Media as the Evil in Eddington
Eddington attempts to capture how media is intertwined with the uncomfortable present.

Sofia, November 7, 1952. A replica of the cruiser Aurora parades along the yellow cobbles – a revolutionary symbol reduced to spectacle. In the shadow of the celebrations, Maria, the daughter of an industrialist condemned by the People’s Court, survives as a prostitute in a decaying bourgeois hotel. Her lover is Axinia, an official sculptor of the regime who creates ideological monuments while living in fear.
Eddington attempts to capture how media is intertwined with the uncomfortable present.
With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.
The highly anticipated Marvel superhero movie of the year displays important themes of loss, loneliness, and change.
Making Apes begins by looking back at the history of makeup effects in Hollywood, which was revolutionized by Jack Pierce, the person behind Frankenstein (1931) and The Wolf Man (1941)
This HBO mini-series asks why a young white man turned to violence and finds no easy answers. But why do we only ask questions about certain kinds of killers?
I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.