Written around Pomme’s album Saisons, this show is a sensitive journey, addressed to children and to adults who haven’t fully grown. Four dancers embody the four ages of a single character, moving through the seasons as one moves through life. Carried by a string quartet, the music becomes an inner landscape. The character transforms, searches, multiplies—as if trying to piece together fragments of themselves to rediscover a circle, a sense of wholeness, season after season.
Diversity is incorporated in a way that only aids in a well-rounded conveying of stories through different lenses. The show’s success is a testament to what audiences are craving: authentic stories that broaden the mind and heart.
I hate the idea that animation’s for kids; just because it’s animated doesn’t mean that it’s some silly cartoon and shouldn’t be taken seriously.
James Cameron’s The Terminator (1984) marks the beginning of a wonderful two-part arc, brimming with style and substance. The film follows Sarah Connor, a waitress living in Los Angeles. One night, a cybernetic organism (Arnold Schwarzenegger) is sent back in time to kill Sarah. A human resistance fighter (Michael Biehn) is also sent back in time, with the intent of saving Sarah from this deadly foe.
When the world lost Chadwick Boseman on August 28, 2020, we all saw the impact of representation in film. Boseman was not only a Black superhero leading a Black cast in one of the most successful films in history; but his successes paved the way for more, long-overdue diversity in Hollywood.
The Season 3 finale overall upholds everything that Incluvie is primarily concerned about when it comes to media content
