In Thomas Tuchel's first full year in charge, the European champions became champions of the world, adding two more trophies to the collection and were sudden-death spot-kicks away from celebrating twice more. Bolstered by the continued emergence of Academy graduates and the returning Romelu Lukaku, Chelsea were a permanent fixture in the Premier League's top four. In the first of the three finals decided by penalty shoot-outs, the UEFA Super Cup was secured in Belfast while Kai Havertz was again the hero as the Blues captured the FIFA Club World Cup. Further silverware was so close, but Chelsea were twice denied by Liverpool. First, in a dramatic 21-goal shoot-out in the final of the Carabao Cup and then agonisingly again in the FA Cup Final. As the Roman Abramovich era at Stamford Bridge came to an end it was still a season of success, but also one of what could have been, although the Blues proved once again we are among the very best.
Two Summers ago, on May 27th, 2022, the theatrical cinematic realms were re-awakened from their post-COVID dormant state of being by a little film titled "Top Gun: Maverick". It re-introduced us to the absolute elation of seeing not only a highly anticipated (and, granted, 36 years in the making!) sequel, but the return of the quintessential Summer blockbuster to witness on the BIG screen again.
"The Mitchells vs. The Machines" captures the eternal struggle between kids who want to pursue the arts and their practical parents who think they'll fail.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
This animated Christmas movie is based on the classic novel of the same name.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
Even now, the well-established Snyder has yet to learn this as he continues to allow misguided decisions to convince him that his projects hold the same kind of intelligent and emotional weight. Army of the Dead is a tonal mess, one that never decides what it’s trying to be, and, for all we know, doesn’t want to decide.
