Sick or Evil or Both: “My Friend Dahmer” and the Coverage of White Killers
This HBO mini-series asks why a young white man turned to violence and finds no easy answers. But why do we only ask questions about certain kinds of killers?

Raja, an orphaned thief, dies while helping a gang in kidnapping a wealthy heiress, Mahi, in exchange of money. He then lands in Yamlok and fights with Yama, the god of death, to get his life back.
This HBO mini-series asks why a young white man turned to violence and finds no easy answers. But why do we only ask questions about certain kinds of killers?
The multifaceted musical represents America in the 1960s and the battle against bigotry as an ensemble cast portrays how to fight for the limelight.
So with the recent (rightful) public apologies to Britney from comedians and media for trashing her image in the 2000s, perhaps some people should also give Crossroads the fair chance it deserves. It won't be everyone's cup of tea, and that is fine. Personally, I will take my girl Britney and her movie, over the next testosterone "Dude Flick" any day.
The Cycle refuses to lean into the same old, same old monster-movie tropes and builds the entire premise around the intellect and the history of a capable, smart female protagonist.
It is a truth universally acknowledged that a single woman will be happiest if she marries a man with a good fortune, similar upbringing, matching attractiveness levels, and compatible politics.
Few movies deal with aging (particularly aging women) with as much compassion as Relic does. Yet it’s not sickly sweet and not a soapbox rant against ageism. Relic simply is, allowing the horror to seep in quietly and carefully.