The Final Season of ‘Superstore’ Sends off an Inclusive Gem
Where we leave the characters is in such a peaceful and optimistic place. It feels well-earned to ensure everyone gets their own specially-crafted happy ending.

Pairing an original text by philosopher McKenzie Wark (Hacker Manifesto, Raving) with slowly-strobing orange-hued images of her body and domestic life, framed by techno and the most stripped-down version of the rave’s aesthetics, this semi-documentary delicately merges the history of the left with the history of Wark's body as laid bare before the camera. We see the marks of her gender transition and her life story as she speaks of love and lost futures, even as both her own death and the death of the left hover just out of frame. A love story.
Where we leave the characters is in such a peaceful and optimistic place. It feels well-earned to ensure everyone gets their own specially-crafted happy ending.
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”
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.
Why is 'The Green Knight' so white? People of color are so removed from the origins of 13th century art. We’re looking toward the future, and part of that should be updating aspects of our stories to mirror those evolutions.
It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.