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The Walk-In sets out to tackle a serious issue: the growing threat of far-right extremism in the UK. Based on true events, it follows Matthew Collins, a former neo-Nazi who now works as an anti-racism activist, attempting to infiltrate and stop a white supremacist group from carrying out a violent plot. While the series' intentions are good, aiming to highlight the dangers of radicalization, its approach leaves much to be desired.

The first thing that stands out is the series' dramatization of neo-Nazi groups openly marching and demonstrating in public. While such groups undoubtedly exist, the portrayal of them as easily identifiable and brazenly active in the streets of the UK is, to put it bluntly, exaggerated. Most far-right groups today operate in the shadows, using online platforms and encrypted chats to spread their message-far removed from the kind of public Nazi marches shown in The Walk-In. The series risks inflating the threat by focusing on the spectacle rather than the more subtle, insidious methods of recruitment and radicalization that are far more common in today's climate.

For those who have lived in the UK and followed the political landscape closely, the portrayal of white supremacy as a visible, openly confrontational force feels out of touch. Instead of focusing on the quiet, dangerous ways extremist ideologies spread-through online echo chambers and hidden networks-the show leans into sensationalism for dramatic effect. This kind of exaggerated portrayal not only misrepresents the nature of the threat but also feels like a piece of politically charged content rather than a nuanced exploration of the issue.

While there is value in shedding light on the dark reality of far-right extremism, the series risks contributing to a narrative that may feel more like propaganda than a genuine attempt to inform. The danger here is that by making the threat of white supremacy seem like an obvious, easy-to-spot issue, The Walk-In distracts from the real, subtle ways these groups influence minds and shape society today.

Ultimately, The Walk-In serves as a reminder of the risks of sensationalizing complex issues. By pushing a narrative that plays into the fear-mongering of the far left, it feels disconnected from the reality that many of us live in. A more grounded, realistic portrayal would have been far more impactful, offering a clearer understanding of how extremism truly operates in modern Britain.

Just watched Ferrari, and yeah, it delivers. Not your typical high-speed racing flick-it's more of a deep dive into Enzo Ferrari's personal and professional chaos. Adam Driver is solid, but Penélope Cruz? Absolute powerhouse. She steals every scene with raw intensity. The tension between Enzo and Laura is just as gripping as the racing.

Visually, it's stunning. The 1950s Italy setting feels authentic, and when the racing scenes do happen, they hit hard. The Mille Miglia sequence? Brutal, tragic, and beautifully shot. Could it have used a little more racing? Maybe. But as a biographical drama, it does exactly what it sets out to do.

Sean Baker's Anora had the potential to be a sharp and engaging drama, but despite strong performances and a stylish presentation, the story ultimately feels unmemorable. The film follows Ani (Mikey Madison), a Brooklyn stripper who impulsively marries Vanya, the naive son of a Russian oligarch. What starts as a whirlwind romance quickly turns into a struggle as Vanya's powerful family intervenes, threatening to dismantle Ani's newfound fairytale.

The strongest aspect of Anora is its performances. Mikey Madison delivers a compelling lead performance, bringing authenticity and emotional depth to Ani. Mark Eydelshteyn also does well as Vanya, playing the rich but inexperienced heir with a mix of charm and cluelessness. Sean Baker's signature visual style, blending raw realism with cinematic flair, adds an engaging texture to the film.

However, where Anora falters is its story. The premise is intriguing, but the narrative never quite delivers anything truly impactful. The conflict unfolds in a predictable manner, and while there are moments of tension and humor, nothing lingers long after the credits roll. Unlike Baker's previous films, which often explore the struggles of the overlooked with depth and nuance, this one feels like it lacks a lasting emotional core.

It has also been described as a comedy, but that label feels misplaced. While there are occasional moments of wit, the film is far more of a drama than anything genuinely comedic. If it was meant to be funny, it certainly didn't land that way.

Overall, Anora is watchable and well-crafted, but it doesn't leave a strong impression. It's entertaining enough in the moment, yet it fails to make a significant impact, making it one of Baker's more forgettable works.