‘My Big Fat Greek Wedding 3’ is a VICTORY for queer representation
Scene-stealer Melina Kotselou brings infectious queer joy and non-binary representation to the third installment of Nia Vardalos' 'My Big Fat Greek Wedding' franchise.

Pía, a writer recovering from a psychiatric crisis, organizes a reunion with former colleagues. Everything changes when Martín arrives, whom no one remembers and whom she believes to be dead. Paranoia or truth? What seemed like delusion could be hiding something real.
Scene-stealer Melina Kotselou brings infectious queer joy and non-binary representation to the third installment of Nia Vardalos' 'My Big Fat Greek Wedding' franchise.
'Don't Make Me Go' is what you would expect, Wally and her father, Max, clash tremendously and don't understand each other. Although, it's very heartwarming.
Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.
Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
The more biting satire is reserved for those on top of the power structure, such as the police, while those occupying lower levels are given more nuance and likability, even if they operate on the wrong side of the law. This principle gives Deep Cover its heart.