Time To Get Critical About Representation in “Shameless”
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.

Lisa, a high school sophomore, has been hiding her hopeless crush on Todd, the irresistibly likable junior in her art class. Her life starts to unravel when he asks her to help him get to know the beautiful Ellie, her longtime friend living in England. All the while Cindy, Todd's ruthless ex, resorts to sinister schemes to stop Lisa and Ellie, so she can win him back, and Todd's image-conscious friends try to discourage him from befriending the ordinary-looking Lisa.
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
The original series is now on Netflix, you should definitely give it a watch. And if you’ve already seen it, watch it again.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
If the message here is that without a support system, grieving people turn into monsters, it’s not really well-delivered and may be flawed as a message itself.
"King Richard" paints a nuanced portrait of a Black father trying to ensure his daughters’ success in a racist, misogynistic world. Yet, Richard and his kids overcome that fear and adversity to succeed.