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For this last column, I asked my friends to share a bit of what they’re looking forward to as a post-pandemic world starts to come into focus. They sent me songs of rumination, rest and, most of all, celebration. This is part 2; part 1 is available at tuftsdaily.com.
My firstcolumnhypothesized that anthems are endangered in a pandemic world. Here, Steph Hoechst highlights the moments when that thesis fails — while cooking a sultry candlelit dinner for one or getting all dressed up to strut across campus (to get tested for COVID-19). Being alone can be energizing and anthemic, and maybe even a little sexy.
COVID-19’s impact on the film industry has been well-publicized and well-debated. Across the country, most movie theaters closed during the various stages of lockdowns, and plenty of films’ productions and releases were delayed. Thankfully, many movies finished production, like Christopher McQuarrie's "Mission: Impossible 7" (2021) and Olivia Wilde’s “Don’t Worry Darling,” which is expected to be released in 2021. While some studios are holding off releases of their films for movie theaters, like Marvel’s “Black Widow” (2021), others made difficult decisions to release their content on streaming services. Warner Bros. in particular faced controversy when it announced that all of its 2021 films would be released in theaters and on its associated streaming service HBO Max simultaneously. This includes blockbusters like “Dune” (2021), “Space Jam: A New Legacy” (2021) and "The Suicide Squad” (2021). This decision certainly reflects our use of steaming services over this past year. But only time — and our COVID-19 vaccine distribution — will tell when audiences will return to movie theaters.
Billie Eilish is incredible in interviews. She’s poised, thoughtful, articulate and intensely self-reflective. Half an hour into “Billie Eilish: The World’s a Little Blurry” (2021), the Apple TV+ original documentary charting Eilish’s recording of her debut studio album “When We All Fall Asleep, Where Do We Go?” (2019), I was wondering, then, why the documentary didn’t seem at all interested in interviewing her. Over the course of the almost two-and-a-half-hour film, it became clear that director R. J. Cutler is more interested in showing us what’s behind all of those super-poised interviews: a teenage girl.
“Wow, another amazing, weird, wonderful Golden Globes,” co-host Amy Poehler said to wrap up the Golden Globes this Sunday. And weird it was. Meme-able Zoom fails, the “Emily in Paris” (2020) and "Prom" (2020) nomination debacle and the strangeness of watching Hollywood stars sitting at home in their living rooms decked out in full glam. Although, Jason Sudeikis notably accepted his award for Best Television Actor in a Musical or Comedy in an already-internet-famous tie-dye sweatshirt. This year’s Globes were weird, sure, but then again, when are they not?
Content warning: This article discusses death, murder, suicide, violence and mental illness.
While the holiday season is going to look a little different this year, your ability to watch classic holiday films from the safety of your residence prevails. Here's what the Arts & Pop Culture editors have to say about their favorite holiday movies:
Content warning: This article mentions addiction and substance abuse.
A lot of Sofia Coppola’s new film “On the Rocks” (2020) is, as its name suggests, Rashida Jones and Bill Murray talking over drinks in classy, dimly lit New York establishments. And while they’re numerous, these scenes were some of the most engaging for the same reason that the film itself is engaging — it allows for space to breathe. “On The Rocks” is deeply introspective without being preachy, slow without feeling tiresome and unconventional without feeling too gimmicky. Its concept may not be revolutionary, but “On The Rocks” delivers an insightful, oftentimes quite funny look into the ruts of adulthood, and the sometimes extreme lengths we find ourselves going to escape them.
“I treat media as a large social subconscious,” Catherine Martin said of her work in media studies. “We deal with different, changing ideas through media, especially TV.”
From New Yorkerthink pieces to tik toks simping for Kuvira, the internet has made it clear how strongly Nickelodeon's “Avatar: The Last Airbender” (2005–2008) and “The Legend of Korra” (2012–2014) have recaptured the public’s attention this past summer after both series landed on Netflix. Considering that “Avatar” first debuted over 15 years ago, it hardly seems the candidate to make such a strong comeback as (technically) a children’s show. However, its newfound popularity –– along with “Korra,” its sequel/spinoff series –– proves not only their mastery of TV storytelling but their timelessness and relevance of cultural commentary.
In the world of “Ted Lasso” (2020–), positivity trumps all — a well-worded pep talk, a heartfelt apology or a can-do attitude can usually right any wrong. So goes the philosophy of the most recent Apple TV+ comedy, whose commitment to feel-good stories greeted us with open arms beginning in the middle of a harrowing summer.
In the past five years, Comic Relief, a comedy group for students of color, and TFL, a comedy group for marginalized gender identities in comedy, have emerged as a way to provide a space for traditionally underrepresented voices in comedy.
The success of recent titles like “Big Mouth” (2017–), “Eighth Grade” (2018) and “Sex Education” (2019–) makes it clear: raunchy coming-of-age cringe comedies are having a well-deserved moment, taking an unfiltered look at the nasty realities of adolescence with unprecedented aplomb. “PEN15” (2019–), whose first seven episodes of Season 2 dropped on Hulu onFriday (with the second half slated for 2021), is no different; its first season tackled masturbation, drugs and alcohol, first kisses, divorcing parents and internet boyfriends with searing comedy, yes, but, like “Eighth Grade,” differentiates itself from a show like “Big Mouth” by letting its comedy take the back seat once in a while to examine some of its harder truths. The first half of Season 2 builds on the strength of its first season to deliver even more of these emotional gut punches throughout while, of course, still remaining uproariously funny.
Theatre, Dance, and Performance Studies
To be more deliberate with my time and help diversify my literary world, I committed to only reading authors of color during my quarantine time and throughout 2020. I first read April Sinclair's“Coffee Will Make You Black” (1994) and “The Autobiography of Malcolm X” (1965). Two very different books, but both so important to read. The first is a fictional story told from a young girl's point of view as she examines colorism and her own femininity and sexuality. Malcolm X’s autobiography paralyzed me with the knowledge that I did not actually know anything about this crucial and complex man before, and I am so glad that I was able to really learn about him now. I journeyed from Malcolm X to James Baldwin’s “The Fire Next Time” (1963), a perfect follow-up to the autobiography as Baldwindiscusses Malcolm X and the Nation of Islam in this short nonfiction piece. Staying on the nonfiction side of things, I read “Between the World and Me” (2015), a striking and important letter written by a father to his son about holding on to his Black body. Ready for some fiction, I consumed “Kindred” (1979) by Octavia E. Butler and “A Mercy” (2008) by Toni Morrison both in a span of two days. Most recently, I have read “Girl, Woman, Other” (2019) by Bernardine Evaristo which was a simply stunning composition weaving together so many non-male Black lives and experiences into one complete and breathtaking story. Celeste Ng's“Little Fires Everywhere” (2017) is currently on my bedside table, along with “In the Castle of My Skin” (1953) by George Lamming and “On Beauty” (2005) by Zadie Smith.
Graduating senior Rachel Napoliello didn’t start her Tufts career knowing she wanted to pursue filmmaking.
It’s remarkable how little “Animal Crossing” has changed since the first installment dropped in the U.S. in 2002. In the 18 years since, its relaxing, wholesome, open-ended, short-daily-play-sessions formula has stood the test of time — everything from paying off your debt to Tom Nook to the ability to decorate your own home to the fishing and bug-catching into which any longtime “Animal Crossing” player has probably sunk a borderline-worrying number of hours. The somehow both addicting and soothing gameplay of maintaining and improving your town — a welcome return to a sense of normalcy given the current circumstances — clearly has worked and will continue to work for “Animal Crossing.”