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The problem with clichés.

wiseagent — Sat, 03 Oct 2026 01:31:54 GMT

*This publication was also writen in* **SPANISH** *and* **PORTUGUESE**.

The "target" must be hit with just one right idea.

![cliche_problems.png](https://files.peakd.com/file/peakd-hive/wiseagent/23yx85NRNJrA6yhycv1ZWdairMofTjDP5HQYkn7nBNgUALJjJQiRkAiFzwdN9nKSpw7eg.png)[Mantenlo Simple](https://mantenlosimple.com/2014/08/18/cliches-estereotipos-cine-p1/)

Speak badly of me, but speak of me. For years, the clichés used in movies have already become part of cinematic history because they carry fundamental weight in certain types of narrative structures, which certainly help not only to create a solid foundation for developing a story, but also help to create a visual and stylized identity (depending on what the essence of each project is). The fact is that, whether loved or not, they can bring "systemic" problems.

Perhaps, the most popular (and most recognizable, because it is more commonly used) is the repetition of standardized ideas that they carry. However, the blame falls much more on those who use them (and how these people use them) than on the clichés themselves. It is quite true that some clichés are so silly or even bad. On the other hand, depending on how they are used in movies, they can be important tools for constructing elements within the plot.

The dilemma here is how to balance this applicability of a narrative device (which may or may not be verbal or visual), because it is according to the quantity, intensity, and execution of the choices that they may - or may not - become a major headache for some screenwriters and directors. Every cinematic genre, over the years, has built its own clichés, and the way they have “evolved” through time is the merit of a small group.

Although it is almost impossible to attribute the merit of this matter to specific names, it is impossible to deny that the history of cinema was (in part) built by what clichés represent. Like any other device, clichés just need to be better chosen (and used) to work according to the atmosphere of the projects in which they are inserted. The problem isn't exactly them... Because they are just an accessory that is part of the whole.

Their essence is so strong that, with just a few seconds of a scene after its projection begins, a particular movie can easily be categorized by a large number of people. Therefore, if they are used the right way, a movie can easily become good in the eyes of the general public because this creates a kind of “bridge” between the fantastic side that is created by the combination of image and sound, and the realistic side that needs to buy into that whole idea.

**El problema con los clichés.**

Hablen mal, pero hablen de mí. Desde hace años, los clichés utilizados en las películas ya forman parte de la historia cinematográfica porque tienen un peso fundamental en determinados tipos de estructuras narrativas, que ciertamente ayudan no solo a crear una base sólida para desarrollar una historia, sino que también ayudan a crear una identidad visual y estilizada (dependiendo de cuál sea la esencia de cada proyecto). El hecho es que, sean amados o no, pueden traer problemas "sistémicos".

Quizás, el más popular (y más reconocible, por ser utilizado con mayor frecuencia) sea la repetición de ideas estandarizadas que llevan consigo. Sin embargo, la culpa recae mucho más sobre quienes los usan (y cómo esas personas los usan) que sobre los propios clichés. Es muy cierto que algunos clichés son tan tontos o incluso malos. Por otro lado, dependiendo de la manera en que sean utilizados en las películas, pueden ser herramientas importantes de construcción dentro de la trama.

El dilema aquí es cómo dosificar esta aplicabilidad del recurso narrativo (que puede o no ser verbal o visual), porque es de acuerdo con la cantidad, la intensidad y la ejecución de las elecciones que pueden - o no - convertirse en un gran dolor de cabeza para algunos guionistas y directores. Todo género cinematográfico, a lo largo de los años, ha construido sus propios clichés, y la manera en que fueron “evolucionando” a través del tiempo es mérito de un pequeño grupo.

Aunque es casi imposible atribuir el mérito de esta cuestión a través de nombres específicos, es imposible negar que la historia del cine fue (en parte) construida por lo que los clichés representan. Al igual que cualquier otro recurso, los clichés solo necesitan ser mejor elegidos (y utilizados) para funcionar de acuerdo con la atmósfera de los proyectos en los que están insertados. El problema no son exactamente ellos... Porque son solo un accesorio que forma parte del todo.

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Television Review: The Jem'Hadar (Star Trek: Deep Space Nine, S2x26, 1994)

drax — Fri, 02 Oct 2026 21:45:00 GMT

The Jem’Hadar (S2E026)

Airdate: 12 June 1994

Written by: Ira Steven Behr
Directed by: Kim Friedman

Running Time: 46 minutes

When Deep Space Nine inherited the mantle of Star Trek's flagship series from The Next Generation, the differences between the two shows were immediately apparent—where Picard's Enterprise glided through space on episodic adventures, Sisko's station remained stubbornly fixed, dealing with politics, religion, and the messy aftermath of occupation. Yet for all their tonal divergences, both series shared certain structural DNA, particularly when it came to introducing the Big Bad. The Next Generation had fumbled its first attempt with the Ferengi, then struck gold with the Borg—those cybernetic nightmares that became the franchise's most chilling adversaries. DS9 clearly hoped to replicate that slow-burn success, gradually hinting at something vast and terrifying lurking beyond the wormhole in the Gamma Quadrant. That something finally took physical form in The Jem'Hadar, the second season finale that would fundamentally alter the series' trajectory and announce that the Dominion had arrived.

The episode opens with deceptive simplicity. Commander Sisko plans a father-son camping trip to an uninhabited M-class planet in the Gamma Quadrant, a chance to bond with Jake away from the station's demands. But Jake, ever the teenager, sees opportunity in adventure—he's partnered with Nog for a school project and persuades his father to let the Ferengi boy tag along. Sisko reluctantly agrees, his disappointment deepening considerably when Quark invites himself along under the flimsy pretence of chaperoning his nephew. The four of them materialise on a world that looks positively idyllic, all rolling hills and golden sunlight. Yet the atmosphere curdles quickly. Sisko and Quark trade barbs, their mutual antagonism bubbling to the surface until Nog, humiliated by the exchange, storms off into the woods. Jake gives chase, leaving the two adults alone in camp.

That's when everything changes. A humanoid woman (Molly Hagan) comes sprinting toward their position, terror etched across her face, only to be surrounded by three soldiers who materialise from nowhere. They move with chilling efficiency, capturing Sisko, Quark, and the woman without ceremony. The trio find themselves imprisoned in a cave surrounded by an energy field, where their fellow captive introduces herself as Eris, a member of the Vorta race. She explains that their captors are the Jem'Hadar—genetically engineered warriors bred for violence and bound in service to the Dominion, that mysterious power whispered about since the wormhole's discovery. The Dominion has been expanding throughout the Gamma Quadrant, Eris claims, enslaving worlds and crushing resistance. Her people possess telekinetic abilities, so the Jem'Hadar have fitted her with a suppression collar. While Quark grumbles and Eris frets, Sisko begins quietly working on disabling the device—because if they stand any chance of escape, they'll need every advantage they can muster.

Their captivity grows more ominous with the arrival of Talak'talan (Cress Williams), the Jem'Hadar group leader. He delivers a message that freezes the blood: the Dominion will no longer tolerate ships from the Alpha Quadrant violating their territory. The warning is absolute, delivered without bluster or threat—merely statement of fact from a power that doesn't recognise the Federation's moral authority. Back in the cave, Sisko continues his work on Eris's collar, though he requires Quark's assistance and the bartender's lockpicking skills prove surprisingly useful.

Meanwhile, Jake and Nog return to an empty camp. Realising something has gone terribly wrong, they beam up to their runabout only to discover their technology has been compromised. They cannot locate their missing crewmates, cannot beam them up, and cannot even set the autopilot to carry them back through the wormhole. They're stranded, helpless, and increasingly terrified—a pair of teenagers suddenly facing the vast indifference of space without adult protection.

The situation escalates dramatically when a Dominion ship punches through the wormhole and Talak'talan materialises in Ops aboard Deep Space Nine. He repeats his warning to Major Kira and the stunned station crew, casually mentioning that Commander Sisko is now a prisoner. The Federation responds with force—a Galaxy-class starship, the USS Odyssey, drops out of warp commanded by Captain Keogh (Alan Oppenheimmer). It's a visual cue that carries weight; this vessel looks identical to Picard's Enterprise, and that familiarity is precisely the point. Keogh launches a rescue mission, accompanied by runabouts crewed by Kira, O'Brien, Dax, Odo, and Dr. Bashir. The cavalry has arrived.

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Un abrazo de oso al pasado

karlosalejandro — Fri, 02 Oct 2026 21:33:03 GMT

Por qué siempre amaremos «Bear en la Gran Casa Azul» 💙🏠
Hay olores, canciones y personajes que se quedan grabados para siempre en la memoria infantil. Si tuviste la suerte de encender la televisión de pequeño y encontrarte con esa enorme casa azul iluminada por el sol, sabes exactamente de qué hablo.
Bear en la Gran Casa Azul no era simplemente un muñequito más; era un abrazo reconfortante en forma de programa de televisión.
El arte de hacer sentir en casa
Desde el primer segundo, cuando el gran oso pardo se acercaba a la pantalla para oliéndonos decir: «¡Mmm! ¡Hueles tan bien!», rompía la cuarta pared de una forma totalmente única. Nos hacía sentir que verdaderamente estábamos dentro de su sala, listos para aprender sobre las emociones, los días de lluvia, la amistad o simplemente sobre cómo cuidar de los demás.
Cada uno de sus habitantes aportaba un toque de magia al hogar:
Tutter: El ratoncito neurótico y trabajador que vivía en su agujerito y nos enseñaba sobre la frustración y la perseverancia.
Pip y Pop: Las nutrias gemelas llenas de energía caótica e hiperactiva.
Ojo (Ojo): La pequeña osa llena de imaginación con la que era tan fácil identificarse.
Treelo: El lémur travieso y alegre que siempre le ponía ritmo a los días.
Y por supuesto, Bear, el líder paciente, amable y sabio que escuchaba a todos sin juzgar, guiando cada día con amor y serenidad.
Luna y la canción del adiós 🌙✨
Si hay una escena que marcó a toda una generación, era el final de cada episodio. Subir al balcón al caer la noche, conversar con Luna sobre lo aprendido en el día y cantar juntos la Canción del Adiós (The Goodbye Song):
"La luna sale ya, el sol se va...
Es hora de decir adiós, pero no te preocupes,
Pronto nos volveremos a ver..."
Era el cierre perfecto para cualquier día. Nos daba una sensación de paz, seguridad y la certeza de que, sin importar lo difícil que fuera el día, siempre habría un lugar cálido esperándonos.
Un legado de calidez
Hoy en día, mirando hacia atrás, se aprecia aún más el trabajo artesanal de Jim Henson Television. Usar marionetas reales le daba una textura, un volumen y una humanidad que los muñequitos digitales modernos rara vez logran replicar. Pero más allá de lo técnico, lo que realmente importaba era su alma.
En un mundo que a veces va demasiado rápido, recordar la Gran Casa Azul es recordar una época donde la empatía, el respeto y el cariño eran los ingredientes principales de cada mañana.
¿También era de tus programas preferidos cuando eras pequeño/a? ¿Cuál era tu personaje favorito o el momento que más recuerdas? ¡Nos leemos en los comentarios! 👇🧸✨

Television Review: Tribunal (Star Trek: Deep Space Nine, S2x25, 1994)

drax — Fri, 02 Oct 2026 15:45:00 GMT

Tribunal (S2E025)

Airdate: 5 June 1994

Written by: Bill Dial
Directed by: Avery Brooks

Running Time: 46 minutes

For a brief period of less than a year, the considerable burden of carrying the Star Trek legacy during its golden age fell squarely upon the shoulders of Star Trek: Deep Space Nine. With The Next Generation having concluded its magnificent seven-year run and Voyager still months away from launch, DS9 found itself as the sole torchbearer of Gene Roddenberry's vision on the small screen. It was during this transitional window that The Tribunal arrived—a well-acted and reasonably accomplished episode that, whilst demonstrating the series' evident potential, nevertheless revealed that DS9 would require additional time and refinement before it could consistently reach the stratospheric heights of its beloved predecessor.

The narrative commences with Chief Miles O'Brien preparing to depart Deep Space Nine for a much-anticipated holiday with his wife Keiko. On the Promenade, he encounters Raymond Boone (John Beck), an old acquaintance from their shared service aboard the USS Rutledge. Boone explains that he left Starfleet eight years prior and now lives as a colonist on Volon III—a revelation that immediately strikes O'Brien as peculiar, given that Volon III lies firmly within the Cardassian sphere of influence. The oddity is compounded by Boone's history; he was among the survivors of the infamous Setlik III massacre, an atrocity that left him with precious little affection for the Cardassians.

Hardly has the runabout cleared the station's vicinity than it is intercepted by a Cardassian patrol vessel. Cardassian forces beam aboard, conduct a thorough search of the vessel, and—despite Keiko's desperate protests—arrest O'Brien without explanation. He is transported to Cardassia Prime and subjected to a "processing" procedure of such calculated humiliation and degradation that it borders on torture. His clothing is torn from him, his molar is forcibly extracted, and throughout this ordeal, nobody deigns to inform him of the charges against him. Not even Kovat (Fritz Weaver), his appointed "conservator", offers clarity. In the Cardassian legal system, a conservator serves not as a defender in any recognisable sense, but rather as an instrument of the state whose primary function is to persuade the accused to confess their crimes and throw themselves upon the mercy of the court—a mercy that history suggests is rarely granted.

Keiko is returned to Deep Space Nine, where she and Commander Sisko receive the devastating intelligence that O'Brien has already been found guilty of his alleged crime and sentenced to death. The forthcoming trial, they are informed, serves merely as ceremonial theatre—a public spectacle where the predetermined sentence will be formally pronounced. It is Odo, drawing upon his intimate knowledge of Cardassian customs gained during his tenure under their rule at Terok Nor, who manages to secure appointment as "nestor"—an advisor to the accused. This designation permits him to travel to Cardassia Prime and attend the proceedings alongside Keiko, offering what slender hope remains.

Meanwhile, back on the station, the crew uncovers evidence that several photon torpedo warheads have been stolen from their inventory. The Cardassians maintain that O'Brien perpetrated this theft intending to supply the weapons to the Maquis, who would subsequently employ them in attacks against Cardassian targets. Major Kira uncovers a recording apparently showing the warheads being removed from storage via a voice command authenticated as O'Brien's. However, Lieutenant Dax's forensic analysis reveals that the voice sample has been crudely doctored—a sophisticated fabrication designed to incriminate the Chief. At the trial on Cardassia Prime, Odo attempts to present this potentially exonerating evidence, but Makbar (Caroline Lagerfelt), the chief archon, refuses to admit it. In the Cardassian system, evidence that contradicts the state's narrative is simply irrelevant.

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Don’t Breathe 2 | Practical Magic 2 | The Gilded Age | Heat 2 | Batman | Evil Dead | Dynamic Duo | Gorilla Grodd | The Last of Us Season 3 | The White Lotus | The Pitt | The End of Oak Street

theradiodemon — Fri, 02 Oct 2026 11:59:03 GMT

[Don’t Breathe 3]
The director revealed that a third installment is in the works and three actors will be returning.
https://www.comingsoon.net/movies/news/2198064-dont-breathe-3-fede-alvarez-jane-levy-stephen-lang

[Hallowarrior]
A new horror movie from the Shudder platform is set to debut on October 16.
https://www.comingsoon.net/movies/trailers/2196192-hereditary-milly-shapiro-hallowarrior-trailer-halloween-apocalypse

[Practical Magic 2]
It looks like the long-awaited sequel didn't work out after all. It’s getting poor reviews; fans are unhappy, and critics didn't like it either. Sure, Spider-Man came along and sucked up all the money in the world, but that wasn't the key factor, since they are completely different types of productions. It’s no coincidence that this is the lowest-rated Sandra Bullock movie in 20 years!

Sandra Bullock is already thinking about a third part, but I don't think it’s going to happen. And why would it? Practical Magic is a movie my parents watched while I was still in the womb—a film for the older crowd. Maybe some of my older friends watched it, too. But in a few years, Nicole Kidman will be an old lady, and so will Sandra, so... Nobody is going to go to the cinema to see that, sorry. https://www.comingsoon.net/movies/news/2187804-practical-magic-2-reviews-sandra-bullock-nicole-kidman-sequel

https://www.comingsoon.net/movies/news/2187791-practical-magic-2-rotten-tomatoes-score-sandra-bullock-worst-reviewed-movie

https://www.comingsoon.net/movies/reviews/2187414-practical-magic-2-review-nicole-kidman-sandra-bullock-movie-disappoints

https://www.comingsoon.net/movies/news/2188233-sandra-bullock-discusses-future-practical-magic-stars-masie-williams-joey-king

https://variety.com/2026/film/box-office/practical-magic-2-box-office-opening-weekend-projection-spiderman-brand-new-day-1236855513/

[Gilded Age Christmas Carols]
Damn, that sounds so epic—I’d love to buy that Christmas carol album. My partner and I really enjoy the show because it does a great job of depicting a world that vanished long ago.
https://www.comingsoon.net/tv/news/2197799-carrie-coon-hbo-max-tv-show-christmas-spin-off-spider-verse

[Evil Dead Burn]
The movie hits HBO on October 2nd.
https://www.comingsoon.net/movies/news/2197569-evil-dead-burn-hbo-max-premiere-streaming-debut

[Heat 2]
Acting GOAT Stephen Graham has joined the cast of the sequel to Michael Mann’s film. https://www.comingsoon.net/movies/news/2187650-stephen-graham-adolescence-star-michael-mann-heat-2

[Batman]
Many fans point out that the group known as the Court of Owls will likely be Batman's adversaries in the sequel. The actor also discusses the evolution of his role.
https://www.comingsoon.net/movies/news/2190586-the-batman-part-ii-set-photos-plot-villains-court-of-owls-anarky

https://variety.com/2026/film/news/robert-pattinson-batman-2-different-take-1236872971/

[Dynamic Duo]
The voice actor cast as Nightwing has been revealed. The premiere is set for September, two years from now.
https://www.comingsoon.net/movies/news/2196474-mason-thames-confirms-dynamic-duo-casting-nightwing

[Gorilla Grodd]
A well-known actress from The Big Bang Theory is joining the series. The show will consist of eight 30-minute episodes. It looks like a really cool production, and I hope James Gunn doesn't botch it the way he allegedly did with Supergirl. Reportedly, at least three characters from the Superman movie are set to appear here. https://www.comingsoon.net/tv/news/2197516-gorilla-grodd-jimmy-olsen-dcu-tv-show-big-bang-theory

https://www.comingsoon.net/tv/news/2180536-superman-dcu-tv-show-skyler-gisondo-jimmy-olsen-gorilla-grodd

https://www.comingsoon.net/tv/news/2180503-superman-jimmy-olsen-gorilla-grodd-new-tv-show-darker

https://www.comingsoon.net/tv/news/2180487-superman-tv-show-gorilla-grodd-murder-mystery-already-solved

https://www.comingsoon.net/tv/news/2180541-jimmy-olsen-gorilla-grodd-dcu-plot-reveal

https://www.comingsoon.net/tv/news/2180477-superman-3-dcu-actors-returning-for-gorilla-grodd-tv-show-but-fans-have-questions

[The Last of Us]
Three new actors—John Goodman, Ian Alexander, and Laura Bailey—have joined Season 3. The premiere of the final season is scheduled for 2027.
https://www.comingsoon.net/tv/news/2198058-the-last-of-us-season-3-john-goodman-new-cast-laura-bailey

[The White Lotus]
An actor has commented on what to expect from the upcoming season. https://www.comingsoon.net/tv/news/2197857-the-white-lotus-season-4-hbo-show-extravagant-wild-chapter

[The Pitt]
An actress known from Season 3 will return for the third season.
https://www.comingsoon.net/tv/news/2188580-the-pitt-dr-yolanda-garcia-season-3-return

[4 Blocks Zero]
A new 8-episode series premiered on September 25.
https://www.comingsoon.net/tv/trailers/2187784-hbo-max-4-blocks-zero-trailer-dark-family-reckoning

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An animated short film that I love, Review (ENG/SPA)

bethyjade — Fri, 02 Oct 2026 11:00:00 GMT

![image.png](https://files.peakd.com/file/peakd-hive/bethyjade/242YCCWeWWHAQMW3wcgEKc9fAv6N5a8AASoLE5fDuSjVLWSaZbNVNqTNoFaEq3hnXmPdM.png) [Fuente](https://www.filmaffinity.com/mx/film293966.html)

Hi, internet folks – how’s it going? I’ve just watched this short film and wanted to share it with you because the story it tells, its development and narrative structure are important and are well worth analysing and sharing.

Hola, gente de Internet ¿todo bien? Recién me acabo de ver este corto y quise compartirselos debido a que lo que cuenta su historia, su desarrollo y estructura narrativa es importante y merece lapena ser analizada y compartida

![image.png](https://files.peakd.com/file/peakd-hive/bethyjade/23wMYHYxFbkY1rHQ7JCxz375QoxLzeuasG84ywtekBzAN942puaX2S7voyvyMTrkpnxQj.png) [Fuente](https://www.youtube.com/watch?v=I_eTGvmK51g)

The story speaks for itself right from the start: Boj is a boy who lives with his mother, constantly subjected to his father’s abuse and violence. The first thing we see is the father sitting on the sofa, scratching it and breathing heavily; both Boj and his mother move to set the table in complete silence – it is as if they are almost afraid to breathe – yet the whispers between them (Boj is restless and his mother is trying to calm him down) unleash the man’s anger. In other words, right from the very start of the short film, it is clear what the story is about.

La historia se explica por si sola desde un inicio, Boj esun niño que vive con su madre en un constante asedio y violencia de su padre. Lo primero que vemos es al padre sentado en el sofá arañandolo y respirando fuerte, tanto Boj como su madre semueven para poner la mesa en absoluto silencio, es como si temiesen casi respirar, sin embargo los susurros entre ambos (Boj inquieto y la madre intentando calmarlo) desatan la ira del hombre. Es decir desde el momento cero del cortometraje ya se nota de que va la historia

The story highlights the issue and its psychological consequences, but also shows us what to do in such a situation, and ends on a hopeful note. One of the most striking aspects for me is, without a doubt, the type of animation the creator used: she employed cut-outs of paper, felt and sand, layered between sheets of glass and lit from below and from above, and it took her more than two years to complete the 11-minute short film.

La historia nos muestra la problemática, sus consecuencias psicológicas pero también que hacer en esa situación y deja con un final esperanzador. Uno de los puntos más destacables para mi es sin lugar a dudas el tipo de animación que utilizó la creadora, empleó recortes de papel, fieltro y arena, puesto entre capas y capas de vidrio alumbradas de abajo hacia arriba y de arriba hacia abajo y la chica tardó más de dos años en terminar los 11 minutos que dura el corto

![image.png](https://files.peakd.com/file/peakd-hive/bethyjade/243MBNEDAesdFwaZDMgQqsadAaRAQCeDTX5DdFVvkYNKTUxGr5fZgjRcxFEwibtPFmWuP.png) [Fuente](https://archive2.fantoche.ch/en/film/angry-man)

Another interesting point is the symbolism surrounding Boj that reflects domestic violence, such as the drawings on the wall of his bedroom, the fish in his fishbowl and the characters’ clothing, which reminds me of the 1950s; and given the historical context of machismo and the secrecy surrounding families at that time, I would say it makes a lot of sense.

Otro dato interesante es los simbolismosalrededor de Boj que reflejan laviolencia de casa como los dibujos en la pared de su cuarto, los peces en su pecera y laropa de los personajes que me recuerdan a los años 50´s, y dado al contexto historicos del machismo y hermetismo de las familias de la época, diria que tiene mucho sentido

The whole story is seen through the child’s eyes, which in turn makes the short film’s narrative as endearing as it is frightening and painful; I think he is the perfect vehicle for telling the story and, in fact, it is he who ends up saving the family thanks to his bravery

Toda la histoia está vista a través de los ojos del niño por lo que a su vez hace que la narrativa del corto sea tan adorable como atemorizante y dolorosa, creo que él es el canal perfecto para contar la historia y de hecho es quien termina salvando a la familia gracia a su valentía

To be honest, I’ll leave it at that because I don’t want to give away any spoilers – I think you should watch the short film for yourselves and support it, as it’s really good.

La verdad lo dejaré hasta aqui debido a que no quiero dar spoilers ya que considero que deben ver el corto ustedes mismos y apoyarlo ya que es bastante bueno

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Film Review: The Battle of Lake Changjin II (The Battle of Water Gate Bridge ,2022)

drax — Fri, 02 Oct 2026 10:26:45 GMT

The Battle of Lake Changjin entered the history books as the first Chinese film to achieve the extraordinary feat of topping the world's box office as a non-Hollywood production. This unprecedented commercial success was no accident—the production team, operating with substantial backing from the People's Republic of China and its ruling Chinese Communist Party, was apparently either aware or certain of its commercial prospects from the outset. So confident were they, in fact, that even during the production of the first film, the decision was made to shoot an instant sequel back-to-back with its predecessor. The result, The Battle of Lake Changjin II, also known as the The Battle of Water Gate Bridge arrived in cinemas a mere matter of months after the first film, timed strategically for Chinese New Year on 1 February 2022.

The original film reconstructed the Battle of Lake Changjin—or the Battle of Chosin Reservoir, as it is known in American and Western sources—the pivotal engagement of the Korean War in which the Chinese People's Volunteer Army decisively defeated US-led UN forces in late 1950, preventing their North Korean ally from being overrun. The sequel continues this narrative thread, focusing on one of the engagements that took place in the conflict's late phase and serving as a direct continuation of the previous film's storyline.

We are once again introduced to the soldiers of the 7th Penetration Company, commanded by Wu Qianli (played by Wu Jing). Having defeated the US Marine 1st Division, they now find themselves part of the pursuing force. The Marines, under the command of General Smith (played by <John F. Cruz), are desperately attempting to secure a route towards Hungnam, the port from which UN forces are to be evacuated southwards. At the outset of this pursuit, Wu Qianli encounters an old friend, Commander Yang (played by Geng Le), whose artillery battalion is advancing in captured American lorries towing captured American cannons. This column is subsequently attacked and wrecked by US carrier-based aircraft, but Wu Qianli makes his friend a promise: he will bring him more guns. He keeps his word after his men participate in the assault on the US airfield at Hagaru-ri. Despite fierce combat and heavy casualties, the Chinese manage to overrun the airfield, seizing large caches of weapons and supplies and forcing Smith to evacuate at the last possible moment.

Song Shilun (played by Zhang Hanyu), deputy commander of the PVA, learns that the only viable route for the retreating Marines passes via the so-called Water Gate Bridge. The 7th Company is ordered to assist the 9th Company, which has been tasked with attempting to destroy it. Wu Qianli, despite having his unit decimated and having scarcely any rest, sets out to fulfil this mission. It soon becomes apparent that the bridge is heavily defended, and that the US Marine garrison holds superiority in almost every conceivable respect—numbers, weapons, equipment. The Chinese forces must also contend with unforgiving winter conditions. Nevertheless, Wu Qianli devises a plan of attack that leads to days of brutal fighting, a confrontation that claims the lives of all his soldiers with one exception: his younger brother Wu Wanli (played by Jackson Yee), who afterwards reports as the 7th Company's sole surviving soldier.

Many critics dismissed The Battle of Lake Changjin II as "The Battle of Lake Changjin: Deleted Scenes," viewing it as an exploitative use of material apparently left on the cutting room floor during the first film's production. This assessment, however, is somewhat unfair. The second film is actually slightly shorter and more focused than its predecessor. Rather than attempting to capture the grand scope of North Korea in late 1950, it concentrates on a much smaller engagement—one that nevertheless demonstrates the savage brutality of that conflict and the terrible price in blood Communist China paid for saving its ally.

This increased focus is evident throughout the film. Following the spectacular engagement at the airport, the narrative shifts to a nominally less spectacular but dramatically more intense fight for the bridge. This is where Tsui Hark, one of the three directors involved with the project, truly demonstrates his particular strengths—action sequences. Unburdened with the need to provide complicated historical and geopolitical exposition or to introduce an array of different characters, the film concentrates squarely on combat, and it generally delivers on this promise. The film presents an extremely brutal and bloody fight, complete with graphic details that include people being burned alive, crushed beneath moving tank tracks, or, should they survive enemy combat, forced to contend with debilitating frostbite.

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GAYONG 2 - OF ARCHETYPES, STEREOTYPES AND MACGUFFINS

nazirullsafry — Fri, 02 Oct 2026 05:54:54 GMT

The IPMANISATION of Dato' Meor's character played brilliantly by Beto Kushairi is complete. Pablo Picasso said, good artists copy, great artists steal. T.S. Elliot also said, immature poets immitate, mature poets steal.

Perhaps the IPMANISATION practice could be given more depth in term of writing. What we have now is just a 'facade' of it is Malay, Silat and the period it is taking place.

I cannot remember who said it but, if after a film length (in this case two), your character is the same in the beginning and in the end, then it is not a good character writing.

I am not a scholar on Dato' Meor's autobiography, but I think that is the unwritten rule on character writing necessary to bring the audience for a ride of character building and growth.

Even to the length of doing a film about the PMX, it is still very much a fiction. For example, the scene where Anwar Ibrahim confronted himself in the jail cell did not happen in real life. But our society are experts in taking things literally, literally.

But thats for another write-up.

One huge missed opportunity is on the very first scene in the first Gayong film when Dato' Meor's master (Panglima Merah played by Ebby Saiful) was beaten. The whole film could've been an intro to who Dato' Meor is before he got into Silat. And the character growth and phases he faces (learning from a mentor archetype, Panglima Merah)

A complete character arc. Hero's Journey 101.

Some famous characters in film history (that I grew up with) gone through the same phase. A couple of significant example - Bruce Lee and Rocky. These characters too, have mentors.

Here's something that I've been wanting to write since I've watch the first Gayong film, but decided to wait until I complete with Gayong 2 (which I did, thanks Netflix)

Like I've said earlier, if your character is the same from act 1 to act 3, it is not a good character for literature. First reason, because its boring. Imagine Frodo from LOTR is the same happy Hobbit at the end of LOTR 3.

Bruce Lee, Rocky and Frodo characters serves the archetype character. Dato' Meor's character in Gayong and Gayong 2 is a stereotype. The IPMANISATION is the main cause. The second cause is the non-existant character arc. The third reason is too political to be said here yet for those who are observant enough on what is didactic and not so subtly preached all along the film would be able to catch it easily.

Even the death of Rambo's character in First Blood was fortunately cancelled so they could use that archetype and turn it to a stereotype to serve Hollywood and also the US Military complex agendas.

Yes. Do not underestimate the scale (not only the physical size) of cinema! Think before you project! (and let the correct ppl do it!)

Oh another aspect is the camerawork. Bruce Lee is not a big person is real life. But it is the camera treatment in his films made him look larger than life (and made him an immortal). Beto's appearance and posture made him look same size as other characters, if not smaller. No problem adding some creativity to the moves! Bruce Lee do not fight with the same moves (and wataaa sound) in real life as in movies! Its fiction people!

Anyways.

Last but not least is the usage of the 'MacGuffin' writing device (even when it comes to Dato' Meor!). Spoiler warning: In the act three of Gayong 2, Dato' Meor and his squad does a raid on the drug cartel. And on the next day, he joyfully goes to work without even minutely thinking what consequences would that raid brings - most probably to his family.

And yes, as any good 'MacGuffin' does, the drug gang revenged on Dato' Meor family and that drove the story forward with him rampaging the area (for the second time, Terminator-style) and saving his wife (of course)

(Yes, theres a scene showing Dato' Meor sensing the danger when he was at work. But a little 'tilikan' wouldnt hurt right, mr. writer. Or even better, some 'pagar' efforts?)

There is another box office topping 'MacGuffin' that was showing during the Hari Raya holidays this year. A mat rempit who won the illegal street race showdown with a gangsta drug lord, happily spend the next day dating with his girlfriend, without even minutely thinking of retaliation from the other side. That is of course, to drive the story forward lah otherwise the protagonist mat rempit archyetype wont get his malaikat (angel) label.

This leads me to the 1988 writing of Prof. Dr. Syed Hussein Alatas for Dewan Masyarakat entitled 'Bebalisme I'. It is where he says,

'Seorang bebalis tiada daya menduga kejadian terlebih dahulu. Mereka selalunya beraksi hanya setelah sesuatu kejadian berlaku. Dengan perkataan lain berpayung hanya setelah ditimpa hujan.'

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Why You Should Use Letterboxd.com To Track Your Movies

moviesonhive — Wed, 09 Mar 2022 15:36:45 GMT

Hello everyone! As part of my little series of sporadic tips and features for posting here in the Movies & TV Shows Community here on Hive, I've been wanting to find ways in which this community can not just improve the types of posts we all share in the community, but seek ways in which we can expand and market such posts to a broader audience, even if that means sharing such posts across social media websites. As of late, we've been quite active on the Twitter side of things -- follow us here -- but there's still so much more we all could do.

In this post, I want to introduce you all to an incredibly useful platform: Letterboxd. I feel for many of you, this service is precisely what you'd all love to use, and it serves a lot of potential in how you may market your reviews here in the community to an outside audience; leading to not just more exposure to the community and Hive, but to additional eyes on the posts you all put so much effort into crafting.

What is Letterboxd?

To put it briefly: Letterboxd is a movie database that allows you to create lists for movies you'd like to see and archive movies you have seen. Users can post reviews of the movies they're logging on their profiles that others can see. People can follow you, like your reviews, and see your own personal lists that you've created.

When you create an account and begin logging movies, you can see which movies you've seen throughout the past year, as well as in total. Each logged movie can be rated under a star scoring system and displays the exact date it was either added or watched. This means you and all others on the site can see when you watched a movie, what you rated it, and what your thoughts are in a review.

The platform uses a database of movies that extends far beyond just western movies released in Hollywood, so there's a vast amount of support for any languages; meaning even if you wish to log movies from your own countries and comment in your own native language, you can!

The platform is entirely free, so there's no restrictions to how you interact with people or the platform itself. The Pro version is simply if you wish to support the platform financially and receive a few profile customisation features.

Letterboxd even has a mobile application which is really simple to use, and again: totally free!

How does this benefit us?

Well, as mentioned above: this community of movie fanatics can interact with each other, see what others from the community are watching, would like to watch, and even see links to their reviews here in the community when they're published.

As you can see above, I've added a link to my review on Hive to the log of the movie 'Brother', of which I did see a while ago, but only just reviewed the other day. Now imagine if we all did this! Not only would this community see an increased number of eyes appearing in it, but we'd be seeking new ways of engagement with each other both in and outside of Hive -- connecting more and establishing new friendships based on the ways we watch and review/log movies.

We could create lists of movies we've reviewed here on Hive each with links to our posts; lists of movies we wish to review, and more. All in addition to seeing constant feeds from our fellow community members, allowing us to discover new films to both watch and write about here on Hive.

Engagement

Engagement means everything to any community. The ways in which we interact with each other is what allows a community to both grow and remain. I believe Letterboxd could play a very important role in how Hive, and our community, establishes itself to a broader audience in ways that benefit each and ever single person that contributes to it.

I highly recommend each of you create an account and check out Letterboxd. Either it's something you need and will love; didn't know you needed but love, or don't need at all. It's worth checking out and seeing if there's a chance at integrating it into your Hive growth and flow.

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How To Improve Your Posts

moviesonhive — Fri, 21 Jan 2022 15:13:36 GMT

Sometimes we get asked the question of why a certain post didn't receive a high amount of curation rewards. Typically, there could be a number of different reasons as to why a post hasn't been chosen: perhaps the person is frequently posting and already receiving high rewards, or perhaps a persons general engagement within the community is rather low to justify higher rewards. However, the main reason as to why someone may be left curious as to why they didn't get curated is down to presentation and effort.

In this post, we'll be taking a look at the general presentation and effort that we'd like to see in your posts, and provide you with a checklist of certain criteria that we generally follow prior to curating your content. Not only will following the content in this post increase your chances of being curated, but should increase your likeliness of attracting others here on Hive as well.

I, @namiks, will also provide some visual examples from my own posts that you may see for references going forward.

Presentation

**Images**

The first thing people will notice about your posts is the thumbnail: the very first image in your post that people will see when roaming through their feeds here on Hive. As you would expect, you should aim to make your thumbnails as appealing as possible so that people stop at your posts and click on them to find out more regarding the subject. We see many posts in which the thumbnail is a low resolution poster for the film they're reviewing, which gives the rest of the post a bad look even when the text could be excellent. Sadly, this encourages us to prioritise the posts that do have better quality images in their posts.

This brings us to our next step: how do you improve the images in your posts? Well, this is rather easy for the most part. The majority of people will be watching their movies and television shows from a streaming service. This means that you'll be capable of logging into them on a device capable of taking screenshots: desktops, smartphones, tablets, and laptops. From there you can choose key moments within the movie or television show that appeal to you, and may be of interest in your writing later on.

By taking and using screenshots, your post is not only going to be more appealing to your potential readers, but will have a significantly better level of presentation and formatting. Your subject will be more appealing, and more direct in telling your readers about the very thing you're discussing. Not only does this tell your audience more about the subject, it displays to them that you've taken the extra effort to visually convey interest in that subject.

Take into consideration the scene, what's happening within it. Find moments that appeal to you either through the narrative or visually. Interesting screenshots that show beautiful composition and use of colour will hold more weight than those taken at random intervals.

With images, it is entirely your decision as to how you place them around your post. This isn't something we take too much consideration of, since the formatting of the post's text itself differs from each person's style of writing. Though, we do recommend that you use multiple images in your posts, for it can serve as a break between your text as you change to different areas of interest within the subject. These breaks allow your audience to breathe and slowly take in the information, rather than being greeted with an overwhelming wall of text.

**Effort**

Effort is something that can be broken down into three main areas: post length, context, and style. These three areas come together to create some very fundamental aspects of writing structure that results in a finished piece that is informative, entertaining, and well written. To break things down more visually, here is a general template of post structure to follow:

Introduction: the foundations to the post and subject.
Context: the narrative description.
Opinions: your thoughts.
Conlcusion: the end of the post, final thoughts.

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