San Junipero: Queer Heaven on Earth
Battles will come and go and queer people do die for their identity and fights for rights, but that doesn’t mean the gays don’t deserve their happy endings in stories.

In 1938 two young architects, Ragnar and Martta Ypyä, known as Y and Mirri, buy an 8mm camera. Together, they start filming the everyday life of Vyborg. But one year later, life in Vyborg changes irrevocably. The Soviet Union attacks Finland. The Winter War has destroyed the city. Mirri flees to the countryside; Y stays in Vyborg, helping to repair the bomb damage. But they carry on filming.
Battles will come and go and queer people do die for their identity and fights for rights, but that doesn’t mean the gays don’t deserve their happy endings in stories.
Making Apes begins by looking back at the history of makeup effects in Hollywood, which was revolutionized by Jack Pierce, the person behind Frankenstein (1931) and The Wolf Man (1941)
Avatar: The Last Airbender's success fifteen years after its premiere proves the enduring power of its storytelling. But it's more than just a quality show.
Desi Arnaz was an innovator in television and Lucille Ball was a sketch comedy clairvoyant of sorts; 'Being the Ricardos' focuses on their genius as a couple, but shies away from the interracial aspect of their marriage.
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.
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.