Minority Mindset

Let me tell you, Deep Water feels…empty. It’s like the filmmakers were afraid to actually say anything, to suggest there’s any real substance beneath the surface. The characters are paper-thin, and the themes are hammered over your head with such force it’s almost comical. There’s this bizarre scene where Aaron Eckhart’s character, a first officer, randomly offers life advice to a little girl about detours – it’s so out of nowhere it made me laugh. And then there’s Dan, played by Angus Sampson, who isn’t just a typical annoying passenger; he’s a walking disaster. He harasses the flight attendants, can’t stop smoking, cuts the line, and – get this – throws away the emergency GPS device! Oh, and he causes the plane crash with his faulty phone charger. Seriously. The audacity of this character is unbelievable. There’s a moment after the crash, with wreckage everywhere, and Dan is just casually grabbing peanuts and asking a wounded stewardess for a drink. Honestly, I half-expected to see a title card saying ‘Dan Presents…’ – it felt like he was directing the whole thing.

The title Star Trek: Strange New Worlds is unique among Star Trek shows. Most series are named after their starship or setting—like Star Trek: Deep Space Nine, Voyager, Enterprise, Discovery, and Starfleet Academy. Star Trek: Picard is named for its lead character, and Star Trek: Lower Decks and Prodigy have titles that suggest their overall themes.

Andy Serkis’ new animated film Animal Farm has a different ending than the original novel.

With so many heroes in Avengers: Doomsday, there’s potential for exciting and surprising team-ups. Pairings like Doctor Strange with Mister Fantastic, The Thing with Hulk, or Captain America with Cyclops feel natural and could become memorable moments in the Marvel Cinematic Universe if Marvel Studios chooses to explore them.

Drone footage is now commonplace, which makes the way it’s used in the new documentary Our Land particularly striking. The film powerfully investigates the murder of Chuschagasta leader Javier Chocobar, who was killed in 2009 while defending his community’s Indigenous land rights against miners. It’s also the first documentary by acclaimed Argentine director Lucrecia Martel, known for her films exploring class and colonial history through a personal lens. Here, she examines power dynamics by revealing how those in control shape historical narratives and accepted truths. The men accused of Chocobar’s murder—who used their connections to claim the Chuschagasta land—present blurry camcorder footage of the incident as proof of their innocence. They also rely on official records that falsely claim the Indigenous population was eliminated, conveniently dismissing their present-day claims.