Arts

Arts

Michael Maggiore opens up about his budding career as ‘CheddaSK’

March 26

Thinking of Tufts’ music scene will typically bring to mind images of casual alt-rock bands, guitarists or the occasional party DJ. Most other genres, though present, may seem underrepresented on a campus in which few students aim to pursue their art as a full-time career. That’s why senior Michael Maggiore stands out in the crowd, going where very few Jumbos have gone before: head first into the hip-hop game. Maggiore, otherwise known as CheddaSK, is making a name for himself as a rapper both on and off campus. With his new album “Forever Changed” out this week and a tour lined up post-graduation, Maggiore hopes to carve a new path in the hip-hop industry as both a businessman and artist.So, who is CheddaSK? Maggiore wants to make one thing clear: He does not subscribe to a specific genre of music. For him, originality is paramount. “I hate being stereotyped into one category, and I don’t need a genre tag,” he said. “I am interested in doing this for longevity, to make something new and do my own thing.” His influences are certainly in line with this mentality, spanning a broad, cross-genre spectrum that includes Drake, A Tribe Called Quest, Miles Davis and Dashboard Confessional, to name a few. “I have a ton of jazz artists I look to for inspiration, and, believe it or not, I like hardcore rock, too — even on the verge of screamo,” he explained. “Anything from African tribal music to Taylor Swift. I don’t rule anything out.” His inspirations are not the only unique part of his creative process. The themes Maggiore explores in his own music set him apart from many peers in the hip-hop world. “What I believe in above all else is putting out a vibe of positive energy and hopefulness,” he said. The fledgling artist formally started crafting his sound during his sophomore year, when he met his best friend, Brooklyn-based music producer Mike Irish. But music has been a passion for Maggiore since his high school days. “I went to boarding school, and my roommate was a huge hip-hop head,” he said. “That stayed with me through college, when I made mixtapes on GarageBand and started freestyling at parties. People kept saying, ‘You should do this for real!’ and that’s when it just ... clicked.” Maggiore has been all in ever since, diving into the industry with unrelenting zeal.Getting mixed up, for better or worse Maggiore’s experience at Tufts is certainly a unique one and is what he cites as the primary influence for his body of work. Stemming from a near-death incident that occurred while studying abroad in Buenos Aires, Maggiore’s now-positive brand and outlook are products of a darker time in his life. “I was walking home one night alone, [and] I got totally lost in a bad area,” he said. “I was [attacked] by three guys with a very anti-American sentiment ... From that moment on, I had a changed perspective on everything.” Maggiore recalled being beaten, held up at gunpoint and robbed on the street as he struggled to escape to his host family’s home. For the next year, his internalization of the resulting pervasive fear he felt took a toll on his friendships, relationships and schoolwork. With an unsatisfying stint coaching lacrosse and a sudden inability to express his emotional state, he found himself struggling to stay afloat. “When I came back to school, everything and everyone was the same, but I was so different,” Maggiore said, expressing his frustration with his lack of a fulfilling outlet. “It was all too raw and too real.”Light at the end of the tunnel What ultimately helped Maggiore get back on his feet and develop his identity as a musician was a fresh start in a new place. “I had taken a year off [from] making music, but over the next summer I went to Brooklyn for an internship and started working on my new CD,” he said. “I was rediscovering myself in a place where no one knew me. I felt reborn, channeling my emotions through music, [both] sonically and lyrically.” Feeling inspired, Maggiore was able to shed his insecurity and share his story with producer and friend Irish. “I broke down and told him everything that happened to me and where I was mentally,” he said. “It was all way too much for me to handle on my own. I always wanted that support system, that rock. He was the one who gave me that through music.” 12

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Arts

‘Veronica Mars’ fans rewarded for patience, loyalty

March 26

Seven years after the cancellation of the short-lived, beloved cult show “Veronica Mars” (2004-2007) and a year after 90,000 fans donated $5.7 million in a groundbreaking Kickstarter campaign to fund a film version, “Veronica Mars” hit select theaters earlier this month. While fans of the series will be thrilled with the result, how newcomers will take to the film is unclear. The first few minutes of the movie offer a refresher on the show: Veronica Mars (Kristen Bell), a sassy, quick-witted teenage detective, once navigated her hostile high school and star-crossed relationships while tackling mysteries, murder and corruption in her town of Neptune, Calif. The film finds Veronica, 10 years later, living in New York, about to begin a promising law career and restarting a relationship with her third season flame Piz (Chris Lowell). She claims to have put Neptune and the private investigation business behind her. Cue the murder: a pop star is found dead in her bathtub and the woman’s boyfriend, who happens to be Veronica’s tormented ex Logan Echolls (Jason Dohring), is the primary suspect. Veronica flies back to Neptune to help clear Logan’s name — and quickly gets roped into attending a conveniently-timed Neptune High reunion. (Go Pirates!) The entire film, in fact, acts as a reunion for the show’s best characters. Writer, director and producer Rob Thomas has permitted each character to grow appropriately. Veronica’s best friend Wallace (Percy Daggs III) is now a teacher and basketball coach at Neptune High, computer genius Mac (Tina Majorino) works for Kane Software and former motorcycle gang leader and bad-boy Weevil (Francis Capra) is settled down with a wife and a daughter. Well, maybe not every character has changed — Logan’s best friend Dick Casablancas (Ryan Hansen) is still as hilarious and ridiculous as always, and the Regina George of Neptune High, Madison Sinclair (Amanda Noret), remains the epitome of unabashed privilege. The most interesting evolution, however, is that of Logan. On the show he was angsty, jealous and frequently violent. Since breaking up with Veronica, he has become a Navy officer, and the military has transformed him into a serious, disciplined individual. (Fear not, Logan fans: the quips and smirks are generally intact.) He remains dark and edgy, and still prefers to settle conflicts with a punch, but in many ways he is more open, caring and grateful. In other words, Logan is now someone who could conceivably have a healthy relationship with Veronica. (Their relationship on the show, while passionate, was always tumultuous and controversial.) Bell, as ever, is a fabulous, fierce lead and a joy to watch. Celebrity appearances from James Franco, Justin Long, Max Greenfield, Jamie Lee Curtis, Ira Glass and Bell’s husband Dax Shepard are also used to hilarious effect. The overarching theme is one of addiction: Just as the fans have been unable to let Veronica and company go, Veronica recognizes that she is a junkie who cannot get Neptune, Logan and the thrill of detective work out of her system. Can she do this one last job without getting hooked again? Can she accept a position at a law firm and the normalcy that it offers? The central plot of the film is hardly the mystery-to-end-all-mysteries, and it feels better suited to an hour of television than to a film. Its greatest triumph may be in allowing Veronica to finally save herself: On the show, although she solved the mysteries, she usually needed her father (Enrico Colantoni) or Logan to save her in critical moment. Here, she is entirely self-sufficient. The subplots all deserve greater development, particularly the corruption in the Neptune Sheriff’s department and Weevil’s wavering on the edge of reentry into gang life. Several additional movies would be needed to do any sort of justice to storylines lost in the seven years’ absence. The film also shies away from quite the same level of social commentary that made the show a standout; the series’ articulate handling of dark topics like rape, grief and abuse, as well as its attention to class tensions (though less so to race), set it apart from other teen shows of the same era. Ultimately, those who contributed to the Kickstarter campaign will receive exactly what they paid for: the chance to simply see these characters’ interactions, which were always the real highlight of the show. “Veronica Mars” is fantastically fun for fans, and it might even be enjoyable to newcomers to the series — but novices would be wise to watch at least some of the first season before checking out the film, as a full understanding of the references and relationships can make for a higher level experience.

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Arts

Michael Maggiore opens up about his budding career as 'CheddaSK'

March 26

Thinking of Tufts' music scene will typically bring to mind images of casual alt-rock bands, guitarists or the occasional party DJ. Most other genres, though present, may seem underrepresented on a campus in which few students aim to pursue their art as a full-time career. That's why senior Michael Maggiore stands out in the crowd, going where very few Jumbos have gone before: head first into the hip-hop game. Maggiore, otherwise known as CheddaSK, is making a name for himself as a rapper both on and off campus. With his new album "Forever Changed" out this week and a tour lined up post-graduation, Maggiore hopes to carve a new path in the hip-hop industry as both a businessman and artist.So, who is CheddaSK? Maggiore wants to make one thing clear: He does not subscribe to a specific genre of music. For him, originality is paramount. "I hate being stereotyped into one category, and I don't need a genre tag," he said. "I am interested in doing this for longevity, to make something new and do my own thing." His influences are certainly in line with this mentality, spanning a broad, cross-genre spectrum that includes Drake, A Tribe Called Quest, Miles Davis and Dashboard Confessional, to name a few. "I have a ton of jazz artists I look to for inspiration, and, believe it or not, I like hardcore rock, too - even on the verge of screamo," he explained. "Anything from African tribal music to Taylor Swift. I don't rule anything out." His inspirations are not the only unique part of his creative process. The themes Maggiore explores in his own music set him apart from many peers in the hip-hop world. "What I believe in above all else is putting out a vibe of positive energy and hopefulness," he said. The fledgling artist formally started crafting his sound during his sophomore year, when he met his best friend, Brooklyn-based music producer Mike Irish. But music has been a passion for Maggiore since his high school days. "I went to boarding school, and my roommate was a huge hip-hop head," he said. "That stayed with me through college, when I made mixtapes on GarageBand and started freestyling at parties. People kept saying, 'You should do this for real!' and that's when it just ... clicked." Maggiore has been all in ever since, diving into the industry with unrelenting zeal.Getting mixed up, for better or worse Maggiore's experience at Tufts is certainly a unique one and is what he cites as the primary influence for his body of work. Stemming from a near-death incident that occurred while studying abroad in Buenos Aires, Maggiore's now-positive brand and outlook are products of a darker time in his life. "I was walking home one night alone, [and] I got totally lost in a bad area," he said. "I was [attacked] by three guys with a very anti-American sentiment ... From that moment on, I had a changed perspective on everything." Maggiore recalled being beaten, held up at gunpoint and robbed on the street as he struggled to escape to his host family's home. For the next year, his internalization of the resulting pervasive fear he felt took a toll on his friendships, relationships and schoolwork. With an unsatisfying stint coaching lacrosse and a sudden inability to express his emotional state, he found himself struggling to stay afloat. "When I came back to school, everything and everyone was the same, but I was so different," Maggiore said, expressing his frustration with his lack of a fulfilling outlet. "It was all too raw and too real."Light at the end of the tunnel What ultimately helped Maggiore get back on his feet and develop his identity as a musician was a fresh start in a new place. "I had taken a year off [from] making music, but over the next summer I went to Brooklyn for an internship and started working on my new CD," he said. "I was rediscovering myself in a place where no one knew me. I felt reborn, channeling my emotions through music, [both] sonically and lyrically." Feeling inspired, Maggiore was able to shed his insecurity and share his story with producer and friend Irish. "I broke down and told him everything that happened to me and where I was mentally," he said. "It was all way too much for me to handle on my own. I always wanted that support system, that rock. He was the one who gave me that through music." 12

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Arts

‘The Lunchbox’ offers poignant food for thought

March 25

Food has been a cross-cultural symbol of togetherness since, at least, the time of the first Chinese New Year or the Last Supper. Many may recall the old clich? that the fastest way to a man’s heart is through his stomach. Ritesh Batra’s “The Lunchbox” breathes new life into this concept with its intriguing love story, emphasizing the bonding power of food amid a life of isolation and the importance of second chances. And as a potential side effect, audience members may crave Indian cuisine after viewing this artistic and emotional, if perhaps somewhat unsatisfying, romantic drama. The film tells the story of lonely housewife Ila (Nimrat Kaur) who tries to regain the affection of her distant husband (Nakul Vaid) with a special homemade meal. After discovering that the lunchbox she makes was accidentally delivered to Saajan (Irrfan Khan), an aging widower on the verge of retirement, Ila decides to write a note to accompany the following day’s meal, beginning a secret correspondence that rekindles the characters’ dreams and passion for life. Slowly, Ila and Saajan are motivated to become better people and to seize opportunities to improve their lives. If nothing else, the film is a beautiful, though sad, portrayal of urban Indian life. Candid shots of workers bustling through their daily lives bookend the movie and provide a real-life context. A persistent drum beat score keeps time with the fast-paced life of city laborers as the camera follows the lunchbox’s fateful journey through Mumbai’s elaborate lunch delivery system. The viewer understands the characters’ struggles to stay hopeful in such a mind-numbing and often melancholy environment. The film also succeeds in its many artistic moments. Scenes consistently cut back and forth between Ila and Saajan’s lives to show parallels and emphasize their mutual loneliness — simultaneously staring at the phone, reading each other’s notes in quiet, dressing for the day. In a particularly striking scene, Ila speaks with her husband about having another child in hopes of revitalizing their marriage. A mirror reflects her alone as she speaks to her aloof spouse, illuminating the sad reality of her situation. Ila is speaking to no one; the man she married is gone. Engaging characters are another strength of “The Lunchbox.” Even small contributions from Nawazuddin Siddiqui, as Shaikh, and Bharati Achrekar, as the unseen “Auntie,” add depth and humor to the film. Both Kaur and Khan as the main characters bring great skill and subtlety to their performances. Kaur proves a formidable actress in her debut role as a courageous and frustrated middle class mother. Khan, a Bollywood actor known in the United States for his starring roles in “Life of Pi” (2012) and “Slumdog Millionaire” (2008), expertly portrays a character that is gruff, yet compassionate and relatable. Frequent long shots capture both actors’ subdued moments of joy and loneliness, making their stories seem far more real and urgent than the typical romantic drama. Unfortunately, while often moving, these numerous drawn-out scenes cause the film to drag on for what feels a lot longer than its 104-minute running time, and many viewers may leave feeling unsatisfied with the story’s open ending. Moreover, “The Lunchbox” never seems to fully rise above its initial plot device. The idea of a love affair built on delicious food and anonymous notes passed through a lunchbox is intriguing, but filmmakers seemed to struggle to close the film in an unpredictable and pleasing way. An expertly crafted, family-friendly film, “The Lunchbox” is poignant and full of memorable characters. While some movie-goers are likely to feel a little disappointed at the film’s conclusion, it also deserves praise for its delicate and moving performances as well as its artistic form.

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Arts

Music Review | Tokyo Police Club reemerges after four years with new album ‘Forcefield’

March 25

In their first musical statement since 2011, Canadian alt-rockers Tokyo Police Club have just released a studio album, “Forcefield.” Having all but vanished from the zeitgeist of the indie music world, this — the band’s fourth studio album — is a highly anticipated release. For a group that has been absent for nearly four years, the challenge for Tokyo Police Club is to find a new relevant niche in today’s music scene. After gaining a small but loyal following with their abrasive but endearing 2008 debut “Elephant Shell,” and really coming into their own in their sophomore attempt “Champ” in 2010, the self-inflicted hiatus of the would-be indie wonder has proven particularly damaging. For fans of their previous work, “Forcefield” will feel like an alien production — an album with no clear origin or purpose. Tokyo Police Club seem to have jettisoned their boyish charms in order to seamlessly fit into the prevailing contemporary indie-pop genre. Unfortunately, this meant leaving behind most of the band’s personality and allure. “Champ,” the band’s second studio album, was full of personality and fun. The album drew listeners because of its lo-fi sonic aesthetic and fearless acceptance of the pop-punk genre. Songs like “Favourite Colour” and “Bambi” were weird, interesting and seemed to emanate directly from the four boys who were making the music. The sounds on both “Elephant Shell” and “Champ” were nostalgic — the songs were like the ones that your high school boyfriend’s band played, only better. After releasing “Champ,” Tokyo Police Club seemed poised to gain widespread recognition and explode onto the indie-punk scene with their slightly different, energetic musical style. However, after that album, the band stopped producing music — all but forcing fans to forget about their work. “Forcefield” represents a clear departure from the band’s old image. Most bizarrely, lead singer David Monks has lost his signature twang. Known for his gruff voice and interesting pronunciation, a possible relic of his Canadian roots, Monks has, on “Forcefield,” assumed a much more accessible and generic sound. In fact, subtle changes seem to have happened to every member of Tokyo Police Club. While their first two albums were littered with heavily distorted riffs, glaring synth and powerful pounding percussion, their latest release seems docile and unambitious in comparison. However, “Forcefield” is not a failure of an album. Indeed, many of the tracks are fun and easy listens. Songs like “Through the Wire” and “Feel the Effect” are perfectly suited for today’s sonic landscape; they are light and uncomplicated, not bogged down with any heady notions or grand attempts. The opening track, “Argentina (Parts I, II, III)” is a delight. Running just over eight minutes long, “Argentina” is effortless, twisting and turning sweetly and simply. Unfortunately, these songs, though written well and produced nicely, showcase nothing in the way of personality, creativity or vision. For a band that was absent for so long, the goal with “Forcefield” should have been to create one concise and unique sonic statement. Instead, Tokyo Police Club has produced a supremely generic album bereft of endearing lyrics and brazen musical elements. This attempt will be a highly disappointing listen for old fans of Tokyo Police Club and will hardly make a blip on the radar of those who are unfamiliar with the band’s work. Ultimately, “Forcefield” was a missed opportunity for Tokyo Police Club and, with any hope, the band will make a swift return to their origins, creating music that’s their own — endearing and pretty weird.

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Arts

Restaurant Review | Istanbul'lu offers quality food, fine dining experience

March 25

Teele Square's Istanbul'lu is by now a familiar sight to many Tufts students, whether they realize it or not. Joey riders pass the Turkish restaurant on the drive returning from Davis Square, but as eyes glaze over and the shuttle bus moves by the cluster of eateries that line the small intersection, how many wonder what lies behind the sunny yellow storefront and unassuming black door? The familiarity of the image puts passersby at risk of overlooking this small, but colorful local gem. Istanbul'lu is - in the best possible way - a classic hole-in-the-wall restaurant. Immediately upon crossing the threshold, a surprisingly intimate and bright interior greets patrons. Tiny tables and cramped, cushioned seats are perfect for small dining parties. On a Sunday evening, nearly every one is occupied. Obviously a favorite among Somerville residents, the place is friendly, with a unique flair. Above the cheerful chatter that fills Istanbul'lu, a radio plays loud pop tunes, a little at odds with the more serious aspects of the restaurant. Despite its small size and eclectic decoration, Istanbul'lu provides a quality dining experience. The menu boasts traditional Turkish fare bound to impress even the pickiest customers. Both vegetarians and meat-eaters have a wide selection from which to choose, and filling staples like yogurt, eggplant and vegetables make it unlikely that anyone will leave hungry. Best of all, these moderately healthy ingredients are crisp and flavorful, never bland or boring. The tapas selection should also not be overlooked. Divided on the menu between hot and cold plates, these small dishes are more substantial than your typical appetizer, and could suffice for a light meal. Among these, the Imam bayildi, baked baby eggplant stuffed with fresh peppers, onions and tomatoes, is a wonderful choice. Just the right touch of spice brightens the earthy flavor of the vegetables, combining familiarity and surprise to make for unexpected comfort food. The salads, too, are fresh and filling - two trademarks of the Istanbul'lu experience. No matter what you order for dinner, though, make sure not to miss the dessert. A freshly baked pastry, dripping with honey and dusted with crushed pistachios, is served warm. One downfall of the otherwise impressive menu is the occasionally steep prices. For instance, dinner entrees range from $14.50 to $19.50, though most hover between $16 and $18. While these prices are short of exorbitant, they might stretch the wallet of typical college student looking for a quick or simple bite to eat. For those who remain undiscouraged, however, it is best to visit Istanbul'lu with a friend and an adventurous spirit. Consider ordering one to two tapas and an entr?e or sharing several plates with friends, as many of the dishes go wonderfully together. The intimate atmosphere, too, makes Istanbul'lu perfect for a casual date. Conveniently, Istanbul'lu will also make orders to go, and delivers to Tufts students. While it might be habit to stroll past Istanbul'lu without a second glance on your next walk through Teele Square, this restaurant is worth a try for anyone looking for a fulfilling and flavorful meal. While prices might be a bit high for the average student, this local favorite offers unassuming charisma and quality food, two things that have charmed the handful of Tufts students and Somerville residents who have already discovered this local treasure. Istanbul'lu is located at 237 Holland Street and is open Tuesday through Wednesday from 5 p.m. to 10 p.m. Thursday through Sunday the restaurant is also open for brunch, opening at 11 a.m. They are closed Monday.

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Arts

Restaurant Review | Istanbul’lu offers quality food, fine dining experience

March 25

Teele Square’s Istanbul’lu is by now a familiar sight to many Tufts students, whether they realize it or not. Joey riders pass the Turkish restaurant on the drive returning from Davis Square, but as eyes glaze over and the shuttle bus moves by the cluster of eateries that line the small intersection, how many wonder what lies behind the sunny yellow storefront and unassuming black door? The familiarity of the image puts passersby at risk of overlooking this small, but colorful local gem. Istanbul’lu is — in the best possible way — a classic hole-in-the-wall restaurant. Immediately upon crossing the threshold, a surprisingly intimate and bright interior greets patrons. Tiny tables and cramped, cushioned seats are perfect for small dining parties. On a Sunday evening, nearly every one is occupied. Obviously a favorite among Somerville residents, the place is friendly, with a unique flair. Above the cheerful chatter that fills Istanbul’lu, a radio plays loud pop tunes, a little at odds with the more serious aspects of the restaurant. Despite its small size and eclectic decoration, Istanbul’lu provides a quality dining experience. The menu boasts traditional Turkish fare bound to impress even the pickiest customers. Both vegetarians and meat-eaters have a wide selection from which to choose, and filling staples like yogurt, eggplant and vegetables make it unlikely that anyone will leave hungry. Best of all, these moderately healthy ingredients are crisp and flavorful, never bland or boring. The tapas selection should also not be overlooked. Divided on the menu between hot and cold plates, these small dishes are more substantial than your typical appetizer, and could suffice for a light meal. Among these, the Imam bayildi, baked baby eggplant stuffed with fresh peppers, onions and tomatoes, is a wonderful choice. Just the right touch of spice brightens the earthy flavor of the vegetables, combining familiarity and surprise to make for unexpected comfort food. The salads, too, are fresh and filling — two trademarks of the Istanbul’lu experience. No matter what you order for dinner, though, make sure not to miss the dessert. A freshly baked pastry, dripping with honey and dusted with crushed pistachios, is served warm. One downfall of the otherwise impressive menu is the occasionally steep prices. For instance, dinner entrees range from $14.50 to $19.50, though most hover between $16 and $18. While these prices are short of exorbitant, they might stretch the wallet of typical college student looking for a quick or simple bite to eat. For those who remain undiscouraged, however, it is best to visit Istanbul’lu with a friend and an adventurous spirit. Consider ordering one to two tapas and an entr?e or sharing several plates with friends, as many of the dishes go wonderfully together. The intimate atmosphere, too, makes Istanbul’lu perfect for a casual date. Conveniently, Istanbul’lu will also make orders to go, and delivers to Tufts students. While it might be habit to stroll past Istanbul’lu without a second glance on your next walk through Teele Square, this restaurant is worth a try for anyone looking for a fulfilling and flavorful meal. While prices might be a bit high for the average student, this local favorite offers unassuming charisma and quality food, two things that have charmed the handful of Tufts students and Somerville residents who have already discovered this local treasure. Istanbul’lu is located at 237 Holland Street and is open Tuesday through Wednesday from 5 p.m. to 10 p.m. Thursday through Sunday the restaurant is also open for brunch, opening at 11 a.m. They are closed Monday.

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Arts

‘Divergent’ does book justice with focused plot, strong cast

March 24

Dystopian young adult novels have risen in popularity among teenagers and adults alike. The genre depicts future worlds with flawed governments and complex characters. Film studios have begun to transition these novels onto the big screen, but, for devout fans, the movie’s quality often does not equal that of the book. However, in “Divergent,” the movie is just as good, if not better, than the book.

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Arts

Interview: Maggie Q and Mekhi Phifer | ‘Divergent’ stars discuss preparing for their roles

March 24

Although Mekhi Phifer and Maggie Q are best known for their performances in TV series, the actresses can be seen on the big screen this month. Both star in the new film “Divergent,” based on the first book in Veronica Roth’s best-selling trilogy. Phifer, who has had roles on “ER” (1994-2009), “Lie to Me” (2009-2011) and “Torchwood” (2006-2011), and Q, of “Nikita” (2010-2013) fame, play, respectively, Max and Tori, members of the Dauntless faction in the dystopian film. The Daily participated in a college roundtable interview with Phifer and Q, in which they discussed the challenges of playing their roles, the adaptations made to the book and their experience filming.

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Arts

Interview: Maggie Q and Mekhi Phifer | 'Divergent' stars discuss preparing for their roles

March 24

Although Mekhi Phifer and Maggie Q are best known for their performances in TV series, the actresses can be seen on the big screen this month. Both star in the new film "Divergent," based on the first book in Veronica Roth's best-selling trilogy. Phifer, who has had roles on "ER" (1994-2009), "Lie to Me" (2009-2011) and "Torchwood" (2006-2011), and Q, of "Nikita" (2010-2013) fame, play, respectively, Max and Tori, members of the Dauntless faction in the dystopian film. The Daily participated in a college roundtable interview with Phifer and Q, in which they discussed the challenges of playing their roles, the adaptations made to the book and their experience filming.

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Arts

'Divergent' does book justice with focused plot, strong cast

March 24

Dystopian young adult novels have risen in popularity among teenagers and adults alike. The genre depicts future worlds with flawed governments and complex characters. Film studios have begun to transition these novels onto the big screen, but, for devout fans, the movie's quality often does not equal that of the book. However, in "Divergent," the movie is just as good, if not better, than the book.

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Arts

ABC Family teen drama ‘Pretty Little Liars’ strains credulity

March 13

“Pretty Little Liars” was never going to be a critical darling; it was never going to win Emmys or Golden Globes. It was the kind of show that, since its premiere in 2010, had been nothing more than a guilty pleasure, a teen drama -- the kind of show destined to take home surfboard after surfboard at the Teen Choice Awards. Considering these low expectations, it shouldn’t be surprising that the ABC Family series has abandoned any and all logic it may have, at some point, possessed. Indeed “Pretty Little Liars,” which started off as soapy fun, has plunged into the depths of ridiculousness with such unapologetic fervor that it is hard to imagine that it will ever be able to find a way out.

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Arts

Top Ten | Artsy things to do this spring break

March 12

Believe it or not, spring break is once again upon us. Ah, spring break: the only time of year that Florida isn't the worst state of all time. Though some of us will stay local and endure the overcast skies and chilly air of Medford and Somerville, many will head to tropical locales to enjoy the sun and surf. Whatever your situation, the Daily Arts Department has compiled a list of artsy activities for you to do while enjoy your week-long exotic siesta.

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Arts

Event Review | Ira Glass talks shop, power of storytelling

March 12

The Boston Celebrity Series presented its latest performance, "Ira Glass: Reinventing Radio," this past Sunday, continuing is 75-year long tradition of inviting talented performers from a variety of fields to Boston. On March 9, a packed house at Symphony Hall gathered to see a man with a familiar voice: Glass is the host of the wildly successful radio program, "This American Life," which has been nationally syndicated since 1996.

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Arts

The Artsy Jumbo | Sophomore Pelluzzo performs spoken word, plays drums

March 12

It’s impressive when students’ passions take them deep into their interests. It’s even more impressive when their eclectic hobbies bring them into wide spans of activities. Lydia Pezzullo, a sophomore and cognitive brain science major, pursues music and poetry.

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Arts

The Artsy Jumbo | Sophomore Pelluzzo performs spoken word, plays drums

March 12

It's impressive when students' passions take them deep into their interests. It's even more impressive when their eclectic hobbies bring them into wide spans of activities. Lydia Pezzullo, a sophomore and cognitive brain science major, pursues music and poetry.

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Arts

Event Review | Ira Glass talks shop, power of storytelling

March 12

The Boston Celebrity Series presented its latest performance, “Ira Glass: Reinventing Radio,” this past Sunday, continuing is 75-year long tradition of inviting talented performers from a variety of fields to Boston. On March 9, a packed house at Symphony Hall gathered to see a man with a familiar voice: Glass is the host of the wildly successful radio program, “This American Life,” which has been nationally syndicated since 1996.

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Arts

Top Ten | Artsy things to do this spring break

March 12

Believe it or not, spring break is once again upon us. Ah, spring break: the only time of year that Florida isn’t the worst state of all time. Though some of us will stay local and endure the overcast skies and chilly air of Medford and Somerville, many will head to tropical locales to enjoy the sun and surf. Whatever your situation, the Daily Arts Department has compiled a list of artsy activities for you to do while enjoy your week-long exotic siesta.

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Arts

Weekender | Tufts alumnus releases new book ‘What’s Important Is Feeling’

March 12

Adam Wilson (LA ’04) has garnered enough critical acclaim and literary merit over the past two years to turn more than a few heads. A regular contributor to The Paris Review and a finalist for the National Jewish Book award, he has had work published in Tin House, Meridian and “The Best American Short Stories 2012” — to name only some of his many accolades.The writer and Tufts alumnus has published two books. His debut novel, the tragicomic “Flatscreen” (2012), chronicles the life of Eli Schwartz, a lackluster high school graduate navigating suburban malaise, drug-addled entropy and the loss of authentic identity in the cultural fallout of the modern entertainment industry. His most recent publication, the short story collection “What’s Important Is Feeling,” has just been released in bookstores. On writingSurprisingly, writing wasn’t Wilson’s first career choice.“Mostly, I wanted to be a baseball player,” he said. “But that dream ended at age 12. Then I wanted to be a rock star, but then that sort of petered out.” He concluded that writing, “honestly, was the only thing I was any good at.”Written over a 10-year span, several of the stories in “What’s Important Is Feeling” were written during the same period as “Flatscreen.” When asked if he subscribed to some ritualized method to guarantee productivity — something several writers claim to do — Wilson said he didn’t follow any particular regime. Commenting on a writer’s ethic more broadly, he claimed a simpler tactic.“You’ve got to be somebody who’s willing to wake up every morning and write,” he said. “You have to be able to finish something. And that takes incredible amounts of work.” He speculated that having the motivation to write over such an extended period of time — or having the motivation to write at all, for that matter — requires a particular disposition.“You have to have an incredible amount of narcissism,” he said. “You have to be able to tell yourself, ‘These characters are so important [that] the rest of the world needs to know about them.’” This, he says, is coupled with deep self-loathing and a brutal inner-critic (and, of course, plenty of coffee).It’s not difficult to imagine this as Wilson’s modus operandi. Many of his protagonists tend to be hapless individuals: laid-off investment bankers wandering New York, two OxyContin addicts attempting to spice up their sex lives with a live lobster, a bandleader-turned-corporate-sellout reminiscing over his twisted first love. They are people who subsist on the fringe of society, oscillating between self-loathing and the need to carry on with life. What’s remarkable then is Wilson’s ability to make the drab, noxious minutia of these people’s lives so incredibly humorous. The dark laughs“What’s Important Is Feeling” toes the line between comedy and grief, and it is this combination that makes the book so appealing. Wilson has been lauded for his ability to effectively achieve this delicate balance, and it is something that he has a great deal of interest in himself.“I’m a big fan of Louis C.K.,” he said. “He’s constantly playing with the line between what’s funny and really sad.”The influence is clear: Wilson, who is the recipient of the 2012 Terry Southern Prize for Humor, is constantly conjuring black comedy from the bleakest corners of his characters’ lives. Coupled with his rapid-fire prose and forthright tone, the stories are lucid to the point of hilarity, much like the titular story, “What’s Important Is Feeling,” in which a chiggers-infested movie set is waylaid by its impossibly pompous writer and vexed production crew.“The director, Andrew Solstice, had lost interest,” Wilson writes. “He spent most of his time trying on cowboy hats, posing in the hair/makeup mirrors, and blowing residue from his finger gun.” This is to say nothing of the inimitable confrontation between the writer and the set’s animal wrangler, regarding whether the movie’s cat can be guaranteed to “smell death” in the climactic final scene.When asked if he thought people undervalued literature’s comedic power, Wilson responded that he believes they often do.“People underestimate literature’s capacity for anything,” he said. What is both brilliant and difficult about black comedy is its ambivalence — its ability to remain simultaneously sad and funny. Wilson clearly recognizes that many struggle with this dichotomy.“Humorous books often aren’t taken as seriously as less funny books are,” Wilson said. “This may be part of the great American problem of genre delineation — everyone’s very quick to categorize.”It’s difficult to imagine anybody not finding the book hilarious. Beyond the more sophisticated instances of humor, there are plenty of belly laughs sprinkled throughout the stories. Not least among these are the sexual frustrations of Wilson’s characters. When asked if he simply found sexually-frustrated characters more entertaining to write about, Wilson aptly pointed out that nobody cares that much about a lady-killer and that, almost indubitably, bad sex is funnier than good sex.12

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Arts

Interview | Aaron Paul

March 12

Following critical praise for his complex portrayal of Jesse Pinkman on the acclaimed TV series "Breaking Bad" (2008-2013), Aaron Paul now has his first major lead with the upcoming film "Need for Speed." The Daily recently participated in a roundtable interview with Paul, in which he discussed the pressure that comes with headlining a movie, classic car films and what the future may bring.

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