'Life & Beth' and 'Sort Of' - Two New Series Bravely Lose The Labels
J Brooke, Incluvie Guest Columnist on 'Life and Beth' and 'Sort of': while living one’s truth is freedom, speaking it as a mandatory assignment can become captivity.

Zahra, who is in the last trimester of pregnancy, works as a machinist in a vast clothing factory. Her wages are barely enough to live day to day; her husband went away looking for work and she has no idea where he is. When she is told that she must have her baby delivered by Caesarean, she has no idea how she will pay for it. Then a snippet of discussion on the radio suggests to her a desperate plan to save herself and her baby. An exceptionally well-made slice of social realism about a world where it’s every woman for herself.
J Brooke, Incluvie Guest Columnist on 'Life and Beth' and 'Sort of': while living one’s truth is freedom, speaking it as a mandatory assignment can become captivity.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
Everything Everywhere All at Once is exactly as the title describes, yet unexpectedly so. It's like the Matrix, but with OCD and hallucinogens, plus a heart’s dose of mother-daughter intergenerational intercultural growing pains. Review and cast.
Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.
I have talked with founder of Red Nation Television Network, Joanelle Romero, and the future of Indigenous representation looks bright.