Les duos impossibles de Jérémy Ferrari : 1ère édition 

In honor of AANHPI Month, let's celebrate Filipina-American pop star Olivia Rodrigo and her love of horror movies.

While the film didn’t hit me as emotionally as I wanted it to, I still enjoyed it. I simply wish there was a little more, particularly with the world building.

These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.

Ultimately the problem with The Bubble is that it plays everything for laughs to get around the audience’s defenses. But it comes off like a privileged white male thinking that ridiculing everyone else equally is the road to equality. And it’s not. And it's definitely not funny to pretend that it is.

It’s no wonder Peele won an academy Award for Best Original Screenplay. His script is layered with perspective and subtlety. Through a terrific vision, Peele creates the gift that keeps on giving. The clues and symbolic representations are aplenty, and as each viewing passes, you are destined to find something new. That’s a mark of great cinema.

True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.