Well, We Were Lucky with the Weather 

The beating heart of this film is the relationship between Anna Osborne and Sonya Rockhouse.

The gentle, emotional nuances of Evan’s coming-of-age story would have been so beneficial to have incorporated into the life of a POC character. Showing a Black, Asian or Latino young man that is afforded the space to be vulnerable, flawed and sensitive while driving a compelling and widely-loved narrative would have been a game changer.

Nightbooks, the newest entry in children's horror, honors classic horror films, focuses on themes of acceptance, and has awesome production design.

Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.

White audiences saw Peola’s mixed-race passing as a Black woman’s struggle to be white. Black audiences saw it as the rebellion of a Black woman trying to gain privileges only given to white people.

While it initially sounds nothing like 'Nope,' the focus on recording/sharing everything—especially trauma—for profit makes Hulu's 'Not Okay' similar to Jordan Peele’s newest movie.