The Stagecoach Driver and the Girl (1915)

'Pariah' tells a powerful, mesmerizing, and unflinchingly honest story of identity.

'Don't Make Me Go' is what you would expect, Wally and her father, Max, clash tremendously and don't understand each other. Although, it's very heartwarming.

I think that the happiness and survival of "Wynonna Earp"’s LGBTQ+ characters is incredibly refreshing in contrast to the prevalence of queer suffering and death in other television.

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

Clocking in at about four hours, Stranger Things season 4 volume 2 is the length of a double feature. Despite the length and the hype, the finale still falls short of expectations thanks to poor pacing, poor character choices, and poor diverse storytelling.

In this short film, writer/director Nikita Hattangady focuses on Jai, a starving artist rooted in the latter category. Though unhoused, he works hard.