“Brooklyn Nine-Nine” is Sitcom Diversity Done Right
This side-splitting workplace comedy features a diverse cast and tackles challenging social issues. Other sitcoms should take note.

The Nature of Frédéric Back draws a masterful portrait of an exceptional man. A visual artist and animation filmmaker, he has produced an immense body of work that imparts an essential message. With their luminous poetry, their freshness and emotion, his films are both universal and timeless.
This side-splitting workplace comedy features a diverse cast and tackles challenging social issues. Other sitcoms should take note.
“Trust your gut" is one of the most common pieces of advice you’ll receive during your lifetime. And as a person inclined to trust my intuition above all else, it’s the most common advice I find myself giving in real life and in my online socialising. But what happens when your gut is trying to warn you that something is seriously wrong without you being able to identify what triggered it in the first place? How can you act on a feeling or make it go away when you don’t have a clue about what could be wrong? How can you trust your intuition when you don’t know what makes it act out in the first place?
Typically in film, characters suffering from mental illness are used as plot devices or exaggerated for comedy. 'The House that Jack Built's representation exceeds in accuracy and realism of OCD.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.