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Although Dan Erickson’s “Severance” is rife with cynicism and corporate humor, it differs drastically from a workplace satire. “Severance” is ultimately a work of science fiction. The show grants insight into the depths of human psychology and emotion.
“L’Absinthe” by Edgar Degas. “Tired” by Ramón Casas. “The Wedding Dress” by Frederick Elwell. These are the portrayals of women experiencing extreme despair that inspired Michelle Zauner in the production of Japanese Breakfast’s new album, “For Melancholy Brunettes (& sad women),” which was released on March 21.
In the spirit of the saying “if it ain’t broke, don’t fix it,” the “White Lotus” season premiere — “Same Spirits, New Forms” — delivers exactly what its title promises. For those unfamiliar, the “spirit” of the White Lotus television series centers around a luxury resort enterprise functioning as a cultural refuge for the hyper-rich. Far from broke, the Emmy award-winning first and second seasons of “White Lotus” cemented themselves in the zeitgeist as a satirical exploration of America’s ever-expanding wealth gap. Each season thus far has transformed the serene utopia of a Four Seasons property into a crime scene where everything that can go wrong, does, and where somebody innocent is sure to end up dead.
If controversy begets conversation, then on Sunday, the Caesars Superdome in New Orleans, La. hosted a performance primed for discussion. The Super Bowl halftime show is meant to appeal to the masses, which is why, for many viewers, Kendrick Lamar’s performance fell short — its dense, politically-charged messaging went against the mainstream audience’s expectations. However, I think the 13-minute set undoubtedly stood as a testament to a storyteller’s showmanship.
Few films engage with architecture like “The Brutalist” does. In the film, director Brady Corbet does not relegate architecture to the background but instead explores it through the experience of a Holocaust refugee.
Following a very unexpected twist of events, my friends and I found ourselves at Chappell Roan’s last European concert for the Midwest Princess Tour on Sept. 23, during our time on the Berlin Foreign Study Program. Held at the Velodrom arena, the show replaced an earlier concert she had to cancel and drew a crowd of around 12,000 people — her largest audience outside of a festival to date. The atmosphere was a celebration of her creative vision. Many in the audience dressed like Roan herself, fully embracing the bold, vibrant fashion from her music videos. One person wore a pink cowboy outfit complete with glitter boots, while another sported an angel costume with a heart-patterned skirt and heart-shaped makeup accents. The attention to detail in their looks made the entire experience feel like a living, breathing extension of Roan’s art.
“Twisters,” a stand-alone sequel to the 1996 blockbuster “Twister,” raises the question, Can sequels recreate the magic of a classic?
The Parish Players did an excellent job with Sam Shepard’s “Buried Child,” a strange play about masculinity, family and a forgotten America. I saw the play in Thetford, Vt., on Aug. 3 and was struck by the quality of the acting and the poetry of Shepard’s writing.
A mystery of identity, family and a river keep the reader rapt throughout Morgan Talty ’16’s debut novel, “Fire Exit.”
Director of cult favorites “The Favorite” and “Poor Things,” Yorgos Lanthimos’s “Kinds of Kindness” is a cruel contemplation on the painful sacrifices we make to get what we want. The film asks: Are we controlled by our desires? And how much control do we give to those who hold the key?
If you’re anything like me, you’ve been waiting for the latest season of “Bridgerton” for two years, one month and 21 days. The series, co-produced by Netflix and Shondaland, probably needs no introduction, given that season three has enjoyed six consecutive weeks on Netflix’s top 10 list, with five weeks in the number one seat.
Time flies when it comes to animated masterpieces. It feels like just yesterday we were introduced to the colorful emotions inside Riley’s head in Pixar’s “Inside Out.” But, believe it or not, it’s been nine years since we first met Anger, Disgust, Fear, Joy and Sadness. On June 14, Pixar brought us “Inside Out 2,” a sequel that delves even deeper into the complexities of growing up.
“Challengers” — a new film starring Zendaya as tennis pro Tashi — is sexy, daring and weird. I have an inclination toward such movies, so it comes as no surprise that I loved this one.
“You look like Taylor Swift / In this light, we’re lovin’ it / You’ve got edge, she never did / The future’s bright, dazzling.”
I first listened to Fred Again during my study abroad in London last fall — late to the game. Fred Gibson, a British record producer and DJ, initially rose to fame during the COVID-19 pandemic, when global internet users sought comfort in the absurdity of solo jamming through what felt like the end of the world.
On April 5, Conan Gray unveiled his third studio album, “Found Heaven.” Co-produced by Max Martin (Taylor Swift’s “1989”), Greg Kurstin (Adele’s “25”) and Shawn Everett (Alabama Shakes’ “Sound & Color”), the album contains 13 reminiscent and multifaceted tracks. Gray has been a prominent figure in the music industry since his breakthrough in 2017, when he released his debut single “Idle Town” — which received millions of views on YouTube within months of its release. Since then, Gray has captivated audiences worldwide with his candid and introspective songwriting, which captures the nuances of young adulthood with a rare sincerity. As Gray continues to carve his path in the music world, “Found Heaven” serves as a testament to his growth and artistic prowess.
In the 2023 documentary “20 Days in Mariupol,” produced by Frontline PBS and the Associated Press, director Mstyslav Chernov documents the atrocities of the war in Ukraine. The Academy Award-winning film focuses on civilian experiences in Mariupol and follows a team of Ukrainian AP journalists in the besieged city during the early days of Russia’s invasion. The documentary highlights the human cost of conflict and appeals to viewers’ humanity, making it an especially relevant watch as the war continues.
Brimming with dark humor and painfully unaware characters, R.F. Kuang’s novel “Yellowface” is a satire that unpacks the difficulty of being an Asian writer in today’s industry. The novel evokes instances of white authors profiting from writing stories about the suffering of non-white communities and real-life, race-based literary controversies — like the “Who is the Bad Art Friend?” feud — a nearly decade-long dispute between writers Sonya Larson and Dawn Dorland regarding race, authorship and friendship that became publicized by the 2021 New York Times article of the same name. Thematically, “Yellowface” is entrenched in the current dialogue regarding the ownership of culture and identity in literature. To tell this tale, Kuang masterfully crafts the narration of her main character to create a voice that is both convincing and appalling.
This year’s Oscar-nominated, live-action shorts are some of the most compelling pieces of cinema that I have ever had the privilege of viewing. Each of the films shown at the Hopkins Center for the Arts’ screening of the program tells an unforgettable, emotional story that feels highly relevant amidst the tumultuous global events of today's world. The three shorts in this review gripped audiences for their ability to tell stories that showcase how characters process tragedy, trauma, and grief.
The new documentary “32 Sounds” premiered at Dartmouth in the Loew auditorium on Jan. 20, offering students and spectators a new way to experience sound. Though today’s college students never grew up with cassette tapes, record players or CDs, we interact with sound everyday without realizing it — particularly in the age of social media, with viral Tik Tok songs and sound bytes. Nonetheless, we rarely pay unparalleled attention to sound itself. Green’s newest film opened my eyes to the richness that sound adds to everyday life. His film underscores the importance of sound in preserving our most beloved, albeit fleeting, memories.