Don’t Give Disney a Pat on the Back for Doing the Bare Minimum
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.

A woman who has been institutionalized for 60 years for the "crime" of not conforming to the 1920s image of what a proper young woman should be (in other words, she did what she wanted and didn't care what anyone else thought about it) is finally released to the custody of her family, consisting of her grand-nephew and his family. At first she keeps a self-imposed distance from the relatives, but she soon finds herself coming around to her nephew's wife, a free spirit who is under the thumb of her cold and controlling husband.
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.
It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.
Those saying it's a bad movie simply because it's bad as a slasher should be reminded that the likes of Jordan and Alexandra often don’t get their tales told, let alone in such major releases helmed by veteran actors like Bacon.
A wondrously imaginative, diverse, and spirited allegory of childhood and the arduousness of adulthood.
The sequel to the first film, A Second Chance: Rivals! talks about Maddy combating cyberbullying and racism.
This story solidified my choices to consume a more plant-based diet and nearly made me cancel my subscriptions to big corporations like Amazon. The narrative was perfectly crafted and on par with Bong Joon-Ho’s other major works; Parasite and Snowpiercer.