‘Black Widow’ Is About Yelena, Not Natasha
"Black Widow" has strong female characters but sidelines its title character and serves as a launchpad for her successor, Florence Pugh's Yelena.

Recorded at the prestigious Montreux Jazz Festival in 1977, this performance captures tenor saxophone great Eddie “Lockjaw” Davis in peak form. Presented by legendary jazz impresario Norman Granz, the set features Davis’s powerful tone, blues-infused phrasing, and effortless swing, backed by an exceptional rhythm section. With a repertoire blending soulful ballads, driving blues, and bebop influences, this concert is a vivid snapshot of one of jazz’s most distinctive voices performing in an intimate yet world-class setting.
"Black Widow" has strong female characters but sidelines its title character and serves as a launchpad for her successor, Florence Pugh's Yelena.
One of the great achievements of this film is its ability to challenge the mind and to force you to try to process information in a different way than you’re used to.
Throughout Brendan Fraser’s career, he has played a plethora of unique, layered characters who explore the importance of not being afraid to display your emotions, something that is often seen to not be a masculine trait. This idea of regulating emotion and what traits men are able to possess creates a toxic atmosphere for men who are often told they should not cry or represent their emotions in any physical way. These characters represent that men can be joyful, emotionally conscious, and sensitive, while also representing their masculine identity instead of painting those qualities as fighting against their masculinity.
A tale of legendary hunters and monsters that reminds us once more not to judge a book by its cover. Enjoy this heartwarming sea shanty with a well-done plot twist.
The film does not add anything to its own conversation or genre, and falls flat once it’s about to end and must declare some sort of conclusion.
Like all modern societal phenomenons, it started with a meme. This one highlighted that when there’s a mom in a Pixar film, she is almost without fail given striking curves that highlight the bottom half of her body following a minuscule waist. From Elastigirl to the skeletal Mama Imelda, the animation giant’s artists seem to have a fixation on making exaggeratedly curvy maternal characters.