Media as the Evil in Eddington
Eddington attempts to capture how media is intertwined with the uncomfortable present.

The renovations of our university dorm were left unfinished because of the lockdown in Germany, and the thick fabric that they had put up around the building to contain the debris remained in place. During the lockdown, the 367 of us in this 25 story building could barely see the world outside through the tiny holes of this thick fabric.
Eddington attempts to capture how media is intertwined with the uncomfortable present.
The Slumber Party Massacre wonderfully combines the suspense of its horror with its commentary on gender, creating a memorable slasher classic that began a horror trilogy entirely written and directed by women.
Animation as a medium of storytelling can be thought to be open to all ages and as I hope my readings will reveal, they could be interpreted as transgender stories.
I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it.
After We Collided is a sequel to last year’s After, which itself was based on Anna Todd’s 2014 novel of the same name, and which was originally published as a Harry Styles-centric fan-fiction on WattPad (a similar path as E.L. James’ Fifty Shades of Grey series).
Miss You, Love You brings together two people who were meant to find each other at that moment in their lives.