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If there is one snub of this year’s Emmys season that is completely inexplicable, it’s the lack of nomination for Rhea Seehorn for her portrayal of Kim Wexler on “Better Call Saul.”
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The Italian Summer is an all-too-common trope in fiction, a dramatic foil to the misery of English spring showers and gray skies.
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Creativity can only go so far when thinking outside of the box, but Gore, with her next-level literature-sorcery, turns the box over entirely and shapes it into something else.
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The radical choices these artists made to represent Black voices in a white-dominated theater is significant as we imagine a future of authentic Black representation onstage.
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Bell and Slate shouldn’t have even been in consideration for these characters, and the fact that they were points to a larger lack of concern for diversity in Hollywood that exists outside of the sphere of these two shows.
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In an increasingly digital age, appreciating an abuser’s art without repercussions is not possible.
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While one sort of album isn’t more effective than the other, both planned and unplanned albums each provide drastically different productions of music.
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One of many steps non-Black allies are taking to dislodge an indoctrinated white perspective is to infuse their watchlists with media that confronts racism and the realities of Black people in America.
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Drive-in concerts are by no means a replacement for proper live shows in venues. Still, they’re a respite for eager concertgoers and musicians alike who consider concerts one of their only livelihoods, if not their only one.
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To an extent, Rowling has revealed her “feminism” is not in service of dismantling all gendered prejudice, but rather in maintaining her own.
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