The name of Vladimir Ovchinnikov has become widely known in Russia over the last decade - particularly this period of time the street artist has lived in a town that seemed to bewitch him. The town of Borovsk is a strange place, which has been an island of memory for all innocent victims since the XIV century. Boyarynya Morozova died here, Archpriest Avvakum was also imprisoned here and numerous victims of political repression were shot here. Here Ovchinnikov suddenly began to paint on the walls of houses - contrary to the indignation of the authorities: the "naive" graffiti artist is not 19, but 80 years old. Real passions began to flare up in the town in 2015, when Vladimir Ovchinnikov painted on one of the fences his first "memorial to the victims of political repressions"…
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.
Despite the film’s efforts to reframe its heroine with modern complexity, a certain emotional distance lingers.
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.
I didn’t love Expecting Amy, the mini-series following Amy Schumer’s pregnancy, but it brought up a lot of great unspoken side-effects of working and growing a human in America.
