Es normal que se vea como difuminado o borroso en lo lados de algunas escenas??? Solo he viSto el piloto...
¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Vista ya la 1ª Temporada, me ha gustado mucho.
Es una versión muy diferente de la Sabrina que conocemos, por ello es la más interesante. Hay un buen equilibrio entre su faceta de drama juvenil y su lado sobrenatural terrorífico, que tampoco es que lleven al extremo su faceta satánica pero ya es una gran diferencia comparada con la sitcom de los 90 que era muy inocente y boba.
Ojalá la próxima temporada tenga más capítulos del "monstruo de la semana", como el episodio de los sueños (muy Buffy y me encanta).
Sí, es el modo que la serie representa las escenas sobrenaturales.
Absolutamente enamorado de Kiernan Shipka.
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Cierto! El único pero que le veo a nivel comparativo, o de uso más efectivo de parte de la fórmula Buffy, es que a veces se quedan cortos en el humor autoconsciente: por ejemplo las 3 malotas del colegio merecen algún comentario de Sabrina. Es decir, Buffy lo soltaría, en plan decirles a ellas, y al espectador, que son tal cual el tópico de malotas de instituto, que si no se dan cuenta. Eso evita que tú pienses en ello ya que la propia Buffy/guionista/serie lo piensa y te lo dice. Es algo que el hermanísimo y cuñada hacen deliciosamente, y sin parar, en Agents of Shield![]()
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Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
se supone que los 10 capitulos que se han publicado es la 1º parte de la 1º temporada, asi que aun queda chicha
Visto el 1x05, el de los sueños, y me ha recordado mucho aquella obra maestra que es el episodio Restless de Buffy.No sólo eso, googleo en un momento y aparece un artículo de Cosmopolitan comentándolo. Si es que es obvio
Is This 'Chilling Adventures of Sabrina' Episode a 'Buffy' Ripoff?
There are a LOT of similarities here.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
OT: Synch, yo también tengo un TOC. Así que mañana mismo te mando MP. Luego ya las vas reseñando cuando puedas a lo largo del mes.
¿Por qué?. Por tocar los cojones.. Porque mañana es día 1 de noviembre y hay que ser riguroso.
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What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Vistos por el momento seis episodios y me esta gustando bastante.
Kiernan Shipkan DELICIOSA![]()
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Hablando de dicciones... Synch, ¿puedes pasarte un momentico por el hilo del Cascanueces y los cuatro Reinos? Si, ya se que a ti esa peli no... pero pásate y mira mi último post, te vas a reír.
Volviendo a Sabrina, es una serie magnífica, no cabe duda.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
¿El gato no habla ni suelta chistes?![]()
Borrado.
Última edición por Branagh/Doyle; 01/11/2018 a las 17:43
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
No sé que me pasa con la protagonista, que quiero darle un abrazo, e invitarla a Cola-Cao calentito con magdalenas. Es adorable.
Y lo reitero, que inglés más pulcro, demonios. Es una autentica gozada, y lo curioso es, cómo dice Synch, que a este respecto deja en absoluto ridículo a sus estupendos compañeros de reparto. A TODOS.
Gran interpretación, con un uso de la voz y una modulación del lenguaje corporal ejemplar. Anonadado me hallo.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Cierto, no parece que actúe. Le sale solo.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Menudo dolor de huevos que debe de tener el novio de Sabrina. Es el verdadero héroe de la serie.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.