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There was a moment a few terms ago when I was trekking back home after another long night in the library. It was snowing and I was miserable and exhausted, my paper still unfinished, my anxiety acting up in full force. The walk from Baker-Berry to the Lodge was a long one, made even longer from the construction at the Hood Museum of Art and because the Hopkins Center for the Arts is closed after midnight. I remember stopping for a moment, looking at the empty street at 2 a.m. and thinking to myself that perhaps this would be a moment I would still remember and miss after my time here ends.
Netflix has been a boon for stand-up comedians these past few years, offering an enormous platform for artists whose work would have been a little more difficult to find for our generation of instant streamers. I fell into the rabbit hole of stand-up around the same time I started my Netflix subscription, which means for a while, I hadn’t done much else but listen to the upteenth comedian give a self-deprecating monologue.
The Oscars held its 91st annual ceremony on Sunday, awarding Hollywood’s most prestigious filmmaking awards to the best films of the year ... or that’s the idea, anyways.
Last Saturday, I went to watch the Hopkins Center’s screening of the collection of Oscar-nominated live-action short films without a clue of what I was getting into. I hadn’t looked up any of the films before my viewing, and in my innocence, I assumed that the brevity of the shorts meant they would toe the line between light-hearted and meaningful. They would not be too dark or bleak, I assured myself, before the lights went dim and the title card for the first short appeared on the screen.
There was a moment of collective solidarity on the Internet — which is really rare, considering it’s the Internet — when Fox announced the cancellation of “Brooklyn Nine-Nine” in May of 2018. Fans of the show, from Lin Manuel-Miranda to Guillermo del Toro, all tweeted their outrage, leading to the show’s resurrection at NBC a mere 31 hours after the announcement of its cancellation.
When I returned home for the winter holidays this past November, my parents announced on the drive back from the airport that we were moving out of the home we had lived in for the last 14 years. I reacted as anyone might after an abrupt announcement that they were losing their childhood home: nervous laughter, and then an incredulous “What?”
There’s an image in Lee Chang-dong’s “Burning” that I still see when I close my eyes at night: a little boy approaches a burning greenhouse. He is inexplicably dripping wet — with water? with gasoline? — and he stares at the flames in a trance.
Last June, Australian comedian Hannah Gadsby released her Netflix stand-up special “Nanette.” The show received critical acclaim and an entire literature of think-pieces, not because it was especially funny or because the jokes were radical (although they were), but because Gadsby used her special to question what it means to use self-deprecating comedy as a woman, a queer individual and as an “other” who exists in the margins.
I’ll be the first to admit it — I am not a gamer. I don’t know much about any specific kind of game, about the world of gaming or of gamers in general. In my rather narrowly-construed mind, video games have been limited to the chaotic fantasy reality of multiplayer games such as “World of Warcraft,” or the brutally one-note first person shooting games à la “Call of Duty.”
There’s crazy, there’s satire, there’s dystopian and then there’s “Sorry to Bother You.” Musician Boots Riley’s 2018 directorial debut takes place in an alternate universe’s Oakland — but don’t let the term “alternate universe” fool you. The film is a funhouse mirror for our world that only reflects everything going on in our reality.
In March of 1998, Dartmouth witnessed a historic summit on black theater, intended to address specific strategies to build and maintain black theater companies and institutions. Playwright August Wilson, whose work “Fences” won both a Pulitzer Prize and a Tony Award, led efforts to organize “On Golden Pond” during his time as a Montgomery Fellow at the College. In 2018, 20 years after the original summit, Dartmouth will once again host a summit on black theater this week from Sept. 26 to 29. The 2018 International Black Theatre Summit, titled “Breaking New Ground Where We Stand” in reference to Wilson’s famous speech “The Ground On Which I Stand,” will not only examine theater as a medium for black performance, but film and television as well.
A working-class woman meets an outrageously rich man, and they fall in love in much to the derision and outrage of the man’s family (mostly his mother).
This article was featured in the 2017 Freshman Issue.
In November 2015, Dartmouth announced the creation of a house system as part of the Moving Dartmouth Forward initiative, featuring six new house communities intended to serve as a residential life model for students. The approaching end of this summer term also marks the end of Dartmouth’s first year with housing communities and the changes these communities brought to the environment of the College.
As a film, “The Big Sick” is an unconventional addition to a long tradition of romantic comedies with memorable protagonists that include the likes of “When Harry Met Sally,” “Bridget Jones’s Diary” and “Notting Hill.” Kumail Nanjiani stars as Kumail, a character based on his early life as a standup comic who falls in love with psychology graduate student and quintessential girl next door, Emily, a somewhat underutilized Zoe Kazan, who is based on Nanjiani’s wife in real life, Emily Gordon. He battles family expectations, career mishaps and a cultural misunderstanding — as well as the fact that Emily falls into a coma halfway through the film.
At a 2010 Christmas party in New York, three Dartmouth alumni considered the dilemma of finding both the resources and space in the city to rehearse their new projects and ideas. Six years later, Matthew Cohn ’08, Thom Pasculli ’05 and Kate Mulley ’05 have returned to Dartmouth to open the fifth annual VoxFest, a week-long showcase of new projects by various alumni of the College’s Theater department that collaborate with faculty, students and locals of Hanover. Originating from its creators’ desire to workshop and rehearse in an open space, VoxFest has evolved as a way to connect alumni with students and expose students to different aspects of theater production, Cohn and Mulley said.
Bordeau returns for second stint at head of women’s rowing
This editors' note was featured in the Green Key 2017 Special Issue: "Awakening."
Physics and astronomy professor Robert Caldwell was one of 13 American theoretical physicists who was awarded a Simons Foundation fellowship in theoretical physics this year. The fellowship is designed to support sabbatical work for research in mathematics and physical sciences.
Out of a pool of 20,034 applications, 2,092 students were offered admission to the Class of 2021 last week. The acceptance rate was 10.4 percent, the lowest since 2013.