- Cinematic Albums of the 2020s: Music That Feels Like a Movie (June 17, 2026)
The marriage between music and movies is longstanding and stronger than ever, as evidenced by the cinematic album. See, the best moment in a movie is often burned into our brains because of the music that accompanies it. Whether it is the score or the soundtrack, the sonic choice is perhaps the most important indicator of the intended emotion. Moreover, musical artists have long looked to cinema for inspiration for their music videos, and many filmmakers have cited knowing the exact song they would like to decorate certain scenes.
With over half of the 2020s decade behind us, it’s evident that this merger of the two mediums is increasingly entangled. While music videos have often bordered on being short films (like Michael Jackson’s 1983 hit “Thriller”), the concept of the visual album has increasingly become a creative desire for musical artists.
When pondering cinematic albums, which are distinct from visual albums and movie soundtracks, it’s a rabbit hole deeper than the one Alice fell into. An album reaches a cinematic scale when it is (seemingly) effortlessly narratively and sonically aligned, creating a visually imagined experience for the listener. Each song is like a new scene and, when done well, seamlessly leads into the next, propelling the story forward, revealing new details, and diving into the depths of the human experience. Even limiting the selection to an incomplete decade generated a long, long list, spanning genres and styles of all kinds. From the recent and forthcoming albums by Charli XCX, to the early works of The Marias, to the vaulted visuals of Beyoncé’s Act I and Act II, motion pictures are essential to conveying their creative vision, and that’s only citing works from this millennium.
Certain traditionally Black genres, like hip-hop and rap, are commonly dismissed by music scholars and broader audiences, based on assumptions that the music is vulgar or sounds uneducated. However, rap is arguably the most loquacious and clever genre. Rap, and more broadly hip-hop and R&B, are most similar to movies because of their emphasis on lyricism and storytelling. In a majority of rap albums of the 2000s, 2010s, and 2020s, artists draw similes and metaphors to fictional personas like Batman, Tony Montana (“Scarface”), Patrick Bateman (“American Psycho”); rappers have even directly called on filmmakers like Stanley Kubrick or sampled dialogue from movies to enhance the worldbuilding element of their music.
While the endorsement of a white male director like Christopher Nolan isn’t necessary for those genres to feel legitimized, his recent defense in casting rapper Travis Scott in “The Odyssey” underscores the historical and artistic importance of the genre. “I cast [Travis Scott] because I wanted to nod towards the idea that this story has been handed down as oral poetry, which is analogous to rap,” Nolan says in an interview with Time Magazine. The two also collaborated on the original song “The Plan” for Nolan’s 2020 film “Tenet.”
Black Music Month provides the perfect framework to highlight the interconnected creative nature of making music that’s anchored in subliminal cinematic storytelling. To honor and celebrate, and ground this list a bit further, one album by a Black artist for each year of the decade was selected, exemplifying cinematic storytelling through music.
Ungodly Hour (2020) by Chloe x Halle
Lost in the liminal pandemic years, Ungodly Hour by the dynamic sister duo Chloe x Halle is a perfect album that reads like a female-led coming-of-age story. Powered by pop-seasoned R&B beats, the record embodies the joys of fleeting youth and the first taste of adult-like freedom.
Released under Parkwood Entertainment, Beyoncé’s label, it’s easy to see the pop star’s influence in Chloe x Halle’s titular music video. The visuals and album covers’ chrome-casted religious iconography symbolize an evolutionary nature, and each line lends itself to upholding that notion. Ungodly Hour confesses to stumbling while seeking a sense of self; it captures trying to wear a new pair of sexy shoes despite not being broken in yet.
As the album ascends, their confidence grows, but, just like in the movies, there is a humbling moment where self-doubt creeps in. The innocence in their pitch, layered with heavenly harmonies, is like trusting a siren seen while lost at sea. Ungodly Hour is a shedding of the naiveties of their younger years. At their most vulnerable, on “Overwhelmed” and “Lonely,” Chloe x Halle are also their most angelic.
shut the fuck up talking to me (2021) by Zack Fox
The best comedies cause ruptures of laughter because of their ability and willingness to be absurdly and audaciously stupid. Zack Fox, the comedian, actor, rapper, and DJ, inserts this exact persona into his 2021 album Shut the fuck up talking to Me, composed of 9 tracks of threatening buffoonery. Although not cinematic in length, the nearly 20-minute album perfectly suits the glow-up of the dweeb-ish coming-of-age stories, reminiscent of “Superbad” and “Good Boys.” As in many comedies, there are several moments when listening, when one cocks their head to the side, like an auditory double-take at the outrageous remarks Fox makes. The goofy and immature lyrics are still clever, as if he’s stepping into the role of both the loser and the bully. In deploying the duality and overlooked intelligence of rap music, Fox landed a Pitchfork score of just 3.6 (out of 10), which mirrors the often poorly rated, yet highly enjoyable, comedy flick.
Few Good Things (2022) by Saba
Few Good Things exemplifies a particular part of the coming-of-age narrative that pinpoints the moment we mature into the adult-aged paradox of an uncertain understanding of self and the comfortable confidence of enjoying the life we are given. This is evident in Saba’s shift in sound for his third studio album; albeit softer, he channels the overall energy into sketching memories through the lyrics of each track.
The Chicago West Side native takes us on a ride-along through his historic neighborhood. Saba floats across 14 tracks, carried by neo-jazz instrumentals. Because the album is so grounded in place, Saba has transported us to the corner stores and empty lots he used to frequent. The production of Few Good Things, particularly its sound design, has a grainy texture that evokes the look and feel of shooting on celluloid. In layering environmental noises, like laughter and birds tweeting, Saba narrows in on the details that build those spaces in our minds. The themes explored resemble films that dance between memories and dreams, connecting the puzzle pieces of our past in a different way – the building blocks are all there, but he’s looking for a creative way to reconstruct them.
In collaboration with filmmaker C.T., Saba created a short film to accompany the album. Like the story of the record itself, the 24-minute movie shows off the warmth and complexity of Chicago’s West Side and those who make the community – the visualization is only additive, rather than repetitive, to Saba’s story. Notably, the extended video is not a visual album, as it features only snippets of each song, peppered with playful shots that reflect the simplicity Saba speaks about melodically.
Let’s Start Here. (2023) by Lil Yachty
Straying from his normal trap flow and sound, Lil Yachty’s Let’s Start Here. is a surprising experimental blend. Lil Yachty’s staple autotuned vocals are layered over funky bass lines and guitar riffs. Let’s Start Here. resurfaces the psychedelic rock sounds of the late 1960s, modernizing them with elements of funk and pop.
Lil Yachty’s fifth studio album is so cinematic because it lends itself to Afrofuturism, a genre yet to be popularized and seen on the silver screen. Sci-fi films like “Neptune Frost” and “Space is the Place” (which were released almost 5 decades apart) are the easiest comparisons to draw, but each body of work has a distinct complexity that is not replicable. Let’s Start Here. was co-released by Motown, giving the album and Lil Yachty a bit of validity for the transition to funk and soul. The substance of Yachty’s songs spans a wide range of subjects, showing off his deep knowledge of music history and highlighting how this newly emerging genre is one of the most expansive.
Purposely, yet still unsettling, the album’s cover art is AI-generated. Meant to align with the album’s overall alternative nature and subvert shots at executive boards who control creative output, it almost feels ahead of its time, like many other Afrofuturist texts. Lil Yachty shows us that this struggle is as prevalent when making music as it is when making movies. There is a weakening pushback in the film industry against AI-generated work, but, similarly, the agenda for incorporating such tools into creative work comes from those at the top.
WE STILL DON’T TRUST YOU (2024) by Future & Metro Boomin’
The moment WE STILL DON’T TRUST YOU begins, listeners are launched into the opening credits montage of a noir cyberpunk blaxploitation film. The 2024 2-disc album is a second installment from Future and Metro Boomin’, following the battle-inciting WE DON’T TRUST YOU, which features Kendrick Lamar’s firing shots in the infamous standoff with Drake. But this is not Metro’s first dance at crafting sonically cinematic beats; his 2023 soundtrack for Across the Spider-Verse is near-perfect.
Despite its categorization as a rap album, the synthy production sounds like it’s gliding amongst the stars, putting us on our way to another galaxy. Future, one of the most influential rappers of this millennium, remains dialed in on the fictional female protagonist through every song. In a full exploration of feelings, we’re brought along on a sensual, vulnerable ride, often aided by the emo-melodic harmonies and verses of The Weeknd (who also emulates a cinematic nature through his discography, particularly with the album “After Hours”). Every affair and cry for reconnection is more raw and revealing than most contemporary romance movies.
Clocking in at 88 minutes, the album takes a tonal shift after 18-tracks. Similar to how many recent movies have one too many endings, disc-2 keeps the story going while reverting to self-indulgence and showing off skills for the sake of showing off. Metro seamlessly switches up with Future, and the two lock in to complete the mission.
Sad and Beautiful World (2025) by Mavis Staples
Oh, Ms. Mavis Staples, a true American gem. The soul singer, who’s been in the game for over seven decades, shows off her stunning, musical mind once more on her 2025 album Sad and Beautiful World. With mostly covers and one original song, listeners are soothed by Staples’s true rhythm-and-blues intonation. An overall mellow production that hints at Americana, Sad and Beautiful World encapsulates what it means to be a participant in humanity.
Perfectly rounded out at 10 tracks, the stories sung thematically and emotionally serve up a nostalgic slice of life. My mind’s eye paints warm landscapes where the stench of hope and home overwhelm the senses. Sad and Beautiful World sits somewhere between a documentary and a slow-burning western-like drama, like “Nomadland” and “Paterson.” Staples rendition of Curtis Mayfield’s “We Got To Have Peace” calls to the cinematography and relationships explored in these films. Her soothing voice holds us like a hug as we trek through mountains and valleys, with a familiarity like David Attenborough’s in a nature documentary. Staples borrows messages from many disparate genres and time periods, and in doing so, she articulates an enduring attitude toward how to survive and smile through it all. Like many other aging masters, Staples waxes poetically to reinforce the importance of love and peace; like many other aging masters, we are blessed to still have her around to deliver the gospel.
THIS MUSIC MAY CONTAIN HOPE. (2026) by RAYE
Opening with a proper introduction and closing with credits on “Fin.”, RAYE’s most recent record, THIS MUSIC MAY CONTAIN HOPE, is intentionally cinematic. RAYE, a British artist who’s often compared to the powerhouse Amy Winehouse, rips out her heart to remind us that we all have one. As Roger Ebert famously said, movies are a machine that generates empathy; THIS MUSIC MAY CONTAIN HOPE. is a musical manifestation of that sentiment.
Over 17 songs, spanning 73 minutes, RAYE narrates personal anecdotes that the listener can easily visualize, and, more importantly, feel in their heart. Hans Zimmer’s feature on the album solidifies RAYE’s affinity for and understanding of the cinematic arts, and his crescendo on “Click Clack Symphony” sets us up to be completely crushed, yet held, by “I Know You’re Hurting.”
Drawing inspiration from classic Hollywood aesthetics and musical numbers, the album dances across genres. On “Beware… The South London Lover Boy,” a narrator prefaces the story to be sung with a daunting tone heard in old horror flicks, and RAYE’s vocals are summoned by a classic scream queen screech. On songs like “I Hate The Way I Look Today” and “Nightingale Lane,” RAYE directly states what she’s about to sing, as if listeners are in the room with her for a live performance like Marilyn Monroe as Lorelei Lee in “Gentlemen Prefer Blondes.”
Although classified as R&B/Soul, there are rap-like flows and showtune-like choirs that support the storytelling. Continuing to showcase her impeccable range, she also delivers dance-pop moments that reinvigorate listeners. THIS MUSIC MAY CONTAIN HOPE. sonically seems like a mixtape as it moves through memories with diverse sounds. RAYE’s experimentation and direct nods to other media, like movies, keep the album bold while weaving narrative vignettes.
- What the 2025 Federal Arts Cuts Mean for Documentary Filmmaking (June 17, 2026)
A little more than a year ago, the Trump administration began implementing sweeping reductions across the federal government through the Department of Government Efficiency (DOGE). While public attention initially focused on agencies such as USAID, FEMA, and AmeriCorps, the effects soon reached the arts, humanities, and public media sectors.
In March 2025, the administration targeted the Institute of Museum and Library Services, placing much of its staff on leave. In April, the National Endowment for the Humanities (NEH) terminated more than 1,000 grants and fired employees. In May, shortly after the administration proposed eliminating the National Endowment for the Arts (NEA), arts organizations across the country received notices that previously awarded grants had been terminated. Then, in July, Congress approved amendments to the Rescission Recovery Act of 2025, eliminating approximately $1.1 billion in funding for the Corporation for Public Broadcasting (CPB) and hundreds of millions in funding for other organizations.
The consequences extend far beyond individual filmmakers. Since its founding in 1967, the Corporation for Public Broadcasting has helped fund public television and radio stations, educational programming, investigative journalism, and independent documentaries. In 2024 alone, CPB invested $24 million in documentary production through organizations such as ITVS, Firelight Media, and other nonprofit media partners, according to an NPR report.
Critics of public media have argued that these cuts reduce government spending. Yet the scale of the savings is relatively small when compared to the federal budget. Combined reductions to the NEH, NEA, and CPB amount to roughly $1.4 billion. By comparison, that represents less than 0.02% of annual federal spending and less than 0.005% of the nation’s gross domestic product.
Elon carried out these cuts under the guise of saving $2 trillion in spending; however, “Many of the largest savings that DOGE claimed turned out to be wrong,” according to a December 2025 report from the New York Times.
Taken together, these actions represented a direct challenge to the public infrastructure that has supported documentary filmmaking, humanities research, educational programming, and public broadcasting for decades. For many documentary filmmakers, the impact was immediate. Overall, DOGE directly targeted 89 documentaries like “My Underground Mother,” “W.E.B. DuBois: Rebel with a Cause,” and a Ken Burns documentary already in production at the time.
Documentary filmmaker and NEH recipient Marisa Fox received a letter in April stating that her documentary about her mother’s ‘hidden Holocaust past’ no longer aligned with the administration. “I had been able to withdraw all of these funds before the cuts began, so my termination is more symbolic than impactful,” in her May 2025 essay with The Hollywood Reporter. This statement stood out to me because it makes clear that the concern was not entirely financial but rather ideological. The goal was to take away support from documentary filmmakers like her and others of diverse backgrounds who have made their careers investigating power and bringing truth to light for marginalized groups and forgotten history.
The loss of federal support is particularly challenging for independent filmmakers and organizations serving historically marginalized communities. Black Public Media, for example, has publicly discussed the financial challenges created by the loss of CPB support. Organizations that once funded multiple documentary projects each year now face difficult decisions about how many filmmakers they can continue to support. Stanley Nelson spoke about the impact of the federal cuts on his production company and nonprofit grant organization, Firelight Media, at the Independent Documentary Association (IDA) in August 2025. He states, “Even though they didn’t fund the whole production, they provided a solid bedrock,” he explains. “You could say, ‘I have half the money, and now I can get the other half later,’ but without that initial support, many productions struggle to move forward.
Federal arts and humanities funding has played a quiet but important role in that work. Grants have supported archival research, oral history projects, educational programming, public television broadcasts, and documentaries exploring Black history and culture. These programs helped create pathways for films that commercial distributors often considered too niche, too historical, or not profitable enough. A filmmaker may begin with a small humanities grant, receive mentorship from a nonprofit organization, secure additional support from public media partners, and eventually reach national audiences through PBS or educational distribution.
When one piece of that ecosystem disappears, the effects ripple outward.
The impact is especially significant for Black filmmakers and other underrepresented storytellers. Organizations such as Black Public Media, Firelight Media, and independent filmmaker collectives have spent decades building pathways into an industry that has historically excluded many voices. Films like Rita Coburn’s “W.E.B. DuBois,” pushed through with the support of Firelight Media and premiered on PBS on May 19th, 2026, in spite of devastating federal cuts.
The loss of that support arrives at a time when the documentary industry is already under pressure. Distribution opportunities are shrinking. Newsrooms are closing, and production budgets are tightening. Independent filmmakers are increasingly expected to do more with fewer resources. In 2026, survival alone is not enough. Audiences who value independent journalism, historical storytelling, and documentary filmmaking must become active participants in sustaining these institutions. That means supporting nonprofit media organizations, contributing to fundraising campaigns, attending screenings, and advocating for public investment in arts and culture.
The legal battles over many of these funding cuts are still ongoing. In May 2026, federal judge Colleen McMahon ruled that the cancellation of certain NEH grants “was unconstitutional, and the (DOGE) had no authority to end the funding”. Additional cases continue to move through the courts. Regardless of how those cases are resolved, the past year has revealed how fragile America’s cultural infrastructure can be. The question now is not only whether funding will be restored, but whether the nation still values the public institutions that preserve history, support artists, and ensure that important stories reach the public. For documentary filmmakers, that question has never been more urgent.
- J. Christopher Hamilton on Culture, Capital, and Creative Leverage (June 17, 2026)
I ran into J. Christopher Hamilton at the Cannes Film Festival last month, the first time we’d crossed paths [in person] in nearly 20 years. Back then, we both worked at Disney in Burbank, where Hamilton was in business affairs. A lot has changed since then.
Today, Hamilton is an entertainment attorney, an Associate Professor at Syracuse University’s Newhouse School, and the author of an upcoming book examining the relationship between culture, capital, and power. While his career has spanned law, business, education, and authorship, a common thread runs through it all: helping creators understand the systems that shape their opportunities.
Our conversation touched on the rise of the creator economy, the shifting balance of power in Hollywood, and why understanding business may be just as important to a creative career as understanding craft.
You wear several hats. How do you define your work?
I work across three lanes: entertainment law, academia, and now as an author. In my legal practice, I advise clients across television, film, and streaming on deals, business strategy, and navigating the industry. At Syracuse’s Newhouse School, I’m an Associate Professor and run the executive-track program, which focuses on the business enterprise behind the art while giving students real exposure to festivals and media companies, including United Talent Agency (UTA), Lionsgate, and Great Point Studios. I also study the industry’s pain points, bottlenecks, and missed opportunities, particularly for marginalized communities.
Why did you leave the corporate studio world?
I reached a point where I was frustrated by the role’s limits. As a business and legal executive, I was expected to stay in a narrow lane, even when I could clearly see larger problems and opportunities. I was also frustrated by watching people with less experience hold power because of relationships rather than merit. That pushed me to build something of my own.
What did the next chapter look like?
I started my own law practice and moved into academia. Now I do both, which gives me the freedom to work directly with creators while also teaching and thinking critically about the industry.
What major shifts are you seeing in film and media right now?
The biggest shift is the creator economy. Traditional film and media institutions are trying to absorb it, but in many cases, they still don’t really understand it.
What does that look like in practice?
You’re seeing projects emerge outside the traditional studio system and then get picked up for distribution later. That changes the balance of power. You’re also seeing creators prove they can finance, build, and monetize work without waiting for traditional gatekeepers to say yes.
Do you have examples that illustrate that shift?
One example is “Obsession,” which was sourced outside the studio system and later picked up for distribution [by Focus Features]. Another is Markiplier, who reportedly spent $3 million to make a film (“Iron Lung”) and generated $20 million without relying on traditional distribution models.
What advice follows from that?
Stay independent as long as possible. The longer you can build leverage on your own, the stronger your position will be when you eventually enter the larger ecosystem.
You’re nearly finished with your first book. Tell me about it?
It’s titled Black Capital: Sovereignty Is the Solution. The central idea is simple: culture births content, but content dies without capital. Too often, the people who control the capital do not come from the communities generating the culture in the first place.
The book is built in three parts. First, I lay out foundational business and finance principles—how money works, how capital has historically been used both for enrichment and destabilization, and how financial systems shape opportunity. Second, I break down how the industry actually works across streaming, film, television, and social platforms. Third, I focus on how creators, especially those without traditional access, can build and generate capital independently.
What do you want readers to take from it?
I want them to leave with a more mature, historically grounded understanding of money and business in Hollywood—not just the creative side, but the structures that determine who gets to participate and who benefits.
How do creators of color experience this landscape differently?
They sometimes face additional structural barriers. The issue isn’t always individual bad actors; it’s often embedded in the infrastructure itself. A good example is how platforms can encode bias at the algorithmic level. If a system suppresses terms associated with Black identity while allowing harmful language to circulate, that tells you something about who built the system, whose values are reflected in it, and who gets protected. [TikTok, for instance, has faced criticism over moderation and recommendation systems that creators argued disproportionately restricted content associated with Black identity and social justice discourse, while other forms of controversial or harmful content circulated more freely.]
What should young filmmakers and writers keep in mind when entering the business?
Don’t rush into deals. Take time to vet who you’re dealing with. A lot of people are so eager to get in the door that they sign away leverage too early.
What should they understand about representation?
Agents and managers generally won’t invest significant energy unless they see immediate revenue potential. That’s simply the business reality.
What protection should creators prioritize early?
An entertainment lawyer. That should be a default layer of protection, not an afterthought.
If a creator can only do one thing today to improve their position, what would it be?
Learn the business. Most creators spend years mastering their craft, but very little time understanding ownership, contracts, financing, and leverage. The more you understand those areas, the more options you’ll have when opportunities come your way.
If readers are looking for legal guidance, where might they turn?
A good place to start is with entertainment law communities through local bar associations and industry events in cities like Los Angeles, New York, Chicago, and Miami. Go to events. Meet lawyers in person. That kind of relationship-building matters.
Those interested in learning more about Hamilton Ateliers, Hamilton’s firm, can visit hateliers.com—a URL whose irony, Hamilton noted with a laugh, was entirely unintentional.
- The Legend of Us: Expanding the Chosen One (June 17, 2026)
According to Albert Einstein, “Nothing happens until something moves. When something vibrates, the electrons of the entire universe resonate with it. Everything is connected.” A solitary person is not a thing, even if they’ve been chosen by power or by prophecy. A protest, a coalition, a revolution; these things are called movements for a reason.
Friends, I came here today to talk to you about the inherent shortcomings of the “Chosen One” mythos. Not that I don’t love a good legendary hero, but many of them succeed because of the party surrounding them, and when the light hits them from a certain angle, the flaws start to show.
We’re led to believe the chosen one is a farm boy, or a servant, or a high school girl. An ordinary person. That’s ostensibly true, but most often they are chosen due to their bloodlines or inherited power. What does that sound like to you? For me, it’s analogous to a monarchy or the scion system. Systems of power that have little to do with merit or worthiness but everything to do with some sort of lineage.
I’m not saying our fantastical heroes aren’t heroes; I’m saying that when their stories are contextualized for the real world, they could be seen as manipulations that keep the existing power structures in place. From prophesied saviors to cautionary tales, our understanding of what it means to be a hero often comes from tall tales, legends, and fantastical TV & film. What if, over time, what started with good intentions eventually became a form of manipulation?
Both Frank Herbert and The Wachowski Sisters understand this well. In “Dune,” Herbert initially builds Paul Atreides up as a teenage chosen one—a religious figure who will save the universe. Yet, Herbert had something else in mind. He wanted to break the allure of corrupt charismatic leaders by breaking the trope. The Bene Gesserit nuns fabricate a prophecy as a tool of control. In doing so, they create a messianic figure so assured of his destined right to rule that he inevitably succumbs to megalomania. When the phrase “absolute power corrupts absolutely” was coined, friends, it could have been a forewarning about Paul Muad’Dib the Kwisatz Haderach.
Likewise, at the opposite end of the trope, we have The One, Neo of “The Matrix” franchise. Even his name implies he is the chosen one spoken of with reverence in the hidden city of Zion. Yet, like Herbert, the Wachowskis had something else in mind. The legend of “the one” is a lie, literally a manipulation to keep the wheels of power turning. The Architect of the Machines uses the legend to give the freed people hope. Then he destroys the dream by destroying the most recent rebooted “one.” Restarting the cycle yet again. Breaking the myth—becoming one of many who fight as one—is the only way to defeat the Machines.
There is also “Buffy the Vampire Slayer,” a chosen one who faces ever-expanding evil and escalating wins and failures until she realizes the battle persists because it’s been fought alone by her predecessors. Rather than a lone Slayer, called one at a time to fight and die, Buffy awakens all the Slayers who might be called. That plurality from sharing The First’s power is what saves the day.
“Power tends to corrupt and absolute power corrupts absolutely. Great men are almost always bad men, even when they exercise influence and not authority; still more when you superadd the tendency of the certainty of corruption by authority.”
–Lord Acton, in his 1887 letter to Bishop Creighton
So why do I say that our beloved “Chosen Ones” might be tools of maintaining corrupt power structures—not in the heroes’ worlds but in ours? We could talk about franchises like “Star Wars,” and how the original narrative requires one chosen one after another, typically named Skywalker. Meanwhile, in between Skywalkers, the galaxy falls into fascist ruin. Repeatedly. It’s like the populations of these worlds were saying: I guess we’ll just stand around and suffer until another guy pulls another sword out of another hunk of rock and/or cave. It’s not until “Rogue One,” “Andor,” and even “The Mandalorian” that we see that fighting the rule of the Empire requires more than one bloodline.
However, none of those properties inspired my initial interrogation of how the “Chosen One” trope, as RogerEbert.com Contributing Editor Nell Minow said in response to this very thesis, “erases the possibility of individual agency, choice, and responsibility.”
What woke me to that fact was the BBC series “Merlin” (2008). While Arthur is known to be a hero bound by prophecy, this show focused on Merlin as the true chosen one behind the throne. He’s a hero, for the most part. The problem is: Merlin believes being good means swooping in to save evildoers, like Morgana, from destroying themselves. He saves the villains repeatedly. Each time he does, they return to wreak more destruction. After rewatching the series during the pandemic, I began to question whether Merlin is actually good or just nice. As so many of us are taught, he’s convinced morality is rooted in quietly surviving evil. Merlin moves to defend but never to defeat. He takes pride in putting himself and his friends at risk so the villains can live to fight another day. What kind of hero is that? His passive goodness and purity politics made him an accessory to the evil he claimed to fight. And most of his friends die because of it.
Who benefits from allowing wickedness to run amok? So often in the heroic entertainment we consume, villains reign for centuries because everyday people stand by and wait. Too many stories tell us evil is insurmountable, that passivity is virtue, and we must wait for somebody—nay, some “one”—to come save us. The idea that we are unfit to fight or revolt unless someone with the right bloodline or inherited power steps in paralyzes us. That’s not what’s happening inside those fictional realms, but when you break it down, that’s how it translates for everyday people here.
One of my favorite recent movies, “Project Hail Mary,” counters this. Ryland Grace isn’t the chosen one; he’s the last one chosen. He doesn’t want to have to save the universe because he’s scared and feels inadequate, but he wants more than survival. He wants the small group of people he cares about to thrive. That’s why he builds an alliance and gets the job done. Grace isn’t the chosen one, but he and Rocky answer the call for the sake of both their galaxies.
In another response to this thesis, Chaz Ebert, our publisher, says, “Exposing the ‘Chosen One’ trope shows we are all more capable of helping and solving problems than we think.”
When we think about the demoralizing mantra of the moment: “No one is coming to save you,” perhaps we might add a parenthetical afterword: “No one is coming to save you (save yourself).” Then, like the recognition that we cannot vote away someone else’s rights without losing our own, we might realize that to save ourselves, we must also save our communities. Our communities must save our nations. Our nations must save our world—and since we’re talking about sci-fi and fantasy, our world must save the universe.
There is no passive good. Evil enforces its will through action. Counteracting it requires resistance—perhaps an equal but opposite force. Despite the ways the trope might be construed, waiting around for a chosen one can leave us with flawed leaders whose prophecies make them as vulnerable to megalomania as to heroics. Or just as likely to run away as to make a stand. Like democracy, goodness is a verb. We may each find our own way to take action, but first, we must choose ourselves in plurality.
- Paramount+’s “The Agency” Expands Its Scope With An Exhilarating Second Season (June 17, 2026)
In recent years, no genre has been more prolific on television than the espionage thriller. In 2026 alone, audiences have been gifted season two of Prime’s “The Night Manager,” Peacock’s “Ponies,” and season three of Netflix’s “The Night Agent.” Each of these differs from the others in pace and tone, showcasing just how expansive this genre can be in the modern age. While there are plenty of spy shows to choose from, there are none currently airing like Paramount+’s “The Agency.”
Based on the French series “Le Bureau des Légendes,” season one followed CIA agent Martian (Michael Fassbender), who risked his legitimacy and life for Samia (Jodie Turner-Smith), an academic and activist with whom he slowly fell in love. Their forbidden relationship led to the slow demise of both their social and professional lives, yet even in the face of danger, the two could not stay apart. Season two picks up right where season one left off, with Samia being taken prisoner. In exchange for her freedom, Martian continues to play his agency and the British intelligence he’s become a double agent for, keeping secrets from everyone around him.
L-R Richard Gere as Bosko, Katherine Waterston as Naomi and Jeffrey Wright as Henry in The Agency, episode 1, season 2, streaming on Paramount+ 2026. Photo Credit: Luke Varley/Paramount+
While the plot meanders for the first couple of episodes, the series slowly drifts away from Martian, instead focusing on how his actions—some of which are approved by his superiors, and some that are hidden from them—impact the people he works with. At the center of this is Daniela ‘Danny’ Ruiz Morata (Saura Lightfoot-Leon) and Owen Taylor (John Magaro), two young but ambitious agents who are desperate to earn their stripes in their respective roles in the CIA. Still dispatched in Iran, Danny continues to get dangerously close to her targets, who this time take the shape of wealthy Iranian heir Hassan Zamani (Keanush Tafreshi). Owen, as in last season, is used to extract information from the sister of this series’ main antagonist, Viking (Clayne Crawford).
Both of these characters are quite green despite what they went through in season one, yet both are desperate to prove their worth not only to their colleagues but also to their country. As the season progresses, they are forced by their superiors to take greater risks, some of which come with deadly consequences. Instead of focusing on the more seasoned Martian, “The Agency” forces us to watch two young—and frankly inexperienced—spies attempt to master what their coworkers have had years to shape. Both Magaro and Lightfoot-Leon are magnetic and perfectly convey the fear and unwavering desperation of characters whose superiors play fast and lose not only with their safety but with their loyalty as well.
By allowing the narrative to stray from Martian, this series slowly chips away at any semblance of clichéd elements. Instead, it carves out a unique place for itself in an overwhelmingly ordinary genre, where set pieces are abandoned in favor of intricate, thrilling character work. From fleeting glances to hushed conversations, everyone here has secrets, some of which could put them in the range of the agency’s firing squad. This season is a true ensemble effort, allowing characters like Blair (Ambreen Razia) and Naomi Ford (Katherine Waterston) to take center stage and, with this move, allowing their respective actors to deliver some of the best performances to grace the camera lenses pointed at them.
L-R John Magaro as Owen and Ambreen Razia as Blair in The Agency, episode 4, season 2, streaming on Paramount+ 2026. Photo Credit: Luke Varley/Paramount+
Similarly to the ice baths Martian takes, this series is its strongest when you allow yourself to sink into its frigid waters. Instead of pleading for the show to turn into something it’s not, once you give yourself away to the dark recesses of its characters’ psyches, you’ll find yourself getting swept up into its murky waves. There’s not much action in this thriller, but what it lacks in fight choreography, it makes up for with its tense interrogations, where characters battle with one another through gazes, without lifting a finger.
Though there are times when “The Agency” feels tedious—like when the audience is forced to deal with dully written villains whose missions feel predictable—once these scenes end and the camera focuses back on our handful of muddled “heroes,” the show finally takes flight again. Things may come to a head slowly in this second endeavor, but once the explosive secrets each of these characters harbors begin to fester, nothing can stop them from igniting.
At times, it feels as if all the threads “The Agency” has pulled together have unspooled to the point of no return. But in a fantastic trilogy of final episodes, every piece of the puzzle comes together and proves that nothing can stop this show from continuing to burn a relentless fire that you can’t look away from.
All episodes were screened for review.
- Another Extensive Behind-the-Scenes Look at 'The Odyssey' Featurette (June 17, 2026)
"I don't have to pretend like I am on a boat. I am ON THE BOAT!" Another amazing look at the incredible on-location sets for this movie! Always makes me go "wow wow wow." Universal debuted a full-on 3 minute making-of featurette for Christopher Nolan's epic adventure The Odyssey, landing in theaters this July. Nolan's take on Homer's iconic ancient Greek poem, The Odyssey is a mythic action thriller shot across the world – the entire film is shot on IMAX film cameras (the first ever) bringing this foundational saga to life grander than ever. The story follows Odysseus in his perilous, long journey home after the Trojan War, encountering Polyphemus, the Sirens, Circe, and eventually with his reunion with his wife, Penelope, on the island Ithaca. Starring Matt Damon as our hero Odysseus. With a massive ensemble cast including Tom Holland as Telemachus, Anne Hathaway as Penelope, Charlize Theron as Circe, Zendaya, Lupita Nyong'o, Robert Pattinson, Jon Bernthal, Benny Safdie, John Leguizamo, Elliot Page, Himesh Patel, Bill Irwin, Samantha Morton, Jesse Garcia, Will Yun Lee, Rafi Gavron, Mia Goth, Cosmo Jarvis, and even Corey Hawkins. This mesmerizing behind-the-scenes look shows us some of the massive sets and locations they filmed at, including how logistically challenging it was to bring film crews & rigging to these places. All proof that Nolan is truly one of the greats. Enjoy the video below & get your tickets now. // Continue Reading ›
- Funky Retro Sci-Fi AI Future Film 'Hot Spot' Trailer with Noomi Rapace (June 17, 2026)
"We can each other." "Cool." Focus Features has revealed the first official trailer for a sci-fi thriller movie called Hot Spot, the latest from Polish filmmaker Agnieszka Smoczyńska, best known for the films The Lure, Fugue, and The Silent Twins. This is a Polish-Greek co-production, but it's shot entirely in English for an international audience - hitting US theaters starting in August coming soon. In the late 21st century, an investigator and a member of a feared religious sect are slammed together by a murder in a refugee camp. "The system is unstable." Hot Spot, a bold new vision of the future, stars Andrzej Konopka and Noomi Rapace, along with Reika Kirishima, George Aurimas Cris, and Filippa Koutoupa. Set in a near future society ruled by sentient A.I., a private eye investigates a murder case only to discover a rebel group capable of undermining the digital overlord. As the detective's identity slowly unravels, his world enters a state of hypnotic meltdown. This looks wild! I dig the retro futuristic vibes and the funkiness of it all. Along with how crazy weird and trippy it gets. What is even going on?! Definitely gotta watch it and find out more. // Continue Reading ›
- Sci-Fi Action Thriller Movie 'Kill Code' Trailer with Keitel, Tyrese, Grillo (June 17, 2026)
"Are we really so different, you and I?" Quiver has revealed the official trailer for an action thriller movie called Kill Code, formerly known as Hard Matter before this final title. Another new action thriller set in the near future dealing with AI and how it might be used in nefarious ways. In a crime plagued future after the Second Civil War, a power-hungry corporation called Alpire Industries has issued deadly AI watches to criminals, forcing them to eliminate each other for freedom, and only one of their own can topple the entire system from within. When cyber-enhanced operative Elera uncovers the truth, she becomes the corp's most wanted fugitive. Hunted by her former mentor, Eion Vass, Elera joins a rogue resistance to destroy Alpire’s mainframe before the AI turns all humanity into targets. Starring Harvey Keitel, Tyrese Gibson, Frank Grillo, Franzi Schissler, Jacob Artist, Peter Stormare, Sescily Leon Connell, and Brett Cullen. This looks very stylish and it has some impressive VFX for an indie sci-fi film. But will the rest of the story be any good? Or just a mess? Hard to tell from this footage – worth a look if you're into sci-fi movies at all. // Continue Reading ›
- Violet McGraw in Fun Vacation Comedy 'Summer's Last Resort' Trailer (June 16, 2026)
"This is the weirdest vacation I've ever been on!" 🏝️ Pack your bags for an awkward summer trip. Tubi has unveiled an official trailer for a streaming comedy movie called Summer's Last Resort, ready for release this July. Yet another fun new Tubi offering, since everyone seems to be enjoying anything they add to this free streaming service. A high-strung teen’s vacation takes a turn when she’s trapped with her free-spirited mom’s try-hard boyfriend, who also happens to be her vice principal. Determined to end the romance, she hatches a secret breakup plan that spirals into a week of sunburns, epic sabotage, and unexpected feelings. Summer's Last Resort is directed by Melanie Scrofano and produced by the team behind Ginny & Georgia. A family comedy, coming-of-age vacation misadventures film. Starring Sophia Bush, Jerry O'Connell, Violet McGraw, Tim Rozon, and Clara Alexandrova. Looks like they shot this at the Atlantis Paradise Bahamas resort in the Caribbean, already a famous place. Seems funny enough to watch when it drops soon. // Continue Reading ›
- Official Trailer for 'Color Book' Film About a Father & Son Connecting (June 16, 2026)
"We gonna keep running, we gonna keep running, and we're not gonna look back." Netflix has revealed the official trailer for an indie film titled Color Book, made by filmmaker David Fortune marking his feature directorial debut after a few shorts. This first premiered at the 2024 Tribeca Film Festival few years ago and is only now getting a full streaming release via Netflix. A newly widowed father's quest to take his son to his first baseball game becomes a daylong journey of strength and resilience in this moving drama. The festivals add: "However, they’re a long way outside of metro Atlanta…what is meant to be a joyful day of father-son bonding turns into a day-long journey of setbacks and unexpected obstacles as they encounter various new people and places, all captured in potent black-and-white cinematography. In his feature debut, filmmaker Fortune crafts an emotionally rich, sensitive portrait of the special bond between a devoted single father and his son." Starring William Catlett and Jeremiah Alexander Daniels as father & son, Lucky and Mason. This has a few great reviews stating that Fortune has "created something truly special, a moving cinematic experience that makes you feel as if you are witnessing greatness unfold right in front of you." Looks terrific. // Continue Reading ›
