 45 km, these are impressive strides as far as progression is concerned.

The rover was only built to last for 90 days and when they started to get into years and the thing was still moving around, well, that's extremely impressive.

The documentary does a nice mix of interviews, technically dumbed-down information about what is taking place so far away, as well as emotional re-tellings of what it was like to be a part of this mission that lasted over 15 years.

I think that Amazon did a good job of making this something that the general public can consume because they left out all the technical jargon that while I am sure it is of vital importance to the people running the show, it doesn't exactly make for good viewing for those of us that don't specialize in this sort of thing - which is almost all of us.

The movie explained a lot to me about how harsh the conditions are on Mars and I walked away from this having learned a lot about this planet that I honestly, would have known nothing about otherwise - and while I don't necessarily aim to learn something when I am watching a film, it is a nice little side-effect when it does happen.

This is not some sort of sci-fi nerd documentary. I believe this is something that the average person - of which I consider myself to be a part of - can well and truly enjoy.

Should I watch it?

Absolutely. This is especially true since it seems as though these events just kind of snuck past all of us despite how much of a monumental achievement they actually are. It's crazy to think that there are people intelligent enough to be able to manage a multi-year operation with a machine that doesn't even hear your requests until 10 minutes after you send them. Think about that the next time you have a small problem with your ping on your internet connection at home ok?

I think this is one of the better documentaries I have ever seen about anything. I actually got a bit emotional at the end of it, and I bet you will as well

Español.

Hace apenas dos semanas se ha estrenando una serie que muchos hemos esperado por algún tiempo.

Les hablo de la serie biográfica de Roberto Gómez Bolaños, "Chespirito" la serie se llama "Chespirito: Sin querer queriendo", en la que se retrata la vida de aquel célebre actor, escritor, director, etc.

Por mi parte les puedo decir que recuerdo con mucho cariño cada uno de los personajes de Chespirito, principalmente los que aparecían en la serie de "El Chavo del 8".

La serie promete ser bastante apegada a la realidad ya que fue escrita por su propio hijo Roberto Gómez Fernández.

Han sido hasta ahora solo dos episodios los que se han estrenado y hemos disfrutado, en los cuales podemos ver el cuidado que se tuvo al escoger a cada uno de los actores que forman parte del elenco ya que tienen mucho parecido a los personajes de la vida real, que es lo que te da mas nostalgia.

Pablo Cruz Guerrero interpreta a Chespirito, es impresionante el parecido y seamos sinceros el cariño que se le tiene al personaje nos hacer ver más el parecido.

De igual manera podemos identificar a cada uno de los personajes, aun que se hayan cambiado algunos nombres por cuestiones legales, todos y cada uno te hacen recordar aquella época.

Podemos destacar también que la serie esta bien ambientada en tiempo y espacio en el que se va dando el desarrollo de su carrera.

Es una serie para todo aquel que disfruto de el humor de Chespirito, es dar un vistazo al pasado, recordando aquella época en la que se desarrollaron diferentes eventos dentro de la historia de México.

Es una serie que no importa la generación, todos conocemos, hemos visto el trabajo y nos ha gustado el humor que se manejo.

La serie se estrenó el pasado 5 de Junio en la plataforma de Max con el primer episodio el cual nos dio muchas referencias y nos hizo recordar, aquí en la casa hemos visto los dos episodios en familia, y nos quedamos comentando lo que nos pareció cada uno.

Espero tengan la oportunidad de verla ya que Chespirito no solo es una figura Mexicana, sino que llegó a ser reconocido en toda Latinoamérica

Aquí les dejo el trailer de la bioserie, espero les guste y les traiga muchos recuerdos como a mí. Saludos.

Portada realizada en canva con imagen tomada de https://www.merca20.com/cuantos-capitulos-tiene-chespiritosin-querer-queriendo-la-nueva-serie-del-chavo-del-8/ traducido con DeepLtranslate

English

Just two weeks ago, a series that many of us have been waiting for for some time was released.

I am talking about the biographical series of Roberto Gomez Bolanos, "Chespirito". The series is called "Chespirito: Sin querer queriendo", which portrays the life of that famous actor, writer, director, etc.

I can tell you that I remember with great affection each of Chespirito's characters, especially those that appeared in the series "El Chavo del 8".

The series promises to be very close to reality as it was written by his own son Roberto Gomez Fernandez.

So far only two episodes have been released and we have enjoyed them, in which we can see the care that was taken in choosing each of the actors that are part of the cast since they have a lot of resemblance to the real life characters, which is what gives you more nostalgia.

Pablo Cruz Guerrero plays Chespirito, the resemblance is impressive and let's be honest, the affection for the character makes us see the resemblance even more.

In the same way we can identify each of the characters, even if some names have been changed for legal reasons, each and every one of them remind you of that time.

We can also highlight that the series is well set in time and space in which the development of his career takes place.

It is a series for anyone who enjoyed Chespirito's humor, it is a glimpse into the past, remembering that time in which different events took place in the history of Mexico.

It is a series that no matter the generation, we all know, we have seen the work and we liked the humor that was handled.

The series premiered last June 5 on Max's platform with the first episode which gave us many references and made us remember, here at home we have watched the two episodes as a family, and we stayed commenting on what we thought each one.

I hope you have the opportunity to see it because Chespirito is not only a Mexican figure, but he became recognized throughout Latin America.

Here is the trailer of the bioseries, I hope you like it and it brings back many memories like me. Best regards.

The Cloud Minders (S03E19)

Airdate: February 28th 1969

Written by: Margaret Arman Directed by: Jud Taylor

Running Time: 50 minutes

If one seeks an episode of Star Trek: The Original Series that encapsulates the show’s greatest strengths, its most glaring weaknesses, and the unfulfilled potential that haunts its legacy, then The Cloud Minders—aired near the show’s end—might be the prime candidate. This episode, while not a defining moment for the series as a whole, serves as a poignant testament to the show’s ability to grapple with complex social and political themes, even as it is constrained by the limitations of its time and the creative compromises of its production. At its core, The Cloud Minders is a microcosm of the tensions that defined the 1960s: the clash between elite privilege and working-class struggle, the moral ambiguities of authority, and the tension between utopian ideals and the harsh realities of human nature. It is an episode that, in its ambition and its flaws, reflects the very contradictions that made Star Trek both a visionary and a flawed work.

The plot of The Cloud Minders begins with the USS Enterprise en route to the Federation planet of Ardana. The ship’s mission is to acquire zenite, a rare mineral essential for combating a botanical plague threatening the planet Merak II. When the crew beamed down to Ardana, they were met with a starkly divided society. The planet’s surface, where the troglytes—miners in squalid, often violent conditions—lived in poverty, while the elite, ruling from the opulent cloud city of Stratos, maintained a gilded existence. The episode’s central conflict arises from the tension between these two groups, with the troglytes led by the insurgent faction of disruptors led by Vanna (Charlene Polite) seeking to overthrow the ruling class. The High Advisor of Stratos, Plassus (Jeff Corey), is a calculating and authoritarian figure, his power maintained through the exploitation of the troglytes. The episode’s tension is heightened by the presence of Droxine (Diana Ewing), Plassus’s daughter, a character who, despite her privileged upbringing, is drawn to Spock’s intellect and curiosity. This dynamic creates a subtle but significant contrast between the two worlds: the intellectual and artistic splendor of Stratos, and the brutal, unrefined reality of the surface.

The episode’s visual design is one of its most striking features, a testament to the ingenuity of the production team despite the modest budget of the 1960s. The cloud city of Stratos is a marvel of practical effects, its towering structures and intricate architecture rendered through carefully crafted models. The surface of Ardana, viewed from Stratos, is depicted using 1964 NASA photos taken from the Gemini 4 spacecraft, a choice that adds a layer of historical authenticity and visual interest. The interior of Stratos is particularly noteworthy, with its lavish, almost utopian design that juxtaposes the opulence of the elite with the squalor of the surface. This visual contrast is not merely aesthetic; it is a narrative device that underscores the episode’s central theme: the moral and social chasms that divide society.

William Ware Theiss’s costume design is another standout element of the episode. The episode’s most memorable visual is Droxine’s outfit, a skimpy yet stylish ensemble that defies the era’s more conservative fashion trends. Her attire, while arguably provocative, is carefully crafted to reflect her character as a young woman of privilege who is both curious and rebellious. In contrast, Vanna is given a series of costumes that emphasize her role as a manipulative and calculating figure. Her outfits—ranging from a simple servant’s dress to troglyte coveralls—highlight her duality as both an outsider and an insider, a woman who infiltrates the elite world while maintaining the appearance of a commoner. The costumes, while not always consistent in their design, serve to reinforce the episode’s themes of class and power.

The episode’s origins are deeply rooted in the social and political climate of the 1960s. The writer, David Gerrold, was influenced by the aftermath of Martin Luther King Jr.’s assassination and the subsequent race riots that swept across the United States. Gerrold’s outline, titled Castles in the Sky, was a direct response to the racial tensions of the era, portraying a scenario where the oppressed underclass resort to radical violence against the elite. This concept, however, was deemed too close to home by the network executives and producer Fred Frieberger. To soften the conflict, the final script, written by Margaret Armen, replaced the radical violence with a more “innocent” explanation: the raw zenite itself is toxic, causing mental degradation and violent tendencies among the troglytes. This change, while making the episode more palatable, also reflects the network’s desire to avoid the controversy of racial division. The episode’s avoidance of explicit racial conflict is notable, as it includes black characters in both the elite and the working class. One of Vanna’s lieutenants, played by football legend Fred Williamson, is a black actor and future star of blaxploitation cinema, a decision that highlights the show’s attempt to navigate the complexities of representation in a time of social upheaval.

The episode’s most controversial aspect is its departure from Gene Roddenberry’s original utopian vision of the Federation. Ardana, a Federation member, is depicted as a society divided along class lines, a structure that mirrors the apartheid-like divisions of the 1960s. This is a direct challenge to the Federation’s ideals of equality and unity, a theme that would later be addressed in The Next Generation, which explicitly stated that Federation membership required adherence to its guiding principles. The Cloud Minders is a rare example of Star Trek grappling with the darker aspects of human society, a theme that would become more prominent in later seasons. The episode’s portrayal of Ardana reflects the late 1960s’ cynical view of the future, one marked by the Vietnam War, social unrest in the United States, and the realization that even the “Free World”, consisting of right-wing authoritarian regimes and military dictatorships, was not free of oppression. This contradiction would trouble fans for years to come, eventually prompting clarification in Star Trek: The Next Generation, where it was made clear that Federation membership required adherence to the organisation’s core principles of equality and justice.

Among the more contentious aspects of the episode is its handling of Spock’s character. In several scenes, he engages in flirtatious banter with Droxine, a marked contrast to his reserved portrayal in earlier episodes like Amok Time, where he displayed considerable reluctance and discomfort around Vulcan mating rituals. Some fans have questioned whether this sudden openness aligns with established Vulcan traits, particularly given Spock’s previous insistence that Vulcans do not experience emotions in the same way humans do. Additionally, there is a problematic moment in which Spock claims that Vulcans can feel pride—a notion that contradicts later canonical statements asserting that Vulcans suppress emotional responses entirely.

The episode’s ending is perhaps its most glaring flaw. In an attempt to prove that the zenite is the cause of the violence, Captain Kirk abducts Plassus and exposes him to the substance in the mines. This act, while dramatic, results in a physical fight that is over-the-top and unconvincing. The overacting of Shatner and Jeff Corey in this scene is a testament to the limitations of the script, which relies on spectacle rather than narrative depth. While undeniably entertaining in its own campy way, this climax undermines the episode’s more thoughtful moments and reduces a nuanced socio-political drama to a melodramatic showdown.

Despite these criticisms, The Cloud Minders remains one of the stronger entries in Star Trek: The Original Series. It is ambitious in its themes, visually inventive, and unusually reflective of the social anxieties of its time. Though compromised by studio interference and occasional tonal inconsistencies, the episode nonetheless demonstrates what Star Trek could achieve when allowed to grapple with serious issues. It is a shame, then, that such an episode did not serve as the series’ proper finale. Instead, it languished near the end of a season already burdened by declining ratings and creative fatigue. Yet, viewed today, The Cloud Minders stands as a testament to the enduring relevance of Star Trek—a show that dared to ask difficult questions, even when it couldn’t always answer them satisfactorily.

RATING: 8/10 (+++)

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En la película Maria 2024 de Pablo Larraín, Angelina Jolie es la protagonista y hace un trabajo increíble como Maria Callas, este director es el mismo de Jackie y Spencer que son otras dos películas que también hablan de mujeres icónicas en momentos difíciles de sus vidas y ahora cierra esta trilogía con la historia de la cantante de ópera más famosa del mundo en sus últimos días en París durante los años 70. Cuando escuché el nombre de esta peli sin saber de que trataba ni ver trailer ni nada me recordé de una viejisima, Maria Full of Grace claro esta peli no es lo que crees si te dejas llevar por el título esta peli habla del narcotráfico y es muy buena la he visto ya como unas tres veces, me recordé por el título pero obviamente no es nada parecido. Esta peli es algo muy visual y artístico, Angelina se ve espectacular y cuando estaba cantando ópera yo me quedé como hipnotizada porque la mujer realmente se preparó para este papel, tomó clases de canto por meses y se nota el esfuerzo que hizo. Lo único chimbo es que la película salta mucho en el tiempo y entre realidad y fantasía que a veces me perdí un poco, esto me pasó más en los primeros treinta minutos donde no sabía muy bien qué estaba pasando, no sabía si lo que estaba viendo era real o estaba en la cabeza de Maria.

Lo que más me gustó de Maria fue ver a Angelina Jolie actuar otra vez después de años de hacer películas más comerciales, porque aquí se nota que está dando todo de sí misma para crear este personaje que es bastante complejo, Maria Callas en la película está luchando por recuperar su voz después de años de deterioro vocal, me pareció muy triste ver a esta mujer que una vez fue la reina de la ópera desesperada y tratando de cantar aunque sea para ella misma. Los flashbacks nos muestran su relación con Aristotle Onassis, el hombre que supuestamente le prohibió cantar y también hay escenas de su juventud en Grecia durante la época de los nazi donde su madre la prostituía a ella y a su hermana para sobrevivir. Estas escenas me parecieron super fuertes y entendí por qué Maria es como es en sus últimos días, aunque me hubiese gustado que la película tratara un poco más en estos traumas y no los pasara de forma superficial. El personaje más humano de toda esta historia es Pier Francesco Favino como su mayordomo, realmente se nota que quiere a Maria a pesar de lo extravagante que es y debo decir que como personaje en si no me cayó bien Maria aunque llegué a entender su dolor me pareció que era muy caprichosa y prepotente con las personas que la cuidaban.

Yo creo que Larraín se arriesgó con esta hisotria porque la cuenta a través de una entrevista que Maria está dando a un periodista llamado Mandrax, que resulta ser el nombre de las pastillas que ella toma entonces allí caí en cuenta que todo esto está pasando en su cabeza y quizás esto puede funciona pero a veces me pareció que le faltó enfocarse en mantener la coherencia y no estar tan pendiente de la parte visual. Las escenas donde Maria está cantando en el pasado son demasiado buenas, el vestuario es increíble y la producción te hace sentir como si estuvieras en La Scala viendo a la verdadera Maria Callas y sentí pena por ella cuando está luchando por alcanzar las notas altas. Me gustó que Angelina aprendió a cantar para este papel y es obvio que no está al nivel de una cantante de ópera profesional pero su esfuerzo se nota y eso es algo que respeto y debo mencionar, bueno yo no canto bien ni en el baño por eso a mí esto me parece algo que hay que resaltar, claro ahora todo el mundo es cantante con un auto tune todo es posible pero la ópera es otro nivel. Lo que no me gustó mucho es que la película nunca termina de explicar claramente por qué Maria dejó de cantar, si fue por Onassis, por su salud o por una combinación de factores, me quedé con ganas de saber más sobre eso.

El final de Maria es lo más emotivo de toda la película, porque finalmente esta mujer acepta su destino y canta una última vez desde su apartamento en París, con toda la ciudad escuchándola en silencio. Maria colapsa después de cantar y aunque sabía desde el principio de la película que iba a ver sus últimos días, cuando llegó el momento fue bastante triste pero no fue tan devastador como debió ser y creo que es porque que la película pasó más tiempo tratando de ser artística y bella y se olvidó de hacer que realmente importara el personaje como persona. Las escenas reales de Maria Callas que aparecen durante los créditos son un recordatorio de lo increíble que era la verdadera cantante y honestamente me dieron más ganas de buscar videos de ella en YouTube que de volver a ver la película. Yo le doy un 6.5/10 a Maria y no es porque sea mala, pero sentí que es más algo de estilo que una historia realmente conmovedora. Angelina definitivamente merece reconocimiento por su actuación porque se nota que se entregó completamente al papel y la dirección de Larraín es buena pero al final me pareció que es una película más para admirar que para disfrutar.

Si te animas a verla no esperes una biografía tradicional sobre Maria Callas o una película que te explique claramente quién era esta mujer y por qué era tan importante porque te vas a quedar con ganas de más. Para mí Maria es de esas películas que respeto más de lo que me gusto, porque aunque está muy bien hecha y Angelina da una actuación buenisma, no me logré conectar emocionalmente de la manera que esperaba y aunque es muy ambiciosa a nivel artístico no es de esas películas que volvería a ver.

[ENGLISH VERSION]

In the movie Maria 2024 by Pablo Larrain, Angelina Jolie is the main character and does an incredible job as Maria Callas, this director is the same of Jackie and Spencer which are two other movies that also talk about iconic women in difficult moments of their lives and now closes this trilogy with the story of the most famous opera singer in the world in her last days in Paris during the 70s. When I heard the name of this movie without knowing what it was about or see trailer or anything I remembered an old one, Maria Full of Grace of course this movie is not what you think if you go by the title this movie talks about drug trafficking and is very good I've seen it about three times, I remembered by the title but obviously it is nothing like it. This movie is something very visual and artistic, Angelina looks spectacular and when she was singing opera I was like hypnotized because the woman really prepared for this role, she took singing lessons for months and you can see the effort she made. The only thing is that the film jumps a lot in time and between reality and fantasy I sometimes got a little lost, this happened to me more in the first thirty minutes where I didn't know what was happening, I didn't know if what I was seeing was real or was in Maria's head.

What I liked most about Maria was to see Angelina Jolie acting again after years of doing more commercial movies, because here you can tell she is giving all of herself to create this character which is quite complex, Maria Callas in the movie is struggling to recover her voice after years of vocal deterioration, I found it very sad to see this woman who was once the queen of opera desperate and trying to sing even if it is for herself. Flashbacks show us her relationship with Aristotle Onassis, the man who supposedly forbade her to sing and there are also scenes from her youth in Greece during the Nazi era where her mother prostituted her and her sister to survive. I found these scenes super strong and I understood why Maria is the way she is in her last days, although I would have liked the film to deal a bit more with these traumas and not pass them over in a superficial way. The most human character in this whole story is Pier Francesco Favino as her butler, you can really tell that he loves Maria despite how extravagant he is and I must say that as a character I didn't like Maria although I came to understand her pain I found her to be very capricious and overbearing with the people who took care of her.

I think Larraín took a risk with this story because he tells it through an interview that Maria is giving to a journalist called Mandrax, which happens to be the name of the pills she takes so I realized that all this is happening in her head and maybe this can work but sometimes it seemed to me that he lacked focus on maintaining coherence and not being so dependent on the visual part. The scenes where Maria is singing in the past are too good, the costumes are amazing and the production makes you feel like you are at La Scala watching the real Maria Callas and I felt sorry for her when she is struggling to reach the high notes. I liked that Angelina learned to sing for this role and it is obvious that she is not at the level of a professional opera singer but her effort is noticeable and that is something I respect and must mention, well I don't sing well even in the bathroom so I think this is something that should be highlighted, of course now everyone is a singer with a car tune everything is possible but opera is another level. What I didn't like very much is that the film never ends up explaining clearly why Maria stopped singing, if it was because of Onassis, her health or a combination of factors, I was left wanting to know more about that.

Maria's ending is the most touching of the whole film, because finally this woman accepts her fate and sings one last time from her apartment in Paris, with the whole city listening to her in silence. Maria collapses after singing and even though I knew from the beginning of the movie that I was going to see her last days, when the moment came it was quite sad but it wasn't as devastating as it should have been and I think it's because the movie spent more time trying to be artistic and beautiful and forgot to really make the character matter as a person. The actual scenes of Maria Callas that appear during the credits are a reminder of how amazing the real singer was and honestly made me want to look up videos of her on YouTube more than re-watch the movie. I give Maria a 6.5/10 and it's not because it's bad, but I felt like it's more of a stylistic thing than a truly moving story. Angelina definitely deserves credit for her performance because you can tell she gave her all to the role and Larrain's direction is good but in the end I found it to be a film more to admire than to enjoy.

If you dare to see it, don't expect a traditional biography about Maria Callas or a film that clearly explains who this woman was and why she was so important because you will be left wanting more. For me Maria is one of those movies that I respect more than I like, because although it is very well made and Angelina gives a great performance, I did not manage to connect emotionally in the way I expected and although it is very ambitious artistically it is not one of those movies that I would watch again.

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