“The Owl House”: The First Bisexual Disney Hero
The Owl House has swiftly become one of Disney’s beloved cartoon series.

Quinn Batley, Lucas Bin, Evan Wasser, Max Garson, Liam Duke, Elise Hedge, Nile Gibbs, Myles Underwood, Carl DePaulo, Troy Gipson, Sean Pablo, Tenzin Miyahira, Daisaku Hidaka, Kei Tsuruta, Jasper Dohrs, Ewing Ayala, Chris Milic Leo Baker, Enzo Kurmaskie, Aidan Olmstead, Andrew Reynolds, Kevin Long, John Francomacaro, Jake Church, Ben Blundell, Bobby de Keyzer, Brennan Freed, Zev Magasis, Myles Gable, Tooth Log, Sully Cormier, Oskar Rozenberg, Evan Mock, John Shanahan, Brandon Starr, Marcello Campanello, Mike Edghill, Lu Aponte, Akobi Williams, Seven Strong, Coles Bailey, Kyota Umeki
The Owl House has swiftly become one of Disney’s beloved cartoon series.
At Coopers Chase, murder isn’t just tragedy—it’s Thursday’s entertainment. Chris Columbus’ The Thursday Murder Club transforms Richard Osman’s bestselling series into a cozy, clever whodunit where Helen Mirren, Pierce Brosnan, Ben Kingsley, and Celia Imrie prove that life’s sharpest twists don’t stop with age. With llamas on the lawn, cakes at the ready, and secrets around every corner, this star-powered mystery balances charm, humor, and heartache, reminding us that friendship, resilience, and reinvention might just be the ultimate clues.
When they’re young, they’re America’s darlings but, when they become teens and adolescents, they’re instantly perceived as harbingers of immorality. They’re Lindsay Lohan, Macaulay Culkin, Justin Bieber, and Britney Spears. But, despite what many media outlets, politicians, and the general public may think, they are human beings above anything else. The new Billie Eilish documentary, Billie Eilish: The World’s A Little Blurry, proves this — showing the trials, tribulations, and humanity when growing up with all the world’s eyes on you.
The gentle, emotional nuances of Evan’s coming-of-age story would have been so beneficial to have incorporated into the life of a POC character. Showing a Black, Asian or Latino young man that is afforded the space to be vulnerable, flawed and sensitive while driving a compelling and widely-loved narrative would have been a game changer.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.