“Primetime” and Emptiness
This is not McDonald’s. This is something different.

A series of brutal, cult-like murders are taking place at a New England college. Josh Greene, a shy freshman, is the lone survivor of a series of murders that are reminiscent of a similar string of killings some twenty years prior. As he seeks to uncover the secret behind the attacks, he is joined by Detective Forrester, who was instrumental in halting the bloodshed before, and his daughter Meg, who had barely escaped being a victim previously.
This is not McDonald’s. This is something different.
The roaring emotional ride that was the season four finale sets June on a new path: more of a Survivor's Journey.
In addition to the cast being delightfully diverse this time around, the film was just loosely-plotted and action-packed enough to keep a casual fan like myself entertained. While I do agree that the writing of Cole left much to be desired for an original character thrust into a preconceived universe, none of the characters seemed particularly fleshed out in terms of personality; however, I think that's to be expected when you're watching a film literally inspired by a video game.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
Although Christmas is a time of year for love and cheer for all, holiday cinema has not always represented diverse communities. Being a holiday with Christian origins, much of its media consists of straight white families or straight white romances. Luckily, modern years have been bringing with them plenty of POC and LGBTQ+ representation that the holidays so desperately need.
Intergenerational friendships and community can be so powerful, and this was a great example.