The Poor Eat The Rich But Not Each Other In Parasite

The conflict between the two parties leads to a final, unbelievable climax that is as fitting as it is unpredictable. But the central message remains the same: class warfare also necessitates class solidarity. In Snowpiercer—Joon Ho’s first English feature—the metaphor is also clear: the most treacherous enemies aren’t just wealthy, but the poor who betray each other to uplift the rich. It’s an idea that keeps cropping up as a secondary thesis in stories about the friction between the wealthy and the poor.

Beanie Feldstein Finds the Sweet Spot of Nerdy Teen Girlhood

The best part of Feldstein’s performance is that Johanna feels extremely lived-in as a teen. Despite spending most of her time around grown men who keep her around out of amusement, she is still smart, engaging and sincere. She is entirely self-possessed and brings her whole heart to every interaction, challenging their cynical dismissal of the things that other people love. But as a teen, Johanna is desperate to be liked, so her sharp turn to invective masking as critique happens easily when her colleagues demand it. The way to build a girl isn’t by breaking her down, but by allowing her to find different paths to building herself in the best way she knows how.

Hustlers Makes Class War Fun

Hustlers is about what women do to survive, the networks they create to look out for each other, and the lengths they will go to to protect each other. These women face real problems and take real risks, but in the end, it’s as Ramona says: America is a strip club. Some people are tossing money around and some people are doing the dance.

Vita and Virginia Belabors Queer Romance

The sad fact is that Vita and Virginia simply isn’t very good, and never quite lives up to the extraordinary promise of these two literary titans. It flattens Vita into a fussy, privileged, womanizer who entertains herself by having affairs and almost entirely glosses over the magnitude of Virginia’s mental illness and suicidal ideation. Arterton, Debicki, and their real-life counterparts are underserved by a script that doesn’t quite understand its own relationship to queer romance and has little to say about it except that it existed.

Euphoria's Season 1 Was Equal Parts Fantasy and Condemnation

The beating heart of the show is the relationship between Rue and Jules, and the way Rue uses Jules as her anchor to a life without addiction. She is the one real thing Rue can tether herself to, and the jealousy and insecurity she displays as Jules builds relationships with other lovers over the course of the season. The queerness of their love is presented as a simple fact. They make no bones about how the nature of their relationship changes over time. Instead, it is the men who are fixated on heterosexuality who find themselves violently consumed by their inability to adhere to the binary.

Luce Upends the Common Narrative of White Liberal Guilt

Luce plays on expectations of race, respectability, and white liberal guilt to weave a taut, terrifying tale that dares the audience to speak its suspicions aloud. Musical strains ramp up the tension, then disappear as quickly as Luce switches expressions. This isn’t a situation where the audience is waiting for the characters to catch up to what we already know. Here, instead, we’re at the edge of our seats, constantly switching allegiances between Harriet and Luce, trying to discern motives that remain opaque. There are no easy answers. In fact, there are no answers at all. The drama is intensely compelling, invoking trite assumptions about established racial hierarchies to trick the audience into acknowledging their own biases.

'Aggressively Fine': An Evaluation of The Lion King Performances

The biggest, most glaring problem with the film is that it’s difficult to build an emotional story arc around a set of animal characters that are deliberately not anthropomorphized. Real lions do not smile, or sing or otherwise express human emotions. But if millennials are to be believed, the original 1994 version of The Lion King was so impactful precisely because of its high emotional stakes.

There Is No Redemption for Serena Joy in Season 3 of The Handmaid's Tale

Serena Joy is not simply a woman longing for a child. She is a Wife and war criminal who helped create the architecture of Gilead, actively advocated for the restriction of women’s rights and participated in the ritual rape of enslaved Handmaids. She directly contributed to the oppression of tens of thousands of women and still benefits from the limited privileges she made sure to allow for a woman of her station. Serena did not begin to question her devotion to Gilead until after she found herself caught in the crosshairs of its cruelty. There is no path for her redemption.

When They See Us: The Truth Is Hard To Watch

When They See Us is terrifying to watch. There’s an inevitability that seeps into every frame, not because we know the ending, but because the suffering feels so unavoidable. Of course a stable of white officers rounded up every black teen they could find regardless of their right to do so. Of course they substituted one for another when their case started to fall apart. Of course they interrogated the boys for hours without their parents. Of course they went along as the prosecutor led the evidence instead of letting it lead her. Of course the boys were naive enough to take the officers at their word. Of course a jury convicted despite a lack of forensic evidence and a litany of conflicting testimony. Of course, of course, of course…

The Perfection Turns the Rape Revenge Fantasy Into Spectacle

The movie pretends for as long as it can that its central conflict isn’t about rape, which ironically only serves to increase the ambient threat of sexual violence and make the inevitable reveal feel gratuitous and unnecessary. The attempts at misdirection do not work; the eventual confirmation feels less like a reveal and more like punishment. Smartly, The Perfection never depicts a rape, but it finds lots of time to substitute other, more traditional kinds of violence instead. The film starts off as a fun, relatively predictable horror film, then rapidly devolves into the grotesque as the narrative shifts and bends with its many twists.

The Promise of a Black Future Is Compromised in See You Yesterday

It’s hard not to be resentful of the very mechanics of the film. White teens get three rounds of fairly low-stakes hijinks with the classic Back to the Future trilogy that all have happy endings. […] Black youth do not get access to levity and hijinks. They do not get entertaining (if slightly incestuous) forays into their own pasts. Black teens get localized tragedies as big as any world-ending event; there are no terminators or loops to close, but death stalks them nonetheless.

Fast Color Places Family Heroics Over Superhero Powers

In those final moments, Ruth’s power symbolizes the ways in which the very world we live in turns on the labour of black women; we have the power to shift the axis of the world. Ruth and Lila’s renewed quest for an ancestral homeland for women like them speaks to much larger ideas about the lengths black women must go to protect themselves and ensure their safety. An ancestral homeland where they can be hidden from the world and in the company of those who don’t seek to exploit them is a tantalizing ray of home in a world that is crumbling around and constantly in pursuit of them.

Beyoncé’s Homecoming Makes The Past Present

Homecoming can be seen as the culmination of Beyoncé’s years-long exercise in constructing her own legacy. […] She constantly pulls from her own oeuvre and reimagines it in innovative and exciting ways, folding it in on itself and compounding how we are instructed to see her work. With each new musical outing, she invents a new frame through which to view her output, demonstrating the long arms of her creative imagination. Her music has always had the ability to be molded and reconfigured in this way; shaped to match the myriad visions she has for the ways she wishes to present herself to the world. Beychella was the culmination of this vision, a seismic flexing of her creative dexterity.

Obsessed Set the Blueprint for Enjoyably Mediocre Black Thrillers

Terrible as it was, Obsessed set the stage for the black thrillers that have continued to pop up in regular intervals since the movie’s 2009 release. The plots of these films tend to be paper thin after-thoughts that place black (heterosexual) couples in opposition to an outside antagonist, usually with a focus on the interiority of the black woman and the struggles she faces, up to and including the inciting incident. Whether it’s Gabrielle Union fending off home invaders in 2018’s Breaking In or Sharon Leal being stalked by the lover she took during the throes of her sex addiction in 2014’s Addicted,this hyper-specific genre is chock full of scenarios that put black women in the role of both the damsel in distress and the righteous wronged heroine, often allowing them to save themselves.

Broad City Is Over But Its Friendship Is Forever

In the end, Broad City was radical in the way it repeatedly asserted that the primary, most beautiful, intimate, and meaningful romance of your life can be the relationship you have with your best friend; its closing shots were a nod to the fact that the city they love is full to the brim with such friendships, blooming and growing everyday, and deepening in their significance as they endure. Abbi and Ilana were a perfect encapsulation of a very specific millennial experience, and the show will stand as a monument to the intensity and devotion that women can have for one another when they stop squirming under men’s gaze and reject its existence altogether.

Shrill Expands Television's Treatment of Fatphobia and Body Image

Shrill is undeniably a show about navigating the world while fat, but it’s also about self-esteem, loneliness, friendship, and righteous anger. The first episode features a devastatingly accurate read of the emotional calculus many fat people perform to justify the ways in which they diminish themselves; finding elaborate ways to try to be “enough” and finally deserve affection. But it also features a guilt-free abortion that ends not with the patient feeling sad or regretful, but proud and powerful that she was finally able to take control of her life. That, too, is a radical moment of television in an increasingly conservative political landscape.

Captain Marvel Pulls Off Charm But Carries the Baggage of the MCU Universe

Captain Marvel’s biggest issue is that it is narratively hobbled by appearing so late in the MCU’s canon. Instead of being able to function as a relatively standalone introductory film like the franchise’s other origin stories, its primary purpose is to act as a bridge to Avengers: Endgame. As with last summer’s Ant-Man and the Wasp, shifting the stakes after the end of Infinity War is a difficult task. It’s harder to care about lost mothers or lost memories when the literal fate of the universe hangs in the balance. 

Lady Gaga’s “Bad” Pop Song From A Star Is Born Actually Rules

The problem is not with “Why Did You Do That?” but with the fact that A Star Is Born is largely framed through the eyes of Jackson, played by Bradley Cooper. His resentment of Ally’s rising success as his own star declines colors the way he perceives her music, and by extension, the way the film frames the music’s quality. The movie thinks “Why Did You Do That?” is a bad song because Jackson thinks it’s a bad record, and the movie is by and large a reflection of his experiences of their relationship.

Widows Is the Rare Heist Film That Explores Women's Sacrifice

Betrayal is intrinsic to Widows: In order to right their husbands’ wrongs, they must accept that they were intentionally left in the dark by the men they loved. When men err in these narratives, women feel justified in wrestling back control of their lives, even in ways that are unambiguously criminal. In Widows, these women’s actions are driven not just by the need to get even, but by their need to survive.

Creed II Lacks the Spark to Rewrite Rocky History Again

The film doesn’t seem to realize that Viktor is this film’s Creed—an upstart underdog saddled with a legacy he never asked for and fighting like hell prove to himself worthy of a name he didn’t choose. Both men are actors in a decades-long stage play, and their much-touted fight is the rising action of a final act for which they’ve both written different endings. Both are simply doing as the rigid rules of masculinity require: defeating their foes through violence. The problem is that none of this is ever fully articulated at any point during the film.

Green Book Is Another Film About Race for White People

Despite its frustrating politics, Green Book is the type of film tailor-made to court awards consideration from an Academy that had to be shamed into diversifying its ranks. With its insistence on the pretense of loving our way into racial harmony, the movie exists almost exclusively to allow white moviegoers to nod sagely about “how far we’ve come” before calling the cops on their black neighbors for not waving hello.

Well-Read Black Girl's Glory Edim On Her Book Club and the Importance of Representation

“The responsibility of a writer representing an oppressed people is to make revolution irresistible,” said Toni Cade Bambara in 1976. It’s a sentiment that women working in the black feminist literary tradition understand intimately, making it a fitting guiding ethos for Glory Edim’s second annual Well-Read Black Girl Fest. 

Taylor Swift Can’t Save You

In a way, this would seem like the Occam’s razor—an event of such political significance occurred that Swift finally felt a moral obligation to break her public silence. But even if we accept this as true, it only brings more questions to mind, primarily: Why did it take the public flagellation of a white woman to get her to shift her stance? Was it simply the first time she’d seen her privilege challenged in such a definitive way?

Assassination Nation and the Cathartic Power of Female Rage

The witch hunt has historically been about decimating the women who refuse to conform; who fail to perfect the delicate balancing act between “sexually available” and “slut,” “chaste” and “prude.” But men have co-opted even that, claiming the term to describe any call for long overdue consequences of their wanton disregard for female personhood in all its forms. So why shouldn’t we just take up arms, raze it all down and reclaim the world as our own? 

Natalie Portman Embodies Pop Spectacle in Brady Corbet’s Vox Lux

With Vox Lux, Corbet speaks to how pop music is far more about the spectacle than the music, but he also examines how unnecessary intellectual rigor or technical skill is to the process. The modern pop star’s job is not to tell us how to feel, but to provide us with a template upon which to project our feelings. They bring the melodic frame and we bring the emotional heft. It is a symbiotic relationship of sorts: we pay them to reflect ourselves back to us.

Where Hands Touch Can't Make a Nazi Love Story Work

While expertly made, the film fails because it refuses to meaningfully acknowledge the basic truth of the terrifying power dynamics between the two lovers. […] Where Hands Touch focuses so much on the idea that love can traverse any boundary that it forgets there’s no love strong enough to bridge a genocide.