Once Upon a Time in (White) Hollywood
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.

Suggestion is the rock, and the physical evidence is the evanescent spray that breaks against the unseen. Transitive enharmonics of things touching in middair, an air which is Time—not an actual intersection, but with a consequence as powerful as predestination, a momentary fulfillment, a trail beyond mere pattern, like a streak of truth alive and uncontained, like something that runs through infinity slowing to leave condensation, sonority, a temperature. Lines crossing lines. Not there. There. Invisibilities smudging. Gesture and impression, optic suggestions, agents on and in the mind. Each with vibrations, dollops, whispers, throbs, particles and waves. A finger of pigment brushing a lip of language exchanging carriage supports, liquidities, fire. Moire of meanings. Micro settings in the heart. The time it takes. The very least one can say is to say The Extravagant Shadows is a major work. Humanly essential, adventurous and necessary.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.
Portraying how easy it is to be an ally heavily benefits the majority audience. The more we encourage it, normalize it, and give people the tools to become one, the sooner we can co-exist peacefully.
Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes
Cassie, a musician, and Luke, a man serving in the Marines, form a false relationship and keep it a secret.
With the start of the new season we're excited for all of the April new movie releases, some of which our writers here will cover in individual reviews throughout the month.
The cancelling of these series is being blamed on the writers' strike and low viewership, but it's just the latest example of the industry's lack of appreciation for stories about queer women.