Time To Get Critical About Representation in “Shameless”
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.

In director Angel Muniz's incisive follow-up to the 1995 original, genial Dominican immigrant Balbuena (Luisito Marti) remains determined to make the Big Apple his own even as the challenges stack up. This time, he decides that a marriage of convenience to an American citizen is the fastest and best ticket to paradise. Question is, can Balbuena find a willing partner in crime -- or someone who'll fall in love with him?
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
Eddington attempts to capture how media is intertwined with the uncomfortable present.
If I had truly wished to witness "Guardians of the Galaxy", I would have stayed home to do so. Instead, I went to the IMAX and took in this newest incarnation of one of the most recognized and adapted superheroes in the DC Universe. **Sigh** Let me be clear here. I am NOT saying this is an AWFUL film.
“Synchronic” is special, but it doesn’t succeed in achieving all the objectives it aims for. The film is a science fiction oeuvre which tries to be cerebral at some points, although the original idea is interesting, it only accomplishes to talk about some serious matters superficially.
Written and directed by Eva Victor, who also plays Agnes, the main character, Sorry, Baby is slow and artsy, but extremely effective. It shows how the trauma developed after a sexual assault has a ripple effect and loudly echoes in the victim and her life for years after.
Our protagonists perform as the opposite gender while still preserving the parts of their personalities that makes themselves who they are.