“Onslaught” is Insensitive, to Say the Least
Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.

The PSA is based on Jan Wagner's book "Raising Safe Kids in an Unsafe World" and features an introduction by Wagner and the PSA's mascot character Yello Dyno. The story of the PSA centers on a girl named Lyric who falls prey to professional "tricky person" Reginald Charming. The PSA prides itself on its "startling and accurate" portrayal of tricky people and was created to educate its viewers on recognizing the traits of a tricky person.
Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.
As legal dramas go, we rarely see an African-American actor in the lead role. "The Burial" has several.
Ultimately the problem with The Bubble is that it plays everything for laughs to get around the audience’s defenses. But it comes off like a privileged white male thinking that ridiculing everyone else equally is the road to equality. And it’s not. And it's definitely not funny to pretend that it is.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.