Once Upon a Time in (White) Hollywood
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.

Daunted by obligation to his father, a young cuban cowboy spends his days dreaming of another life while toiling in the fields grazing his family's cows. One day while in town collecting his government food rations, he encounters his estranged sister and childhood friend, forcing them to confront long held resentments and decide which truths remain unspoken.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.
Adventure Time, Legend of Korra, Steven Universe, The Loud House, The Hollow, OK-K.O.! Let’s Be Heroes, The Dragon Prince, etc!
The film may be a thriller, but I wasn’t thrilled by it. If anything, I was bored and annoyed.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
Netflix’s new rom-com, Voicemails for Isabelle (dir. Leah McKendrick), isn’t just heartwarming, funny, and an achievement in female directing - it’s also an instant classic. Following 20-something aspiring baker Jill (Zoey Deutch), Voicemails for Isabelle tells a story of grief, self-discovery, and fateful connections. Ever since her beloved sister Izzy’s (Ciara Bravo) death, Jill has been leaving her hilarious, extremely TMI voicemails about her chaotic love life and miserable day job as a prep cook. Little does she know that a handsome and unsatisfied real estate agent in her hometown has inherited the number and practically fallen in love with her by listening to her stories.