Last Christmas: Emilia Clarke Stopped Eating Hearts and Decided to Win Them.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.

The underground director Lorenzo Bechi goes to the other side of the camera to fulfil the necessity of blessing the viewer with an intimate story about his life as a filmmaker, the act of filming and the vital role of independent cinema. Is he searching the inspiration necessary for his new film or is he looking for himself?
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.
Outer Banks (2020-) knows its audience: young adults in a country that can’t stop romanticizing good ole’ treasure hunts. Add a little of Riverdale’s (2017-) sex appeal, and no one can look away. Forty years after The Goonies (1985) America’s consciousness hasn’t strayed from the same tropes: treasure hunts, a vulnerable white male lead, and the whitewashing of a racially segregated setting.
Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.
I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it.
Four more classic horror films that are entertaining even if occasionally absurd.
When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like