Wayward Really Is Worth All The Hype
It’s been five months since Wayward premiered on Netflix and it still has some of us in a choke-hold.

Seventy-year-old Agnes takes the ashes of her dear Robert and travels to their regular holiday cottage on the Scottish island of Mull. On the way, two Dutch runaways, the ten-year-old girl Chris and her younger brother Tommie, sneak into her car. The children warn Agnes they will flee again if she calls the police. In the secluded house, beautifully located near a bay with a view of the sea, the elderly woman and the children gradually grow towards each other. Chris is confident and short-tempered, and dominates not only her younger, pigheaded brother, but also old Agnes, who loses herself in memories of Robert. Meanwhile, Agnes has to withstand the people who want to take over the house from her. The surroundings play a major role in this adaptation of Renate Dorrestein's novel about family, trust and secrets.
It’s been five months since Wayward premiered on Netflix and it still has some of us in a choke-hold.
Disney has hopefully learned some lessons since 1994. Are those lessons reflected in the 2019 remake of "The Lion King?"
Striving for validation. Let’s be frank….we ALL want to be successful. Whatever we put our efforts into, ideally it is to make it culminate in the best possible results across the board, especially when it comes to what career path we are pursuing. We WANT to excel, to shine, to advance, to be acknowledged. AND…let’s hope that we also wish to better everyone around us to boot. However, what occurs when those whom we initially put our trust in suddenly become a burden instead of a boon? Do we falter under the weight of rejection? Or STAND UP for WHO WE ARE?
Even if Drive My Car (2021) doesn't win Best Picture, it exudes a palpable sense of dreariness and lifelessness that is further embodied by Yusuke, portrayed tragically by Hidetoshi Nishijima. Check out movie reviews & summary!
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.