All of the panelists expressed hope in the future and the ability of the American people—particularly younger generations—to enact change.
"We get to portray things in a way that women are thinking about in their day-to-day lives." —Beth Newell, co-founder of Reductress
Reading Homegoing feels less like you’re experiencing the novel’s plot with the characters so much as it feels like you’re floating above them—dipping into their lives when their personal narratives have reached a turning point and then dipping back out to view their family lineage from a bird’s eye view.
Rap music, disco, race, gangs, young love, and really short shorts are all featured in Netflix’s new series The Get Down. The show tells the eccentric tale of the birth of hip-hop in the South Bronx in the late ‘70s. The concept was created by Baz Luhrmann, who has won multiple awards for his work on Moulin Rouge! and The Great Gatsby.
To some, this election is a joke. For others, they joke about the election for a living. Last Friday, six comedy, politics, and communications professionals gathered for a panel moderated by associate professor Gregory Payne in the Bill Bordy Theater. The event was sponsored by the School of the Arts and the Center for Comedic Arts.
It was only a matter of time before it was adapted into a mediocre TV show on FOX.
The series explores bisexual relationships, infidelity, and STDs—all topics typically left out in mainstream media.
When things look dire, LEGO versions of John, Paul, George, and Ringo come to the rescue in their iconic Yellow Submarine.
“It really is an ensemble piece,” Lovett said. “Nobody is doing more than anyone else, if you like.”
It wasn’t the costumes, plots, or the explosions that entranced my adolescent imagination, though. It was the fight for good.
“The Colorless Queen is the main character in this world and she’s sort of this perfect mix of all these different species, and is the closest thing to what the original human was,” said Velle.
The Caucasian Chalk Circle was performed last week in the Greene Theater. The play follows a young peasant woman in post World War II Georgia who cares for a noble-born child after his mother abandons him. In the final scene of the show a local judge must decide who the child’s true mother is.
If a piece of media exists solely for the viewing pleasure of the audience, can we dictate what that pleasure should be? And what do we morally owe the characters and creations within these narratives if they do not exist in reality? HBO’s latest show, Westworld, poses many questions with no easy answers.
Beacon's Spotify playlist of the week.