It is a weekend entertainment program on tvN on March 16, 2019, which is the first part of the amazing Saturday. It is based on the mafia (game). If you take all three mafia players out of ten cast members and vote for a total of five and get all the mafia, the mafia acquires a charity if they do not get all of the goodwill from the good guys. Correction activity: It hides the game through each game. The winning team must vote one more vote at the time of the vote, and the team must perform a drawing or motion penalty. In a solo exhibition, all survivors must perform a penalty. Penalty: All survivors of the team in the rehearsal activity must express the word , which is known only to the goodwill, with pictures or actions. The mafia should try to pinpoint the words that are shared by the goodwilles, rather than seeing them as stagnant as possible. Here is more information. Title: Prison Life Of Fools/Hogudeurui Gamppangsaenghwal/호구들의 감빵생활 Genre: Variety TV Program Director: Yoon InHoe, Kim YooRan, Min YeSeul Kim DongJoo, Kim BoHyun, Ko KyungHye, Kim ThaeJung, Choi MiRae, Park JiWan Writer: Yoo JinYoung, Yoo JiHye, Lee EunJin, Kim SeJin, Seo HyoWon Network: tvN Runtime: Saturdays 6:10 pm KST Air Time: From Mar. 16 Language: Korean This film is cool, I swear, it's really a must watch. Many webs provide streaming drama Mafia Game in Prison (2019), one of which is my web subscription, Dramamu.

Although it is not a Netflix production, Veronica is one of the newest films added to the streaming platform and it has everyone talking about it. Some are labelling the film as “the scariest film ever” – personally, I wouldn’t go as far but I will say one thing: it is a very good horror film! First of all, it is good to see a fresh horror film that isn’t just one jump scare after another, and it is good to watch a film that isn’t from the Hollywood circle – nothing wrong with Insidious, The Nun, The Conjuring, Annabelle, but Veronica proves that the characters don’t need to speak English to make a good film. Also, the mind behind this film is not new to the genre – Paco Plazza has directed REC in 2007 (before it became a Hollywood remake) and the film does not fail to deliver us suspense and fear. Veronica is set in 1991, which is pleasantly portrayed by the use of Walkman’s and lack of internet, and it tells the story of – you guessed it – Veronica, a 15-year-old girl who uses an Ouija board with her friends to communicate with her dead father. Needless to say, things don’t go well for her and she manages to get through to an evil entity that is not her father. The film packs the most common tropes of ghost-films: objects moving on their own? Check. Dream sequence that is not a dream sequence? Check. Weird elderly people? Check. So why is this film gaining such recognition? Well, I would say that not only Veronica is a possession/ghosts/horror film, but also it is a coming-of-age gone wrong. When Veronica goes back to the poorly lit basement where she and her friends played with the Ouija board, she is surprised by “Sister Death”, a blind nun of her school, that tells the protagonist that someone has answered her call and that now walks with her. The dialogue plays with the film and with our expectations as she uses a metaphor in her conversation and says that Veronica is old enough to understand what that means - thus, not only reminding Veronica that she is not a child, but remind us that the film is not straightforward, and in order to understand it, one must decipher the metaphor the film presents. In the same light, to mark the end of their conversation the school bell rings and the nun points out to Veronica that recess is over – meaning that play time is over and it is, indeed, time to grow up. The main character is a child – she may look old, act old, but for all biological purposes, she hasn’t crossed the barrier which makes her a woman, a.k.a she hasn’t had her period yet. However, she is forced to grow up after the death of her dad – she needs to help her mum with her three small siblings and, alongside school, it becomes a full-time commitment. Veronica doesn’t have time to go out with her friends and doesn’t have time to do things she enjoy, apart from listening to music before bed. Her friends start to ditch her and do “teenager stuff” without her, such as throwing parties, wearing too much mascara, smoking, dating, and because Veronica is unable to enjoy all of that, she starts resenting her siblings. It becomes more and more obvious that Veronica is blaming her siblings when she starts loosing her temper around them, and when she dreams that her siblings are biting her and slowly taking over and killing her. In addition to the extreme amount of times her mum tells her she needs to grow up, in another dream sequences a unknown voice tells her to grow up whilst putting their hand/claw upon her vagina and making her bleed, thus turning her into a proper adult. After playing with the Ouija board, Veronica now has to protect her siblings from the evil entity that is after them – as if she didn’t have enough on her plate already. However, the film starts to twist our beliefs when Veronica pleads to her mum to stay overnight, saying that whenever she is around “he doesn’t come”, hence when there is the presence of an adult figure and Veronica is freed from her duties as a “parent”, the evil stays away. That is when the film starts to tell us that maybe she is the danger. Veronica is constantly looking through windows – watching her teenage neighbours and their parents, and watching her friends start to date - envisioning a world she wants to be a part of but cannot enter. Moreover, she is constantly stopped and framed in between closed doors, reminding her one more time that she does not belong in that world and must stay inside her house taking care of her siblings. That is most obvious when Veronica arrives at her friend, Rosa’s, house to talk to her whilst she is having a party. The party guests try to block her way into the house, but she manages to enter it. She clearly does not fit in the scenario and is thrown out by two men, hence confirming once again her inadequacy. Plazza’s is a good film – it has a strong and determined protagonist, and, unlike possession films, the haunted are not asking for help, instead they are helping themselves. Veronica owns up to her guilt and does the only logical thing to do – no matter the cost. Partly the cause of the success of the film is that it fed well into the “based on a real life story” marketing behind it, but the film is as real as Texas Chain Saw Massacre – and Plazza himself admitted: the film is loosely based on a case that happened in Madrid in 1991, that became known for being the only police case to involve a paranormal occurrence. Nevertheless, real or not, it is worth the viewing!

(Di., 17. Jan. • Leicester Square • 19:30 Cineworld Cinema London Wandsworth • 19:30) "Plane" In the white-knuckle action movie "Plane", pilot Brodie Torrance (Gerard Butler) saves his passengers from a lightning strike by making a risky landing on a war-torn island, only to find that surviving the landing was just the beginning. When most of the passengers are taken hostage by dangerous rebels, the only person Torrance can count on for help is Louis Gaspare (Mike Colter), an accused murderer who was being transported by the FBI. In order to rescue the passengers, Torrance will need Gaspare’s help, and will learn there’s more to him than meets the eye. "Plane" puts a spin on that; Torrance is an ordinary guy, who's, in a sense, outmatched and in over his head. He could never have anticipated the forces he’s going up against after his plane crashes, or the partner Torrance takes on at a critical moment. He must make an emergency landing in one of the most dangerous places on Earth, and is hurtled into a situation where every minute matters, and those minutes can be counted in every life lost or saved. But "Plane" and Torrance, offer additional and intriguing dimensions, imbuing the character with a fierce sense of responsibility. He knows what he must do, and will somehow find the strength to do it. Though he has no tactical experience in combating dangerous rebels, he feels a deep responsibility to his passengers. After the emergency landing, he’ll go above and beyond to protect his passengers and get them home. He’s a man on a mission. The arrival of the prisoner on the flight is unforeseen, but Torrance is determined that the quietly powerful presence of a dangerous felon on his plane will have minimal impact on the passengers’ journey. Gaspare, though a bigger than life figure, seems equally determined to just get through the flight. He’s brought aboard in handcuffs, but they’re very discreet, Gapare is an observer. He’ll get involved in a situation only if it’s necessary. Gaspare doesn’t lead the charge but he’s available, if needed.. Gaspare is not in prison garb, and there’s an FBI agent with him always to make sure he stays quiet. While Torrance begins his herculean efforts to keep his passengers safe, he's joined by a surprising ally, convict Louis Gaspare, who had been brought aboard the flight at the last minute for extradition. When Torrance makes his heroic landing and the passengers are taken hostage, he must rely on Gaspare, who's the last person he’d expect to help, battle a ruthless band of pirates. Torrance discovers there’s more to him than meets the eye, and that redemption can be found in the most unusual of places. Gaspare will keep you guessing because you’re never sure about his motivations. Will he help Torrance, and if so, why? What's his ultimate plan? Gaspare is brilliant and believable as the complex, stoic and capable passenger/prisoner. In the end, he’s the one guy nobody really wants, but becomes the guy everybody needs. After Torrance’s reluctant request for help, Gaspare springs into action, proving to be a more than capable partner for the embattled pilot. It isn’t long before Torrance sizes him up, and surmises that his new ally has faced similar situations before, with Gaspare revealing he had been a member of the French Foreign Legion. Gaspare joined that legendary corps to avoid, as he puts it, rotting in prison. He has been through war time, dealing with insurgents. This is the perfect opportunity to make amends for his past. The plane’s crew includes co-pilot Samuel Dele (Yoson An Mulan, and head flight attendant Bonnie (Daniella Pineda). Dele proves more than capable as he works with Torrance to somehow land a plane that’s lost all power, and then takes charge of the surviving passengers after Torrance and Gaspare head off to seek help. Bonnie, like Dele, also steps up to help attend to the survivors, and shows what she’s truly made of when captured by the pirates. Bonnie is a kind of mother hen to all the characters, because as head flight attendant she’s charged with the safety of everyone on board. But due to the dire circumstances in which they find themselves, she and fellow flight attendant Maria (Amber Rivera) becomes a working machine that must figure out how to keep everyone alive. They’re the ones that the passengers are looking to for help. They’re not allowed to be terrified or show any emotion. Some of the passengers make an impossible situation even more so, including Sinclair (Joey Slotnick), a businessman/jerk who offers only complaints and young social media stars Katie (Kelly Gale) and Brie (Lilly Krug). Jim Lake (Pete Scobell) is a member of the elite team, who recalls the circumstances that led him and Adeleke to join the "Plane" unit. Lake and the other mercenaries are a part of the world of military contracting, who step in when the government can’t. "Plane" originated with an idea from Scottish novelist Charles Cumming, the esteemed author of the spy thrillers 'Box 88' and 'The Man Between'. "Plane" is a classical action story. And it’s not just action; there’s a lot of tension, which can be equally compelling. We really care about those people on the plane, who find themselves in an almost impossible situation. We understand what they’re facing, and we're right there on the plane, and then in the jungle with them. Even the pirates are based on a real militia group; they're terrifying. Part of the experience of "Plane" is getting to know these very different characters and how they’ll react to the incredibly dangerous situation they’ve been hurled into. That attention to detail and realism marks a visceral one-on-one fight scene that has Torrance battling a pirate that finds the pilot trying to contact the outside world. It’s two minutes of intense, no-holds-barred, and brutal hand-to-hand combat, all of which is captured in one take. Will they band together, or will their fears tear them apart? It’s all about pure grit, desperation, and tenacity. How do you kill people in a plane? It's disruptive and visceral. The jungle creates a sense of depth. The airline situation room, with it's wood paneling and high-tech comms, provides a stark contrast to the jungle. Of course, it’s a much cleaner and sophisticated environment. The film wants to bring a combination of tech, class, and stylization, but it feels not always corporate and upscale. This movie begs to be seen on a very large screen with a glorious sound system, and for audiences to be immersed with it. "Plane" is one of those big commercial movies that satisfies our love of action movies. Written by Gregory Mann