Hotaru The Hyper Swindler 2 

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

Episode 3, entitled “Now in Color,” brings us to the 1970s — a decade full of vibrancy, color, and total mayhem.

Like all modern societal phenomenons, it started with a meme. This one highlighted that when there’s a mom in a Pixar film, she is almost without fail given striking curves that highlight the bottom half of her body following a minuscule waist. From Elastigirl to the skeletal Mama Imelda, the animation giant’s artists seem to have a fixation on making exaggeratedly curvy maternal characters.

Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

In this coming-of-age movie centered around senior prom, Mandy is anxious about her acceptance into Harvard while she realizes she's missing other opportunities.

I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.