THE SEX LIVES OF COLLEGE GIRLS: SEASON THREE Starring: Pauline Chalamet, Amrit Kaur, Alyah Chanelle Scott, Gracie Lawrence, and Mia Rodgers Creators: Mindy Kaling and Justin Noble PAIGE Class is in session, and right away, I must say that Renee Rapp's early season departure has created a sense of absence. Although a new roommate is added this season, she doesn’t completely capture her essence. At least I still like hanging out with the other original characters because they offer so much fun and charm to the show. Even if this season is the weakest of the three, I will continue following these girls until they graduate, especially if the show's creators get back on track writing storylines that female viewers can relate to. Check out our reviews for Season Two HERE .

Previous Next December 18, 2024 WRITTEN BY: PAIGE For those occasions when you simply need a break from it all or a little pick-me-up, nothing quite beats turning off your brain, cozying up, and throwing on a feel-good flick. The Feel-Good genre is a bit of an ultra-meta idea. For some, it may be an epic action flick filled with explosions, or perhaps a satisfying mystery. For others, it may be a horror movie that gives you nightmares, or a beautiful love story that speaks to their inner romantic. So, with that subjective ideal in mind, I didn’t overthink this list. My sole requirement is the movies leave me — and, I hope, you — feeling better through wonderfully optimistic messages that we all need every once in a while. Let’s face it, we’ve all experienced the days, or maybe even the weeks, when everything that could go wrong does go wrong. The movies below might just be the remedy you need to cheer yourself up because I can assure you that they will put you in a good mood, making whatever that is bothering you feel like a distant memory. Like they say, when life hands you lemons, press play on a feel-good film and watch your spirits start to lift. GOOD MORNING, VIETNAM (1987) Robin Williams, the man who always makes me smile when I see his face on screen, must make an appearance on my list of movies to lift your spirits. Good Morning, Vietnam , especially, warms my heart every time I watch it. This war dramedy examines some of the hardest moments humanity has gone through, but it does so through Williams' humorous perspective. The film emphasizes the power that laughter and music have and their ability to bring people together even in the toughest of times. Much like comedy, music can improve your mood and give you a sense of understanding, support, and connection when things get tough, and this film achieves just that. THE SANDLOT (1993) As an adult, sometimes I wish I could just go back to the good ol’ days, when I was a kid and didn’t have a care in the world. The Sandlot takes me back to those times, so when I’m feeling like I need a breather, I re-watch the modern classic. Watching it as a kid, the movie taught me about the value of friendship and courage. Now that I’m older, those themes have stuck with me even more, feeling increasingly relevant. It reminds me that life is not about winning or losing, but about evolving to face and overcome your fears. This coming-of-age movie is genuinely sweet and funny, with a ton of lessons for all ages to appreciate. LITTLE MISS SUNSHINE (2006) Watching this family go above and beyond to fulfill their daughter's dreams is sure to make you smile. There’s just something about watching everything come together that will cheer your soul despite its intentional imperfections. This beautiful film teaches us that it’s acceptable to be imperfect and that you don’t need to be what “society” considers to be the norm. It teaches us that it is okay to be sad, to cry, to scream, and to lose, because at the end of the day, we are only human, so it’s most important to just be yourself. Little Miss Sunshine exhibits sentiments of joy and hope, as well as a fantastic dance sequence at the end of the film. EASY A (2010) To be honest, Easy A is among the best teen films of the 21st century. Double standards are boldly called out in this modernized adaptation of Nathaniel Hawthorne's 1850 novel The Scarlet Letter , and many younger viewers can definitely relate to the film, especially those who were in high school in the 2010s. In our teens, many of us struggled to define who we were in the face of social pressure to fit in, not to mention (especially for us ladies) being "slut shamed” due to our sexual desires. Through this movie’s witty dialogue and sassy performances, this wry yet endearing teen comedy highlights the value of remaining true to oneself, and that a woman's sexual choices are nobody's business but her own. THE WAY WAY BACK (2013) A lot of coming-of-age stories tend to be more heartbreaking or dramatic, but this movie is just so lighthearted, which is what I appreciate most about it. This easy, breezy movie may be formulaic at times, but it’s charming as hell. At least once in our lives, we’ve all felt insecure or self-conscious, so when watching this movie, many can see themselves in the lead character. The story goes on a journey from insecurity to self-assuredness, and it serves as an inspiring reminder that, no matter the age, we can all find our way through this crazy thing called life. Ultimately, The Way Way Back is a touching and relatable film that reminds us all of the power of self-acceptance and the importance of genuine connections with others. HUNT FOR THE WILDERPEOPLE (2016) Hunt for the Wilderpeople is one of those charmingly offbeat gems that provides a glimpse into the value of family. This underappreciated gem by Taika Waititi is not only hilarious, but it has a lot of heart. The film truly embodies the idea that family is not just about blood relations, but about the bonds we choose to form with people. At some point in our lives, we’ve all been a bit of a pain in the ass, but deep down most of us mean well. We just need some guidance, support, and love to get us there, which is demonstrated in this film beautifully. After all, one of the character’s mottos is "no child left behind," reminding you to give others a chance (while giving this flick a watch, I hope). THE PEANUT BUTTER FALCON (2019) The Peanut Butter Falcon 's plot conveys an inspiring message about following your heart and not letting others limit you, and its principal performers give outstanding, free-spirited performances. What makes the movie so delightful is the odyssey-like journey its protagonists take and the touching moments they spend together, reminiscent of Mark Twain’s Adventures of Huckleberry Finn . In addition to themes of hope, kindness, optimism, and redemption, it offers a feeling of found family. The Peanut Butter Falcon should be on your radar if you're searching for a movie that will leave you smiling and full of good vibes. MARCEL THE SHELL WITH SHOES ON (2021) Many probably wouldn’t think a talking shell that was once an internet sensation could be adapted into such a genuinely heartfelt film, but director Dean Fleischer Camp managed to pull it off. You’d be surprised how much joy this story can bring you. It’s a compassionate tale that deals with loss, hope, and reconciliation in a sensitive yet profound way. Marcel's (Jenny Slate) story inspires us to embrace all stages of life with an open heart and mind. All in all, this whimsical stop-motion mockumentary is a poignant reminder that we are capable of healing and coming out the other side through a tragedy, especially when we stay on the hunt for ways to heal and build resilience.

Previous Next February 27, 2023 WRITTEN BY: QUENTIN After taking Toronto International Film Festival (TIFF) by storm last September (40 movies in 11 days!), I knew going in that Berlin International Film Festival, or Berlinale, was going to be a different beast altogether due to the inherent language barrier, the February timeframe, the serious focus on the “international” aspect, and the fact that I was the lone Bitesize writer in attendance. Also, since I couldn't attend the entire 11-day festival, my time in Berlin was going to be extremely truncated, so given all that, how could it be the same experience? In the end, I only had 72 hours at Berlinale, which, with some scheduling magic, afforded me the time to see seven movies and the opportunity to visit famed sites like CheckPoint Charlie, Berlin Cathedral, and the highly rated speakeasy Bellboy Berlin. All in all, it was a good trip that came together better than I anticipated. I’ll talk more about the films I saw in a bit, but first, let’s talk about the Berlinale experience. Ultimately, all the things I mentioned above had a huge impact on my festival experience; not in a “bad” way, but in a “it’s just different” way. For one, the language barrier made it extremely difficult to chat and network with other critics and film fans. Couple that with the fact that, unlike TIFF, nearly all the festival theaters were roughly 20 minutes from each other by train, and the whole experience simply felt a little less communal and celebrated. Sure, there were posters hanging around town, but there wasn’t a centrally located “Fest Street” like at TIFF. Furthermore, the overall vibe was pretty subdued…like, if you didn’t know the festival was happening, you might not have noticed it at all. Admittedly, the weather was awful: cold, windy, and rainy (like “pouring piss out of a boot,” as my late grandfather would say), which I’m sure put a damper on things, but still…. it just didn’t feel very festive. On the plus side, the international focus and early festival date created an environment for true film discovery. TIFF premiered movies like The Fabelmans , Glass Onion , and The Whale , all of which came with massive hype and expectations as we neared awards season. Berlinale doesn’t play the same because there isn’t any hype or narrative surrounding these movies yet (most don’t have trailers or even posters), so you’re basically throwing darts. For example, I chose one movie merely because Alicia Silverstone was in it, which is a weird sentence to say in 2023. Also, I was able to secure extra tickets to two screenings, so my girlfriend got to enjoy a bit of the festival experience as well, including the world premiere, red carpet, and Q&A for Reality , starring Sydney Sweeney. As for those dart throws, I got pretty lucky because they hit the mark for the most part. Speaking of which, let’s talk about some movies… PERPETRATOR This is the movie I chose mostly because of Alicia Silverstone, but I was also intrigued by the synopsis and Midnight Madness horror vibes it gave off. And frankly, there weren’t a ton of options for the time window I had. Unfortunately, my first Berlinale movie was also the worst movie I saw. It’s never lacking in gore or violence, but the whole affair feels like a slightly elevated student film, from the amateurish acting to the over-the-topness of it all. It’s angry, visceral feminist horror, which isn’t a bad thing, but it plays more like a visual art experiment than a coherent movie. It’s simply overstuffed with too many ideas and too many swings at extreme and campy rawness. All that said, Cronenberg die-hards might find something here worth their while. As for Silverstone, her campy staccato line delivery is laughably distracting at times, but my teenage crush remains strong, nonetheless. Synopsis : On her 18th birthday, tough-girl Jonny (Kiah McKirnan) eats a cake baked by her aunt according to a magical family recipe and undergoes a radical metamorphosis. As several classmates go missing, a bloody coming-of-age story takes its course. Starring : Kiah McKirnan, Alicia Silverstone, Christopher Lowell, Melanie Liburd, and Ireon Roach Director : Jennifer Reeder BLACKBERRY Of all the movies available to me during my short time, BlackBerry is probably the one I was most looking forward to. For one, it seemed to be the most accessible movie for an English-speaking American in Germany because of its recognizable cast and my general familiarity with BlackBerry phones. But also, I love a good rise-and-fall corporate story, something this film certainly delivers. Tone-wise, it nimbly bounces between Silicon Valley and The Social Network , while the "rise" arc is much stronger than that of the "fall," which is a tad rushed. However, I can’t say enough about the casting. Glenn Howerton is perfect as a hot-headed corporate shark, bringing the same deep-seated rage he has demonstrated on It’s Always Sunny in Philadelphia for 15 seasons, and Jay Baruchel’s natural awkwardness serves his nerdy, “tech guy” character well. It’s not Oscar-worthy, but I wouldn’t be surprised if BlackBerry eventually wins some smaller awards down the line. Synopsis : Adapted from the bestselling book Losing the Signal , BlackBerry tells the story of the spectacular rise and meteoric fall of the world’s first Smartphone. A humorous but unforgiving modern-day tale of big business and the relentless need to stay on top. Starring : Jay Baruchel, Glenn Howerton, Matt Johnson, Cary Elwes, and Saul Rubinek Director : Matt Johnson REALITY Going in, I had a few reservations about Reality . If you aren’t aware, I am a former NSA contractor, so I have personal opinions about those who leak national secrets to the press, and typically, movies like this tend to go in the opposite direction of what I think. But I must give director Tina Satter credit because for most of the film’s 83-minute runtime, she doesn’t really take a side or paint Reality Winner (Sydney Sweeney) as a hero or a villain. The film remains neutral…until the last 10 minutes or so, when a quick montage belies that neutrality. Still, the movie is excellent. The approach is incredibly inventive, creating a surreal pseudo-documentary that helps establish a matter-of-fact point of view in the early goings. Plus, Sweeney is absolutely remarkable, playing a character that evolves from innocent naiveté to terrified realization with aplomb, and the chemistry and tension built between her, Josh Hamilton, and Marchánt Davis is off the charts. All in all, Reality should be on the shortlist of movies coming out of Berlinale with genuine Oscar buzz. Synopsis : Director Tina Satter presents a snapshot of recent U.S. history and, using unedited original dialogue from an FBI recording, re-enacts the 2017 search of NSA whistle-blower Reality Winner’s home as a tense chamber piece. Starring : Sydney Sweeney, Josh Hamilton, and Marchánt Davis Director : Tina Satter THE ADULTS Truth be told, broadly speaking, this isn’t a movie that I’d make an effort to see. I’m just not a fan of Michael Cera’s particular brand of insecure nerd quirk, and the “person reconnects with family on a random trip home” isn’t exactly my go-to genre. That said, slim pickings, a recognizable star, and the mention of poker addiction in the synopsis made it the default choice on an early Sunday morning. Turns out, I would have been right to avoid The Adults . First of all, the most interesting aspect to me (the poker addiction) is severely underdeveloped. The story never paints Eric (Cera) as a true addict. He’s not broke, he’s not on tilt, and there is no struggle. He’s just a dude that really likes to play poker. Secondly, the dynamic between Eric and his two sisters is quirky and odd, but not in a cute way. There are multiple scenes where they talk to each other through weird impressions and made-up characters that they give absolutely zero context for. If you thought Michael Cera could be annoying before, wait until you see him crash his sister’s party doing a cringe Tony Soprano impression. I admit my preconceived bias likely is a factor here, but with even the lowest of expectations, this was a stinker. Synopsis : The plan to make a trip back home as short as possible begins to unravel when Eric (Michael Cera) has to balance his addiction to poker with the challenging relationships with his two sisters Rachel (Hannah Gross) and Maggie (Sophia Lillis). All three are not the kids they used to be. Or are they? Starring : Michael Cera, Hannah Gross, Sophia Lillis, Wavyy Jonez, and Anoop Desai Director : Dustin Guy Defa HELLO DANKNESS While not a “movie” in the most typical sense of the word, Hello Dankness is the Berlinale offering that I will spend the next few years telling everyone about. It’s an amazingly brilliant piece of art that perfectly encapsulates what it was like to live in the U.S. during President Trump’s time in office (depending on your political affiliation, I suppose). By repurposing, deep-faking, and manipulating movie clips from things like The ‘Burbs , Wayne’s World , American Beauty , and multiple zombie movies, the narrative’s stunning accuracy is only outdone by how clever it all is. Plus, as a movie fan, I was in constant “DiCaprio pointing at the screen” mode with each new doctored clip. In one surreal moment – keep in mind that I’m in Berlin – a 1940s-era, pro-Nazi song starts playing over a section that is representing the most extreme of Trump’s supporters. It drove numerous people to walk out. It was a wild scene, just like the movie, and it solidified that the directing duo Soda Jerk is a team whose work I will constantly seek out. Synopsis : Assembling hundreds of film clips and media images, artist duo Soda Jerk creates a startling narrative about the changes undergone by American society since President Trump, while relishing in reflecting on contemporary cultural values. Starring : -- Director : Soda Jerk MANODROME Similar to Michael Cera, Jesse Eisenberg also has his own particular brand: the internally angry and insecure white man. In Manodrome , with seemingly complete disregard for being further typecast, Eisenberg perfectly captures the aura of a rage-filled incel and toxic masculinity. Between the way he carries himself in the gym to the stone-washed "Bro" jeans, it’s all on point. Opposite him is Adrien Brody, who despite being an Oscar winner, has quietly made a career of popping up in supporting roles to inject a level of menace and gravitas. Granted, the story isn’t quite as strong as their performances, going pretty much where you’d expect it to go, but that doesn’t mean it’s poorly told or weak. It’s just not as incisive as it could have been despite still being an interesting examination of a broken man who feels he is a casualty in the battle against the patriarchy. Synopsis : Ralphie (Jesse Eisenberg) is about to become a father, but his job and his personal situation fail to make him happy. When he is inducted into a libertarian masculinity cult, this awakens repressed desires and he loses his grip on reality. Starring : Jesse Eisenberg, Adrien Brody, Odessa Young, Sallieu Sesay, and Philip Ettinger Director : John Trengove INFINITY POOL Having already premiered in the U.S., Infinity Pool finally had its European Premiere at Berlinale, and I gotta say… I wasn’t a fan. It kicks off with a very intriguing premise, and I can’t fault the acting for the most part, but it slowly, and admittedly confidently, goes off the rails as the story moves along. It seems director Brandon Cronenberg was more interested in putting together a series of jaw-droppingly provocative set pieces than weaving together a coherent narrative. After not caring for Cronenberg’s last directorial effort, Possessor , it might be that his films just aren’t my thing. With that in mind, there are surely those who like to vibe out to pure shock-value horror imagery and trippy sex scenes, and for those people, Infinity Pool is a must see. Synopsis : James (Alexander Skarsgård) and Em (Cleopatra Coleman) are enjoying the perfect vacation, but once a tragic accident occurs, there is no way back for the couple. Violence, boundless hedonism, and the horror of an unimaginable choice: be executed or, if you can afford it, watch yourself die! Starring : Alexander Skarsgård, Mia Goth, Cleopatra Coleman, Jalil Lespert, and Thomas Kretschmann Director : Brandon Cronenberg Photo Credits: Berlin International Film Festival

WONDLA: SEASON TWO Starring: Jeanine Mason, Teri Hatcher, Brad Garrett, Gary Anthony Williams, D.C. Douglas, John Kim, Ana Villafañe, and Alan Tudyk Creator: Bobs Gannaway AMARÚ While Wondla Season One had a good mix of family-friendly television and adult-themed stakes, Season Two leans a little too heavily on the family-friendly early on. The first season established its commitment to darker themes presented to kids in an intelligent and thought-provoking way, and while this season provides some authentic scares and thrills as the mystery unravels, especially in later episodes, early conflicts are much more easily resolved. But stick through those early growing pains, because even though it takes some time to quell Q’s previous Paw Patrol comments, by the end, Wondla proves that its commitment is steady. Check out our reviews for Season One HERE .

THE BLACKLIST: SEASON NINE Starring: James Spader, Diego Klattenhoff, Harry Lennix, Hisham Tawfiq, Amir Arison, and Laura Sohn Creator: Jon Bokenkamp NICK With the departures of creator Jon Bokenkamp and star Megan Boone, the ninth season of The Blacklist was going to be an uphill climb. A series focused on the relationship between its two lead characters loses its purpose when one of those characters is no longer there. The new storyline threads and an unnecessary extension of Elizabeth Keene's (Boone) death don’t hold the weight of earlier seasons, and the “villain-of-the-week” gets tiresome. As much as James Spader (and the underrated supporting cast) give great performances, the sad realization is that this show doesn’t need to exist anymore.

Previous Next August 11, 2025 Something feels weird... kind of freaky... like we've been here before but in a different way. Having the original audience trade places, what was old shall feel new. The trouble is doubled, but does that mean the fun will be too? After 20+ years, Jamie Lee Curtis and Lindsay Lohan have reunited for another freaky experience. Does Freakier Friday retain the magic of the original, or is this yet another unnecessary legacy sequel? Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous April 29, 2026 Next A BITESIZE CHAT WITH ROBBIE AMELL The Code 8 franchise spawned from an Indiegogo campaign, and Robbie Amell (Upload , The DUFF ) joins Nick to talk about going back to those roots to create the graphic novel Code 8: Tales of Lincoln City . He also touches on the upcoming finale of Upload and other future projects. Make sure to check out the campaign HERE and watch the final season of Upload on Prime Video. Interview conducted on August 23rd, 2025 by Nick van Dinther.

WOLF LIKE ME Starring: Isla Fisher, Josh Gad, and Ariel Donoghue QUENTIN As a rom-com, Wolf Like Me is far more (horror)-rom than (dark)-com, but it’s still an entertaining enough diversion despite being fairly predictable. It requires a lot of patience to start, with the first two episodes slowly setting up a reveal that everyone should see coming a mile away; However, after that, it picks up just enough steam to carry the viewer through a super quick, 6-episode binge that takes just over two hours. Sure, it’s slight and generally unremarkable, but…and I say this as someone who cannot stand Josh Gad...Gad and Isla Fisher manage to keep it engaging somehow.

THE FULL MONTY Starring: Robert Carlyle, Mark Addy, Talitha Wing, Paul Clayton, Lesley Sharp, Steve Huison, and Paul Barber Creators: Simon Beaufoy and Alice Nutter AMARÚ The Full Monty series suffers from banking on nostalgia that just isn’t there, dropping us in the middle of both old and new characters’ stories without preamble. It simply takes way too long to start caring for characters that are honestly very well-rounded. Mark Addy (Dave) is delightful in his return, and Talitha Wing (Destiny) is a captivating new cast member; however, storylines start and stop so unceremoniously that you don’t have time to sit with anyone. The cast is likable, the humor is charming, and the themes are relatable, but The Full Monty never catches enough momentum to fully get going.

Previous Next Eight years after his hit film, Sorry to Bother You, Boots Riley finally returns with his second feature. The high anticipation and pressure of this got us thinking about other directors' second films. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Sophomore Directorial Features. As per usual, each writer ranks their top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. BOOGIE NIGHTS (PAUL THOMAS ANDERSON) Like a lot of curious young Canadian cinephiles, I took advantage of my parent’s decent cable TV package and watched my fair share of...let’s say, adventurous…movies whenever they weren’t looking, especially on the weekends. Surprisingly enough, you could find some of them on the History Channel. Back when they were cool, they would often showcase films that highlighted a certain part of history, uncut and uncensored. Boogie Nights was one of those. At 12 years old, my eyes gazed upon Paul Thomas Anderson’s epic exploration of the “Golden Age of Porn” - commercial breaks and all. By the time it was over, I felt as if my life had changed. Every time I’ve seen it since (and this includes seeing it on 70mm, which I highly recommend), I’m taken back to that moment in time and feel like that 12-year-old boy again - sucked in by its lively first half, and gutpunched by its sobering second half. Each time, I’m blown away that Anderson pulled off something so funny, so sad, and so ambitious (narratively and formally) in his second go-around. And at only 26 years old no less! It took some filmmakers who debuted before him four or five tries to make a movie this perfect, but this only speaks to the mastery that PTA already possessed back then, and has continued to wield as his career has gone on. He has the touch. He has the power. - Bode 4. SEVEN (DAVID FINCHER) When you think of the most improved sophomore directorial effort, David Fincher has to come to mind. Alien 3 isn’t a completely terrible movie, but it certainly has its flaws, and didn’t allow Fincher to truly shine as the director we know him as today. So fortunately, he could only go up from there, and up he went. His sophomore outing put him on the map. The neo-noir, serial-killer thriller Seven is not only one of the strongest sophomore efforts, it’s one of the best of its genre. Rather than playing it safe, he took a bold and confident approach that ended up establishing the style we admire today. While most directors are still finding their voice on their second outing, Fincher delivered a film that feels fully realized and fearless. Seven is a brilliant masterpiece that excels in all aspects, from its premise and directing style to its atmosphere and performances. It truly remains one of the most chilling crime dramas ever made. - Paige 3. ALIEN (RIDLEY SCOTT) Ridley Scott’s Alien is not just one of the best sophomore directorial features ever, but also one of the best horror films, and arguably the best sci-fi horror film ever. The first time I saw it, I was struck by how deeply unsettling and impactful it is. Alien is an iconic classic, a modern cultural touchstone that’s constantly referenced and whose impact continues to influence filmmakers today. From its thrilling action set pieces, chilling creature design, and distinct visual style to its fantastic visual effects that more than stand up today, it rivals the impact of modern techniques. Despite being a horror film with extraordinary body horror, as well as Scott’s second feature, Alien utilises incredible restraint, evident in the plot, the pacing, and the fantastic cinematography, to enhance the tension and steadily increasing dread. On top of this, the film became a defining moment in Sigourney Weaver’s career, and her performance is one of the most significant in all of action and horror cinema, redefining female roles in the genre. - Katie 2. WHIPLASH (DAMIEN CHAZELLE) Considering many of you probably missed Guy and Madeline on a Park Bench , I'd assume Whiplash was your likely introduction to Damien Chazelle. What an introduction it was. Chazelle has crafted an intense film that showcases the pressure, drive, and ambition it takes to become the best, all focused on the clash between a student (Miles Teller) and his abusive teacher (J. K. Simmons). Teller is no slouch here, but it's a career performance for Simmons as he gets to show off the mean-streak he perfected as Vern Schillinger on HBO'S Oz . There's nothing sugar-coated in this film, to the point it can occasionally become an uncomfortable watch, but its quality is undeniable. Chazelle's bulletproof script and dynamic direction here set the tone for his later films like La La Land and Babylon . - Nick 1. PULP FICTION (QUENTIN TARANTINO) I was very young in 1992, so I couldn’t project what I thought Quentin Tarantino’s Reservoir Dogs meant for his career prior to the arrival of the masterpiece that is Pulp Fiction . However, having seen both, I can tell you the proof was in the pudding, and if of age, I would’ve been clamoring for the follow-up back then. As a novice, I thought film and storytelling were such linear, three-act structured mediums, so when I saw Pulp Fiction , it flipped my logical brain on its head. I didn’t think time could be manipulated in such a cohesive and entertaining way. As my cinema history knowledge was expanded, I came to realize its contribution to an outstanding movie year, and how other inferior films (looking at you Forrest Gump ) paled in comparison yet stole some of its shine. Without Pulp , we don’t have the second act of John Travolta, we don’t have Uma Thurman, and we don’t have Sam Jackson’s prestige filmography; we basically miss out on thirty years of interesting cinema because of the possibilities a movie nerd generated when he crafted something so special and aspirational. It is my favorite movie of all time, and if you find fault in that, perhaps you need an adrenaline shot to the heart. - Robert HONORABLE MENTIONS THE MATRIX (THE WACHOWSKIS) THE INCREDIBLES (BRAD BIRD) EVERYTHING EVERYWHERE ALL AT ONCE (DANIELS) THE TERMINATOR (JAMES CAMERON) SHAUN OF THE DEAD (EDGAR WRIGHT)

THE PENGUIN Starring: Colin Farrell, Cristin Milioti, Rhenzy Feliz, Deirdre O’Connell, Clancy Brown, Carmen Ejogo, Michael Zegen, Michael Kelly, Mark Strong, and Theo Rossi Creator: Lauren LeFranc QUENTIN Picking up where Matt Reeves’ The Batman leaves off, The Penguin is everything one could hope for. Essentially a “comic book adaptation” in name only, this miniseries plays much closer to gritty crime dramas like The Sopranos and Breaking Bad . There are no capes or superpowers to be found here, just tormented, surprisingly sympathetic, and well-developed characters brought to life through superb performances, particularly from an Emmy-worthy Colin Farrell and a scene-stealing Cristin Milioti. With recent reports of a Joker miniseries starring Barry Keoghan in the works, this is the most exciting shared cinematic universe in the game right now. Even my superhero-hating roommate enjoyed it. AMARÚ I’ve never been one for shows like The Sopranos , but if The Penguin is even a fraction like that show as people say, I need to go back and watch. The grittiness and treachery fit perfectly within the realm of Gotham, but it’s the show’s intimate nature that makes it brilliant. Led by Emmy-worthy performances from Colin Farrell, Cristin Milioti, and Rhenzy Feliz, there’s an unexpected vulnerability exhibited through humor, desire, and acceptance that makes you root for their characters despite horrifically despicable actions. The Penguin is truly a representation of superb writing, in-depth characterization, and pitch-perfect tone mined from rich comic lore. ADRIANO The Penguin was sold to me as "The Batman meets The Sopranos ", a.k.a., my favourite comic book movie meets my favourite show. So yeah, I thought this was perfect. Colin Farrell continues to blow me away as the title character, and Cristin Milioti is a very welcome presence. This show is simply stunning to look at, fascinating to watch unfold, yet also stomach-turning at times. What makes it so incredible is that it doesn't hide what a scumbag the Penguin character is, and it's all the more captivating for it. PAIGE The Penguin is not only one of the best DC projects to date, but it also is one of the best shows of the year. Thanks to showrunner Lauren LeFranc’s direction, the series’ exploration of power and betrayal gives us a deeper and more nuanced look at Gotham City’s underworld. And while its layered writing is top-tier in this dark and twisted series, it’s the performances that bring it to the next level. Colin Farrell (Oz), who is covered in prosthetics, doesn’t let his talent go unmasked, while the standout of the show, Cristin Milioti (Sofia Falcone), is a force to be reckoned with. KATIE The Penguin is simply incredible television. It doesn’t feel like a spin-off, but builds a richly layered world that is dark, gritty, thrilling, and compelling in its own right. I love that it isn't afraid to give us ruthless, often irredeemable characters that are somehow also empathetic and complex. Colin Farrell is unrecognisable and transforms into Oswald in an unforgettable performance, and Cristin Milioti is a more than worthy opponent who is electrifying each time she’s on screen. With outstanding performances, phenomenal writing, gripping drama, and a breathtaking finale, The Penguin is one of the best series of the year.

Previous Next June 24, 2022 WRITTEN BY: AMARÚ With Disney+’s Obi-Wan Kenobi finishing up this week, it has elicited as much division as any piece of Star Wars content of the Disney era (division with Star Wars content? Wow…). Some people, this writer included, consider it one of the best pieces of Star Wars lore since Rogue One , while others have panned it for lazy writing and low stakes. As with much of fandom today, fans are yelling at each other from the social media rooftops, unable to respectfully deliberate with those they don’t consider “real fans.” The ever-escalating discourse got me thinking about Vanity Fair’s June 2022 cover story. The cover? Ewan McGregor decked out in his Jedi robes - hood on, full Obi-Wan beard – holding a lightsaber that is casting a celestial blue light behind the words “Star Wars: The Rebellion Will Be Televised.” The image alone is exciting for a Star Wars fan, but what caught my attention even more was the fact that flanking Ewan’s left and right were actors named Diego, Pedro, and Rosario. Upon seeing that three highly anticipated Star Wars series, which feature arguably some of the franchise’s most popular characters in recent memory, are being headlined by a Mexicano, a Chileno, and a Boriquena Afro-Cubana, I was simultaneously hyped and terrified. I have long been waiting for the Latino side of my geek heart to be recognized in the same way that my Blerd (Black Nerd) identity was led to swell with pride when I first saw Chadwick Boseman, Michael B. Jordan, and Danai Gurira don Wakandan garb. Up and down my Twitter feed were three separate representations of the vastly diverse Latinx community, each being showcased as the lead of their own Star Wars series: Andor (Diego Luna), The Mandalorian (Pedro Pascal), and Ahsoka (Rosario Dawson). This kind of visual has been a rarity in my life. Growing up, I found out very quickly that America is often not interested in differentiating the world’s more than 20 distinct Latin American (let alone Spanish speaking) countries. Being half Argentine, I grew up being called Mexican or Puerto Rican, and nothing else. Even today, I watch as my Latinx students have to educate their classmates that Honduran people don’t really eat Mexican cuisine. But looking at that Vanity Fair cover, I was looking at two Latinos and a Latina in the form of a native-born South American, a native-born Central American, and an American-born Puerto Rican who is also Afro-Latina. The thought of this one picture reaching millions of eyes and maybe, just maybe, being able to illustrate both the talent and diversity of my community was inspiring. “That cover brought me to tears… it still does,” lauded film reviewer Rosa Parra, proud Chicana and co-founder and host of the Latinx Lens podcast. When the magazine dropped, she tweeted, “My heart… This little Latina’s heart is filled with joy. Never thought I’d see a cover of a major franchise with mostly Latinos heading it. My kids get to grow up seeing this… and I couldn’t be prouder.” While her sentiments certainly summed up the pride I felt, those joyful thoughts were not at the forefront of my mind. I was waiting for the other shoe to drop. I thought back to the initial reactions to John Boyega’s head popping up in the trailer for The Force Awakens . I thought back to the hate that Kelly Marie Tran received after The Last Jedi , which forced her to deactivate her Instagram account. I was waiting for the scary side of the fandom to rear its ugly head, causing me to doom-scroll for days on end. This, more than anything, overwhelmed that initial sense of pride. Minutes of preconceived rage passed, turning to hours of anxious dread. Days with my Twitter fingers ready to fire off responses at anybody who wanted to spew ignorance and intolerance came and went. But alas…. Nothing. No racist comments. No prejudiced Reddit calls of wokeness akin to when Dominican actress Leslie Grace was cast as Batgirl. No moronic rants about a Latina woman taking over a role voiced by the white, blonde-haired, Kentucky-born Ashley Eckstein. Even more curious, however, was that outside of the small pockets of celebration I saw from my Latinx circles, there wasn’t much congratulatory fanfare for the cover either. The largest positive representation of Latinos in any sci-fi, comic book, or fandom-driven franchise in my lifetime, and little to no attention was being brought to the fact that one of the biggest IPs in the world was being shepherded into its future by a minority group. Specifically, a minority group that has yet to get its due in the current era of film and television. Instead, most social media comments expressed excitement for the characters, the shows, and at the idea that the future of a galaxy far, far away were in good hands. But, in a way, that made the lack of acknowledgement feel a little inauspicious. What did it mean? Were we finally moving in the right direction? Were we stepping closer to the day when “normal” is seeing a majority Latinx Star Wars slate? What about the sequel to a black-led superhero movie that got nominated for Best Picture while making a billion dollars, is that normal? Or a $465 million television prequel to one of the highest grossing (and mostly white) sci-fi franchises of all time finally featuring people of color as elves and dwarves? That’s the dream, right? To see any and all races, genders, sexual orientations, and identities represented in our entertainment, running parallel to the melting pot “dream” this country is supposed to be, and for it to be nothing more than another piece of content for us to enjoy. The day when it’s no longer considered progress, it just… is . To be fair, Disney is making an effort to get there. Turning Red and Raya and The Last Dragon , two animated Disney films released in the past year, have female Asian-American/Pacific Islander leads, while Encanto , the Academy Award winner for Best Animated Feature, revolves around a multigenerational Colombian family. Temuera Morrison (Māori) and Ming-Na Wen (Chinese) just led The Book of Boba Fett , and two of the MCU’s most interesting Phase Four origin stories are Chinese ( Shang-Chi and The Legend of the Ten Rings ) and South Asian ( Ms. Marvel ). Still though, with each chipping away at the status quo of science fiction stories being predominantly white and male, I see Instagram Reels celebrating dark skin children with curly hair recognizing themselves on screen and Hakas being performed by indigenous Tusken Raiders. So, what was it about this cover that possibly generated a silent normalization? Maybe we should be happy that three Latinx leads on a major magazine cover was met with nothing more than geeky excitement, absent of racial motivations and politicalization. But, of course, that isn’t reality. Look again at the title of this article. You’ll see that the word “was” is in parentheses. Just 10 days after the Vanity Fair cover’s release, I changed the word “is” to “was” because my questions about representation being normalized were answered with a violent “Hell No.” After Obi-Wan Kenobi ’s premiere, the official Star Wars Twitter, and even Ewan McGregor himself, had to respond to racist comments aimed at Obi-Wan Kenobi co-star Moses Ingram regarding her casting in the show. That shoe I was waiting for had finally dropped; it just fell into a different racist bucket. It confirmed that with every leap forward, we often find a way to take giant steps backwards. Even more importantly, it confirmed that race, ethnicity, and identity can never, and should never, be taken out of the conversation when it comes to representation in this country. For better or worse, that individuality is what sets us apart. Seeing that booming Latinx pride quietly vanquished to the voids of the Twitterverse reminded me that celebrating your culture, your community, and your heritage isn’t done to appease others. It’s done to allow others to feel comfortable in doing the same. It’s the light that shines through intolerance’s darkness as a beacon of unity. So, here I am, yelling in the face of fandoms everywhere: The future of Star Wars is Latinx, dammit! Viva La Raza y Viva la Rebelión! Because we’re gonna be on your screens for a long time to come, whether you like it or not. Photo Credits: Photo 1 - Vanity Fair; Photo 3 - Disney