What would you be willing to do when you know you will never see a loved one again?

American politics has always been dysfunctional, but the era of social media, hyperpartisanship, and a seemingly endless parade of colourful characters has made that dysfunctionality more apparent—and more entertaining—than ever before. One might expect Hollywood, always eager to capitalise on the zeitgeist, to produce a wave of classic political dramas or thrillers that capture the absurdity and tension of the current moment. Yet, with few exceptions, the industry has largely failed to deliver. Instead, audiences are left with bland, by-the-books, low-budget efforts like Affairs of State, a 2018 political thriller directed by Eric Bross that feels less like a commentary on the times and more like a relic of a bygone era of filmmaking.

The film’s narrator and protagonist is Michael Lawson (David Corenswet), a fresh-faced college graduate who arrives in Washington, D.C. with dreams of political glory. His plan is to run for Congress one day, but first, he hopes to learn the ropes by working on someone else’s campaign. His role model is Rob Reynolds (Adrian Grenier), a young and ruthless campaign manager currently working for Senator John Boland Baines (David James Elliott), a Texas senator who has formed a new centre-right United Party and is preparing to announce a presidential run. Michael would love to join Baines’s campaign, but his chances are slim—until two things change his fortunes. First, his lesbian friend and roommate Callie (Thora Birch), a talented hacker, obtains a compromising video of a conservative judge. Second, Michael’s good looks help him seduce Mary Maple (Faye Grant), a wealthy and influential Baines supporter. Using both as leverage, Michael secures a job on the campaign. But things quickly become complicated when he becomes the object of romantic interest for Baines’s wife, Judith (Mimi Rogers), while simultaneously falling for Baines’s daughter, Darcy (Grace Victoria Cox).

Director Eric Bross makes no effort to hide the film’s low budget, and Affairs of State looks and feels very much like a standard television film. The production values are modest, the cinematography is workmanlike, and the score is forgettable. The film is saved somewhat by its authentic D.C. locations and an interesting cast that includes several actors who were once major stars—at least on the small screen. David James Elliott, best known for his role in JAG, brings a certain gravitas to the role of Senator Baines, while Faye Grant, a star of the 1980s miniseries V, is suitably icy as the calculating Mary Maple. Adrian Grenier, forever associated with Entourage, plays the slick campaign manager with a degree of charm that almost makes you forget how thin the character is. Thora Birch, whose career never quite recovered after American Beauty, is a standout as the passionate left-wing activist Callie, who is visibly troubled by her roommate’s willingness to sleep—both literally and figuratively—with the ideological enemy. And David Corenswet, who would go on to play Superman a few years later, shows flashes of the talent and charisma that would make him a star, even if the material doesn’t give him much to work with.

Where the film ultimately fails is in its weak and uninspired script, written by Tom Cudworth. The plot is a messy mix of soap opera-like melodrama and generic blackmail conspiracy, and it never quite decides what it wants to be. The film’s central premise—a young man using his looks and a stolen video to climb the political ladder—could have been the foundation for a sharp satire or a tense thriller, but Cudworth’s script lacks the nuance and intelligence to pull it off. The impression is somewhat improved by an unexpected twist near the end, but by that point, the damage is done. Affairs of State disappoints most because it takes a safe, generic approach to American politics. It completely misreads the actual trends, positing that a bland centrist party is a credible alternative to the current hyperpartisan divisions in America. In an era of political upheaval and realignment, this feels not just naive, but almost willfully ignorant. And when Cudworth is unable to resolve the plot in a more nuanced and realistic fashion, he resorts to brutal violence—a cheap and unsatisfying way to end the story.

Those who seek echoes of real events in the plot might interpret it as being, in some weird way, inspired by the unsolved mystery of Seth Rich’s murder in 2016. Rich, a Democratic National Committee staffer who was killed in Washington, D.C., became a figure of conspiracy theories and political controversy. But even if Bross and Cudworth had something like that in mind, they didn’t dare say it explicitly, and the connection remains tenuous at best. The film is too cautious to commit to any real-world parallel, and this lack of courage further undermines its credibility.

In the end, Affairs of State is watchable, and it features a decent cast that has seen better days and better roles. But it is a film that should be recommended only to those viewers who lack any better alternatives. For everyone else, there are far more compelling political dramas—both real and fictional—that are well worth your time.

RATING: 4/10 (+)

==

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Good evening, blogging friends, it's been a while since I've written in this community, but here I am again to review a Kdrama I really enjoyed, Reflection of You. You can find it on Netflix. It lasts sixteen episodes and is a thriller/romance/mystery. The story revolves around He Joo, an artist with a difficult and tormented childhood. Today, she is not only married to an influential man but also actively collaborates with a very prestigious art gallery and is a highly regarded painter herself. She is also a wife and mother of two children, Hu Su and Li Sa. At a certain point, she begins to go through a personal crisis, and precisely at this delicate moment in her seemingly perfect life, an incident occurs that changes everything: her daughter is slapped by a teacher who turns out to be Miss Gu, He Joo's former best friend. The plot here takes a leap into the past and shows the two friends as extremely close, especially Miss Gu, who is much more talented than her friend who seems to emulate her. She is almost a mentor to He Joo, not just a friend, but a source of inspiration and respect. Then Gu's then-boyfriend, Woo Jae, a handsome and troubled young artist, interferes in their friendship. He begins to become too close to He Joo, and their relationship becomes something murky and overwhelming, despite both of them loving Gu dearly.

Buenas noches, amigos blogueros, hacía tiempo que no escribía en esta comunidad, pero aquí estoy de nuevo para reseñar un K-drama que me encantó: Reflection of You. Lo pueden encontrar en Netflix. Consta de dieciséis episodios y es un thriller/romance/misterio. La historia gira en torno a He Joo, una artista con una infancia difícil y atormentada. Hoy en día, no solo está casada con un hombre influyente, sino que también colabora activamente con una prestigiosa galería de arte y es una pintora muy reconocida. Además, es esposa y madre de dos hijos, Hu Su y Li Sa. En cierto momento, comienza a atravesar una crisis personal, y precisamente en este delicado instante de su vida aparentemente perfecta, ocurre un incidente que lo cambia todo: su hija es abofeteada por una profesora que resulta ser la señorita Gu, la antigua mejor amiga de He Joo. La trama da un salto al pasado y muestra a las dos amigas como extremadamente cercanas, especialmente a la señorita Gu, que es mucho más talentosa que su amiga, quien parece imitarla. Ella es casi una mentora para He Joo, no solo una amiga, sino una fuente de inspiración y respeto. Entonces, Woo Jae, el entonces novio de Gu, un joven artista guapo y problemático, se entromete en su amistad. Comienza a acercarse demasiado a He Joo, y su relación se torna turbia y abrumadora, a pesar de que ambos aman profundamente a Gu.

Then we return to the present. Gu reappears in her former friend's life filled with anger and an immense thirst for revenge for her past relationship with Woo Jae. He Joo was convinced she had put the past behind her, especially since her ex-lover fell into a coma after an accident in Ireland, where they had spent an idyllic time enjoying the Irish countryside, painting, giving birth, and spending the first few months of their baby boy Hu Su. Woo Jae remained in a coma for many years and has completely lost his memory. Now Gu takes care of him, creating a fictional life around him in which they are happily married and content, and he loves her dearly, yet he continues to plot revenge on He Joo. Woo Jae is also a very talented artist, and while trying to recover his memory, he comes across the gallery where his ex-lover works. Seeing her again triggers strange feelings in him that he can't describe, having no memory. He Joo, on the other hand, feels confused and uneasy, fearful that her ex-lover's presence could ruin her already fragile family balance. Meanwhile, Miss Gu also works with the gallery, and reuniting this trio isn't a good idea, as each of them harbors secret feelings. Everything unfolds amidst secrets, recriminations, and petty vendettas, which also have repercussions against the poor, innocent children caught up in this terrible love triangle. There's Miss Gu's insatiable thirst for revenge, He Joo's guilt and whirlwind of emotions, and Woo Jae's desperate quest to recover his memories and clarify his feelings. And in between there are various other characters, He joo's children who suffer from their problems and doubts about their mother's past, He joo's brother who also hides a dark secret and has a crush on Miss Gu and other secondary characters with their more or less tragic stories.

Luego volvemos al presente. Gu reaparece en la vida de su antigua amiga llena de ira y una inmensa sed de venganza por su relación pasada con Woo Jae. He Joo estaba convencida de haber dejado atrás el pasado, especialmente desde que su ex amante cayó en coma tras un accidente en Irlanda, donde habían pasado un tiempo idílico disfrutando del campo irlandés, pintando, dando a luz y pasando los primeros meses de su hijo Hu Su. Woo Jae permaneció en coma durante muchos años y ha perdido completamente la memoria. Ahora Gu lo cuida, creando una vida ficticia a su alrededor en la que están felizmente casados y contentos, y él la ama profundamente, pero continúa tramando su venganza contra He Joo. Woo Jae también es un artista muy talentoso, y mientras intenta recuperar la memoria, se topa con la galería donde trabaja su ex amante. Volver a verla despierta en él extraños sentimientos que no puede describir, al no recordar nada. He Joo, por otro lado, se siente confundida e inquieta, temerosa de que la presencia de su ex amante pueda arruinar el ya frágil equilibrio de su familia. Mientras tanto, la señorita Gu también trabaja en la galería, y reunir a este trío no es buena idea, ya que cada uno alberga sentimientos secretos. Todo se desarrolla entre secretos, recriminaciones y pequeñas venganzas, que también tienen repercusiones para los pobres e inocentes niños atrapados en este terrible triángulo amoroso. Está la insaciable sed de venganza de la señorita Gu, la culpa y el torbellino de emociones de He Joo, y la desesperada búsqueda de Woo Jae por recuperar sus recuerdos y aclarar sus sentimientos. Y entre medias hay otros personajes: los hijos de He Joo, que sufren sus problemas y dudas sobre el pasado de su madre; el hermano de He Joo, que también oculta un oscuro secreto y está enamorado de la señorita Gu; y otros personajes secundarios con sus historias más o menos trágicas.

Obviously, during each episode, various details of the past and present will be revealed, and there will be several dramatic situations, including those relating to He Joo's husband, who has always suspected an affair but will try at all costs, truly any cost, to save the family. Surprises, drama, scenes, tears, secrets, tragedies, desire, love, and suspense will not be lacking in this drama. In my opinion, for those who love dramatic and slightly twisted stories full of secrets and scandals, this is an excellent drama. The characters are really well-developed and truly fascinating, and as often in Korean dramas, the actors are truly excellent. The plot is intriguing, even if, especially halfway through the series, it sags a bit, leaving some situations to languish a bit too much. The photography is obviously very good, and overall I find it an enjoyable K-drama, not a masterpiece, but still a drama that engages the viewer. I also really liked the opening of this series! In short, for me, a seven out of ten, obviously also full of beautiful actors and actresses, which doesn't hurt, right?

In conclusion, it is neither among the best nor among the worst dramas I have seen, but it is still a well-made product that has all the intrigues typical of Korean dramas, especially those involving wealthy people and artists. Well guys give it a chance!

Obviamente, durante cada episodio se revelarán varios detalles del pasado y del presente, y habrá varias situaciones dramáticas, incluyendo las relacionadas con el esposo de He Joo, quien siempre ha sospechado una infidelidad pero intentará a toda costa, literalmente a cualquier precio, salvar a la familia. Sorpresas, drama, escenas, lágrimas, secretos, tragedias, deseo, amor y suspenso no faltarán en este drama. En mi opinión, para quienes aman las historias dramáticas y un tanto retorcidas, llenas de secretos y escándalos, este es un drama excelente. Los personajes están muy bien desarrollados y son realmente fascinantes, y como suele suceder en los dramas coreanos, los actores son excelentes. La trama es intrigante, aunque, especialmente a la mitad de la serie, decae un poco, dejando que algunas situaciones se prolonguen demasiado. La fotografía es obviamente muy buena, y en general me parece un K-drama entretenido, no una obra maestra, pero aun así un drama que atrapa al espectador. ¡También me gustó mucho el comienzo de esta serie! En resumen, para mí, un siete sobre diez, obviamente también está llena de actores y actrices guapos, lo cual no viene mal, ¿verdad?

En conclusión, no se encuentra entre los mejores ni entre los peores dramas que he visto, pero sigue siendo un producto bien realizado que tiene todas las intrigas típicas de los dramas coreanos, especialmente aquellos que involucran a personas ricas y artistas. Denle una oportunidad, chicos.

Pictures source:

First picture edited by canva, others pictures taken by the pictures source, translation with deepl.

There are filmmakers who punch above their weight, and there are filmmakers who punch way above their weight. And then there is Damien Chazelle when he made Babylon. Arguably one of the most ambitious, but also one of the most disappointing films of this decade, Babylon is a gargantuan, three-hour-long period epic that attempts to capture the chaotic, debauched, and ultimately transformative transition of Hollywood from the silent era to the world of sound cinema. It is a film that swings for the fences with every single frame, a sprawling combination of melodrama, musical, and dark comedy that aims to be both a eulogy for a lost art form and a raucous celebration of its messy, beautiful origins. Yet, for all its ambition, the film collapses under the weight of its own excess, leaving behind a spectacle that is more exhausting than exhilarating.

The plot begins in 1926 in California, where we are introduced to the nominal protagonist, Manuel “Manny” Torres (Diego Calva), a young Mexican immigrant trying to make ends meet through a series of odd jobs. One such job involves transporting an elephant to a spectacularly debauched party at the estate of Don Wallach (Jeff Garlin), the head of the Kinoscope film studio. This bacchanal, where partygoers indulge in every conceivable excess involving alcohol, drugs, and sex, serves as the film’s chaotic introduction to its sprawling cast of characters. Here, Manny meets the studio’s charismatic but fading star, Jack Conrad (Brad Pitt); the brash, aspiring actress Nellie LaRoy (Margot Robbie); the stoic African American jazz musician Sidney Palmer (Jovan Adepo); the Chinese lesbian intertitle designer Lady Fay Zhu (Li Jun Li); and the elderly, cynical gossip columnist Elinor St. John (Jean Smart). It is a dizzying introduction to a world that Chazelle clearly loves, but one he struggles to contain.

From this chaotic opening, Manny manages to secure a job at Kinoscope and gradually climbs the ranks to become a studio executive. Meanwhile, Nellie, whose real-life persona perfectly fits her debut role as a “wild child,” quickly becomes a minor star. But the arrival of sound in 1927 changes everything. Once-great actors like Jack Conrad find themselves unable to adapt to the new technology, their voices or their stage training failing them. Manny, who has fallen in love with Nellie, desperately tries to keep her career afloat, but her increasingly irresponsible behaviour threatens to destroy them both stocks.

It is very likely that Chazelle, while making Babylon, had his eyes firmly fixed on the Oscar for Best Picture that had eluded him six years earlier when La La Land lost to Moonlight. The film is certainly an ambitious and prestige production: a three-hour running time, a very high budget, and at least two cast members who belong to the increasingly exclusive club of actors that can be described as true stars—Brad Pitt and Margot Robbie. Everything about the film screams “award season contender,” from its period setting to its meta-cinematic themes.

Chazelle indeed tries to depict one of the most pivotal chapters in Hollywood’s history: the transition from the “truly magical world of silent cinema and the libertine 1920s towards the more disciplined world of sound cinema in the conservative 1930s.” The film is littered with references to classic films, ranging from The Jazz Singer to Singin’ in the Rain, with footage from the latter extensively used in the film’s 1952 epilogue. Even the characters are based on real people: Lady Fay Zhu is a fictionalised version of Anna May Wong, Elinor St. John is based on British writer Elinor Glyn, and Jack Conrad is clearly inspired by the tragic figure of John Gilbert. Real-life figures like Irving Thalberg (Max Minghella), William Randolph Hearst (Pat Skipper), and Marion Davies (Chloe Fineman) also make appearances stocks.

Yet, despite all these references, Chazelle discards period accuracy in almost every respect, except in one important detail. The 1920s Hollywood, or Jazz Age America in general, was notable for its excess, and Chazelle decides to show it in all of its glory. This includes nudity, sex, graphic violence, and gore, as well as various bodily functions. The latter makes many scenes that are supposed to be darkly humorous feel genuinely scatological, crossing a line from transgressive to simply unpleasant.

On the other hand, Chazelle deliberately employs anachronisms in Justin Hurwitz’s music score, as well as in the costumes and hairstyles worn by Nellie LaRoy. This, in a way, wrecks the suspension of disbelief, at least among hardcore cinephiles or silent Hollywood aficionados. The jarring mix of modern and period elements creates a dissonance that feels less like a clever artistic choice and more like a lack of confidence in the period setting.

The biggest problem for the film, however, is its excessive length and lack of a coherent story. Chazelle seems at odds with himself about whether to use the character of Manny as some sort of audience’s window into the crazy world of old Hollywood or as a true protagonist. Nellie, who is supposed to be some sort of tragic protagonist, is underwritten, her “wild child” persona becoming repetitive rather than compelling. Jack Conrad drowns in historical clichés, his arc of a silent star undone by sound feeling tired and predictable. Both Robbie and Pitt are somewhat too old for their roles, which further undermines the film’s credibility.

In an attempt to provide some closure, Chazelle introduces a storyline involving Nellie being in debt to LA gangster James McKay (Tobey Maguire). This provides some melodrama, dark humour, and scenes of rats being eaten alive in underground clubs. But the film ends on an anti-climactic note, with Manny being exiled back to Mexico. The actual ending, where he returns to Los Angeles to watch Singin’ in the Rain, succumbs to Chazelle’s pretentiousness, with the screen being replaced by a montage of the most important films in the history of cinema. It is a moment of staggering self-indulgence that tries to elevate the film to a grand statement about the magic of cinema but instead feels like a desperate plea for validation.

Giving extra emphasis to “minority” characters who would soon become subject to controversial Oscar quotas also makes the film lose much of its focus. It looks less like an attempt to honour Hollywood history and more like a cheap pandering to contemporary sensibilities, a cynical calculation that undermines the film’s artistic integrity.

Ultimately, Babylon turned into a major commercial flop, and the critics were divided. For a film with such ambition, this usually means very low chances that its bad reputation might improve in the future. Babylon is a monument to overreach, a film that tried to do too much and, in the process, did very little well. It is a fascinating failure, but a failure nonetheless.

RATING: 4/10 (+)

==

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[Monkey Quest] Toei has once again showcased its major Japanese-American co-production. They drew inspiration from the classic story "Journey to the West" (the main inspiration for DB), adapting it for a space-based version. https://variety.com/2026/film/global/toei-animation-monkey-quest-1236787858/

[Baki] One of the best Japanese battle-shounen/martial arts anime parodies introduced another US President, this time Donald Trump. https://www.comingsoon.net/tv/news/2151105-donald-trump-parody-netflix-baki-anime-debut

[Pokemon] We'll get a new anime series in 2027, and for now, we have a promotional image. https://www.comingsoon.net/tv/news/2151233-pokemon-tales-the-misadventures-of-sirfetchd-pichu-first-photo

[Bleach] The anime will debut with the final season on July 25th. There are also rumors that Kubo Tite is supposedly writing another arc for Bleach. This is possible, as he'd definitely like to earn a few million for his retirement (new games, new anime, new content in general). He also drew another comic during his hiatus, so he's not rusty. Let's just hope it's better than that leaky TYBW. https://www.comingsoon.net/tv/news/2151315-bleach-thousand-year-blood-war-final-season-release-date-visual

[Alley Cats] We've got the trailer for Ricky Gervais's new 18+ series. Premieres August 7th. https://www.comingsoon.net/tv/trailers/2151525-ricky-gervais-r-rated-netflix-tv-show-alley-cats-gets-first-trailer

[Coogler x Netflix] Ryan Coogler's company has signed a multi-year deal with Netflix. https://variety.com/2026/tv/news/ryan-coogler-proximity-media-netflix-deal-tv-shows-1236785080/

[The Last Ship] A series by a renowned director is coming to Netflix. https://www.comingsoon.net/tv/news/2151007-5-seasons-of-michael-bay-hit-tnt-tv-show-comes-to-netflix

[The Boroughs] Well, you won't be watching the second season of the Duffer Brothers series. Viewership was too low. https://www.comingsoon.net/tv/news/2149845-duffer-brothers-netflix-sci-fi-horror-series-canceled

One of the actors is upset with Netflix for canceling the series. I haven't seen it yet, maybe I won't see it at all, but... I'll be cruel - business is business, and it can't work any other way. It has to be profitable, and you have to shove your emotions up your ass. https://www.comingsoon.net/tv/news/2151827-canceled-netflix-tv-show-star-vows-sweet-revenge-against-streaming-service

[Outer Banks] The final season will debut on August 20th. https://www.comingsoon.net/tv/trailers/2150298-outer-banks-final-season-sets-release-date-in-netflix-tv-shows-season-5-trailer

[Animation for Adults] Netflix has ordered another animated film for adults. https://www.comingsoon.net/tv/news/2142714-netflix-greenlights-new-animated-comedy-show-after-strip-law-cancellation

[The East Palace] A new series starring Nam Joo-hyuk will premiere on July 17th. https://www.comingsoon.net/tv/news/2149860-netflix-the-east-palace-teaser-trailer

[Heartstopper Forever] The series will return on July 17th. https://www.comingsoon.net/movies/news/2142033-joe-locke-movie-sequel-netflix-release-date

[George Lucas x Minions] The creator of the iconic franchise will star as one of the Minions in the upcoming animated film. https://www.comingsoon.net/movies/news/2151145-george-lucas-minions-monsters-despicable-me-role

[Lego x Keanu] Keanu Reeves will star in the next Lego movie. https://www.comingsoon.net/movies/news/2151758-keanu-reeves-cast-in-new-lego-movie-with-live-action-twist

[Fall 2] The sequel hits theaters on September 9th. https://www.comingsoon.net/movies/news/2142523-fall-2-gets-new-title-release-date-stomach-churning-poster

[Ice Cube’s Are We There Yet?] Ice Cube and Nia Long will direct a sequel to the film that premiered 20 years ago. https://www.comingsoon.net/movies/news/2151662-beloved-ice-cube-movie-finally-getting-a-sequel-after-20-years

[Ice Cream Man] A new horror film from Eli Roth will hit theaters on August 7th. https://www.comingsoon.net/movies/trailers/2141123-eli-roth-slasher-movie-ice-cream-man-chilling-trailer

[Anything but Ghosts] We've received word that the director of supposedly this year's top horror film, Obsession, is working on another film. https://www.comingsoon.net/movies/news/2142367-obsession-directors-next-movie-update-adds-beloved-comedy-star-to-cast

Monkey Quest | Trump w anime | Bleach | Pokemon | Ryan Coogler x Netflix | Ice Cube robi sequel swojego filmu | Outer Banks Ice Cream Man | Obsession | Heartstopper Forever | Fall 2

[Monkey Quest] Toei pochwaliło się po raz kolejny swoją wielką Japońsko-Amerykańską koprodukcją. Generalnie inspirowali się klasyczną opowieścią "Podróż na Zachód" (główna inspiracja dla DB), przerabiając ją na wersję w kosmosie. https://variety.com/2026/film/global/toei-animation-monkey-quest-1236787858/

[Baki] Jedna z najlepszych Japońskich parodii battle-shounenów / anime o sztukach walki, pokazała kolejnego Prezydenta USA, tym razem Donalda Trumpa. https://www.comingsoon.net/tv/news/2151105-donald-trump-parody-netflix-baki-anime-debut

[Pokemon] W 2027 dostaniemy nową serię anime, a póki co mamy obrazek promocyjny. https://www.comingsoon.net/tv/news/2151233-pokemon-tales-the-misadventures-of-sirfetchd-pichu-first-photo

[Bleach] Anime zadebiutuje wraz z finałowym sezonem już 25 lipca. Poza tym krążą plotki, że Kubo Tite ma podobno napisać jeszcze jeden arc do Bleacha. Jest to możliwe, bo na pewno chciałby sobie dorobić parę milionów do emerytury (nowe gry, nowe anime, generalnie nowy content). Dodatkowo rysował w trakcie przerwy inny komiks, wiec nie zardzewiał. Oby był tylko lepszy niż ten dziurawy jak rondel TYBW. https://www.comingsoon.net/tv/news/2151315-bleach-thousand-year-blood-war-final-season-release-date-visual

[Alley Cats] Dostaliśmy trailer nowego serialu +18 od Ricky'ego Gervaisa. Premiera 7 sierpnia. https://www.comingsoon.net/tv/trailers/2151525-ricky-gervais-r-rated-netflix-tv-show-alley-cats-gets-first-trailer

[Coogler x Netflix] Firma Ryana Cooglera podpisała kilkuletni kontrakt z Netflixem. https://variety.com/2026/tv/news/ryan-coogler-proximity-media-netflix-deal-tv-shows-1236785080/

[he Last Ship] Serial znanego reżysera pojawi się na Netflixie. https://www.comingsoon.net/tv/news/2151007-5-seasons-of-michael-bay-hit-tnt-tv-show-comes-to-netflix

[The Boroughs] No to ten, nie obejrzycie drugiego sezonu serialu braci Duffer. Oglądalność była zbyt niska. https://www.comingsoon.net/tv/news/2149845-duffer-brothers-netflix-sci-fi-horror-series-canceled

Jeden z aktorów obraził się na Netflixa za skasowanie serialu. Jeszcze go nie widziałem, może w ogóle go nie zobaczę, ale... Będę okrutny - biznes to biznes i inaczej dzialać nie może. Musi się opłacać, a emocje trzeba sobie wsadzić w tyłek. https://www.comingsoon.net/tv/news/2151827-canceled-netflix-tv-show-star-vows-sweet-revenge-against-streaming-service

[Outer Banks] Ostatni sezon zadebiutuje 20 sierpnia. https://www.comingsoon.net/tv/trailers/2150298-outer-banks-final-season-sets-release-date-in-netflix-tv-shows-season-5-trailer

[Animacja dla dorosłych] Netflix zamówił kolejny film animowany dla dorosłych. https://www.comingsoon.net/tv/news/2142714-netflix-greenlights-new-animated-comedy-show-after-strip-law-cancellation

[The East Palace] 17 lipca dostaniemy nowy serial z gwiazdą Nam Joo-hyuk. https://www.comingsoon.net/tv/news/2149860-netflix-the-east-palace-teaser-trailer

[Heartstopper Forever] Serial powróci 17 lipca. https://www.comingsoon.net/movies/news/2142033-joe-locke-movie-sequel-netflix-release-date

[George Lucas x Minions] Twórca kultowej marki wystąpi jako jeden z Minionków w nadchodzącym filmie animowanym. https://www.comingsoon.net/movies/news/2151145-george-lucas-minions-monsters-despicable-me-role

[Lego x Keanu] Keanu Reeves wystąpi w kolejnym filmie o Lego. https://www.comingsoon.net/movies/news/2151758-keanu-reeves-cast-in-new-lego-movie-with-live-action-twist

[Fall 2] Sequel trafi do kin 9 września. https://www.comingsoon.net/movies/news/2142523-fall-2-gets-new-title-release-date-stomach-churning-poster

[Ice Cube’s Are We There Yet?] Ice Cube i Nia Long zrobią sequel filmu, który miał premierę 20 lat temu. https://www.comingsoon.net/movies/news/2151662-beloved-ice-cube-movie-finally-getting-a-sequel-after-20-years

[Ice Cream Man] 7 sierpnia do kin trafi nowy horror od Eli Roth. https://www.comingsoon.net/movies/trailers/2141123-eli-roth-slasher-movie-ice-cream-man-chilling-trailer

[Anything but Ghosts] Dostaliśmy informacje o tym, że twórca podobno topowego horroru tego roku, czyli Obsession, tworzy kolejny film. https://www.comingsoon.net/movies/news/2142367-obsession-directors-next-movie-update-adds-beloved-comedy-star-to-cast

Portada diseñada por mi en el editor de Canva

Para resumirle esta serie a cualquiera que no la haya visto antes, no me llevaré demasiado tiempo, basicamente se trata de una unidad de elite de investigación, que se dedica a tratar de resolver crímenes, en su mayoría de orden sexual, los personajes muchas veces se involucran emocionalmente con las víctimas y toman muy en serio su trabajo. Por lo general los capítulos de la serie no mantienen un margen de continuidad, así que puedes ver cualquiera al azar.

La pareja principal de investigadores (Benson y Stabler) forman un match perfecto que se complementa muy bien, porque cada unos sirve como contención del otro. Olivia Benson es una detective excepcional, maneja un nivel de empatía muy alto con las víctimas y trata de entenderlas por todos los posibles, a menudo es la contención ideal de Elliot Stabler quién es más explosivo y visceral cuando se encuentra frente a criminales especialmente sarcásticos y crueles.

En conclusión les puedo decir que por mucho que pasen los años, esta serie jamás pasará de moda porque cuando empiezas a verla ya no puedes parar hasta haber visto varios capítulos 😄

Imagen diseñada por mi en el editor de Canva.

What are you willing to sacrifice?

_Source

The only reason I watched this miniseries is because it's an adaptation of a Harlan Coben novel. This author has made a lot of money since signing a deal with Netflix to adapt many of his novels into miniseries.

There have been Polish, French, British, and Spanish productions, and one of his novels was even adapted in Latin America. I haven't seen it yet, and I don't even know if it's been released; I have to find out. His novels have also been very successful because the author likes to include surprising plot twists, which impact both the reader and the viewer of the adaptations.

So far, I've seen several of his adaptations—French, British, and Spanish—and, for me, the best is still The Innocents, produced in Spain and also available on Netflix. Perhaps it's because the director of that miniseries is Oriol Paulo, a filmmaker who also likes to include plot twists, and with The Innocents he outdid himself, and so did we.

I Will Find You is an adaptation of the novel of the same name, which has received positive reviews from readers. I haven't read it, but given this author, I understand its success, because his stories are addictive. As they unfold and you piece together the puzzle, trying to unravel the mysteries, they always surprise you with some shocking revelation.

I Will Find You tells the story of David Burroughs, a man sentenced to prison for the alleged murder of his young son with a baseball bat. He proclaims his innocence, but the boy's disfigured body was found in his house, and all the evidence points to him. Everything changes when his sister-in-law, Rachel Mills, shows him a photograph of an older boy with the same birthmark on his face. He then decides to escape from prison to find him.

That's the essence of the plot, of course, but intrigue and mystery also come into play: suspects, the FBI hot on his heels, the Irish mafia seemingly involved, and powerful corporations implicated. Is the boy in the photo his son? If so, whose body was found? Many questions that seem to have no answer, and a man desperate to uncover the truth.

It's a miniseries that doesn't aim for deep analysis; its purpose is to entertain, and if you don't try to find too much logic in certain situations, you'll enjoy it more, because everything seems quite absurd.

It's one of those productions you watch and forget a few days later. That said, it has good production values; you can tell they invested money in the miniseries. However, the resolution of the case and the motivations of those involved in this whole plot seemed too simplistic and incoherent to me.

Despite that, I enjoyed watching it. That's why I recommend it for switching off and getting swept away by this wacky story, trying to guess who the villain is. I think that's where the fun lies. The acting isn't anything special, but the cast does their jobs well.

Look for it on Netflix and tell me what you think.

La única razón por la que vi esta miniserie es porque es una adaptación de una novela de Harlan Coben. Este autor ha ganado mucho dinero desde que firmó un acuerdo con Netflix para adaptar muchas de sus novelas a miniseries.

Ha habido producciones polacas, francesas, británicas y españolas, e incluso una de sus novelas fue adaptada en Latinoamérica. Todavía no la he visto, y ni siquiera sé si ya se estrenó; tengo que averiguarlo. Sus novelas también han tenido mucho éxito porque al autor le gusta incluir giros argumentales sorprendentes, que impactan tanto al lector como al espectador de las adaptaciones.

Hasta ahora, he visto varias de sus adaptaciones —francesas, británicas y españolas— y, para mí, la mejor sigue siendo Los inocentes, producida en España y también disponible en Netflix. Quizás sea porque el director de esa miniserie es Oriol Paulo, un cineasta al que también le gusta incluir giros argumentales, y con Los inocentes se superó a sí mismo, y nosotros también.

Te encontraré es una adaptación de la novela homónima, que ha recibido críticas positivas por parte de los lectores. No la he leído, pero tratándose de este autor, entiendo su éxito, porque sus historias son adictivas. A medida que se desarrollan y uno va armando el rompecabezas, intentando desentrañar los misterios, siempre sorprenden con alguna revelación impactante.

Te encontraré narra la historia de David Burroughs, un hombre condenado a prisión por el presunto asesinato de su hijo pequeño con un bate de béisbol. Proclama su inocencia, pero el cuerpo desfigurado del niño fue encontrado en su casa y todas las pruebas apuntan hacia él. Todo cambia cuando su cuñada, Rachel Mills, le muestra una fotografía de un niño mayor con la misma marca de nacimiento en la cara. Entonces decide escapar de prisión para encontrarlo.

Esa es la esencia de la trama, por supuesto, pero también entran en juego la intriga y el misterio: sospechosos, el FBI pisándole los talones, la mafia irlandesa aparentemente involucrada y poderosas corporaciones implicadas. ¿Es el niño de la foto su hijo? Si es así, ¿de quién fue el cuerpo encontrado? Muchas preguntas que parecen no tener respuesta, y un hombre desesperado por descubrir la verdad.

Es una miniserie que no busca un análisis profundo; su propósito es entretener, y si no intentas encontrar demasiada lógica en ciertas situaciones, la disfrutarás más, porque todo parece bastante absurdo.

Es una de esas producciones que ves y olvidas a los pocos días. Dicho esto, tiene una buena producción; se nota que invirtieron dinero en la miniserie. Sin embargo, la resolución del caso y las motivaciones de los involucrados en toda esta trama me parecieron demasiado simplistas e incoherentes.

A pesar de eso, disfruté viéndola. Por eso la recomiendo para desconectar y dejarse llevar por esta historia disparatada, intentando adivinar quién es el villano. Creo que ahí reside la diversión. Las actuaciones no son nada del otro mundo, pero el reparto cumple bien su papel.

Búscala en Netflix y dime qué te parece.

_Source

Gifs and separators made by me in photoshop. Translation with Deepl

Rating: 70/100

Originally posted through scrobble.life/tv.

Public Relations (S4x01)

Airdate: 25 November 2010

Written by: Matthew Weiner Directed by: Phil Abraham

Running Time: 48 minutes

Mad Men entered its fourth season from a position of considerable strength. The series had not only survived the departure of key creative figures but had emerged with its critical cachet intact, a status symbolically cemented when President Barack Obama—then at the zenith of his popularity—publicly declared himself a fan. The viewing ratings had begun to improve, and the season premiere arrived with the promise of shedding the static, traditional world of the first three seasons to ride the wave of social and cultural change that defined the 1960s. Yet, as the episode’s title “Public Relations” suggests, the gap between perception and reality is vast, and the season opener, while competent, ultimately feels like a holding pattern rather than a bold leap forward.

If the series was in a good place, its protagonist was decidedly not. Don Draper (Jon Hamm) now lives alone in a cold New York City apartment, his cleaning lady a poor substitute for the family he has lost. The episode’s B-plot with Betty (January Jones) and Henry Francis (Christopher Stanley) at Thanksgiving underscores the domestic dislocation, but Don’s own situation is more poignant. Goaded by his accountant, he is forced to confront the financial reality of maintaining the Ossining house, telling Betty and the children to leave so he can sell it. It is a moment that crystallises his rootlessness: the man who once defined himself by his suburban home and family is now a visitor in his own life.

Things are scarcely better at Sterling Cooper Draper Pryce (SCDP). Bert Cooper (Robert Morse) wryly notes that the price of corporate freedom was steep, and the firm cannot even afford a proper conference table. The charade of claiming a second floor to impress clients is a necessary fiction, but it underscores the agency’s precarious position. Matters worsen when Don is interviewed for Advertising Age. His understandable reluctance to discuss his past leads to an article describing him as a “cypher,” making clients uneasy and costing the firm the lucrative jai alai contract with Horace Cook Jr. Bert publicly blames Don for the fiasco, and the only comfort comes from Joan Holloway (Christina Hendricks), who offers the weary reassurance: “It’ll pass.”

Don receives another professional setback when dealing with Jantzen Swimwear. The executives make an impossible demand: a campaign that gives them an edge over competitors while abstaining from sex, as they wish to be “wholesome” and “family oriented.” Don tries his best with an innovative, only slightly suggestive image, but when the Jantzen men refuse, he loses his temper and chases them from the office. The scene is effective in illustrating Don’s fraying patience, but it also represents a historical distortion. Real-life Jantzen was known for its playful, often racy 1950s ad campaigns, and depicting their executives as prudes feels like a simplification of the struggle between the Old and New in the 1960s business world.

Meanwhile, Pete (Vincent Kartheiser) brings Peggy (Elisabeth Moss) another account: Sugarberry Ham, a company producing canned ham. Peggy and her young subordinate Joey Baird (Matt Long) stage a publicity stunt by paying two actresses to fight over a ham, later creating the slogan “Our hams are worth fighting for.” The stunt nearly ends in disaster when the women are arrested, and Peggy must embarrassingly beg Don for bail money. Yet it ultimately succeeds, with Sugarberry Ham sales soaring. The subplot is interesting but not particularly original, and it feels like a retread of earlier, more inventive schemes.

Don’s private life grows increasingly messy. Instead of picking up women in the usual way, he fulfils his sexual needs with a call-girl who slaps him during sex, a subplot that dabbles in BDSM territory but feels like padding. Roger (John Slattery), apparently concerned for his friend’s wellbeing, arranges a blind date with Bethany Van Nuys (Anna Camp), an aspiring stage actress and college friend of his young wife Jane. When Don meets her, he sees a striking resemblance to Betty, but Bethany is reluctant to yield to his initial advances. The episode ends with Don realising his mistake and agreeing to a second interview with a Wall Street Journal reporter, previously arranged by Bert, to repair the damage from his first disastrous interview.

While Public Relations maintains the high quality of the previous three seasons, it represents a slight disappointment. With the plot advancing roughly a year since the last season finale, most of the dramatic changes have already occurred, and the episode largely deals with their long-term consequences. There is too much focus on Don and his private issues, with corporate and broader cultural struggles being overshadowed. The only saving grace is Jon Hamm, who shows a little more acting range by playing a protagonist suddenly realising he has lost some of his “mojo.”

The episode also appears stuck in the past it tries to escape. Peggy and Joey playfully recreate “Johnny and Marsha,” a 1951 novelty song by Stan Freberg, a reference few in the mid-1960s would remember and hardly anyone in the contemporary audience would recognise. It is a moment that feels like a relic, undermining the show’s claim to be riding the wave of change. Ultimately, Public Relations is a solid but unspectacular season opener, one that sets the pieces on the board but lacks the dramatic momentum of the series’ best episodes.

RATING: 6/10 (++)

==

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The Dragon and the Wolf (S7x07)

Airdate: 27 August 2017

Written by: David Benioff & D. B. Weiss Directed by: Jeremy Podeswa

Running Time: 80 minutes

As Game of Thrones barrelled towards its conclusion, its scale became its defining, and ultimately suffocating, characteristic. The final episodes of its penultimate seasons were cultural events, shattering viewership records with each outing. This expansion was mirrored in their bloated running times, a trend that reached its zenith with Season 7’s finale, The Dragon and the Wolf. Clocking in at nearly eighty minutes, it was the longest episode in the series’ history to that point, a testament to the show’s unprecedented commercial and production heft. Yet, in a grim foreshadowing of the creative collapse to come, showrunners David Benioff and D.B. Weiss’s insistence on quantity—more characters, more runtime, more spectacle—failed catastrophically to translate into quality. The result is an episode that, while undeniably showcasing the series’ high production values and containing several seismic plot twists, feels hollow, mechanically plotted, and strangely forgettable when held against the taut, character-driven tension of previous season finales like The Winds of Winter or The Children. It is the moment where the show’s artifice began to show through the cracks, prioritising fan service and narrative housekeeping over the nuanced storytelling that once made it revolutionary.

The centrepiece of the episode is a clear attempt by Benioff and Weiss to achieve a feat previously rendered impossible by George R.R. Martin’s sprawling, brutal narrative: assembling a critical mass of major characters in one location. The excuse for this grand reunion is a parley in the ruins of the Dragonpit in King’s Landing. The contrived ‘wight hunt’ mission from the previous episode has succeeded, providing a macabre diplomatic prop. With Daenerys’s Unsullied and Dothraki armies at the gates, Cersei tentatively agrees to meet. The location is spectacular, a haunting relic of Targaryen power partially recreated at the ancient Roman amphitheatre near Seville, and it allows for a series of charged reunions—Tyrion and Cersei, the Hound and the Mountain, Brienne and the Hound, even Bronn and Tyrion—that provide a fleeting, nostalgic thrill. Yet, the scene is immediately burdened by its own ambition. It becomes a clunky exercise in exposition and repeated negotiation, characters stating and restating their positions in a vain attempt to generate tension. The dialogue, once the series’ sharpest weapon, feels functional and leaden, serving only to move pieces on a board rather than reveal character. The captured wight’s reveal is visually effective, and Lena Headey sells Cersei’s horrified reaction superbly, but the subsequent diplomatic dance is tedious. Jon Snow’s untimely pledge of fealty to Daenerys undermines the fragile truce, forcing Tyrion into a perilous solo audience with his sister. This private meeting is one of the episode’s stronger moments, relying on the actors’ deep-seated history, but its outcome—Cersei’s apparent agreement to send Lannister forces North—is revealed minutes later to be a ruse. Jaime’s subsequent disillusionment and decision to ride north alone, as the first snows fall on the capital, is a powerful character beat for Nikolaj Coster-Waldau, but it feels like an island of genuine drama in a sea of manufactured conflict.

Meanwhile, in Winterfell, the long-simmering tension between Sansa and Arya Stark reaches its contrived climax. The season had laboured to portray their rift as one of deep-seated mistrust and ideological difference, with Littlefinger gleefully fanning the flames. Sansa summons Arya to the Great Hall for a trial, with Petyr Baelish looking on, expecting to see his machinations bear fruit. In a dramatic twist, Sansa turns the tables, indicting Baelish himself for a litany of crimes, from the murder of Jon Arryn to the betrayal of Ned Stark. Arya then executes him by slitting his throat. On paper, it is a moment of catharsis—the demise of one of the series’ most venomous and manipulative figures. In execution, however, it is deeply unsatisfying and emblematic of the season’s writing woes. To service this ‘clever’ twist, Benioff and Weiss forced both Sansa and Arya to act with a histrionic, out-of-character hostility for weeks, even in private. The revelation that this was an elaborate ruse all along comes from nowhere, with no prior hints, no scenes of the sisters conspiring, and no logical explanation for how they outmanoeuvred the master manipulator in his own game. Baelish, a character whose survival depended on anticipating every angle, is reduced to a passive, dithering fool throughout Season 7, inexplicably lingering in Winterfell while his influence waned and offering himself up to a woman who plainly despised him. His death feels less like an earned comeuppance and more like the writers briskly clearing a narrative obstacle they no longer had the patience or skill to integrate meaningfully.

The episode’s other major narrative threads continue this trend of functional, often clumsy, plot advancement. Theon Greyjoy’s subplot on Dragonstone is a brief interlude of attempted redemption. Ashamed over his failure to rescue Yara, he steels himself to try again, asserting authority over a dissenting Ironborn captain Harrag (played by Brendan Cowell) by winning a brutal fist-fight. While it aims to show Theon reclaiming a shred of his identity, it is rushed and feels disconnected from the episode’s core, a box-ticking exercise in character progression.

Far more significant is the long-awaited revelation in Winterfell. Samwell Tarly, having fled the Citadel with stolen books, meets Bran Stark. Combining Sam’s historical research with Bran’s greensight, they uncover the truth of Jon Snow’s parentage: Lyanna Stark and Rhaegar Targaryen were not a story of rape and abduction, but of secret love and marriage. Jon, originally named Aegon Targaryen, is the legitimate heir to the Iron Throne. This moment is handled with a suitable gravity, aided by the poignant use of flashback footage, and it is the episode’s most successful narrative beat because it pays off a mystery seeded since the very first episode. It is a rare instance of the show drawing effectively on its deep lore.

This profound revelation is immediately undercut by what follows. Aboard the ship sailing north, Tyrion witnesses Jon entering Daenerys’s cabin, deducing the start of their romantic relationship. The subsequent love scene feels jarringly obligatory, as if the writers were fulfilling a contractual quota for nudity and sex that the series had increasingly outgrown. The dramatic irony for the audience—the knowledge that this union is unknowingly incestuous—adds a layer of queasy tension, but the scene itself is perfunctory, lacking the emotional or political weight such a momentous coupling should carry. It underscores a growing problem: the show was now prioritising plot points over organic character development.

The finale’s closing sequence at Eastwatch-by-the-Sea returns to spectacle. Tormund and Beric Dondarrion watch in horror as the Night King, astride the reanimated dragon Viserion, unleashes blue fire upon the Wall, breaching it and allowing the Army of the Dead to flood into the Seven Kingdoms. It is a stunning visual effects set-piece, a formidable cliffhanger designed to leave audiences awestruck. Yet, even this triumph is tempered by logistical absurdity. The Night King’s acquisition of a dragon was the result of the previous episode’s much-criticised ‘wight hunt’, a plan so strategically idiotic that it relied on characters abandoning all established sense to facilitate a cool visual. The finale’s grand threat is therefore built on a foundation of narrative contrivance.

Ultimately, The Dragon and the Wolf serves a dual, flawed purpose: it is a narrative mop-up operation following the chaotic events of Beyond the Wall, and a lavish piece of fan service. The Dragonpit summit is impressive to look at but crippled by verbose, exposition-heavy dialogue and tension that feels manufactured through last-minute character reversals rather than earned through drama. The Winterfell storyline sacrifices character consistency for a shock twist that fails to convince. Like much of the season, the episode suffers from the showrunners’ now-chronic disregard for the series’ own internal logic—geography and travel time are collapsed into nothing, allowing characters to teleport across continents to serve the plot’s needs. Dedicated fans, whose numbers had swelled to a global audience, began to spot not only increasing deviations from Martin’s source material but frustrating inconsistencies with the show’s own earlier seasons, a sign of a writing room losing its grip on its own creation.

In isolation, The Dragon and the Wolf is a competently made piece of television. It has memorable moments, a major revelation, and a spectacular finale. But its flaws are systemic and glaring. The downward trajectory in writing quality, the substitution of complex character motives for plot mechanics, and the over-reliance on spectacle over substance are all unmistakably present. Viewed not as a standalone piece but as the prelude to an infamous final season, it ceases to be merely flawed and becomes ominously prophetic. It demonstrated that the show could still deliver shocks and scale, but had forgotten how to make those things matter.

RATING: 5/10 (++)

==

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Some movies are remembered because of their big budgets and special effects, while others are remembered because they make people think. They Live is one of those films that stayed relevant because of its strange concept, memorable moments, and willingness to say something different. Released in 1988, it became a cult classic that continues to gain new fans.

The film was written and directed by John Carpenter, one of the most influential filmmakers in the horror and science fiction genres. Carpenter was known for creating movies with strong atmosphere, unforgettable characters, and ideas that went beyond simple entertainment. With They Live, he created a movie that mixed sci fi action with a deeper message about society and control.

Roddy Piper stars as John Nada, a homeless drifter looking for work and a better life. Piper was best known as a professional wrestler, but he proved he could carry a movie with his personality and natural charisma. His performance gives the character a tough but relatable quality.

Keith David plays Frank Armitage, a construction worker who becomes involved in Nada’s strange discovery. David brings a great balance of humor and seriousness to the role, and his chemistry with Piper is one of the biggest strengths of the film.

The plot begins when Nada discovers a secret group that is hiding the truth about the world. After finding a pair of special sunglasses, he is able to see that many people are actually aliens disguised as humans. He also discovers hidden messages everywhere telling people to obey, consume, and stay unaware.

What makes They Live work so well is that the idea is simple but powerful. The movie takes everyday things like advertising, television, and consumer culture and turns them into something much more sinister. Whether viewers agree with the message or not, the film definitely gets people thinking.

One of the most famous scenes in the movie is the fight between Nada and Frank. The scene goes on much longer than expected, but that is exactly why it became so memorable. It has become one of the most talked about and copied fight scenes in cult movie history.

John Carpenter’s direction gives the movie a unique style. The film has the look and feel of an eighties action movie while also carrying the atmosphere of a classic science fiction thriller. The music, pacing, and visuals all help create a world that feels strange but believable.

Roddy Piper’s performance is a big reason the movie remains entertaining. He brings humor and attitude to the role without making Nada feel like a typical action hero. His character is not a superhero, he is just someone who discovers the truth and decides he has to do something about it.

The special effects may look dated compared to modern films, but that does not hurt the movie. In many ways, the practical effects and old school style add to its charm. They Live feels like a product of its time while still having ideas that remain surprisingly relevant.

Another reason the movie has lasted is because it is not afraid to be different. It is strange, funny, action packed, and occasionally ridiculous, but it has a clear identity. Many films try to create a unique style, but few actually succeed the way this one did.

For me, They Live is a great film because it delivers entertainment while also giving audiences something to think about. The cast is memorable, John Carpenter’s direction is excellent, and the story is unlike anything else from that era.

More than thirty years later, They Live remains a true classic and one of John Carpenter’s most interesting films. It may have started as a simple sci fi action movie, but it became something much bigger. Its characters, ideas, and unforgettable moments are exactly why it continues to be loved today.