Imagínate quedar atrapado en un lugar atemporal donde tienes que sobrevivir con tus amigos, y si todos son asesinados, deben volver a empezar desde el punto de partida, hasta descubrir lo que está pasando en ese sitio y como escapar de allí.

Las adaptaciones de videojuegos, pueden ser armas de doble filo. Por una parte, el público en general puede amarla y llenarla de ovaciones, o quedar confundidos ante una trama carente de profundidad, para después llenarla de mucha crítica y con razones válidas.

Esta película, aunque tiene su atractivo para un público poco exigente, la realidad es, que lleva más elementos en contra, por lo que la hace bastante difícil de defender.

^{[Poster extracted from Filmaffinity](https://www.filmaffinity.com/en/filmimages.php?movie_id=579097)}

Until Dawn, es un slasher de terror sobrenatural y supervivencia, dirigida por David F. Sandberg y escrita por Blair Butler, junto con Gary Dauberman, basándose en el famoso videojuego de terror del mismo nombre. Está protagonizada por Ella Rubin como Clover, Michael Cimino como Max, Ji-young Yoo como Megan, Odessa A'zion como Nina, Belmont Cameli como Abe y Maia Mitchell como Melanie. La música fue realizada por Benjamin Wallfisch y la fotografía por Maxime Alexandre.

Las empresas productoras que estuvieron a cargo fueron Vertigo Entertainment, Screen Gems, PlayStation Productions, Coin Operated, Mångata Production, y Sony Pictures como distribuidora. La película se estrenó el 25 de abril de este año y tuvo un presupuesto de 15.000.000$ con una recaudación de 52.446.478$

Impulsada por el dolor y la culpa por la misteriosa desaparición de su hermana, Melanie, Clover, junto a sus cuatro amigos, decide embarcarse en un viaje hacia el lugar donde supuestamente su hermana desapareció. En el camino, se encuentran en una cabaña remota y aparentemente abandonada que, para sorpresa de todos, el sitio donde llegaron es donde Melanie desapareció.

Al hurgar en el lugar, se dan cuenta que hay muchas cosas extrañas por doquier, luego se dan cuenta de que están atrapados en un bucle temporal en donde son perseguidos por un asesino misterioso y enmascarado. Ahora, Clover y sus amigos deberán luchar contra el tiempo y sobrevivir ante las cosas espantosas que aparecen allí hasta el amanecer.

La película tiene bastantes elementos a favor que la hacen muy disfrutable, entre ellas la oscura fotografía y el maquillaje, que es tan terrorífico como un carnaval de horror de alto presupuesto. La ambientación es destacable, con sucesos intrigantes que te dejan pegado a la trama con efectividad. Es un escenario de inquietante muy bien hecho y las muertes son muy impactantes; por lo menos a mí, como amante del gore, me ha dejado muy satisfecho.

La historia es otro elemento positivo, es muy interesante y te deja con esa sensación de no querer apartarte solo para descubrir el misterio que envuelve a aquel lugar maldito. Las actuaciones mantienen el nivel de la trama, por lo que nos deja sumergirnos, junto con los personajes, el terror que están enfrentando allí. Sin embargo, lo que no me termina de convencer de esta película, es la falta de conciencia ante una narrativa incompleta.

No sabía que la película era una adaptación de un videojuego, me enteré después de hacer mi investigación, lo que me hizo darme cuenta de muchas cosas. Pareciera que fuera hecha únicamente para los amantes del videojuego, dejando de lado a un sector del público en general, como consecuencia, los huecos en la trama hicieron demasiado ruido.

Me hubiera gustado que el arco narrativo de la película explicara algunos sucesos que no tenían sentido para mí, como ¿por qué los personajes regresaban a la vida cada vez que morían? ¿Se trataba de un experimento científico o solo era causa de un poder sobrenatural? ¿Quién era el hombre enmascarado que perseguía a los personajes principales? ¿Un habitante del lugar? Y si esto era un experimento científico, ¿cómo es posible que una sola persona haya hecho un proyecto tan semejante?

La película dejó más preguntas que respuestas y eso fue algo que a mí me chocó bastante. Si vas a crear una obra cinematográfica basada en un videojuego, debes tapar todos los huecos de la historia, de lo contrario, las personas ajenas que no sabemos nada de la trama y que apenas estamos descubriéndola, vamos a quedar con un sabor a medias.

Semejante error garrafal hizo que me quedara confundido y vacío. Entiendo que es difícil adaptar seis horas de videojuego en una película que dura menos de dos horas, pero si la hubiesen convertido en una miniserie o algo por el estilo, se hubiese profundizado más en la trama y tal vez conectar con los personajes.

Until Dawn, es una obra disfrutable de terror con un potencial decente. Es esencial para los amantes del misterio, el gore y una trama slasher presiona al instinto de supervivencia. Sin embargo, es solo otra película más para avivar el morbo y la sensación de ver una película emocionante, que no intenta ser pretensiosa y mucho menos compleja. La narrativa tiene huecos que no fueron tapados, objetivos que no han sido aclarados y una deficiencia en la profundidad de la mayoría de los personajes. Si quieres una de esas películas para disfrutar una tarde de domingo, esta podría ser la ideal, pero si buscas una trama estructurada por una sólida complejidad, yo creo que es mejor irse a jugar el videojuego.

Imagine being trapped in a timeless place where you must survive alongside your friends. If you are all killed, you will have to start over from the beginning, until you uncover the secrets of that place and find a way to escape.

Video game adaptations can be double-edged weapons. On the one hand, the general public can love it and cheer for it, or be confused by a plot that lacks depth, and then later be full of criticism with valid reasons.

This film, although it has its appeal for an undemanding audience, the reality is that it has more elements against it, which makes it quite difficult to defend.

^{[Poster extracted from Filmaffinity](https://www.filmaffinity.com/en/filmimages.php?movie_id=579097)}

**Until Dawn ** is a supernatural survival horror slasher, directed by David F. Sandberg and written by Blair Butler, along with Gary Dauberman, based on the popular horror video game of the same name. It stars Ella Rubin as Clover, Michael Cimino as Max, Ji-young Yoo as Megan, Odessa A'zion as Nina, Belmont Cameli as Abe, and Maia Mitchell as Melanie. Music was scored by Benjamin Wallfisch and photography by Maxime Alexandre.

The production companies in charge were Vertigo Entertainment, Screen Gems, PlayStation Productions, Coin Operated, Mångata Production, and Sony Pictures as distributor. The film was released on April 25 of this year and had a budget of $15,000,000 with a gross of $52,446,478.

Driven by grief and guilt over the mysterious disappearance of her sister, Melanie, Clover, along with her four friends, decides to embark on a journey to the place where her sister supposedly disappeared. Along the way, they find themselves at a remote and seemingly abandoned cabin that, to everyone's surprise, the place where they arrived is where Melanie disappeared.

As they poke around the place, they realize that there are many strange things everywhere, and then they realize that they are trapped in a time loop where they are being chased by a mysterious, masked killer. Now, Clover and her friends must fight against time and survive in the face of the frightening things that appear there until dawn.

The film has many elements in its favor that make it very enjoyable, including the dark cinematography and makeup, which is as terrifying as a high-budget horror carnival. The setting is remarkable, with intriguing events that effectively keep you glued to the plot. It's a very well-done, disturbing setting, and the deaths are very shocking; at least for me, as a lover of gore, it left me very satisfied.

The story is another positive element; it is very interesting and leaves you with that feeling of not wanting to look away, just to discover the mystery that surrounds that cursed place. The performances maintain the level of the plot, allowing us to immerse ourselves, along with the characters, in the terror they are facing there. However, what does not quite convince me about this film is the lack of awareness of an incomplete narrative.

I didn't know the film was an adaptation of a video game; I found out after doing my research, which made me realize many things. It seems as if it was made solely for video game lovers, leaving out a sector of the general public. As a result, the gaps in the plot were too noticeable.

I would have liked the film's narrative arc to explain some events that didn't make sense to me, such as why the characters came back to life every time they died. Was it a scientific experiment or just the result of supernatural powers? Who was the masked man chasing the main characters? A resident? And if this were a scientific experiment, how is it possible that a single person could have carried out such a project?

The movie left more questions than answers, and that bothered me. If you're going to create a movie based on a video game, you have to fill in all the gaps in the story; otherwise, people like m,e who know nothing about the plot and are just discovering it are left feeling unsatisfied.

Such a blunder left me confused and empty. I understand that it's difficult to adapt six hours of a video game into a film that lasts less than two hours, but if they had turned it into a miniseries or something similar, they could have gone deeper into the plot and perhaps connected with the characters.

Until Dawn is an enjoyable horror film with decent potential. It is essential viewing for lovers of mystery, gore, and a slasher plot that pushes the survival instinct. However, it is just another film designed to fuel morbid curiosity and the thrill of watching an exciting movie, without attempting to be pretentious or complex. The narrative has gaps that were not filled, objectives that have not been clarified, and a lack of depth in most of the characters. If you want one of those movies to enjoy on a Sunday afternoon, this could be the ideal one, but if you are looking for a plot structured by solid complexity, I think it is better to go play the video game.

Lights of Zetar (S03E18)

Airdate: January 31st 1969

Written by: Jeremy Tarcher & Shari Lewis Directed by: Herb Kenwith

Running Time: 50 minutes

The Original Series of Star Trek, though abbreviated to a mere three seasons, achieved a longevity and cultural resonance that few contemporaries could have predicted. Its brevity, often lamented, inadvertently fostered a fervent, niche following—a fanbase whose obsessive dedication would outstrip the programme’s initial lifespan by decades. Crucially, this cohort was not merely passive in its admiration; it comprised individuals whose creative input actively shaped the show’s trajectory. Among them, Shari Lewis—a trailblazing puppeteer, ventriloquist, and children’s television icon—stood out. Collaborating with her husband Jeremy Tarcher, Lewis submitted a script explicitly designed to leverage her own performance talents, only for the production to eschew her involvement in the lead role. The resulting episode, Lights of Zetar, while not a masterpiece, serves as a testament to how the franchise’s third season—often maligned for its declining budgets and narrative ambition—could occasionally stumble into competence.

The plot hinges on a routine Starfleet mission: the USS Enterprise ferries new equipment to Memory Alpha, the Federation’s central data repository. This premise, mundane on paper, gains tension through the introduction of Lt. Mira Romaine (Jan Shutan), a rookie officer thrust into her first deep-space assignment. Romaine’s presence, however, is not merely administrative. The episode’s early scenes foreground Scotty’s uncharacteristically overt infatuation with her—a subplot that risks veering into cringe territory. Yet this levity proves short-lived. A mysterious storm intercepts the ship, inducing dizziness and sensory disorientation among the crew. Romaine, the most afflicted, experiences hallucinatory visions that later transpire to be the influence of alien non-corporeal entities—the last remnants of Zetar’s humanoid race. These beings, having exhausted their own biological forms, seek to possess living hosts to reclaim physicality. Their target, Romaine, becomes a battleground for survival, her resistance threatening both her life and the Enterprise itself. The storm’s link to Memory Alpha’s catastrophe—a destroyed computer and a staff killed by neurological trauma—ties the plot’s threads together, though with a mechanical simplicity that underscores Season 3’s strained creativity.

Herb Kenwith, a Broadway and television sitcom veteran best known for his friendship with Lucille Ball, brings a surprising degree of stability to the director’s chair. While not a visionary helmer in the vein of Trek stalwarts like Marc Daniels or Joseph Pevney, Kenwith navigates the episode’s limitations with pragmatic flair. His handling of the titular “lights of Zetar”—visualised through a haunting, swirling effect within Romaine’s eyes—avoids the garish excesses typical of Season 3’s experimental visuals. The sequence, shot with a blend of practical effects and subtle editing, evokes an eerie dissonance that lingers far longer than the episode’s narrative justifies. More broadly, Kenwith’s sitcom pedigree manifests in the early scenes’ brisk pacing and character-driven banter, particularly between Scotty and the crew. Yet his theatrical background also lends a stagy, almost claustrophobic tone to the later acts, as the Enterprise grapples with an invisible, metaphysical threat. This duality—a lightness undercut by existential dread—mirrors the episode’s tonal schizophrenia, yet Kenwith’s steady direction ensures it never fully collapses under its own contradictions.

The script, co-written by Lewis and Tarcher, oscillates between tonal registers with a disconcerting abruptness. The first act revels in Scotty’s awkward romantic overtures, a subplot that strains credibility given his usual gruff professionalism. This whimsy is shattered when the storm’s true nature emerges: a desperate, ancient race attempting to hijack a human host. The shift from comedy to cosmic horror is jarring, though arguably reflective of Trek’s willingness to experiment. However, the resolution—Kirk deploying a decompression chamber to force the Zetarians out—abruptly resets the mood to breezy optimism. Such tonal whiplash has long drawn criticism, with detractors arguing that the narrative never coherently reconciles its extremes. Equally contentious is the treatment of Romaine, whose agency is repeatedly undermined by the male crew. This epitomises a regressive attitude toward female characters that Season 3’s writers, hamstrung by network constraints, rarely challenged. Feminist critiques have since lambasted the episode for reducing Romaine to a passive vessel, her intellectual contributions overshadowed by her role as a romantic distraction.

Yet the episode’s most fortunate stroke was its last-minute recasting. Shari Lewis’s absence, while a missed opportunity to showcase her talents, spared the series a potential gimmick. Jan Shutan’s performance as Romaine avoids caricature, imbuing the character with a fragile dignity that elevates the material. Her portrayal during possession—alternating between guttural menace and desperate vulnerability—prefigures the visceral horror of The Exorcist (1973) with uncanny prescience. The Zetarians’ voices, provided by series veteran Barbara Babcock, achieve a chilling otherness that transcends the script’s banality. One might speculate that Lewis, with her puppeteering expertise, could have infused the role with a more overtly theatrical flair, but Shutan’s groundedness anchors the episode in a way that aligns with Trek’s best traditions: humanity amid the absurd.

The decompression chamber sequence, a literal deus ex machina, is emblematic of the episode’s paradoxical strengths. Kirk’s gambit—to use a mundane engineering fix to expel incorporeal beings—defies logic yet resonates as a clever nod to Starfleet’s problem-solving ethos. The chamber itself, becomes a symbolic arena for the clash between human ingenuity and alien desperation. Romaine’s subsequent survival, though narratively unearned, allows the episode to conclude on an upbeat note, even as it sidesteps the existential implications of the Zetarians’ extinction. This abrupt pivot back to light-heartedness feels less like narrative cowardice than a reflection of 1960s television’s reluctance to dwell on ambiguity—a compromise that, while frustrating, preserves the series’ family-friendly veneer.

Despite its flaws, Lights of Zetar holds an underappreciated place in Trek canon. Memory Alpha, introduced here as a sterile, bureaucratic archive, has since evolved into one of the franchise’s most iconic locations, appearing in feature films and later shows. Its depiction as a repository of knowledge, vulnerable to both cosmic and human frailty, foreshadows later explorations of data’s fragility in a universe governed by entropy. More tangibly, the episode’s title has been immortalised by Memory Alpha, the crowd-sourced Star Trek wiki, whose founders drew explicit inspiration from the fictional archive. This recursive homage underscores how Trek’s community—a phenomenon birthed by Season 3’s diehard viewers—has shaped the franchise’s post-canon identity, transforming throwaway concepts into sacred texts.

Lights of Zetar is a flawed but fascinating artefact of Star Trek’s twilight years. Its tonal inconsistency and regressive treatment of women render it a target for modern criticism, yet its pragmatic direction, inventive visuals, and canonical contributions ensure its survival in fan discourse. The episode exemplifies how Season 3, often dismissed as creatively bankrupt, could still produce moments of intrigue when writers and directors leaned into constraints rather than against them. It emerges as a minor yet intriguing entry in Trek lore, notable less for its execution than for its historical role in cementing the series’ enduring legacy.

RATING: 6/10 (++)

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Good morning blog friends, how are you? I'm a little better today but I still have the aftermath of a bad intestinal virus, the positive side of the virus is that I was able to stay on the couch for several days and marathon kdrama and TV series. I had also read many good reviews here about the extraordinary attoney Woo, and finally I decided to watch it and I wasn't disappointed even if for some things I can't give it the highest rating. In the meantime I'll tell you a bit about the plot, Woo is a young and brilliant aspiring attoney who suffers from autism, thanks to some old acquaintances she finally finds work in her field of study in the Hanbada studio, as soon as she enters she still has various problems due to her neurodivergence but everyone also notices her extreme genius, she has an incredible memory for law and is able to grasp details that others miss. In the new study she meets various people, her colleagues who initially do not treat her very well, in fact with one of them there will be various problems because he will try to accuse her of nepotism, but slowly they will become a very close-knit team, with one colleague in particular a relationship will be created that goes beyond work. He will try to penetrate and accept the strange world of attorney Woo with extreme sweetness and delicacy. Obviously there is also the procedural part of the story like almost all dramas and series that deal with lawyers and law, each episode corresponds to a specific case, dealing with interesting cases of various kinds. Some cases are really difficult even on an emotional level, others are lighter.

Buenos días, amigos del blog, ¿cómo están? Hoy estoy un poco mejor, pero aún tengo las secuelas de un virus intestinal muy fuerte. Lo bueno es que pude quedarme en el sofá varios días y ver maratones de kdramas y series. También había leído muy buenas críticas aquí sobre la extraordinaria abogada Woo, y finalmente me decidí a verla y no me decepcionó, aunque en algunos aspectos no puedo darle la mejor calificación. Mientras tanto, les contaré un poco sobre la trama: Woo es una joven y brillante aspirante a abogada que padece autismo. Gracias a viejos conocidos, finalmente encuentra trabajo en su campo de estudio en el estudio Hanbada. Nada más entrar, sigue teniendo varios problemas debido a su neurodivergencia, pero todos notan su gran talento: tiene una memoria increíble para las leyes y es capaz de captar detalles que otros pasan por alto. En el nuevo estudio, conoce a varias personas, colegas que al principio no la tratan muy bien. De hecho, con uno de ellos surgirán varios problemas porque intentará acusarla de nepotismo, pero poco a poco se convertirán en un equipo muy unido. Con un colega en particular, se creará una relación que trasciende el ámbito laboral. Intentará adentrarse y aceptar el extraño mundo del abogado Woo con extrema dulzura y delicadeza. Obviamente, también está el componente procesal de la historia, como en casi todos los dramas y series que tratan sobre abogados y derecho: cada episodio corresponde a un caso específico, abordando casos interesantes de diversa índole. Algunos casos son realmente difíciles incluso a nivel emocional, otros son más leves.

The drama has a good pace, the episodes and cases are never boring or monotonous, it is a fairly light and delicate drama, it inspires sweetness and sympathy, there are many funny and light parts but also the more emotional parts are a source of reflection. I appreciated it as a drama because it is really cute but there is a but I did not like the excessively romanticized world with which they addressed the topic of autism, with some behaviors brought almost to exasperation and as something almost funny and theatrical. I think that the topic of autism was addressed with a little too much lightness and increasing the stereotypes regarding this neurodivergence. For the rest it is a really pleasant drama, cute and with very good actors. If they had treated autism in a slightly more realistic and non-stereotypical way I would have appreciated it more but perhaps it was a plot choice to make a topic that is probably still taboo in Korea a little more visible and understandable. The actress who plays Woo is very good though and the drama is really delightful so I recommend watching it without getting annoyed by the idealized way they portray autism.

El drama tiene un buen ritmo; los episodios y casos nunca resultan aburridos ni monótonos. Es un drama bastante ligero y delicado que inspira dulzura y empatía. Hay muchas partes divertidas y ligeras, pero también las más emotivas son fuente de reflexión. Lo disfruté como drama porque es realmente tierno, pero no me gustó el enfoque excesivamente romántico con el que abordaron el tema del autismo, con algunos comportamientos que rozan la exasperación y lo presentan como algo casi cómico y teatral. Creo que el tema del autismo se abordó con demasiada ligereza, aumentando los estereotipos sobre esta neurodivergencia. Por lo demás, es un drama realmente agradable, tierno y con muy buenos actores. Si hubieran tratado el autismo de una manera un poco más realista y sin estereotipos, lo habría apreciado más, pero quizás fue una decisión argumental para hacer un tema que probablemente todavía es tabú en Corea un poco más visible y comprensible. La actriz que interpreta a Woo es muy buena y el drama es realmente encantador, así que recomiendo verlo sin molestarse por la forma idealizada en que retratan el autismo.

First picture edited by canva, translation with deepl.

pictures source❤️

6 Underground (2019): Movie Review

The 2019 Netflix original film 6 Underground, was directed by Michael Bay. It stars one of my favorite action stars, Ryan Reynolds. Ever since his appearance on Deadpool I'd fallen in love with this guy's movies. The film spans for about two hours and the entire time of the movie was absolutely worth it.

The film revolves around the main character, “One” (which is Ryan Reynolds). He is seen in this film as a billionaire tech mogul who, after witnessing the horrific consequences of a dictatorial regime, fakes his own death. He then assembles a highly skilled, anonymous team of six individuals, each with a specific expertise (a doctor, a hitman, a skywalker, an ex-CIA agent, a driver, and a former special forces sniper).

Their mission is to bring down corrupt governments and ruthless criminals that the world's official powers are unwilling or unable to touch, operating entirely off the grid and without accountability. Their ultimate target is Rovach Alimov, the ruthless leader of the fictional Central Asian country of Turgistan.

The initial 20-minute car chase through the streets of Florence is gives us a display of Grand Theft Auto type of scene, there's crashing of vehicles and slow-motion shots. I loved the movie director's ability to execute the action sequence in a very proper way. The stunts are genuinely impressive also practical. The teams joint effort to see that their mission was fulfilled was really wonderful. They were all out and active through out the their quest.

Ryan Reynolds was a little more serious in this one compared to his regular ridiculous acts in other movies of his. I remember this part in the film when he quoted Eminem's intro line in the music Lose yourself. It just sounded like something he would say on his own without having to follow it from a movie script. For someone of his acting style I can confidently say there were at least ten occasions in the movie he did some improvision. And that is just something I love about that guy.

I had a bit of unrest towards the end of the movie because it seemed like everything was beginning to fall apart, leaving me in suspense as I watched. But gladly, they were able to pull through at the end.

Usually, in movies that tow along this storyline; whereby a set of people are going after the government and people in power, the people who go up against them are the average class or in some cases the poor and angry masses. But I'm this case, it happened to be a wealthy group of people, who instead of living their good lives took to concern the vulnerability of the people who fell victims.

The film had a pretty good narrative attached to it. It was no doubt an enjoyable movie to watch. I give it an 8.5/10. That's it for my review. Till some other time.

*Images are from [IMDb](https://m.imdb.com/title/tt8106534/mediaindex/?ref_=mv?ref_=mv_sm )*

Sirens | Official Trailer | Netflix

Throughout my life, I've watched many anime, especially sports anime, but none have touched my soul like Slam Dunk, since my favorite sport has always been basketball ever since I first saw a Michael Jordan game. That's why I want to talk to you about Hanamichi Sakuragi, in my opinion the best character ever written in a sports anime who embodies the highest values ​​anyone could aspire to in order to change their life. From the pages of Takehiko Inoue's manga to the screen, Slam Dunk's Hanamichi Sakuragi isn't just a character; he's a phenomenon. In a universe filled with prodigious athletes and natural geniuses, Sakuragi emerges as the quintessential anti-hero, a troublemaker with a heart of gold and unwavering determination. But what makes him the best character in a sports anime in terms of personal growth, development, influence, and the embodiment of basketball as a philosophy? I'll briefly comment on my perception of "Talented Sakuragi."

A lo largo de mi vida he visto muchos animes, especialmente deportivos, pero ninguno tocó las fibras de mi alma como Slam Dunk, ya que mi deporte favorito siempre fue el basket desde que vi por primera vez un juego de Michael Jordan. Es por eso que quiero hablarles de Hanamichi Sakuragi, a mi parecer el mejor personaje jamás escrito en un anime deportivo que encarna los mejores valores que alguien podría aspirar para cambiar su vida. Desde las páginas del manga de Takehiko Inoue hasta la pantalla, Hanamichi Sakuragi de Slam Dunk no es solo un personaje; es un fenómeno. En un universo lleno de atletas prodigio y genios naturales, Sakuragi emerge como el anti-héroe por excelencia, un imán para los problemas con un corazón de oro y una determinación inquebrantable. Pero, ¿qué lo convierte en el mejor personaje de un anime deportivo en términos de crecimiento personal, desarrollo, influencia y la encarnación del baloncesto como filosofía? Comentaré brevemente mi percepción acerca del "Talentoso Sakuragi".

From Street Thug to Elite Athlete

Sakuragi's journey is a true testament to human potential and the power of self-discipline. At first, he's not a juvenile delinquent who never wastes an opportunity to get into a fight. He has his own army of bullies wreaking havoc on every school. In fact, by the time he entered Shohoku, his reputation as the most aggressive and dangerous delinquents was already well-known. Another facet of Sakuragi's character was his obsession with girls and a history of rejection (fifty, to be exact). His entry into Shohoku's basketball team was purely accidental, motivated by the desire to impress Haruko Akagi. However, what began as a whim slowly transformed into a passion that would change his life forever.

El viaje de Sakuragi es una verdadera poesía al potencial humano y al poder de la autodisciplina. Al inicio, no es un delincuente juvenil quien nunca desperdicia una oportunidad de entrar en una pelea. Cuenta con su propio ejército de matones sembrando el terror en cada escuela, de hecho cuando entran a estudiar a Shohoku su fama ya era conocida como los delincuentes más agresivos y peligrosos. Otra faceta de Sakuragi era que estaba obsesionado con las chicas y con una historial de rechazos amorosos (cincuenta, para ser exactos). Su entrada al equipo de baloncesto de Shohoku es puramente accidental, motivada por impresionar a Haruko Akagi. Sin embargo, lo que comienza como un capricho poco a poco se transforma en una pasión que cambiará su vida para siempre.

Throughout the series, we see Sakuragi overcome numerous obstacles. His main barrier is his own arrogance and lack of technique. At first, he doesn't even know how to dribble, but through countless hours of practice, punishments from Captain Akagi, and immense stubbornness, Sakuragi learns the fundamentals and more. His famous "rebounding phase" is a testament to his dedication, transforming his only natural ability (his physique) into an invaluable strategic advantage. Sakuragi's progress isn't linear; it's filled with frustrations and mistakes, which makes it all the more relatable and his growth all the more impactful.

A lo largo de la serie, vemos a Sakuragi superar numerosos obstáculos. Su principal barrera es su propia arrogancia y falta de técnica. Al principio, ni siquiera sabe driblar, pero a través de innumerables horas de práctica, castigos del capitán Akagi y una inmensa terquedad, Sakuragi aprende los fundamentos y más. Su famosa "fase de rebotes" es un testimonio de su dedicación, transformando su única habilidad natural (su físico) en una ventaja estratégica invaluable. El progreso de Sakuragi no es lineal; está lleno de frustraciones y errores, lo que lo hace aún más relatable y su crecimiento, más impactante.

His relationship with captain Akagi, whom he calls "Gorilla", evolves from hostility to mutual respect and genuine camaraderie. So much so that in the game against Kainan, Sakuragi cries after losing, but in the match against Ryonan that qualified them to the national tournament, Akagi cries and it is Sakuragi who goes to him to congratulate him. Likewise, his rivalry with Rukawa, whom he contemptuously calls the "sleepy fox" although persistent, becomes a force that drives him to improve and somehow their relationship becomes a symbiosis where they both need each other. Rukawa does not socialize with anyone else on the team, only with Sakuragi, to whom he speaks to insult and mock him. The aforementioned evolves to such an extent that this development is reflected in key moments, such as when Sakuragi is seriously injured at the end of the championship and, despite the pain, decides to continue playing for his team. This shift in perspective, from being a self-centered individual to a selfless team player, is what strengthens his image as an evolved character.

Su relación con el capitán Akagi, a quien llama "Gorila", evoluciona de la hostilidad a un respeto mutuo y a una camaradería genuina. Tanto que en el juego contra Kainan, Sakuragi llora al perder, pro en el partido contra Ryonan que les dio la clasificación al torneo nacional, Akagi llora y es Sakuragi quien va hacia él para felicitarlo.De igual manera, su rivalidad con Rukawa, a quien llama despectivamente como el "zorro dormilón" aunque persistente, se convierte en una fuerza que lo impulsa a mejorar y de alguna manera su relación se comvierte en una simbiosis donde ambos se necesitan, rukawa no socializa con más nadie del equipo, solo con Sakuragi a quien le habla para insultarlo y burlarse. Lo anterior mencionado va evolucionando a tal punto que este desarrollo se ve reflejado en momentos clave, como cuando Sakuragi se lesiona gravemente al final del campeonato y, a pesar del dolor, decide seguir jugando por su equipo. Este cambio de perspectiva, de ser un individuo egocéntrico a un jugador de equipo desinteresado,es lo que fortalece su imagen como personaje evolucionado.

The soul of Shohoku

Sakuragi, despite his loud and disruptive nature, is the glue that unites the Shohoku team, the spark that ignites the dynamic between his teammates. His infectious, if often awkward, enthusiasm inspires his teammates to push themselves further. He can inspire Mitsui to rediscover his love for basketball and Miyagi to believe in himself; his presence is a constant reminder of the pure passion for the game. When the team faces adversity, it is often Sakuragi's raw energy and unwavering determination that pulls them through. He not only lifts spirits but also challenges his teammates to view basketball from a different perspective, to take nothing for granted, and to enjoy every moment on the court. The chemistry between Shohoku's starting five is undeniable, and Sakuragi is a pivotal cog in that machine, often the element of surprise that throws opponents off balance.

Sakuragi, a pesar de su naturaleza ruidosa y problemática, es el elemento que une al equipo de Shohoku, es la chispa que enciende la dinámica entre sus compañeros. Su entusiasmo contagioso, aunque a menudo torpe, inspira a sus compañeros a esforzarse más. Puede a Mitsui a redescubrir su amor por el baloncesto y a Miyagi a creer en sí mismo, su presencia es un recordatorio constante de la pasión pura por el juego. Cuando el equipo se enfrenta a la adversidad, es a menudo la energía cruda y la determinación inquebrantable de Sakuragi lo que los saca adelante. Él no solo levanta el ánimo, sino que también desafía a sus compañeros a ver el baloncesto desde una perspectiva diferente, a no dar nada por sentado y a disfrutar cada momento en la cancha. La química entre los cinco titulares de Shohoku es innegable, y Sakuragi es una pieza fundamental de ese engranaje, a menudo el elemento sorpresa que desequilibra a los oponentes.

James Naismith created basketball as a way to save lives; this is the philosophy of this beautiful sport, and Takehiko Inoue was able to capture Sakuragi's life philosophy of basketball. For Sakuragi, basketball is not just a sport; it is his path to redemption and self-discovery. The court becomes a place where he can channel his boundless energy and rebellious spirit in a positive way. Through basketball, he learns crucial life lessons: the importance of hard work, perseverance, the value of teamwork, and how to face defeat with dignity. Basketball provides him with purpose, direction, and a family. He embodies the philosophy that innate talent is important, but dedication and love for what you do are what truly lead you to greatness.

James Naismith creó el baloncesto como una forma de salvar vidas, esta es la filosofía de este hermoso deporte y Takehiko Inoue supo plasmar en Sakuragi la filosofía de vida del basket. Para Sakuragi, el baloncesto no es solo un deporte; es su camino hacia la redención y el autodescubrimiento. La cancha se convierte en un lugar donde puede canalizar su energía desbordante y su espíritu rebelde de manera positiva. A través del baloncesto, aprende lecciones de vida cruciales: la importancia del trabajo duro, la perseverancia, el valor del trabajo en equipo y cómo enfrentar la derrota con dignidad.El baloncesto le proporciona un propósito, una dirección y una familia. Él encarna la filosofía de que el talento innato es importante, pero la dedicación y el amor por lo que haces son lo que realmente te lleva a la grandeza.

In short, Hanamichi Sakuragi is the best sports anime character for his inspiring transformation, his profound psychological development, his positive impact on those around him, and how his journey embodies the essence of sports as a tool for personal growth and self-improvement. He's a reminder that even the most unlikely of protagonists can reach unexpected heights when they find their true passion. What do you think? Is there another character who has impacted you as much as Hanamichi Sakuragi?

En resumen, Hanamichi Sakuragi es el mejor personaje de anime deportivo por su transformación inspiradora, su profundo desarrollo psicológico, su impacto positivo en quienes lo rodean y cómo su viaje personifica la esencia del deporte como una herramienta para el crecimiento personal y la superación. Es un recordatorio de que, incluso el más improbable de los protagonistas, puede alcanzar alturas inesperadas cuando encuentra su verdadera pasión.

¿Qué piensas tú? ¿Hay otro personaje que te haya impactado tanto como Hanamichi Sakuragi?

Welcome 💖 Bienvenidos

This movie Hellboy The Crooked Man didn't seem to me as disastrous as the 2019 movie with David Harbour and the truth is very different from everything I've seen before in the Hellboy universe, of course this maybe for some fans is good and for others bad, depending on what you're looking for but here I just give my opinion. First this is not a big budget film like Guillermo del Toro's or even the 2019 film this is noticeable from the first minute but that doesn't make it bad, it just gives it a more intimate and personal feel it's like they took Hellboy and put him in a 70's indie horror film and truth be told I liked that a lot more than I thought I would. Jack Kesy does a good job as Hellboy although he's not Ron Perlman obviously, but he's not trying to be either which is a smart thing on his part because I find it impossible to compete with that performance, Kesy gave his own touch to the character something more serious and less joking but it fits well for the darker tone and horror that this movie handles, plus the makeup looks pretty good considering the limited budget they had.

Esta película Hellboy The Crooked Man no me pareció tan desastrosa como la película del 2019 con David Harbour y la verdad es muy diferente a todo lo que he visto antes en el universo de Hellboy, claro esto quizás para algunos fans es bueno y para otros malo, dependiendo de lo que estés buscando pero acá solo doy mi opinión. Primero esta no es una película de gran presupuesto como las de Guillermo del Toro o incluso la del 2019 esto se nota desde el primer minuto pero eso no hace que sea mala, sino que le da un aire más íntimo y personal es como si hubieran tomado a Hellboy y lo hubieran puesto en una película de terror independiente de los años 70 y la verdad eso me gustó mucho más de lo que pensé que me gustaría. Jack Kesy hace un buen trabajo como Hellboy aunque no es Ron Perlman obviamente, pero tampoco está tratando de serlo lo cual es algo inteligente de su parte porque me parece imposible competir con esa actuacxión, Kesy le dio su propio toque al personaje algo más serio y menos bromista pero queda bien para el tono más oscuro y horror que maneja esta peli, además el maquillaje se ve bastante bien considerando el presupuesto limitado que tenían.

The plot takes place in Appalachia in 1959 where Hellboy and a rookie agent named Bobby Jo find themselves stranded after their train is derailed by a giant spider possessed by a demon, then they encounter witches, zombies and of course the main villain who is The Crooked Man, a guy who collects souls for the devil and is very disturbing. I liked this movie is that the adaptation of Hellboy looks like the comics, not as a traditional superhero movie, but as a supernatural horror story with some American folklore especially from the Appalachian region that has many legends and believe in superstitions, also the director Brian Taylor managed to make you feel the tension throughout the film, although I must admit that sometimes it was a little slow compared to the other films in the franchise. As for the special effects the design of The Crooked Man looks creepy but the giant spider at the beginning looks like something out of a PlayStation 2 game hehehe.

La trama ocurre en los Apalaches en 1959 donde Hellboy y una agente novata llamada Bobby Jo se encuentran varados después de que su tren se descarrila por culpa de una araña gigante poseída por un demonio, entonces se topan con brujas, zombies y por supuesto el villano principal que es The Crooked Man, un tipo que colecciona almas para el diablo y que es bien perturbador. Me gustó de esta película es que la adaptación de Hellboy se ve como los cómics, no como una película de superhéroes tradicional, sino como una historia de terror sobrenatural con algo de folklore americano especialmente de la región de los Apalaches que tiene muchas leyendas y creen en supersticiones, además el director Brian Taylor logró hacer que se sintiera la tensión durante toda la película, aunque si debo admitir que a veces era un poco lenta comparada con las otras películas de la franquicia. En cuanto a los efectos especiales el diseño de The Crooked Man se ve escalofriante pero la araña gigante del principio se ve como sacada de un juego de PlayStation 2 jejeje.

The supporting actors do a good job especially those who play the people who live in the town, they all have a pretty strong southern accent that sometimes makes it difficult to understand what they say but it does give it authenticity so I'm not complaining, now Adeline Rudolph as Bobby Jo is a character that doesn't make much sense I think they put her there just to have a female presence in the movie, although she's not annoying you can tell she's just there and that's it. I would have liked to have seen some development on Hellboy and his past which is only mentioned but not explored as much as it should be, there are also some parts between scenes that go by too fast as if they cut material to keep the running time short. I like that this movie knows it has a limited budget and works within those limitations, it doesn't try to compete with the big budget productions, it's like they made a low budget horror movie that happens to have Hellboy as the main character and luckily this worked for them, plus Mike Mignola is one of the writers maybe that's why it worked so well.

Los actores secundarios hacen un buen trabajo especialmente los que interpretan a las personas que viven en el pueblo, todos tienen un acento sureño bastante marcado que a veces hace difícil entender lo que dicen pero si le da autenticidad así que no me quejo, ahora Adeline Rudolph como Bobby Jo es un personaje que no tiene mucho sentido creo que la pusieron allí solo para tener una presencia femenina en la película, aunque no es molesta se nota que solo está ahí y ya. Me hubiese gustado que se desarrollara la parte de Hellboy y su pasado que solo se menciona pero no se explora tanto como debería, también hay algunas partes entre escenas que pasan muy rápido como si hubieran cortado material para mantener el tiempo de duración corto. Me gusta que esta película sabe que tiene un presupuesto limitado y trabaja dentro de esas limitaciones, no trata de competir con las producciones de gran presupuesto, es como si hubieran hecho una película de terror de bajo presupuesto que casualmente tiene a Hellboy como protagonista y por suerte esto les funcionó, además que Mike Mignola es uno de los escritores quizás por eso funcionó tan bien.

The main bad guy is The Crooked Man and his design is faithful to the comic book he is not the typical bad guy who wants to destroy the world, but something more personal and sinister, someone who corrupts and manipulates people to get their souls, which is much creepier than the bad guys in the previous movies, also Martin Bassindale gives a good performance of this twisted character, his way of moving and talking is really scary. Something I didn't like is that sometimes the movie looks too dark and it's hard to see what's going on more in the action scenes but I guess this is part of the limited budget and the soundtrack isn't great but it does its job of creating tension and atmosphere.

El malo principal es The Crooked Man y su diseño es fiel al cómic no es el típico malo que quiere destruir el mundo, sino algo más personal y siniestro, alguien que corrompe y manipula a las personas para conseguir sus almas, lo cual es mucho más escalofriante que los malos de las películas anteriores, además Martin Bassindale hace una buena actuación de este personaje retorcido, su forma de moverse y hablar da miedo realmente. Algo que no me gustó es que a veces la peli se ve demasiado oscura y es difícil ver lo que está pasando más en las escenas de acción pero supongo que esto es parte del presupuesto limitado y la banda sonora no es gran cosa pero cumple su función de crear tensión y ambiente.

In my opinion Hellboy The Crooked Man divides opinions because there are fans of del Toro's movies that will surely hate it because it is completely different in tone and style, but fans of the original comics will probably love it because finally there is a more faithful adaptation to the original material, I personally liked it much more than I expected I give it a 6. 5/10, it's a movie that has its details, especially with the special effects and some editing parts but I think it managed to capture the essence of supernatural horror of Mignola's comics, something that the other movies didn't achieve. Of course don't go expecting a spectacular action movie with super cool effects because it will be a disappointment if you see it from that point but if you focus more on a horror story with Hellboy you will find exactly that, plus I thought it was great to see that finally the creator of the character had creative control over an adaptation of his work and this makes it feel much more authentic than the previous ones, I at least lean more towards the original. 

En mi opinión Hellboy The Crooked Man divide opiniones porque hay fans de las películas de del Toro que seguro la van a odiar porque es completamente diferente en tono y estilo, pero los fans de los cómics originales probablemente la van a amar porque por fin hay una adaptación más fiel al material original, a mí personalmente me gustó mucho más de lo que esperaba le dpy un 6.5/10, es una película que tiene sus detalles, especialmente con los efectos especiales y algunas partes de edición pero me parece que logrócapturar la esencia de terror sobrenatural de los cómics de Mignola, cosa que lkas otras películas no lograron. Claro no vayas a esperar una peli de acción espectacular y con efectos super guao porque será una decepción si lo ves desde ese punto pero si te centras más en una historia de terror con Hellboy vas a encontrar exactamente eso, además a mí me pareció genial ver que por fin el creador del personaje tuvo control creativo sobre una adaptación de su trabajo y esto hace que se sienta mucho más auténtica que las anteriores, yo por lo menos me inclino más hacia lo original.

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🎞 ¡Hola! ¡Hola! 🎞

My favorite series are coming to an end; first it was You, and now VALERIA (2025). Oh my God, what's happening!

On the one hand, it's a relief not to have to anxiously wait for the next season, tie up loose ends, go back and watch episodes again, speculate, and check forums to see if any information has been leaked that might give us clues about how the next plot will unfold, whether there will be new characters, or if what we're hoping for will happen. It's all too intense!

On the other hand, I can't help but feel nostalgic because these characters have become part of my life through their thoughts, behaviors, reflections, and even topics of conversation among friends, as happened to me with this series Valeria, which with this fourth season we say goodbye to:

The dreamer, Valeria; the daring one, Lola; the independent one, Nerea; and the determined one, Carmen 💐.

I love everything about Valeria, which is why I give it a 5/5.

It's that typical series where you can identify with a character and say, “That's so me,” because each one has something of us to highlight. Of course, the first thing I appreciate about the series is the staging. The four actresses did an excellent job—natural, authentic; I can imagine them on set filming, and the laughter never stopped, because everything that happened to them was, as the Spanish would say, “Oh! my goodness!”

The other important thing is that they didn't do overrated scenes or entanglements that no one knows how they will end, but in a clear, direct, and simple way, they raised dilemmas that are so everyday, yet at the same time profound, such as: the role of the mother-in-law in the relationship, the age difference in couples, conception, the dilemma of finding someone so compatible with you, because we are no longer in our 20s and ready for typical romances; we are now approaching 40 and our realities and dilemmas are different, let's be realistic about that.

I loved the idea of not romanticizing or portraying relationships as perfect, but rather being very realistic in showing that everyone has their own intimate problems and that no one should meddle. Aplausses for your writer 👏.

If there's one thing I appreciate about the series (in terms of content), it's friendship. I am fascinated by series about friendships, where they are so natural that they fight, disagree, hide things out of embarrassment or fear, distance themselves when they have to, give each other space, because that's what everyday life is like when we have true friendships. It can also happen that we are sometimes so caught up in our own affairs that we forget to empathize with how the other person feels, no matter how far or close they are. I loved that, despite everything, they remain friends and don't judge each other.

And love... What can I say about love... In this season finale (if you've already seen the other three), our Victor reappears, because we would all like to have one in our lives; or maybe we had one with another name and another face 🤣.

Love is crucial in this part because it will be tested in every way, and it's valid to take a stance on what each one proposes: Will Nerea stay with Georgina on her terms? On the other hand, will Lola leave her stable relationship with Rai to follow her instincts for independence? If we talk about Carmen, who will prevail in that love triangle between Borjas, her, and her mother-in-law? And what about our beloved Valeria? Bruno or Victor? All this is clarified in the final episode. And speaking of saying goodbye, I loved the ending! I think it turned out just as I expected. I think they all made decisions that will bring peace to their lives, and I loved that they stayed together, maintaining a beautiful friendship. For all this and much more, I recommend them 💯.

Fuente

La pueden conseguir en la plataforma Netflix.

Hasta un próximo encuentro 💐.

Series are meant to be enjoyed, experienced, criticized, or supported. Sometimes I finish watching some just to find out the ending, others are so bad that I can't even get through the first episode, but I was looking forward to the final season of this one, and now that it's here, I'm left with the beauty, the relevance, and the heartfelt nature of it all. Even topics like sex or inclusion usually bother me, but this time it didn't feel that way, so I recommend it to everyone, although Victor is a disaster! Hehehe...

The photographs have their source cited. I made the cover and the divider, as well as the banner, with the help of Canvas. The translator I used was DeepL. Until next time 💐.

Warning! This one will actually contain spoilers. I normally try to avoid them like the plague but this is about episode 5 from season two way back in December of 2022 so hopefully anyone who wants to watch it already has.

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For at least a year people have been telling my wife and I "You have got to watch Slow Horses!". After a slow start where we watched the first episode about 6 months ago and then got distracted by other shows, we then raced through the next ten episodes in a week. We were enthralled! The acting was incredible. We both love Gary Oldman so his performance was no surprise. But literally everyone else was also performing at this high level. We also thought the writing was very clever and intriguing. It is a spy show that had some cool twists and turns. We really liked how it didn't treat the audience like idiots. You had to be paying attention to catch all the details.

In fact, right after we finished season two episode four last night, I was going on and on on how much I liked the show. We decided to watch the next episode. And then I was done. Before the episode even ended I told my wife "check please" and stopped paying attention. I took my phone out and started scrolling until the episode mercifully ended. We did not watch the episode and I have no intention to do so.

LOOK OUT HERE COME THE SPOILERS!

If you read my reviews, you might think I love every movie and TV show I watch. But that is not the case. I just can usually tell rather quickly if a movie or show is for me so I don't waste my time on it. By every so often, I get tricked. The last time I was tricked this bad was the TV show Homeland. Without getting into too many details, in one episode of that show, a character goes into a steel bunker a mile under the earth. An essential cell phone call is being attempted. This call will save the world! I paused the TV and told my wife "If this guy gets a cell signal in a metal bunker 1 mile under the earth, I'm done". Sure enough he did. I turned off the TV and walked away never to watch the show again. Maybe he's still in that bunker? Who knows?

Well Slow Horses did the same thing to me last night. The show has been incredible intelligent for 10 episodes. I assumed it always would be. But no. HERE'S THE SPOILER:

Although not as bad as getting a cell signal in an impenetrable fortress, something so implausible happened that I simply cannot forgive it. In my mind, literally nothing else that ever happens in the show could have really taken place so why bother watching? So one of the MI6 agents is undercover. He is looking for a Russian spy and also some Russian sleeper agents. Of course he finds them. But he does not know it is them. Why? Because the sleeper agent was a... WOMAN! Who would have ever guessed that women can be spies too? Ummm I would hope a trained MI6 agent would no that... but no. This was a nice wife and mother. She couldn't possible be a spy. She had to be a potential victim he needed to protect. Her husband (who happened to be a MAN) must have been the evil Russian spy.

This does not accurately measure my opinion. Mine needs to have flames shooting out of the ears and shaking at least 1 fist!

OK. That was dumb but I could have written it off to the fact he was biased and liked the lady's daughter and she was a great cool and hostess. But what happened next is simply unforgivable. The writers deserve to be punched. Hard. So after the spy (did I mention she was a... WOMAN!) uses a taser to knock out the MI6 agent, he wakes up. The sleeper agent and the evil Russian spy, who has already murdered at least two agents in the arc and presumably hundreds more, decide NOT to kill the MI6 agent. They are about to carry out a terrorist attack that will rock the entire world... and they leave the guy who can stop it alive. Why did they leave him tied up alone and alive? I have no idea. The writers didn't even try to include a semi-plausible excuse... because there isn't one! They would have immediately killed him and then carried out their attack. So in my mind, that character can't be alive. If he can't be alive, then nothing that has to do with him can ever happen. So why bother watching? Simple answer... I won't.

Oh well it was good for a few episodes. On to something else.

Have you ever rage quit a show like this?

For more details about the film you can visit the link that I leave you of Wikipedia | Para más detalles sobre el filme puedes visitar el link que te dejo de Wikipedia

In case you were wanting more | Por si quedaste con ganas de más

Cover photo | Foto de portada, Logo, Crane, Hand with pen, Yugi, Edward chibi, Edward Child, Edward young, Edward bleeding, Naruto chibi, Goku chibi, Jesper, Hand with a tablet, Sound system & Trigun