The Baby's Gone (2017)

Eddington attempts to capture how media is intertwined with the uncomfortable present.

The height of subversive horror cinema is Jennifer’s Body. No, I will never budge on that. Yes, Cabin in The Woods is funny, Scream is very well made, and the Scary Movie franchise is …. there. But nothing is quite as satisfying as watching the teenage succubus that is Jennifer Check rip apart boys. In the post #metoo era where the industry is far from changed, watching revenge flicks like these is probably one of the most cathartic experiences due to the slow-moving progress being made.

Shortly after season two of Fleabag dropped on Amazon Prime in 2019, Barack Obama put it on his list as one of his favorite television series of the year.

Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

Kat Wahlen’s The Whiteboard tells, or rather shows, a delightful love story between two young women who meet in detention.

My review’s title is a nod to Shakespeare and is entirely deliberate. The original movie portrayed the high-end fashion world as a brutal arena of plotting, backstabbing, and betrayal, and most Shakespeare’s plays depend on these plot devices. The Devil Wears Prada 2 uses the same formula, and is, plot-wise, almost identical. Once again, we plunge into the cutthroat world of Runway, where to get and stay at the top, you must let go of your principles and moral sense. The only thing different is that due to the digital era, Runway is not a print magazine anymore, but one that is running online.