Swept Away by You, Me, and Tuscany
A Black woman centered in a box office rom-com with a happy ending and no struggle love.

In the 1980s we got our MTV but seemed to have lost much of the musical film in the process. But the genre is resilient. A handful of masterpieces along with a few cult classics emerged from this decade. In the 1990s the Hollywood musical was largely animated, rather than live action. However, television had a surprising number of musical offerings, including “Gypsy” with Bette Midler and “Annie” which launched director Rob Marshall. In the 2000s musicals came back starting with “Moulin Rouge” and carrying on with “Chicago,” “Dreamgirls” and “Hairspray.” There are movies based on Broadway triumphs and once again there are teens singing and dancing.
A Black woman centered in a box office rom-com with a happy ending and no struggle love.
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.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
This modern update of the beloved classic swaps Cyrano's signature pronounced nose for achondroplasia, for a different vision that still retains the original's essence.
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.
For anyone who is not a cis white woman, a justice-fueled murderous rampage is not framed as liberation. Instead, they contribute to harsh stereotypes that vilify minority women with dangerous consequences.