Here at The Swales School For Girls, we pride ourselves on shaping the minds - and bodies - of the future. Our diverse curriculum ranges from Cunnilinguistics to Women-On-Women's Studies. Our small class sizes promise our students the one-on-one attention they deserve from hands-on, experienced faculty. Tough but firm, our staff knows how to apply just the right amount of pressure to get results. And don't forget to take advantage of our top-notch recreation facilities. Whether you get wet by the pool or get felt on the pool table, there's a good chance your double entendre will result in a ménage a trois on our campus. IN THIS EPISODE: Suzie aces her exam while Ginger goes for extra credit. Venus and Babs cram for midterms with a special tutor.
The assassins in Bullet Train are quirky, deadly, and diverse. Yet, they all seem to be some type of caricature. While the movie is fun and action-packed, it’s also packed with stereotypes that don’t make for the best representation.
The “gay best friend”, an age-old trope, has been done in countless films and television series. Ranging from one-note (Sex and the City's Stanford and Mario) to nuanced (Unbreakable Kimmy Schmidt's Tituss), the gay best friend exists to support and advise the main protagonist, with their conflicts swept to the side.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
Disney movies have taken a bit of a downward turn recently. How come?
This reboot of The Wonder Years is told from the lens of a Black man.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
