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Tangible brutality in a tragedy that continues. Kim does not give a chance to catch one's breath for even a moment, and with each further plot development, dives deeper into the ubiquitous cold mud. However, it is not depression and brutality without order or reason, on the contrary. All the misfortunes are revealed against the backdrop of suppressed humanity or deep grievances and their credibility almost hurts.

Just as I witnessed the exact translation of the tense political and magical atmosphere with the Phoenix Order, in the Half-Blood Prince, there is a mood full of anticipation, competition, pranks, and infatuations. The popularity of this installment simply depends on the popularity of the book source material, and those who expected a progression of past storylines without knowledge of it are bound to be disappointed. In Hogwarts, there is an atmosphere of year-long Valentine's Day, where it is easier to forget everything that burdens the outside world. And so, only Dumbledore regularly reminds everyone of why Harry is indispensable and irreplaceable, Draco noticeably keeps his distance from others, and the Christmas holidays show once again that evil never sleeps. Naturally, the screenplay doesn't forget that the dark fantasy mythology continues to progress and leaves our heroes exactly where they were destined to be from the beginning of the saga. At the beginning of the final rebellion, on the brink of independence. And the gem of it all is that both darkness and enchanting romance work so naturally alongside each other that it takes your breath away. Yates is a king.

Just don't take Star Wars too seriously and know how to enjoy Prcičky like when you were young. There's simply nothing better than when someone has an idea and effort.

Risk of spoilers Season 1 - 70% - Supposedly a small gem, but so far a small disappointment. Ashley is great as the cool girl, Aiden is intentionally exaggerated skirt-chaser, but Spencer as the kind-hearted protagonist has her flaws, and the further division of characters into the completely honest friends and the deceitful and gossiping squad of cheerleaders led by Madison is so naive that I can't take some situations seriously. Where the chemistry between partners should work, it does, but the glaring predictability brings down the overall result. Season 2 - 60% - The criticisms remain similar, but unfortunately, there aren't many positives added. Perhaps Aiden is definitely the standout of the series, pleasing with his effortlessly likable performance, but the rest of the cast disappointed more than before. Even Ashley can't act convincingly anymore and every little thing becomes a reason for an argument, which is resolved with a final embrace from Spencer. Other storylines just skim the surface and occasionally feel more like advice on how to deal with homosexuality/addiction/pregnancy. The second season is saved from being mediocre by a catchier opening song, Aiden, a relatively pleasant atmosphere, and a surprisingly well-functioning finale. Season 3 + webisodes The Day After and Five Years Later - 50% - Another qualitative decline and a definitive disregard for most characters. Kylie becomes incredibly annoying, Ashley doesn't know what she wants, and even Aiden occasionally weakens. The only likeable character until the end remains Glen, who, despite being a star or an addict, matures into a slightly rebellious and outsider archetype reminiscent of Pacey Witter from Dawson's Creek. The main problem, however, is that over time, the relationship between Spencer and Ashley completely lost my interest. When they're together, they argue, when they're not together, they think about each other, and when one or the other has something with someone else, their significant other forgives it with a sweet smile. Thanks, but no thanks. The finale works, although the final connections between characters smell like "who ended up with whom". And if I were a fan of Spashley, maybe a tear would fall, but instead, I'm left with a slight smile and a puzzled raised eyebrow over the unnecessary two short postscripts. If it wasn't the last season and if I wasn't slightly nostalgic about the three seasons I spent with all of them, maybe it wouldn't even be below average.

At a time when many fans were giving up on Cobra, a two-part episode came out that turned out to be the swan song of the series, but it started the final season that I really enjoyed. The action scenes were extremely exaggerated, the case was more personal than ever before, and the finale was multiple times more intense. In this combination, I couldn't ask for anything more.

Germans are playing Dangerous Speed and they're doing great. Thanks to the golden era of the series, with the irreplaceable chemistry between Semir and Tom, this Hell Drive is an unforgettable thriller that many other A-grade productions cannot even come close to.

Even the younger version of Bill Adam doesn't spare charisma and action. Razor Flashbacks are a unique insight into the period of the conflict's beginning and in this form, they work exceptionally well. Even from this half-episode, the Battlestar atmosphere is evident.

End of fun. Where the first part was a perfect ride, the sequel is now just a parody and a race for the most unacceptable absurdity. The maximum experience suddenly turns into a strange unpleasantness, where the divine couple Jason+Amy mainly gains additional points.

First, I was glad that the western genre still had its place in modern Hollywood, but it won't last long with this category of randomly selected scripts. Appaloosa only brings a series of episodes from a interchangeable town with a sheriff's office and a saloon, but it doesn't lead anywhere. The whole relationship-focused story reaches a dead end and the showdown comes literally out of nowhere at the last minute. It's no wonder that the attraction is mainly the actors. Ed Harris is once again a tough guy on demand, and Viggo Mortensen handles the cowboy next door stereotype with humor. However, Renee Zelwegger and Irons show that they only ended up in the Wild West by mistake, and their forced, respectively casual acting has no place here. For this horribly wasted opportunity, I would only give it a disappointing 50%.

Season 1 - 90% - The best crime show, the most beautiful investigator, and the biggest surprise in television series. If someone told me that I would fall in love with my least favorite genre, I would have laughed at them. But Castle delivers with incredible cadence, Beckett supports him with a sweet smile, and the chemistry between them shines. The variety of cases and the intelligence and humor of the investigation guarantee that there will be plenty to draw from in the coming years. An incomparable masterpiece. Season 2 - 100% - When clever cases become brilliant, when the sympathetic team become best friends, and when the beautiful lead couple become the most anticipated pair, the rules of the genre change. We have already had well-crafted buddy cop shows, but with such doses of tension, humor, and emotion, Rick, Kate, and company reach the pinnacle in the second season. Surprising guest appearances (Marc Blucas, Dana Delany, and Michael Trucco truly shine) and subtle teasing of the viewers from "those two could be together" to "for the love of God, just kiss already" add to the excitement. See you in fall. Season 3 - 90% - It's not easy to deliver unique murder cases every week and fit in a writer, a detective, and an overall mood. Luckily, whether it's pizzerias, beauty pageants, or paranormal phenomena, this team never loses its face and style. The series gains strength through episodes that are directly related to the past or personal lives of the main characters. For example, the traditional two-part episode in the second half of the season is my favorite adventure. The 100% rating is not achieved because in some cases it's not easy to keep up and grasp all the connections despite maximum concentration in the rapid-fire dialogue exchanges. However, I still believe that Castle has no equal in the (no longer so subtle) relationship crime genre. Season 4 - 100% - At the top of the genre. The writing team led by Andrew Marlowe knows that they can dare any deviation from what could be defined as a "traditional case" and presents us with a wealth of new ideas. From Adam Baldwin to a stoned zombie to a tiger, everything is in top gear. Furthermore, this time the series is as much a romance as it is a crime show. And it ends in an unforgettable way, even in purely dramatic series. Season 5 - 90% - Game changer. The new situation sometimes brings more, sometimes less pleasant challenges, but some things fortunately remain the same. Like the thrilling two-part season finale. Or the episodes that delve into the main characters' past, which are among the absolute best (The Wild Rover with Ryan undercover is the king of the season for me). And the fact that Stana Katic is aging beautifully. Although the complicated murder cases sometimes confuse me, I can't be mad because I practically always have a smile on my face. Season 6 - 80% - It's somewhat disappointing because, despite the high rating, this time it's operating on idle. It's a question whether the creators are really running out of ideas or if the concept of the series has started to become a bit repetitive after more than a hundred episodes. I lean more towards the second option because everything in the plot seems to be the same. There is once again a dramatic two-part episode that is a matter of life and death, once again a paranormal case that seemingly defies logic, and once again there are hidden secrets. It's just without much excitement and the investigations often just glide by and the reputation is saved by the usual banter of the entire team. Thanks to the intense adventures like Under Fire or Veritas, I remembered the times when only a few could match Castle in terms of tension, emotions, and humor. However, there are some slight concerns about the future quality. There aren't many TV settings that I would wish could catch their second (and ultimately last) breath as much as the NYPD precinct. Season 7 - 70% - It maintains its identity, but it's breathless and somewhat unfortunate, mainly due to the confused handling of the showrunner position. This season is clearly the weakest as it disappointingly loses in the long-term storylines. Nathan Fillion finally gets a bigger story arc, but both Rick's disappearance and the childhood incident that the new showrunner David Amann sets up at the beginning receive a big blow when they are resolved in just one episode. They feel like dead ends that are blind and foolish. That's why I'm grateful for the successful lighter episodes from school, noir, or alternative reality. The team chemistry is still unprecedented, but the increasingly interchangeable "anonymous" episodes without a clearly visible direction unnecessarily dilute it. Season 8 - 60% - A somewhat sad swan song, as the new duo of showrunners sends it into average waters. Alexi Hawley and Terence Paul Winter had good intentions when they tried to bring back the spark between the central couple, which had somewhat faded in recent years. However, having a breakup storyline pulled out of thin air was a bad idea, and deciding to go back on it after public pressure bordered on embarrassment. Above all, it was confirmed that after solving Johanna Beckett's death, the lack of a long-term storyline was a detriment. The viewer would have enjoyed deciphering clues and uncovering LokSat's identity, but from the beginning to the end, it stumbled. That's why the last few episodes are a surprising rescue. It plays a strong note at the last moment, and stories with an immortal victim or the arrival of Satan hark back to the legendary era, but it only partially saves the rushed impression. Therefore, thanks to all involved for an amazing finale that allows Nathan Fillion to shine, for a few surprising twists, and for an ending that the general public didn't fully accept. Given the hectic circumstances of the end of filming, bitter feelings from recent years, and the terrifying casting changes that would await us in the future, I take this (though hurried) epilogue with open