The third season of Euphoria has been an absolute flop. Disdained by critics and vilified by viewers, it seems to have only pleased a small group of fans. But that doesn’t mean it has been a failure in all areas. Hate also sells, and that seems to be the case, because Euphoria has ended up with 8.7 million views between HBO and HBO Max in just three days. A series with good numbers While HBO does not provide general audience data, we do know that the first episode of the season garnered 8.5 million views […]
The third season of Euphoria has been an absolute flop. Disdained by critics and vilified by viewers, it seems to have only pleased a small group of fans. But that doesn’t mean it has been a failure in all areas. Hate also sells, and that seems to be the case, because Euphoria has ended up with 8.7 million views between HBO and HBO Max in just three days.
A series with good numbers
Although HBO does not provide general audience data, we do know that the first episode of the season garnered 8.5 million views in its first three days and that this was a 44% increase compared to the premiere of the second season. This represents a significant improvement over its previous numbers.
In any case, that doesn’t mean they are great numbers. By comparison, The Pitt reached 9.7 million views in its finale in the first three days since its airing. Although with a particularity. The figures for The Pitt measure only viewers within the US, while those for Euphoria measure viewers from around the world, which leaves a somewhat less enthusiastic situation for what was, until now, HBO’s darling.
While there is no news about a fourth season of Euphoria, HBO keeps the door open to the possibility. Although the end of the third season felt like a conclusion for the series, it wouldn’t be the first time that, after such a closure, a series returns with a new season. So it will be interesting to see what conclusions the network executives draw from the numbers of Euphoria. And from the lack of enthusiasm from critics and a significant portion of the fans.
Stories of rise and fall are very popular. Probably because they tell the kind of story that is known to end badly: someone flies too close to the sun and ends up getting burned. It is interesting to see what precipitates that failure. And few rise and fall stories on television are like those of Euphoria. The biggest television series in recent years whose third season is an absolute failure. But it was easy to foresee that this was going to happen. Because all the signs were there since its second season. A series that knew better times Not always has it been […]
Rise and fall stories are very popular. Probably because they tell the kind of story that is known to end badly: someone flies too close to the sun and ends up getting burned. It is interesting to see what precipitates that failure. And few rise and fall stories on television are like those of Euphoria. The biggest television series in recent years whose third season is an absolute failure. But it was easy to foresee that this was going to happen. Because all the signs were there since its second season.
A series that knew better times
It hasn’t always been this way. If there is one thing to recognize, it is that there was a time when Euphoria was everything. It dominated conversations on social media, constant edits were made, and even the critics seemed delighted with the series. Even if its representation of adolescence has always been exaggerated, it was appealing and interesting due to some great performances and a visual care that kept both the audience and critics engaged. The characters mattered. It was easy to empathize with them. And it was visually appealing. It was easy to get hooked.
What happened for it to stop working? The most obvious thing is that the series began to lose some of its appeal over time. This was noted by critics when comparing the first and second seasons. In the first season, the performances, visual aspect, and stories were highlighted, while in the second season, only the first two aspects were emphasized. And in the third season, it has only gotten worse.
The plots of the third season are absurd and seem to go nowhere. Often, they don’t even seem to have any purpose beyond offending or seeking some kind of impact on the viewers. Something they have occasionally achieved. But always at the cost of something important: their characters.
The biggest complaint about this third season, criticized by both critics and the public alike, is that it is not the same. And that is normal. The stories, vaguely coherent, do not allow actors to develop their characters in interesting and emotionally impactful ways as before, making them much less impactful. And due to the loss of interest in the visual, the series no longer generates the same interest.
The problem of not knowing when to let go
But there is another problem worth noting that is very important for a series like Euphoria: a lot of time has passed between seasons. Almost three years passed between the first and second seasons. More than four years have passed between the second and third. That makes more than seven years for three seasons in what is definitely a series with a clear target audience: people between 18 and 25 years old. In the time that has passed in the production of three seasons, someone who was at the lower end of its target audience has already stopped being so.
This is a problem. And it is because people grow, mature, their tastes change. Perhaps this third season, as it is, would have worked just as well four years ago. But not now. Not especially when it is accompanied by huge controversies with some members of its cast and with others who have an image completely detached from what they do in the series, due to how their careers have evolved. Because making a season a year is not a whim: it is a necessity to not lose the target audience or for your own actors to stop being attractive to it.
Productions that are stretched out over time like those of Euphoria make no sense. Even less so in a series whose target audience is young, and so young that three seasons in seven years means, literally, a third of their life. And that is the problem with the series: they have not known how to capitalize on its success or let it go.
Euphoria could have worked with five seasons in five years or accepting that a third season after seven years made no sense. But either they haven’t known how to let it go or they haven’t known how to speed up the production of the series, causing it to become a failure. Because the audience no longer exists. Because they no longer know how to make a good season of Euphoria. Can they save the series in a hypothetical fourth season? Not if it takes another four years to release it. And given their track record, it’s doubtful that will happen.
007 First Light was released on May 27 and has been unanimously acclaimed by critics. Praising its ability to recreate the character in a video game and provide an accessible experience for more casual players while also offering a challenging experience for those familiar with the Hitman franchise, it is set to be one of the serious contenders for game of the year. And it seems that players feel the same way, as it has managed to sell one and a half million copies in its first twenty-four hours. 007 cannot stop succeeding This has turned 007 First Light […]
007 First Light was released on May 27 and has been unanimously acclaimed by critics. Praising its ability to recreate the character in a video game and provide an accessible experience for more casual players while also offering a challenging experience for those familiar with the Hitman franchise, it is set to be one of the serious contenders for game of the year. And it seems that players think the same, as it has managed to sell one and a half million copies in its first twenty-four hours.
About the game, we said it is “a proposal that offers us a different, but very current James Bond, who can captivate the audience in a way they do not expect.” Furthermore, we pointed out that “it is a millennial, irreverent, and totally contemporary James Bond,” something they also seem to be looking for in the movies. Because the rumors circulating about the new 007 movie are that they are looking for an actor under 30 years old to play James Bond. This would fit with what we have seen in this game.
007 First Light is now available on PlayStation 5, Xbox Series X|S, and PC, and will be released on Nintendo Switch 2 in the second half of the year. With a score of 88 on OpenCritic and 87 on Metacritic, it is one of the most acclaimed games of the year. And since it seems that the movies will follow what has been seen in the video game, there is no reason for all the fans of the character not to be encouraged to try one of the most interesting games of the year.
Disney has acknowledged that they are having trouble reaching the young audience. Star Wars appeals to the audience over 30 years old, but it seems that it no longer captures the attention of children as it used to. If we add to that the fact that the series are performing much worse than they expected, it seems they have a creative crisis on their hands. Especially considering that it has been seven years since we had a new Star Wars movie, leading to the thought that this very, very distant universe may be in crisis. Especially because The Mandalorian and Grogu have been openly despised by the […]
Disney has acknowledged that they are having trouble reaching the young audience. Star Wars appeals to the audience over 30 years old, but it seems that it no longer captures the attention of children as it used to. If we add to that the fact that the series are performing much worse than they expected, it seems they have a creative crisis on their hands. Especially considering that it has been seven years since we had a new Star Wars movie, leading one to think that this very, very distant universe may be in crisis. Especially because The Mandalorian and Grogu has been openly despised by critics.
A Movie with Little Sense
The Mandalorian is a series that, upon its release, was highly appreciated. Directed by Jon Favreau, it knew how to do everything a science fiction franchise needs today to be relevant. Having a charismatic character, an adorable pet that people want to cuddle, making an intelligent mix of genres, and having a hopeful tone more anchored in adventure than anything else. A winning formula that has systematically worked in recent years, as Project Hail Mary has demonstrated.
In fact, the first two seasons were a great success. Both critics and audiences greatly enjoyed the adventures of the Mandalorian and Grogu, affectionately dubbed Baby Yoda by the public. The problem is that in the third season, things started to go awry. The critics were less than enthusiastic about an erratic season that seemed unclear about where it wanted to go, and the audience responded in a similarly lukewarm manner: the numbers were not terrible, but they were not those of the first two seasons. And the public discourse was not as enthusiastic as in the first two seasons, beginning to show signs of fatigue.
The Mandalorian and Grogu is a conclusion for the series in the form of a movie. With everyone involved in it, it aims to be a big celebration for the fans. But the question is, are there still fans of The Mandalorian to justify it? And above all, does it make sense as a movie?
It seems that the answer, especially for the second part, is no. The critics have slammed the movie, accusing it of being like an extended episode, but worse produced, without really being satisfying in any possible sense. Except for the aspects where there have never been complaints. The Mandalorian is great, Grogu is adorable, and the music is excellent, but the CGI, the action, and the aesthetics do not seem like those of a movie, with a quality far below what one would expect from a high-budget film. Not to mention a production from Disney. Especially from a series that stood out precisely for the care of all these aspects.
A galaxy far, far away that does not excite
That criticism and the audience do not always go hand in hand is not something unknown. But with The Mandalorian and with Star Wars, in general, there tends to be some overlap. Something that is not good news for Disney, even with extremely pessimistic projections from experts.
According to analysts, the movie will make 80 million dollars in its first four days of screening. An excellent figure for any other movie, but disastrous for a Star Wars film: no movie in the franchise has ever made less than 100 million. Some of them have been considered failures because of this. Something that suggests that The Mandalorian and Grogu may be the beginning of something that was already being noticed in the series. People may not be as into Star Wars as they were ten years ago.
The numbers after its premiere, in any case, have been somewhat better than expected. With 12 million dollars on its first day, forecasts have now increased to 90 million. Does this mean that The Mandalorian and Grogu is on its way to being a surprise success? No. It means it could be a smaller failure than expected. But unless it ends up making much larger numbers, it seems that it will spawn a conversation that no one wants to have. That perhaps Disney is exhausting its franchises.
Perhaps the audience is no longer there. They are tired of Star Wars. It has been decades of the same franchise, of cultural supremacy, and not always quality that lives up to the myth. It is possible that it just needs a break or to find the right key. It is impossible to know. Perhaps, yes, Star Wars is exhausted and is no longer as interesting as before. But what seems evident is that The Mandalorian and Grogu are no longer as captivating as in their first two seasons. And Disney must start to consider what they are doing with Star Wars.
Disney has been on a roll for a few years, as it dominates at the box office, but it is having a relatively limited cultural impact. Its live-action adaptations of classics may make astonishing numbers, but neither critics nor audiences seem to be impressed. If we add to that the fact that Pixar has gone from being the infallible studio to one that can make great movies but doesn’t always hit the mark, and that both Marvel and Star Wars don’t seem to be the successes they once were, Disney doesn’t seem like the superpower it was not long ago. That doesn’t mean that from time to time it is still capable of […]
Disney has been on a roll at the box office for a few years now, but its cultural impact seems to be quite relative. Its live-action adaptations of classics may be raking in astonishing numbers, but neither critics nor audiences seem to be impressed. If we add to that the fact that Pixar has gone from being the infallible studio to one that can make great movies but doesn’t always hit the mark, and that both Marvel and Star Wars don’t seem to be the successes they once were, Disney doesn’t appear to be the superpower it was not long ago.
This does not prevent it from occasionally being able to create true milestones. Cultural phenomena that transcend cinema and end up becoming mass phenomena, with their characters becoming part of popular culture. The latest case of this, which has been a critical and public success while demonstrating the capability of that old Disney, has been Zootopia. Its second part is now arriving on streaming services.
A Disney movie with impact
Zootopia, Zootropolis in its original version, is an animated comedy about a universe of anthropomorphic animals inspired by film noir. When carnivorous animals start to lose their minds and attack herbivores, challenging the social peace on which the coexistence of Zootopia is built, a city where both classes of animals live in harmony, police officer Judy Hopps, a rabbit, will have to find out why this is happening. For this, she will have the help of the sarcastic and distrustful Gideon Grey, a street-smart fox with as many problems as he has heart.
The movie perfectly combined an interesting universe with hilarious comedy and classic tropes from both film noir and buddy movies. All of this well marinated by some classic Disney plots, including the tendency to make something enjoyable for both children and adults. Something that led to a surprising success.
With a budget of 150 million dollars, it was not exactly a small production with which they tried to test the waters: it was a big gamble. And it paid off. Grossing over 1 billion dollars just at the global box office, being the twenty-fourth highest-grossing film in history worldwide and the fourth highest-grossing of 2016, the film was a complete commercial success. But other Disney films with zero impact outside of the commercial realm have also been successful. How did it perform among critics and audiences? Even better.
With a 98% approval rating on Rotten Tomatoes, an average score of 81, and a 78 on Metacritic, it is one of the best-received Disney films of the last decade. Additionally, the awards poured in from all sides. Winning the Oscar and the Golden Globe for Best Animated Feature, as well as 8 of its 10 nominations for the Annie Awards, the most prestigious awards in the animation industry, it was an absolute success. This led to the production of endless merchandise for the film and also an anthology series for Disney+ featuring the supporting characters called Zootopia+ that repeated the success.
The success was such that, last year, its second part was released. Zootopia 2 once again put Judy and Nick at the forefront, who have decided to become detectives since the police do not seem to take them seriously. With the same sarcastic tone and combining the buddy movie and film noir tropes, the movie reinforces everything that the first one did well, but focusing on a new plot and new characters. This is more than enough to replicate the success of the first installment.
With a budget of another 150 million dollars, this time the revenue was even greater, exceeding 1850 million dollars worldwide. If we add to that the fact that it was once again critically acclaimed, albeit with a bit more lukewarm reception, holding a 93% positive rating on Rotten Tomatoes and having a small division of opinions on whether it was as good as the original or not, Zootopia has proven to be one of the major bets of modern Disney.
Because as we said, it is now available on streaming services. Since Wednesday, March 11, it is possible to watch the second part of Zootopia on Disney+, in addition to the first Zootopia and Zootopia+. This is something we highly recommend to any Disney fan, animation lover, or buddy movie enthusiast, because Disney has rarely been so inspired in recent years.
Bandcamp has implemented a new policy that prohibits the publication of content that is generated wholly or partially by artificial intelligence (AI). This decision is announced with the aim of preventing the use of AI tools to imitate other artists or styles, a practice that has sparked controversy in the music industry. Bandcamp, known as one of the largest online music markets, aims to protect artistic authenticity and promote genuine musical creation. Only large tech companies want AI Unlike Bandcamp, other platforms like Spotify and Apple Music maintain more […]
Bandcamp has implemented a new policy that prohibits the publication of content that is generated wholly or partially by artificial intelligence (AI). This decision is announced with the aim of preventing the use of AI tools to imitate other artists or styles, a practice that has sparked controversy in the music industry. Bandcamp, known as one of the largest online music marketplaces, aims to protect artistic authenticity and promote genuine musical creation.
Only big tech companies want AI
Unlike Bandcamp, other platforms like Spotify and Apple Music maintain more permissive stances towards AI-generated music. Spotify, for example, has announced that it is working on disclosing the use of AI in its catalog, although it has not implemented a strict ban similar to that of Bandcamp. Apple Music also prohibits AI-generated impersonations, although its policy has been less clear regarding other types of content.
The Bandcamp measure comes in a context where there has been a notable increase in the creation of low-quality music generated by AI, exemplified by cases like the fictional band The Velvet Sundown. This group, which never existed in reality, reached a peak of 500,000 monthly listeners, a figure that reflects public interest, despite their music being criticized for its lack of originality and authenticity.
Bandcamp’s decision has been well received in the artistic community, while Spotify has faced criticism for its low royalties and a growing saturation of AI-generated music on its platform. The discussion about the use of artificial intelligence in music also extends to the realm of video games, where figures like Tim Sweeney have raised concerns about the excessive use of AI impacting the creativity and quality of final products.
Nothing is more fulfilling than finding a community that deeply loves and cares about something you are passionate about. And if you are looking for a community that loves music as much as you do, Bandcamp is the right place for you.
KPop Demon Hunters continues to be a phenomenon due to its exciting story, captivating songs, and stunning animation. The movie has captured the industry’s attention, being recognized with 10 nominations for the Annie Awards, which are often considered the Oscars of animation. This event honors significant achievements in films, television shows, video games, and animated effects in live-action films. Dominating the Annies’ animations Among the nominations, KPop Demon Hunters appears in several prominent categories, including Best Characterization and Best Music, highlighting the importance of the creative talent behind the […]
KPop Demon Hunters continues to be a phenomenon due to its exciting story, captivating songs, and stunning animation. The movie has captured the industry’s attention, being recognized with 10 nominations for the Annie Awards, which are often considered the Oscars of animation. This event honors significant achievements in films, television shows, video games, and animated effects in live-action films.
Sweeping the Annies Animation Awards
Among the nominations, KPop Demon Hunters appears in several prominent categories, including Best Characterization and Best Music, highlighting the importance of the creative talent behind the production. The complete list of nominations is as follows: Best Feature Film (Sony Pictures Animation for Netflix), Best FX – Feature Film (Sony Pictures Imageworks), Best Character Animation – Feature Film (Ryusuke Furuya), and Best Direction – Feature Film (Maggie Kang and Chris Appelhans), among others.
The KPop musical team Demon Hunters has been a key piece in their global success, with the song ‘Golden’ topping the charts and ‘What it Sounds Like’ being highlighted as one of the best songs of 2025. This focus on music and animation has led the film to become a milestone in its genre, offering not only entertainment but also significant cultural appeal.
Interestingly, the only category for which KPop Demon Hunters was not nominated is Best Storyboarding, while its direct competitor, Elio from Pixar, received 10 nominations, including Best Storyboarding, although it was also not recognized in the Best Music category.
KPop Demon Hunters is available for streaming on Netflix, a service that continues to expand its catalog with original content that resonates not only with the youth audience but also with audiences of all ages.
The highly anticipated movie Avatar: Fire and Ash, directed by the iconic James Cameron, has been revealed to the press ahead of its scheduled theatrical release this month. This early release has allowed film critics to share their first impressions of the third installment of the saga, which takes place in the spectacular world of Pandora. The press has fallen in love with it. Journalists have described the film as the “ultimate cinematic spectacle,” noting that it not only raises visual standards but also delves deeper into the characters’ emotions. Critic Courtney Howard, in a comment […]
The highly anticipated movie Avatar: Fire and Ash, directed by the iconic James Cameron, has been revealed to the press ahead of its scheduled theatrical release this month. This early release has allowed film critics to share their first impressions of the third installment of the saga, which takes place in the spectacular world of Pandora.
In love with the press
Journalists have described the film as a “definitive cinematic spectacle,” noting that it not only raises visual standards but also delves into the characters’ emotions. Critic Courtney Howard, in a comment on Twitter, highlighted the film, emphasizing its quality and the remarkable work behind the production. Such praise suggests that Avatar: Fire and Ash could set new benchmarks in the film industry.
This installment promises to take viewers on an even deeper journey into the universe of Pandora, enriched by the innovative visual effects technology that has characterized the franchise. Cameron, known for his dedication to technical and narrative perfection, once again ensures that the cinematic experience is both visually stunning and emotionally resonant.
With the pressure of the expectations generated by its predecessors, this film not only seeks to entertain its audience but also to connect on a more personal level, which has been a hallmark of Cameron’s productions. As the release date approaches, many fans are eager to see if Avatar: Fire and Ash will meet these high expectations and how it will position itself within the acclaimed series.
The first reactions to Predator: Badlands, the new installment of the iconic franchise, are mostly positive following its screening in London on October 29. The film, directed by Dan Trachtenberg, has been praised for delivering an intense action experience and memorable characters. Critics like Drew Taylor from The Wrap describe it as “a tremendous achievement—fun, scary, thrilling, with memorable characters and creatures.” A film that breaks with what we expected from the character, Trachtenberg takes a risk by changing the traditional focus of the saga, presenting a narrative of “cosmic buddy road movie” instead of the usual horrific survival. The […]
The first reactions to Predator: Badlands, the new installment of the iconic franchise, are mostly positive following its screening in London on October 29. The film, directed by Dan Trachtenberg, has been praised for providing an intense action experience and memorable characters. Critics like Drew Taylor from The Wrap describe it as “a tremendous achievement—fun, scary, thrilling, with memorable characters and creatures.”
A movie that breaks with what we expected from the character
Trachtenberg takes a risk by changing the traditional approach of the saga, presenting a narrative of “cosmic buddy road movie” instead of the usual horrific survival. The story follows a young yautja who, after being exiled from his clan, embarks on a journey of self-discovery alongside an unusual cyborg, played by Elle Fanning. These narrative choices have sparked both praise and criticism within the fan community.
Despite the praise, some more purist fans feel that the movie has not met their expectations. Phil Roberts from Future of the Force describes Predator: Badlands as “an epic spectacle,” but mentions that it “takes risks that are not always successful.” Josh Barton from Barton Reviews also comments that, while it could be “the weakest work of Trachtenberg in the franchise,” it is, nonetheless, an interesting expansion of the Predator universe.
As Predator: Badlands prepares for its theatrical release on November 7, many critics highlight that it is set to attract a broader audience by exploring new directions within the story. With the promise of exciting adventures and a reinvention of the original concept, this film could change the public’s perception of the franchise.
The long-awaited third season of One-Punch Man has finally premiered, after six years of waiting, and is now available on Crunchyroll. However, the reception of the first episode has been divisive among fans, who seem to have mixed opinions about the quality of the animation and the fluidity of the action scenes. Some users on platforms like Reddit have expressed their dissatisfaction, pointing out the presence of “static frames” and a notable lack of fluidity. “For an episode that had almost 0 breathing space… it was mostly filled with still frames. […]
The long-awaited third season of One-Punch Man has finally premiered, after six years of waiting, and is now available on Crunchyroll. However, the reception of the first episode has been divisive among fans, who seem to have mixed opinions about the quality of the animation and the fluidity of the action scenes.
A not very smooth and interesting animation
Some users on platforms like Reddit have expressed their discontent, pointing out the presence of “static frames” and a notable lack of fluidity. “For an episode that had almost 0 breathing space… it was mostly filled with still frames. I’m afraid of how they will handle the fights,” wrote a viewer. These comments reflect a widespread concern about the direction the series will take after a long wait.
Despite the criticism, there are those who praise the visual aspects of the first episode, highlighting the quality of the drawings, the lighting, and the color. “I think the best part so far is the visuals themselves, which are better than the second season,” commented a fan. This type of opinion suggests that some viewers see potential in the future development of the series, especially in the action scenes, where they hope the studio will invest more effort.
The first episode focused on the introduction and exposition of the plot, which may justify the lesser amount of animation. “There isn’t much that needed to be animated in this episode, as it is a context delivery after the previous season,” analyzed a fan, who also mentioned the good quality of the dubbing and the music.
With the first episodes marking an uncertain course and the fan community on alert, the series will have to prove its place in the hearts of its followers. Meanwhile, the upcoming episodes are expected to meet the high expectations generated by the wait.
