Following the 2011 nuclear disaster, the Oura family was forced to evacuate their home in Namie-cho, Fukushima Prefecture. Several years later, their eldest daughter Miran, who had moved to Tokyo, began filming her family because she wanted to scrutinize the concept of being considered “disaster survivors.” Amidst shifting familial relations—gradually revealed to the viewer—and the continual shock of the realities they confront, each family member is seen groping for their own “road home.”
"Rodgers' & Hammerstein's Cinderella" wasn’t just a fairytale, it's a Black girl's fairytale. It was a fantasy world where the undeniable beauty of Black girls and Women was celebrated and beloved.
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.
What happens to an inseparable bond when love for competing morphs into competing for love?
The Olivia Wilde renaissance is upon us.
Andor is an origin story where each side will do whatever it takes.
