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The short film "Rat," which was written, shot, and produced by Ozcar Burfitt and Slunk Films, offers us a provocative look at the protagonist, Lukas, who is battling a distressing internal conflict. Lukas is portrayed by Burfitt, who also does a remarkable job of bringing a strong feeling of empathy and understanding to the role, as a complex character who appears to be battling his own problems.

The central theme of the movie is Lukas' grievances regarding a rat in his house, yet it's obvious that the rat represents something far more profound: a persistent concern or uneasiness. Burfitt gives a riveting and sensitive portrayal that lets us, the audience, identify with his emotions of inadequacy and potential mental illness, like schizophrenia. His eyes give us a sense of loneliness and the difficulty of navigating a frightening and perplexing world.

The film's striking visual aesthetic successfully evokes a sense of suspense and unease. Burfitt and his team demonstrate how to effectively and powerfully use sound and vision to portray emotions and moods using just one actor and a simple set. This accomplishment attests to Slunk Films' prowess in telling compelling and thought-provoking tales.

I do think the film might have benefitted even more from a longer runtime despite its many positive aspects. We might be able to comprehend Lukas' problems more fully if we had more room to examine his past and inner struggles. It's both a virtue and a weakness because the film leaves us with more questions than answers; although it encourages introspection and contemplation, it also leaves us feeling as though we might have had more in-depth character development.

"Rat" is a skillfully done short film that prompts us to consider the inner struggles that a lot of us face. Burfitt gives a good performance, and his capacity to portray a nuanced emotional journey is remarkable. The film is a strong and touching experience, even though I wish Lukas' narrative had been explored in greater detail. I recommend "Rat" to everyone who like films that delve into the intricacies of the human condition and psychological topics.

In the black comedy "Broken Promises - A Vengeance Story", we follow Emil, played by Daniel Hallin. In this intricate story, which subtly reveals the consequences of broken promises, we are drawn into a world where humor and seriousness dance a fine balancing act. With a running time of 14 minutes, the movie captures our attention with elegance and sharpness and leaves a lasting impression.

The actors, including the adorable Yasmine Gzaiel as Emmy, Sabina Khamoshi as Lana, and the charming Nova Malmgren as Ellinor, offer performances that really stand out. Their characters, rich in nuance and humanity, anchor the story in a reality that is easy to relate to.

The tone of the film hovers between light-heartedness and deep reflection. By subtly weaving in black humor, it highlights the fragile threads of human relationships and how we navigate the promises we make. It is a reminder that even the most banal decisions can have unexpected and sometimes dramatic consequences. I really appreciate how the movie skillfully manages to evoke both laughter and shock in the same breath.

The cinematography is nice, with beautifully composed scenes that bring the story to life in a magical way. The quiet, yet engaging music and soundscapes creates an atmosphere of emotional resonance that permeates the entire experience. I felt constantly present in the fabric of the story, which is truly a testament to masterful cinematography.

In an attempt to explore themes of love, betrayal, and personal development, the 2005 film "Diary of a Mad Black Woman" blends humor and drama. Despite the film's positive aspects, such Tyler Perry's somewhat funny performance, it is difficult to overlook certain issues that could detract from the viewing experience.

A combination of clichéd characters and over-the-top drama make up the plot, which occasionally feels predictable and biased. The film tackles intriguing issues of trauma healing and personal strength, but it does so in a way that frequently comes across as shallow and a lot more like a morality tale than a thorough examination of the material. It can be challenging to relate to the characters on a personal level because some of them, including the main protagonist Helen, come across as either extremely exaggerated or one-dimensional at moments.

The movie's occasionally erratic pacing is another element that may be problematic. The abruptness with which funny and tragic sequences transition can break the flow of the film and undermine its attempt to elicit a strong emotional response. Additionally, there are a few stereotypical and tropes in this that can come across as overly simplified and tired.

Despite these shortcomings, it is important to recognize the film's ambition and its attempt to tackle complex issues of identity and recovery.

Notwithstanding these flaws, it's critical to acknowledge the film's effort and its attempt to address difficult questions of identity and healing.

Once again, Simon Kasto has created a hilarious short film that is both entertaining and surprising due to its superb ensemble and surprising turns. "Affairs to Remember! - Episode IV: Stray Roads" is definitely one of the best episodes of the series thus far, and I can't help but gush over it!

As Jean-Jacques Garbo, Kasto himself excels, and his charisma keeps the film going strong from start to finish. The pleasant blend of suspense and comedic circumstances is enhanced by his drive to hire Ozcar Burfitt's character Gustav Martinsson in order to uncover the truth about his wife's shennanigans. Not only is the Garbos' apartment the main attraction, which is a nice touch, but we also go on a tour around the neighborhood, which gives the movie some much-needed visual variation and new locales.

As the unfaithful Mrs. Garbo, Maili Backlund does a fantastic job, but Mona Bogefors truly grabs my interest. She gives an incredibly powerful performance as Tutt, the agitated woman Martinsson unintentionally shadows! One of the best parts of the movie is how Bogefors gives Tutt such a hilariously funny yet biting persona, all while managing the ridiculous situation with wonderful comic timing.

And how are you going to ignore Kalle Berglund, the "Fixer"? He emerges as the most subtle character in the whole movie since he is the calm core of all the craziness. When everything else seems to be breaking apart around him, Berglund portrays "The Fixer" with such effortless authority and composure that you truly believe he is in control. He truly is the movie's protagonist because of his laid-back outlook on the ridiculous happenings.

I'm a little confused about one issue, though: what exactly inspired Gustav Martinsson to text Staffan to the Garbos' apartment? The spectator is left wondering about his true intentions by this small detail, which felt a little out of place. It's wonderful to see Jonathan Sand reprising his Staffan character, though, despite this. He's a character who makes you chuckle and feel sorry for him at the same time as he sits crying by himself in the stairway.

This is a fun little movie that made me smile. It's filled with fun scenes, memorable characters, and acting performances that really make an impression. Simon Kasto continues to prove that he is good at balancing humor and drama in his short films, and I look forward to seeing what the next episode has to offer!

I had a good laugh watching this cute little film. It's jam-packed with intriguing characters, entertaining scenes, and powerful dramatic performances. I'm excited to see what the upcoming episode has in store because Simon Kasto consistently demonstrates in his short films how adept he is at striking a balance between drama and fun!

I have a strong respect for both visual beauty and narrative, therefore I have to say that Luc Besson's 1988 film "The Big Blue" is highly recommended. Director Luc Besson has created a film that is as mesmerizing as it is poignant and that uniquely conveys the powerful and enigmatic beauty of the sea.

The film follows the lives of two childhood friends, Jacques and Enzo, whose lives and diving ventures become a battle against both the forces of nature and personal demons. Besson succeeds in blending intense underwater sequences with a moving and complex story of friendship, love, and loss. It is a movie that carries an emotional weight that I have personally found deeply moving.

One of the most striking qualities of the movie is its visual style. The camera's ability to capture the hypnotic movement of water and its animals is nothing short of magical. Together with the evocative musical composition by Éric Serra, the film creates an atmosphere that almost makes you feel part of the blue depths. It is an experience that is both majestic and intimate, speaking to you in an almost sublime language.

The actors, Jean-Marc Barr and Jean Reno, give outstanding performances that give their characters complexity and nuance. The movie's most poignant moments are driven by their strong and vulnerable renditions of Jacques and Enzo. Their relationship is evident and significantly adds to the film's emotional impact.

"The Big Blue" is also a film about more than just diving or the ocean; it's about facing your deepest ambitions and anxieties and going on a quest for something greater than yourself. "The Big Blue" has special relevance for me because I've personally had to deal with difficult emotions and identity conflicts. It provides a mirror for our own quest for meaning and comprehension in a universe that can occasionally seem as mysterious as the vast blue sea.

The "Big Blue" is a film about more than just diving or the ocean; it's about facing your deepest ambitions and anxieties and going on a quest for something greater than yourself. The Big Blue has special relevance for me because I've personally had to deal with difficult emotions and identity conflicts. It provides a mirror for our own quest for meaning and comprehension in a universe that can occasionally seem as mysterious as the vast blue sea. Watching this film is like taking a plunge into your innermost seas as well as the deepest of oceans.

Aside from being entertaining, "The Big Blue" is an inspirational film. It is a visual and emotional feast with powerful characters and a poetic storytelling style that makes for an amazing experience. You shouldn't miss this film if you're searching for something that both challenges and touches you.

"Shallow Hal" was a film that was meant to be both thought-provoking and entertaining when it was originally released in 2001. The romantic comedy, which was directed by Peter and Bobby Farrelly and starred Gwyneth Paltrow and Jack Black, is said to have a deeper message about looking inside rather than outward. Furthermore, even though the film has good intentions and does a great job of spreading certain important lessons, its true morals will inevitably fall short at points.

A self-help guru makes Jack Black's character Hal see only people's inner beauty, and this is the central theme of the story. Hal is captivated by Gwyneth Paltrow's Rosemary, despite her striking physical dissimilarity from Hal's previous experiences. Despite Rosemary's actual physical appearance being far from the ideal standard of beauty, Hal views Rosemary as a stunningly lovely woman, thanks to his newfound perspective. Though it also has some dubious and problematic aspects, the movie presents an intriguing scenario in which inner beauty is contrasted with superficial values.

As a girl who has once experienced and struggled with issues of self-identity and bodily self-worth, I see that "Shallow Hal" gives an important message that we should see and appreciate the inner side of people rather than judging them by their outer appearance. This is a valuable lesson that is particularly relevant in today's society, where we are often fed unrealistic ideals of beauty. The film succeeds in many ways in highlighting the importance of re-evaluating our prejudices and appreciating people for who they really are.

But even with such noble intentions, the film's moral isn't always clear. A few of the scenarios and jokes use cheap humor that could come across as condescending to those who have various body types. Even though Hal's character has an epiphany when he discovers the value of inner beauty, there are moments in the movie when it seems as though the physical attributes of those who don't conform to the conventional beauty standard are mocked. This feature may easily create the idea that when outward beauty remains the standard, inner beauty is of less value.

It's also important to note that the film never fully tackles the emotions of inadequacy and self-criticism that frequently accompany not meeting conventional standards of beauty. People with diverse bodily types often experience issues and insecurities that cannot always be resolved by looking at their insides. While "Shallow Hal" is entertaining, it doesn't often offer a deep enough understanding of the more intricate emotional and psychological aspects of physical self-worth.

In summary, "Shallow Hal" is a film with heart and noble aspirations, although it occasionally tends to address complicated problems pertaining to body and beauty in a superficial manner. Even though the movie aims to help us see past people's outward appearances, it's critical that we acknowledge and address the underlying issues that result from being assessed solely on appearance. While the film's heart is in the right place, there is room for growth in terms of how it is executed to really comprehend and appreciate the diversity of body shapes and self-identity.

I often consider how art and movies have the power to unite people despite differences as I reflect on my life and the experiences that have shaped who I am. A film that portrays this magic in a way that is both ageless and tragic is "Cinema Paradiso". The 1988 masterpiece by Giuseppe Tornatore is a love letter to the heyday of cinema and the amazing power of memory. It is a film about movies.

The relationship between the little child Salvatore, also known as "Toto," and Alfredo, the projector of the tiny theater in a Sicilian village, is the central focus of the movie. The core of the narrative revolves around their enduring friendship over many years. We see through their eyes how the film industry not only provides amusement but also inspires dreams and unlocks a wealth of life's mysteries. This is so authentically captured by Tornatore that it is difficult not to be moved.

It's a nostalgic film, and having immigrated to a new nation, I can really identify with the sense of losing something and yearning for the old while adjusting to a new life. In "Cinema Paradiso", the movie theater is more than just a place to have fun; it's a representation of a bygone era, a place where community thrives in the shadows and dreams are brought to life on screen. This movie reminds us how vital it is to cling on to our passions and memories, even as the world changes, which is something I have always found comforting-just like in movies-in music and dance.

Another important element that should not be disregarded is Ennio Morricone's soundtrack, which permeates the whole movie. Every note is a reminder of the time that has past and the desire that still exists, almost like an embrace. Morricone's soundtrack is more than simply background noise-it's a character unto itself, a guide through the film's emotional terrain.

"Cinema Paradiso" is a voyage through life, love, and loss rather than just a film. This video serves as a reminder to me, having grown up in a challenging and prejudiced environment, that beauty and significance can be found in even the most mundane moments. It is an homage to everyone who has persevered in pursuing their aspirations in spite of setbacks and who has found solace in the arts and in one another.

In "Cinema Paradiso", Tornatore does something remarkable. He serves as a reminder that no matter how much the world changes, we will always cherish the magic of movies, our memories, and our stories. And that deserves to be honored.

I must admit that, having watched the online series "Social Media Emergency" with considerable curiosity and expectation, I am somewhat disappointed. Though this low-budget production is full of fire and ambition, it is difficult not to be resentful of the series' lack of depth and substance.

Being genuinely involved with the series is challenging due to its lack of coherence and depth. It seems as though ambition has outpaced the resources available, even with the obvious excitement and dedication that the film team brought to the project. The production's poor budget is evident in both the script and the acting, which means that occasionally an ostentatious and overdone performance overshadows the significant issues.

First of all, it is evident that the production is a low-budget endeavor, which can occasionally be fairly reasonable and produce endearing outcomes. Sadly, it seems like the constraints turn into a disadvantage rather than an advantage in this situation. The editing is frequently sloppy and uneven, which makes it challenging to follow the story. Even if the performers' performances are occasionally strong, they falter in the absence of a strong technical base. Many times, camera angles seem unsure and ill-thought out, giving the impression that we are watching a rough sketch rather than a carefully considered production.

Despite their best efforts, the ensemble is unable to elevate their performances above the script's superficial and somewhat perplexing content. Especially in the third episode, the visual style and music attempt to evoke a deeper emotional resonance, but the effect is more distracting than enlightening. Although there seems to be an effort to arouse emotion, the strategy frequently comes across as shallow and unsound.

Innovative decisions like the music video scenes come off as more of a hindrance than a benefit. Although it's obvious that the goal is to create something different, the end product deviates from the main story in a way that is occasionally perplexing and unpleasant. To make sure that these experimental components truly enhance the manufacturing, they ought to have been handled with more caution.

But what I really want to focus on is that the series has a fundamental concept that is really significant. In this day and age, it is crucial to draw attention to concerns like mental health and smartphone addiction, and I want to offer respect to those who have done so. However, the program needs more in-depth character development as well as a more complex and sympathetic handling of the subjects in order to truly do justice to these problems. The show might become far more relevant and important if these subjects were approached with more consideration and understanding.

In conclusion, "Social Media Emergency" gives the impression of trying to be something it cannot quite manage to be. Despite the benevolent energy and ambition of the film crew, the result is a series that feels both unsuccessful and impersonal. I hate to say it, but I cannot recommend this web series. There is too much that is lacking both in storytelling and in respect for the themes covered. I sincerely hope that future projects from the same team will learn from these shortcomings and strive for a more thoughtful and empathetic presentation of important topics.

I had no clue I would be so enthralled, amused, and moved by a film that is as much a celebration of the unadulterated power of filmmaking as it is a pure joy when I sat down to watch Who Killed Captain Alex?. Even though the film doesn't have a Hollywood budget, it has an unmistakable raw charm.

For those who do not know, Who Killed Captain Alex? Is an action film that takes place in the heart of Wakaliga, a Kampala slum. It was directed by the now-famous Nabwana IGG.

It combines hilarious action scenes that will make you chuckle with a gripping murder mystery. The film has become nearly legendary for its wildly inflated action scenes and its signature "Video Joker" commentary, which turns each scene into a brand-new experience. And you've never had anything like it, I promise!

It was nostalgic and energizing to witness my former hometown come to life in this manner as someone who was born and raised in Kampala but spent the majority of her life in Sweden. The film possesses a unique capacity to blend humor with seriousness. In contrast to the bullying and identity and background questions I once faced, I am incredibly grateful that I can now accept the aspects of who I used to be distinct. With Whom Did Captain Alex Kill? I got to enjoy and laugh at the distinctive aspects of my culture.

It might not be an Oscar winner, but its pure delight and inventiveness more than make up for its lack of polish. The film's director and crew, who made it with little funding, serve as a reminder that passion, not money, is what drives the creation of motion pictures.

Watching these brave and somewhat mad Wakaliga filmmakers makes me appreciate the importance of having the guts to pursue your aspirations despite all the obstacles that may come your way. I love how the movie owns up to its shortcomings and makes the most of them. Every battle, every explosion, every crazy turn is greeted with infectious energy. Like magic in a motion picture!

Who Killed Captain Alex? Is an energizing and creative breath of fresh air in a world sometimes filled with negativity and narrow-mindedness. The fact that this film has drawn so much praise is unavoidable-not because it's flawless, but rather because it's authentic.

I saw this movie as a kind of bridge between two worlds because I am a Swedish woman born in Uganda. What is more than just a film, Who Killed Captain Alex? Is evidence that imagination and skillful narrative can triumph over any challenge. Anyone looking for a memorable cinematic experience should definitely check it out.

Simon Kasto's brilliance shines once again in "Yet Another Affair to Remember!", a delightful and thought-provoking short film comedy. Kasto, who embodies the endearingly bewildered Jean-Jacques Garbo in this clever and humorous follow-up, leads a ensemble cast that significantly contributes to the film's success. The film takes viewers on a joyous and enlightening journey through the often tricky world of love and relationships.

Maili Backlund's portrayal of Mrs. Garbo, Jean-Jacques' much older wife, is both entertaining and captivating. Her performance is heartfelt and empathetic, immediately bringing the complexities of their marriage to the forefront.

Her interactions with Jean-Jacques and their overly optimistic friend, Buckwheat-Berta (Sanna Karishma Westring), skillfully move the plot forward. Westring's portrayal of Buckwheat-Berta is truly remarkable; her infectious joy and positivity elevate every scene she's in, lifting the movie's mood. The conversations between Mrs. Garbo, Buckwheat-Berta, and Jean-Jacques about infidelity, relationships, and emotional life play a crucial role in the plot's development. These intriguing and humorous exchanges make the film even more of a standout from Kasto's previous films, adding another layer of complexity.

Gustav, Jean-Jacques' reserved companion, is played by Ozcar Burfitt, who brings a quiet yet significant presence that perfectly complements the more vocal characters.

Jonathan Sand, who portrays the composed and articulate priest Father Lund, delivers another excellent performance. Sand's engaging and genuine portrayal may make it hard for viewers to recognize him from his previous role as Mrs. Garbo's boyfriend in "Another Affair to Remember". His ability to bring such different characters to life is quite remarkable, adding richness and depth to the film. His calm demeanor and serenity significantly enhance the film's appeal. He fully embodies the character, showcasing his acting range and providing an excellent counterbalance to the film's quirky atmosphere. This balance strengthens the narrative and ensures that each character's unique qualities are highlighted.

One of the film's highlights is a humorous argument near the end between Buckwheat-Berta and Jean-Jacques Garbo. The contrast between Berta's exuberant joy and Jean-Jacques' confusion creates a strong and wonderfully amusing scene that showcases their impeccable timing and passion. This delightful piece illustrates Kasto's ability to seamlessly blend seriousness with humor in a charming and authentic manner.

Despite the film's somewhat abrupt climax, it fits the story's distinctive and whimsical tone, providing a satisfying conclusion to this charming short film. One drawback is the lack of background music, which can make some scenes feel a bit empty.

Nevertheless, "Yet Another Affair to Remember!" skillfully balances humor with profound reflections on relationships, resulting in a delightful and engaging mix. Simon Kasto has once again crafted an entertaining short film that is well worth watching, thanks to its excellent script and strong performances.

I hesitate a little bit before I begin my review of the fourth episode of "Social Media Emergency" because, although the production value is quite impressive for a low-budget production, the storyline falls flat. Specifically, the fourth episode, called "Memories of Yesterday, the Day After", attempts to depict the negative effects of mobile addiction but falls short of creating a gripping story. It centers on two women who are addicted to their phones: one who seeks emergency care after a night out, and the other whose use of a phone causes a tragic accident.

One positive aspect of the show is guest star Sabina Khamoshi, who portrays the anonymous patient. She does a realistic and heartfelt job of capturing the nervous woman who unintentionally sends a selfie to her boss after a wild night out. Khamoshi is not only adorable, but she also dazzles with her performance and stunning eyes, which truly draw the audience in as her character begs for assistance in her precarious circumstances.

Thanks to realistic makeup effects, Viktoria Isaksson, who plays the woman whose face is burned after her cell phone explodes while she's taking a bath, also manages to elicit intense discomfort-in a good way.

The good things stop here, though. A great make-up job with Isaksson's and Khamoshi's acting is wasted in a storyline that is so trite and uninteresting that you can't help but wonder whether the program is satirizing itself. How any adult could find this interesting is beyond me. Watching a character do something as ridiculous as take a bath while their phone is plugged in is ridiculous, and it belongs more on a terrible teen show than an adult-oriented web series.

But the line "You said yesterday that you were dying; it didn't make it any better" from Rebecca Johansson's portrayal of Doctor Olivia genuinely irritated me. At the same moment when Khamoshi's character hurriedly approaches the reception and pleads, "You have to help me; I'm dying" this line was delivered, and it struck me as being really cruel and unprofessional. You can't feel any sympathy for any of the senior doctors on the show because of this attitude, which is inappropriate from a medical professional who should be understanding and encouraging. You can't help but dislike them because of their constant pushy demeanor. The writers have not shown that Khamoshi's character was in the emergency room the previous evening, so there is also a continuity mistake here.

Similar to episode 3, this one concludes with a music video featuring scenes from the episode, featuring Nathan Wagner's "Destroy the Simulation." Compared to the last episode's inclusion of music videos, this sequence is executed more skillfully this time around. But, I fail to see the point of a music video that nears the end of the show and features snippets of scenes that have already been seen. A reminder, maybe? Regretfully, hearing Wagner in yet another episode has become really tiresome. Using dramatic music to make up for its lack of substance seems like an attempt at overcompensation.

In the end, I have to say that I'm not interested in viewing "Social Media Emergency" anymore. The three episodes that are still to come out are definitely not going to air; months go by between them being released. This webseries truly makes me feel mentally terrible because of all the wrong reasons, and its creators don't seem to desire to improve as storytellers. I can now put this series to rest with a sense of relief.

The third installment of the Social Media Emergency series is a "special episode" that purports to offer a comprehensive understanding of mental illness. Sadly, the episode's own creative aspirations seriously hinder it.

The actors do a good job as always, and Göran Holm, who plays the old guy, gives a compelling performance. Unfortunately, his muttered speech is hard to comprehend, so his character's meaningful dialogue is lost. However, Mr. Holm's performance isn't the main issue here.

What really hurts this episode are the distracting annoyances, such as Nathan Wagner's songs "Burn" and "Worthless" being included unexpectedly in the form of two black and white music videos, which feels out of place and perplexing, more like monotonous repetition than a new musical feature. The editing of the music videos adds to the sensation of bewilderment rather than complementing the episode's topic. The scenes also appear carelessly stitched together, making it impossible to follow any logic or emotion through these visual cacophonies.

Furthermore, hearing "Burn" again after hearing it in the credits for the previous two episodes is particularly aggravating. Why do we have to hear the same song again and over? The show's writers appear to lack both imagination and regard for their audience. There's nothing wrong with the song itself, but using the end credit song in this format is not only inefficient, but it also insults the viewers' intelligence and patience because it's tedious and unimaginative.

At the same time, I must add that I have great respect for the series' creators and do not wish to dismiss the personal connection that one of them appears to have with the song "Worthless." They are claimed to have listened to it at a period of deep depression. Their emotional participation is reasonable, and I want to emphasize that mental health is a serious issue that requires respect and empathy.

I'd also like to bring out that it's critical not to downplay the serious difficulties of mental illness, and I hope that future episodes will address these issues with greater thought and detail. In this case, I felt that the episode's creative ambition and execution sometimes got in the way of telling its intended tale. It is admirable, yet it contributes to confusion rather than enhancing knowledge. Unfortunately, this episode feels more like a pretentious experiment than a meaningful and well-balanced addition to the series.

Episode 3 had the ability to flesh out the major characters (whose names I still don't know) and advance the plot, but instead we got an incredibly terrible music video that offered nothing except anger. If this is how the show will continue, I am not sure I can watch another episode. I am sad to say. I hope that future episodes will find a more balanced approach to exploring important subjects like this.

This is a significant improvement over 'An Affair to Remember!' in terms of editing, aspect ratio, and line exchanges. Instead, you get to see a well and amusingly filmed small short film that, with its fast speed, had me laugh out loud at the bizarre predicament of seeing an old lady making out with a young, handsome man while romantic music plays.

The actor who plays the young guy is also really funny in his performance. The expression on his face as they are discovered in their shared make-out session is absolutely priceless!

It's a shame that the film is too short, given its quick pace. There might have been so much more fun in this small gem of a short film.

Episode 2 of "Social Media Emergency" is about two young men who accept a disgusting social media challenge to throw a knife at a tree (?) and of course one of them gets stabbed in the stomach. The one who was stabbed in the stomach arrives at the emergency room just as the interns are about to start their internship.

This episode, as a whole, is a good upgrade from the blandness of the pilot episode. The two young men are well presented and you get to know them as the story progresses. As much as I am learning to appreciate the men, I really don't like the medical staff in the ER for social media. The chief resident (at least I think she's supposed to be) is extremely rude to the interns and treats the guy who got stabbed in the stomach like he's a toddler, even though he's a full-grown man, by giving him children's board games to keep him away from internet challenges.

Despite some odd choices in writing character development and strange editing, this is what I expected from a web series called "Social Media Emergency". I'm pretty happy with this episode, although there is plenty of room for improvement.

A woman comes in to an emergency room specializing in social media cases. She wants her Instagram account back but is given a fuzzy notebook instead.

Yes, this is the whole plot of the first episode of the web series Social Media Emergency. With a grammatically incorrect title for a series that thinks it wants to appear as a medical drama to the web user, I still have a hard time deciding if this is supposed to be a parody, as it takes itself surprisingly seriously in its presentation. I honestly don't know what to think of the first episode of 7 (even though there have only been 4 released).

The idea itself seems odd to make a series about social media from a doctor's perspective, but done right, it's not impossible to make it interesting. Which the pilot episode is not. No characters are presented, but we as viewers should just take them as they are. I have no idea who is the senior doctor and who is the regular staff at this (apparently) newly opened clinic. Nor do we get to know the patients well enough to feel sympathy for them, as the scriptwriters just say "here are the patients, pity them for their First World problems; Mrs. NO-sayer has lost her Instagram".

I guess I have to appreciate the energy that the crew put into making this happen.

The concept of an elderly woman admitting her infidelity to her youthful, attractive spouse is intriguing and entertaining. The dialogue advances the plot and gives you insight into the husband and wife's emotional lives. The compelling exchange of phrases makes you feel sorry for both characters. It is unfortunate that the editing is so subpar. It's so awful that it significantly reduces my overall grade. It seems like you've heard the characters' chats too often because of the repetition of lines. The fact that the film industry is still in its infancy in Uganda, where I formerly lived, may serve as an explanation, but in Sweden, a nation with a long-standing film heritage, things ought to be different. However, this short film made me laugh out loud multiple times. It's funny only to think that this strange couple appears to be parents!