Morin: Screen Time
In her nineteenth chapter of "Mixed from Main," Morin says that cell phones know when we have had mid-terms.
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In her nineteenth chapter of "Mixed from Main," Morin says that cell phones know when we have had mid-terms.
At some point, every person has felt pressure to live up to some kind of expectation to fulfill a role and project an external image of ourselves to others.
Kelleen Moriarty ’19, the student director for the upcoming production of “The Glass Menagerie,” has been involved in theater since she was in middle school. According to Moriarty, when she first came to Dartmouth, she knew that she wanted to major in theater and eventually pursue it professionally, since theater was “the one thing” in her life she was “very sure” of.
Kareem ponders what to do with the mess outside of her door.
With the release of her new single “ME!” this past April 26, Taylor Swift has evolved once again. A bubbly and bright pop song, “ME!” marks Swift’s departure from the mood of her previous album, the inspired and aggressive “reputation,” and her persona’s transformation to the glaringly upbeat and pastel imagery of “ME!”
The film “Gloria Bell,” written and directed by Sebastián Lelio and starring Julianne Moore as the eponymous main character, is a meandering slice-of-life film beautifully unfolding what can only be called a coming-of-age film, only later in life. Gloria, the titular protagonist, is divorced, has an ordinary job and entertains herself by dancing in various nightclubs across Los Angeles and having unextraordinary interactions with her adult son and daughter. All of a sudden, a new romance blossoms for Gloria when Arnold, portrayed by John Turturro, picks her up at a nightclub. The two spend the night together and, at first, the relationship seems over just as quickly as it started — infinitely unimportant to Gloria. Her life is interesting with or without a lover, laced with subtle and grand disappointments such as her son’s wife abandoning him and their son, her daughter’s relationship with a Swedish big wave surfer, her work best friend’s imminent firing and her own mother squandering all the money left by Gloria’s father. The film treats such events with mundanity, as they are, after all, just parts of life. When Arnold calls Gloria to invite her on a date, it is clear she has forgotten him as much as the audience has, since she is caught up in her own life. We see Gloria answer the phone and respond, softly puzzled, “No, I’m not mad. Why would I be mad?’ Her nonchalance demonstrates her own self-contentment in life, based on a self-worth not rooted in someone else’s love or approval.
Warning: The following article contains spoilers for the film “Avengers: Endgame.”
Dedicated to all the parents who may or may not witness shenanigans on Webster Ave. this weekend.
It’s been almost four years since Cage the Elephant released their Grammy-winning album “Tell Me I’m Pretty,” and in that time, frontman Matt Shultz suffered the shocks of a tumultuous life . He endured a divorce from his wife Juliette Buchs along with the suicides of two close friends , and that despair became the impetus for Cage’s fifth studio album, “Social Cues,” released on April 19.
The Duo rollout turns religious.
Museums originated from Western collectors displaying “artifacts” from other cultures. Indeed, many items in museum collections are there because they were donated by collectors of such “ethnic” artifacts. So, given this early practice of showcasing travels, conquest and wealth, what is the responsibility of the museum today? Do museums have an obligation to educate the public about other cultures and their history? Even if that position were the consensus, which it is far from being, there is still more discourse about whether or not an institution should be the final proprietor of knowledge that originates from indigenous communities and how a museum should fulfill its purpose if it should not be. For example, some are pushing museums to consult with indigenous communities to make curatorial decisions.
At the beginning of this term, I noticed just how much stuff I had accumulated after several years of dorm life in a boarding school. I have used all of my closets and other storage spaces to the fullest, yet, I still have many books, jackets, random electronic devices and documents on the floor. Sometimes, I struggle to dig out the t-shirt I want to wear because my closet is literally full of clothes; other times I am tripped by the Amazon boxes on the ground or I cannot find the right cable among millions of cables all of which have become so intertwined that they may never be separated from each other. This is what a pair of filmmakers called the “Minimalists” refer to as “clutter.”
Reaching its 40th anniversary this year, “Alien,” directed by Ridley Scott, is widely regarded as one of the most influential sci-fi/fantasy films of all times. The film’s symbolism, grand setting, relatable extraterrestrial horror and the metaphysical questions it raises all contribute to a complex and thrilling viewing experience. Forty years since its release, the movie’s profound message still echoes with human identity and remains relevant today. As a devout “Alien” fan, I will review “Alien,” the first movie of the namesake series, but I will also provide a brief guide on the correct sequential order in which to watch the iconic movie franchise.
In the eighteenth chapter of "Mixed from Maine," Morin observes the campus-wide struggle of balancing work and leisure.
“Avengers: Endgame” is one of those odd films that everyone wants to talk about, but, in a sense, no one does. Fans fear that critics will spoil the experience for them, and critics fear the wrath of these fans, resulting in a cycle that does its very best to curtail any actual conversation about the film or its content. Thus, while I will certainly strive to avoid spoilers throughout this review, I always want to talk about some of the thematic and narrative implications of the film. To paraphrase video essayist Dan Olson, if you don’t want spoilers for “Avengers: Endgame,” don’t go see “Avengers: Endgame” because it is wall to wall with spoilers for “Avengers: Endgame.”
Reflecting on the change of seasons.
The CW Network’s show, “Crazy Ex-Girlfriend” has been my favorite TV show since I binged the first three seasons of it last term, which is also when I learned that the next season to my newfound favorite would be its last. My experiences with last seasons for personal favorites in television have not been great, so I was nervous and disappointed about the end to a TV gem that I had just discovered. Luckily, the fourth season of the show was yet another strong addition of a chapter in the protagonist’s journey of self-acceptance and learning to navigate personal relationships, while also fulfilling its role as a final season well by tying the story together in a satisfying conclusion.
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The Hood Museum is currently exhibiting the student-curated show “Consent: Complicating Agency in Photography,” featuring photographs that visualize the subject of consent. The exhibition was curated by 2017-18 Hood senior interns Gina Campanelli ’18, Marie-Therese Cummings ’18, Ashley Dotson ’18, Tess McGuinness ’18 and Kimberly Yu ’18, and displays a collection of photographs procured through the Hood’s Museum Collecting 101 program, in which students curate photographic works to the Hood Museum. The exhibition is the first to be displayed at the renovated Hood Museum as part of the student-curated “A Space for Dialogue” series.