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Though the show featured some pleasantly surprising wins and an impressive number of awards given to artists of color, the moments we could champion were quickly snuffed out by those that disappointed.
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Though the protagonists of Cassius (Lakeith Stanfield) and girlfriend Detroit (Tessa Thompson) are both played by Black actors, they at times employ the “white voice” of dubbed-over, white, occasionally British actors.
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What’s the best space opera about an intergalactic war fought by weird alien species? (It’s not “Star Wars.”) What’s the most emotionally investing fantasy series since “The Lord of the Rings”? (It’s not “Game of Thrones.”) And what’s one of the best comic books of the last decade? (It’s not a superhero comic.)
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Every semester in The Daily Californian’s arts & entertainment department, we welcome a new batch of beat reporters. While they will spend the semester reporting on a multitude of different projects and exhibits specific to their expertise, they rarely have the opportunity to focus on their topics on a small scale.
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If the recent string of celebrity cameo music videos have left you hungry for more, here are some suggestions to satisfy your craving.
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A verbose, genuinely unpredictable shindig, “Sorry to Bother You” marks the directorial debut of hip-hop artist and Oakland’s own Boots Riley.
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Many questions running through the season are answered, but their answers are traded for new questions about the larger implications of the plot reveals.
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Like last episode, this episode of “Westworld” includes an abundance of exposition via flashback, specifically of one event: Juliet’s suicide.
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This episode — the title of which is the Lakota word for “remember” — explains Akecheta’s backstory and the park’s opaque dynamics in a near-perfect set-up.
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While this episode ramped up the action, it didn’t shy away from posing the philosophical questions “Westworld” is known for.
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