Avatar: The Last Airbender Both Protests and Embodies Colonialism
Avatar: The Last Airbender's success fifteen years after its premiere proves the enduring power of its storytelling. But it's more than just a quality show.

They are called "loveaholics", "sozics", obsessed, "love addicts". These are people for whom love has become a disease. It makes them suffer and search, fantasize and act, idealize and avoid. Where does euphoria end and diagnosis begin? The film is a study of the phenomenon of love addiction
Avatar: The Last Airbender's success fifteen years after its premiere proves the enduring power of its storytelling. But it's more than just a quality show.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
Frozen II is not quite direct to DVD Disney sequel level, but if it wasn’t for the spellbinding animation and budget, it certainly would be.
Considering the runtime, I expected each scene to hit harder as opposed to a series of montages and vignettes.
John Fawcett’s "Ginger Snaps" intertwines the lore of the werewolf to the hellish experience of a young girl going through puberty.
We can criticize depictions from old media, but they weren’t simply “good for their time”. They were fighting and struggling in a world we can’t imagine.