In late 2016, state lawmakers formally petitioned the DEA to loosen federal restrictions on cannabis for medical use. Without deliberating, the DEA rejected the petition, maintaining a decades-old prohibition alongside heroin and PCP. Enter THE GREEN STANDARD: a people's account of pot, prejudice, and the fight to end prohibition. Filmed for over a year throughout the US, the film looks at the men, women, and children on all sides of the issue and takes you inside their world of surprising highs and uncomfortable lows. From the refugee families of Colorado seeking treatment for their afflicted children to anti-legalization activists decrying the movement as greed-fueled hype, the film offers an unflinching view on our evolving perceptions of marijuana use, the untold costs of prohibition, and how legalization might (or might not) bring about relief. Moving, informative, and enlightening, THE GREEN STANDARD explores one of the most talked-about yet misunderstood issues in America today.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
A trio of girls form a band and enter a singing competition together after learning they work best as a team.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
The social issues The Half of it takes on are handled well, between the antagonization brought on to Ellie for her race and the conflict that arises from her being gay. Both aspects of her character are built up over the course of the film and don’t seem abrupt or rushed. The film shows racism towards Ellie and her and father in varying levels, from having her schoolmates specifically address her as "Chinese girl” to the fore mentioned way her Dad is treated due to language barriers. The same can be said about Ellie being a lesbian. While she never truly “comes out” in the narrative, that does not undermine her journey of self-discovery from being meaningful. These ideas aren’t thrust upon the viewer in a preachy manor, the scenarios that occur feel believable given the rural setting. The film presents watchers with problems whom those like Ellie may face, and leaves us to sit with them and reflect.
I have talked with founder of Red Nation Television Network, Joanelle Romero, and the future of Indigenous representation looks bright.
A gentle coming of age story, Water Lilies takes its time in exploring what it’s like to be a young girl trying to make sense of her sexuality in a heteronormative world.
