Refusing to place all its hopes in both state and religion as god-given arbiters of justice, season two of Evil reinvents the crime procedural by suggesting that ideas of good and bad are not given, but made, remade, and brutally scapegoated onto people.
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“Some might prefer their horror to be cynical and nihilistic, but Flanagan’s is a unique kind of optimism, one that leaves tragedy and trauma in its wake but still engenders hope and empathy.”
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While female representation in the media still continues to evolve, it is progressing. One thing is for sure: the 2000s gave storytellers and writers an adequate blueprint of female representation.
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The flamboyant cast of characters goes through heartbreak, grief, unbearable family dinners, vain attempts at human connection, fear of failure, and for the most part, universal experiences. The series feels very down to earth, and its relatability is one of its greatest assets. It carries out a message of hope.
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‘Resident Evil: Infinite Darkness’ is the franchise’s latest attempt to break out of video games, but this politics-heavy thriller doesn’t do anything to break the mold.
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A personal look at how on screen representation can be life-changing.
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As the show is centred on a young girl’s journey of self-discovery and overcoming her traumatic childhood, it is assumed that it would get the feminist stamp of approval.
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Castlevania nearly hits a home run with a satisfying conclusion that only has a couple of bumps along the way.
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WandaVision put Marvel in the world of TV in a big way, but is it enough to be good for television’s future?
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While incorporating pop culture references, Stranger Things is a case study of the different hyper-masculine and nerd characters that are portrayed on the show.
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