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.

A terrifying love triangle. An original twist on a story of divided loyalties, the perils of love and ultimate death. A haunting tale set in a London at times beautiful and ugly, but always captivating. A story that plays with the shadows and light of an underworld occupied by the fascinating and terrible.
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
In Stowaway, director Joe Penna narrates the story of a starship crew (Anna Kendrick as Zoe Levenson; Toni Collette as Marina Barnett; and Daniel Dae Kim as David Kim) struggling with serious technical problems on a two-year mission to Mars. During the trip, they discover aboard the presence of Michael (Shamier Anderson), a stowaway who jeopardizes everyone’s life on board.
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.
"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.
With such a raw look at the 15th century, it seems that Disney was really trying to step outside of its element with this motion picture.
People are so much deeper and far more extraordinary than what gender they were assigned at birth.