Since their arrival at Tufts, Athena Nair has remained an influential figure in the social and artistic life on campus. They have participated in campus organizations such as the Jumbo Drag Collective, TEDxTufts, various musical theater communities and many more.
English singer-songwriter Declan McKenna shocked producers and listeners alike with his overnight YouTube sensation “Brazil” — a hit single released ages ago now in 2014. The self-released song gained wide recognition for its criticism of FIFA and the 2014 World Cup held in Brazil. Ever since then, it marked McKenna as a voice of his generation.
“Boston Strangler” (2023) is a true crime story that doesn’t glorify its killer. Rather, it celebrates those who brought him to justice. At a roundtable panel with Matt Ruskin, the film’s writer and director, the Daily learned more about the quality journalism that inspired this film.
Last week, the Daily had the opportunity to attend two screenings of Women Take the Reel, a film festival hosted at universities across the Boston area. Taking place in Barnum Hall, the event showcased two female-directed documentaries, including the award-winning documentary “Brainwashed: Sex-Camera-Power” (2022) and the new Half the History short film “Tapping Into Our Past, Tapping Into Our Future: Ayodele Casel” (2022).
The time has come: “Magic” Mike Lane is hanging up his G-string and packing away his body oils. No longer will he grind and flex — or so he says. In Steven Soderbergh’s latest installment, “Magic Mike’s Last Dance” (2023), Soderbergh follows Mike (Channing Tatum) as he is drawn to the stage for his final striptease. What can I say? The man just can’t seem to keep his hips from gyrating.
With Valentine’s Day fast approaching, there is no shortage of rom-coms to binge watch. One is newly released “Somebody I Used to Know” (2023), a romantic comedy co-written by couple and frequent collaborators, Dave Franco and Alison Brie. The Daily had the opportunity to attend a college roundtable interview featuring Franco, Brie and Jay Ellis, inviting an insider look into the making of the film.
Have you ever wondered what makes a killer tick? Or what exactly went on behind the yellow caution tape? It's natural; the unthinkable fascinates us. Hollywood knows this, as true crime has become one of the bestselling genres out there. Either created as documentaries or as dramatized representations, true crime lauds its purpose as educational. Whether raising awareness for victims or providing an inside look into the mind of a killer, true crime seems to be relatively harmless. However, when these docudramas gain as much visibility as they do, what happens when the unthinkable becomes thinkable for a certain viewer? Can true crime sensitively deal with real tragedies?
In “Pearl” (2022), the second installment of Ti West’s vintage horror trilogy, we get a look into the real “farmer’s daughter.” It is a prequel to “X” (2022), which follows a group of independent adult filmmakers in the 1970s who are staying on a Texas farm to finish their film, “Farmer’s Daughter.” The group is soon subject to the murderous and sexual urges of Pearl (Mia Goth), the old lady of the farm and a homicidal sex addict. Pearl deeply mourns her youth and sexual prime, and she has no problem taking it out on the unsuspecting filmmakers. While “X” is a gory and exploitative examination of youth and sexuality, “Pearl” takes on a more subtle approach.