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"La Noria" deftly subverts audience expectations as it explores childhood grief, anxieties, and pain. The award-winning short shows us that often our monsters are often sprung from our darkest places.

It took writers D.B Weiss and David Benioff two years to give us a promising final season. Two. Years. It was just going to be six episodes, which was short considering that all the other seasons — except season 7 — were 10 episodes. 10. 6 wasn’t enough, and even HBO wanted to give the writers more episodes. More seasons, even. However, the writers wanted to get out of the show as quickly as possible to work on other projects. This abruptness is clearly shown in this season.

Disney has hopefully learned some lessons since 1994. Are those lessons reflected in the 2019 remake of "The Lion King?"

This coming-of-age musical features a strong representation of LGBTQ+ individuals coming-of-age.

It’s easy to dismiss Joel and Ethan Coen for writing from the world they build from outside the box of overarching Hollywood stereotypes, but their inability to compromise their collective vision is precisely what makes the simplistic nature of their world-building and characters so brilliant. It’s also what led Fargo to collect seven Oscar nominations and two wins for Best Original Screenplay and Best Actress for Frances McDormand’s brilliant portrayal of the sincere, motherly detective whose wholesome demeanor seizes the day over the selfishness, corruption and evil of the men who don’t comprehend that there’s more to life than a little money.

What starts off as a success story for a single mother living below the poverty line, slowly begins to weave itself into a tangled web of greed, guilt, and destruction.