'Luther: The Fallen Sun', Idris Elba’s Netflix Vehicle, Fails to Make the Point
By undermining the appeal and credibility of black characters, the show compromises the very idea of diversity and representation it sets to promote.

A police chief's daughter, a sales agent for a home-security firm, meets an art gallery owner. Love and envy lead them to hatch a plot to steal overlooked but valuable paintings from her wealthy clients.
By undermining the appeal and credibility of black characters, the show compromises the very idea of diversity and representation it sets to promote.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
The newest in a long line of Cinderella adaptations, Amazon’s Cinderella (2021) prizes girlbossification above the very story it tries to adapt.
The Vietnamese perspective is not only completely ignored in 'The Greatest Beer Run Ever', but it is blatantly whitewashed and disrespected.
If the message here is that without a support system, grieving people turn into monsters, it’s not really well-delivered and may be flawed as a message itself.
The plot lags, the moral lessons are misguided, but are those fluffy little donut creatures adorable? Yes. Yes, they are.