YouTuber returns from hiatus with provocative film
By Nicole ZamloutStaff Writer
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By Nicole ZamloutStaff Writer
By Nicole Zamlout Arts & Entertainment Editor Music sprang proudly through Mayo Concert Hall at the College’s Strings Recital which featured the College’s Guitar Ensemble on Thursday, April 18 at 8 p.m. The TCNJ Strings began the performance and were followed later by the Guitar Ensemble. The concert began with “Quartet for Flute, Violin, Viola and Cello No.3 in C Major” by Wolfgang Amodeus Mozart. The song was upbeat, moving and allowed for a light springtime feel that left the audience thankful for the season’s long-awaited arrival. The next piece, “String Quartet in D Major, Op.50” by Joseph Haydn, was moving, bright and had an intensity that was accented with quick, cutting notes. This upbeat song was followed by “Sonata No. 1 for Violin Solo in G Major” by Johann Sebastian Bach. The solo was haunting and melancholic and gave the audience chills. Lorena Limato, a senior music education major, performed the Bach solo, which has taken her since last semester to master due to its unusual composition. “It’s a staple in violin repertoire,” Limato said. “It’s really hard and was written almost like it was written for a piano. So I took it in chunks and I tried to master each chunk at a time and once I got a quarter of the way through, then halfway through, I tried to tie everything back together until I could play the whole piece top to bottom.” Other performers had a similar preparation schedule. They met with a faculty member once a week and dedicated hours of additional practice to their craft. The College’s Guitar Ensemble also took the stage to perform. The ensemble performed two songs, “The Night Watch” by Anthony Holborne and a traditional Cuban piece titled, “Danza Cubana.” “The Night Watch” had a soothing tune with a joyous melody that swept over the audience. The piece was somewhat reminiscent of a campfire song — it was relaxing and energetic all at once. “Danza Cubana” was a beautiful piece that the audience couldn’t help but tap their feet to as it washed over the concert hall. The final piece of the show, “Piano Trio No.2 in E-Flat Major” by Franz Schubert, left audiences spellbound as it switched from dark and enticing to a more flowy and light tune. The concert ended with roaring applause and musicians were greeted by proud family and friends. “I think it went well,” Limato said. “It was really great to be able to have a time to watch everyone else perform and support each other.” Many audience members echoed Limato’s sentiments. “I thought it was really nice,” said Maddie Kaba, a senior music education major. “I’m glad they get to share all of the work that they’ve been doing in the small ensembles. It’s really the only time we get to see it, so it’s awesome to hear.”
By Nicole Zamlout Arts & Entertainment Editor Music junkies raided Brower Student Center Room 225 and rocked out to a night of live music on March 5 at 8 p.m. Cub Alt’s lineup featured three bands — Teenage Halloween, Lunar Vacation and Charly Bliss. Each contributed a distinct sound, image and tone for the audience to enjoy. The headliner, Charly Bliss, featured music with a strange but wonderful contrast — the lead singer, Eva Hendricks’, soft voice and gentle lyrics were paired with hard rock instrumentals. Hendricks was also very expressive and energetic during the performance while she danced and rocked along with the audience. The band shared anecdotes in between songs, such as how Hendricks and her brother, drummer Sam Hendricks, both have history in New Jersey — their parents owned a video store in Nutley before moving to New York. One of the openers, Teenage Halloween, a group based in Asbury Park, resonated with both music lovers and social activists. Their songs touched on themes such as gender identity, police brutality and LGBTQ+ rights. Because the band is local, some students had a personal connection to the members, which added to the excitement of the night. “Two of the members in Teenage Halloween went to my high school,” said Julie Hyun, a sophomore elementary education and psychology dual major. “I’m really excited to see them because I’ve never seen them live. I’ve only heard about them and their music.” Teenage Halloween’s songs mimicked old rock ‘n’ roll hits, which left the audience dancing and headbanging along to every beat. The band also featured a saxophone player, which set Teenage Halloween apart from other typical rock groups. The other opener was Lunar Vacation, a band with a slightly different tone — its music was dreamlike and soothing but with an undercurrent of rock. The band is based in Atlanta, Georgia, and this was its first performance in New Jersey. The group was quick to thank CUB for its accommodations, which included food and a private room for performers to relax in before showtime. “It was our first time being in New Jersey and we haven’t really ever played colleges before besides our hometown colleges sometimes,” said lead singer Grace Repasky. “This was really cool and everyone has been really nice.” Even students who are not typically fond of this of alternative rock music spoke positively about the night. “ I thought it was pretty cool,” said Jessica Shek, a sophomore English and secondary education dual major. “I’m normally not into super hard core stuff but I grew to like the opening band.”
By Nicole Zamlout and Jane Bowden Arts & Entertainment Editor and Features Editor With over 150 clubs and organizations, there are many opportunities for students at the College to become involved on campus and within their community. The College’s chapter of the National Association for the Advancement of Colored People, an organization many do not even know exists, provides a community for many students of color on campus. The NAACP was nationally founded on Feb. 12, 1909 as a reaction to the Springfield Race Riot of 1908, a two-day attack on the black community of Springfield, Illinois, according to Encyclopedia Britannica. After the riots, a group of white liberals, including Mary White Ovington, Oswald Garrison Villard, William English Walling and Henry Moscowitz created the NAACP. Soon after, several African-Americans, such as W. E. B. Du Bois, Ida B. Wells-Barnett and Mary Church Terrell, joined the organization. “Echoing the focus of Du Bois’s Niagara Movement for civil rights, which began in 1905, the NAACP’s aimed to secure for all people the rights guaranteed in the 14th and 15th Amendments to the United States Constitution, which promised an end to slavery, the equal protection of the law and universal adult male suffrage, respectively,” according to the NAACP’s official website. Determined to promote civil rights across the nation, the NAACP founded The Crisis magazine in 1910 to discuss civil rights, as well as share the artwork and writing from people of color like Langston Hughes, a famous African American poet and activist from the mid-1900s. Since then, chapters of the NAACP have spread throughout the country, and the College is no exception. Led by an all black female executive board, the College’s NAACP advocates for minorities across campus by hosting black appreciation events and promoting student political engagement on campus. Last semester, members of the organization helped students register to vote for the midterm elections and educated them on their voting rights, such as the right to have a lawyer on standby at an election to prevent voting suppression. The organization also impacts the Greater Trenton community by providing academic mentorship and celebrating black student excellence through its Afro-Academic, Cultural, Technological and Scientific Olympics program, which encourages students in Trenton to explore different academic careers. However, after last semester’s racial incidents that occurred on campus, the group’s mission has become difficult. “We were all shocked, appalled and extremely frustrated,” said Mckenna Samson, a sophomore African American studies and English double major and NAACP secretary. “One of our members, one that has been such a major part in the major internal improvements we’ve made this year, was directly affected by the first incident that occurred outside of Wolfe Hall. We wanted to best support him and his fraternity brothers throughout the entire process in any way possible.” To combat the increase in racial tension, the NAACP worked alongside College President Kathryn Foster in December to include amendments in the College’s student conduct policy that details the consequence for a hate crime. “The NAACP is a historical civil rights organization, so we had to step up and work alongside those that were racially intimidated,” Samson said. “(We wanted) to let the student body know that we were going to represent the marginalized communities.” For Black History Month, the College’s NAACP partnered with the Association of Students for Africa for a screening of Ava DuVernay’s 2014 film, “Selma,” a historical drama that follows Martin Luther King, Jr. in his fight for civil rights in the 1960s. The organization also hosted a month-long contest through its Instagram stories that encouraged followers to research lesser-known black activists in history. On Saturday, Feb. 23, Nia Pierce, a junior music education major and president of the College’s chapter, was honored with an NAACP Image Award by Trenton’s chapter of the organization, an award that is bestowed to people of color in film, television music and literature, according to CNN. The organization strives to garner rights for those who may feel unsafe, and considering its long and proud history, the NAACP will continue to do so no matter how difficult the circumstance. The organization hopes to continue to spread more awareness of its existence on campus. “A lot of times, crisis drives people to want to help but in day-to-day life,” Samson said. “It can be difficult to engage people that otherwise would not have an interest in what we do on campus.”
By Nicole Zamlout Arts & Entertainment Editor As recruitment continues onward in all its glorious chaos, the question I am told to keep in mind is simply this –– why did I join Greek life in the first place? The answer seems obvious and is filled with quips that have been said a thousand times –– to make new friends, to become a part of something bigger or to help the community. But for me, none of these answers ring particularly true. When I began the journey of recruitment, it was mostly out of my “try everything” mentality. I wanted to experience everything college had to offer me, including seeing what Greek life was like. If I liked a sorority, great –– if not, well then I had the satisfaction of knowing I tried. Recruitment was tiring and slightly fear-inducing. Some conversations went well, while others did not. Specifically, I saw some people’s eyes glaze over as I went on and on about some topic or another. Not their fault of course, they had been at this all day, but it still took a bit of pep out of my step. I learned the sororities’ names, philanthropies and chants, which was cool, but it was just par for the course. I had no set goal, but I just had to keep swimming. My recruitment journey took me straight to Tri Sigma in the end. Out of every sorority I had the pleasure of speaking with, that one became my personal favorite. The girls there seemed to share many of my same interests and many of the sisters had similar personalities to my own –– zany, loud, upbeat and hard-working. Being welcomed into their ranks was amazing and, again, a bit fear-inducing, mostly because I was soon bombarded with a lot of information about the chapter and its practices. Once again, I was swept up by the tide. Thankfully, I wasn’t the only one. My fellow new sisters were equally as overwhelmed, which gave us the chance to bond and build new friendships. Those friends would stick with me through chapter meetings, fun events and some rocky moments. So, when I’m asked what brought me to this point, my answer is not very conventional; however, it’s the truth –– I joined Greek Life because I wanted to try something new. I dipped into the water and let the tide take me where it may. It took me to Tri Sigma, which was an ocean in and of itself. But I found I liked the waters, choppy bits and all. So, if you need a reason to keep going during recruitment or perhaps are nervous about joining a Greek life organization, I suggest that you jump in and see where the tide takes you.
By Nicole Zamlout Arts and Entertainment Editor Nowadays, hatred seems to be a theme in our country. Controversial ideas that we thought were gone after the Civil Rights Movement seem to be emerging again. However, the film “Green Book,” directed by Peter Farrelly, reminds us that hatred can easily be erased with compassion, understanding and friendship. The story follows Frank “Tony Lip” Vallelonga (Viggo Mortensen), an Italian-American man from the Bronx, who, in 1962, is asked by famous African-American pianist Dr. Don Shirley (Mahershala Ali) to be his driver and bodyguard during his music tour in the Deep South. The storytelling was smooth and surprisingly comical. The clash of Tony’s street-smart attitude with Shirley’s more classic and refined mannerisms is hilarious to see and fills scenes with humor where one would expect tension. The banter between the two men in a close-quarters setting allows viewers to see their friendship blossom despite their misunderstandings of each other. The serious moments read just as powerfully. Tony is forced to reevaluate his prejudices about African-Americans during his time with Shirley by deeply understanding the discrimination they face. That growth is parallel to Shirley’s, who from Tony learns how to let his hair down and appreciate the charms of his less-than-eloquent associate. This story would not be as impactful if the protagonists were not completely amazing. Mortensen plays Tony Lip beautifully and is able to portray him as a man simply trying to provide for his family while also being ignorant of lives outside of his own world in the Bronx. However, instead of shunning his ignorance or being angry at Tony, viewers finds themselves hoping he learns from Shirley about the world outside his own. Tony realizes that his views are incorrect, which makes his character more complex as the story unfolds. Shirley is played equally as wonderfully by Ali. His eloquence and refined mannerisms make him endearing and almost otherworldly when compared with Tony. His integrity and patience are inspiring, since his time in the South is less than pleasant on several occasions. However, we only learn a few details about him, which makes him both interesting and elusive. In any other film that would be frustrating, but since the film seems to follow Tony more closely, it is safe to assume Farrelly wanted the audience to see that while the two become close, Tony does not learn everything about Shirley on that fateful trip. The two complement each other well and teach each other valuable lessons on life, people and family. The cinematography was expertly done and the camera never misses a moment to showcase an emotion or capture the growth of each character. The score, which contained much of Shirley’s pieces played impressively by Ali, was rich and powerful and showed the emotion of a scene without ever being over the top. The film has received a lot of praise since its premier, and for good reason — it reminds us that with compassion, understanding and kindness, we can see how hatred prevents us from realizing that we are all people who need companionship and deserve to be happy. “Green Book” is a heart-warming, hilarious and fun trip toward discovery. Buckle up and enjoy the ride.
By Nicole Zamlout Arts & Entertainment Editor Choose-your-own-adventure stories are a treasured part of many childhoods across the globe. Winding paths that lead anywere, depending on readers’ choices, can now entice and amaze viewers of all ages. This nostalgic idea, combined with the ever-growing technology of the entertainment industry, gave way to “Black Mirror: Bandersnatch,” released on Dec. 28 and the first interactive Netflix film for adults. The science-fiction film, written by the series creator, Charlie Brooker and directed by David Slade, is a standalone amongst the Black Mirror Netflix series. Viewers find themselves responsible for the decisions of the film’s protagonist living in 1984, a young computer programmer named Stefan who is bent on trying to adapt “Bandersnatch,” a choose-your-own-adventure fantasy novel, into a video game. The stressors of creating the video game and the reason for doing so, which is burdened with its own checkered history, strings Stefan along a spiral of madness that leads him in several directions, all depending on the viewers’ choices. The idea that the viewer has the power to direct where the story will go is enough to intrigue viewers, even if they don’t care for the genre or the overall plot. It’s all about the nuances that are now in the viewers’ hands.The film can be either short and sweet or drawn out and explorative, and it’s all dependent on what the viewer wishes to see. The interactive aspect was integrated into the narrative flawlessly, since Stefan’s video game also involves a story with multiple endings. Not only is this a prime example of life imitating art, but the concept didn’t take anything from the story or distract from the main character’s dilemma. Stefan’s own indecision was clearly reflected in his creations and the viewer’s own as the next button was clicked. During my viewing of the film, that idea made it all the more intriguing and helped build the tension of the plot as the story progressed. It made each new twist more impactful since I was the one that decided that was where the story was going, giving me a heightened sense of responsibility when events went badly. What the viewer experiences in “Bandersnatch” is a collision of both real-time and fictional worlds. This new world is captivating, odd and uncomfortable at times, but it is a world where nothing stays fixed and everything must be questioned. “Bandersnatch” could have easily mistepped by using the interactive aspect as a crutch leaving everything else bare, but they did just the opposite. Fionn Whitehead’s performance as Stefan was perfect, with every choice showcasing a new side of his character that is both authentic and realistic for viewers. Each choice brought out something new and Whitehead did not miss a beat while showing just how far Stefan’s mind could stretch before it snapped. Colin Ritman (Will Poulter), who worked at the video game company Tuckersoft, was a perfect mix of enigmatic and elusive. The viewer is always left wondering how he knows what he does, and what else he may be holding back. Ritman’s characterization is hypnotizing to watch as each answer leads to more questions. The rest of the cast seemed to follow in this pattern, each one as authentic as the next, making this winding story as realistic as it was mysterious. Along with the acting, the cinematography is executed just as expertly as any standard film. Close-ups and wide angles prowpelled the mystery in each scene, reminding us of the restriction and uselessness of time. The music was also a vehicle that demonstrated how easily everything could change. It gave the audience a glimpse of popular 80s music, but also drew in the tension as tight as a bow string, keeping the viewers on their toes. The lighting kept the story trapped in a nexus of strangeness while also striving to make it seem normal. In short, the story did not just rely on a gimmicky new trick to get attention. Instead, it paid careful attention to detail, which is a task that would drive anyone mad with this kind of story. The film’s “meta” quality leaves audiences wondering about the concept of free will and its effect on peoples’ choices. If Stefan had been in control of his situation, would the film have played out differently? Is there a being in our lives choosing different paths for us, while we believe we are in control of our own decisions? This film, in a sense, leaves viewers with more questions –– the answers to which might be better suited for a philosophical discussion. “Bandersnatch” opens new doors for entertainment while also using familiar techniques to tell a haunting story that asks us all to consider what is real, and what may just be part of a bigger game.
By Nicole Zamlout Reviews Editor A soft, shifting melody, light and spritely waves through the air, followed by bombastic booms that punch through the auditorium. Beethoven’s Symphony No.7, while it was written years ago, still amazes and shocks audiences today — specifically, an audience at Mayo Concert Hall on Nov. 14 as it was played in all its glory by the TCNJ Orchestra. The concert was conducted by violinist and adjunct professor Uli Speth, making this his second time leading the group. Before the concert began, Speth praised the members of the orchestra for their hard work and dedication. The concert’s opening then shifted to a somber note when the conductor honored Jason Zujkowski, a junior music education major who recently died. “We want to dedicate this concert in his memory,” Speth said. Speth then asked for a moment of silence from the audience, which was respected. After the moment passed, the concert began to the excitement of the students in the orchestra. The orchestra started the concert with “Pelléas et Mélisande, Suite for Orchestra op.80” by Gabriel Faure, a successor of Beethoven. The piece began lively and almost spring-like, a welcome diversion from the bitter cold weather of these last few weeks. Its rhythm and tone was quite similar to Antonio Vivaldi’s “La Stravaganza” or Rimsky-Korsakov’s “Flight of the Bumblebee.” The tone shifted by the end of the piece, though, and the mood became quite melancholic and somber. After a brief intermission, the musicians went on to present the Beethoven classic, Symphony No. 7. The piece flowed more effortlessly than the Faure piece did, making it suspended in time. The piece did not seem to be telling a clear story as Faure’s did — instead the piece’s random and bombastic notes became a celebration of music and the joy it could bring, counterbalancing the somber note permeating the room. The concert concluded with applause and pride for the students. Many complimented the orchestra for its efforts. “I really like Beethoven’s seventh symphony and I thought they did an excellent job,” said Katie Cole, a sophomore elementary education major.
By Nicole Zamlout Reviews Editor Armed with colorful posters and an array of chants and demands, students gathered to protest against the Senate hearings regarding allegations of sexual assault against then-Supreme Court Judge nominee Brett Kavanaugh, who has since been confirmed, on Oct. 3 in Alumni Grove. Three women have accused Kavanaugh of sexual assault. The most prominent accuser is Christine Blasey Ford, a professor at Palo Alto University in California. Deborah Ramirez and Julie Swetnick have also come forward. Ramirez is a volunteer coordinator at Boulder County Housing and Human Services in Colorado, according to CNN. Swetnick is a web developer who previously worked in the Internal Revenue Service and Customs and Border Protection in Washington D.C., according to the Chicago Tribune. Sarah Cortes, a freshman political science major, led the independent protest after advertising the event around campus a week in advance. She stated that Kavanaugh’s nomination and the allegations surrounding him could negatively impact women’s rights in the U.S. The protest began at Alumni Grove, where Cortes spoke to the collection of approximately 20 students about the purpose of the event. “We are running out of time,” Cortes said. “We must use our voices now and tell the Senate committee that enough is enough with questionable government officials.” Freshman secondary education and history dual major Lucy Fleischmann followed up by reading an original work of poetry titled, “Never Again.” The poem drew upon past events similar to Kavanaugh’s case, including Anita Hill’s accusations against the Supreme Court nomination of Clarence Thomas in 1991. “‘He still got on the bench of the Supreme Court,’” she said read from her poem. “‘Never again!’” Students then walked to Trenton Hall and looped around Green Hall while shouting several slogans, including “Notice the SCOTUS,” “I stand with Christine Ford,” and “You better bet Brett, we ain’t done yet!” Despite minimal reaction from the community, students felt they accomplished progress with this demonstration and had their voices heard. Fleischmann joined the student protest because she believed Kavanaugh’s nomination would have the power to overturn landmark decisions such as Roe v. Wade. “If he gets in now and lives for another 60 to 70 years, he could repeal Roe v. Wade, which is the most important thing for women’s rights,” Fleischmann said. Cassandra Fernandez, a freshman nursing major, said that sexual assault survivors should be taken more seriously and that politicians should be held more accountable for their actions. “For a man like this to be elected at such a high podium, that’s not OK. Survivors should be heard,” Fernandez said.
By Nicole Zamlout Reviews Editor Films that offer a political commentary usually succeed, but only at the expense of their plot. The story itself becomes nothing more than window dressing, a set of examples on how to approach whatever topic is being discussed and the points of whatever opinion the director is trying to convey. But in “Assassination Nation,” the story seems to adapt to this confinement, which makes the message more engaging and less like a political lecture. The film is basically a modernization of the Salem witch trials. The plot follows Lily (Odessa Young) and her three friends, seniors in high school who live in Salem, Massachusetts. The town slowly succumbs to madness and violence after a hacker unearths many of its citizens’ digital files, including texts, photos and private accounts. While the premise seems a bit far-fetched, it actually works well since the point of the film is its political message, not the fictional plot itself. The story, while engaging, focuses more on issues such as, feminism, sexuality and privacy rights in the midst of cyber security controversy. Lily’s narration does more to convey the points being made in the film than to move the story along. While in some films this would take away from the story and distort the quality of the commentary, the story is so outlandish that the political commentary helps keep viewers on track. The film has some complex ideas to convey, and the acting is executed to aid in that goal. Young plays her character with a seamless combination of grace and fierceness. She boldly breaks the cinematic fourth wall to ask the audience startling questions about sexuality and femininity, all while making her a character someone we can sympathize with. The balance between commentator and character in these films is often hard to achieve, so her performance is one that many should note. The other cast members also help make the premise more realistic. Colman Domingo, who plays Principal Turrell, accurately depicts to viewers how necessary it is to act poised even in times of crisis –– after the hackers reveal pictures he had of children on his phone, people start accusing him of pedophilia, even though he has never committed any wrongful act. The cinematography is extremely well executed. Many of the shots of the film are saturated with color, aiding in the surreal, dreamlike vibe of the film. The score gives ferocious energy to the film and add a sense of danger to each scene. The technical elements added the last splashes of flavor that make the film something worth watching, even if you don’t agree with every idea it expresses. The film dares to comment on controversial topics with a story with an outlandish plot and complex characters that refuse to be ignored. A film like this defies conventional ideas, which makes it a killer flick.
By Nicole Zamlout Reviews Editor People have been experiencing broken hearts ever since the concept of love was born – it hurts, it makes you cry and it sucks the energy out of you, but you can heal. Many have lent their expertise on how to heal from heartbreak, and here are some tips that have helped me in the past. Talking about what happened with your friends can help you alleviate the strain of a heavy heart. Friends can perk you up with jokes and heartfelt chats that also help distract you from your ruminating. Let them treat you to something fun, like dinner, a night out or anything that gets you out of the house. Speaking of treating yourself, get all the ice cream and sweet treats of your choice. Chow down, then repeat. That’s it. You deserve something to sweeten the pain. It will give you something to pick you up during the first hard days, and even after they have passed, a good snack can give you something to look forward to on days where you’re almost too emotional to function. Comfort food is just as satisfying as comfort TV –– watch some of your favorite shows or movies. Whether it’s the second or 50th time you’re snuggling up to watch, it never fails to whisk you away to a world of characters with their own stories and drama. A good romantic comedy will always have you laughing at the crazy predicaments in which the characters find themselves. Once you’re past distractions, it’s time to get your life together. Focusing your energy on productive tasks will help you not only take your mind off of things, but it will also help you boost your self esteem. These tips have worked for me, and I hope they work for you. Just remember that while it may hurt now, it will get better. You’ll wake up one day with a new perspective, surrounded by people who love you. You will survive this. Good luck.
By Nicole Zamlout Reviews Editor Waiting at a red light is an annoying part of driving many have participated in with no alternative. Some choose to yell and vent at the glaring light to pass the time. Some distract themselves with their phone, the radio or their thoughts. In the Vimeo short film “Red Light,” the brash and lively protagonist Ruth chooses to spend this time spinning a tale of identity, freedom and love lost. With no one but herself to appreciate her work, she uses the car and her own voice to act out the tragedy of a good life gained, only to be lost by her own hubris. As she spins her fictitious tale of woe, the scene stays awash in the red glare of the traffic light, reminding the viewer of where we are — with a bored woman trying to pass time. A film like this, which is essentially a one woman show, is difficult to make. Any actress would feel they need to overcompensate their acting for the lack of dialogue. However, that is not the case with Jen Tullock’s performance as Ruth. She is able to create a complex story with compelling characters using no more than a few voice inflections and a couple of shifts of her car seat. Her acting is masterful as she spins out what amounts to a Shakespearean tragedy — the rise of a woman who seems to have it all, who loses it when she forgets how good her life is; spiraling down into depression, she only reconciles with her husband at the very end as she dies of cancer. Casting a random passerby as a lost love, her performance shows so much nuance you forget you are sitting in a car with a relatively young woman waiting at a light. Entertaining, witty and creative, Tullock makes the whole scenario work. While Tullock’s performance whisks us away on this journey of identity, the stubborn consistency of the red stop light both lulls viewers into the narrative and jolts viewers out of it. In certain parts, it aids Ruth’s telling, such as when she is “traveling around the country.” Other times, such as on the beach with her fictional fiancee Terry, it creates a sharp enough juxtaposition to shatter the illusion. The use of lighting is odd and thrilling all at once, making the viewer straddle the line between immersion and tonal dissonance. The score, while much subtler than the lighting of the film, aids the tale just as beautifully. It cradles the narrative in soothing tones throughout, picking up in times of joy and slowing in times of sadness. It never felt out of place and made the story all the more heartbreaking. It helps sell the tale Ruth is spinning as the light burns on. The film takes such a simple, mundane past time and tells a story Shakespeare would kill for. It asks the viewer about what we want out of life, and shows us the amusing and potent power of our own imagination.
By: Nicole Zamlout Reviews Editor A living nightmare cliché, many anticipated the shark film, “The Meg,” to be no different from any other. A shark, whose full name is the Megalodon, tears his way through human victims as a couple of baffled scientists stumble to save the day. However, “The Meg” left viewers stunned by the end. The movie’s plot is predictable –– a prehistoric shark escapes its icy prison beneath the ocean floor and terrorizes people as scientists at a nearby lab try to keep everything under control. The film did use some of the clichés we knew, but it also dared to be a bit original. The monster was revealed with built anticipation, a dark shadow that slowly became the menacing creature known as the Megalodon. Its mass and hunger were never over-exaggerated because it was so terrifying on its own. It was a monster that didn’t need much motive –– it wanted to kill you because it was hungry. The Megalodon would feast, with no remorse or finesse –– simple, done and utterly terrifying. None of the scientists on the team seemed unbelievably smart, or too brave or too serious. They were human, plain and simple. Jason Statham, who played protagonist Jonas Taylor, was a standout among the crowd. Jonas cracked jokes in the face of danger, all while being a focused fighter. His feats weren’t overreaching, but still left you amazed. He was a hero who was allowed to fail or ask for help, which made him a protagonist worth rooting for. His supporting cast, Li Bingbing and Cliff Curtis especially, backed him up beautifully and picked up the slack, proving that it takes a village to slay a monster. The pacing and cinematography of the film were extremely well done. The wide shots showed the magnitude of The Megalodon and helped build the audience’s anticipation of what the shark actually looks like. The cuts and transitions were done smoothly and really helped set each scene. The soundtrack also helped create tension and a sense of wonder. “The Meg” dared to break the mold, as it told a story that we thought we already knew. It made audiences genuinely scared of what is hidden in sea for the first time since “Jaws.” It also created great scenes of humor and heart along the way, which other shark films seemed to have forgotten how to do. The film told a full story, and didn’t just depict a gore fest filled with plastic characters and sharp teeth. “The Meg” swam into the realm of horror and took a big bite out of our expectations — and it’ll be going back for seconds.
By: Nicole Zamlout Reviews Editor Their music makes you want to get up and shout, and their lyrics are unforgettable. Brendon Urie is a powerhouse of a singer and can hit notes that other tenors envy. So, when Panic! At the Disco’s new album dropped on June 22, many fans were extremely excited to see the revival of such a beloved band. Not only was the album full of catchy hits such as “High Hopes” and “Roaring 20s,” it was also filled with tender tracks like “Dying in LA,” which was similar to a song Urie’s mother used to sing to him as a child. The varying tone helps the album transition well between tracks. The juxtaposition between the quiet songs, upbeat songs and others in between work well with this band’s sound and reputation. What makes the album truly special is that, no matter what mood you’re in, the album has a song you can crank up and sing aloud to. Songs such as “High Hopes,” “Dancing’s Not a Crime” and “Say Amen (Saturday Night)” help make a bad day better. Other songs like “Dying in LA,” “King of the Clouds” and “The Overpass” are songs that make you think or that pair well with a long relaxing car ride. Lastly, songs like “Hey Look Ma I Made It”, “(F*** A) Silver Lining” and “One of the Drunks” are just what you need when you are in a mood for a song that makes you laugh. This album is doing what many others struggle to do –– have a song that the fans can relate to without becoming a collection of cacophonic songs that never build into a cohesive unit. Even though this band is the epitome of unpredictability, it lets listeners have a song for every mood they’ve ever felt. Underneath its lighthearted tone, the album’s message is a deep one. Urie showers his listeners with confidence and talks about the subjectivity behind people’s perception of success. He assures us that we can trust ourselves more and follow our own vision. He manages to convey that with music that moves you and extraordinary vocals. Fans have been waiting for a while for an album like this, and Brendon Urie has answered our prayers in incredible and usual fashion –– with mind boggling high notes, flair and passion.
By Nicole Zamlout Staff Writer President Donald Trump is a controversial figure — his name invokes a range of powerful emotions in different people, from anger to joy. What is not as well known is how exactly Trump came to be the man we know today. In the U.K.-produced Netflix documentary series “Trump: An American Dream,” five decades of Trump’s life are showcased for the viewer. The series highlights his personal story, from his first deal on The Commodore Hotel to his inauguration as U.S. president. His tale is one of great success followed swiftly by downfall after downfall. The fact that the story is told from perspectives of both his friends and his enemies helps round out the storytelling and keeps the reporting relatively unbiased. The documentary mixes modern interviews with footage from various past events. These bits of footage let us see how the public viewed Trump in the past while the modern interviews showcase how public perception of him has changed in the present day. This side-by-side look lets the audience not only see what Trump was feeling, but how he was able to either fix or conceal the less-than-ideal situations he found himself in at various times. It also lets us see how Trump’s relationships with those around him changed over time. Throughout the entire show, the cinematography remained smooth and polished. Each transition was seamless, whether it went from another aged interview or a modern look with those who chose to chat with the director. At times, all it took was one perfectly executed shot to convey all that needed to be said to the audience. The story never felt choppy or rushed — each instant in his life received equal attention, no matter how flattering or ugly it was. The colorful use of cinematography kept the audience engaged, drawing us further into the ride that is Trump’s life thus far. The musical score assisted that suspension. The musical cues heightened each moment — raising the tension or forcing audience members to consider the situation presented — all the while keeping the audience’s ears and eyes on the screen. Each swell of the music made my spine tingle, wondering what exactly would happen next. The score helped make the series more than a documentary — it turned it into technicolor story of a man on the rise to success and his many pitfalls along the way. While Trump is quite the character, many can agree that his story is an interesting one, especially with this retelling. Each burst of color and swell of sound keeps the audience as off balance as Trump’s actions and statements as he works to achieve his goals. Trump’s empire is built on money, bad ideas and good connections. Now, with this masterfully crafted documentary series, the audience truly get to see what is behind the curtain, and it is certainly a lot more complicated than many expected.
By Nicole Zamlout Staff Writer The Netflix original series “Black Mirror” is known for incorporating themes of technology in episodes to demonstrate how damaging it can be for humanity, or how powerful social media can be. It shows how new advancements can lead to individual or global downfall, and those consequences can often be fatal. While the new season retained some of these dark qualities, it also allowed some light to poke through. Even in the bleakest episodes, some positive aspect of humanity was reflected from that infamous mirror: selflessness, courage and love. Many of the themes went hand-in-hand beautifully with this show’s normal order of chaos and terror. Each story was different, whether it highlighted the horrors behind seemingly innocent fantasies, or the fine line between parental protection and overprotection. It showed how good can triumph over evil, how freedom is important for children or how far human kindness can go. These bits of light enrich the season. After all, there is no point in watching if it all predictably ends in tragedy and madness. The acting and pacing of these episodes were superb. All of the cast members, especially Jesse Plemons, Cristin Milioti and Letita Wright put their all into their performances. No twist was predictable and no shift felt odd because the actors sold each new direction with conviction. The pace never felt too rushed or slow. Everything we saw on screen was vital to each episode’s plot. You are never left to wonder what happened to this character or that thing or whether a loose end changes anything. Even the small bits and pieces that are left behind feel more like winks to the audience, as a way of letting our imagination run wild rather than a plot hole. With an all-star cast and clear direction, each little universe was created with precision and imagination. The cinematography and musical score for the new season worked alongside each episode with diligence and vigor. Each scene was laid out with amazing attention to detail. Each shot contained all we needed to know about a character, or all we needed to see to understand where a scene was headed. The cinematography utilized cramped quarters for difficult truths, dark lighting for sinister activities and quick shots that stay in your mind until they are explained. The scenery does what it’s supposed to — it helps tell the story. The score becomes its companion, whether it amplifies car chases, soothes us alongside a set of new lovers or heightens our anxiety as a villain prepares their next move. The score keeps us in the story, trapping us in the mirror, and it makes sure we pay close attention. This season of “Black Mirror” is not only an anthology of cautionary tales, nor is it just an example of well-executed television. It is an example of how human compassion and insanity can stem from the same experience. It is a tapestry of light and darkness. Let’s hope that the bright side of humanity can help bring back some light inside that ever-shifting, ever-darkening black mirror.
By Nicole Zamlout Staff Writer Demi Lovato’s new album “Tell Me You Love Me” is a stunning, beautiful and moving journey, where we get to understand Lovato’s path through love and acceptance. The songs in the album start out as rocking power ballads that make you want to scream their lyrics –– they’re a great pick-me-up on days you’re not feeling your best, with her hit “Sorry Not Sorry” being the most empowering. As the album goes on, the songs become softer, slower and more about love from various perspectives. In both “Concentrate” and “Hitchhiker” Lovato sings about her admiration for a mysterious lover. Other songs are heartbreaking stories of love lost or sensual stories of new romance blooming, such as “Ruin the Friendship” and “Daddy Issues.” Her themes are poetic and relatable –– on your way to finding love, you’re bound to run into roadblocks. Demi Lovato’s new album “Tell Me You Love Me” is a stunning, beautiful and moving journey, where we get to understand Lovato’s path through love and acceptance (envato elements). Every note Lovato hits has meaning and holds such strong emotion you can’t help but be amazed. Her vocal prowess has certainly evolved and improved. The fact that she is willing to put herself out there with her raw singing is quite inspiring. This album is her cry. She’s telling her listeners that she’s been through a lot in her life so far, but she has found heartbreak and love along the way. The music and rhythm behind her stunning vocals help emphasize the messages she talks about as the album goes on. “Sorry Not Sorry” is a hardcore rock song with a twist of techno that sends the message of her power and independence –– she’s a strong, independent woman. “Sexy Dirty Love” still carries a hard rock theme, though with a more sensual touch. The song shows Lovato’s desire for an unknown lover, who remains a mysterious character throughout the album. “Lonely” soon brings back the soft and introspective sound. While the song addresses an unhealthy relationship with an unsatisfying partner, the music moves the story along with an entrancing rhythm. The versatility of her musical style, from her spunky techno beats to her vulnerable ballads, not only shows Lovato’s experimentation as an artist, but it reflects her personal ups and downs as well. Lovato’s journey was full of hardships and heartbreak. The fact that she put it out there at all is quite a feat, and it came out as an incredible album with songs you can scream and relate to. I am happy she continues to be so brave, put herself out there, and show us how important it is to accept that we are all human. We have stories that are messy and blurry, with regrets that speckle the way. We all deserve to be heard.
By Nicole Zamlout Staff Writer “Stranger Things” was a huge hit back when it first dropped on Netflix. The story, focused on the disappearance of Will Byers, a 12-year-old boy, and its relation to a government science experiment gone wrong, was a story that terrified, thrilled and touched viewers. This latest season did an excellent job of building on that foundation. The highly anticipated second season was released on Oct. 27, and it certainly did not disappoint. The storyline has become more complex, with not only a greater, more terrifying monster to face, but with a huge plot twist too — one of the members of the lovable band of misfits becomes an unwilling traitor. This adds incredible tension and helps build on many of the relationships within the group. This season also does a great job not only adding to existing characters arcs, but creating new ones to explore. Maxine, or “Mad Max” as she’s nicknamed in the show, is a dynamic character whose strong personality and fearlessness helps add to the dynamic of the band of boys. It’s a fun twist to watch them struggle with something outside the supernatural — the powerful beast called young love. In Max’s case, that journey comes with some long-needed comfort from her tense home life and support from some new friends. That tension at home comes from her older step brother Billy, who is the teenage antagonist for this season, much like Steve was in the first season. Unlike Steve, though, he does not get to turn a new leaf, but his character seems interesting enough that he will get the chance next season. For now, he was a fantastic foil to Steve and a great antagonist to the kids, in the need to avoid him for fear of his wrath against Max and Lucas. In all, the new characters blend seamlessly into the universe and I cannot wait to see how they develop in future seasons. Though the new characters were nuanced and fantastic to see, the existing characters experienced a lot of growth. Eleven finally gets to heal from her past and realizes the true meaning of home. Nancy and Jonathan finally address the connection between them (it’s about time), and we get to see Nancy’s determination to protect her family and face her demons. We get to see Steve grow more into himself and even get to see him have a stronger connection to the children, especially Dustin, with whom he relates to due to recent events. All the characters became more complex without taking away from the main plot, which is something that unfortunately seems to happen these days in television. You either sacrifice character development for plot, or steer the audience too far from the story as we see one character grow and learn. Here however, no compromises were made, and everyone was much more than halfway happy. The second season of “Stranger Things” was spectacularly done, and I cannot wait to see what else lurks in the Upside Down, waiting anxiously for its chance to fight the heroes of Hawkins.
By Nicole Zamlout Staff Writer Guilt is often depicted as nature’s way of punishment when one does something wrong. It is not swift like human law, it’s slow and cautious. It lulls you into a false sense of security before snapping in the most devastating ways. This is exactly what happens in the new Netflix original “1922.” Based on the novella by Stephen King, this haunting film follows a farmer in 1922 who allows his dark side to come out against his conniving wife, and who must suffer the consequences afterward. The story explores the ways in which guilt functions. It does not simply fester in you, but it infects everything around you. It pollutes you until it rots away, or until something comes sniffing to chew up the corpse. The storytelling in this film was simply phenomenal. Though the premise seems simple, the director made sure the audience questioned if the macabre events of the film really happened, or if they were simply the guilt exacting its purpose. It makes you realize that guilt can do something so elaborate in order to force you to atone. The acting helped drive this point home, with Thomas Jane’s performance as the main character, Wilfred James, outshining the rest. His fear and slow deterioration alongside that of his farm really intensifies the haunting tone. Fear and anticipation was not brought on with cheap jump scares, which are found in many films. In this movie, the horror did not stem from anything waiting around the corner, but from something that has taken roots in your mind, your home and everything you love. The musical score and use of disjointed noises and sound effects helped add to horror. The noise helped keep the audience on edge, making one wonder what fresh hell would come next. Its lack of sound also helped make the scene even more unsettling because the pauses of silence made it appear as if something were about to pop out and begin to feast. Not only did this work as a horror movie, it worked as a terrifying example of the power of the human mind. Throughout the film, James faces his own slow descent into hell. However, he isn’t dragged there by otherworldly demons. He is taken there by the creaks in the house, the feeling of being watched, the horrible turn of luck and of course, the rats. The rats, slowly creeping closer and closer, crawling and chewing on everything in sight. Such simple household pests slowly drove him out of his mind. He would run as far as he could, only for them to swarm and take what was left. This idea of something so simple being the driving force of the horror is a strange idea. But it worked well. All in all, this is definitely a film you should save to your Netflix queue for this Halloween. But I’d advise setting up a few mouse traps first. Never know what sins they may come to chew on.
By Nicole Zamlout Staff Writer Horror has held humanity entrapped since the dawn of time — perhaps because there really are monsters that go bump in the night. Or perhaps it’s because the real monsters are all too human. This is the thought Stephen King may have had when he wrote the story, “Gerald’s Game.” The Netflix adaptation of the same title certainly did, which made it amazing to see how the worst monsters look all too similar to us. The premise seems familiar to King fans: a married couple that struggles with intimacy and communication goes on a romantic getaway for the weekend. It quickly spirals into dangerous territory when the husband, Gerald, dies unexpectedly. This leaves his wife, Jessica, alone and handcuffed to the bed in a remote cabin. The story took a surprising turn as we see into her memories, which unfold the story of a dark secret that led her there. As she fights to survive both her present predicament and the possibly of real monsters haunting her, she also battles her inner demons. In short, it’s a premise that can spin a tale we haven’t seen before. Some important things to note about the film is the fantastic cinematography, the perfect uses of plausibility and impossibility in the narrative (in the form of the elusive “Moonlight Man”) and the incredible acting done by the leads. All are worth merit, and all helped piece the story together into a horrifying story of hope. What truly surprised me in this narrative is the exploration of what Sigmund Freud theorized to be the battle between the life instinct and death drive. In one of his lesser known works “Beyond the Pleasure Principle,” Freud theorized that humans have two drives. The life instinct, Eros, wants us to procreate and interact with our fellow humans. The other is our self-loathing, jealousy, anger and aggression. This one is called the death drive or Thanatos. In the film, Jessica becomes panicked and sees manifestations of herself and Gerald as she tries to figure out a solution to her impromptu imprisonment. The manifestation that appears as herself is her life instinct trying to keep her on track and focused on staying alive. Gerald is her death drive, trying to sidetrack her and crush her hope of survival. This war perfectly personifies this concept without being heavy handed or taking away from the film. The fact that this film dives into concepts like this while also scaring us with the possibility of the supernatural hanging too close is masterful to say the least. The director, Mike Flanagan, certainly knew that he wanted to illustrate the true horror of those kind of uncomfortable situations while staying true to King’s style of seamlessly interweaving the known from the impossible. Above all though, he knew that this was a story of hope. “Gerald’s Game” is a story about the resilience of the human mind and soul, how we can break free from the chains we and others can put ourselves in and one that reminds us how we can look at the sky without fear after the eclipse has passed.