There is no word that can despoil interest in a movie the way that “representation” does.
Whenever the word is used to describe the casting or plot of a movie, you can bet your last dollar that it didn’t get that way organically. Instead of existing at the service of a plot, it exists at the service of a point.
It marginalizes groups that progressive Hollywood types like to call “marginalized” because it assumes that the only reason they’re in the project in the first place is to make that point. And it telegraphs to anyone who isn’t seeing the movie or TV show because they agree with that point that they’re viewing a lecture, not an entertainment.
Such is the case with “Monkey Man,” a
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