Many students are familiar with the process of buying books: With each new semester comes the ever-daunting task of trying to find the correct editions without spending all of next year's paychecks. As stressful as buying books can be, the process can be significantly more enjoyable (and less expensive) ...
It started with a bestselling book: "Heaven Is for Real" (2010), the account of Colton Burpo's near-death experience, during which the four-year-old allegedly briefly visited heaven before being wrenched back to life through the miracle of modern medical science. The topic is very big-hearted in many respects, and the film attempts to follow suit. There is a lot to be said about trying to make a sincere film these days though it does depend on the topic. In any case, it requires a certain amount of courage (or perhaps ignorance) to produce, as director Randall Wallace has, the cinematic equivalent of a Christian rock song.
With a seemingly endless stream of bickering, partisan maneuvering and political drama, it's no wonder that Washington, D.C. has provided creative fodder to countless television shows over the years. Some, like "The West Wing" (1999-2006), offer an ideal version of government, with honorable politicians serving the public good. Other series, like "House of Cards" (2013-present), highlight the Machiavellian schemes and machinations of Washington power players. And then there's "Veep," which may offer the most frighteningly accurate depiction of the United States government: narcissistic and often clueless individuals, who represent the height of dysfunction. Now in its third season, this comedy is firing on all cylinders and remains the hidden gem in HBO's Sunday night lineup. Thanks to its razor-sharp wit and hilarious cast, creator Armando Iannucci's "Veep" is both a brilliant satire of American politics and one of the funniest show currently on television.
"De Nuestros Ojos," a senior capstone project being produced in association with Bare Bodkin, will open tonight in Balch Arena Theater. The result of months of work and transformation, the show is a combination of spoken word pieces and monologues that explore the experiences of Latina women on and off campus.
With a seemingly endless stream of bickering, partisan maneuvering and political drama, it's no wonder that Washington, D.C. has provided creative fodder to countless television shows over the years. Some, like "The West Wing" (1999-2006), offer an ideal version of government, with honorable politicians serving the public good. Other series, like "House of Cards" (2013-present), highlight the Machiavellian schemes and machinations of Washington power players. And then there's "Veep," which may offer the most frighteningly accurate depiction of the United States government: narcissistic and often clueless individuals, who represent the height of dysfunction. Now in its third season, this comedy is firing on all cylinders and remains the hidden gem in HBO's Sunday night lineup. Thanks to its razor-sharp wit and hilarious cast, creator Armando Iannucci's "Veep" is both a brilliant satire of American politics and one of the funniest show currently on television.
"You're a Good Man, Charlie Brown," one of the productions being produced this semester by Torn Ticket II, Tufts' musical theater student group, will open Thursday evening in Dewick-MacPhie Dining Hall. Created by Clark Gesner and first performed in 1967, the show uses musical numbers and comedy to tell a story about the beloved "Peanuts" (1950-2000) characters Charlie Brown (freshman Paxton Crystal), Linus (junior Marcus Hunter) and Lucy (freshman Lizzie Boston). The director of the show, sophomore Artoun Festekjian, said that he is excited to bring a classic kids' show to Tufts. He believes "You're a Good Man, Charlie Brown" has an emotional range applicable to the lives of the children and adults alike. The emotive scope that the show offers, despite being appropriate for all age levels, is part of what makes it so meaningful. "Every character [embodies] a certain personality [trait]," Festekjian said. "Charlie Brown deals with [what happens] when people are sad or depressed and how they overcome that, whereas someone like Lucy ... is always full of this type of rage and crabbiness ... You can relate with all these characters." According to Festekjian, "You're a Good Man, Charlie Brown" is also the first Tufts musical in several years to be performed in Dewick, and the venue has provided some challenges for the cast and crew. Despite these difficulties, the informal cafeteria venue will likely jive with the playful childhood setting of the show. "You're a Good Man Charlie Brown" will be performed on Thursday, April 17 at 10 p.m. and Saturday, April 19 at 9 p.m. It is a free, non-ticketed event.
"Game of Thrones" is one of the most popular and critically acclaimed shows on television and for a good reason. The show has the ability to blend fantasy with political drama and intrigue, managing to maintain and develop a large, confusing cast while making relatable, memorable characters. Even if it is hard to remember some of the characters' names, it is easy to remember their motivations. Each aspect of the show is incredibly ornate, from the details of the screenplay to Ramin Djawadi's excellent score to the elaborate hairstyles and costumes. Even more impressive, each season has been successively better than the last, and the fourth season is no exception. The HBO drama has returned after its twisty and devastating third season: Robb Stark (Richard Madden) and his mother Catelyn (Michelle Fairley) were shockingly killed in the season's penultimate episode, "The Red Wedding." Robb was more developed on screen than in the books, making the cruel, violent loss of the King in the North even more tragic. But as the second season so brilliantly moved forward from Ned Stark's (Sean Bean) death, so too has the fourth been able to explore the aftermath of the Red Wedding. This season's opening scene shows Tywin Lannister (Charles Dance) melting down Ned's old sword to create a new one for his son and grandson. It is a new era for both Westeros and "Game of Thrones." The first episode of the fourth season is surprisingly light on action, but it is one of the best the show has offered. Written by show creators David Benioff and D.B. Weiss, it is an intense character study that features most of the twenty-plus main characters. One of the most appealing plotlines of this season is that of a new character: Oberyn Martell (Pedro Pascal). Oberyn, who has the enviable nickname "The Red Viper," hails from the country of Dorne. He has come to King's Landing for the wedding of King Joffrey (Jack Gleeson) and Margaery Tyrell (Natalie Dormer). Oberyn is swaggering, vengeful and incredibly sensual an entertaining mix between Inigo Montoya and George Clooney. Pascal is an excellent addition to the cast, and his character brings liveliness to the uptight social politics of King's Landing. This episode also showcases Arya Stark (Maisie Williams), who is still held captive by Joffrey's disfigured former bodyguard Sandor Clegane, The Hound (Rory McCann). What began as a kidnapping has now transformed into a strange partnership, as the two embark on a criminal activity-filled road trip. It's like a twisted Bonnie and Clyde tale, with Arya killing for vengeance and Sandor doing so simply out of hunger or boredom. It's both entertaining and a bit unsettling to see Arya transform into a cold, precise warrior. Her story is contrasted by that of her sister Sansa (Sophie Turner), who is forced to act ladylike in the face of her longtime tormentors and her brother Bran (Isaac Hempstead Wright), who is exploring his supernatural powers. Each of the remaining Stark children has been crippled, emotionally or physically. The first two episodes of this season see them beginning to find their strength in pain. The author of the books, George R.R. Martin, wrote the second episode. While there is very little fighting, the intrigue and drama surrounding Joffrey and Margaery's wedding is more than enough action. Joffrey is utterly detestable in this episode; once a petulant child, he is now growing into a vicious adult. But Margaery is a wonderful balance to her new husband's cruel entitlement, masking an intelligent mind with a pretty face and good manners. In fact, the entire Tyrell family is delightful to watch, from the scheming matriarch Olenna (Diana Rigg) to the flamboyant, sassy Loras (Finn Jones). Other than the Tyrells and Oberyn, the standout of the decadent wedding reception is Peter Dinklage's Tyrion, who has matured significantly throughout the show. The character has transformed from a bitter drunk to a determined politician intent upon protecting those who he loves. In the second episode, the viewers watch as he attempts to aid his older brother Jaime (Nikolaj Coster-Waldau), his lover Shae (Sibel Kekilli) and his young wife Sansa. The relationship between Sansa and Tyrion is a delicate, almost lovely one, in which he tries to atone for his family's unspeakable sins against her. The events of the second episode set a course that will undoubtedly occupy the rest of the season and define its tone. Where the last two seasons of "Game of Thrones" have focused on a war between kings, this one will center on vengeance and the lengths people will go to achieve it. As Oberyn says, "The Lannisters aren't the only ones who pay their debts." This will mean chaos in Westeros, but continued enjoyment for fans as the phenomenal fourth season unfolds.
"Game of Thrones" is one of the most popular and critically acclaimed shows on television - and for a good reason. The show has the ability to blend fantasy with political drama and intrigue, managing to maintain and develop a large, confusing cast while making relatable, memorable characters. Even if it is hard to remember some of the characters' names, it is easy to remember their motivations. Each aspect of the show is incredibly ornate, from the details of the screenplay to Ramin Djawadi's excellent score to the elaborate hairstyles and costumes. Even more impressive, each season has been successively better than the last, and the fourth season is no exception. The HBO drama has returned after its twisty and devastating third season: Robb Stark (Richard Madden) and his mother Catelyn (Michelle Fairley) were shockingly killed in the season's penultimate episode, "The Red Wedding." Robb was more developed on screen than in the books, making the cruel, violent loss of the King in the North even more tragic. But as the second season so brilliantly moved forward from Ned Stark's (Sean Bean) death, so too has the fourth been able to explore the aftermath of the Red Wedding. This season's opening scene shows Tywin Lannister (Charles Dance) melting down Ned's old sword to create a new one for his son and grandson. It is a new era for both Westeros and "Game of Thrones." The first episode of the fourth season is surprisingly light on action, but it is one of the best the show has offered. Written by show creators David Benioff and D.B. Weiss, it is an intense character study that features most of the twenty-plus main characters. One of the most appealing plotlines of this season is that of a new character: Oberyn Martell (Pedro Pascal). Oberyn, who has the enviable nickname "The Red Viper," hails from the country of Dorne. He has come to King's Landing for the wedding of King Joffrey (Jack Gleeson) and Margaery Tyrell (Natalie Dormer). Oberyn is swaggering, vengeful and incredibly sensual - an entertaining mix between Inigo Montoya and George Clooney. Pascal is an excellent addition to the cast, and his character brings liveliness to the uptight social politics of King's Landing. This episode also showcases Arya Stark (Maisie Williams), who is still held captive by Joffrey's disfigured former bodyguard Sandor Clegane, The Hound (Rory McCann). What began as a kidnapping has now transformed into a strange partnership, as the two embark on a criminal activity-filled road trip. It's like a twisted Bonnie and Clyde tale, with Arya killing for vengeance and Sandor doing so simply out of hunger or boredom. It's both entertaining and a bit unsettling to see Arya transform into a cold, precise warrior. Her story is contrasted by that of her sister Sansa (Sophie Turner), who is forced to act ladylike in the face of her longtime tormentors and her brother Bran (Isaac Hempstead Wright), who is exploring his supernatural powers. Each of the remaining Stark children has been crippled, emotionally or physically. The first two episodes of this season see them beginning to find their strength in pain. The author of the books, George R.R. Martin, wrote the second episode. While there is very little fighting, the intrigue and drama surrounding Joffrey and Margaery's wedding is more than enough action. Joffrey is utterly detestable in this episode; once a petulant child, he is now growing into a vicious adult. But Margaery is a wonderful balance to her new husband's cruel entitlement, masking an intelligent mind with a pretty face and good manners. In fact, the entire Tyrell family is delightful to watch, from the scheming matriarch Olenna (Diana Rigg) to the flamboyant, sassy Loras (Finn Jones). Other than the Tyrells and Oberyn, the standout of the decadent wedding reception is Peter Dinklage's Tyrion, who has matured significantly throughout the show. The character has transformed from a bitter drunk to a determined politician intent upon protecting those who he loves. In the second episode, the viewers watch as he attempts to aid his older brother Jaime (Nikolaj Coster-Waldau), his lover Shae (Sibel Kekilli) and his young wife Sansa. The relationship between Sansa and Tyrion is a delicate, almost lovely one, in which he tries to atone for his family's unspeakable sins against her. The events of the second episode set a course that will undoubtedly occupy the rest of the season and define its tone. Where the last two seasons of "Game of Thrones" have focused on a war between kings, this one will center on vengeance and the lengths people will go to achieve it. As Oberyn says, "The Lannisters aren't the only ones who pay their debts." This will mean chaos in Westeros, but continued enjoyment for fans as the phenomenal fourth season unfolds.
Mutual Benefit's sound is quixotic. The indie outfit, created by bandleader Jordan Lee, is adventurous and daring, two attributes which their music a unique mix of folk, atmospheric pop, experimental nu-wave and Americana reflects. What might seem like an overwhelming amalgamation of styles ends up blending beautifully this skill has earned them recognition from music blogs and top critics alike. Thus, Mutual Benefit's performance at Tufts on April 11, given alongside fellow indie band Creaturos, was a special treat. The group played to a room of about 30 students eager to hear the latest work by one of indie music's finest. Their set was simple and modest: old analog televisions with static-filled screens balanced atop boxes that were placed in front of a background of multicolored Christmas lights. The set gave the illusion that the band was playing for friends in a parents basement and with their nostalgic and easygoing vibe, the soft sounds and lilting rhythms of their pieces certainly reflected that sense. While twangy notes from the violin played up the folksy Americana side of the band's sound, steady percussion and guitars simultaneously reminded fans how Mutual Benefit has been influenced by groups like Washed Out and Arcade Fire. It was easiest to hear Mutual Benefit's intoxicating blend of woodsy folk and exotic orchestral splendor on mellow songs like "Strong River" (2013) and "Golden Wake" (2013). In these performances, Jake Falby powerfully lead the way on his electric violin, creating sounds that felt uncharted and limitless. Lee, the band's founder and lead singer, maintained an entrancing presence to match this music. The band's multi-instrumentalist performer played keyboards for the duration of the show while he also crooned out melodies and softly spoke between pieces. His tone was subdued, much like the calm pieces he was introducing, but he was still charming enough to joke with the audience, inserting some sly boyish charm along the way. Despite his endearing interludes, Lee also made sure to let the music speak for itself. The joy of a Mutual Benefit concert is not that it produces an overwhelming desire to start a mosh pit, but rather the sense of calm it emanates. This tranquility was likely produced by Falby's flawless bow strokes on his violin, tones that resembled soundtracks from Tai Chi classes at mountain yoga retreats. The whole concert was moving and spiritual a far cry from the sensory overload of a high-intensity pop concert. In fact, nothing about Mutual Benefit's music feels overloaded; it is raw but still full-bodied, textured and layered. The combination of bass, guitar, drums, keyboard, vocals and violin could have been cacophonous, yet Mutual Benefit made it sound like a symphony. Their music was intelligently composed and delivered. "Strong Swimmer" (2013) was likely their most powerful performance of the night, with its chimes and slow ascension of violin sounding reminiscent of fellow indie band Fleet Foxes. The percussion rhythms and instrumental notes were evocative of traditional Eastern music, yet Lee's haunting and insistent voice gave the music a unique flavor. After about an hour, Mutual Benefit thanked their audience for a lovely show and began disassembling their set to make room for Creaturos. If the quality and musicality of their work is any indication of things to come, then Mutual Benefit will undoubtedly soon be playing on much bigger stages and to much bigger crowds.
Mutual Benefit's sound is quixotic. The indie outfit, created by bandleader Jordan Lee, is adventurous and daring, two attributes which their music - a unique mix of folk, atmospheric pop, experimental nu-wave and Americana - reflects. What might seem like an overwhelming amalgamation of styles ends up blending beautifully - this skill has earned them recognition from music blogs and top critics alike. Thus, Mutual Benefit's performance at Tufts on April 11, given alongside fellow indie band Creaturos, was a special treat. The group played to a room of about 30 students eager to hear the latest work by one of indie music's finest. Their set was simple and modest: old analog televisions with static-filled screens balanced atop boxes that were placed in front of a background of multicolored Christmas lights. The set gave the illusion that the band was playing for friends in a parent's basement - and with their nostalgic and easygoing vibe, the soft sounds and lilting rhythms of their pieces certainly reflected that sense. While twangy notes from the violin played up the folksy Americana side of the band's sound, steady percussion and guitars simultaneously reminded fans how Mutual Benefit has been influenced by groups like Washed Out and Arcade Fire. It was easiest to hear Mutual Benefit's intoxicating blend of woodsy folk and exotic orchestral splendor on mellow songs like "Strong River" (2013) and "Golden Wake" (2013). In these performances, Jake Falby powerfully lead the way on his electric violin, creating sounds that felt uncharted and limitless. Lee, the band's founder and lead singer, maintained an entrancing presence to match this music. The band's multi-instrumentalist performer played keyboards for the duration of the show while he also crooned out melodies and softly spoke between pieces. His tone was subdued, much like the calm pieces he was introducing, but he was still charming enough to joke with the audience, inserting some sly boyish charm along the way. Despite his endearing interludes, Lee also made sure to let the music speak for itself. The joy of a Mutual Benefit concert is not that it produces an overwhelming desire to start a mosh pit, but rather the sense of calm it emanates. This tranquility was likely produced by Falby's flawless bow strokes on his violin, tones that resembled soundtracks from Tai Chi classes at mountain yoga retreats. The whole concert was moving and spiritual - a far cry from the sensory overload of a high-intensity pop concert. In fact, nothing about Mutual Benefit's music feels overloaded; it is raw but still full-bodied, textured and layered. The combination of bass, guitar, drums, keyboard, vocals and violin could have been cacophonous, yet Mutual Benefit made it sound like a symphony. Their music was intelligently composed and delivered. "Strong Swimmer" (2013) was likely their most powerful performance of the night, with its chimes and slow ascension of violin sounding reminiscent of fellow indie band Fleet Foxes. The percussion rhythms and instrumental notes were evocative of traditional Eastern music, yet Lee's haunting and insistent voice gave the music a unique flavor. After about an hour, Mutual Benefit thanked their audience for a lovely show and began disassembling their set to make room for Creaturos. If the quality and musicality of their work is any indication of things to come, then Mutual Benefit will undoubtedly soon be playing on much bigger stages and to much bigger crowds.
Miley Cyrus' "Bangerz" tour kicked off in Vancouver on Valentine's Day and, on April 2, Cyrus finally made her way down to TD Garden in Boston. The controversial singer's fourth tour has generally received praise and approval - and her Boston show certainly did not disappoint.
Near the end of Elm Street, on the very edge of Porter Square, a bright orange and green storefront announces the local Mexican restaurant, Aguacate Verde. The small eatery is instantly inviting - the door remains propped open in mild weather, allowing the sizzling sounds and enticing flavors emanating from the tiny kitchen to greet visitors as they approach. Once inside, the sun-soaked tables, each topped with a bottle of hot sauce, encourage patrons to stay, take a rest and order one - or several - of the restaurant's excellent dishes.
Near the end of Elm Street, on the very edge of Porter Square, a bright orange and green storefront announces the local Mexican restaurant, Aguacate Verde. The small eatery is instantly inviting the door remains propped open in mild weather, allowing the sizzling sounds and enticing flavors emanating from the tiny kitchen to greet visitors as they approach. Once inside, the sun-soaked tables, each topped with a bottle of hot sauce, encourage patrons to stay, take a rest and order one or several of the restaurant's excellent dishes.
AMC's new drama "Turn" is a creative new take on the American Revolution and the heated conflicts both on and off the battlefield that defined it. Set in Long Island in 1776, the show focuses on one man, Abraham Woodhull (Jamie Bell), a poor farmer trying to keep his family afloat and to deal with the British soldiers whom he is forced to quarter in his home. The long and short of Abraham's character is this: he is a good man and a bad farmer. As he struggles to make ends meet and take care of his wife Mary (Meegan Warner) and one-year-old son Tomas, he is also embroiled in a moral struggle. The corrupt commanders of the Loyalist army force him to question whom he sides with in this fight a question that likely will have difficult familial implications. His father Richard (Kevin McNally) is a steadfast Loyalist who supports the British army that resides in Setauket, and he makes his family do the same.
Miley Cyrus' "Bangerz" tour kicked off in Vancouver on Valentine's Day and, on April 2, Cyrus finally made her way down to TD Garden in Boston. The controversial singer's fourth tour has generally received praise and approval and her Boston show certainly did not disappoint.
AMC's new drama "Turn" is a creative new take on the American Revolution and the heated conflicts - both on and off the battlefield - that defined it. Set in Long Island in 1776, the show focuses on one man, Abraham Woodhull (Jamie Bell), a poor farmer trying to keep his family afloat and to deal with the British soldiers whom he is forced to quarter in his home. The long and short of Abraham's character is this: he is a good man and a bad farmer. As he struggles to make ends meet and take care of his wife Mary (Meegan Warner) and one-year-old son Tomas, he is also embroiled in a moral struggle. The corrupt commanders of the Loyalist army force him to question whom he sides with in this fight - a question that likely will have difficult familial implications. His father Richard (Kevin McNally) is a steadfast Loyalist who supports the British army that resides in Setauket, and he makes his family do the same.
Even for those who are unfamiliar with the Bible, the story of Noahs Ark is a well-known tale, one that conjures up happy images of pairs of animals peacefully walking aboard a giant ark, shepherded by an old man with a flowing white beard. So while it seems like it was only a matter of time before Hollywood decided to remake this Biblical tale, it came as a surprise to many when it was announced that Darren Aronofsky would be helming a film adaptation with a $125 million budget. After all, this is the same director whose black and white feature debut Pi (1998) depicted a mathematician going insane over a number -- so hes not exactly the most obvious choice to direct a big budget Biblical epic. While some may have worried that the auteur was going mainstream with this latest film, Noah still retains Aronofskys unique imprint, making it a delightfully strange interpretation that -- though far from perfect -- is an engaging, thought-provoking film.
Even for those who are unfamiliar with the Bible, the story of Noah's Ark is a well-known tale, one that conjures up happy images of pairs of animals peacefully walking aboard a giant ark, shepherded by an old man with a flowing white beard. So while it seems like it was only a matter of time before Hollywood decided to remake this Biblical tale, it came as a surprise to many when it was announced that Darren Aronofsky would be helming a film adaptation with a $125 million budget. After all, this is the same director whose black and white feature debut "Pi" (1998) depicted a mathematician going insane over a number -- so he's not exactly the most obvious choice to direct a big budget Biblical epic. While some may have worried that the auteur was going mainstream with this latest film, "Noah" still retains Aronofsky's unique imprint, making it a delightfully strange interpretation that -- though far from perfect -- is an engaging, thought-provoking film.
Though Todd Terje is by no means a household name to the average music listener, he is possibly the greatest Nu-disco producer in history. Following his breakout hit Eurodans in 2005, Terje has risen to the top of the indie dance world with tracks like Ragysh (2011), Snooze 4 Love (2011) and possibly his most popular song Inspector Norse (2012).
It is not often that a performance can successfully create a close rapport between the audience and the cast members, but this is exactly what "Not by Bread Alone," a live performance piece brought to Boston by ArtsEmerson and performed by members of the Nalaga'at Theater Ensemble, achieves. The theater was buzzing long after the curtain dropped, and viewers, trying to make sense of what had just happened, congregated around the actors. Everyone wanted to talk with the performers, but they were limited to handshakes and hugs of appreciation due to one simple fact: the entire cast of "Not by Bread Alone" is deaf-blind.
