The Relentless Victimization of Marilyn Monroe in "Blonde"
'Blonde' commits a relentless assault on the autonomy of Marilyn Monroe, reducing the icon to nothing more than a victim of the director's whims.

Anna has just buried her beloved aunt as California waits once more for the big quake to hit. Unsure of where she is going, she climbs into her old convertible for a trip through the desert. Along the way she meets a series of bizarre characters, including two dancing glitter girls, a crazy jogger and a heartbreaking crooner. Anna's friends and family also appear repeatedly to her in her car for imaginary conversations. The levels of time and perception, of the past and present, begin to merge and the trip increasingly becomes a journey into Anna's consciousness.
'Blonde' commits a relentless assault on the autonomy of Marilyn Monroe, reducing the icon to nothing more than a victim of the director's whims.
The Vietnamese perspective is not only completely ignored in 'The Greatest Beer Run Ever', but it is blatantly whitewashed and disrespected.
Although Christmas is a time of year for love and cheer for all, holiday cinema has not always represented diverse communities. Being a holiday with Christian origins, much of its media consists of straight white families or straight white romances. Luckily, modern years have been bringing with them plenty of POC and LGBTQ+ representation that the holidays so desperately need.
Omaha reminds us of what it can feel like to look at old family photographs. You sit with the bittersweetness, allowing it to wash over you; not drowning in it, but certainly affected by it.
'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).
I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.