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

The water reached up to our necks, and very soon, over our heads. The mountains became islands and the islands became hills in the darkness of the deep. The palms became sea anemones and the sea anemones remained what they were. The Wall Street was still full of sharks. Venice floated a while longer, and then… If a global catastrophe is a state of mind, then music is the raft.
Eddington attempts to capture how media is intertwined with the uncomfortable present.
The clever but socially-awkward Tetê joins a new school, and she'll do anything to fit in.
On March 31st, International Trans Day of Visibility, following some COVID related delays, the trailer was finally dropped, and although Taylour Paige and Riley Keough look to impress as lead characters Zola and Stefani, a brief cameo from a queer icon was what convinced me I have to see this movie.
Armed with a $400M budget and Tom Cruise’s death-defying stunts, Mission: Impossible – The Final Reckoning delivers pulse-pounding action even as its plot falters. From underwater silence to high-altitude madness, it's pure adrenaline powered by old-school movie magic — but is this really Ethan Hunt’s final mission?
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.
It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.