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I was simply doom scrolling through Instagram when I saw a clip. Now normally, I don't collect anime series from my insta because of how heavily edited and misleading the scene can be, yet something compelled me, and to be honest I'm both impressed and proud. The fact that my Instagram feed can recommend gems to me for both movies and anime is a reassuring one✨.

Oregairu

I binged watched the first season and every episode made me really think back to my time in high school.

Scared and shocked that it's been 4 years now

And I remember that all incidents I've seen in the first season I've seen it replayed in high school in one way or the other. Seen different student types and different funny scenarios. One thing this anime helps us teach is that being alone isn't exactly a bad thing, but being lonely while you're alone is bad, and what's even worse is being lonely when you're not alone. This show is the best, I just finished the first season and I'm off to start the second and third, can't rate the full show yet but with such a dope debut season, I'm sure a 7/10 is a great bet?

I urge y'all to check it out!!

You know that feeling when you’re just done seeing a film, and so you rush online to see if people share similar reviews as you do, or people can relate to what you saw? I had a rush of emotions with this, and I just knew I need to talk about it with someone. Fast. But, I guess I can just do it with my people here instead.

After 30 (2025)

It’s supposedly ten years since the last production of the series, “Before 30.” Our four women, Temi, Nkem, Aisha and Ama, are ten years older and now in their thirties. Each of them seem to have grown in diverse ways. Nkem has gotten her life in order and is now a successful investment banker, but now with a baby fever that doesn’t look like one of her fleeting impulsions. Temi has risen in ranks as a lawyer, but is visibly nauseated at the mention of anything remotely related to love...that’s until Kunle, the billionaire’s son shows up.

Aisha is now happier, what with her husband, Sherif, now stepping fully into his role as a father, until he brings up the issue of having another child, and finally, Ama. Things seem to be going a lot better for her, especially with her godmother leaving a small fortune for her, but then a beautiful Chef steps into her life, that causes Ama to question everything. Especially herself. What is in store for our women?

My Thoughts and Rating

SPOILER ALERT!

I don’t know, guys. There’s anger. There’s laughter and happiness. There’s sadness, and a host of other emotions you feel after seeing a movie, but you see irritation? Irritation that borders on hate? It’s just a hard pill to swallow. Because someone should tell me, what I just watched. I blame my roommate for being needlessly psyched about this film till I had to get it myself.

The first part was Before 30, and it was released in 2015. So, as our characters are now in their 30’s, we, the audience, have also aged ten years. We should have seen an evolution. But it looks like the script writer was bent on making them grow backwards. Because how are you worse, and making even more foolish decisions in your thirties than in your twenties?

I’ll quickly tell you the things I loved about this movie, though. The wardrobe. The outfits of these women were beyond amazing. Like, whoever was in charge of that ate and left no crumbs. I guess they invested too much in that, that they forgot what was more important which is the STORY itself. But anyway, let’s continue. The set pieces and the lighting were so on point, and even though ten years had passed, the women had become a lot prettier. It was exciting to see. I also loved the tribute to the late Karibi Fubara. It was delivered with respect and grace, and that pleased me a lot.

Yeah, that was about it. We can simply call this movie, “The Film of a Thousand Missed Opportunities.” Because why? Kunle and Temi’s love story was a chance to explore office romance. That in itself could have been a full movie on its own, and a beautiful one at that, but it was thrown away. Like, the other vital pieces of this film. And I guess they wanted to explore LGBTQ+ and religion as a theme. But they botched even that. I didn’t understand the Church scene at all. If you’re going to delve into LGBTQ+, you could at least have the decency to do it with your full chest, rather than all that awful meandering that was going on.

I hated all their roles. How was Nkem still sleeping around indiscriminately as a trauma response? How was Ama still so naive and acting like a teenager who had just been given her first taste of freedom? How could Temi so easily self-sabotage over some misplaced definition of what soulmates meant and that too for the same person she almost ruined her life for a decade back?

Again, tell me how a successful lawyer will be cowering in her seat cause the police accosted her for wearing something "skimpy," and BOOM! A man swoops in to save the day. As how??? And Aisha, why was she still so uncommunicative? Why did she keep taking matters into her own hands, fighting alone, and then going ahead to tell the last person she should have told of her terrible decisions? Just why?

You know the only thing this film succeeded in doing?

It succeeded in making female friendships look bad, for one. Why would you show up at your friend’s most important event and cause such a scene? What degree of selfishness is that? You friend made a mistake, granted, but all I kept hearing in response when said friend was talking about her terrible decisions was, “How could you do that to your husband?” What about your friend? Didn’t she count? What was all the judgement for?

And it succeeded in making it look like women are only good for being unserious, indecisive, insecure and confused. I can understand men being the focal point of your being in your 20’s, but having only conversations that revolve around men and relationships in your 30’s is just wild to me.

For a so-called female centred story, not once did this women show sign of evolving or standing tall? Just bad character, male-centredness and vibes. Aisha’s mom said that the most important tool a Nigerian woman should have (after a dramatically long pause that made me think that she was about to drop an invaluable pearl of wisdom) is to beg. Lmao. Pathetic.

Then, that ending. That disastrous ending. Oh, God, if they were going for cliff-hangers that would introduce a third part? They sorely failed at it. I feel sad for whoever saw this film and thought it good. But it’s fine. I will stop now. Cause I’m already getting irritated again. It’s a 3.5/10 from me. I see such amazing productions from Bollywood that make me believe that we’re truly stepping up in film production, but alas, the bad eggs are ever present.

Jhymi🖤

_{Thumbnail from IMDB.}

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Last night was movie night, and I did season 3 of the movie Ginny and Georgia with 10 episodes. Simultaneously, my best gal also saw it from her end.

We got done watching the movie today, and we just finished talking about it, giving our opinions. We’ve seen seasons 1 & 2 in the past, and season 3 is newly released. While we await season 4, let’s review all 3 seasons.

THE PLOT

Season one

Georgia was a teenage mom of two children who had a rough childhood. Her parents were junkies, and after her father was convicted for attempted murder of her and her mom, Georgia wasn’t lucky with her abusive stepfather afterwards. While she was 14, she ran away from home, and by 15 she was pregnant by her teenage boyfriend, Zion, and that’s where her journey of survival began: kill or be killed.

*Season two

Away from her past, Georgia got a chance at love again as she was soon engaged to the mayor of the new town she relocated to with her children. Unfortunately, like her shadow, she couldn’t run far enough from her past, as her second baby daddy, Gil, came lurking from prison.

While Georgia thought she could handle it, she was almost overpowered, which prompted unexpected help from Georgia’s least favorite person in town, Cynthia. Together, they were able to restrict Gil from renting an apartment in town, which meant Georgia and her second child, Austin, were safe.

Seeing how much Cynthia had suffered given her husband’s coma, Georgia decided to play God as an act of gratitude and murdered Cynthia’s husband in his vegetative state. An action that cost her freedom.

Season three

As Georgia faced trial for the murder of Cynthia’s husband, her world came crumbling down as she realized that she can’t always run away from her problems.

In this season, loyalty was tested, friendships were terminated, and new bonds were formed.

MY THOUGHTS

The deal with Georgia was that she felt she could protect everyone she cared about, but that’s not always the case, as people have their own issues, flaws, and imperfections, which was brilliantly portrayed in the movie with her children and her friends.

Again, like I said in my review of the movie Straw, it doesn’t have to be so hard with us women. Lately, I realized a pattern with single mothers. Some of them put themselves in this box and plunge themselves into this dark hole, not wanting to accept any form of assistance, and still cry about not getting any support. An action I would describe as self-sabotage.

My understanding of the self sabbotage pattern is that some of these women feel dejected the moment they break up with their child’s father. A situation that makes them feel undeserving or irritated by any form of assistance anyone else has to render. This pattern was adopted by the Georgia character.

As we follow through her journey of self-sabotage, the first wrong move she made was to run away with infant Ginny when Zion’s parents offered to adopt her so that she and Zion could get back to their lives and make something meaningful out of it.

While I understand how maternal instincts work, I still saw Georgia’s actions as setting herself up for suffering.

Here’s why: Georgia had no home to go back to for support, not to mention she was 16 and a school dropout. I believe if she had given Ginny up and focused on her life like Zion did, things wouldn’t have been so rough for her.

Then there was her actions with baby daddy number 2, Gil. Seeing how she has cut off from Zion and his family, she fell prey to Gil, who, despite providing for her, abused her.

I never expected her to be pregnant with Austin giving her situation. I mean, what sort of home was she hoping to build with an abuser?

Well, unlike Zion, Gil was set up by Georgia when she had enough and he landed in prison. Again, we see her on the run with two children.

Subsequently, we see her run back again to Zion, who was barely getting back on his feet, and the moment he asked his parents for help, she disappeared again. Like the relationship she had with Gil, she got entangled with so many abusive marriages that she ended up murdering her husbands. An action that hunted her for the rest of the movie.

For what it's worth, Georgia did get to turn her life around and tried to give her children the best. Unfortunately, her habit of playing protector backfired as it puts her children in a situation that I doubt their innocence would remain intact.

Away from Georgia’s misery, this movie focused on the challenges of Ginny and her friends. It captured their struggles and coping mechanisms of certain disorders such as self harm, bulimic, alcohol and drug addictions.

The movie is entertaining as it is educating and I’m looking looking forward to what season 4 holds.

Hopefully, Georgia gets the happiness that she seeks.

If you like drama, this movie is for you, as every character brings their own spice to the mix. I’m rating the movie a 10 for how realistic they manage to keep it.

Trailer (Season 3) was gotten from YouTube and photos are screenshots from the movie on Netflix. Cover photo was gotten from IMDB.

There are certain films that one should not watch on an empty stomach. This is a sentiment I can personally attest to, having first encountered Rajko Grlić’s 1984 Yugoslav romantic comedy In the Jaws of Life under precisely such conditions. As a high school student , I was part of a group brought to a local cinema for what was meant to be a cultural excursion. The class had run late, and by the time we arrived at the theatre, we missed our regular lunch. The venue, conveniently located just a short walk from our school, offered little in the way of refreshments. What followed was a viewing experience punctuated by hunger pangs and increasingly tantalising scenes of characters tucking into hearty meals.

Yet, even amidst this discomfort, something about the film began to take hold. At the time, I couldn’t have articulated why, but looking back now, I understand that In the Jaws of Life is more than just a romantic comedy—it is a sharply observed reflection of its era, a film that has aged remarkably well and continues to offer insight into the shifting cultural landscape of late socialist Yugoslavia. Over the years, it has revealed itself as not only well-crafted but also perceptive in its commentary, managing to balance satire with sincerity in a way that few films of its kind achieve.

Based on Dubravka Ugrešić’s 1981 novel Štefica Cvek u kandžama života, the film adaptation was co-written by Ugrešić herself and director Rajko Grlić. Ugrešić, a Croatian writer who would later become internationally renowned—and tragically infamous—for her denunciation in the infamous “Witches of Rio” article published during the Yugoslav wars, was, at the time of the novel’s release, celebrated within the Yugoslav literary scene. Her work was lauded for its feminist undertones and metafictional structure, which interwove the central romance plot with reflections on the author’s own creative process. It was this very structure that Grlić and Ugrešić chose to preserve when adapting the story for the screen, resulting in a dual narrative that gives the film much of its thematic richness.

The primary storyline follows Štefica Cvek (Vitomira Lončar), a 25-year-old office worker living in Zagreb with her aunt (Semka Sokolović-Bertok). Dissatisfied with her life and particularly with her lack of romantic prospects, Štefica attributes her misfortunes to her weight, stemming from a persistent sweet tooth. Her best friend Marijana (Mira Furlan) tries repeatedly to set her up with various men, each encounter ending in disaster. Eventually, Štefica decides to enrol in an English course, where she meets Frndić (Enes Kišević), a somewhat effete acquaintance who surprises her—and perhaps himself—with the ease of their connection.

Running parallel to Štefica’s story is the behind-the-scenes drama of the television series that dramatises her life. The show is directed by Dunja (Gorica Popović), a filmmaker whose personal life mirrors the chaos of the fictional narrative she is constructing. Living in a stylish penthouse apartment, Dunja navigates a failing affair with Sale (Miodrag Krivokapić), a Communist Party cultural bureaucrat whose on-air commentaries reflect the official ideological stance of the regime. Tired of his intellectual shallowness and alcoholism, she ends the relationship and turns instead to her old friend Pipo (Bogdan Diklić), a charismatic womaniser whose bravado hides a deeper insecurity. When Dunja finally makes a move, she discovers that Pipo is, beneath his macho exterior, a sexually impotent mama’s boy—a revelation that underscores the film’s recurring theme of unmet expectations and the dissonance between image and reality.

What makes In the Jaws of Life so compelling is how it subtly embeds the socio-political anxieties of the era within its comedic framework. Released in 1984, the film arrived during a period of economic stagnation in Yugoslavia, a crisis that would ultimately contribute to the country’s violent dissolution a decade later. This context is not ignored; rather, it is acknowledged through conversations among the production staff about whether the series should end on a happy or sad note, given the hardships faced by viewers. The gradual erosion of the Communist Party’s ideological grip is also evident, most notably in references to taboo subjects such as Goli Otok, the notorious prison camp used to detain Stalinists during the Tito-Stalin split. In the film, Sale criticises the title of the fictional novel—with the title as an obvious allusion to Goli Otok—but admits he hasn’t actually read it, a satirical jab at the performative censorship and ignorance prevalent among party officials.

Another bold thematic element addressed by the film is the growing ethnic tensions that would eventually tear Yugoslavia apart. Director Rajko Grlić, himself of mixed heritage, approached this issue with both sensitivity and humour. He wove ethnic stereotypes into the fabric of the comedy without succumbing to malice, drawing on established cultural quips to highlight absurdities rather than deepen divisions. Inspiration is taken from the famous quote by Miroslav Krleža, a towering figure in Croatian literature: “God protect us from Serb heroism and Croat culture.” This juxtaposition captures the ironic tone Grlić employs throughout the film.

A standout moment involving ethnic identity comes in a scene featuring Rade Šerbedžija, one of the most respected actors of the era and ethnically Serbian. Playing a character based on his real-life persona, Šerbedžija appears as a haughty Croatian intellectual attempting to seduce Štefica. His failure, due to his excessive drinking, becomes a humorous inversion of the stereotype often associated with him. Earlier in the film, a nurse (Cynthia Ashperger) asks Sale whether it's true that Šerbedžija drinks heavily and is ethnic Serb, framing the question in a way that implies both facts are scandalous. These moments exemplify the film’s ability to critique nationalist sentiments while maintaining a light-hearted tone.

Equally iconic is the performance of Velimir “Bata” Živojinović, a Serbian actor famed for his roles in Partisan war films as the epitome of rugged masculinity. Here, he plays Trokrilni, one of Štefica’s ill-fated suitors, who boasts endlessly about his sexual prowess and Serb pride. The contrast between his bombastic claims and the pitiful outcome of his encounter with Štefica is played for maximum comic effect. Yet, despite—or perhaps because of—this failure, the dialogue from this scene became some of the most quoted lines in Yugoslav cinematic history, immortalised in popular culture.

Grlić, a member of the so-called “Prague Film School” generation of Yugoslav filmmakers, eschews overt stylistic experimentation in favour of sharp writing and authentic settings. While others might have opted for flashy visuals or narrative fragmentation, Grlić grounds the film in the streets of Zagreb, giving it a sense of place that feels genuine and lived-in. Both narrative threads—the romantic comedy and the behind-the-scenes soap opera—are tightly held together, mirroring each other in subtle ways, including shared motifs like attempted suicide. Yet, these darker elements never overwhelm the film’s overall buoyancy, and the decision to conclude with a happy ending feels less like a capitulation than a defiant act of optimism in uncertain times.

Indeed, the final choice made by Dunja to give the TV series a happy ending serves a dual purpose: it satisfies the fictional audience within the film and speaks directly to the real-world viewers of the 1980s, many of whom were beginning to feel the tremors of political and economic instability. For them, In the Jaws of Life was not merely entertainment—it was a mirror reflecting their own lives, struggles, and aspirations. Its popularity during this period was no accident, and its enduring cult status is a testament to its emotional resonance and clever construction.

That said, the film’s relative obscurity outside of former Yugoslav territories is understandable. Much of its impact is rooted in specific historical, linguistic, and cultural contexts that may be inaccessible to international audiences unfamiliar with the region’s past. References to German-dubbed aerobic videos, for instance, evoke a particular moment in Eastern European pop culture that might seem obscure to outsiders. Similarly, jokes relying on ethnic wordplay or historical allusions may lose their potency without prior knowledge of the Balkans’ complex social dynamics.

Yet, for those willing to engage with it, In the Jaws of Life offers a richly layered experience—one that combines romantic farce with biting social critique, all while maintaining a surprisingly modern sensibility. It is a film that defies easy categorisation, blending metafictional storytelling with heartfelt character development, and offering a rare glimpse into a world that no longer exists. Its survival as a cult classic is not just a matter of nostalgia, but a recognition of its enduring relevance and artistic merit.

RATING: 8/10 (+++)

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Friends, the 3 most famous actors and actresses acted in this movie. They are Dwayne Johnson,rayan reynolds, and Gal gadot. There are hardly any people who don't know these three people who love to watch movies or who watch Bollywood movies, because they have some famous movies that are on the wish list of every movie lover.

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Some films don’t need a lot of words, big effects, or loud moments to move you. Harta is one of those rare short films that quietly crawls under your skin and stays with you. It’s soft but intense, quiet but deeply powerful. Watching Harta feels like watching a silent scream one filled with pain, confusion, and a spark of quiet resistance. If you're someone who values films that say a lot with very little, Harta is an unforgettable experience.

The Storyline

At the center of the story is Saray, a 12-year-old girl living in a rural Spanish village. Her world changes the moment she gets her first period. For most girls, it’s a personal milestone. But for Saray, it triggers something much darker a disturbing family tradition. Instead of being guided with love, she’s led into a chilling ritual where her own body is no longer hers. And the worst part? Everyone around her seems to accept it like it’s normal.

The Plot

The film begins in a quiet, almost dreamlike way. You see Saray, innocent and calm, just going about her day. Then the moment arrives her period and suddenly, everything shifts. Her family begins preparing her for something she doesn’t understand, and honestly, neither do we at first. That’s part of what makes Harta so powerful it doesn’t spell everything out. It lets you feel the fear through the looks, the silences, the heavy air in the room.

Saray is dressed up, combed, and polished like a doll. She doesn’t say much but her eyes say everything. She knows something isn’t right. And while everyone else around her plays their part, she’s quietly figuring out her own move. In the end, she makes a subtle but brave decision. One that doesn’t scream out loud but echoes powerfully in your heart.

A Shocking Truth

The most disturbing thing about Harta is that its horror comes from something real the way tradition, family, and silence can be used to trap a girl. There’s no blood or violence on screen, but what’s implied is terrifying. Saray isn’t just a child coming of age she’s being claimed. The ones who should love her are using her. And it’s done so casually that it makes you uncomfortable… because you know this kind of story exists outside the screen.

The Silence, The Tension, The Bravery

Everything about Harta is stripped back. No loud music. No big speeches. Just long, tense silences and quiet moments that say more than any words could. Saray’s performance is absolutely gripping she barely speaks, but her face carries the whole story. Her fear. Her doubt. Her strength.

The visuals are stunning in their simplicity. The village looks peaceful, but you feel the weight in the air. You feel the pressure around her. You feel stuck, just like she is. And when she finally makes her silent act of defiance, it’s incredibly satisfying and heartbreaking.

Why This Movie Will Stay With You

Harta isn’t flashy. It’s not here to entertain it’s here to say something. And it says it beautifully. It’s about how control can hide in the most familiar places. About how girls are taught to obey before they even understand what’s happening to them. But more than anything, it’s about the quiet courage it takes to say, No.

Rating: 9.5 out of 10. Short. Silent. Shattering. Harta is proof that even in silence, a girl’s voice can be the loudest thing in the room.

All images are screenshots from the movie

There are people that things happen to and people who make things happen. And you need to land on which one you want to be. And when you do that, when you decide what you want to feel, that is the true source of power. And when you get there, people will see what you want them to see on your face. Most people never figure this out. The ones that do, they get to run the world. - Michael Prince

3 years ago, I wrote about my favourite finance TV show "BILLIONS" by Brian Koppelman and David Levien - Review: The Greatest Finance TV Show Of All Time [Eng-Esp] where I spoke about the TV show Billions and all my favourite characters, filled with why I actually like the show and the mentioned characters. But one character I did not talk about in that review 3 years ago is Michael Prince. This is because at the time of writing that review, the character had not been included in the Billion franchise. Now, fast forward to a year later, the series Billion has ended with season 7 as its final season.

Meet the Character

The character Michael Prince was played by Corey Stoll, an American actor who is known for his role as Peter Russo from House of Cards and constant appearances in NBC's TV show Law and Order, which aired from 2010 to 2011. Michael Prince is his full name, and Mike Prince is a shorter form. He is a self-made billionaire who sold his first company to Microsoft, leading him to make his first billion.

But that is the surface story. He actually made his first billion by first capitalizing on his friend and business partner's weakness, addiction to drugs, and living the fast life, by convincing his friend to sell his shares to him while his friend goes on a vacation trip, which will serve as a means of rehabilitation for him.

Rumour has it in the show that Prince knew about the Microsoft offer weigh before offering to buy his friend's share as a means of helping him out. Then went on to sell a huge chunk of the business to Microsoft while retaining some shares due to his ideology of not releasing complete control.

This move alone shows the length Mike is willing to go to just to achieve his agenda or mission, obviously meaning he is not one to be dealt with unlikely.

How I found the character intriguing

After the pandemic, Damian Lewis lost his wife to breast cancer in 2021, Helen McCrory, a renowned actress known for her popular roles as Draco's mother in the Harry Potter movie sequel and Aunty Polly in the well-known British crime drama Peaky Blinders.

This led to Damian Lewis needing some time away from acting to deal with the passing of his wife. Now, here was the problem: Season 5 of Billion had already resumed production after the 2020 pandemic, and Damian Lewis plays the lead role, Bobby Axelrod, the hedge fund billionaire alongside Paul Giamatti as Chuck Rhoades the US Attorney who has tasked himself with bringing down billionaires because he believes they defile the laws of decency due to the enormous wealth they possess and their desire for more. Mind you, Chuck Rhoades comes from wealth as well.

The writers of the show were tasked with how to give Bobby Axelrod a good write-off while continuing the series for another two seasons after season 5. Their solution was the introduction of a new billionaire, Mike Prince, who teams up with Bobby's sworn enemy, Chuck Rhoades, to bring him down or at least get him out of the picture while unravelling his big plan one step at a time.

What makes Mike Prince intriguing and a well-calculated billionaire is how he played Chuck Rhoades, just to use him for his bidding, since Chuck happens to be the man backed by the law and law enforcement, as the man in a high law position. All along, Prince only wants Bobby's Bank and his hedge company, all worth a whopping 15 billion dollars, which Mike bought for pennies on the dollar for 2 billion dollars when Bobby had to flee the country from criminal prosecution coming from the hands of Chuck Rhoades.

This is not only the tip of the iceberg of what Mike Prince has planned for himself. His goal is to become the next US President while bankrolling his campaign with 3 billion dollars of his crypto money, running as an independent candidate.

From the introduction of Mike Prince, the show shifts focus away from Bobby Axelrod, thereby giving the actor Damian Lewis more time to grieve the loss of his wife. You should check out Billions if you haven't already. It is the bomb when you are looking for some good finance drama to binge.

♟♟♟♟♟♟♟♟♟

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