Nana Bari 

The three themes of lessons learned from HBO Max's Station Eleven are the same as the pandemic: love, regret, and art.

Disney's live-action remake is vibrant and beautiful, with updated music and classic enthusiasm, but it fails to push the envelope and provide nuance for Ursula.

A pampered dog who gets lost and has to learn to live on his own while being flexible with surroundings.

The fun tricks used in the production design and lighting read extremely well on-screen but hardly fulfill their purpose of trying to inject glamour into a lack-luster story with nothing to say. 

Outer Banks (2020-) knows its audience: young adults in a country that can’t stop romanticizing good ole’ treasure hunts. Add a little of Riverdale’s (2017-) sex appeal, and no one can look away. Forty years after The Goonies (1985) America’s consciousness hasn’t strayed from the same tropes: treasure hunts, a vulnerable white male lead, and the whitewashing of a racially segregated setting.

With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.