Oct 22 2025 | Jaylin Emond-Hardin | Entertainment Editor
In 2024, the season finale of Amazon Prime’s “Fallout” — adapted from Bethesda Softworks’ video game series “Fallout” — left fans with plenty to speculate about. The last time we saw this nuclear wasteland, Hank — father to protagonist Lucy MacLean and played by actor Kyle MacLachlan — was headed for what appeared to be New Vegas, the titular setting for the sixth installment of the franchise.
The excitement surrounding this closing scene was immense. After all, in a recent poll by Bethesda, “Fallout: New Vegas” had an overwhelming response as participants’ favorite installment — 52.6% responded that “New Vegas” was their favorite, while “Fallout 4,” one of the more recent games in the series, came in second with 25.5% of responses.
Since the show’s release, the last year and a half has been full of speculation and fan theories, but an Oct. 12 post on IGN’s official Instagram, @igndotcom, only reignited these discussions.
In a reel, IGN shared stills from Season 2, which wrapped filming in May of this year. Among these stills, fans saw the Lucky 38 Casino, Dinky the T-Rex and other notable characters and locations from “New Vegas.”
I think, as a fan of the games myself, that the most important thing to note is the canonization of a specific faction ending of “Fallout: New Vegas.” In the game, the player’s character, known as “The Courier,” travels the Mojave interacting with various factions attempting to control the wasteland — most notably the New California Republic, Caesar’s Legion, Yes Man and the New Vegas Libertopia. As the game progresses, The Courier must side with one of these major factions, which decides the game’s ending at the Second Battle of the Hoover Dam.
Since the gameplay is open world and has a variable story, the developers never confirmed which ending was the correct one; however, the show “Fallout” confirms specifically the New Vegas Libertopia ending.
The show itself is set 15 years after the events of “Fallout: New Vegas,” and stills from the second season feature Mr. House, the enigmatic leader of the New Vegas Libertopia.
Dialogue from the game also supports the pairing of this ending with the stills. In “New Vegas,” the character Chief Hanlon, the commanding officer of the New California Republic’s ranger unit, states that “Even if we hold this dam, what then? Are we going to send the NCR’s men and women to die here for another five years? Ten? Patrol the whole length of the Colorado for hundreds of miles? Holding this dam. It’ll be the death of us.”
This dialogue, along with the facts that Caesar’s Legion is too brutal and authoritarian to retain control over the Mojave and that the Strip in New Vegas is still standing, supports the New Vegas Libertopia ending, which we should then see in the show.
Whatever ending the show confirms, we will just have to wait until Dec. 17 to actually see what happens. After all, fan theories are just theories until the show either confirms or denies them.
Season 1 of “Fallout” is streaming on Amazon Prime, where Season 2 will also launch this winter. I, for one, am anxiously awaiting the season’s debut.
And for other fans of the “Fallout” franchise, remember, the House always wins.
Actor Rhoyle Ivy King’s online contribution to filming Netflix’s dramatized series on serial killer Jeffrey Dahmer. | Photo from @rhoyleivyking on Instagram
Oct 22 2025 | Hannah Field | Editor-in-Chief
Content warning: this article discusses murder and violence
Crime has always been a fascinating topic for many. With fictional television shows like “Criminal Minds” and “Law & Order,” such violent conversation topics have proven to make for an equally entertaining and profitable form of media and content — but what takes it a step further is the true crime industry.
The entertainment industry is no stranger to documentaries. “Dateline” has been airing since 1992, with its predecessor “48 Hours” beginning in 1988. True crime documentaries have had an uptick in recent years, milking notable names for content through big platforms like Netflix. Some examples of these include “Murdaugh Murders: A Southern Scandal,” “Tiger King,” “Monster” about Jeffrey Dahmer being arguably the beginning controversy for true crime dramatized recreations in television, “American Murder: Gabby Petito,” “Monsters: The Lyle and Erik Menendez Story” and others. Through Hulu, “Hunting JonBenét’s Killer: The Untold Story” explores one of the world’s most perplexing and haunting cases.
Many such platform-produced shows seem to have split goals, torn between celebrating a life lost too soon and forming a lucrative piece of content that will dominate the streaming sphere and social media timelines. “Monster” from Netflix was criticized by the masses following its immensely popular release in 2022 due to its insensitive portrayal of the victims of infamous killer Jeffrey Dahmer. The show took deeper angles into Dahmer’s life, offering a nearly sympathetic angle at times according to some. The main point brought up against the show is how none of the victims’ families consented to the release, and expressed extreme discomfort and disappointment. Some have campaigned that the show redirected toward the victims in the second half, signifying its decency and awareness of the sensitivity required to navigate such a story. Personally, I never delved into “Monster” — despite being a true crime fan, which we’ll get into — because I heard of its disrespectful narrative and didn’t feel I was missing out.
Gabby Petito’s story was handled with more care, probably due to its recency and the abuse she suffered. The story was an outrage on social media following Petito’s disappearance in 2021. Eventually, her body was found near the Grand Teton National Park, and her cause of death was ruled a homicide, confirmed to be by her boyfriend, Brian Laundrie. The case sparked such intense news coverage that it’s no surprise Netflix swooped in, going A-Z with the series and how it was solved. However, the listed description remains somewhat callous, stating, “What happened in the final days of Gabby Petito’s life? In this gripping true-crime series, her loved ones reveal the untold story of her tragic murder” — which is not the most conscientious approach.
The streaming giant Peacock took true crime to another level by publishing alleged murderer Casey Anthony’s documentary — an extremely controversial move that has divided watchers. Casey Anthony’s daughter, Caylee, was nearly four years old in 2008 when her remains were found near the Anthony family residence after she was reported missing by her grandmother Cindy Anthony.
The state of Florida sought the death penalty against Casey Anthony, believing her to be the culprit in Caylee’s homicide. In 2011, a jury found her not guilty of murder, but rather four misdemeanor counts of providing false information to the police. Fast forward to 2022, Casey released her documentary, “Casey Anthony: Where the Truth Lies,” flipping the script in an exclusive three-part series with Peacock.
Why Peacock would publicize Casey’s story in her defense is beyond me, especially considering the public criticism she’s encountered year after year ever since her daughter’s death. The true crime community has nailed Casey for nearly a decade for lying about her daughter, being caught partying after her daughter was reported missing and then blaming her family for what happened to Caylee, acquitting herself of all personal responsibility. Then again, to publish an alleged murderer’s tall tale would garner views on views — so there’s Peacock’s motive, or so I presume.
There’s this long-running fascination between people and murder. In my household, my mom used to play “NCIS” on all three televisions across the house so she wouldn’t miss a single minute, no matter where she was. My dad owned all the seasons of “Dexter” on DVD and fell asleep to them routinely. It’s not much of a surprise that I’ve found my way to true crime, although in a different medium: true crime podcasts.
According to the University of North Carolina at Chapel Hill, people are drawn to exploring true crime because of curiosity. The motives of a murderer are beyond understandable, but simultaneously being able to solve, or witness the solving, of a tragic case provides some sort of rush. Newspapers initially sensationalized crime before passing the torch to visual content, like Netflix documentaries or YouTube podcasts.
Others may turn to true crime to witness justice’s golden hammer come down on those who deserve it, playing into what viewers want to see. Across the board, it’s entertainment, escapism and storytelling, a great trap to get watchers all the way through. Scientifically, it’s been compared to haunted houses and roller coasters — facing a fictional danger in some form or another.
But there are undoubtedly present ethical dilemmas in the true crime world. Controversial, money-grabbing attempts at documentaries and re-enactments stir up a long-running conversation about morality that has no solution. Does it make someone a bad person to find “Monster” entertaining, but still empathize with the victims and their families? Is the public forum of modern entertainment off limits for sensitive real-life topics? Where do we draw the line? Who decides where that line even is?
There is a very real conversation to be had about our society’s decreasing sensitivity to such violent acts and topics, and another about whether we’re forcing individuals to relive their trauma through media productions.
Today, there is no answer; no person to distinguish what’s right and wrong. The culprits we can assuredly blame include corporate greed — looking at streaming services, and most notably to me, Peacock — and cash-grabbing techniques to acquire views over anything else.
So, I don’t tend to watch a lot of produced documentaries — I do indulge in true crime podcasts. A term I hear a lot is “active true crime consumer,” which signifies an understanding that the content being viewed is sensitive and has a real-life impact. YouTuber and podcaster Kendall Rae was where I first heard the term, and I’ve always enjoyed her personal approach, honoring victims and discussing the path to justice.
“Murder With My Husband” is another podcast that I listen to rather routinely. It features married couple Payton and Garrett Moreland as she recites a true-crime script, following the thrilling twists and turns of a tragic tale, while respecting and honoring the life or lives that were taken. An interesting aspect of the podcast is Garrett Moreland’s consistent hatred for the true crime genre, and his shocked reactions as he, alongside us, discovers the truth of the stories. Unnecessary fun fact: he’s opening a bagel shop and I’m very intrigued by it.
YouTuber Wendigoon centers on more fantasy or dark horror, but occasionally looks into true crime, and when he does, it’s always good. Another YouTuber, BOZE vs. the WORLD, has a series on female killers — it’s a little too produced for my liking, but I’m a big fan of her other content and so I occasionally indulge.
Kendall Rae also has a podcast with her husband called “Mile Higher,” doing the same as her personal channel by exploring true crime cases and occasionally other topics.
The point is: if true crime is on TV, be aware of its impact. Engage by being an active true crime consumer and contribute faithfully. Think critically and with empathy, but it’s not necessary to feel shame — or shame others — for indulging in true crime.
The cover for Taylor Swift’s newest studio album, “The Life of a Showgirl.” | Photo from @taylorswift on Instagram
Oct 8 2025 | Jaylin Emond-Hardin | Entertainment Editor
If there’s one thing singer-songwriter Taylor Swift is known for, it’s the Easter eggs surrounding her work. The lead-up to the release of her 12th studio album, “The Life of a Showgirl,” was no different.
On Aug. 11, 2025, the Instagram account @taylornation — run by Swift’s management team — posted a series of photos captioned “Thinking about when she said ‘see you next era….’” with the fire heart emoji. Each photo in the carousel featured an orange outfit Swift wore during the sets of her Eras Tour. That same day, a timer appeared on Swift’s official website, counting down to 12:12 a.m. Eastern time.
When the timer ended, a sneak peek of Swift on the Aug. 13 episode of the “New Heights” podcast — hosted by her partner, Travis Kelce, and his brother, Jason Kelce — announced that she would be releasing a new album titled “The Life of a Showgirl.” In this sneak peek, however, Swift had blurred the cover to keep suspense for the podcast’s release.
When the “New Heights” episode aired, it broke the record for most concurrent viewers on YouTube, with 1.3 million viewers tuning into the livestream. Swift’s Spotify also created a playlist titled “And, baby, that’s show business for you,” with songs from “reputation,” “Red” and “1989” highlighting the sound the album would take.
Alternate covers were posted to @taylornation the same day, and highlighted the showgirl aesthetic that the album was meant to take, complete with feathers, oversized jewels, fishnet stockings and kitten heels. The 12-song track list was announced the following day, Aug. 14.
When the album was released Oct. 3, it immediately broke records. In just the first 11 hours of its release, “The Life of a Showgirl” was streamed on Spotify by 1.2 million users, becoming the most-streamed album in a single day in 2025. Track one, “The Fate of Ophelia,” is the album’s single and currently sits as the most-streamed song.
Each song carries its own unique sound, which was created with the help of producers Max Martin and Shellback — who have previously collaborated with Swift on albums “Red,” “1989” and “reputation.” The songs that the duo produced from these albums were included on the “And, baby, that’s show business” playlist on Swift’s Spotify.
Now that the album has made its dazzling debut, it’s time to take a closer look at the songs that make “The Life of a Showgirl” one of Swift’s most ambitious eras yet.
“The Fate of Ophelia” — The album’s single is the first song that clearly alludes to her relationship with Travis Kelce. Using imagery relating to Ophelia from William Shakespeare’s play “Hamlet,” the synth beat evokes a dreamlike feel while Swift sings of being saved from the fate of Ophelia. In Shakespeare’s play, Ophelia famously went mad after the death of her father, Polonius, and being rejected by Hamlet, whom she loved deeply. The imagery in the song suggests that Kelce saved Swift from meeting the same fate.
“Elizabeth Taylor” — This isn’t the first time Swift has referenced actress Elizabeth Taylor in her work. In the music video for her 2014 hit “Wildest Dreams,” Swift dresses as the Hollywood icon and falls in love with her co-star on set, just like Elizabeth Taylor and her ex-husband Richard Burton did on set for the 1963 film “Cleopatra.” The song talks about the downsides of fame, with lyrics that could apply to Swift or Elizabeth Taylor.
“Opalite” — Most Swifties know that Swift’s favorite gemstone is an opal, which means the fact that Kelce’s birthstone is an opal is even sweeter. “(An opalite) is a man-made opal and happiness can also be man-made,” Swift said during an interview with Capital FM Breakfast. “That’s what the song is about. The juxtaposition of those two.” Swift speaks of this “man-made happiness” in previous relationships for both her and Kelce, but suggests that now that they are together, “the sky is opalite.”
“Father Figure” — Fans are convinced that “Father Figure” is about Scooter Braun, Swift’s former manager. After Braun sold the rights to Swift’s masters without her permission, a years-long battle to reclaim them ensued. The song tells the story from the perspective of the father figure, and suggests betrayal and a lack of loyalty.
“Eldest Daughter” — Swift has referenced marriage multiple times in previous albums, with track five following the trend. The line “when I said I don’t believe in marriage, that was a lie,” seemingly alludes to Kelce and their recent engagement. She also criticizes the apathy of internet culture, and “Eldest Daughter” is the most vulnerable track on the album.
“Ruin the Friendship” — While most assumed that track six would address Swift’s apparent feud with actress Blake Lively, it actually speaks of a high school friend who passed. Her friend Abigail, who is referenced in “Fifteen” from Swift’s 2008 album “Fearless,” does receive a mention.
“Actually Romantic” — While the title suggests romance, the lyrics are actually far from romantic. Many interpret this track as a response to singer Charli XCX’s track “Sympathy is a Knife,” as well as addressing the brief and unconfirmed fling Swift had with The 1975 frontman Matty Healy. Charli XCX is married to George Daniel, who is currently the drummer for The 1975.
“Wi$h Li$t” — Track eight might have dollar signs in the name; however, the song rejects material culture and luxury goods. Instead, Swift speaks of what she really wants: Kelce, “a couple of kids” and to just settle down.
“Wood” — Another song about Kelce, this track is for sure the sexiest on “The Life of a Showgirl.” The steamy lyrics reference Swift’s intimate relationship with Kelce, going so far as to allude to his manhood.
“CANCELLED!” — While most thought “Ruin the Friendship” would be about Blake Lively, it is in fact track 10 that addresses their relationship. The track defends multiple members of Swift’s friend group who have been under fire at some point — without actually naming them. Some lyrics have allusions to Lively, while others seem to defend Brittany Mahomes, wife of Kansas City Chiefs quarterback Patrick Mahomes.
“Honey” — The fifth and final song on the album about Kelce, “Honey” talks about how pet names were always used passive-aggressively until their relationship began. The song is sugary and sweet, giving more bubblegum pop vibes.
“The Life of a Showgirl” — Featuring Sabrina Carpenter, the album’s titular song talks about the ups and downs of life as a celebrity. This is the first time Carpenter and Swift have collaborated on a song, even though Carpenter opened for the Eras Tour. “The Life of a Showgirl” focuses heavily on meeting one’s idols and being warned about following in their footsteps, but still doing it anyways.
“The Life of a Showgirl” is now streaming on Spotify and Apple Music. Contact the author at howlentertainment@wou.edu
An AI-generated photo of glass pancakes for “ASMR.” | Photo from @theaisatisfying on Instagram
Oct. 15, 2025 | Jaylin Emond-Hardin | Entertainment Editor
Artificial intelligence, or AI, has become more and more prevalent as technology advances. What was once a science fiction storyline is now our reality; AI chatbots, videos and photos are all too common now.
Most of Generation Z and millennials have watched AI grow with them. Siri first launched with the iPhone 4S in 2011, while Alexa followed three years later with the introduction of the Amazon Echo. These AI assistants have grown with us from childhood to adulthood on our phones, tablets and computers.
When it comes to generative AI, most are now approaching the subject with the utmost caution and hesitancy. After all, it has been proven time and again that AI systems often steal art created by real people to “train” their models.
I mean, it was only April when Studio Ghibli founder and animator Hayao Miyazaki begged fans of his movies not to use the technology to recreate their photos in his movies’ style.
Miyazaki described AI technologies as “utterly disgusting” and “an insult to life itself” before stating he would “never wish to incorporate this technology into (his) work at all.” Unfortunately, this didn’t stop users from “Ghiblifying” their photos on OpenAI’s platform ChatGPT, with thousands of accounts and users sharing these images on social media — even @WhiteHouse on X, formerly known as Twitter, shared “Ghiblified” images.
The exploitation of artists isn’t the only issue posed by AI. Data centers across the world use billions of gallons of water to cool the servers. 2022 saw major tech companies use 580 billion gallons of water for their AI operations, while in 2024, a Google center in Iowa consumed 1 billion gallons alone. When a user interacts with any AI system, be it Google Gemini, ChatGPT or Microsoft Copilot, it uses one-tenth of a gallon or 12.8 fluid ounces of water — almost a full cup.
While most adults can actively choose whether or not to consume AI-generated content or to interact with the models, it’s much more difficult to teach children how to distinguish between what is and isn’t AI-generated.
I don’t think I ever fully understood how AI was being aimed at children until I began student teaching. My class was working on an “I Am” poem where they described who they were before choosing images that represented them.
The end result? So many students found AI-generated photos that they liked for their project.
For one, it’s not their fault. The images they used were very clearly marketed to children — magical cats, animals playing sports, even some that related to the wildly popular Netflix movie “KPop Demon Hunters.”
At our weekly assembly time, it became much more evident how AI was being marketed towards children. For a reminder on how to behave in line in the hall, a parody of “Golden” from “KPop Demon Hunters” was shown — once again, the popularity of the movie is capitalized upon by AI, complete with AI-generated images, animation and singing.
This video has already amassed 463,000 views in just one month of being posted to YouTube, with educators and students alike sharing and watching to learn about the basics of being in line.
It doesn’t stop at “KPop Demon Hunters,” however. A good majority of YouTube Shorts meant for children feature AI.
When scrolling through YouTube Shorts, I found that a majority of the videos that were created using generative AI had the hashtags “YouTube Kids” and “kids animation.” These videos typically feature anthropomorphic cats and have one of three subjects: cheating, revenge or pregnancy. Sometimes all three are featured in one video.
Pairing this normalization of AI in children’s spaces with generated ASMR — glass fruit spreading, gemstone cutting and slime videos — being highly popular on apps like TikTok and Instagram creates a can of worms that nobody is ready to open.
However, we’re not here to talk about the consequences of AI. We’re here to talk about what we can actively do to slow the usage and consumption of AI.
Use a critical eye — One of the biggest pieces of advice I could give is to look at suspicious content with a critical eye. Count the number of fingers on hands and look at the way that the eyes look. Even as AI improves, it cannot perfect the way our hands and eyes look, proving that those are what truly make us human. If those aren’t a dead giveaway, watch the movements. They are often too smooth or too robotic. Text is another dead giveaway — AI models, no matter how sophisticated, can never get letters or logos quite right.
Don’t give the account the views they want — Most accounts that post AI-generated photos or videos want engagement, which is the most obvious thing I think I have ever said. However, it’s the truth. These accounts want people to watch their videos. The more views and engagement they get, the more they get to say, “Look, the people want this. We should make more of this.” It encourages the models’ creators as well because they see the engagement that these videos receive and work to make their models more widespread and normalized. My best advice when one sees these videos is to swipe away or click “not interested.” This will put less AI-generated content on one’s feed, thus lessening the views these accounts receive.
Monitor what children are consuming — With how common AI-generated media is in children’s spheres, it’s best to pay attention to what children are consuming, as it is with all content they interact with. Have a conversation with children about AI-generated content in ways that are appropriate. Kids are smart and they’ll understand what’s going on. I know I’ve had wonderful conversations with my students about AI and its consequences — granted, they are fourth and fifth graders, but still, talking with children in an age-appropriate way about the dangers of AI is better than not educating them at all.
Teach the older generations to recognize AI-generated content — Generation X and baby boomers are two populations that are also susceptible to AI-generated content. Facebook is rife with AI-generated photos and videos, and the generations that weren’t raised on this kind of technology have a harder time telling reality from AI. Along with educating younger generations about AI and its dangers, it’s also important to help the older generations — our parents and grandparents — understand how to recognize when something isn’t real. Show them how to identify an AI-generated video. Talk to them about the consequences.
It doesn’t seem like AI generation models are going away. In recent research, Forbes has found that AI servers and prevalence have multiplied 14 times since 2000. While some AI is beneficial — Siri and Alexa, especially — the wave of generative AI has become increasingly detrimental to both the environment and the social media landscape.
As the generation currently leading the workplace and social media sphere in the digital age as influencers, educators and artists, it’s increasingly important that we slow the wave of generative AI. We can do this by educating ourselves and other generations and not giving the AI models what they want: our attention, our art and our money.
If you’re anything like me, ‘90s movies played a major role in your childhood entertainment. The 1995 classic “Jumanji” was no exception. Upon the announcement of a sequel, I’ll admit that I was a bit skeptical. But as long as you’re not looking for a thought-provoking work of art, “Jumanji: Welcome to the Jungle” is worth the watch.
The film follows four teenagers who who find themselves sucked into the game of Jumanji — but unlike the original board game, Jumanji now takes the form of a video game. Falling deep in a mysterious jungle, they must finish the game in order to leave. There’s just one difference – the four teens are in the form of their video game characters, portrayed by Dwayne “The Rock” Johnson, Kevin Hart, Karen Gillan and Jack Black.
The humor and talent of the actors is really what makes this movie enjoyable. With Kevin Hart’s fiesty and loud personality and Jack Black’s portrayal of a snobby popular girl, you almost forget about the lack of intriguing dialogue and presence of cheesy one-liners.
The movie would definitely prove disappointing if you’re feeling nostalgic and longing for the world of Jumanji. Apart from one scene with the actual board game and the classic, suspenseful thumping, the sequel just doesn’t measure up to the original. “Jumanji: Welcome to the Jungle” focused on comedy and the balance between appealing to adults and children alike. It lacked character development and was often cliché. But thankfully, the comedic genius of the actors overshadowed the lack of any real emotional connection with the characters.
If you’re looking to dive into the world of Jumanji, you’re better off with the 1995 original and the 1981 illustration book by Chris Van Allsburg. But I would suggest this movie to anyone looking for a fresh, amusing and humorous adventure.
I, alongside many others, spent my childhood looking through the lenses of the main characters in the novels I read. Having pored over the “Harry Potter” series since third grade, I got to experience a large portion of my developmental years from the perspective of the Chosen One, Harry Potter.
“Harry Potter” is a distinct pop culture personality, who openly defies the government, fights prejudice and is fiercely loyal to his friends. J.K. Rowling also creates a wonderfully dimensional character profile for everyone in the book — rather than making the characters one-dimensionally morally sound or evil, she creates multifaceted characters that make mistakes, have moral gray areas, apologize and evolve as people.
“Harry Potter” makes a relatable variety of mistakes throughout the series, and while being an astute and stubborn personality, also admits when he’s wrong and works to make things right.
Coming from an unsavory background as the humble punching bag of the Dursley family, Harry Potter had the beginnings befitting of a supervillain. Facing daily roadblocks and abuse with no connections or friends, Harry became self-reliant and resentful of his life.
He eventually gained status as a wizard and escaped his life with the Dursleys to attend Hogwarts, a similar path to Voldemort’s. However, Harry chose to defend those less fortunate and befriend characters like Ron Weasley and Hermione Granger, who were not the most popular or influential characters but were genuine friends.
He rejected the Sorting Hat’s offer to place him in Slytherin despite being offered power and influence. Throughout the series, he makes conscious decisions to defend and protect people against prejudice and hatred and recognizes his faults concerning his impulsiveness and how his actions affect others.
Harry is a prime example of having a choice to be a good person or to pursue power and influence without regarding others, and he is a great role model for young readers in terms of being authentic to oneself and fighting for what one believes in.
J.K. Rowling also tackles some tough subjects for young readers such as bullying, grief, unfair circumstances, jealousy between friends, family dynamics and the uncomfortable feeling of growing up. While most readers cannot relate to having to face a faceless, bald and red-eyed supervillain with murderous tendencies, there are many other subjects that coming-of-age readers can relate to or struggle with. What “Harry Potter” teaches readers is, in essence, to create strong dependable friendships, use power and influence to do good things and reject social prejudice and administrative or governmental systems that work against the people. Most importantly, the series reminds readers to stay true to themselves and what they believe in.
Written by: Claire Phillips | Entertainment Editor
History was made on June 28, 2005, when Rick Riordan first published “The Lightning Thief.” In the last year, the author of “Percy Jackson and the Olympians” has released two new books belonging to the original beloved book series. Over the last 18 years, the series has grown to be 17 books long in addition to two trilogies that take place in the same universe.
To date, the “Percy Jackson” series has been adapted into two movies and a television series that is scheduled to air on Disney+ on Dec. 20. The series stars actors Walker Scobell as Jackson, Leah Sava Jeffries as Annabeth Chase and Aryan Simhadri as Grover Underwood. Trailers for the show depict the trio embarking on epic adventures, accurately mirroring the first book in the series.
Fans have ultimately been more receptive to the casting of the show than the original two movies, though the characters don’t exactly match their book descriptions. Lovers of the book series were disappointed by previous adaptations of the book series to see plot points erased and the characters inappropriately cast in the movies.
As Riordan continued to expand his universe, he added more diversity to his book by including POC, LGBTQ+ and disabled characters. “Percy Jackson” fans are excited to see this diversity has carried over into the series as well.
Since the original “Percy Jackson” pentalogy was released in the 2000s, Rick Riordan has continued to write bestselling novels. “The Heroes of Olympus” continued the “Percy Jackson” story with a new cast of characters in the 2010s, and “The Trials of Apollo” took the point of view of one of the Olympians the previous series discussed. “Magnus Chase and the Gods of Asgard” and “The Kane Chronicles” followed Norse and Egyptian mythology, and were also adored by loyal Riordan fans, who dubbed their favorite author Uncle Rick.
Though Rick Riordan has claimed he is finished writing books in the “Percy Jackson” series, he released two new additions in 2023 — “The Chalice of the Gods” and “The Sun and the Star”. “The Chalice of the Gods” follows Percy as he navigates his senior year of high school. “The Sun and the Star,” co-written with Mark Oshiro, is the treacherous tale of demigods Nico di Angelo and Will Solace as they venture into the underworld.
“Percy Jackson” has continued to thrive due to its healthy mix of nostalgia, a connected fanbase and incredible writing throughout the years. Fans are expecting a bright future for both the books and the show.
In 1979, Australian filmmaker George Miller released his feature-film debut: a dystopian action thriller entitled “Mad Max.” The film starred Mel Gibson as Max, a role that would launch the then 23-year-old actor into stardom.
Inspired by the 1970’s oil crisis, in which oil prices skyrocketed, affecting millions of Australians in particular, “Mad Max” (and its immediate sequels “The Road Warrior” and “Beyond Thunderdome,”) follows Max, a lawman, and his travels through a post-apocalyptic desert wasteland, where he encounters vicious motorcycle gangs, mutants, vengeance and driving. Lots and lots of driving.
Miller had always planned a fourth film in the franchise, but the project remained in development hell for nearly 30 years. When it finally became a reality with the release of “Mad Max: Fury Road,” this month, the response from fans and critics alike was virtually unanimous: it was worth the wait.
“Fury Road,” essentially a reboot of the series rather than a strict continuation, stars Tom Hardy (“Bronson”) and Charlize Theron (“Monster”) as Max Rockatansky and Imperator Furiosa, respectively.
The film begins with Furiosa, a badass, one-armed raider, leading a convoy of war rigs from the Citadel — a colony led by the film’s antagonist, Immortan Joe — to Gas Town, a city with a monopoly grip on gasoline. Halfway to her destination, however, she veers off-road, thus setting the insane events of this insane film in motion.
As it turns out, Furiosa is actually smuggling Immortan Joe’s Five Wives (the women he keeps as “breeders”) to safety. When the masked, deformed, and insane Joe realizes this, he leads a war party after Furiosa to retrieve his wives.
If that description of the film sounds somewhat Mad Max-less, that’s because it is, for the first act at least. Early on, Max is captured and serves as the “blood-bag” (an unwilling blood donor) to Nux, a Citadel raider played by Nicholas Hoult (“Warm Bodies”). Only after the first half-hour does Max cease being a passive character to whom things simply happen, and becomes the driving force of the film, when he decides to aid in the rescue of Immortan Joe’s Five Wives.
Still, Charlize Theron’s Furiosa is constantly at odds with Tom Hardy’s Max for the title of “Fury Road’s” true action hero. Max’s name may be in the title, but it’s Furiosa’s mission that the audience invests in — first when she seeks to save the Five Wives, and later, when she seeks revenge on Immortan Joe, played terrifyingly by “Mad Max” alum Hugh Keays-Byrne. Regardless, Furiosa will still inevitably go down as one of the great action characters of all-time.
“Fury Road” is filled to the brim with explosions, gunfire, fights, frenzy, and fun. It’s an action film in the purist sense, in which the action serves as perfectly-executed exposition in the telling of a great story. It’s never action for action’s sake, never mindless or aimless.
The title of “action film” has a sour connotation to some, suggesting a men’s only club of overwrought violence and one-liners, but “Fury Road” is about as far from Steven Seagal as you can get, mainly due to Imperator Furiosa, the epitome of the strong female hero.
She’s a scarred, battle-hardened fighter with no time for in-depth introspection or (and thank God/George Miller for this) a love-interest. But the feminist themes don’t stop there, with the story of the Five Wives’ escape from the clutches of Immortan Joe serving as an allegory of sorts for the reproductive rights of women.
Action doesn’t always mean flame-spewing electric guitars and hand-grenade spears. It also means what the characters do, and in this film, what they do and what decisions they make are paramount. “Fury Road” takes place over a frenzied three days of mayhem, leaving little breathing room and even less room for needless character arcs. What the characters do inform who they are, nothing more, nothing less.
In the hands of a lesser filmmaker, the idea of a two-hour long film encompassing what is essentially a single car chase would come off as overdone and gimmicky, but in George Miller’s hands, it’s truly a sight to behold.
So go out and behold it, as soon as you can. You’ll be glad you did.
Rick and Morty. Since its initial release in 2013, averaging 1.52 million viewers per episode, it is a cartoon loved by many. Its latest season, season seven, has created a lot of buzz since people started realizing that in this upcoming season, Rick and Morty would be voiced by different people. The show was created by Dan Harmon and Justin Roiland and Roiland has voiced both Rick and Morty for the past six seasons.
In May 2020, Roiland was charged with two felony counts, one for domestic battery and one for false imprisonment, from an incident with a woman he was dating. After these charges, Roiland was dropped from Rick and Morty and other shows such as Solar Opposites.
Now, with the man who voiced the two main characters in his show being fired, many are asking what happens next? As people began to find out Adult Swim and Hulu severed ties with him, they began to question who would replace him. Turns out, we wouldn’t have an answer until the seventh season aired Oct. 15 of this year.
The search for the new voice actors took about six months, with thousands of applicants auditioning. Scott Marder, who helped Dan Harmon in the selection process, said that finding the right person to voice Rick took so long that they considered going global in their search.
“No one sounded exactly like Rick. It was tricky,” he said in an interview with Lesley Goldberg at The Hollywood Reporter.
It was also important to note that the voice actors were chosen so that fans couldn’t recognize the change in voices, unlike Roiland’s character, Korvo, who in the show was shot with a “voice fixing ray” altering his voice.
After the voices were revealed, congratulations are due to Ian Cardoni, the new voice of Rick, and Harry Belden, the new voice of Morty. Fans have already started making comparisons between the old voices and the new ones; some have said they welcome the new takes on the characters, but others say that the “improvisational tone” that Justin Roiland brought to the characters just isn’t there anymore.
Many fans are also upset that Sean Kelly, a voice actor who gained a lot of recognition for sounding exactly like Rick and Morty, was not offered the role of both Rick and Morty, similar to how Roiland played them both. Many comments on TikTok videos regarding the voice change are all about Kelly. Before the release of the new season, comments were begging for Kelly to be chosen.
Even now, comments say Kelly was robbed and still deserves the part. As more episodes and seasons are released, fans will have to decide: is the show good enough to keep watching after such a big change, or is it not?
Written by: Jaylin Emond-Hardin | Entertainment Editor
It seems most of what Disney has been doing these days is releasing live-action remakes, creating a phenomenon where every other film they churn out flops at the box office. So why is the studio so hit-or-miss with these remakes?
Well, for one, these films used to be a novelty. Every so often, Disney would remake one of their classic films, dedicating their time to create a film that honored the original film while also carving its own place in the studio’s catalog. They were never meant to be a one-to-one recreation, but rather an homage to what came before.
Live-action remakes are not a new thing, either. Most people associate the era of these movies with recent times, starting in the 2010s and continuing production today. After all, most adults today grew up with Tim Burton’s 2010 live-action “Alice in Wonderland” remake; however, the first Disney live-action remake was released in 1994, being a live-action remake of “The Jungle Book.” The next two came in 1996 and 2000, in “101 Dalmatians” and “102 Dalmatians.” Most reviews of these three films are split, but most people can point to them being cult classics and staples in their childhood.
Of course, as more of these films are created and they become commonplace, they lose the camp and nostalgia they once had. Burton’s “Alice in Wonderland” — and the box office bomb “The Sorcerer’s Apprentice,” which was based on “Fantasia” — created a domino effect of classic animated films being turned into live-action versions of themselves.
Many of these remakes come from four of Disney’s seven eras of animation: the golden, silver, bronze and renaissance eras. Most of these films adjust their tale for modern audiences, removing racist and sexist subtext that many classic films tend to have, and Disney executives have agreed that some movies simply cannot be adapted due to their nature — “Pocahontas” and “The Hunchback of Notre Dame” are two that have been delayed indefinitely.
But, while writers, directors and producers have the right to make necessary changes, there are some that just don’t land with fans. Enter “Beauty and the Beast,” “Mulan” and “Cruella.”
While their original iterations are still widely popular, “Beauty and the Beast” and “Mulan” seemed to fail among audiences. Their subtle changes and casting choices left fans dissatisfied and upset that more thought from the original films wasn’t put into consideration.
“Cruella” wasn’t welcomed as a film, not because it was a live-action remake, but rather because it was a villain origin story for the villain of “101 Dalmatians.” I mean, the lady wants to make puppies into a fur coat. Why should anyone care about why she’s a villain?
Well, the film had hoped to market off the success of “Maleficent” and “Maleficent: Mistress of Evil,” films that explored Maleficent’s backstory and were remakes of the silver-era movie “Sleeping Beauty.” But where these movies succeeded, “Cruella” failed. To reiterate what I said earlier — she quite literally wants to kill puppies.
Of course, there’s a third reason these live-action remakes often flop: they try to translate talking animals into a film style that only works if executed flawlessly. So far, none of the five recent animal-focused films — “The Jungle Book,” “Dumbo,” “The Lion King,” “Lady and the Tramp” and “Mufasa: The Lion King” — have met this mark, something “Alvin and the Chipmunks” did in 2007, when computer-generated imagery was still developing.
The controversies surrounding the newly released “Snow White” remake have only discouraged fans from enjoying these films.
The first controversy arose when actor Rachel Zegler was cast in the titular role, with many stating that the connection between the character’s name and racial identity was crucial to the film — an attempt to justify racism towards Zegler. It was later explained in the film that Snow White’s name came from surviving a snowstorm, a callback to another iteration of the original tale.
The second controversy arose when Peter Dinklage, a well-known actor with dwarfism, criticized the film and dismissed it as a backward story. In response to this, Disney stated that they would be taking a different approach to the film’s dwarfs, following this criticism and conversations with those part of the dwarfism community. The seven dwarfs in the film were created by CGI, a decision that has further isolated the dwarfism community from the film.
Zegler’s criticism of the original 1937 film pushed away more viewers as well, especially following her statements at the 2022 D23 Expo.
“The original cartoon came out in 1937 and very evidently so. There’s a big focus on her love story with a guy who literally stalks her. Weird. Weird. So we didn’t do that this time. We have a different approach to what I’m sure a lot of people will assume is a love story just because we cast a guy in the movie, Andrew Burnap, great dude,” said Zegler. “But it’s really not about her love story at all, which is really, really wonderful. All of Andrew’s scenes could get cut, who knows? It’s Hollywood, baby.”
The most current controversy to arise from this project comes from the political views of the actors themselves. Zegler is a very vocal supporter of Palestine in the ongoing conflict, frequently using her platform to advocate for Palestinian rights and call attention to humanitarian issues in the region. Her co-star, Gal Gadot, who is Israeli and served in the Israeli Defense Forces, has been extremely open in her support of Israel. Their open stances on opposing views have isolated movie-goers from both political parties, with the actors receiving death threats in August of 2024 ahead of the film’s release.
These controversies have even affected the production of Disney’s next few live-action films. While remakes of “Lilo and Stitch” and “Moana” have been confirmed and have release dates, four others on Disney’s list have been delayed — “Hercules,” “Robin Hood,” “The Aristocats” and “Bambi” — while the live-action remake of “Tangled” has been canceled wholly.
Despite what has been happening with these films, fans actually feel excitement for “Lilo and Stitch,” which is set to release May 23. Reactions to trailers for the film have been positive, with many expressing a refreshed feeling at seeing the live-action depiction of Stitch.
Whether Disney continues to follow this route of adapting beloved classics remains to be seen, but with such negative reviews and fan reactions, one can only hope they will decide to pull the plug.
Written by: Jaylin Emond-Hardin | Entertainment Editor
The gaming industry is an ever-changing, ever-evolving world. With all the work and effort that goes into developing games, consoles and content, it’s no surprise that a plethora of news and controversies arise. From Nintendo to Xbox, here are some of the more recent updates in the gaming world.
Nintendo Switch 2 pre-orders pushed back — When the Switch 2 was announced in January with a June 5 release date, fans were excited about the larger, higher resolution screen, key hardware updates and updated Joy-Cons. Preorders for the console were set for April 9, but now have been pushed back with no update on when that new date will be.
“Pre-orders for Nintendo Switch 2 in the U.S. will not start April 9, 2025, in order to assess the potential impact of tariffs and evolving market conditions,” Nintendo said in a statement. “(We) will update timing at a later date. The launch date of June 5, 2025 is unchanged.”
The company had originally moved production of the Switch 2 from China to Vietnam amid the economic tensions between the U.S. and China; however, with Vietnam being hit with a 46% reciprocal tariff, it will make importation of the devices much more expensive.
“Titanfall 3” rumors — Fans of the popular first-person shooter series “Titanfall” have been clamoring for a franchise continuation since the popularity of “Titanfall 2” in 2016. The community lost hope as the third installment faced constant cancellations, especially since Respawn Entertainment — the studio behind the franchise — prioritized its “Jedi Survivor” and “Apex Legends” games.
However, even with EA coming out to debunk theories throughout the years, @YOROTSUKI and @Osvaldatore, two popular “Apex Legends” leakers, have come out on X, formerly known as Twitter, claiming that Respawn is indeed working on the game. After posting the rumored “Titanfall 3” logo, @YOROTSUKI claimed that the “secret game” that has been in development at Respawn will be the next in the franchise. They also claimed that it will be announced at the 2025 Game Awards with a 2026 release date. @Osvaldatore corroborated these claims. Both leakers are well-known in the “Apex Legends” community and boast nearly 100% accurate track records for their leaks.
New “Elden Ring” content — The popular role-playing game is finally set to receive another update with downloadable content, commonly called DLC. “Elden Ring” was massively successful when it was originally launched in 2022, with smaller, free-to-play content and bug fixes added post-launch. 2024 marked the RPG’s first expansion, one that was so popular it was nominated for Game of the Year at The Game Awards 2024.
This newest expansion will be released late this year and will include armor and weapon updates, new customization options for mounts and stronger cross-platforming. The DLC, called “Tarnished Edition,” was announced specifically for the Switch 2, but will be available for all consoles.
Written by: Jaylin Emond-Hardin | Entertainment Editor
Content warning: This article contains mentions of violence and death and spoilers
A soundtrack is what makes or breaks a movie. It provides ambience in a scene, sets the tone and communicates the emotions that are meant to be felt when watching a movie. The best composers can make audiences cry, feel utter horror and celebrate when good inevitably triumphs —sometimes all in the same movie.
It’s in these soundtracks that composers use leitmotifs, or recurring musical themes, to symbolize characters, journeys and even betrayals. It’s in these moments that viewers can understand the deeper context behind a scene, where unspoken words and happenings become evident.
Maybe they’re not always evident on a first watch-through, but when revisiting a movie or TV show, they become more prominent and jaw-dropping.
“The Rains of Castamere” by Ramin Djawadi and Serj Tankian — “A Game of Thrones”
The episode of “A Game of Thrones” that this song is known for is perhaps one of the most shocking and bloody episodes of a show in TV history. Many of the main characters — most of whom are of House Stark — are brutally killed, with this haunting melody sung during the slaughter. The song itself speaks of the destruction of Houses Reyne and Tarbeck by Tywin Lannister, whose coat of arms is a golden lion on a red background, and is referenced in the song.
Of course, it’s revealed that it was the Lannisters who orchestrated this assassination of the Starks, bringing an end to the War of the Five Kings. “The Rains of Castamere” is foreboding in its own right, and between the combination of piano and cello at its core it gives the feeling that, no matter what, the strings will always be pulled by those who have the power.
In later seasons, the song’s melody returns, and is renamed “A Lannister Always Pays His Debts,” playing whenever a member of the House Lannister acts in a way that changes the course of the story — when Tyrion kills his father, Twyin, and former lover, Shae, and when Joffrey succumbs to poison at his wedding. It becomes a leitmotif of death and destruction, exactly what the Lannister family is known for.
“A Far Green Country” by Howard Shore — “The Lord of the Rings: The Return of the King”
This is a song that never fails to bring me to tears. It’s melancholic at its start but then swells to a peak that reminds audiences of the darkness that the characters still have yet to face. Its first appearance is late in the film when Pippin asks Gandalf about what happens after death, who then tells the Hobbit of “white shores and a far green country under a swift sunrise.” It is from this quote that the melody derives its name, and it comes to represent the hope of peace and the future they fight for. It plays when Sam and Frodo rest on the slopes of Mount Doom and Sam speaks of his lover, Rosie Cotton, and again at Aragorn’s coronation when he is crowned as the first king in centuries.
The melody plays a final time when Frodo crosses to the Grey Havens, before fading to the lyrics of “Into the West” sung by Annie Lennox, who is famously part of Eurythmics and known for “Sweet Dreams.” Lennox’s performance is nothing short of ethereal, and with “A Far Green Country” as its guiding melody, it starts melancholic and swells at the end. It is a song of longing and things that have passed, but also one of hope, showing that the things to come are still good.
“Across the Stars” by John Williams — “Star Wars: Attack of the Clones”
Williams’ love theme for “Attack of the Clones” is nothing short of breathtaking and plays whenever Anakin Skywalker and Padmé Amidala face the love they have for one another. The best part about this theme? It is almost completely made up of other leitmotifs; however, the weaving of these melodies isn’t exactly obvious. I mean, I knew that it was the recurring theme for Anakin and Padmé, but it wasn’t until my brother — who loves to remind me of how much he knows about music theory — pointed out the structure of “Across the Stars” that I started to pay attention to the story it was telling.
The first part of the melody comes from Luke’s theme, which is also the main theme of the series. While his theme starts with a rising fifth, referring to the interval of tones between two keys, “Across the Stars” starts with a falling fifth, the exact opposite of Luke’s theme.
The second part comes from Leia’s theme, where the woodwinds are what carry the melody and stand as the core of the piece. It’s soft and delicate, speaking of hope and love through the galaxy.
The bridge of “Across the Stars” is what ties it all together. The deep brass harmonies are a dark presence in the song and initially seem almost out of place. But, when compared to the “Imperial March,” they become a perfect pair. Anakin and Padmé’s theme tells their story, one that would not have been told without their children or Anakin’s turn to the Dark Side.
“Cornfield Chase” by Hans Zimmer — “Interstellar”
Hans Zimmer is perhaps the most prolific composer of the 20th and 21st centuries. Working on 159 films, from “Batman Begins” to “Spirit: Stallion of the Cimarron,” Zimmer has dipped his toes into nearly every genre of movie, but “Interstellar” proves to be his most emotional project.
The film’s main theme is introduced in “Cornfield Chase,” where the minimalistic theme repeats its piano motif, which serves as the backbone of the theme. The inclusion of strings and brass shifts the piece from introspective to exploring the epic scale of space. Its swell represents the smallness of man and the transcendence of space and dimensional travel.
This theme plays again and again in the moments of space travel and as Cooper, the film’s main character, interacts with his daughter Murph across time and space. The emotional impact of the theme is clear in each scene it plays in, shifting the movie from science fiction that warns mankind of its folly to one where mankind has hope for the future and survival.
Written by: Jaylin Emond-Hardin | Entertainment Editor
Content warning: This article contains mentions of violence and death and spoilers
A soundtrack is what makes or breaks a movie. It provides ambience in a scene, sets the tone and communicates the emotions that are meant to be felt when watching a movie. The best composers can make audiences cry, feel utter horror and celebrate when good inevitably triumphs —sometimes all in the same movie.
It’s in these soundtracks that composers use leitmotifs, or recurring musical themes, to symbolize characters, journeys and even betrayals. It’s in these moments that viewers can understand the deeper context behind a scene, where unspoken words and happenings become evident.
Maybe they’re not always evident on a first watch-through, but when revisiting a movie or TV show, they become more prominent and jaw-dropping.
“The Rains of Castamere” by Ramin Djawadi and Serj Tankian — “A Game of Thrones”
The episode of “A Game of Thrones” that this song is known for is perhaps one of the most shocking and bloody episodes of a show in TV history. Many of the main characters — most of whom are of House Stark — are brutally killed, with this haunting melody sung during the slaughter. The song itself speaks of the destruction of Houses Reyne and Tarbeck by Tywin Lannister, whose coat of arms is a golden lion on a red background, and is referenced in the song.
Of course, it’s revealed that it was the Lannisters who orchestrated this assassination of the Starks, bringing an end to the War of the Five Kings. “The Rains of Castamere” is foreboding in its own right, and between the combination of piano and cello at its core it gives the feeling that, no matter what, the strings will always be pulled by those who have the power.
In later seasons, the song’s melody returns, and is renamed “A Lannister Always Pays His Debts,” playing whenever a member of the House Lannister acts in a way that changes the course of the story — when Tyrion kills his father, Twyin, and former lover, Shae, and when Joffrey succumbs to poison at his wedding. It becomes a leitmotif of death and destruction, exactly what the Lannister family is known for.
“A Far Green Country” by Howard Shore — “The Lord of the Rings: The Return of the King”
This is a song that never fails to bring me to tears. It’s melancholic at its start but then swells to a peak that reminds audiences of the darkness that the characters still have yet to face. Its first appearance is late in the film when Pippin asks Gandalf about what happens after death, who then tells the Hobbit of “white shores and a far green country under a swift sunrise.” It is from this quote that the melody derives its name, and it comes to represent the hope of peace and the future they fight for. It plays when Sam and Frodo rest on the slopes of Mount Doom and Sam speaks of his lover, Rosie Cotton, and again at Aragorn’s coronation when he is crowned as the first king in centuries.
The melody plays a final time when Frodo crosses to the Grey Havens, before fading to the lyrics of “Into the West” sung by Annie Lennox, who is famously part of Eurythmics and known for “Sweet Dreams.” Lennox’s performance is nothing short of ethereal, and with “A Far Green Country” as its guiding melody, it starts melancholic and swells at the end. It is a song of longing and things that have passed, but also one of hope, showing that the things to come are still good.
“Across the Stars” by John Williams — “Star Wars: Attack of the Clones”
Williams’ love theme for “Attack of the Clones” is nothing short of breathtaking and plays whenever Anakin Skywalker and Padmé Amidala face the love they have for one another. The best part about this theme? It is almost completely made up of other leitmotifs; however, the weaving of these melodies isn’t exactly obvious. I mean, I knew that it was the recurring theme for Anakin and Padmé, but it wasn’t until my brother — who loves to remind me of how much he knows about music theory — pointed out the structure of “Across the Stars” that I started to pay attention to the story it was telling.
The first part of the melody comes from Luke’s theme, which is also the main theme of the series. While his theme starts with a rising fifth, referring to the interval of tones between two keys, “Across the Stars” starts with a falling fifth, the exact opposite of Luke’s theme.
The second part comes from Leia’s theme, where the woodwinds are what carry the melody and stand as the core of the piece. It’s soft and delicate, speaking of hope and love through the galaxy.
The bridge of “Across the Stars” is what ties it all together. The deep brass harmonies are a dark presence in the song and initially seem almost out of place. But, when compared to the “Imperial March,” they become a perfect pair. Anakin and Padmé’s theme tells their story, one that would not have been told without their children or Anakin’s turn to the Dark Side.
“Cornfield Chase” by Hans Zimmer — “Interstellar”
Hans Zimmer is perhaps the most prolific composer of the 20th and 21st centuries. Working on 159 films, from “Batman Begins” to “Spirit: Stallion of the Cimarron,” Zimmer has dipped his toes into nearly every genre of movie, but “Interstellar” proves to be his most emotional project.
The film’s main theme is introduced in “Cornfield Chase,” where the minimalistic theme repeats its piano motif, which serves as the backbone of the theme. The inclusion of strings and brass shifts the piece from introspective to exploring the epic scale of space. Its swell represents the smallness of man and the transcendence of space and dimensional travel.
This theme plays again and again in the moments of space travel and as Cooper, the film’s main character, interacts with his daughter Murph across time and space. The emotional impact of the theme is clear in each scene it plays in, shifting the movie from science fiction that warns mankind of its folly to one where mankind has hope for the future and survival.
Written by: Jaylin Emond-Hardin | Entertainment Editor
“If I wanted to pay for commercials I couldn’t skip, I’d sign up for Hulu.” Who knew a throw-away line in a 2014 episode of “The Simpsons” would still be so prevalent today? I mean, the episode wasn’t even about commercials or advertisements — it was about Homer pirating movies and consequently being arrested by the FBI.
But, Homer did have a point. Why pay for streaming services when they have ads?
When companies like Netflix and Hulu first launched, they both offered an ad-free service as their basic plan, which now both have ads. Even Hulu’s so-called “ad-free” subscription — the most expensive of their plans at $18.99 — is adding ads to certain programming, alongside Disney+, which Hulu is now partnered with.
There’s not really a definitive answer for why these services are including ads, but it doesn’t make sense in the first place. After all, when Netflix and Hulu first launched as apps, they offered ad-free services for a fraction of the cost of cable. So what’s changed?
The first is the very reason why Netflix, Hulu and Disney+ gained popularity: no ads for a fraction of the cost. As more and more users joined, the companies realized that they needed a solution to make up for the revenue they were losing. Even with every user paying the monthly fee, they still needed support from advertisers. Thus, they began to offer two services — ad-free and basic with ads.
Eventually, these evolved into different subscription plans for each service, some being ad-free, some offering partnerships with live TV or other streaming services. Currently the most popular partnership is the Hulu bundle, offering no ads on Hulu, a Disney+ subscription with no ads and ESPN+ with ads.
The second reason for advertisements becoming more prevalent on streaming services goes hand in hand with the bundling of streaming services: the amount of content offered. As content becomes available through cross-platforming, like Hulu titles and ESPN+ live sporting events being available on Disney+, the cost of licensing increases. The only streaming services that seem to avoid the need for ads due to cross-platforming are HBO Max and Prime Video, though Prime still has ads on when watching titles from its library or other non-Max affiliated services.
With all these ads, it seems that streaming services have become cable, but if streaming services have become the new cable, what’s the next step?
For starters, visit a local library. They have extensive collections of movies and shows on DVD, though a DVD or Blu-ray player is required. Thrift stores typically also have copies of movies and shows, and ownership of one’s favorite titles might bring peace of mind — especially with the way titles are traded between services. However, a major downside of this is that many newer movies and series are not available on DVD, especially with the popularity of streaming services and digital copies.
Content warning: this article discusses fictional violence, suicidal ideation and spoilers for “Grey’s Anatomy”
“Pick me. Choose me. Love me.”
Meredith Grey, nailed as the original “pick-me girl,” once begged her romantic interest — Derek Shepherd — to love her in season two of “Grey’s Anatomy,” a well-known medical drama that’s still ongoing. More than a decade later, the line has been connected to embarrassing tactics performed by women or girls who are “not like other girls” in hopes of gaining attention.
Well, believe me — Meredith Grey was never a “pick-me girl.”
The words of @dylanpcarlino on TikTok put it best: “Meredith Grey has spent her entire life being neglected and running from any real feeling. That speech is the very first time she’s ever said to another person exactly what she wants. She’s embarrassed by love. I think it was important for the character to stand up and say, ‘I love you. I want this.’”
Grey, raised solo by an ambitious surgeon who prioritized her career, whose father walked out of her life when she was young to start over with another family, was irrevocably abandoned. Due to this, she follows typical “neglected only-child” tropes: making her friends her family, afraid of love, self-sufficient, self-sacrificing and, in many instances, lacking self-preservation to the point of near-death.
Chances are, Grey’s lack of self-worth in the early works of the show stems from the abandonment she suffered in childhood. Secondly, her ability to sacrifice herself for others comes from the same place, that family is rare to come by and she can help others the way nobody helped her. Additionally, Grey faced an insurmountable amount of expectations to be great due to her mother’s historical work in the surgical field. She wasn’t just a neglected kid — she was the daughter of a star surgeon, whose life was cut short too soon, leaving unfulfilled goals and large shoes for Grey to fill.
And, even after receiving the love from Shepherd that she begged for, Grey pushes him away throughout the show, often neglecting conflict resolution skills. Nobody in her life modeled healthy relationships, plainly visible in her background and through her poor coping skills.
Online theorists have characterized Meredith Grey as self-preservation four — ironic due to Grey’s lack of self-preservation. Multiple times over, Grey has endangered herself for “the greater good” — or for no plain reason at all. Cue the following scenes: Grey, submerged in the ocean; Grey, hand in a body cavity containing a bomb; Grey, not begging for her life when faced with a deadly weapon, instead pleading to meet her end so the life of her lover can continue.
Being a self-preservation four personality type means one is self-sacrificing to no end. They do not communicate sensitivity, suffering, shame or envy, despite their ability to feel them. In fact, they manage to submerge — haha, get it? — these emotions, masking stoicism, but secretly hoping to, one day, be rewarded with love and acceptance. This, we know, Grey wants desperately, but often enacts her perfect ability to drive others away — self-sabotage.
According to Ashlie Woods, expert with the Enneagram types, “They have a strong need to endure, so they develop an ability to do without. They put themselves in situations that are tough. They test and challenge themselves … In some cases, they may not know how to live without the stress and pressure they put on themselves. They don’t allow themselves the experience of living in or from their fragility.”
These archetypes are, however, very sensitive. Grey, around season five, is slammed with accusations that she is uncaring and insensitive — conflict-avoidant, which is true to character — resulting in one of the show’s most complex and interesting storylines. Grey and Shepherd work on a patient who currently serves a sentence on death row, with Grey showing the murderer extended compassion, much to Shepherd’s dislike. This can be analyzed in multiple ways. One of these is the view that Grey is extending compassion to the ones who do not receive it. Perhaps she is looking to understand the misunderstood, as she so often feels, maybe love the unlovable. Or, maybe, she feels the desire to open up to another human — but can’t afford yet for it to be someone who cares for her. No matter the reason, Grey exhibitsed traits much unlike those of a traditional protagonist or hero.
Many other scenes reflect Grey’s inner turmoil. In one of the most well-known episodes, “Into You Like a Train,” the trolley problem is brought to life: pick one patient to save and condemn the other to death. When the unlucky patient is pulled aside and left to die, Grey is the only one on her team — seeing this patient as a reflection of herself, abandoned with nobody to save her. This, of course, is pointless, leading to the concept of self-saving — maybe nobody can help Grey but herself.
Not even love can save Meredith Grey. She loses her husband in season 11 rather abruptly, but decades of growth in her character have taught her that her healing is her own, and her life, even if lived alone, has value.
The characterization of Grey — her depression, mommy and daddy issues, fear of commitment and love, lack of coping mechanisms — all culminate in an older, wiser character by the end of the show. She becomes a mother and an award-winning surgeon, both important to her — what her mother could not balance — but, throughout it all, Grey does not fundamentally change. She keeps her wit, her dry humor and, somehow, most importantly, her ability to find danger anywhere. Her character is a testament to neglected only children, self-preservation fours and otherwise misunderstood viewers, showcasing that healing is more complex and doesn’t work like a cookie cutter — it won’t spit out a happy, healed, sunshine-y person at the end. She is persistently stubborn, unrelenting and reckless, but, by the end of the show, content with her life, her family and her work, which may be the only things Meredith Grey ever wished for.
Written by: Jaylin Emond-Hardin | Entertainment Editor
Lately, it seems that CGI, or computer-generated imagery, has steadily weakened since the days of “Pirates of the Caribbean” and the infamous Michael Bay “Transformers” movies. These lapses often leave moviegoers and critics alike disgruntled, which leads to the question: why has CGI declined in the last decade?
While Bay’s movie series was lackluster, the “Transformers” universe that he created showed fans that CGI was ever advancing. After all, it looked like Optimus Prime and Bumblebee would walk off the screen before our eyes.
Rassoul Edji, a visual effects — VFX — artist who worked on “Transformers: Rise of the Beasts,” explained in an interview that there’s just more work for the VFX teams and less time to do the amount that’s expected of them.
“Clients continually change the brief. Shot design and planning are no longer a priority, and we have a lot more work to get through in a shorter amount of time,” he said. “This means new work gets added to our plate and work we’ve already started (and sometimes even finished) gets scrapped. The ‘fix it in post’ mentality also doesn’t help.”
So the fingers shouldn’t be pointed at the VFX artists, but, rather, the studio and movie leadership team. Rushed filming and production schedules force artists to limit what their work is capable of, leaving CGI messy and unfinished.
However, Edji also pointed out the lack of practical effects as another reason. “VFX is often used as a crutch to fix issues which should be fixed on set. If (a movie) is planned well, changes aren’t constantly made and the VFX teams have enough time to create and refine it.
One of the best examples of Edji’s points has to be James Cameron’s “Avatar” series. Between “Avatar” and “Avatar: The Way of Water” are 13 years that Cameron and his team spent on perfecting the sequel, ensuring that their film was just how they wanted it. And in a series that is heavily dependent on CGI, this time paid off.
Of course, not all movie series can wait 13 years between movies. Even Cameron has shortened the period between movies to just three years, with “Avatar: Fire and Ash” releasing this December. But even Michael Bay spread his movies out in two to three year increments, polishing and perfecting each movie so they were lifelike.
The main issue is studios pushing for their movies to be churned out at a rate so fast that it feels like both VFX artists and viewers can’t keep up. After all, in the last five years alone Marvel has released 12 movies and 17 TV series, many of which already have multiple seasons, and is currently the biggest shoddy CGI offender that fans have complained about.
For the time being, it doesn’t seem like CGI is on track to improve, especially if studios keep pushing for a fast rollout of content; however, there are still studios and directors dedicated to providing the perfection that many have come to expect of big name studios.
Written by: Jaylin Emond-Hardin | Entertainment Editor
Content warning: This article contains spoilers for “A Court of Thorns and Roses,” “Crescent City” and “Throne of Glass”
Spanning 16 books across three different series, Sarah J. Maas’ works have been translated into 38 languages and have sold over 12 million copies across the globe. All three of the series fit into different niches of their genre — romantasy, urban fantasy and high fantasy — but when diving into Maas’ works for the first time, most readers don’t realize that they are connected in one universe. After all, I didn’t and I’m 12 books deep.
Unless one has read all three series, this isn’t as obvious. Most of the connections between the three only become clear in “House of Sky and Breath” and “House of Flame and Shadow,” the second and third books of the series “Crescent City.”
The most glaring is when Bryce Quinlan, the series’ main heroine, discovers that the Asteri — the godlike beings that rule their world — have been feeding off the people to fuel their immortality. Across centuries and millennia, the Asteri have traveled across worlds inter-dimensionally to feed off the people that live there.
When Rigelus, the Asteri’s leader, begins to pursue her, Bryce uses her abilities to open a portal and cross into Prythian, the continent where “A Court of Thorns and Roses” takes place. There, under the watchful eye of Nesta and Azriel, Bryce discovers that her ancestor, Theia, was originally from Prythian. This information suggests that Theia is the ancestor of Rhysand, as one of her daughters returned to Prythian from Lunation, and it is currently the most popular fan theory.
The connection between these two series and “Throne of Glass,” however, is not as obvious. It isn’t until “Kingdom of Ash” that we even see glimpses of Prythian or Lunathion.
When Aelin burns out and uses an immense amount of her powers, she begins to fall between worlds. During this fall, she observes what fans believe to be Lunathion and she is eventually slowed by none other than Rhysand, the High Lord of the Night Court.
These examples alone show how interconnected Maas’ series are. Whether she began writing her series to connect them or not, having them exist in the same multiverse opens up an entirely new door of possibilities.
For example, in the bonus chapter of “House of Flame and Shadow,” Bryce returns to Prythian and brings her mother, Ember, with her. There, Ember and Bryce interact with all of the Inner Circle, Rhysand’s group of friends and advisors in “A Court of Thorns and Roses,” and suggests that Bryce’s ability to cross over the worlds can be used for a much larger purpose — perhaps even bringing an army to Lunation or Prythian to help defeat the next world-ending threat.
However, fans have noticed other commonalities between the three series long before Maas connected them explicitly. Most connect “Crescent City” to “Throne of Glass” and “A Court of Thorns and Roses” rather than vice versa. What this means isn’t certain, though it likely sets up a “past, present and future” scenario between the three: “A Court of Thorns and Roses” as the past, “Throne of Glass” as the present and “Crescent City” as the future.
This “past, present and future” theory arises from the fact that out of the three series, only one has gods that have remained in their world: “Crescent City.” In “A Court of Thorns and Roses,” the gods have been long gone, now nameless and forgotten, while in “Throne of Glass,” both the gods and magic have been gone for eight years. This also supports the theory that the Asteri also once were in Prythian and Erilea — where “Throne of Glass” takes place — but were forced to leave at some point.
Out of all of the connections across the books, my favorite is the connection between Aelin Galathynius, the protagonist of “Throne of Glass,” and Lidia Cervos, a minor, antihero-type character in “Crescent City.”
The similarities between these women are glaring and go much deeper than just their appearances. Of course, both are described to look very similar — golden blonde hair, pale skin and eyes that are somehow both gold and blue — but even Lidia and Aelin’s ability to wield fire is nearly identical. Stags are the symbol of Aelin’s kingdom, Terrasen, and Lidia is one of the most powerful Stag shifters of her long lineage. Even one of Lidia’s sons is named Brannon, who was the first fire-wielding king of Terrasen and Aelin’s ancestor.
The Autumn Kings of “Crescent City” and “A Court of Thorns and Roses” are also theorized to be related to the line of Terrasen or even just plain connected to one another.
Yes, that’s right. Two separate kings who rule over two separate courts in two separate series with the same name? It might just seem like a coincidence, but it’s in more than just their names.
While Einar rules over the Valbaran Fae in Lunathion and Beron rules over the Autumn Court, they both have wine-red hair and tanned skin and are described as power-hungry, cold Fae men.
Not convinced yet? Well, their strange gold and blue eyes and fire powers are what wrap this package up with a neat little bow. It’s also these attributes that lead fans to theorize the connection between the Autumn Kings and the line of Terrasen.
Another important minor detail is the style of tattoos throughout the three series, especially between those of Feyre Archeron and Rowan Whitethorn, and Bryce Quinlan and Nesta Archeron.
Between Feyre and Rowan, there is no shortage of swirling black lines, most notably on their arms — Rowan’s tattoo travels up from his arm onto his neck and face — while Bryce and Nesta both have an eight-pointed star, Bryce’s in the middle of her chest and Nesta’s in the middle of her back.
Though it’s not exactly clear why these characters have such similar tattoos — the only tattoo we have explanations for is Bryce’s — it shows a deeper connection between the three fae cultures across three different continents and even series.
Of course, I might just be reading into all of these similarities too much. After all, it is common for authors to use recurring themes in their series, but with Maas connecting her stories in very explicit ways, it appears to be more than just coincidence.
Maas has yet to announce when the next books in “Crescent City” and “A Court of Thorns and Roses” will be released, but with 16 books worth of information, there is plenty to devour and theorize on what exactly the author will be up to next.
Written by: Jaylin Emond-Hardin | Entertainment Editor
Content warning: This article contains mentions of sexual harassment
Hollywood is no stranger to lawsuits that take media coverage by storm. Just two years ago, the Amber Heard and Johnny Depp trial was at the forefront of everyone’s minds after both parties named each other in lawsuits following their 2017 divorce. While the lawsuit between actors Blake Lively and Justin Baldoni will not see a courtroom until March 2026, that does not stop fans and celebrities alike from taking sides.
With all the attention the lawsuit has received on social media and the news, it can be confusing and overwhelming to filter through all of what’s going on.
From the movie’s release date in August to the most recent news, here is the full timeline of the drama surrounding “It Ends with Us.”
Aug. 6, 2024 — Baldoni walks the “It Ends With Us” premiere red carpet separately from the rest of the cast. Rumors of a feud between the director and the rest of the cast begin to surface, especially when Baldoni remains absent from movie press tours.
Aug. 9, 2024— “It Ends With Us” makes its theatrical debut, earning $50 million on its opening weekend.
Aug. 13, 2024 — Baldoni hires Melissa Nathan as a crisis PR manager. Nathan previously worked with Johnny Depp in 2022.
Dec. 20, 2024 — Lively files a formal complaint against Baldoni, accusing him of “disturbing and unprofessional behavior on set that led to a hostile work environment.” Lively makes allegations that Baldoni entered her trailer uninvited while she was breastfeeding her child and making inappropriate comments about sex and porn while on set. Baldoni and his PR team are also accused of creating a smear campaign against Lively.
Dec. 21, 2024 — Baldoni is dropped by his talent agency, the same day The New York Times published an investigative story on the situation. Baldoni and Lively shared the same talent agency, and in Baldoni’s later lawsuit against The New York Times, he alleges that Ryan Reynolds, Lively’s husband, demanded that the agency drop Baldoni as a client at the premiere of “Deadpool and Wolverine.”
Dec. 31, 2024 — Baldoni files a lawsuit against The New York Times, claiming the outlet used “cherry-picked and altered communications stripped of necessary context and deliberately spliced to mislead.” He also refuted some of Lively’s claims, stating that his co-star invited him into her trailer and included a screenshot of their conversation. The same day, Lively filed a lawsuit against Baldoni in the state of New York after previously filing her complaint against Baldoni in California.
Jan. 16, 2025 — Baldoni files to directly sue Lively, Reynolds and Lively’s PR company. In this lawsuit, Baldoni accused Lively of never reading the book that their film was based on, thus making decisions that “reflected her fundamental lack of understanding of the book.” He also claims that Lively began to take control of the film, at one point going as far as to joke that Baldoni should get plastic surgery on his nose while filming a scene. Lively’s lawyers called the lawsuit a desperate attack on a woman, saying that it would fail in a press release.
Jan. 21, 2025 — Baldoni’s PR and legal teams release behind-the-scenes footage that they say contradicts Lively’s claims. The footage shows Lively and Baldoni slow dancing for a montage, and it is during this portion of filming that Lively alleges that Baldoni “leaned forward and slowly dragged his lips from her ear and down her neck as he said, ‘it smells so good’ … When Lively later objected to this behavior, Baldoni’s response was, ‘I’m not even attracted to you.’” However, in the audio that was captured, Baldoni and Lively can be heard talking and joking out of character while filming the scene. Lively can be heard telling him, “I’m probably getting spray tan on you,” with Baldoni replying, “It smells good.”
Jan. 27, 2025 — A trial date is set for March of 2026 the same day an audio of Baldoni allegedly apologizing is released. Both Baldoni and Lively’s cases have been consolidated into Lively v. Baldoni et al and are scheduled to enter the courtroom March 9, 2026. A pre-trial begins, following Lively’s request for a gag order. This same day, a voice note that Baldoni allegedly sent was leaked of him apologizing for how he responded to Lively’s script changes: “I’m really sorry. I for sure fell short and you worked really hard on that.”
Feb. 1, 2025 — Baldoni launches a website where he plans to share evidence. The website, titled “Lawsuit Info,” contains the link to two PDFs of Baldoni’s complaint and a timeline of events, including allegations of everything that happened up to Lively’s casting and everything that has happened since, along with screenshots of alleged conversations.
Feb. 3, 2025 — Judge warns Baldoni and Lively’s lawyers to rein in their press war at the pre-trial.
Feb. 4, 2025 — Baldoni shares notes from a meeting with an intimacy coordinator, alleging that Lively skipped said meeting.
Feb. 19, 2025 — Lively files an amended complaint against Baldoni. Her lawyers claim that the amendment contains additional evidence, new communications and testimony from additional witnesses that they believe strengthen her argument.
Amidst all of this, Colleen Hoover, author of “It Ends With Us,” has removed all posts from her social media accounts about the film and deactivated her Instagram account. Fans speculate that she is quietly making her exit from writing due to the controversy.
Additionally, fans are also pointing out the similarities between Nicepool, a variant of Deadpool in “Deadpool and Wolverine,” and Baldoni, suggesting that Reynolds used the character to get back at Baldoni in support of his wife.
With accusations flying from both sides, it’s difficult to tell who is in the right or wrong in this case, and, like the Depp and Heard lawsuit, it seems like the aisle will remain divided in support of the actors.
