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It still has certain qualities; it’s really great that covid didn’t cut the series short, but the part focusing on the birth of the United States is quite exhausting now (though logically more attractive to an American audience). The constant dramas are so repeatedly fatal that it paradoxically leads to numbness. I’ve long stopped investing any emotions in these characters and don’t care about them. Moreover, the time travel has lost its charm because it’s too frequent and constantly used as an easy solution to various situations. The main characters’ family is growing, secondary characters are changing, but the energy that it had in the first three books/series is long gone. The only positive aspect I would note is that Gabaldon portrays the 1960s in Scotland in a soberly negative way.

The final season began as a parody of the generic superhero narrative, but it wouldn’t be Doom Patrol if it didn’t immediately turn into DC weirdness on a whole new level. Time travel, zombie butts, old Hollywood nostalgia, a musical episode, accepting the demons of each character, a bunch of drag characters, comic book metaphors, dealing with aging… it’s all here in abundance. The ending is touching, but I preferred the third season more.

Tereza Ramba has been delivering leading roles at the same decent level for the entire last decade, and her portrayal of an alcoholic comes as no surprise, not deviating from her usual performance. The real surprise, however, is the very weak script, especially in the second half, which, besides capturing the main story, couldn't resist the path of cautionary popularization, which in this form is entirely unnecessary in a fictional film. As a result, the film lacks sufficient space to address related themes, which become just insufficient fragments—the abortion of the second child, the main character's father's addiction, her second relationship after rehab... At the beginning, we follow a classic risky situation—a young couple moves into a multi-generational household, and while she is on maternity leave with her mother-in-law, he commutes a long distance to work. This is a complete cliché, rehashed many times, unfortunately played out here into a meaningless variation of similar series. And at the moment when things start to get serious, the state of peak addiction lasts only a very short time... and we're already rushing towards a happy ending. If this is what one of the best Czech films of the year is supposed to look like, then it's going to be another funeral.

After the major changes at the end of the second season, it was necessary to ensure that the group of monsters found a new goal and sense of purpose even after the death of their leader, Victor Frankenstein. The storyline involving the boss's ape daughter had run its course, and while the first few episodes of the season stumbled a bit, the story found its direction in the second half. The reduced number of main characters allowed for a deeper focus on individual personalities, and each one stood out better than the last. Cyborg managed to reconnect with his human side, Elasti-Woman relived her entire life thanks to time travel, and Robotman fully embraced his role as a grandfather. Particularly, the episodes Dada Patrol and 1917 Patrol convinced me of the show's value, which only seems to work with the logic of nonsense. In the end, I think I’ll look back on the entire show fondly.

The life story of Diana Nyad is practically unbelievable, and her book *Find a Way* (2015) naturally became a bestseller. So, when a film brings together names like Annette Bening and Jodie Foster, it can't go wrong—and the result truly delivers. If you're in the mood for an extraordinary sports drama about overcoming personal limits, this one is definitely worth watching.

I'm sorry to say that, although F. A. Brabec may have had a vision similar to Terrence Malick's The Tree of Life, the result isn't worth your attention. Richard Krajčo comes across more as a parody of an actor in the lead role, and the script lacks coherence even on a basic technical level (the most important events happen off-screen)... but of course, there will always be people who are content with watching lyrical shots of dogs or a worn-out Štěpán Kozub.

A smaller television film commemorating the anniversary of the assassination attempt on Adolf Hitler on July 20, 1944. While it doesn't come close to the nearly perfect treatment of the same event in Es geschah am 20. Juli (1955), it's still important to remember this anniversary. Sebastian Koch maintains his usual high acting standard, and he even visited von Stauffenberg's widow, Nina, during preparations. Unfortunately, her role was portrayed unrealistically in the film. Such distortions lead to the kind of famous Hollywood simplifications that often end up with stars like Tom Cruise. It's a pity.

DC was strangely multiplied by comic magical realism, resulting in the second season of the wild Doom Patrol. Remember Pushing Daisies? Yes, something like that, multiplied by ten. Add some intense melodrama, a circus setting, a few layers of trauma, toxic family relationships, and you'll have a rough idea of why it's such an attractive show.

So, what do we have here? The 40th film in the DC Universe Animated Original Movies series and the 16th installment in the DC Animated Movie Universe. It also marks the second appearance of the Justice League Dark team, which first had its solo film in 2017. In the meantime, the animated Constantine had his own film, Constantine City of Demons: The Movie, which was released in 2018. Thus, there are many prequels to consider. Additionally, this film adapts several storylines from comics that have been published over many years across different series—"Darkseid War" (Geoff Johns), "Final Crisis" (Grant Morrison), and "Futures End" (Brian Azzarello). It’s clear that only a select group of nerds who had the time to follow all of this will fully enjoy the movie. For me, it's a big treat because I’ve long outgrown generic origins, but at the same time, I’m slightly daunted by the amount of content I’ll need to absorb for future DC animated films. The continuation includes a short from the DC Showcase series—The House of Mystery.

Constantine was one of the surprising adaptations of DC Comics in its time. It took enough from its source material, "Hellblazer," to generate interest on both sides, but also became such a distinct work that it faced issues with sequels. If John Constantine were to be more faithful to the comics in the future and return to being a blonde, he would inevitably face comparisons with Keanu Reeves. However, the film hasn't been forgotten, whether due to its excellent cast—alongside Reeves, there's the divine Rachel Weisz and Tilda Swinton, and two problematic figures, Shia LaBeouf and Gavin Rossdale. A film that constantly has one foot in hell is ideal for reflecting on one's own fears.