Did you know that Will and Jada Pinkett Smith have been separated since 2016? Or that Chris Rock had asked Jada out pre-Oscars slap, thinking she and Will were getting a divorce?
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At least 250 students staged a walkout and 10-hour sit-in at the Mayer Campus Center in support of Palestine on Thursday. The protest was organized by the newly formed Coalition for Palestinian Liberation.
From March 31 to April 9, queer cinema invaded theaters across the Boston area. From bigger venues like the Museum of Fine Arts and the Institute of Contemporary Art to smaller film locales like the Brattle Theatre, Wicked Queer film festival put LGBTQ+ stories on the silver screen. With feature films and shorts alike, the festival provided a rare opportunity for queer filmmaking to take the spotlight.
Supreme Court journalist Dahlia Lithwick talks social justice, judicial activism at Solomont Speaker Series event￼
Writer and podcast host Dahlia Lithwick visited Tufts as part of Tisch College’s Solomont Speaker Series. In conversation with Dr. Nancy Thomas, founding director of Tisch College’s Institute for Democracy & Higher Education, Lithwick discussed her new book, “Lady Justice: Women, the Law, and the Battle to Save America,” as well as several women who have changed judicial history.
Flo Rida, Cheat Codes and Charlie Curtis-Beard will perform at Spring Fling, Tufts University Social Collective announced on March 29. The annual concert will be held on April 29, and tickets will be available starting April 18.
‘Ukraine: Connected Histories & Vibrant Cultures’ brings Ukrainian cultural history to Tisch Library
After one full year of fighting during the Russian invasion of Ukraine, Tisch Library has premiered a new exhibit emboldening and empowering Ukrainian heritage. Located right at the library’s entry point, the collection calls on students and faculty to learn more about the region’s cultural history, free from the rampant Russification of Anglo-American scholarship.
Over 100 students, workers and union leaders rallied for a new contract for Tufts Dining Services union employees outside the Mayer Campus Center on March 1.
Editor’s note: The Daily’s editorial department acknowledges that this article is premised on a conflict of interest. This article is a special feature for Daily Week that does not represent the Daily’s standard journalistic practices.
Students and community members gathered outside of the Gantcher Center on Feb. 10 to protest student recruitment at the career fair by military-industrial organizations. Sponsored by the Tufts Career Center, the fair featured booths from defense organizations like The MITRE Corporation, MIT Lincoln Laboratory and the U.S. Army New England, among other non-military organizations.
With its luxury cars and multimillion dollar houses, reality television often functions as a sort of wealth porn. They flaunt their extravagances, and we eat it up bite by bite. There’s something more sinister there hiding under the Birkins and Ferraris, but audiences are happy to ignore it (so long as the show is pumped full of petty social drama). That is, until those crimes are put on gross public display.
Nearly five years after its seismic self-titled EP, boygenius has returned for its indie pop crown. Made up of Julien Baker, Phoebe Bridgers and Lucy Dacus, the trio was known for their rock-infused melodies and biting lyricism. Those words stung in their beauty and sincerity. Take one of their leading hits from 2018, “Me & My Dog,” in which the girl group croons, “I wanna be emaciated / I wanna hear one song without thinking of you / I wish I was on a spaceship / Just me and my dog and an impossible view.” With that sonic poetry under their belt, one would expect a grand return to the industry. And, if its three-song preview tells us anything, it’s that boygenius is coming back with a bang.
The Golden Globes have always been a bit of a peculiar entity. The categories seem nonsensical: What defines a drama, as opposed to a musical or comedy? Plus, with a virtually unrecognizable voting body (anyone ever heard of the Hollywood Foreign Press Association?), the awards given at the Globes were almost laughable. But as the only major awards show to serve alcoholic drinks tableside, the Globes were always a fun game of chance celebrity encounters and drunken speeches.
2022 was the year of music! We all had songs that drew us in, entering our rotation and populating our playlists. For the end of the year, arts editors Henry, Jack, Ryan and Odessa list their top songs of 2022. As Odessa notes, “I literally write a K-pop column, what more were you expecting from me?”
Just in time for the end of 2022, our editors are revealing their top moments of culture for the year, from the films that rocked their worlds to the television shows that drew them in. For today’s ranking, arts editors Jack, Henry, Odessa and Ellie give their takes for the best albums of 2022. As Ellie notes, her list is “unsolicited and sometimes incorrect opinions from a girl whose No. 2 artist this year was Bo Burnham.”
We’re currently living through a chill-rock renaissance. That genre title may sound a bit quaint and a bit overblown, but it perfectly encapsulates just where modern rock music is headed. Think of artists like Omar Apollo, Dominic Fike or even Remi Wolf. They use traditional rock tropes but slow them down to create a more calming, smooth vibe. Add in some R&B influences, you’ve got yourself a new genre. And nobody is leading the chill-rock charge like Steve Lacy.
A gaggle of ultra-wealthy customers voyages to their private island restaurant, with courses and courses of whimsical fine dining in store. They’ll see bundles of microgreens, hits of foams and gelées, plus thousands of other incomprehensible words that are worth their weight in gold. The twist? They all must die by the end of the meal. Of course, that’s still unknown to the oblivious consumers as they set sail on their culinary dreamboat. The ensuing bloodshed and theatrics are left as a shocking dramatic irony, fated and yet unforeseen.
The “Funny Girl” casting debacle is likely the biggest headline-grabbing scandal to hit Broadway in the past 10 years. For those living under a rock (or without Twitter), here’s your brief crash course. Back in 2014, at the peak of the public fascination with “Glee” (2009–15), show creator Ryan Murphy purchased the rights to a possible Broadway revival of the Barbra Streisand classic “Funny Girl” (1968). But, perhaps thinking the world had seen enough of Lea Michele singing the show’s hits, Murphy held off from putting up the show. Then, in 2020, Glee co-star Samantha Ware accused Michele of racist bullying on set back in their “Glee” days. This led to a flurry of accusations and public comments, leaving Michele’s reputation undeniably stained. In 2021, it was announced that Beanie Feldstein would headline a Broadway revival of “Funny Girl.” After heart-wrenching reviews and disturbingly shrill promotional footage, the relationship between Feldstein and the show’s producers quickly became tense. With Feldstein taking an early leave from the show, her replacement, none other than Lea Michele herself just two years after her public cancellation, was quick to cause a stir.
It’s a crushing sight to see the first major-studio gay rom-com flop so publicly. “Bros” (2022) opened to a deeply underwhelming $4.8 million at the box office, cementing its fate as a failure in the public eye. Pundits and commentators alike have theorized on the shortcomings of the film, with creator Billy Eichner himself blaming that proverbial “homophobic weirdo.” So who’s to blame for this tragedy of queer media? The answer may be just about everyone.
Four seniors gathered around their ‘cauldron’ of a show, each adding their own ingredients and flair. The result was an experimental, redefined “Macbeth” (1623), which intentionally diverted from the standard practice of show-making. These seniors are Tatyana Emery, Caitlin Morley, Margaret Parish and Abi Steinberg. Coming together for the completion of Emery’s thesis and Morley’s and Steinberg’s capstone, the group struck down the traditional rehearsal process, eliminating the role of the director and reformulating the power structures within theater.