Do you know the difference between order and chaos?

Proyecto Salvación (Project Hail Mary / Proyecto Fin del Mundo)

Nunca pensé en volver a ver un extraterrestre después de E.T. que me cayera tan simpático.

Mi hijo me invito a ver una película en su apartamento, el ya no esta viviendo en el mismo que mi hija y su esposo. El único problema que el solo tiene ventiladores y el calor esta que pela. Y de paso se le había quemado uno de los dos que tenía y aunque había encargado otros dos no habían llegado. Bueno esos son detalles igual me instale a ver la película que me pareció genial, no había oído sobre ella.

El Project Hail Mary es una película de aventuras y ciencia ficción estadounidense. Producida y dirigida por Phil Lord y Christopher Miller a partir de un guion de Drew Goddard, adaptado de la novela homónima de Andy Weir de 2021.

Después de la película Marte esta es una con mucho optimismo y buenos resultados, de esas que todos queremos ver y disfrutar a pesar de las dificultades.

I never thought I'd see an alien after E.T. that I'd find so endearing.

My son invited me over to watch a movie at his apartment; he no longer lives in the same place as my daughter and her husband. The only problem is that he only has fans, and it's incredibly hot. And to top it off, one of the two fans he had had burned out, and although he'd ordered two more, they hadn't arrived yet. Anyway, those are minor details, but I settled in to watch the movie, which I thought was fantastic. I hadn't heard of it before.

Project Hail Mary is an American science fiction adventure film. Produced and directed by Phil Lord and Christopher Miller, from a screenplay by Drew Goddard, adapted from Andy Weir's 2021 novel of the same name.

After The Martian, this is a very optimistic and successful film, the kind we all want to see and enjoy despite the difficulties.

El profesor de ciencias Ryland Grace (Ryan Gosling) se despierta en una nave espacial a años luz de la tierra sin recordar quién es, ni cómo ha llegado hasta allí, poco a poco nos van contando la historia de Grace como profesor y sus teorías que le valieron el despido. Por supuesto lo buscan en su escuela para que explique sus ideas. Cuando le cuentan que la tierra esta en peligro porque hay algo que se esta comiendo los soles, excepto uno y hay que averiguar porque en ese no logran atacarlo. Pero el viaje es solo de ida, no hay retorno.

El profesor Grace es muy inteligente y va marcando las pautas en la investigación a pesar de que hay otros científicos en el planeta investigando.

Yo creo que hay un buen mensaje en la película Proyecto Hail Mary, hay muchas habilidades científicas, hay partes muy humanas de amistad y la confianza. Al final se puede superar cualquier obstáculo aunque parezca imposible. Hay una traición y todo por la desesperación de salvar a toda la humanidad.

Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light-years from Earth with no memory of who he is or how he got there. The film gradually reveals Grace's story as a teacher and the theories that led to his dismissal. Naturally, they seek him out at his school to explain his ideas. He learns that Earth is in danger because something is devouring the suns, except for one, and they must find out why they can't attack it on that one. But the journey is one-way; there's no return.

Professor Grace is very intelligent and sets the course for the investigation, even though other scientists are also investigating on Earth.

I think there's a good message in the film Hail Mary. It showcases many scientific skills, and it also explores very human aspects of friendship and trust. In the end, any obstacle can be overcome, even if it seems impossible. There is betrayal, all driven by the desperation to save humanity.

Es de las películas que me encantan, de esas que terminan bien, tal vez no perfectamente y se destaca la educación como preparación siempre importante. El conocimiento, la intuición, la investigación y hasta la curiosidad por ese otro mundo no impiden a los protagonistas descubrir que hay cosas comunes y otras que se pueden aprender. Altamente recomendada para mirar y aprender.

It's one of those movies I love, one of those that has a happy ending, maybe not a perfect one, and highlights the importance of education as preparation. Knowledge, intuition, research, and even curiosity about that other world don't prevent the protagonists from discovering that some things are commonplace, while others are learned. Highly recommended for watching and learning.

Guy Walks Into an Advertising Agency (S3x06)

Airdate: 20 September 2009

Written by: Robin Veith & Matthew Weiner Directed by: Leslie Linka Glater

Running Time: 48 minutes

It is a peculiar and celebrated hallmark of Mad Men that whole episodes can drift by in a haze of cigarette smoke and murmured subtext, where the most seismic shifts occur within a character’s glance rather than in the plot. Very little, in the conventional television sense, ‘happens’. And yet, when something does indeed happen—when the meticulously constructed world of early-1960s New York is violently punctured by an event—the result is often one of the series’ most indelible moments. Guy Walks Into an Advertising Agency, the sixth episode of the third season, stands as an exquisite case in point. Here, the catalytic event, one with profound and lasting consequences for nearly every principal character, is the product of sheer, absurd accident. This episode, written by Robin Veith and Matthew Weiner, masterfully uses a single, grotesquely comic disaster to explore themes of power, chance, and the fragile veneer of control, all while being precisely anchored to the Fourth of July weekend of 1963.

As with much of the series’ finest storytelling, the episode is deftly woven into the ongoing serial tapestry. It begins and ends by addressing the fallout from the previous episode—the birth of Eugene ‘Gene’ Draper. The domestic storyline reveals young Sally Draper’s poignant struggle to accept her new baby brother, a difficulty compounded by the fact that his name is a constant, painful reminder of her recently deceased and deeply beloved grandfather. This familial micro-drama, handled with the show’s characteristic subtlety, provides a quiet, human counterpoint to the corporate chaos about to erupt.

The main plot, however, returns us to the offices of Sterling Cooper, where the staff are once again confronted with their subjugation to their London-based corporate overlords, Puttnam, Powell & Lowe. On 1st July 1963, a staff meeting is called to announce the imminent arrival of a high-level delegation led by the imperious Saint-John Powell. He is to be accompanied by two other executives: Harold Ford (Neil Dickson) and, most significantly, Guy MacKendrick (Jamie Thomas King), a young, charismatic rising star. Their visit, coinciding with major impending personnel and policy changes, sends a ripple of anxiety and speculation through the ranks. The corporate intrusion is so profound it forces the agency to remain open on Wednesday, 3rd July, flouting the standard practice of closing before a national holiday. When queried on their poor timing, the PPL representatives offer a wonderfully condescending explanation: being British, they simply didn’t know.

This atmosphere of imposed change dovetails tragically with Joan Holloway’s personal narrative. In a devastating sequence, Joan, who has already perceived the possessive and potentially violent streak in her handsome, young husband Greg, makes the decision to quit her job to dedicate herself to domestic life. Her vision of a perfect future is shattered when Greg returns home drunk, confessing he has failed to secure a crucial surgeon’s residency—a career-ruining setback. In a cruel twist, he informs her that they must now re-evaluate their finances and that she will have to find a job, mere moments after she has voluntarily relinquished hers. The humiliation is compounded when she must still attend her own farewell party at the office, a celebration now rendered hollow and ironic. The PPL arrival only deepens the sense of instability. Lane Pryce, the British financial officer who has become somewhat sympathetic, is informed he is to be shipped off to Bombay, his office promised to the incoming wunderkind, Guy MacKendrick.

The subsequent party, like so many at Sterling Cooper, is fuelled by copious alcohol and quickly descends into raucous disarray. The episode’s central, shocking set-piece is triggered by a John Deere lawnmower, a gauche celebratory gift brought in by Ken Cosgrove after landing the account. In a moment of drunken hijinks, Smitty Smith gives secretary Lois a ride on the machine, loses control, and sends it careening across the office floor. The result is one of the most visceral and darkly hilarious scenes in television history: the lawnmower blade gruesomely severs Guy MacKendrick’s foot, spraying the stunned partygoers with blood. The scene is a masterclass in controlled chaos, and it is only through Joan’s swift, level-headed application of a tourniquet that MacKendrick’s life is saved. In an instant, the corporate destiny of the agency is rewritten.

Notably, Don Draper misses the incident entirely. He has been summoned to the Presidential Suite of the Waldorf Astoria to meet with “Connie”, the mysterious man he encountered weeks earlier. This meeting confirms the man’s identity as none other than Conrad Hilton (Chelcie Ross), the hotel magnate. Their discussion, in which Hilton probes Don about his advertising services, is a significant moment for the series, establishing a precedent for introducing real-life historical figures into its fictional fabric. The scene cleverly juxtaposes Ross with the image of the real Hilton from a 1963 Time magazine cover, blurring the lines between history and drama. Their meeting is abruptly cut short by the news of the office catastrophe.

Upon his return, Don learns the consequences: MacKendrick will likely lose his foot and thus his capacity to work, meaning Lane Pryce’s transfer to Bombay is cancelled. He will stay in his role, and the corporate reshuffle is nullified by a freak accident. The episode excels in its subtle depiction of these layered dynamics: the strained family relationships, the brutal calculus of professional choices, and the trans-Atlantic tension where a New York agency, operating in America at the zenith of its global power, must still kneel to representatives of a faded British empire.

The most memorable and analysed aspect of the episode remains the lawnmower scene. It functions on multiple levels. Primarily, it is a brutally effective piece of black comedy that suddenly reshuffles the corporate deck, undoing weeks of corporate machinations in a spray of blood and shock. More profoundly, the incident serves as a comical foreboding of a far more tragic national event. Director Lesli Linka Glatter employs specific visual cues—the sudden violence, the stunned reaction shots, the chaos erupting in a moment of celebration—to create an unmistakable associative link with the assassination of President John F. Kennedy, which would occur just months later in November 1963. The parallels are stark: a young, energetic, and charismatic leader (MacKendrick is explicitly framed as the future of the company) is cut down just as he is poised to enact great change. The episode thus becomes a brilliant piece of historical foreshadowing, using a grotesque office accident to prefigure the traumatic national accident that would truly end the ‘Camelot’ era.

The episode’s finale returns to a quieter, more reflective key. In a strong and resonant scene, Don and Sally discuss the new baby. Don tells his daughter that a baby, unlike adults, has many possibilities ahead of him. This sentiment perfectly underscores one of the series’ central motifs: the necessity of moving forward, of embracing the future’s potential rather than being paralysed by the past. It’s a poignant note that bookends the episode’s exploration of thwarted futures and sudden, accidental redirections.

If the episode possesses a flaw, it is perhaps a rare moment of overly explicit historical signposting. A scene featuring a heavy-handed reference to Vietnam and the possibility of a military draft feels somewhat anachronistic in its urgency for the summer of 1963. While the conflict was certainly a growing concern, the level of everyday anxiety depicted would become more characteristic of the later 1960s. This minor misstep, however, does little to detract from the episode’s overall power.

In the end, “Guy Walks Into an Advertising Agency” is not merely a very good episode of Mad Men; it is arguably the most memorable of Season 3. It rewards the audience’s patience with the series’ slow-burn storytelling by delivering a shocking, game-changing event that is both horrifically funny and deeply meaningful. It masterfully intertwines personal dramas with corporate politics and bold historical metaphor, all while showcasing the series’ unparalleled skill in character nuance and period detail. By confirming Conrad Hilton’s presence and orchestrating its infamous accident, the episode proves that when Mad Men decides to have something ‘happen’, it does so with unparalleled precision and lasting impact.

RATING: 8/10 (+++)

==

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Hello, cinema fans. Today we continue our “Cult Directors” special by bringing you another classic film from the well-known director we’ve discussed in previous reviews. A gem of the detective film genre that has become a benchmark in the world of cinema and popular culture. Written, produced, and directed by the great James Cameron, True Lies is an American adaptation of the French film known as ¡La Totale! (1991). The film stars Arnold Schwarzenegger, Jamie Lee Curtis, Tom Arnold, Bill Praxon, and others. Discover the film that made an entire generation of spy fans laugh.

Hola, fanáticos del cine. Hoy continuamos con el especial de “Directores de Culto” trayéndoles otra cinta clásica del ya conocido director del cual hemos hablado en reseñas anteriores. Una joya del cine de detectives que ha conseguido convertirse en un referente para el mundo del cine y la cultura popular. Escrita, producida y dirigida por el gran James Cameron, True Lies es una adaptación norteamericana de la película francesa conocida como ¡La Totale! (1991). La película cuenta con el protagonismo de Arnold Schwarzenegger, Jamie Lee Curtis, Tom Arnold, Bill Praxon, entre otros. Conoce la cinta que hizo reír a toda una generación fanática de los espías.

Source: FilmAffinity.

Plot

The film begins at a mansion in Switzerland, where a nighttime party is underway with dozens of important guests. The place is swarming with security everywhere, but a spy still manages to successfully infiltrate the venue and pose as a dealer in antique artifacts. His name is Harry Tasker, and with the help of his team—Albert “Gib” Gibson and Faisil—he manages to hack into the computer of the mansion’s owner, who appears to be a billionaire. Meanwhile, Harry meets a woman named Juno Skinner, an art dealer who works for the owner. He asks her to dance as he slips past security.

Trama

La película inicia en una mansión ubicada en Suiza donde hay una fiesta nocturna con decenas de invitados importantes. El lugar está repleto de seguridad por todas partes, pero aún así un espía logra infiltrarse de manera exitosa al lugar y hacerse pasar por un vendedor de reliquias antiguas. Su nombre es Harry Tasker y junto con la ayuda de su equipo conformado por Albert “Gib” Gibson y Faisil consiguen hackear la computadora del dueño del lugar, quien parece ser un multimillonario. Mientras tanto, Harry se encuentra con una mujer llamada Juno Skinner, una marchante de artes que trabaja para el dueño del lugar. Él la invita a bailar mientras se escabulle de seguridad.

Trailer & Review

Here is the movie trailer:

By: FlickDirect: Trailer Vault | Ultimate Trailer Fix.

All the best.

By: Nattosheru.

Posted Using INLEO

When it comes to Vietnam War movies, there are a few titles that always seem to come up in the conversation. Apocalypse Now, Full Metal Jacket, and of course Platoon. While I don’t think Platoon is a perfect movie, it’s one that I’ve always enjoyed and respected. Even after multiple viewings, it still manages to hit hard and remind me why it became such a landmark film in the first place.

Released in 1986, Platoon was directed by Oliver Stone, who brought something unique to the project. Unlike many filmmakers tackling war stories, Stone actually served in Vietnam. That firsthand experience gave the movie an authenticity that audiences immediately connected with. You can feel throughout the film that this wasn’t just another Hollywood war picture. It came from someone who had lived through the chaos he was putting on screen.

The film stars Charlie Sheen as Chris Taylor, a young American who voluntarily enlists and is sent to Vietnam. Arriving with ideas about honor and service, Taylor quickly learns that the reality of war is far different than what he expected. The jungle is unforgiving, the enemy is often unseen, and the emotional toll on the soldiers is just as dangerous as the combat itself.

The supporting cast is absolutely loaded with talent. Willem Dafoe plays Sergeant Elias, while Tom Berenger plays Sergeant Barnes. Forest Whitaker, Kevin Dillon, Keith David, John C. McGinley, Francesco Quinn, and a young Johnny Depp all appear as members of the platoon. Looking back today, it’s impressive just how many recognizable faces were part of the cast.

What makes the movie especially interesting is that the main conflict isn’t just between American soldiers and the Viet Cong. Much of the story centers around the struggle between Elias and Barnes. Elias represents compassion and humanity, while Barnes represents survival at any cost. Chris Taylor finds himself caught between these two opposing viewpoints as the war slowly changes him.

Willem Dafoe is fantastic as Elias. He brings warmth and decency to a character trying to hold onto his conscience in impossible circumstances. Tom Berenger is equally memorable as Barnes, creating one of the most intimidating and ruthless military characters ever put on film. Their performances drive the movie and elevate it far beyond a standard war story.

The combat scenes still hold up remarkably well. Oliver Stone doesn’t glamorize war. The firefights are chaotic, confusing, and frightening. Soldiers are exhausted, scared, and often unsure of what is happening around them. That realism is one of the reasons Platoon continues to resonate with viewers decades later.

One of the most famous scenes in movie history comes from Platoon. Even people who haven’t seen the film probably recognize the image of Elias with his arms stretched toward the sky as Samuel Barber’s “Adagio for Strings” plays. It remains one of the most emotional and iconic moments ever filmed in the war genre.

Now, I’ll be honest, parts of Platoon are a little corny. Some of the symbolism is very obvious. The battle between Elias and Barnes can feel almost like a struggle between pure good and pure evil. A few moments are definitely heavy-handed compared to the more subtle storytelling audiences may expect today.

At the same time, that straightforward approach is part of what makes the film work for me. Oliver Stone wasn’t interested in being subtle. He wanted to make a statement about war, morality, and human nature. The movie wears its heart on its sleeve, and sometimes that’s exactly what a story needs.

I also think nostalgia plays a role. Platoon was one of those films that seemed larger than life when I first saw it. It was talked about everywhere, won major awards, and became one of the defining movies of the 1980s. Revisiting it today brings back some of that feeling.

The film went on to win four Academy Awards, including Best Picture and Best Director. More importantly, it helped redefine how Vietnam was portrayed in cinema. Its influence can still be seen in war movies and television series that followed.

At the end of the day, Platoon may not be the most nuanced war movie ever made. It can be a little corny, a little dramatic, and sometimes a little heavy-handed. But those flaws don’t take away from its impact. The strong performances, authentic atmosphere, and emotional storytelling continue to make it one of my favorite war films.

For me, Platoon remains a classic because it never loses sight of the human side of war. Beneath all the gunfire and explosions is a story about fear, morality, survival, and the choices people make under extreme pressure. That’s why, even with a few corny moments, I still consider it an absolute classic.

There are films that entertain you. There are films that spark your interest. And then, every once in a while, there are films that make you feel the terrfying humbling smallness of being a human in a very vast universe. Interstellar, released on November 7, 2014 , is precisely this film.

Christopher Nolan's(the director) space epic isn't merely a movie. It is an experience. A collaboration of hard science, raw emotions and breathtaking spectacles. I decided to watch this film because it came in highly recommended and the question that's still ringing in my mind is "what if the world is slowly coming to an end?". I still can't shake off the feeling that this particular movie is a subtle warning to humanity.

About The Movie

The movie is set in a near-future Earth where 'blight' has decimated global crops and dust storms are normal occurrences. Humanity is quietly dying not due to a global virus but due to lack of food. When a gravitational anomaly leads Cooper, a former astronaut turned farmer, to a secret NASA facility, he is given an impossible choice; stay on earth and watch his children slowly strave to death alongside the rest of humanity or pilot a spacecraft through a newly discovered warmhole near Saturn, one that may lead to a habitable world in another galaxy. He chooses to go and in doing so, he embarks on a journey that will span galaxies, decades and time.

Interstellar is stacked with extraordinary talent some of whom include: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Mackenzie Foy and Michael Caine. The movie spans 169 minutes.

My Opinion

One thing that separates Interstellar from other science fiction is it's insistence that love is not soft or sentimental. It is the hardest, most enduring force in the universe and this was the part that kept me glued to my screen.

In my opinion, Interstellar is not a perfect film. It's acts are densely plotted and demands lot from viewers who are unfamiliar with theoretical physics. On different occasions, characters explain scientific concepts in dialogue and just expect viewers to get the gist. However, I admire the film's refusal to dumb down it's concept which leaves viewers with the options of learning new things or not.

The movie covers themes like time dilatation and the relativity of love across space and time, humanity's survival instinct against individual sacrifice, the thin line between life and death, parental love, deception and humanity's destiny, all of which were very though provoking themes.

This film captured the terrors and beauty of existence. Majority of the film was shot in space and it would have been nice to see the societal changes on earth in greater details beyond the dust filled farmlands but I guess we got what we got.

Another interesting thing I noted from this film were the fully functional robots. Robots that could make decisions based on their programs. Robots that were actually helpful and could watch your back. Robots that didn't have ulterior motives.

If you're a parent who has ever agonized over a choice between your ambition and your children, this would be a good movie for you. If you're into science fiction or you just like to discover new things then this would be a good watch.

I would give the film an 8.5 out of 10 rating because even after a decade its one of the most interesting space films I've seen.

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I finished watching The Punisher 2026 and, honestly, it left me with the impression of a tuned engine that doesn’t know how to slow down. If you were expecting a slow progression, the kind of production that takes ten hours to explain to you through tedious flashbacks why the character picked up the gun, you’ve come to the wrong door. This film goes straight into the action, like a bullet that doesn’t wait for anyone’s permission.

I really liked that it refused the temptation to be philosophical. It's a piece of cinema that focuses on a single idea: eliminating noise from the system. And it succeeds. It leaves you with that typical adrenaline rush, as if you had done all the physical effort on the screen, sitting quietly in your armchair. You feel the sound of metal, the smell of dust and the brisk pace that doesn't give you time to check your phone or get distracted.

It delivers exactly what it promises, without wasting your time with dead moments. If you have a free evening and want something to keep you engaged, something that doesn't require too many explanations or force you to interpret hidden metaphors, it's the right choice. It's raw, direct cinema, for those who appreciate efficiency over free entertainment...I highly recommend it

[Pierre Deny] The actor known for his roles in Star Wars and the series Emily in Paris has died at the age of 69. https://www.comingsoon.net/tv/news/2139373-pierre-deny-passes-away-emily-in-paris-star-was-69-obit

[Life is Strange] We've learned the names of the next actors who will star in the adaptation of the popular game. https://variety.com/2026/tv/news/life-is-strange-tv-series-tom-cullen-hailey-castillo-teague-1236756071/

[Resident Evil] While I normally criticize the approach of gaming fanatics and their desire to see "a movie based on a game, but without the gameplay and without influencing the characters' decisions," I'm not surprised here. For so many years, fans have been fooled, baited with ideas in trailers that weren't developed, that they have a right to be frustrated. Regardless, I have faith in this director. https://gamerant.com/resident-evil-2026-director-responds-to-criticism-complaints/

[She-Ra - MOTU] The director of the upcoming film revealed that the character of She-Ra has always been part of this universe. https://www.comingsoon.net/movies/news/2135047-masters-of-the-universe-2-she-ra-role-update

We also recently received the final trailer. https://www.comingsoon.net/movies/trailers/2136102-final-masters-of-the-universe-trailer-he-man-skeletor

Amazon used over 1,500 drones for the promotional campaign. https://www.comingsoon.net/movies/news/2136239-masters-of-the-universe-drone-show-guinness

According to Puck News, Jared Leto earned $5 million for the role. https://www.comingsoon.net/movies/news/2138431-jared-leto-skeletor-salary-masters-of-the-universe

[Vought Rising] A spin-off of The Boys is supposedly in the works, but after being lied to about Gen V, the finale of The Boys, and the showrunner's idiotic explanation, I'm completely dismissive of this title. I'd love to see, for example, a parody of Moore's comics (Watchmen) done in this style, but The Boys showed how empty and miserable this universe is. https://www.comingsoon.net/tv/trailers/2137484-vought-rising-trailer-jensen-ackles-the-boys-prequel-tv-show

https://www.comingsoon.net/tv/news/2135969-vought-rising-teaser-trailer-the-boys-finale-premiere

I wrote more about this in my recap of The Boys. I'll post it in a few days, maybe next week. Overall, it's a similar failure to Game of Thrones. Wasted potential, missing an empty-net goal, etc. https://www.comingsoon.net/tv/news/2136250-the-boys-season-5-finale-gen-v-fans-backlash-criticism

The showrunner also told us about the idea for Gen V Season 3. Let me just say this: the Gen V characters were supposed to be incredibly important to the finale (that's why they created the spin-off, because they didn't have time to fit it into Season 5), but when it came down to it, their value was zero. https://www.comingsoon.net/tv/news/2136454-prime-video-canceled-show-season-3-story-plot

The showrunner informed us that the series won't be locked solely in the past. https://www.comingsoon.net/tv/news/2136353-the-boys-spin-off-vought-rising-2-timelines-plot

[Mr. and Mrs. Smith] Martin Scorsese's daughter is being called names for joining the show's second season. I'll say it like I do on every occasion. Imagine some guy hired you at factory X—no matter which one. You work, you do your job, what your contract requires, you follow the director's instructions, you try to listen to the writer, and then the monkeys outside of work throw shit at you.

I could understand it if Francesca were brazen, spoke on topics she doesn't know anything about, etc. I mean, I wouldn't approve, but I would understand, because actors, influencers, etc. are often media prostitutes (and smart actors are aware of this). I don't mean this offensively, I'm simply stating a fact—even if you don't want it, rich people will make you an offer. Or you'll change your mind because you'll smell the tempting scent of big bucks he's been dying to stuff into your wallet. Martin Scorsese's daughter, on the other hand, doesn't say much, mostly positive things; she just does her thing. She's a bit round, there's no denying it, but what the fuck does that have to do with anything? Let's assess her competence. https://www.comingsoon.net/tv/news/2137995-martin-francesca-scorsese-mr-mrs-smith-cast-hate-troll-react

[Heat 2] Maybe Jason Clarke will star in an Amazon film. https://www.comingsoon.net/movies/news/2137066-heat-2-cast-oppenheimer-star-eyed-leonardo-dicaprio-movie

[Your Fault: London] A new romantic film will be released on Prime on June 17th. https://www.comingsoon.net/movies/trailers/2133200-your-fault-london-trailer-sequel-hit-prime-video-movie

[Creed] Michael B. Jordan revealed some of the team that will be creating the Creed spin-off, subtitled Delphi. https://www.comingsoon.net/tv/news/2135683-michael-b-jordan-reacts-the-wire-costars-delphi

https://www.comingsoon.net/tv/news/2135530-delphi-cast-set-creed-spin-off-prime-video-tv-show

[Paper Tiger] Apparently, the new film with Scarlett Johansson and Adam Driver is really powerful! I'd love to see it because it's about marriage. https://www.comingsoon.net/movies/news/2135000-scarlett-johansson-adam-driver-new-movie-reviews-rotten-tomatoes-2

[Hello Kitty] We've met the duo who will direct the film about the toy for girls. One of them previously directed Moana 2. https://www.comingsoon.net/movies/news/2135067-hello-ktty-movie-directors-moana-2-ultraman-rising

[The Family Stone 2] We've announced the cast for the second installment. https://www.comingsoon.net/movies/news/2137293-the-family-stone-2-sequel-title-cast-update

[The Odyssey] We've received new photos showing the characters played by Zendaya and Lupita Nyongo. https://www.comingsoon.net/movies/news/2137287-the-odyssey-best-look-clytemnestra-athena-calypso-zendaya

Apparently, this is the director's second-longest film. https://www.comingsoon.net/movies/news/2137097-the-odyssey-runtime-christopher-nolan-matt-damon-movie

We've also received more promotional materials. https://www.comingsoon.net/movies/news/2134962-the-odyssey-new-look-photo-troy-trojan-horse-war-christopher-nolan

[Blood on the Promontory] Jack Quaid will star alongside Sam Worthington in a film directed by Ray Mendoza. https://www.comingsoon.net/movies/news/2138849-jack-quaid-avatar-star-more-cast-in-western-movie-from-acclaimed-director

Life is Strange | Resident Evil | Sha-RE & MotU | Vought Rising | Mr and Mr Smith | Heat 2 | Creed | The Odyssey

[Pierre Deny] W wieku 69 lat zmarł aktor znany z ról w Star Wars i serialu Emily in Paris. https://www.comingsoon.net/tv/news/2139373-pierre-deny-passes-away-emily-in-paris-star-was-69-obit

[Life is Strange] Poznaliśmy nazwiska kolejnych aktorów, którzy wystąpią w adaptacji popularnej gry. https://variety.com/2026/tv/news/life-is-strange-tv-series-tom-cullen-hailey-castillo-teague-1236756071/

[Resident Evil] Tak jak normalnie krytykuję podejście fanatyków gier i chęć do zobaczenia "filmu na podstawie gry, ale bez gameplayu i wpływania na decyzje bohaterów", tak tu nie dziwię się. Przez tyle lat mydlono fanom oczy, baitowano ich pomysłami w trailerach, które nie były rozwijane, że mają prawo być sfrustrowani. Tak czy siak, wierzę w tego reżysera. https://gamerant.com/resident-evil-2026-director-responds-to-criticism-complaints/

[She-Ra - MOTU] Reżyser nadchodzącego filmu zdradził, że postać She-Ra od zawsze była częścią tego uniwersum. https://www.comingsoon.net/movies/news/2135047-masters-of-the-universe-2-she-ra-role-update

Niedawno temu dostaliśmy też ostateczną wersję trailera. https://www.comingsoon.net/movies/trailers/2136102-final-masters-of-the-universe-trailer-he-man-skeletor

Amazon wykorzystał ponad 1.500 dronów, by zrobić akcję promocyjną. https://www.comingsoon.net/movies/news/2136239-masters-of-the-universe-drone-show-guinness

Wg portalu Puck News, Jared Leto zainkasował za tę rolę 5 milionów dolarów. https://www.comingsoon.net/movies/news/2138431-jared-leto-skeletor-salary-masters-of-the-universe

[Vought Rising] Niby powstaje spin-off The Boys, ale po tym jak okłamano widzów ws. Gen V, finału The Boys i idiotycznemu tłumaczeniu showrunnera, olewam ten tytuł z góry na dół. Chętnie zobaczyłbym np. parodię komiksów Moore'a (Watchmen) zrobioną w tej stylistyce, ale The Boys pokazało jak puste i nędzne jest to uniwersum. https://www.comingsoon.net/tv/trailers/2137484-vought-rising-trailer-jensen-ackles-the-boys-prequel-tv-show

https://www.comingsoon.net/tv/news/2135969-vought-rising-teaser-trailer-the-boys-finale-premiere

Więcej na ten temat napisałem w swoim podsumowaniu The Boys. Wrzucę go za kilka dni, może w przyszłym tygodniu. Generalnie to podobna porażka, co Gra o Tron. Zmarnowany potencjał, nie strzelenie gola na pustą bramkę etc. https://www.comingsoon.net/tv/news/2136250-the-boys-season-5-finale-gen-v-fans-backlash-criticism

Showrunner powiedział nam też o pomyśle na 3 sezon Gen V. Ja powiem tylko tyle, postacie z Gen V miały być zajebiście ważne dla finału (dlatego powstał spin-off, bo nie mieli czasu na zmieszczenie tego w 5 sezonie), a jak przyszło co do czego, to ich wartość była zerowa. https://www.comingsoon.net/tv/news/2136454-prime-video-canceled-show-season-3-story-plot

Showrunner poinformował nas, że serial nie będzie zablokowany wyłącznie w przeszłości. https://www.comingsoon.net/tv/news/2136353-the-boys-spin-off-vought-rising-2-timelines-plot

[Mr and Mrs Smith] Córka Martina Scorsese jest wyzywana, bo dołączyła do 2 sezonu serialu. Powiem tak, jak przy każdej tego typu okazji. Wyobraźcie sobie, że jakiś typ zatrudnił Was w fabryce X - nie ważne jakiej. Pracujecie, robicie swoje, to do czego zobowiązuje Was kontrakt, realizujecie polecenia reżysera, staracie się słuchać scenarzysty, a potem małpy spoza pracy obrzucają was gównem.

Jeszcze mógłbym to zrozumieć, gdyby Francesca była bezczelna, wypowiadała się na tematy których nie zna etc. W sensie nie pochwalałbym, ale zrozumiałbym, gdyż aktorzy, influencerzy etc. to często medialne prostytutki (a mądrzy aktorzy są tego świadomi). Nie mówię tego obraźliwie, po prostu stwierdzam fakt - nawet jeśli tego nie chcesz, bogaci ludzie złożą ci ofertę. Albo sam zmienisz swoje podejście, bo poczujesz kuszący zapach grubych pieniędzy, które pragnął byś wsadził je do portfela. Córka Martina Scorsese natomiast wypowiada się mało, głównie dość pozytywnie, po prostu robi swoje. Jest trochę okrąglutka, nie da się ukryć, ale co to ma kurwa do rzeczy? Oceniajmy jej kompetencje. https://www.comingsoon.net/tv/news/2137995-martin-francesca-scorsese-mr-mrs-smith-cast-hate-troll-react

[Heat 2] Być może Jason Clarke wystąpi w filmie Amazonu. https://www.comingsoon.net/movies/news/2137066-heat-2-cast-oppenheimer-star-eyed-leonardo-dicaprio-movie

[Your Fault: London] 17 czerwca na Prime pojawi się nowy film romantyczny. https://www.comingsoon.net/movies/trailers/2133200-your-fault-london-trailer-sequel-hit-prime-video-movie

[Creed] Michael B. Jordan pokazał część ekipy, która stworzy spin-off Creeda o podtytule Delphi. https://www.comingsoon.net/tv/news/2135683-michael-b-jordan-reacts-the-wire-costars-delphi

https://www.comingsoon.net/tv/news/2135530-delphi-cast-set-creed-spin-off-prime-video-tv-show

[Paper Tiger] Podobno nowy film ze Scarlett Johansson i Adamem Driverem, jest naprawdę mocny! Chętnie go obejrzę, bo opowiada o małżeństwie. https://www.comingsoon.net/movies/news/2135000-scarlett-johansson-adam-driver-new-movie-reviews-rotten-tomatoes-2

[Hello Kitty] Poznaliśmy duet, który wyreżyseruje film opowiadający o zabawce dla dziewczynek. Jeden z nich wyreżyserował wcześniej Moana 2. https://www.comingsoon.net/movies/news/2135067-hello-ktty-movie-directors-moana-2-ultraman-rising

[The Family Stone 2] Poznaliśmy obsadę drugiej części. https://www.comingsoon.net/movies/news/2137293-the-family-stone-2-sequel-title-cast-update

[The Odyssey] Dostaliśmy nowe zdjęcia pokazujące postacie granę przez Zendayę i Lupitę Nyongo.
https://www.comingsoon.net/movies/news/2137287-the-odyssey-best-look-clytemnestra-athena-calypso-zendaya

Podobno to drugi najdłuższy film reżysera. https://www.comingsoon.net/movies/news/2137097-the-odyssey-runtime-christopher-nolan-matt-damon-movie

Dostaliśmy też więcej materiałów promocyjnych. https://www.comingsoon.net/movies/news/2134962-the-odyssey-new-look-photo-troy-trojan-horse-war-christopher-nolan

[Blood On the Promontory] Jack Quaid wystąpi wraz z Samem Worthingtonem w jednym filmie w reżyserii Raya Mendozy. https://www.comingsoon.net/movies/news/2138849-jack-quaid-avatar-star-more-cast-in-western-movie-from-acclaimed-director

Posted Using INLEO

The Fog (S3x05)

Airdate: 13 September 2009

Written by: Kater Gordon Directed by: Phil Abrahan

Running Time: 48 minutes

The defining strength of series like Mad Men lies in their architectural precision. In a narrative landscape often dominated by the shock of grand historical events, Matthew Weiner’s drama excels in its ability to move plots and characters from point A to point B with a clockmaker’s consistency, using established historical markers as its fixed bearings. This is true even within the relatively uneventful calendar of 1963—a year whose cataclysmic conclusion in Dallas looms over the season but whose preceding months offer fewer obvious dramatic hooks. Here, the series’ mechanics become most visible: the precision applied to historical backdrop is mirrored in the meticulous, often predictable, development of its regular plotlines and character arcs. The Fog, the fifth episode of Season 3, is a telling example of this method. It executes its moves with flawless technical competence, yet in doing so, it reveals both the assured craft and the occasional dramatic safeness that can emerge when a series follows its own blueprint too faithfully.

This precision is immediately evident in the script by Kater Gordon, which is meticulously set between the 20th and 22nd of June 1963. The days are framed by two deaths: the recent passing of Betty Draper’s father, Gene Hofstadt, and the real-world assassination of Black civil rights activist Medgar Evers in Mississippi on June 12th. These events are the psychological poles between which the episode’s drama oscillates. The episode opens with Don and Betty being summoned to Sally’s school following an altercation. Here, the teacher’s name is revealed as Suzanne Farrell, a young woman whose intense, almost intrusive dedication to Sally immediately signals a narrative vector distinct from Betty’s weary, pregnant desire to simply move on. Suzanne’s later, thinly-veiled late-night call to Don under the pretext of further discussion confirms her romantic interest, planting a seed for future subplots. Yet, this is part of the season’s pattern of Don risking his adultery too close to home, a precision in repeating his cycles of infidelity that borders on the schematic.

Don’s attention, however, is forcibly redirected when Betty goes into labour. The ensuing hospital sequence forms the episode’s core. In the waiting room, Don shares a bottle of whiskey with Dennis Hobart, a Sing Sing prison guard. Their conversation—a blend of masculine anxiety and naive hope about fatherhood—is a perfectly crafted vignette of period-specific male bonding, yet it feels like a deliberate, almost clinical exercise in thematic contrast: Don, the affluent adman, and Hobart, the working-class guard, both momentarily united by biological inevitability. Meanwhile, Betty is subjected to the period’s popular medical practice of “twilight sleep”, a cocktail of drugs designed to ease birth. This becomes the conduit for the episode’s titular fog, a stream of hallucinatory visions. She encounters her deceased father Gene, her mother Ruth (Lou Mamboni), and, most strikingly, Medgar Evers. This vision is the episode’s most audacious attempt to tether personal trauma to the national political landscape. The birth of a son, whom Betty names Eugene after her father, provides a neat, emotional closure, but the progression feels inevitable. The audience could well have guessed Betty would give birth around this time, and so she does; the mechanics are impeccable, but the surprise is negligible.

Concurrently, the professional world of Sterling Cooper is gripped by a different kind of unease. The new PPL regime, embodied by the austerely pragmatic Lane Pryce, has imposed cost-cutting measures, casting a pall over the office. This financial tension catalyses two key developments. First, a call from Herman “Duck” Phillips, who has resurrected his career at rival firm Grey. He attempts to poach both Pete Campbell and Peggy Olson. Their reactions are precisely delineated: Pete, burdened by pride and his complex rivalry with Peggy, rejects it outright; Peggy flirts with the idea but ultimately demurs, choosing instead to ask Don for a raise—a request he coldly refuses, citing the firm’s finances. This interaction reinforces the show’s enduring hierarchy and Peggy’s frustrated ascent.

The second, more thematically rich, development involves Pete Campbell. Frustrated with being assigned “dog” accounts like Admiral television, Pete demonstrates his occasional prescience. Noting that Admiral sales are dipping everywhere except in Black communities, he devises a pitch focused on that very market, even suggesting the use of Black media and hinting at “integrating” their marketing approach. In his research, he awkwardly questions Hollis, the firm’s Black elevator operator, about why Black people might prefer Admiral. This moment is a direct, deliberate callback to the series’ opening scene in the pilot, where Don Draper questioned a Black waiter about his cigarette preferences. That scene established the pervasive, casual racism of the era, and Draper’s unique, almost anthropological detachment. Pete’s version is clumsier, more transactional, but it underscores the same dynamic: the white corporate world’s myopic, instrumental view of Black consumers. His progressive idea is, unsurprisingly, rejected by the Admiral executives, a historical verisimilitude that shows Pete, as point seven notes, a little bit ahead of his time. It’s a nuanced tragedy of foresight wasted on a world not ready to listen.

The episode’s craft extends to its aesthetic choices, which are a mix of the effective and the curiously anachronistic. The music accompanying Betty’s visions—Me voy a morir de tanto amor by Alberto Iglesias, from the 2001 film Lucía y el sexo—is, as noted, a clear anachronism for a 1963-set piece. Yet, its haunting quality undeniably fits the ethereal, disorienting mood of the sequence, a case where emotional resonance trumps historical purity. More subtly telling is Duck Phillips’ sartorial choice during his lunch with Pete and Peggy: a turtleneck sweater, worn without a tie. In the uniform world of Madison Avenue suits, this is a visual declaration of rebellion, a symbol of the emerging, more casual 1960s sensibility that would eventually dismantle the very establishment Duck once represented. It’s a small, precise detail that speaks volumes.

The Fog is an episode that embodies the virtues and limitations of Mad Men’s mid-season craftsmanship. It is superbly constructed, each narrative thread dovetailing with historical touchstones and character consistency. The script is tight, the performances nuanced, and the thematic ambition—connecting domestic birth pangs with national racial violence—is commendable. However, this very precision can feel like a well-rehearsed performance. The beats of Betty’s labour, Pete’s frustrated ingenuity, and Don’s passive navigation of crises unfold with a predictability that lacks the disruptive spark of the series’ best episodes. It functions as part of the season’s broader project of showing the last gasps of an era, moving its pieces deliberately towards the November cataclysm. As a piece of television, it is impeccably made; as a dramatic experience, it sometimes feels like watching a masterful machine operate, hearing every gear click perfectly into place, and occasionally longing for a moment of unexpected, unscripted friction.

RATING: 6/10 (++)

==

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Hello friends, good vibes to all.

Hola amigos, buenas vibras para todos.

Source!

40 años se cumplen desde aquel día en el que Goku conoció a un tal Krilin en la Kame House para comenzar a entrenar con el maestro Roshi. Todo esto me hizo sentir un poco de nostalgia porque DB y DBZ son anime que crecieron conmigo, forman parte de la vida de muchas personas. Este universo, además de las sagas ya conocidas, tiene unas cuentas películas, OVA y especiales que aunque parezca sorprendente puede que no haya visto a pesar de que seguramente sepa que suceda en ellos. Desidia o que simplemente uno da por sentado muchas cosas pero la razón es que me faltan unas cuentas cosas y es por eso que he decidido ponerme al día con esto y el día de hoy le toca al trasfondo de Trunks.

Me cuesta mucho escoger una de las tres sagas de DBZ, todas tienen algo especial pero hoy nos tenemos que centrar en una que en la línea del tiempo en el que se desarrolla no llega a existir el villano principal y si, me refiero a Cell. Acá estamos en el futuro en donde ninguno de los guerreros Z, salvo Gohan y Trunks, logran sobrevivir. Les recuerdo que Goku muere producto de una enfermedad del corazón y a partir de ahí nadie es capaz de detener a la amenaza que representan los androides 17 y 18. Me parece increíble que hasta en Dragon Ball hayan usado los viajes en el tiempo para solucionar cosas, elemento sumamente usado y conocido en estos tiempos; esto nos habla de lo adelantado que estaba para la época.

Source!

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Volviendo al especial estamos entonces en el futuro en donde Gohan, ya de adulto y siendo tremendamente débil en comparación a cualquiera (acá él no se llega a transformar en SS2), es el único que puede medio hacerle frente a este par de androides pero siempre con el mismo resultado, derrotado una y otra vez. Trunks siendo apenas un adolescente tampoco tiene las habilidades ni poder para pelear por lo que le toca resignarse a siempre estar bajo la débil sombra de Gohan. No importa en que época estemos o línea del tiempo, siempre Gohan será el personaje más "nerfeado" del anime, es impresionante como Milk, su mamá, terminó quitándonos a semejante guerrero. Pero bueno, en este tiempo 17 y 18 hacen de las suyas con una maldad desmedida asesinando a diestra y siniestra a todo el mundo al punto de que Gohan es asesinado y solo Trunks es la resistencia.

Es acá en donde Bulma, siempre crack y resolutiva, construye la maquina del tiempo que usa Trunks para viajar al pasado, darle la medicina a Goku y salvarlo. Pero también es en esa época en donde el hijo de Vegeta entrena acompañado de su padre, se vuelve 10 veces más fuerte y regresa al futuro para hacerse cargo, de una manera super sencilla, de los androides. Trunks es de los personajes más cool que tiene DBZ, por lo menos para mi, creo que la espada le da un toque y que creo que pudo ser más poderoso que Vegeta solo que él no decidió hacerlo para no herir el orgullo de su padre; de hecho eso pasa en DBZ cuando pelean contra Cell. Una de las cosas que me llamaron la atención es que Bulma en este futuro nunca dice que ojalá Vegeta estuviera vivo, siempre se refiere a Goku como el salvador. Me da bronca porque hasta muerto segundan al pobre Vegeta hasta el punto de que ella le habla muy poco de su padre a Trunks; son detalles interesantes.

Source!

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Y bueno, la maldad de los androides también es un elemento a tomar en cuenta. Acá no tienen ningún ápice de humanidad. Eso me hace preguntarme, por qué el cambio entre épocas? - creo que fue por miedo, se dieron cuenta que Goku y compañía eran mucho más poderosos además de la amenaza de Cell por el tema de que buscaba absorberlos. Como les dije, esta historia me la conocía al pie de la letra pero esto lo había visto hace muchos años por lo que retomar siempre será algo muy cool de hacer. La conclusión a la que llego es que la verdadera salvadora es Bulma. Tanto por la construcción de la maquina del tiempo como por la medicina para Goku. Ella es uno de los personajes más infravalorados del anime y este especial lo demuestra. Dragon Ball puede ser sufrimiento y tristeza, a veces hay que conectar con eso. Les dejo el tráiler por acá abajo.

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

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