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.

Jackie's first year at art school curdles into cosmic horror when her friend Jimmy vanishes, and she alone remembers him. Her search for answers leads her to the dilapidated basement of her dormitory, where she comes face to face with the unknowable.
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
Despite it being one of the most visually impressive action movies I’ve ever seen, everything else fell short of my expectations.
The trainwreck is hot but tame.
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.
Lady Bird (Saoirse Ronan) tells her mother (Laurie Metcalf) that she wants to live through something — something that matters.
As a huge fan of Sean Baker’s Tangerine, The Florida Project, and Red Rocket, I’ve wanted to watch Anora since before it even was released. But life got in the way, my watchlist grew, and honestly, the fact that it was marketed as a romantic comedy put me off. Even with all the critical praise and the five Academy Awards it won last year, I just kept postponing it indefinitely.