'Luther: The Fallen Sun', Idris Elba’s Netflix Vehicle, Fails to Make the Point
By undermining the appeal and credibility of black characters, the show compromises the very idea of diversity and representation it sets to promote.

The opening moments of "Psyche Out" introduce a young boy who craves the adventures achieved in the surf. The boy -- or at least his dreams -- seem like they could provide a recurring framing device for Walt Phillips' third film (following "Sunset Surf Craze" and "Surf Mania"), but that's the last we see of the boy or hear of ambitions. "Psyche Out" contains less poetic musing, travelogue, comic relief or similar stuff characteristic of surf films of the time, in favor of surf action at Malibu, Point Zero, Rincon and Steamer Lane. This is to the benefit of the film.
By undermining the appeal and credibility of black characters, the show compromises the very idea of diversity and representation it sets to promote.
Hours before their line-up of screenings for Trans Awareness Week began, the filmmakers of 'When Men Were Men' chatted with me about the film's personal exploration of masculinity.
After We Collided is a sequel to last year’s After, which itself was based on Anna Todd’s 2014 novel of the same name, and which was originally published as a Harry Styles-centric fan-fiction on WattPad (a similar path as E.L. James’ Fifty Shades of Grey series).
Even after a history changing event, the 93rd Oscars proved it always had the space for more inclusivity in its award ceremony. But it this enough to change the boycott?
Here's what Disney got wrong with "Aladdin" and how it can avoid those pitfalls with "Hercules."
Netflix’s recent Millie Bobby Brown vehicle, Enola Holmes 3, is a disappointing and confusing entry in the stellar Enola Holmes franchise. Directed by Philip Barantini, the film stars Brown as Enola Holmes, estranged sister of Sherlock Holmes, Henry Cavill as Sherlock Holmes, and Louis Partridge as her love interest, Viscount Tewkesbury. While it deserves credit for its exciting action scenes and attempts to expand the diversity of its Dickensian setting, the most recent entry in the series completely scuttles Enola’s underdog status from the first films that made her so charming and gave a touch of realism to the story of a young, unmarried woman living in London while self-employed as a detective.