The 68th annual Grammy Awards took place Feb. 1 at the Crypto.com Arena in Los Angeles. The ceremony brought historic wins, elaborate performances and emotional tributes to music’s biggest stage. From Lady Gaga’s theatrical production to Bad Bunny’s historic wins, the night delivered a wide range of standout musical moments.

Mississippi College students and writers with Blue & Gold Media shared their reactions to the performances and major awards that defined this year’s ceremony.

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This year’s Grammy Awards ceremony included a star-studded lineup of performers and presenters, with appearances from Bruno Mars, Sabrina Carpenter, Lady Gaga, Justin Bieber and Harry Styles. Trevor Noah hosted the ceremony for his sixth and final time.

Notable performances of the night included Sabrina Carpenter’s upbeat and playful performance of her song, “Manchild,” during which the stage was turned into an airport. Carpenter donned a pilot’s uniform fit for a pop star and descended onto the stage from behind a mock airplane.

Lady Gaga delivered an eccentric yet electrifying performance of her smash hit, “Abracadabra,” during which Gaga donned a large, mysterious, black and red headpiece. Strobe lights, fire, and strange camera angles gave the performance an exciting, eerie feel.

Bruno Mars took to the Grammys stage twice during the ceremony, opening the show alongside K-pop singer Rosé with an upbeat rock performance of their song, “APT.” Mars later returned to the stage and delivered a jazzy, 1970s-style live debut of his new song, “I Just Might.”

Tyler, the Creator, performed his songs, “Thought I Was Dead,” from his album, Chromakopia, and “Sugar on My Tongue,” from his album, Don’t Tap the Glass. His performance included elaborate sets and storytelling, concluding with an exploding gas station from which Tyler escaped before falling to the ground.

Other significant performances of the night included the Best New Artist nominees medley, which consisted of performances by The Mariás, Addison Rae, Katseye, Leon Thomas, Alex Warren, Lola Young, Olivia Dean and SOMBR.

Justin Bieber delivered a simple performance of his song, “Yukon,” and the hip-hop duo Clipse, alongside Pharrell Williams, performed their song “So Far Ahead,” featuring Virginia-based gospel choir Voices of Fire.

To honor former artists who have passed away within the last year, Reba McEntire delivered a touching performance of her song, “Trailblazer,” while Lauryn Hill led a soulful tribute that honored artists Roberta Flack and D’Angelo. Post Malone, Slash, Andrew Watt and Andrew McKagan delivered an exciting, electrifying tribute to rock legend Ozzy Osbourne.

Significant winners of the night included Puerto Rican rapper Bad Bunny, who took home the Grammys for Best Música Urbana and for Album of the Year. Both awards were for his 2025 album, titled Debí Tirar Más Fotos. Bad Bunny’s album made history for being the first Spanish-language album to win a Grammy for Album of the Year.

Best Pop Vocal Album was awarded to Lady Gaga for her 2025 album, Mayhem, and Kendrick Lamar was awarded Best Rap Album for his 2024 album, GNX. Lamar also took home Record of the Year, alongside SZA, for their 2024 song, “Luther.” Lamar was the most nominated artist of the night, with nine nominations in total.

Other significant winners included Billie Eilish, who won Song of the Year for her 2024 hit, “Wildflower,” and Olivia Dean, who took home the Grammy for Best New Artist. Jelly Roll was awarded Best Contemporary Country Album for his 2024 album, Beautifully Broken.

Mississippi College students shared their opinions on this year’s Grammy Awards.

Stephanie Ladner, a sophomore at MC, gave her perspective on the Award Show. “I think the Grammys are honestly a little overrated,” Ladner said. “Sometimes the awards seem to be given out to artists who don’t fit the category or don’t deserve them as much as another artist, in my opinion.” Ladner also explained that she noticed more technical difficulties occurring during artists’ performances over the past couple of years, citing Alex Warren’s technical problems while performing his song, “Ordinary.”

Ellanor Coleman, also a sophomore at MC, explained that she was happy to see Olivia Dean take home an award. “Olivia Dean winning Best New Artist was the correct answer,” Coleman said.

Katherine Secoy, a senior at MC, talked about her favorite performances of the night. “I thought Tyler, the Creator, was cool, but I think my favorite was Lady Gaga,” Secoy said. “I love Lady Gaga. She just has such a cool stage aura about her. Her costumes are so cool, her dancers. It tells a story on the stage. I like that a lot.”

The men of Shawreth captivated the attention of students and alumni in every performance. Receiving multiple standing ovations, Swor auditorium was filled with scoffs and laughter as spectators reacted to the awkward, inflated humor of their production—Napoleon Dynamite. After the first student-only show on Thursday night, audience members voted for the first round of awards. Student Productions, the group responsible for producing Follies, said that Shawreth won the top club award with over 86% of student votes.

The lead role, Napoleon, was played by Brett Hingle, who also won an individual award for his outstanding performance. Club officers said their success came from a day’s worth of inspiration and months of preparation. Shawreth Follies co-director Joshua Smart said that his partner, Harrison Spinks, wrote the script in one day over the summer. “There was a lot of work put into this,” Smart said. “A whole summer of effort. I mean, some days we were painting for 10 hours.”

Since before the start of the semester, the directors worked to perfect every detail of the show. “It’s a tight-knit group, and we’re so close,” Spinks said. “And just do something that we don’t typically do in these sorts of environments … and bring it home for the guys who care so passionately, it’s incredible.”

Kissimee Social Tribe brought color and craze to the stage as they performed Monsters University. The tribe loosely followed the storyline from the Pixar film and added their own twists and MC-coded humor.

In addition to receiving the overall second-place award, the actresses portraying the “Oozma Kappa” monsters were collectively recognized for another outstanding performer award. “A lot of the girls are super talented and a lot of them did theater when they were in high school, or they did dance when they were in high school, or they have amazing voices,” Kissimee Follies Co-chair Hannah Diaz said. “And you don’t really get to know those things until you see them in Follies and you get to see them in a whole different light.”

The ladies of Laguna Social Tribe walked through a wardrobe and brought the rest of Nelson Hall with them into their production—Narnia. The third-place production also followed the general plot of the original story, with campus inside jokes tied in. “We wanted to pick something that was fun and that also just kind of took you out of this world because it was just really magical and really special to us,” Laguna Follies coordinator Brogan Puckett said.

Rounding out tribe performances were Nenamoosha, Swannanoa and Chenoa. While these organizations did not place in the top three, some members won individual awards for outstanding performances. Nenamoosha won awards for best costumes and best singing with their performance—The Great Gatsby. Swannanoa’s theatrical rendition of Mamma Mia and Chenoa’s charming performance, Romeo and Juliet—both relied heavily on song and dance.

For the gentlemen, four total clubs participated in the production. While Shawreth was the only club to place overall, several members of other clubs won individual performance awards. Jameson Knighton of Rotaract won an award in his role as Jack Kelly in the club’s production of The Newsies. Nathanael Tagert of Decerto also won an individual award for his lead role in Indiana Jones. Kokoa Men’s Club performed their version of Pirates of the Caribbean. Civitan Men’s Club did not perform in the production.

Follies served as the first major event in which new members of social organizations participated. Many students said getting to know the members of their organizations was their favorite part of preparing for the production. “Getting to hang out with all of the new members—It’s been really fun to kind of get close with all of them and see what kind of people they are,” Rotaract Follies chair, Jacob Lane, said.

Yik Yak is an anonymous social media platform that has faced serious criticism for promoting cyberbullying, harassment, and misinformation. While the app claims that it “encourages open and local discussion,” the user’s lack of accountability can lead to an unhealthy campus culture, stretching the boundaries between free speech and unchecked toxicity. Is Yik Yak a digital town square or a mouthpiece for anonymous cruelty?

Given the issues, we believe the platform does more harm than good.

Campus Conversation, Unfiltered

One main appeal to using Yik Yak is a sense of anonymity. Users are free to communicate without having their words tied to their names. While Yik Yak uses this as a key point of its marketing, anonymity creates a negative effect on campus culture. Without user identity, individuals could potentially feel bold enough to post offensive and false information, making the platform a breeding ground for negativity. Schools and communities continue to raise concerns about the app’s harmful effects and impact on people’s online and offline lives.

The social backlash of actual physical bullying in public would be drastic to students in a professional academic environment. But Yik Yak takes out the physical and public aspects that tend to come with speech. This removal of potential backlash creates an environment that incentivizes users to say things they would never say out loud or on mainstream social media.

Some members of our Blue & Gold Media editorial staff used Yik Yak during their early years at MC only to find nothing academic or educational about it. We found instead a platform for people to say the most outrageous statements. The app was somewhat useful for entertainment purposes and to learn the latest campus gossip but never viewed as a reliable news source or an educational tool. Consequently, we believe nothing on the app should be taken seriously.

Universities Respond

Since the revival of Yik Yak on Mississippi College’s campus a few years ago, some universities have responded to Yik Yak use by students by actively monitoring discussions on the app.

Recently, MC administrators acted on a bomb threat discovered on the app. On February 24, students received an email from Jenny Tate, Vice President of Marketing Communications, notifying them of an anonymous online social media post about a bomb threat to the Clinton campus.

Authorities, including MC Campus Safety officials and the Clinton Police Department, responded to the threat by tracing the post back to an MC student. The investigation led to the student’s arrest and campus officials confirmed no threat to students, faculty, or staff. MC officials say that such threats are treated seriously and that they are committed to ensuring the safety of MC students and employees.

A Call for Responsibility & Accountability

Regardless of whether students perceive Yik Yak as a positive or negative platform, they need to be more social media savvy. Students must learn to utilize social media in a way that could be beneficial as opposed to harmful, not in ways that could potentially cause distress.

Social media use requires users to be curious, but also mindful and wise.

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The 2025 Academy Awards are set for March 2, and the Academy has released their shortlist of nominees. This year’s lineup is studded with stars, surprises, snubs, and fan favorites.

Ahead of the Oscars, Blue & Gold Media staff writer Chloe Newton and guest reviewers Micah Lindley and Anna Robbins share their favorite films from the year — and their thoughts on the nominations — for Blue & Gold’s very own shortlist.

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Wicked

reviewed by Chloe Newton

Wicked was an instant, worldwide success when it hit theaters in late November. After months of emotional interviews and heavy marketing, moviegoers traveled back to the Land of Oz with this tasteful twist on a timeless tale. Will the film's success be rewarded at the 97th Academy Awards?

The musical movie was nominated for 10 Oscars, tying for second-most nominations with The Brutalist and following Emilia Pérez, which received 13 nominations.

Cynthia Erivo and Ariana Grande received nominations for Best Actress and Best Supporting Actress, respectively. Grande’s performance as the bubbly Glinda was transformative for the pop-artist and gave audiences an never-before-seen complexity to the character. Though audiences raved about Grande’s excellent portrayal, the two-part release may be her demise, as Glinda’s character has not been fully fleshed out for audiences and critics. Grande may have a better chance of winning at the 98th Academy Awards.

Erivo’s performance as the “enemy of Oz” tactfully navigates the emotional energy that it takes to play a powerhouse role. Despite the dozens of women who have played Elphaba before her, Erivo found new ways to add depth and vibrance to the character that will influence future “Elphies.”

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Two other noteworthy categories for which the film was nominated include Costume Design and Production Design. Paul Tazewell, head costume designer, maintained the integrity of Susan Hilferty’s original designs for the stage production. Because films forgo the challenge of real time costume changes, the designs explored new nuances to each character (i.e. the wheat embroidered into Fiyero’s blouse).

Like its predecessor (The Wizard of Oz), Wicked excelled in its production design. In 1939, The Wizard of Oz wowed audiences with the introduction to the technicolor Land of Oz. Production Designer Nathan Crowley and Set Decorator Lee Sandales paid homage to the original film by breaking barriers with its set design feats. The film only used a touch of computer-generated imagery (CGI) to bring the world to life. Munchkinland, the Emerald City, and the poppy fields were built from the ground up, allowing audiences to truly be present in the story.

In a shocking turn of events, Director Jon M. Chu was snubbed for Best Director. Chu was arguably the most devoted individual to this project. For years, fans have wanted a film adaptation of the beloved musical. It was Chu’s commitment to and love of the musical that set the film into motion. There’s nothing scarier to a director than working with source material that is deeply cherished by its long-time audience. Chu managed to build on the elements that the stage production did not parse out yet without deviating from the original magic of the production.

Overall, Wicked revitalized societal thought on movie musicals. This film has potential to popularize (once again) the genre, causing a renaissance in modern films like The Sound of Music, Singin’ in the Rain and Funny Face. Wicked’s success in the box office and at the Oscars may influence production companies to rethink future plans.

Dune: Part Two

reviewed by Micah Lindley

Dune: Part One, the operatic sci-fi space drama directed by Denis Villenevue, released in 2021 to wide critical and audience acclaim. It was the third on-screen adaptation of the book by Frank Herbert, but the first to garner largely favorable reviews. It received six Academy Awards and was nominated for ten. A sequel was officially announced shortly after the release. Dune: Part Two fully lives up to the hype of the 2021 film, going even further in worldbuilding, character arcs, visual effects, and cinematography.

Dune: Part Two picks up immediately after Part One leaves off, with Paul Atreides (Timothée Chalamet) and his mother (Rebecca Ferguson) having joined the Fremen desert people in their fight to free their planet from the invading Harkonnens. The movie proceeds to make commentary on political corruption, religious fundamentalism, and imperialism. Possibly the most masterful part of Dune: Part Two is that it subverts the expectation of the main character being the hero of the story. It is unique for a franchise to build a hero up over two films, only to reveal that he has become the villain of the story.

Villeneuve’s directing style in Part Two is even more distinctive than in Part One, and similar to his previous work on films like Arrival (2016). His taste for massive scale and spacious cinematography fits perfectly into the epic stakes of the Dune universe. The grayscale homeworld of the Harkonnens is stunning and similar to his depiction of the alien visuals from Arrival. The switches between night and day on the deserts of Arakkis are blinding, which makes the contrast between heat and cool almost tangible from a theater seat. On the audio side, composer Hans Zimmer returns from Part One to bring back his thunderous mix of instrumental and electronic scoring. His Part Two score recently won Best Score Soundtrack for Visual Media at the GRAMMYs, though it was snubbed at the Oscars for being “too derivative” of the first film.

While Dune: Part Two has been nominated for several Academy Awards (including Best Picture), it has been snubbed from at least one nomination: Denis Villeneuve was not nominated for Best Director. The Dune franchise is arguably only successful because of Villeneuve’s distinct visual style and directorial choices, and the fact that Part Two has been nominated for Best Picture only speaks to his prowess. Part Two’s directing received praise from other legendary directors such as Spielburg, Nolan, and Cameron, and the Academy’s refusal to acknowledge it is disappointing.

Thelma

reviewed by Anna Robbins

For the past few years, the general consensus of the public has been that we are tired of the same old plots, the same old reboots, and especially of the same old actors. Unfortunately, there has been a shortage of never-seen-before actors, with very few taking any notable risks or breaking the mold.

Luckily for us viewers, June Squibb in Thelma not only breaks the mold – she shatters it. Playing her first leading role at the age of 94, Squibb boldly tells the same story as her movie does: getting older does not have to mean losing yourself or your autonomy.

Thelma is a comedy-action film that follows Thelma as she embarks on a mission to track down the scammers who deceived her. The film also explores her relationship with her grandson, highlighting the similarities in their journeys as they both navigate transitional phases in their lives while searching for their place in the world. With its life-giving messages that resonate with a wide audience, Thelma is a standout movie, and June Squibb delivers a performance that packs a punch.

Squibb’s acting is endearing and would remind any viewer of their own grandmother, adding a tender and emotional layer to the film. She is also confident, self-assured, and assertive – qualities that seniors often lose when they're misunderstood or undervalued. Above all, she is sincere in a way that draws you in. As I watched the movie, I found myself wanting to hear more from Thelma because of her genuine wisdom. She effectively challenges your assumptions and turns stereotypes about older adults on their head.

In my opinion, Squibb deserved an Academy Award nomination for Best Leading Actress. While Thelma earned its fair share of accolades, recognition from the Academy would have been both symbolic and well-deserved. Squibb’s skillful portrayal of Thelma – capturing the experiences of herself and 58 million other Americans as they face harmful stereotypes and the challenges of aging – is truly admirable. Celebrating older adults in the media means rejecting the stereotype of senility and instead honoring the remarkable, unexpected contributions this diverse and rich population offers.

The nominations are in for the 2025 Grammy Awards, and the Internet is already abuzz with reactions and reviews. Just in time for the kickoff to awards season, Blue & Gold writers are weighing in with their own favorites from the lineup of shortlisted albums.

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Short ‘n’ Sweet

by Sabrina Carpenter

Sabrina Carpenter made a long-awaited breakthrough with her sixth and latest album: Short n’ Sweet. The album has received six nominations for the 2025 Grammy Awards, tying her for the third most nominations this year alongside Taylor Swift and Chappell Roan.

The title, Short n’ Sweet, gives ode to the singer's height of five feet and to the short length of the album itself, coming in at 36 minutes and 15 seconds. This album is the shortest of the eight albums nominated for album of the year. Carpenter and her fellow songwriters’ witty lyrics show the power of conciseness.

Though Carpenter has been in the music industry for almost a decade, the artist has experienced a rebrand and renaissance. A peek into her album history reveals a slow evolution. From starring on Disney Channel to opening for Taylor Swift, Carpenter has created a unique image for herself. Gone are the days of innocence and young love. 

This album explores the realization of the disappointment and heartache of relationships. The lyrics earn several jaw dropping moments for listeners. Carpenter makes listeners ask themselves, Can she really say that? Yet, audiences love her cheeky slights towards her ex-relationships – slights that many have thought, but never dared to expose for all to hear, as Carpenter has done. 

While the album has many stand out songs, such as “Espresso” and “Please, Please, Please,” one song stands out among the rest. In “Slim Pickens,” Carpenter dips into her country side. The song produces a different sound compared to the mostly pop-style album while still maintaining the integrity of the overall message and theme. 

Carpenter has made a comeback for herself, though this album falls short in one major way. The history between Carpenter and singer/actress Olivia Rodrigo remains fresh on the minds of many young adults. The two both did stints with Disney and have a common ex-boyfriend. In 2023, Rodrigo released her GUTS album, which explores very similar topics to Short n’ Sweet. With that close of a history, one would think Carpenter would want to set herself more apart. However, Carpenter has much time to continue building her image.

Overall, the renaissance of the pop singer has astonished many. Carpenter launched the Short n’ Sweet tour at the end of September. Her music, performance, and production has captivated audiences. The tour will continue to showcase the singer’s talent as she waits for the results of the 67th Grammy Awards.

— by Chloe Newton

The Tortured Poets Department

by Taylor Swift

Since the launch of The Eras Tour in early 2023, Taylor Swift has consistently gained global recognition and gathered increasing fame. Amidst this tour, she released her most recent and record-breaking album, The Tortured Poets Department. With her mounting fame, The Tortured Poets Department arguably brought her more pressure than any of her previous albums, and many questioned whether the album would live up to its astronomical expectations. 

Upon its release, The Tortured Poets Department broke Spotify’s record for most single-day streams for an article catalog with 380 million streams, and it sold 2.4 million copies, placing it only second to Adele’s 25. 

The album opened with “Fortnight,” moody and perturbed, sung with Post Malone. “Fortnight” sets the tone for the rest of the album, making a declaration that the album will not be soft or sugar-coated. Instead, it cultivates an aggressive and empowered atmosphere. 

The name, The Tortured Poets Department, leads listeners to anticipate something reminiscent of Dead Poets Society, or perhaps dark academia; however, Swift brings a rebellious set of songs. The release of The Tortured Poets Department: The Anthology provided the listeners with more songs that aligned with their original expectations. 

“So Long, London” shifts to a darker tone while incorporating a slightly ethereal element. The lyrics are no longer simply agitated but start to carry bitterness. “Fresh Out the Slammer,” however, is twinged with hope as she sings about breaking free and returning to someone that she loves. 

Another artist, Florence Welch, joined Swift for “Florida,” an emotional song about refuge. 

Notably, “Who’s Afraid of Little Old Me” became a TikTok sensation. Boasting its now iconic line, “You wouldn’t last an hour in the asylum where they raised me,” the song is vengeful and threatening – a clear highlight on the album. 

Another interesting twist in the album is “loml.” The name leads listeners to assume the phrase “love of my life,” and she sings about someone who claimed her to be the love of his life, but the end of the song reveals that she considers him to be the “loss of [her] life.” The song is melancholy and almost wistful as she reflects on the relationship. Interestingly, though, “I Can Do It With a Broken Heart” brought an abrupt shift to the album by bringing an unusually galactic tone. 

Swift concludes the album with her song titled “Clara Bow,” sending many listeners on a search to discover who Clara Bow is and why she is important to Swift. Clara Bow was an iconic actress from the 1920’s who Swift has claimed to relate with throughout her time in the industry. The song is smooth, yet has choppy elements, and concludes the album with references to multiple female icons. 

The Tortured Poets Department made Swift the first artist to have released seven different albums that sold over 1 million copies in one week. As her success and fame is ever-expanding, listeners may wonder what her future holds. However, it seems to be certain that her success will only continue to grow.

— by Carrie Campbell

Charm

by Clairo

A lot can change in 7 years. Fans of Clairo, or Claire Cottrill, would know. 

Clairo has become a household name in the alternative & indie music scene. At age 19, she catapulted into the public eye with boppy bedroom-pop tunes with tongue-in-cheek names, like “Flaming Hot Cheetos.” Two years later, in 2019, she followed her breakout tracks with her debut album, Immunity. The album was praised for its maturity, from its intimate, incisive writing to its clean, restrained production. Hits like “Bags” and “Sofia” get radio play to this day. The difference, critics wrote in droves, may as well have been night and day.

The following year, Clairo followed other artists and industry giants to the woods during the pandemic – also similarly to other artists and industry giants, alongside producer Jack Antonoff. The result was 2021’s Sling. On her sophomore album, Clairo upped the singer-songwriter ante. The songs had more decisively poetic lyrics with more mature themes. Even sonically, it was a second reinvention of sorts: Sling marked a full pivot into more folksy sounds.

With her third album Charm, Clairo doesn’t seem to be seeking anymore to reinvent her artistry. Now, she’s refining it.

In Charm, Clairo follows the framework of the indie pop tunes that laid the foundation for her career. Her songwriting is earnest and detail-driven. On “Add Up My Love,” she processes a breakup in vignettes: “Do you miss my laugh? Hear it from the back of the room / It's just somethin' I miss too.” Throughout the album, she explores the complexities of romance with dewy youthfulness and endearing honesty.

Clairo’s delicate voice remains a hallmark of her music, often translating as hushed conversation or whispered confessions. Her sound is still uncomplicated, and her melodies are still endlessly hummable. 

Here, though, her soft-spoken vocals are surrounded by lush 70s grooves and layered jazz & folk instrumentation. The end result is reminiscent of Carole King, an iteration of Clairo that feels more grown-up – but just as catchy as ever.

The viral “Juna” encapsulates the album’s feel. The refrain “You know me, you know me” captures the intimacy of Charm, both in Clairo’s vocals and in the quiet romance that plays out across her lyrics. The production, meanwhile, gleams with Wurlitzer and jazzy drum fills – and, endearingly, occasional mouth trumpet. It’s a particular gem on a star-studded record where Clairo’s craft truly shines.

Clairo is unassuming, from her kitschy stage name to her delicate voice to her unfussy style. But, she’s developed a formula for producing captivating records. Whatever it is, it’s working. With Charm, Clairo hearkens back to the classics while cementing her place in the new millennium’s indie-alt canon.

If it ever starts to feel like fall here in Clinton, Mississippi, I’ll have the perfect soundtrack for taking a stroll on a cool day – not that listening to Charm on loop hasn’t already become “Second Nature.”

“Charm” is nominated for the 2025 Grammy Award for Best Alternative Music Album.

— by Emma Ellard

"Dune," the sci-fi epic by Frank Herbert published in 1965, is a tale set in a distant future where noble houses vie for control over the desert planet of Arrakis, the sole source of a coveted spice called melange. At the heart of the story is young Paul Atreides, whose family has stewardship of Arrakis, putting him into a complex web of political intrigue and power struggles. As Paul navigates the treacherous landscape of Arrakis, he discovers the interplay of politics, religion, ecology, and technology that shape the fate of the empire. 

With themes ranging from the consequences of environmental exploitation to the influence of prophecy, "Dune" weaves a compelling narrative that goes into the depths of human emotion amidst a backdrop of conflict. 

Decades later, the story has finally made its way to the big screen. 2024’s "Dune: Part Two" continues the epic saga initiated by “Dune: Part One” in 2021, going deeper into the power struggle between the noble houses of Atreides and Harkonnen on the desert planet of Arrakis. Director Denis Villeneuve wastes no time pulling the audience back into the fray, picking up right where the first film left off as tensions escalate between the Fremen and the Harkonnens. 

The film's first hour is a masterclass in crafting intense battle sequences that showcase the ferocity of the conflict. Villeneuve skillfully displays the military might of the Harkonnens with the guerrilla tactics of the Fremen, resulting in visually stunning scenes that are both thrilling and emotionally resonant. The choreography and special effects elevate these sequences to a level rarely seen in blockbuster cinema.

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Greig Fraser's cinematography once again dazzles, capturing the harsh beauty of Arrakis with breathtaking use of color and light. The contrast between the earthy tones of the Fremen and the stark darkness of the Harkonnens is striking, underscoring the thematic divide between the two cultures. 

In terms of performances, Timothée Chalamet delivers a nuanced portrayal of Paul Atreides, channeling a sense of inner turmoil that adds depth to his character's journey. While Zendaya's chemistry with Chalamet may be lacking, Rebecca Ferguson's enigmatic turn as Jessica and Javier Bardem's charismatic performance as Stilgar inject fresh energy into the ensemble. Austin Butler's portrayal of Feyd-Rautha is also suitably menacing, providing a formidable foil to Chalamet's conflicted protagonist.

"Dune: Part Two" closely resembles another beloved sequel, "The Lord of the Rings: The Two Towers," in its expansion of character dynamics and relentless sense of danger. Like “Two Towers,” the film sets the stage for an inevitable third chapter, leaving audiences eagerly anticipating the next installment. 

"Dune: Part Two" is a triumph of storytelling, building upon the foundation laid by its predecessor to deliver a thrilling and visually stunning cinematic experience. Villeneuve and his talented cast and crew have crafted a worthy continuation of Frank Herbert's seminal work, solidifying "Dune" as a modern classic in science fiction cinema.

Noah Kahan is, primarily, an indie-folk artist. The genre typically incorporates elements of folk music, such as acoustic instrumentation, heartfelt lyrics, and introspective themes, while also embracing a more contemporary, indie sensibility. Kahan's sound is characterized by acoustic guitar-driven melodies, emotive vocals, and storytelling lyrics that often go into personal experiences and emotions. 

Noah Kahan's latest album, "Stick Season (Forever)," exemplifies all of those things. The album is an emotional journey through wistfulness and yearning, raw honesty in every lyric. Since its initial release, Kahan's music has resonated deeply with audiences, and this expanded edition only solidifies his place in the indie-folk scene. With the addition of deluxe tracks and collaborations, including standout performances with Brandi Carlile and Gregory Alan Isakov, Kahan elevates the album to new heights, offering listeners a fresh perspective on familiar favorites in Stick Season.

One of the highlights of "Stick Season (Forever)" is the collaboration with Brandi Carlile on "You're Gonna Go Far." Carlile's vocals add depth and richness to the track, emphasizing themes of self-discovery and empowerment. Kahan's decision to retain the original lyrics while mixing Carlile's unique style showcases his dedication to preserving the essence of his music while embracing new creative directions. The harmonies and background vocals create a sense of warmth and comfort, inviting listeners to immerse themselves fully in not only the song's message, but the album’s message of resilience.

Another standout moment comes with the collaboration with Gregory Alan Isakov on "Paul Revere." This underrated gem takes on new life as Kahan and Isakov paint a vivid picture of longing and belonging. As they sing of buried memories and the desire to break free from stagnation, the song connects deeply to those who have grappled with the feeling of being trapped in familiar surroundings. Isakov's contribution highlights the shared experiences and emotions that unite Kahan's audience.

Noah Kahan's "Stick Season (Forever)" is a culmination of emotion, storytelling, and musicality. Through its original tracks, deluxe additions, and compelling collaborations, the album takes listeners on a journey of introspection and growth. Kahan's ability to weave together themes of longing, self-discovery, and resilience creates a cohesive and deeply resonant listening experience. Each song is meticulously crafted, with Kahan's earnest vocals and lyrics serving as the guiding force.

Overall, the album is a testament to Noah Kahan's talent as a songwriter and storyteller. He invites listeners into his world, where vulnerability is celebrated and emotions run deep. As this chapter comes to a close, Kahan leaves audiences eagerly anticipating what the future holds, secure in the knowledge that his music will continue to touch hearts and inspire for years to come.

In the realm of young adult (YA) television, where action packed, adolescent-led stories reign supreme, "Percy Jackson and the Olympians" is proving to be a formidable contender. The limited series, based on the novels by Rick Riordan, creates a narrative reminiscent of the magic that made the "Harry Potter" franchise a global phenomenon.

Percy Jackson embarks on a perilous quest across America, dodging monsters and outsmarting gods, to retrieve Zeus' master bolt and prevent an imminent war. Sheltered at Camp Half-Blood after losing his mother, Percy, a demigod, must navigate a world where mythical forces collide in an epic battle of gods and heroes.

The series excels not only in its captivating storytelling, but also in the exceptional talents of its cast. Walker Scobell's portrayal of Percy displays sarcasm and cynicism, but also perfectly highlights the struggles of a young boy. Leah Sava Jefferies' Annabeth channels a Hermione Granger-like fierceness, portraying a warrior with an intensity beyond her years. Aryan Simhadri's Grover, on the other hand, brings a gentle and thoughtful presence, serving as the mediator between the two demigods.

The show's decision to cast younger actors allows for a more authentic representation of the characters' adolescent experiences, and it sets the stage for the characters to age along with the story, ensuring a more immersive adaptation.

The emotional depth of Percy and Annabeth's conversations about living up to their parents' legacies is treated with the same gravity as the grand fight scenes on top of American landmarks.

"Percy Jackson and the Olympians” manages to give the teenagers control over their feelings and experiences without patronizing them. This approach elevates the series beyond fantasy adventure, turning it into an exploration of identity, legacy, and the challenges of growing up as a demigod – or anyone else who doesn’t quite feel like they “fit in.”

Other strengths of the show include its ability to balance enticing pacing and physicality with quieter moments, like the incorporation of history lessons on Greek gods. It presents a rich and genuinely inclusive world with storylines and characters that promise to captivate fans for the next decade. The adaptation is also praised for its visual appeal and the extensive effort put into bringing Rick Riordan's work to life. The show’s magnetism, faithfulness, and overall sense of authenticity all work to create a sense of attachment for YA viewers to the show.

Overall, "Percy Jackson and the Olympians" is a visually stunning, narratively intriguing, and emotionally resonant adaptation that finally does justice to Rick Riordan's beloved work. It not only offers a thrilling ride through the world of mythology, but also provides a mirror reflecting the universal struggles of adolescence, self-discovery, courage, and friendship.

The show's competition is sparse, particularly in a TV landscape where other series tend to skew grittier and focus on older teens, as seen in shows like "Stranger Things." With its talented cast, captivating storytelling, and a commitment to staying true to the source material, the series promises to be a lasting and significant contribution to the world of young adult television.

The newest spin on “Mean Girls” is just as much of a commentary on micro-trends as it is a Broadway adaptation. 

Initially released in 2004, “Mean Girls” is Tina Fey’s beloved and exaggerated tale of cliques, revenge, and self-discovery. Inspired by Rosalind Wiseman’s 2002 self-help book “Queen Bees and Wannabes,” “Mean Girls” has taken many forms over the last two decades: “Mean Girls,” the movie (2004), “Mean Girls,” the Broadway musical (2018), and “Mean Girls,” the adaptation of the musical (2024).

I like to proclaim myself a lover of sketch comedy – after all, I was raised to the tune of the theme song to “Saturday Night Live” (though I couldn’t fully comprehend the punch lines until I was much older). My initial discovery of 2004’s “Mean Girls” was driven solely by my admiration for the work of Tina Fey and Lorne Michaels. However, with each viewing, I fell more in love with this widely renowned “cult classic.” 

It was inevitable that I would also fall in love with the Broadway musical of the same name and essence, a production in which Tina Fey also had a hand. When a film adaptation of the musical was set to release, I was ecstatic. Jan. 12, 2024 had been on my calendar since the film’s 2020 announcement. It is after my three viewings since its release that I feel readily equipped to share my thoughts. 

Though the cameo of Lindsay Lohan in the latter half of the film was pleasant, I was far too busy marveling at the rest of the film’s casting choices. Reneé Rapp makes it difficult to remember who the story’s villain is, bringing previously unseen levels of charm and charisma to the role of Regina George. Rapp performed as Regina on Broadway from 2019-2020. Her vocals gave me chills every time I heard her sing. Her most powerful number, arguably, is “Someone Gets Hurt.”

Immediately following Rapp as a personal favorite is Avantika Vandanapu (Karen Shetty). Vandanapu brings a beautiful, airheaded energy to the role, supplemented by her powerful voice and dance ability. Her performance of “Sexy” shows just how much of a vocal powerhouse she truly is. 

Although I sing many praises for the cast, Angourie Rice’s portrayal of protagonist Cady Heron was left subject to my criticism. Her performance seems to cower in the shadows of the expressive and colorful Jaquel Spivey (Damian Hubbard) and Auli’i Cravalho (Janis Sarkisian). Spivey and Cravalho’s striking vocals during “Apex Predator” and “Revenge Party” set a difficult pace for Rice’s narrow vocal range to match. 

Even during the most mediocre moments of the film (the easy-to-spot “e.l.f.” & SeatGeek sponsorships), “Mean Girls” remained a showcase of the original film’s messages. Enhanced by montages reflecting the prominent influence of social media and technology, the film held up a mirror to the new age of “mean girls,” acting as a sign of the times. The narrative inclusion of social media did warrant some hard-to-watch moments that made me cringe, but none so intense that they took away from how much fun I had.

After multiple viewings, it still feels as though everything Tina Fey touches turns pink – the most fetch color.

Despite the negative press surrounding host Jo Koy’s opening monologue, the milestones achieved at 2024’s Golden Globes Awards are not lost amongst viewers and film fanatics. 

The 81st Golden Globes Awards, which took place at The Beverly Hilton on Jan. 7, celebrated a variety of accomplishments spanning across artistic disciplines: television, film, & music. Differing from previous years, 2024’s ceremony yielded a more diverse catalog of winners. 

For her role in “Killers of the Flower Moon”, Blackfeet descendant Lily Gladstone was awarded “Best Actress in a Drama Motion Picture.” With this win, Gladstone became the first indigenous person to receive a Golden Globe. Following a personal introduction to the audience in the Blackfeet language, Gladstone expressed the impact of this milestone throughout her acceptance speech. 

“This is for every little kid on a reservation, every little urban kid, and every little Native kid who has a dream, who is seeing themselves represented and our stories told by ourselves, in our own words,” Gladstone said. 

Ayo Edebiri (FX’s “The Bear”) & Da’Vine Joy Randolph (“The Holdovers”) each took home wins for their respective roles. Both women of color, Edebiri & Randolph embraced the gravity of their accomplishments in their speeches. 

“The beauty is that all the time I poured into my crafts, and all the sleepless nights I had to think about how I contribute to this industry as a woman of color has been worth it,” Randolph said of her accomplishments. 

Adding to the roster of milestones was 82-year-old Hayao Miyazaki, director of the beloved Studio Ghibli animated film franchise. Miyazaki took home the “Best Animated Feature” award for his final production, “The Boy and the Heron”. Miyazaki notably came out of retirement to make the film, spending 7 years on its production. The film not only rewarded Miyazaki with his first and only Golden Globe, but it also broke records as the first original anime film to break the top of the North American box office. 

Joining Miyazaki in receiving his first Golden Globe was Kieran Culkin, who won “Best Actor in a TV Drama.” In his speech, Culkin spoke of his journey. “I was nominated for a Golden Globe like 20 years ago, and when that moment passed, I still remember thinking, I’m never going to be back in this room again…But thanks to “Succession”, I’ve been in here a couple of times,” Culkin said. 

The masses seem to agree that 2023 was a successful year for the arts, with films such as “Barbie” and “Oppenheimer” breaking box office records. However, the 2024 Golden Globes Awards and its winners re-emphasized the importance of diversity in Hollywood’s industries, refusing to get lost amidst the never-ceasing frenzy of pop culture.

One of the things I most vividly remember about my middle school experience is spending study hall doing anything but my actual homework. I would play Madden Mobile on my school iPad, listen to music, or embark on a number of random Google rabbit trails. But more so than these, I remember dedicating a vast amount of time to the most popular game at my school: “Five Nights at Freddy’s.”

“Five Nights at Freddy’s” is a simple yet cleverly-constructed survival horror game. It puts you in the shoes of a security guard on the night shift at a derelict pizza establishment, where animatronic animal characters entertain customers. Once you discover that these animatronics move around during the night – and will attack you if they discover you – your job becomes one of pure self-preservation. You must use the limited power at your disposal to operate camera systems, close doors, and turn on lights in order to stave off your assailants until 6:00 am. 

For almost a decade, a “Five Nights at Freddy’s” movie has been in the works. Now, after eight years and an insane amount of script drafts, the game has been adapted to the big screen. The film tells the story of Mike Schmidt, a down-on-his-luck security guard who signs on to work the night shift at Freddy Fazbear’s Pizza. However, once he begins the job, he quickly discovers that this seemingly family-friendly establishment harbors some dark secrets that could endanger him and his family. 

In spite of the film’s critical flaws – and there are quite a few, I’m afraid – I am a massive fan of the original games, which allowed me to have an incredible time watching this movie. The sets and animatronics feel as though they were transported straight from the games. A few eerie sequences early in this film capture the surreal sense of being alone at night in a place that’s familiar but somehow off. The film is even able to deliver on some mildly effective jump scares, which characterized the games.

That said, when placed under a critical lens, “Five Nights At Freddy’s” suffers from a number of foundational inadequacies. 

The script comes with a number of strange choices that make the film feel distracted. For example, a significant portion of the runtime is dedicated to an aimless subplot surrounding a custody battle for Mike Schmidt’s little sister. The film fails to tie this into the main narrative in any way whatsoever, so every scene dedicated to it feels more wasteful than constructive.

Another inadequacy with the movie is how it chooses to handle its horror – or rather, lack thereof. Outside of a few early sequences, I think it would be a stretch to say that “Five Nights At Freddy’s” is a “scary movie.” The animatronics in the walls of the pizzeria – the protagonists’ primary threat – are characterized in a way that completely neutralizes anything scary about them. This is largely thanks to some bizarre plot decisions in the second act. The film’s third act attempts to make up for this, and while I do believe it delivers in terms of story resolution (especially for fans of the games), it doesn’t inspire any sense of true fear. Horror fans, or any audience members expecting “Five Nights at Freddy’s” to live up to the terror of its video game predecessor, might walk away disappointed. 

Those unfamiliar with the story and gameplay of “Five Nights at Freddy’s” may find this movie more arbitrary than anything else. But fans of the property will likely have a blast watching it, like I ultimately did. If for nothing else, after eight years of “Five Nights at Freddy’s” being trapped in development limbo, I’m just glad this movie was able to see the light of day, once and for all.

In my opinion, science fiction is one of the coolest and most creative genres in cinema. 

Over the years, many incredible films have been released across sci-fi’s many subgenres. We’ve seen mind-boggling, conceptually complex blockbusters like Inception and Tenet; contemplative, existential films like “Blade Runner” and “Ad Astra”; grand, epic space operas like the Star Wars saga and “Dune”; and more futuristic, action-heavy movies like “Edge of Tomorrow” and “District 9.” It’s a broad genre with a plethora of stories to tell, and I’m always excited to see what boundaries can be pushed within its limits.

Now, in 2023, director Gareth Edwards offers another unique entry to the genre with his new film “The Creator.” “The Creator” takes place in a distant future where humanity is at war with artificial intelligence (A.I.). The film tells the story of a soldier named Joshua (John David Washington) tasked with finding and destroying an all-powerful weapon in the possession of the A.I. 

However, when he discovers that this weapon takes the physical form of a young child (Madeleine Yuna Voyles), he is sent on an emotional journey that challenges all he believes to be true.

Technically speaking, “The Creator” is a beautiful film. From start to finish, the visual effects are nothing short of enrapturing. There isn’t a single shot in this movie that features fake-looking or noticeable CGI, and Edwards’ decision to create visuals primarily through in-camera effects has a tremendous impact on the movie’s overall look, especially during action sequences. 

The movie’s design is beautifully and creatively crafted. The technology, weapons, and robots look incredibly authentic, and it’s clear that the creative team responsible for bringing them to life onscreen put a lot of thought into making everything look as realistic as possible – so much so that I could see a lot of these designs becoming reality one day.

John David Washington has been on an incredible hit streak in his performances; in “The Creator,” he keeps that streak alive. Washington plays a character with immense emotional baggage, and I think he does a tremendous job of portraying Joshua’s commitment, pain, and stoicism. However, first-time actor Madeleine Yuna Voyles steals the show as A.I. weapon Alpha-O, or “Alphie.” She portrays Alphie with a natural sense of childlike innocence, but also a surprising amount of gravity, particularly in the film’s heavier, more emotional moments. 

However, one area where I think “The Creator” completely drops the ball is in its subtext. It makes a flimsy attempt to explore themes of acceptance and the nature of humanity in relation to artificial intelligence, but this exploration is touch-and-go. The movie only seems to remember its purpose when it needs an emotional beat. This choice causes the film to lose a lot of its thematic potency. 

Furthermore, I think the movie fails to offer a nuanced take on artificial intelligence. “The Creator” throws aside any sense of real depth, instead opting to present oversimplified scenarios: the worst of what humanity has to offer, and the best of what A.I. does. I don’t think that’s a well-rounded way to look at the topic. 

According to Edwards, much of the film’s original material was removed in the editing process. Somewhere, a much longer – five hours, to be precise – cut of “The Creator” exists. If it ever sees the light of day, I would absolutely check it out. I have a feeling that the extra material would help flesh out the film’s thematic aim and fix a lot of the issues I saw with it. 

As it stands, I wouldn’t say the version of “The Creator” that we got is a bad one. I just wish it leaned further into its attempt at incorporating its heavier themes, in a way that felt less muddled and incomplete and more developed and consistent.Thanks for reading Blue & Gold Media at Mississippi College! Subscribe for free to receive new posts and support our work.

When Marvel Studios released “Guardians of the Galaxy" in 2014, nobody could have predicted the critical and commercial success the movie would generate for the studio. The film became an instant hit, and its characters grew from relative obscurity to pop-culture icon status over the following years. Subsequent appearances in the sequel, “Guardians of the Galaxy Vol. 2” and box office titans “Avengers: Infinity War” and “Avengers: Endgame” only furthered audience adoration, largely because the films allowed the characters more time to shine and develop.

And now, nine years later, Marvel has released the third and final installment in their planned Guardians of the Galaxy trilogy. Directed by James Gunn, who also helmed the first two movies, “Guardians of the Galaxy Vol. 3” finds Peter Quill (Chris Pratt) and our team of heroes on a galaxy-spanning mission to save the life of one of their own – a journey that, if not completed successfully, could result in true calamity befalling the team. 

Public interest in the Marvel Cinematic Universe [MCU] has been declining rapidly, but “Guardians of the Galaxy Vol. 3” proves that Marvel can still make a superhero story with vision and soul. “Vol. 3” seems very aware of the connections these characters have established with audiences over the years, and it builds the majority of its plot not only on their individual progression, but also on the relational dynamics between them – all in ways that are appropriately moving. 

The movie uses this dysfunctional yet tightly-knit family to illustrate the benefits of different personalities and skill sets coming together to form a group, and how even things that may seem like weaknesses could turn out to be strengths in the right circumstances. It’s an extremely powerful statement, and it’s amplified by the fact that the movie’s focus really never leaves the characters, a choice that I feel makes a “final outing” film such as this all the more fulfilling.  

I do think “Vol. 3” suffers from some structural issues that have stood out to me each time I watch it. There isn’t very much cohesion in the progression of the first act. The plot seems to hop around from setting to setting without much thought as to how to sequence it all in a logical way. It can also, at times, feel like the movie is trying to do a bit too much. There are a few characters introduced that feel inconsequential in how they’re factored into the plot, namely Will Poulter’s Adam Warlock. 

But as far as style is concerned, James Gunn has infused this movie with a tone that is extremely befitting of the kind of offbeat action-comedies he’s become so well-known for. It meshes exceptionally well with the unconventional nature of the characters. 

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The other primary reason I think this film works so well is in how it truly sticks the landing with its finale. The tone throughout the movie has a very real sense of finality to it, but the conclusion hits home the reality that this truly is the “goodbye” for this group of characters, at least for the foreseeable future. 

There’s a very interesting attempt at a sort of existential, sometimes borderline spiritual, subtext in certain areas of the movie. It shows us the backstory of one of the franchise’s main characters, Rocket Raccoon (the voice of Bradley Cooper), detailing his nightmarish past and abuse at the hands of the film’s villain, the cruel and egomaniacal High Evolutionary (Chukwudi Iwuji). The film focuses on the terrors Rocket experienced at his hands but, interestingly, seems to use this story to offer insight into the notion of a greater design for existence. We see Rocket struggle to reconcile his torturous past with the idea that he was made for a purpose, and the path this movie sends him on with these questions leads into an extremely resonant conclusion that works incredibly well from both a thematic and emotional perspective. 

In all honesty, it has been a long time since I have walked away from an MCU movie feeling truly satisfied – but out of the last few years, “Guardians of the Galaxy Vol. 3” is one of few exceptions. It’s an entertaining, often-moving experience, and it has the most soul I have seen from the MCU in recent memory. 

If you didn’t get the chance to see it in theaters, “Guardians of the Galaxy Vol. 3” is currently streaming on Disney Plus, and it’s absolutely a film that I would recommend seeing.

Ever since the initial release of the first “Rocky” film back in 1976, the name Rocky Balboa has become firmly embedded in American pop culture. The tale of this ultimate underdog rising through the ranks to become a serious boxing contender spanned six films through the 1980s and 1990s. In spite of some seriously cheesy elements that overshadowed a lot of the later sequels, Sylvester Stallone’s charming performance as Rocky proved to be a consistent positive element that gave the franchise a steady sense of character. In 2015, Warner Brothers released “Creed,” which served as a sort of legacy sequel to the franchise. It introduced Adonis Creed (Michael B. Jordan) – the son of Rocky’s late mentor and friend Apollo Creed – and chronicled his rise to prominence in the boxing world with Rocky by his side. Rocky similarly coached Adonis through the events of a tumultuous sequel, “Creed II,” that saw both characters fighting against faces from their pasts while undergoing serious shifts in their family lives. 

“Creed III,” however, breaks this mold by continuing the story of Adonis Creed without the presence of Rocky Balboa. When an old childhood friend (Jonathan Majors) resurfaces with aspirations to acquire a title shot, Creed must decide whether or not to help him achieve this goal, coming face-to-face with his past as he finds himself on an escalating path that can only end in the boxing ring.

To address the large, Sylvester Stallone-shaped elephant in the room, a huge question going into this film was whether or not it was going to be able to go the distance without the character of Rocky Balboa. I will say that his absence in the film was definitely noticeable. However, I believe that “Creed III” saves itself from potential detriment by shifting its focus entirely to the development of Adonis Creed. The first two films had already done a lot of heavy lifting by establishing him as a strong, well-developed character, but as the one true lead in this film, he seems as though he has a lot more room to breathe. The story in this movie, as mentioned earlier, is used as a pretty effective tool to explore more of Creed’s past, delving into a side of the character that he might not be so proud of. It adds a new layer of vulnerability to him that provides for some genuinely touching moments and a solid new avenue for audience connection.

“Creed III” is not only Jordan’s first time leading the film in front of the camera but also his first time behind the camera as a director. With this film, I believe he proves himself to be a promising name to watch in this category. He showcases a unique eye for style through his framing of this film, infusing nearly every scene with a palpable flow of energy and character. The fight scenes are shot and staged with very fluid camerawork that makes the cuts feel like they’re not even there, and the editing in this film is as tight as could be. 

Jonathan Majors stars as Damian, the primary antagonist, and he knocks it out of the park with this role. When we first meet him, he does an excellent job of mixing a brooding persona with a more vulnerable nature, but as the movie progresses and his motivations are revealed, he transitions into a more overt, ruthless individual who will let nothing deter him from his goals. Tessa Thompson, who plays Creed’s wife, Bianca, is once again excellent. She does a great job selling the steadfastness of this character, and her commitment to her husband and daughter is always evident. 

I wouldn’t say that “Creed III” reinvents the wheel in any way, and it probably won’t sell you on this franchise if you aren’t already a fan. That said, I found it to be a genuinely enjoyable, rousing experience that most anyone could have fun with. It was really awesome to get to see this in a crowded theater, and the energy of such an experience is always a treat. If you’re in the market for a great film to experience with a group of friends that will leave you with a smile on your face, “Creed III” is a pretty great option to go with. 

Before performing her internet-breaking single “Call Me Maybe” at Alexandra Palace in London, Carly Rae Jepsen announced to the crowd, “You have to sing along to this next one… it’s like, the law.” But for such a pop idol as herself, it was more than that: it was a royal mandate. 

Jepsen released her most recent album, The Loneliest Time, on Oct. 21 of last year. Jepsen seeks to face her struggles, singing the line “I paid to toughen up in therapy” in album and concert opener “Surrender My Heart.” However, Jepsen’s acknowledgement of hard times has certainly not freed her from them. She recalls her slow and difficult rise to fame in an interview with The Guardian, describing how at one point she exchanged banana bread for practice time with her band because she was unable to pay them. If anyone deserves the massive crowd at Alexandra Palace, it’s her.

For Jepsen, these past issues are of little concern on the So Nice Tour. The concert itself was electric. Jepsen is regularly discarded as a one hit wonder, but to those “in the know,” she represents an evergreen artist who earnestly captures a variety of pop sounds and styles. It is this exact fanbase that arrived at Alexandra Palace.

Jepsen’s devoted audience provided an energetic accompaniment to every chorus. Iconic songs like the classic “Call Me Maybe” and “I Really Really Like You” were spaced out and placed between cuts from her most recent album, which lack many of the catchy melodies of her early tracks but retain much of the same charm. Other songs ranged from well known “Run Away With Me” to deep cuts like “Felt This Way” from Dedicated Side B. Jepsen’s sound has largely shifted from 80s inspired synth pop to slower, more eclectic jams. She’s more introspective, self-critical, and self-aware. 

The Loneliest Time itself lacks the pop hits of her previous records, but the improved recording and earnestness make up for its flaws. It is indicative of a certain type of quarantine album. It is the story of someone who has done the work: gone to therapy, faced their trauma, read the books, and become ready to face the world. For Beyonce, it meant going clubbing; for Kendrick, it meant choosing his family; for Carly Rae Jepsen, it meant returning to herself (see “I’m coming back for you, baby!”). This does not mean she’s outgrown any sort of fun, but her indulgence is matched by a personal security. 

During the concert, Jepsen took full advantage of the stage and its proximity to the crowd. The venue was massive and sometimes provided poor acoustics, but she owned her presence, knowing she could rely on her audience to back up her occasionally lacking vocals. She even fired her confetti cannons at least four times, showering the crowd. Plainly, she had fun with it, and her infectious joy was reciprocated by her stellar band and prominent backup singers. 

Jepsen doesn’t have to rule your radio to know she’s deserving of her position. She’s put in the work, and she makes music for those who care to listen. In a time both in music and in the world where everything is drenched in irony, the pop star is over it. Call her a one-hit-wonder, call her a “pet project,” call her maybe. The point is that you’re still listening. She makes music for those who show up—and to those who know, they always will.

The last few months of 2022 gave us a widespread slate of exciting and interesting films to choose from. From December blockbusters like Avatar: The Way of Water to heavier, more mature dramas like Devotion or The Fabelmans, the film rollout that we received had something for everyone. Honestly, I am still trying to catch up on everything I missed. However, there stands one particular movie in this lineup that I did not think too much of initially. I had no plans to see this film in theaters. Truth be told, I did not expect it to be very good. I did, however, go to see it when a friend invited me over Christmas break. When I walked out of the theater that night, I was in absolute shock at how this movie had made me eat every single one of my words.

I am, of course, talking about Puss In Boots: The Last Wish, the sequel to the 2011 film Puss In Boots. When Puss In Boots (Antonio Banderas) realizes he has burned through eight of his nine lives, he sets off on a journey to wish upon a magical, fallen star and try to get them back. His quest brings him through uncharted territories and puts him in the path of new and old friends and foes. He is forced to work with the unlikeliest of allies and face his greatest fears as he seeks to accomplish his mission. 

A large part of what I think made Puss In Boots: The Last Wish so good lies in how well the film generates a universal sense of appeal. Yes, it's a PG-rated, animated movie that is marketed toward children, but I do believe that there is something here for everyone. The film knows exactly what it is. It never takes itself too seriously. It features an excellently-sequenced musical opening that perfectly sets the lighthearted tone, and the narrative is entertaining and engrossing for the viewer as it unfolds. The animation is perhaps the best it has ever been for a Shrek film, and I love how it finds a way to incorporate a more modern style. 

Going further than that, I found myself very surprised at some of the more mature thematic material found in this movie. Underneath the film’s entertaining exterior lies a deeper message centered around learning to embrace the life you have been given, and I was blown away by just how aware and introspective the movie was in how it chose to explore this. As he has now lost eight of his “nine lives,” Puss is forced to face his own newfound mortality. The prospect initially terrifies him to the point of panic. As the movie progresses, however, we see Puss’ mindset transition from one of fear to one of acceptance and appreciation for life. He breaks down the walls he has built and opens himself up to other people, and it’s a progression that I thought was absolutely beautiful to watch unfold. 

Every character we meet feels remarkably unique and well rounded. Antonio Banderas has always been a perfect fit for the character of Puss In Boots, and he clearly has a lot of fun voicing the character in this film. Kitty Softpaws (Salma Hayek) is the perfect counterpart to Puss, bringing her own sense of cool confidence to the table. The two are joined by a dog named Perrito (Harvey Guillen) who proves himself to be one of the film’s biggest emotional anchors in some very touching ways. Both of the movie’s primary antagonists are excellent as well. Big Jack Horner (John Mulaney) is a great example of a cartoonish antagonist done right, and I love the way the movie uses him as a clever subversion of the sympathetic villain trope that feels all too common these days. Perhaps the biggest standout was the character introduced as the Big Bad Wolf (Wagner Moura). This character is one of the coolest and most imposing animated villains I have ever seen. He’s extremely menacing in his presentation, announcing his presence with a slow, eerie whistle and staring down his opponents with unblinking red eyes. You get the feeling throughout the movie that he’s an unstoppable entity that poses a real threat to our heroes. 

I really cannot stress enough just how shockingly good Puss In Boots: The Last Wish is. It’s relentlessly charming and shockingly thought-provoking, and it left me with a surprising lot to ponder after I watched it. If you haven’t seen this yet, I’d absolutely recommend checking it out. This is a movie in which almost anyone can find something to appreciate. 

In 2009, director James Cameron’s film Avatar took the box office by storm. It did well, and many critics praised the movie’s engrossing visuals and immersive world, though some took issue with the relatively generic story and character work. In terms of box office money, however, it proved to be a massive success. Aided by the more expensive nature of 3D screenings, it went on to earn nearly $3 billion worldwide over the course of multiple releases, and it still reigns as the number one worldwide box office earner today. Some have wondered whether the long-awaited sequel, Avatar: The Way of Water, would be able to match such an impressive run. Given its strong opening weekend, I think it has a shot at earning a decent portion of its investment back.

In the film, original director James Cameron continues the story of Jake Sully (Sam Worthington) and Neytiri (Zoe Saldana). When a familiar foe re-emerges as a threat to the world of Pandora, Jake must move his family out of harm’s way and into the planet’s oceans, where they join forces with a new Na’vi civilization and learn their customs and ways of life.  

Upon the initial release of Avatar: The Way of Water, the one thing that all of the critics seemed to agree on was how stunning the visuals were. I wholeheartedly agree with them. This may be the most visually beautiful movie of the year. James Cameron is a notorious perfectionist when it comes to the films he makes, and in this instance, it has absolutely paid off. Every shot in this film looks like it was created to be the most beautiful frame ever seen, and I never noticed a single weak spot in the CGI. The blue-heavy color grading is astounding, especially on the big screen. The Na’vi people look incredibly realistic and well-rendered. What really hit home for me were the underwater sequences in this movie. I found myself in a state of genuine awe at how realistic they looked, and I have no idea how any of it was filmed or edited. 

The exploration of the world of Pandora was the strongest element of the first Avatar film, but The Way of Water may surpass its predecessor in this facet. The new tribe of Na’vi that we meet has a unique way of life that is extremely interesting to explore from an audience member’s perspective. The Na’vi people have a fascinating connection with their oceanic environment and the other creatures living in it, and the movie really highlights the importance of environmental appreciation. The film also makes the bold choice to shift the primary viewpoint away from Jake Sully and towards his children. While this decision very easily could have fallen flat, I think the movie does a fine job of giving the audience reasons to connect with the characters. I also found this to be an ingenious way to increase the feeling of awe within the audience as they venture deeper into the world. By exploring it through the perspective of a younger character, it boosts the pre-existing feeling of wonder that you already feel. 

That said, I do think there are potential drawbacks for some viewers that I should disclaim in this review. The three hour and twelve-minute runtime may prove to be a tiresome challenge for some, though I personally didn’t notice the length very much. It also took longer than I felt was necessary to become emotionally invested in the film. Around the halfway point, there were events that helped me to fully buy into the movie and its story, but the first half of the film felt almost devoid of real emotional connection. Even so, I was never bored or uninterested while watching the movie.

Overall, I’m extremely happy to say that I think Avatar: The Way of Water is a success. The staggering runtime flew by, and there’s a lot of joy to be found in returning to the world of Pandora. It’s a beautiful and thrilling cinematic experience that absolutely needs to be seen on the biggest screen possible.

Out of the many directors who have left a profound impact on both the filmmaking industry and the general moviegoing audience, few have gained the level of respect and notoriety that Steven Spielberg has. With an impressive filmography encompassing many renowned films from the 1970s all the way until now, he has become a household name through the appeal of all-time classic movies such as E.T., Jaws, Jurassic Park, Indiana Jones, the Raiders of the Lost Ark, and Schindler’s List. Given his high level of notoriety, it was only a matter of time before a film was made about his life, and honestly, who better to have behind the camera than the man the film is about?

The Fabelmans tells the story of Spielberg’s upbringing through the character of Sammy Fabelman (Gabriel LaBelle), a young boy enamored with the idea of making movies. Under the guidance of his loving, but stern, father (Paul Dano) and artistic mother (Michelle Williams), he explores his passion, discovering a lot about himself and his family in the process of pursuing his dream to work in the film industry.

I think The Fabelmans gets a lot right, but the main area in which I think this movie succeeds is in the way it slowly ropes its viewers into the story it tells. The main plot of the film is essentially one that revolves around a young boy discovering what exactly it is that he’s passionate about in his life, and that’s absolutely something that I was able to connect with. The idea of making movies is not something that everyone is going to be able to connect with, but there’s a certain universality to how this movie explores the purpose that we give our lives. We see Sammy’s ambitions bleed over into the other areas of his life, such as his relationships with his family and friends, and in some cases, it even serves as an engine for conflict. It’s a very interesting way to show the different sides of commitment to a dream, and I appreciate the way this movie shows us the obstacles Sammy must overcome and the sacrifices he must make in order to achieve his passion.

Gabriel LaBelle delivers a fantastic lead performance as Sammy Fabelman. The movie asks the actor to deliver a lot of emotional range to the way he portrays this character, and for the most part, I believe he is able to deliver. It took me a little while to buy into Michelle Williams’ performance as Sammy’s mother, Mitzi Fabelman, but eventually I was definitely able to appreciate the way she portrayed this well-meaning-yet misguided-character. Paul Dano, too, is excellent as Sammy’s stern, yet caring father, Burt Fabelman. I also appreciate the wholly objective lens this movie uses to display these characters. It’s not at all afraid to show you their flaws and mistakes alongside their good qualities, and I found that to be a very real, three-dimensional way to showcase the family dynamic. Even Sammy, our main lead and the main point of view through which the audience experiences the story, is not above reproach. We’re shown the ways in which he comes up short, and I believe this helps the movie to feel a lot more honest with itself than it would have otherwise.

All of this being said, I don’t think The Fabelmans is a perfect movie. There are a few things that I feel hold it back from being as good as it could have been. The first act of the film starts off on a bit of an awkward foot. Its structure felt a bit sloppy, and the pacing of the story progression in this segment of the movie didn’t feel as natural as I felt it should have. I also think the movie’s focus tends to wander a bit, making it hard to discern the main idea behind the sprawling narrative in a few stretches. There is also one extended sequence in the movie that, from a writing point of view, comes across as quite sacrilegious, and I do feel I should give fair warning about that. 

However, my subjective negatives set aside, I think The Fabelmans is a very special film. I love the way it highlights the impact our dreams have on us, how they shape us as individuals over the process of our adolescence, and the ways in which they spread over into the other areas of our lives. This is a movie I would absolutely recommend giving a watch. In spite of its flaws, I think it has something for everyone to take away.

The Marvel Cinematic Universe (MCU), as well as the entire cinematic landscape, received a heavy blow in late 2020 when actor Chadwick Boseman unexpectedly passed away. Boseman had starred in a number of films, but he was most well-known for his performance as T’Challa in 2018’s wildly successful Black Panther. As Hollywood and film fans collectively mourned his death, discussion about how to navigate this roadblock for the Black Panther sequel began to spread. Many clamored for Marvel Studios to recast Boseman’s role, while others believed that course of action would be disrespectful to his legacy-advocating instead for the studio to shift its focus onto the first film’s supporting characters. After having seen this movie, I believe the situation was handled about as perfectly as it could have been,given the circumstances. 

Black Panther: Wakanda Forever is the next film in the Marvel Cinematic Universe’s Phase Four and the sequel to 2018’s Black Panther. When the underwater nation of Talokan, led by the mutant warrior Namor (Tenoch Huerta Mejia), is discovered to be a threat to the nation of Wakanda, their leaders and warriors must assemble to defend their country while mourning the recent loss of their king, T’Challa (the late Chadwick Boseman). 

There’s a lot about Black Panther: Wakanda Forever that is worth praising, but to me, the film’s biggest strength lies in its emotional impact. Director Ryan Coogler had a seemingly impossible task in directing this film, given the passing of its predecessor’s lead actor. However, I believe the way he handled it in this movie is both smart and respectful. The loss of Boseman is felt heavily throughout this movie, but I love how the characters are used to explore the grief that came with it. Every lead character is mourning the passing of T’Challa in one way or another, and throughout the course of the movie we see how they wrestle with their pain, slowly but surely growing closer to acceptance. It’s a beautiful thing to witness, and the way the movie ends forms one of the most powerful moments I think we’ve seen across the entire MCU. 

It is this undercurrent, I think, that helps everything else in this movie work as well as it does. The action we see here does a great job of engaging the viewer, and while the big-picture stakes might not feel quite as high as they have in other MCU installments, the movie makes the right call by focusing more on interpersonal conflict. This, I think, allows the battles to hit a lot closer to home- by rooting them in its characters and their respective arcs, the movie ties it all together and gives it a purpose. The visuals are beautiful to take in, and I absolutely love the score- it’s perfectly contemplative and musing when it needs to be, and it isn’t afraid to take a more bold, heavy, or darkly triumphant approach during the action beats.

Across the board, the performances in this movie are excellent. Letitia Wright, who plays T’Challa’s sister Shuri, mainly stands out to me. The grief her character feels over losing her brother is incredibly palpable from an audience member’s perspective. Wright portrays it all in a very human way, showing multiple sides to her experience which allows the audience to connect and empathize with her character. Angela Bassett, too, is outstanding in this film. She commands the screen in every scene she is in, delivering a very graceful, yet broken, turn as a mother grieving the loss of her son while trying to manage a nation beset by threats on all sides. Danai Gurira is every bit the same strong, confident general she was in the first film, and Tenoch Huerta Mejia does a fantastic job of playing a villain who can be menacing when he needs to be, while also bearing a more sympathetic, understanding side. 

I don’t think Black Panther: Wakanda Forever is perfect, but it’s something I’d recommend watching. If I were to levy one criticism against this movie, it would be that there’s a fair amount of narrative that could have been removed. There are a few subplots that don’t provide as much to the overall story as I feel they needed to. That being said, I do think Black Panther: Wakanda Forever is a great movie that’s absolutely worth a trip to the cinema. It’s engaging, thrilling, and emotionally resonant in all the right ways, and I think it’s an experience everyone needs to have. 

The fate of Warner Brothers’ DC Extended Universe (or DCEU) has been a bit of a hot topic among film and comic book fans for a while. Many foundational actors and directors who played key roles in getting the franchise off the ground have left. The new induction of creative overseers at Warner Brothers has resulted in a lot of potential projects getting delayed or cancelled entirely to fit whatever grand design they have concocted. While there are a lot of questions that still need to be answered, the release of the next chapter in the saga, Black Adam, might help shine a light on where exactly the series can go from here. 

Black Adam is the next chapter in the ongoing story that is DCEU. When the demigod Teth-Adam (Dwayne “The Rock” Johnson) is awoken from thousands of years of slumber by citizens of Kahndaq who are in dire straits, he sets off on a warpath of revenge against their oppressors. This forces the Justice Society to mobilize and head out to prevent him from causing any serious damage.

Black Adam is by no means a film without flaw. I do believe the movie has its fair share of issues, which I will explain below. However, I do believe the film works as a whole-primarily because it zeroes in on why its audience paid for a ticket to see it in the first place: the action. This movie easily could have played it safe and given us very safe, straightforward fight scenes that don’t take many risks. However, it goes the extra mile by infusing the fights with a true sense of weight, using style and incredibly fluid camerawork to convey what is happening in a unique way. Every blow landed on a character feels like it is doing actual damage to him or her, which adds to the gravity of the scene and the film. All of this, combined with gritty, beautiful cinematography and a truly epic score, makes for a seriously entertaining viewing experience that allowed me to have a great time watching the film.

Dwayne Johnson is an actor who has built his name from playing himself in these kinds of movies, and Black Adam is no different. There are a few moments here and there where he offers a slightly more layered performance, but for the most part, I don’t feel his character ever rises above everything we have seen from him before. Pierce Brosnan, however, knocks it out of the park as Doctor Fate. I found his character to be incredibly cool, both in terms of his appearance and in how Brosnan carries himself in the role. There’s a lot of creative visual appeal that plays into how he is used in the action scenes, which I thought was awesome. Aldis Hodge, also brings a very collected sense of moral stoicism to his role as Hawkman, which I felt was a welcome addition to this film.

As much fun as I had with Black Adam, there are still a couple of things that I felt could have been improved. Apart from the action intros film, I personally found the story to be a bit predictable. A lot of the dialogue felt very cheesy, and I don’t think it quite meshes with the otherwise self-serious tone of the movie. Additionally, the villain- when we eventually do meet him-felt very unnecessary to the story, and the CGI surrounding him didn’t always look as good as I feel it should have. 

If you’re in the market for a big, loud, fun movie that you don’t have to think about too hard, I don’t think you could go wrong with Black Adam. It isn’t perfect, and it absolutely isn’t the kind of movie to win any big awards from this year’s Oscar season, but I had a very good time watching it. It still manages to be perfectly exhilarating, and because of this it felt like a breath of fresh air in the superhero genre-something I think we’ve needed for a good while.