Battleground (2022)

We have a long way to go with LGBT representation in film, especially when it comes to LGBT characters of color and trans characters.

This Pride month, Hulu’s 'Love, Victor' comes to a close with its third and final season—it’s most complicated yet sweetest season yet.

When diverse representation is featured on-screen, it oftentimes comes with strings attached that undermine the message they were trying to send. This can be attributed to the fact that behind-the-screen, the industry primarily does not reflect the breadth of diverse difference that is present in daily life. That’s why when something as powerful and authentic as Minari comes along, it is both incredibly wonderful and needs a large audience to witness it.

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

It’s 5:30am. The baby’s crying, but you need to finish prepping for your big pitch at work that morning. What do you do? You do the near impossible: both. That's what "Workin' Moms" is all about.

"Godzilla vs. Kong" is all style and very little substance. It's also the most fun I've had in months.