Master: The Horror of Deceptive Racial Politics in Academia
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”

When the Kahuku sugar plantation and mill shut down in the 1970's, workers who lived in plantation housing had to decide how to hold the community together and create something new out of an industry that had come to an end. This is the story of their successful transition from plantation to self-governing community.
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”
A young girl named Hailey Mays sings a country song that is named after the film's title.
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.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
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.
The classic ghosts-in-revenge story expanded into an extensive dig into the historical social system while being funny and horny.