“The Boys attempts to provide positive examples of women, people of color, and queer people, but the nuance just isn’t there.”
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“Avatar: The Last Airbender is unconcerned with modern navigations of prejudice and reads as an aspirational fantasy where such things are immaterial.”
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“In The Real Housewives: Ultimate Girls Trip, everyone’s ridiculous but no one feels like a stereotype.”
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“Unlike on other networks, viewers do get a say in how stories unfold on C-SPAN.”
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“WandaVision doesn't grasp gender or racial representation as well as it thinks it does.”
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“Lovecraft Country wears its progressivism like a costume.”
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“Indian Matchmaking inadvertently promotes the very ideologies it aims to critique.”
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“I have a hugely problematic fave, and that fave is BL.”
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“Westworld’s third season tried to say ‘the future is female,’ but undermines its own messaging.”
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“You walks a fine line between calling attention to an abhorrent issue and accidentally glamorizing it.”
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“Bled dry, Criminal Minds slipped away from its television bonds, off to the big TiVo in the sky.”
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“The women of The Terror: Infamy feel clumsily sketched.”
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“While it’s cool to see Peaky Blinders center Romani characters, they are all played by white actors.”
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“Instinct’s refusal to discuss real issues renders it exactly what Alan Cumming said he wanted to avoid: remarkable only for having gay lead.”
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“Veronica Mars makes a one-to-one correlation between Mexicans and criminality.”
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“The Inuit in The Terror feel completely authentic thanks to the casting of Inuk actors and in-depth research by the show’s producers.”
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“In real life, white criminals are arrested more than any other ethnic group for acts of terrorism in the UK.”
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“Criminal Minds has never had a queer agent across its fourteen, very straight seasons.”
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“Bodyguard adds to a long and damaging media trend of depicting brown people as terrorists.”
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“Altered Carbon takes a difficult task—putting an Asian man’s consciousness into a white protagonist’s body—but largely pulls it off.”
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