“Love, Victor centers characters of color, but never quite digs into what that means.”
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“Westworld’s third season tried to say ‘the future is female,’ but undermines its own messaging.”
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“The only queer person we see in Love is Blind oscillates between toxic masculinity and emotional instability.”
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“Never Have I Ever perplexingly dabbles in casual Islamophobia, ableism, and fatphobia.”
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“British Asian actor Sacha Dhawan shines as Orlo, a career bureaucrat in Peter’s inner circle.”
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“You walks a fine line between calling attention to an abhorrent issue and accidentally glamorizing it.”
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“Dickinson challenges our straight-washing of history and allows for nuanced takes on love and attraction.”
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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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“Groundbreaking in its own right, Generation Q still struggles to integrate its original cast members into a modern show that’s more inclusive of real women.”
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“Watchmen encapsulates the weariness of Black America, our wounds healing just enough for the scabs to be torn off again.”
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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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“The overwhelming majority of The Affair’s episodes are directed by men, making it difficult to push beyond the male gaze.”
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“For the first time in SVU history, women will outnumber men in the writers’ room.”
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“Agents of S.H.I.E.L.D. commits to a diverse cast but unequal screen time for women mars its record on overall inclusiveness.”
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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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“What We Do in the Shadows subtly taps into the notion of its vampire characters as immigrants.”
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“The unsparing nature of When They See Us has sparked conversations about whether it’s another in a long line of works that rehash Black trauma.”
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“Russian Doll smashes the Bechdel test, with women speaking over 70% of all dialogue.”
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