A Closer Inspection of LGBT Characters in Film
We have a long way to go with LGBT representation in film, especially when it comes to LGBT characters of color and trans characters.

Like the Japanese Special Editions of other Gundam and Sunrise anime series, this is the last of three volumes, that will condense the second half of the second season of Gundam 00 into feature-length videos. They all feature some new animated sequences and some partially re-recorded dialogue.
We have a long way to go with LGBT representation in film, especially when it comes to LGBT characters of color and trans characters.
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.
Netflix’s recent Millie Bobby Brown vehicle, Enola Holmes 3, is a disappointing and confusing entry in the stellar Enola Holmes franchise. Directed by Philip Barantini, the film stars Brown as Enola Holmes, estranged sister of Sherlock Holmes, Henry Cavill as Sherlock Holmes, and Louis Partridge as her love interest, Viscount Tewkesbury. While it deserves credit for its exciting action scenes and attempts to expand the diversity of its Dickensian setting, the most recent entry in the series completely scuttles Enola’s underdog status from the first films that made her so charming and gave a touch of realism to the story of a young, unmarried woman living in London while self-employed as a detective.
By having two of its most beloved characters go to space in a Pontiac Fiero attached to a rocket, among other antics, F9: The Fast Saga overwhelmingly achieves the task of out-crazy-ing its predecessors.
The definition of the word foul is “offensive to the senses,” which is a pretty good summation of the new Disney+ film, Artemis Fowl
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.