'The Royal Treatment' Comes to Manhattan
Izzy and Prince Thomas learn that taking control of their own destiny requires following their hearts and making their own decisions.

Maurice, a reticent young homeless man, somehow manages to get by in Brooklyn; he spends his nights in parked cars until he finds himself at Bizarre, an underground club renowned for its burlesque shows. Maurice is fascinated by the club’s playful revues celebrating self-determined sexuality and creative otherness, and the two female club owners both adore him. He soon becomes a part of their self-selected family, and begins to bond with introverted Luka. But Maurice turns his back on Luka’s growing affection. Running away from his true emotions he drifts aimlessly through the city. He tries to find his feet at a boxing club, where he meets Charlie. Unable to withstand the pressure of his repressed feelings, Maurice unleashes a mounting foment of emotions, pervaded by tenderness and menace.
Izzy and Prince Thomas learn that taking control of their own destiny requires following their hearts and making their own decisions.
It only seems to prove that when the company had their backs against the wall and needed an all pleasing, generic movie that had to make up for The Last Jedi, they chose to sacrifice almost everything that made their main protagonist interesting and that made her stand out as the strong female character that a generation of young movie goers was supposed to look up to. Instead, we were left with a Rey that was so much less than she could have been. And I guess that’s the real story of Rey and The Rise of Skywalker; they could have been so much more, but they were just more of the same.
The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship.
The second episode of the highly anticipated Afrofuturism series delivers with a high-speed race teaching us to go far beyond just accepting ourselves.
The 2019 film, Vai, takes us through eight stories across the islands of Oceania. The settings are unbelievably beautiful, the cast is beautiful, the languages are beautiful, and the stories are beautiful…but heartbreaking.
Taika Waititi writes, directs and co-stars in 'Boy', set in 1984 New Zealand. The film does just what Waititi dreamed of — it gave a great coming-of-age story to Māori people without making a story of the Māori people as an exotic other.