REVIEW: ‘Russian Doll’ (Season 2) is a Fast-Paced Trip Through Time and Trauma

“The show is compulsively entertaining and addictive in the sense that it has a way of leaving room for future possibilities of more stories down the line.”

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‘Money Heist’: From ‘Don Quixote’ to ‘Lazarillo de Tormes’

“‘Money Heist’ exaggerates almost all aspects of reality, in turn challenging the economic and political status quo.”

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‘Yellowjackets’ (2021) Perfects the Sting of Female Rage in Television 

‘Yellowjackets’ challenges the idea that women are communal in times of crisis, while highlighting the power and necessity of female rage in film.

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REVIEW: ‘Evil’ Season Two Delights in Body Horror

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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What the TV Women of the 2000s Taught Us

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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REVIEW: ‘Resident Evil: Infinite Darkness’ (2021) Blatantly Repeats The Past

‘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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REVIEW: ‘Castlevania’s’ (2021) Final Season Is a Fitting End to the Best Video Game Adaptation

Castlevania nearly hits a home run with a satisfying conclusion that only has a couple of bumps along the way.

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‘It’s a Sin’ (2021) Exploring Fear of the Unknown

It’s a Sin is not only a sincere exploration of the AIDS crisis in 1980s London, but also explores how we deal with fear.

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REVIEW: In Series Four, ‘Search Party’ Returns to Its Roots

Seeing the characters so inverted brings the show back to its roots, but this time viewers know both sides of the story from the start.

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