Bits 

Coralie Fargeat once said that “Being a woman is body horror,” and when you think about the ways we are taught to experience our own bodies, it becomes almost impossible to argue with her.

To say Hollywood has had a troubled past is the understatement of the century. In Ryan Murphy’s (American Horror Story) new Netflix series, Hollywood, that past is confronted and even rewritten.

I can say without question, that this is the first movie I’ve ever seen where art imitates life so much that I could 100% identify with it on a personal level. The predominately Black cast of characters are people with hopes, dreams, fears, and ambitions.

It’s easy to dismiss Joel and Ethan Coen for writing from the world they build from outside the box of overarching Hollywood stereotypes, but their inability to compromise their collective vision is precisely what makes the simplistic nature of their world-building and characters so brilliant. It’s also what led Fargo to collect seven Oscar nominations and two wins for Best Original Screenplay and Best Actress for Frances McDormand’s brilliant portrayal of the sincere, motherly detective whose wholesome demeanor seizes the day over the selfishness, corruption and evil of the men who don’t comprehend that there’s more to life than a little money.

This holiday movie serves as the prequel to the TV series The Really Loud House.

The concept of male fragility is explored (interestingly, by a male director) in The Sun Never Sets