Spider-Man: Into The Spider-Verse Tells Us to be Our Own Heroes.
Miles Morales learns to be his own hero as he takes on the well loved mantle of Spider-Man in a multiverse of Spider-People.

In a kingdom protected by a magical legacy, young healer Hana is destined to inherit her mother Zora’s powers through a single mystical apple. Drawn to the human world, she encounters Prince Albert, who roams the land in disguise. Captivated, Hana abandons her fate and follows him to the castle. Meanwhile, the vengeful witch Moriana returns, seeking retribution for a past defeat by Zora. To fulfill her dark ambitions, Moriana schemes to manipulate her daughter Dáhlia, sparking a dangerous conflict that endangers the kingdom’s future.
Miles Morales learns to be his own hero as he takes on the well loved mantle of Spider-Man in a multiverse of Spider-People.
The Lighthouse is patient and hypnotic, pulling us in with its mysterious atmosphere and characters. The film’s slow pace proves to be monumentally effective, showcasing the tedious nature that comes with isolation and poor two-way communication.
Rather than focusing on the bleak, cynical aspects of life post-pandemic, the focus is optimistic and hopeful.
After two months of refusing to see this movie, I have decided that it’s finally Morbin’ time. After its re-release as a box office bomb; I watched it just to laugh at it. But, I was also surprised, because 'Morbius' is a queer allegory.
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.
Although not canonically aromantic or asexual. the stories and personalities of these Disney princesses resonate with members of the aroace community.