Don’t Give Disney a Pat on the Back for Doing the Bare Minimum
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.

The most brilliant of Austrian operettas takes us to the outskirts of romantic Old Vienna. It’s New Year Eve and we are in the company of Rosalinde, who is determined to teach her philandering husband Eisenstein a lesson, even while she is being pursued by her former beau, the operatic tenor Alfred. At the centre of the action is the extremely wealthy, eternally bored Prince Orlofsky, whose lavish masked ball brings everything to a most delicious boil. But what if the whole plot has been a cunning plan masterminded by someone just to get back at Eisenstein? Die Fledermaus, Johann Strauss II’s comic operetta in three acts which premiered in 1874, has become a synonym of the operetta genre.
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.
The Lighthouse is patient and hypnotic, pulling us in with its mysterious atmosphere and characters. The film’s slow pace proves to be monumentally effective, showcasing the tedious nature that comes with isolation and poor two-way communication.
A few episodes in, I realized the most prominent theme of In The Long Run wasn't culture, race or even finding independence--but the idea of belonging.
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.
Ultimately, Wicked is a story about the cost of being othered, the pain of being misnamed, and the quiet revolution of standing in your truth.