Agoy, Bruno, Cherry, and Darlina are eternal marine science students who can’t seem to graduate because their thesis proposals keep getting rejected. When their proposal is finally accepted, their euphoria quickly turns into a new problem: the research costs have skyrocketed to Rp100 million. In a desperate attempt to raise funds, they recklessly invest in a plot of land sold at a suspiciously low price, rumored to increase in value soon. But it turns out the land is a scam—literally sloped, far from civilization, and muddy all over. The four friends must now figure out a way to turn this useless land into something profitable. Along the way, they learn heartfelt lessons about friendship, cleverness, and the responsibilities that come with growing up.
As an extremely avid fan of DC’s animation, I’ve become familiar with the way the studio uses Batman as a bit of a Trojan Horse to introduce some of their lesser known characters.
A simple question often sparks intense debate. Incluvie attempts a working definition for the beloved horror genre.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
The Olivia Wilde renaissance is upon us.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
'Yuri!!! on Ice' turned queerbaiting on its head and gave me hope when I needed it the most.
