Halt and Catch Fire's Trailblazing Queer Representation
It was always people for Joe, and he ultimately found them at the end of a long, painful, yet illuminating quest for self-discovery outside of one, confident constant - his bisexuality.

It was always people for Joe, and he ultimately found them at the end of a long, painful, yet illuminating quest for self-discovery outside of one, confident constant - his bisexuality.
What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.
Despite everything it was capable of, all of these poor choices strung together amount to nothing more than a counter-productive film.
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.
We got a movie that takes the old school approach of trying to creep you out with chilling atmosphere more than anything else.
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.