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Savannah Brown’s latest poetry collection, “Closer Baby Closer,” envisions a definition of love that is not exclusively romantic. Her poems of timid love focus on relationships, time and mere existence. She writes with a youthful lens and styles her feelings in a coming of age collection of poetry. With ambitious and wide-scoped imagery, Brown’s work hangs onto her youthful years.
Gracie Abrams’s debut album “Good Riddance” captures the feelings of responsibility and powerlessness that come after accepting that you were the problem in a situation. This honesty is heartbreaking — as Abrams creates songs of acceptance and loss that anyone can relate to. As a fan of similar artists, I immediately connected to her lyricism: Her vulnerability is unmatched as she reflects on what it feels like to be the villain in a relationship. Released on Feb. 24, 2023, this is Abrams’s first full album, following a series of successful singles and her “This Is What It Feels Like” EP, which was released in November 2021. Abrams has been steadily growing in popularity with her well-received singles — including “I miss you, I’m sorry” and she is going to be opening for the Taylor Swift Eras Tour at certain tour locations.
I, first and foremost, identify as a voracious consumer of romantic comedies. As far as cinematic experiences go, I am unashamed to announce that one of my best memories was watching “Bridget Jones’s Diary” while sprawled on my sofa, a pack of Pringles in my left hand and a can of Diet Coke in my right. As such, I always approach the release of new rom-coms with a degree of excitement — eager to see whether any new rom-com can make it into my list of favorites (which, as you might guess, is currently topped by “Bridget Jones’s Diary”). This week, I sat down with high hopes for “Your Place or Mine,” a Netflix original starring Reese Witherspoon and Ashton Kutcher.
On Thursday, Feb. 23, the Dartmouth Symphony Orchestra will perform its annual winter concert at 8 p.m. in Rollins Chapel. Under the direction of Filippo Ciabatti, the DSO will be playing an all-string repertoire, including Samuel Barber’s “Adagio for Strings,” Tchaikovsky’s “Serenade for Strings” and Shostakovich’s “Chamber Symphony Op. 110a.”
I was first introduced to Måneskin on my Theatre foreign study program in London; their high-energy dance songs characterized my summer. Since then, the band has been a favorite of mine. Måneskin’s music never ceases to bring energy to any space when played. Past favorites like “I WANNA BE YOUR SLAVE” and their cover of The Four Seasons’ “Beggin’” will always have a place on my more upbeat playlists.
The new movie “M3GAN,” which was released on Jan. 6, 2023, assembles the (un)holy trinity from horror film hell. We have producers James Wan, who directed “The Conjuring” franchise, and Blumhouse Productions’ Jason Blum in addition to “Housebound” director Gerard Johnstone, all working together to write about an eerie doll. Working off a screenplay from American Horror Story screenwriter Akela Cooper, M3GAN seems to be striking horror celluloid gold. So far, so scary.
What if I told you that all of the intersecting pathways on the Green actually formed a protective pattern to ward off evil spirits? In Leigh Bardugo’s new novel “Hell Bent” — the highly anticipated sequel to the fantasy hit, “Ninth House” — that is the uncanny truth behind the central quad at Yale University.
On Dec. 23, 2022, Damien Chazelle, the director of “La La Land,” released “Babylon.” The nearly three-hour film has one indisputable quality: an ability to spur a fierce response, good or bad, from all its viewers. Slate deems “Babylon” a “defecating elephant of a movie,” while BBC instead describes it as a “cinematic marvel.”
As a new cast member of Saturday Night Live, Michael Longfellow has recently gained recognition for performing in skits alongside veteran comedians like Cecily Strong and Kenan Thompson on the late-night comedy show. On Friday, Jan. 13 at 9 p.m., Longfellow will take the stage as a solo act to perform stand-up comedy at Dartmouth. Organized by the Programming Board, the show will take place at Common Ground in the Collis Center and is free of charge for all members of the College.
If you’re planning a redemption arc that includes petty revenge, you won’t regret letting “SOS” be its soundtrack. SZA’s new album is an impressive 23 song long turmoil of love, lust, vengeance, retribution — and, ultimately, satisfaction — that begs to be played at top volume.
On Aug. 12, 2022, world renowned Indian-British-American author Salman Rushdie was stabbed repeatedly in an assassination attempt at a conference in New York. He was slated to present his thoughts on freedom of speech as an exiled author in America. He was initially exiled from Iran and targeted due to his depiction of the Prophet Muhammed in his book “The Satanic Verses,” which was released in 1988. Growing up in a liberal Muslim family, Rushdie now firmly considers himself to be an atheist — a conversion which is not taken lightly in the Islamic faith.
David O. Russell’s latest film, “Amsterdam,” is — at its core — a historical comedy and conspiracy thriller that dives into the power of friendship and loyalty. Set primarily in 1930s New York against a backdrop of social and racial inequality, the film touches on issues of post-traumatic stress disorder, white supremacy and the rise of American fascism. Though the overarching theme is a comforting message of the value or relationships in uncertain times, this is lost due to the film’s poor pacing and timeline which is difficult to follow.
“It Starts With Us” is Colleen Hoover’s sequel to her best-selling novel and BookTok sensation, “It Ends With Us.” The sequel begins directly after “It Ends With Us” and brings the reader through the intricacies of life after divorce and domestic abuse. “It Starts With Us” is a lighter read than its predecessor, allowing the reader to experience Atlas and Lily’s relationship as they navigate divorce, found family and starting a new life after abuse. In many ways, Hoover presents a “second-chance” romance that alternates between Atlas’s and Lily’s points of views. “It Ends With Us” must be read first in order to fully understand the magnitude of some of the trivial events in “It Starts With Us.”
As an avid “Game of Thrones” fan, I have been counting down the minutes to its highly anticipated prequel, “House of the Dragon,” since its announcement in 2019. Like many “Game of Thrones” fans, I was wildly disappointed by its unfulfilling finale that left me irrationally angry; a rushed ending that throws away about eight seasons of character development is no way to reward fans for their dedication. Even so, I was excited to restart my obsession with the “Game of Thrones” world — now with new characters, romances and drama.
Like many others, I have grown up with each new Taylor Swift album. Her new album “Midnights,” released on Oct. 21, is no exception. With “Midnights,” Swift transitions out of the acoustic sound which characterized her three most recent releases. The album felt different from my expectations, but upon the second listen I genuinely enjoyed it. It’s a unique sound and aesthetic for Taylor Swift, establishing a truly new era. The songs span a wide variety of topics so that nearly everyone can relate to something in the album.
Growing up in a desert city, I never thought that I would be so deeply connected to an album written about a small town in Vermont. Yet, Noah Kahan’s “Stick Season,” released on Oct. 14, perfectly embodies the transitional period between fall and winter in New England — something Dartmouth students are all too familiar with. For the Dartmouth community, this album is already a community treasure: Kahan graduated from Hanover High School and draws on his upbringings in Strafford, Vt. and Hanover in the album. Whether a New England native or someone who has never visited, Kahan has created widespread nostalgia for the region through the album.
Jennifer Kaytin Robinson’s “Do Revenge” is a complex film filled with contradictions. The film contains a serious premise, but treated playfully. The story feels classic and yet the spin is modern. But, the further you analyse “Do Revenge” and the climate it’s set in, the more sense it starts to make.
On Sept. 16, Rina Sawayama released her second studio album, “Hold the Girl,” containing 13 songs. The album’s reception immediately reflected the acclaim the Japanese-British artist gained following the release of her first album, “Sawayama.” “Hold the Girl” debuted at number three on the U.K. Album Charts and marked Sawayama’s first entry on the U.S. Billboard 200. Although not quite a chart topper yet, Sawayama has amassed an audience of dedicated fans, and after listening to this new album, I can safely count myself among them.
On Sept. 3, the Hood Museum of Art debuted its newest exhibition: “Maḏayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala.” Organized by the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia in partnership with the Bukularrngay Mulka Centre in Australia, “Maḏayin” makes history as both the first major exhibition of Aboriginal Australian art in the United States and the largest display of Aboriginal Australian art in the Western Hemisphere in 30 years.
Since its inception, Olivia Wilde’s highly anticipated thriller “Don’t Worry Darling” has taken the internet by storm, unleashing an avalanche of rumors on social media — including, most notably, lead actress Florence Pugh’s alleged feud with Wilde and lack of involvement with promotion. Despite this drama, I entered an empty Nugget Theater with optimism. The film has an admittedly impressive cast — with notable names like Harry Styles, Gemma Chan, Chris Pine and more — and is directed by the celebrated Olivia Wilde, acclaimed for her debut movie, “Booksmart.” I wondered: When stripped of its social-media buzz, will “Don’t Worry Darling” still succeed?
