'Luther: The Fallen Sun', Idris Elba’s Netflix Vehicle, Fails to Make the Point
By undermining the appeal and credibility of black characters, the show compromises the very idea of diversity and representation it sets to promote.

Sosa works in a bar. His life is routine and his days pass between his work and idle hours in the pension where he lives. He trains box in an amateur way, almost his only distraction. However, one stuck on a kitchen shelf catches his eye. He has been observing her for years, imagining her, imagining himself. Two stories go through Sosa without him noticing them; the politician and the reason for that postcard. mythical stories. Founding stories. Confluent stories.
By undermining the appeal and credibility of black characters, the show compromises the very idea of diversity and representation it sets to promote.
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.
'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).
The Brazilian filmmaker Alexandre Alonso’s Hunter is a film with a lot of ideas, but with very little holding those ideas together.
The beating heart of this film is the relationship between Anna Osborne and Sonya Rockhouse.
The “gay best friend”, an age-old trope, has been done in countless films and television series. Ranging from one-note (Sex and the City's Stanford and Mario) to nuanced (Unbreakable Kimmy Schmidt's Tituss), the gay best friend exists to support and advise the main protagonist, with their conflicts swept to the side.