Mount Hood

Clash Royale Hits the U.S. App Store

By: Ashton Newton
Staff Writer

The modern App Store has become very predictable. Each week, it gets updated with a fresh batch of Clash of Clans clones and Flappy Bird clones, more than one could count.

Developer Supercell started the action base-building craze with their 2012 release of Clash of Clans. The game is estimated to make $1.5 million per day.

Last month saw the release of Supercell’s Clash Royale, a pocket-sized MOBA based off the characters and world from Clash of Clans. And it’s amazing.

For anyone who doesn’t know, MOBA stands for Multiplayer Online Battle Arena, and games like League of Legends and DOTA 2 have taken over the competitive gaming market. Each year, multi-million dollar tournaments are held and professional players from around the world battle.

But with Clash Royale, the idea of the MOBA game is simplified and put in the pockets of the masses. The game pits you against another player and you have to send out troops to destroy the other players towers and castle, the first to lose their castle loses the battle.

Clash Royale instantly became the top grossing and most downloaded app on the App Store upon its release. Today it sits comfortably as the second top-grossing app, with Clash of Clans at number three.

It’s a simple game, yet there is so much room to master it and become more competitive. The game features cards for different troops that you can send out, so over time you can collect them in game and play around with different line-ups. There are 48 cards in total.

The game also has a feature called TV Royale, where you can instantly start watching a game between two players at the highest rank for enjoyment or to see the strategies of others. You can also, just like Clash of Clans, join a clan with your friends and talk, casually battle, and trade cards.

Clash Royale is free to play, but gives you the chance to spend real money on gems and coins to get more or improve your cards.

Clash Royale is out now on the Apple App Store and Android Market.

Contact the author at anewton15@wou.edu

How Superhero Movies Fail Their Characters

By: Declan Hertel
Entertainment Editor

There are a lot of superhero movies these days. This is not news to anyone. They consistently make big, big money at the box office, and there’s no real end in sight, with Marvel’s release schedule stretching at least into 2020 and DC’s cinematic universe just getting revved up.

These films have a deep and rich history of heroes and storylines and villains and themes to pull from; some of these characters have been around three times as long as I’ve been alive, having adventures in their countless comic books. So, it seems to me, the question is: why are these films so shallow?

Let’s waste no time: modern superhero movies aren’t allowed to take risks because they only have two hours and need to appeal to as broad an audience as possible to recoup the hundreds of millions of dollars spent on making them, and then some. Meanwhile, comic books cost a fraction of a fraction of a movie budget to produce and distribute, and can tell stories over the long term. Because of their low cost and long form nature, they’re allowed to (gasp) take risks with their storytelling, to tackle heavy issues and really meditate upon the American consciousness in a meaningful way.

Carmen Petaccio wrote a piece for The Atlantic this March about the increasing darkness of superhero films, and how this washed-out grittiness feels false, or out of place for stories about superheroes, and refers to the “Civil War” storyline, the basis for the next Captain America movie, as if it was created out of thin air for the films as a cynical attempt to keep the audience interested. This is a somewhat disheartening example of Did-Not-Do-the-Research: it would take a minimum of effort to find that in fact, the “Civil War” arc was a long and sordid affair in the comics world. And, while I agree with him that the upcoming film looks like mediocre fan fiction, that’s only because it literally doesn’t have the time available to it to tell the story well. In comics, the “Civil War” was a brutal and bloody conflict, involving pretty much the whole Marvel universe, over freedom vs. security in America: do we force heroes to register and be under government control, or do we let them continue independently and assume the risks therein? This is an issue even more prominent today than it was when the arc began, and I fear that the films will only pay lip service to these themes in exchange for two and a half hours of colorful men punching each other.

Comics are also the only superhero medium that allow heroes to be rounded, three-dimensional characters (though of the TV series, “Daredevil” comes close, and “Jessica Jones” closer, and yet … ) John Green railed against Batman in a Vlogbrothers video from about a year ago, saying that if Bruce Wayne/Batman really wanted to help Gotham, he’d invest his money in schools, rebuilding the crumbling infrastructure, into bringing the city into the modern age; instead, he pours gajillions of dollars into gizmos and gadgets for him to use to bring down Gotham’s psycho population, only for them to escape from Arkham Asylum, so he must begin the cycle anew. This is an absolutely fair criticism of the movie version of Batman (specifically speaking here about Christopher Nolan’s “Dark Knight” trilogy): he comes off as a selfish, near narcissistic playboy who gets off on beating criminals to a pulp when the sun goes down, and who seems to care precious little about the well-being of the city.

But in reading the pretty freaking brilliant run of “New 52: Batman,” written by Scott Snyder of “American Vampire” fame, after a badass opening fight (because let’s not forget that Batman is a badass), Bruce Wayne delivers a speech unveiling a plan to do literally all the stuff Green claimed Bruce Wayne doesn’t do. He promises to rebuild the infrastructure, fund schools, and modernize Gotham’s public transport, among other plans. He notes that he already has a number of highly interested donors and buildings already all but underway (and yeah the new buildings he proposes will include new Bat-outposts for him to use, but they will also be the source of legitimate boosts to Gotham). In these comics, Bruce Wayne is a deeply troubled man with a savior complex and deep love for his city that he utilizes his ultra-wealth to act upon, both as Batman when night falls and in his own guise as a philanthropist.

And this is where movies fall short. They can’t show the truly interesting and meaningful explorations of the humanity of heroes. They can’t show the nitty gritty. They can’t show Bruce Wayne glad-handing with potential investors and donors. Audiences (especially in the Chinese market, but that’s a different article entirely) want to see colorful dude number one punch colorful dude number two in the face. While this can be fun, it totally misses the point of superhero stories, which is the same point of Greek myths: godlike beings who struggle with their inherent humanity.

Superheroes at their best give us a new way to explore the human condition through the struggles of powerful beings. Unfortunately, I fear that with superhero films being the purely for-fun, somewhat vapid popcorn flicks they are, superheroes and comic books are experiencing reinforcement of the stereotype that they are for children and maladjusted man-children. But at their best, they’re not: besides the decidedly adult stories of a great many franchises (having just read DC’s brutal and disturbing and brilliant “Death of the Family” arc, I can attest that this shit ain’t for the younger set), they’re a means, like Greek myth, to explore being human through the eyes of the superhuman, to cast light directly on human foibles as they shine through the cracks in the armor and deeds of these characters.

Contact the author at dherterl12@wou.edu or on Twitter @journalfuntimes

April Fools’ Day takes over the internet

By: Ashton Newton
Staff Writer

There’s one day a year where it is not safe if you are a fan of anything to go on the Internet, and that day is April 1.

My April Fools’ Day started with seeing the new trailer for the Star Wars Netflix Series: Wrath of Maul up on IGNs website. I was going to cry of happiness until I looked at the date.

Companies and developers get the chance to cause totally socially acceptable pain and suffering on April 1, and like always, the results were hilarious.

“World of Warcraft” and “Hearthstone” developer Blizzard released a trailer for “Hearthstone: the MMO,” showing World of Warcraft gameplay. Calling it a new “MMO based off of the popular card game.” Also, it was announced that the “Frost-doge Clan” was coming to “World of Warcraft.”

The popular figure collecting game “Disney Infinity” revealed a new line of scented “Zootopia” figures. Who wouldn’t want a carrot scented Judy Hopps?

On the Internet, National Geographic promised to stop publishing “Animal Nude Photos” and Hamburger Helper dropped a mixtape of five songs and a music video.

Funko Pop, the popular toy brand, revealed Funko Pop Vaults, a literal safe that Funko says can “withstand lava, punching, gunfire, nuclear fallout, stampedes, frog people, and more.”

“Game of Thrones”’ Hafthor Bjornsson, aka The Mountain, released a commercial for his new brand of sparking water, Heavy Bubbles, coming in giant weight-shaped bottles.

Then there was the mean pranks: Yahoo announced that Trader Joes would be closing all stores by 2017, which must have freaked out some loyal customers and employees out until it was said that it was all a prank at the end of the article.

The meanest of them all was Ford’s prank that the Ford Bronco was making a return, complete with pictures. This made some diehard Bronco fans extremely happy, until they saw the April Fools’ at the end.

All in all, April 1 fooled a lot of people in a lot of ways, myself included. Next year, it might be safer to stay off the Internet on April Fools’ Day.

Contact the author at anewton15@wou.edu.

THE EDITOR DOTH PICK

“Stuff and Nonsense” is a fantastic little card/board game from Cheapass Games. You and your opponents are would-be adventurers who scour the outskirts of London for somewhat exotic trinkets and tidbits that you can use as evidence of your non-adventures, so that you can go to the prestigious Adventurer’s Club and spin fantastic tales about places you’ve never been (it’s pronounced “chee-NAH,” yes?). It’s fast, easy to learn, and if you’ve got even a single performative bone in your body, it has proven great fun in my sessions to pour some drinks, give each other silly posh-sounding names (Sir Beefwellington of the Oxfordshire Beefwellingtons, for example), and relate our tales in great detail with gusto and British accents. Your first game will probably take about an hour while you learn, and from then on it can take as little as 40 minutes, or a couple hours, depending on whether you play it as a straight up card game or take more time to relish in the stories you tell. I highly recommend it.

Scooting. I’m that dude that scoots everywhere around campus. Scooting is way more fun than that walking garbage y’all are doing. Plus it looks hella doofy and I think we all need to be more comfortable with being doofy. They got ‘em at Target for $30-ish, #scootlife breh join the revolution.

THE EDITOR PICKETH NOT

… superhero movies. Not superheroes, just this recent explosion of films based on them. I have a lot to say about this, so check the full article at wou.edu/westernjournal.

Phone Power: They Might Be Giants

By: Darien Campo 
Staff Writer

This week, March 8th, alternative rock duo They Might Be Giants released their 19th studio album “Phone
Power”. “Phone Power” is the third collection of songs from the 2015 revival of TMBG’s Dial-a-Song
project, in which they recorded and released a brand new song (with an accompanying video) every
week this year. The previous two collections of 2015 Dial-a-Songs, released earlier this year, were
“Why?” and “Glean”.

Anybody who follows TMBG is already familiar with most of the songs on this album, since they’ve
previously made an appearance on dialasong.com, but it’s still great to hear them all collected together
for the first time.

For a band that’s been releasing music almost constantly for the past 30 years, it’s truly amazing that
they’ve kept the same standard of quality on each album. Every song on “Phone Power” shows the same
attention to detail that Johns Flansburgh and Linnell have consistently delivered to their eager fans.
There are some really fun tracks on this album. My personal favorite is “I Am Alone”, which details a
very dramatic (and hilarious) standoff between 4 characters with too many plot twists to count. The
songs are creative and fun as always, but nothing on the album really breaks away from the TMBG
standard — which is hardly even a complaint.

The most notable detail about “Phone Power” is that it is TMBG’s first foray into the world of “pay-what-
you-want” releases. If you visit tmbg.com/phonepower you’re greeted with the option to choose your
own price for the 18 track album. They even say that you can pay nothing for the album, “because, like,
you don’t have any money right now. We understand. We totally support that idea. We don’t mind
giving things away.” They do offer special deals for folks who pay more for the album, like a physical CD
instead of a download link, and even an exclusive live stream to a show of theirs in April.

Though the songs on “Phone Power” are fun, I’m still waiting for TMBG to blow me away again like they
did with their 2013 release “Nanobots”. Regardless, “Phone Power” is a powerful addition to the
unstoppable The Might Be Giants discography, and is sure to please any fan.

‘Ghostbusters’ Returns to Big Screens This Summer

By: Ashton Newton
Staff Writer

We’ve all known for a long time what to do if there happens to be something strange
in the neighborhood. That’s common knowledge: Who ya gonna call? Ghostbusters.
But this summer, a new team is putting on the jumpsuits and taking on the iconic
role in the ‘Ghostbusters’ reboot film.

The first trailer for the upcoming film debuted last week, featuring plenty of laughs,
ghosts, and slime. The reboot has all new, all female team. The film stars Melissa
McCarthy, Kristen Wiig, Kate McKinnon, and Leslie Jones.
The film follows the scientists and a subway worker as they work together to defeat
a powerful demon who can take over the bodies of humans. The trailer also revels
that there is someone in the city who created a device that amplifies ghostly activity.
People are much more opposed to the idea of ghosts in the reboot’s New York than
in 1984 New York, which adds a new goofy dynamic to being a Ghostbuster.
The trailer put a lot of focus on the comedy of the movie, making it look like an over
the top modern day comedy film, instead of the classic ‘Ghostbusters’ style like long
time fans were hoping for.

Although the trailer stars out with a nod to the original, director Paul Feig has stated
that there are no narrative ties between the reboot and the original. Luckily, fans
can count on the original song being in the reboot, as well as a lot of nods to the
original ghosts.

The ‘Ghostbusters’ reboot sparked up some controversy when it was first
announced because of its all female cast, but Feig has since than talked about how
the all female cast is going to provide a new energetic dynamic to the classic
‘Ghostbusters’ concept and criticism has died down.

There has also been speculation that Bill Murray will reprise his role as Dr. Peter
Vankman, for he’s listed as a cast member on IMDB. Some people believe he’ll play
an important role in the movie, while others are saying he’ll simply be a cameo.

‘Ghostbusters’ will premiere worldwide this summer.

Primal fear over petty scares

By: Megan Clark
Campus Life Editor

When I saw the first trailer for “The Witch” over summer, I was hyped. A Puritan themed horror movie full of black magic and dancing goats was right up my alley. I saw it opening night, knowing it probably wasn’t going to be amazing, but a fun watch nonetheless.

Much to my surprise, I was wholly disappointed, but not because of the movie. No, the movie was good and full of the gloomy, mystical vibes I had so desired.

I was disappointed because of the audience, who complained and joked throughout the entire film.
Now, “The Witch” isn’t necessarily bad. It has an 89 percent rating on Rotten Tomatoes, and that’s a better grade than what I’m getting in some of my classes this term.

While I understand it’s not everybody’s cup of tea, I have a hunch that the audience wasn’t adequately prepared for what they were going to see. I mean, sure, there were like three different trailers for it that they could’ve watched, but maybe there’s more to it than that.

When horror is mentioned, people expect scary.

They expect horror films to follow a certain formula that they have grown accustomed to, usually involving horror movie tropes and tricks like jump scares or twist endings that don’t seem much like scares or twists anymore because people come to expect them more often than not.

Horror, however, encapsulates a large array of films, the genre being defined only by its ability to make the viewers uncomfortable through feeding on their primal fears.

The first horror movies of the silent film era, like “Nosferatu” (1922) or “The Cabinet of Dr. Caligari” (1925), aren’t exactly terrifying, especially by today’s standards. They are, however, still super creepy due to their chilling visual effects and their ability to prey on fears innate in humanity, like the fear of supernatural creatures or of inevitable death.

In my opinion, the golden age of horror started in the late ‘60s and ‘70s, with classics like “Night of the Living Dead” (1968), “Rosemary’s Baby” (1968), and “The Exorcist” (1973), that focused on supernatural, ghostly, or satanic happenings.

Again, not super scary, perhaps even a bit comical. The group of elderly folk chanting “Hail Satan!” in “Rosemary’s Baby” isn’t particularly terrifying, but the film is still widely considered one of the best horror movies to date.

These paranormal themed movies have stayed strong, alongside the thrills and chills provided by the slasher crowd pleasers of the ‘70s, ‘80s and ‘90s, like “A Nightmare on Elm Street” (1984) and “Scream” (1996).
The focus in popular horror has shifted from the inventive plotlines and visually arresting atmospheres of the early and mid 20th century to simply imitating other movies that have found a foothold in popular culture.

The early 2000s welcomed in a slew of found footage films, starting with “The Blair Witch Project” (1999) that has continued with the ever popular “Paranormal Activity” series.

Found footage films are pretty uncomplicated movies to make, considering the film’s grain and shaky footage excuses poor special effects or lack in production value. They follow a similar recipe for plot, using healthy doses of invisible, overpowered evils and helpless protagonists to evoke excitement from viewers.

A lot of movies have come out as being genuinely unique and exciting, such as “Insidious” (2010) or “The Conjuring” (2013), but the quality of these movies is diminished because the market is flooded with sequels, prequels, and offshoots that mirror the style and plot of previous films.

There are still really great horror movies that don’t rely on imitating other plots, like “It Follows” (2014) or “The Babadook” (2014), which also have social commentary alongside their wonderfully eerie storylines and visuals.

While plenty of good horror movies are still being made, the majority of horror movies currently out are heavily referential and uncreative. This may make horror movie audiences ill-prepared for movies that break the mold, like “The Witch” (which isn’t really scary, but pretty good if you like that sort of thing).

Contact the author at meclark13@wou.edu or on Twitter @WOU_campuslife

Mack strikes back

By: Conner Williams
Editor-in-Chief

Alright, thrift shoppers, if you’re like me, then you stayed up late and waited until “This Unruly Mess I’ve Made” dropped and then proceeded to listen to it on repeat for the next week.

Hip-hop duo Macklemore & Ryan Lewis released their debut album “The Heist” back in 2012 when I was a pipsqueak freshman, and their follow-up came out just in time to take its place as the anthem of my senior year.

Without further adieu, I have decided to list out each track into specified categories that I think make most sense. It should be noted, however, that I have only heard the standard version of the album and not the full deluxe version, so the list below is missing the two extra tracks on the deluxe version.

Certified Bangers

With tracks like “Can’t Hold Us,” “White Walls,” and “Jimmy Iovine,” producer Ryan Lewis has proven that he is one of the best in the business at mixing up beats that bang. TUMIM is a bit more mellow, but it still has a few certified bangers.

“Downtown”: This track was released as a single back in August, and became an instant hit. The best part? It’s a song about mopeds. “Chromed out mirror, I don’t need a windshield; banana seat, a canopy on two wheels; eight hundred cash that’s a hell of a deal!”

“Light Tunnels”: As the opening track, this song sets the tone for the album, and it does just that. Macklemore calls out celebrities as he recounts his experience at the Grammy’s when he won album of the year and details what it’s been like facing the pressure of living up to the success of “The Heist.” “Watch celebrities take selfies with celebrities; it feels so make believe; they want the gossip, they want the drama; they want Britney Spears to make out with Madonna.”

“Brad Pitt’s Cousin”: There’s no doubt that Macklemore has an interesting sense of humor. With the chorus chanting “When you see me in the club; Brad Pitt, that’s my cousin; Angelina show me love,” the song still leaves me a bit confused as to where to draw the parallel between the two men (despite them both being incredibly attractive). But who cares, the song still bangs. “Every white dude in America went to the barbershop like ‘Give me that Macklemore haircut!’”

“Dance Off”: Featuring a celebrity appearance by Idris Elba (“Thor,” “Beasts of No Nation”) on the hook, this song is another Macklemore great that details just how much he loves to dance. And the bass is killer too. “I grab my ankle and pull it up; and do that thing where I move my butt; I got the juice motherfucker don’t use it up.”

Social Justice Issues:

Macklemore is fairly well-known for being a present voice of many social justice issues; “Same Love” advocated for marriage equality and became a huge hit that inspired millions around the country, and “Wings” detailed the culture around Jordan shoes and how people literally kill for them.

“White Privilege II”: This track is a nine-minute-long slap to the face for white Americans. Macklemore discusses his conflicted thoughts of taking part in a Black Lives Matter protest as he feels like he should be doing something while simultaneously feeling out of place, as well as how he used the hip-hop genre that arose from black culture to further his own agenda. “Want people to like you, want to be accepted; that’s probably why you are out here protesting; don’t think for a second you don’t have incentive.”

“Let’s Eat”: This track is all about positive body image. The message: quit worrying about eating that slice of cake. Go for it. “Supposed to be on a diet; I wanna be like Ryan; he lost 30 pounds on that paleo; but fuck it man I love fried shit!”

“Kevin”: Macklemore premiered this song at the AMAs, and it sure had an impact. A huge shot at the prescription drug industry, it discusses how Rx’s have harmed people by getting them addicted and, in some cases, killing them, all while robbing them blind. “Got anxiety, better go and give him a Xanax; focus, give him Adderall; sleep, give him Ambien; ‘til he’s walking ‘round the city looking like a mannequin!”

(Potential) Cult Hits:

Tracks like “Thrift Shop” and “Can’t Hold Us” became iconic pop anthems that have a special place in everyone’s musical repertoire. Let’s be honest, who doesn’t know where the line “I’m gonna pop some tags” comes from?

“Buckshot”: I honestly don’t know what it is about this track, but it’s got me bobbing my head and dancing around my apartment like I’m possessed. There’s just something behind a song about graffiti that I find intriguing. “They hella mad, say my art is really bad for business; but I’mma paint a better world until the cans are empty.”

“Need to Know”: Featuring a fantastic hook and verse by the increasingly popular Chance The Rapper, this track gives off a vibe of a lazy Sunday afternoon coffee shop. Gentle piano and horns serve as the background beat and almost supersede the fact that this track is about bending the truth and only revealing what one truly needs to know. Macklemore believes he is living a life that is a lie and really just looks better on the surface. “I’m really good at telling the half truth but usually only when I have to; the money doesn’t work, the chain doesn’t work; something broken in my brain got me praying in the dirt.”

Lowkey Jams:

In the midst of his speedy verses and eccentric dance themes, Macklemore likes to take it easy with a few slow jams as well.

“Growing Up”: Featuring an appearance by Ed Sheeran on the hook, this track is simply a heartfelt love letter from Macklemore to his unborn daughter. This really is a fantastic song and shows the rapper’s emotional side. “I’m gonna be there for your first breath; I don’t know if I’ll be there for your first step; I can promise you I’ll try to work less.”

“St. Ides”: While the title is a referenece to the malt liquor, it’s really about Macklemore appreciating the “non-commercial greatness of life,” as Genius.com put it. “Rollin’ round, we know where to go; argue with the homies over who’s gonna roll; bumpin’ Goodie Mob, have some food for the soul.”

“Bolo Tie”: This track shows Macklemore’s frustration with originally trying to get his music out there, and then people harassing him for new content after the hype of “The Heist” had ended. He didn’t want to put out music just for the sake of it; he wants it to be real. “Motherfucker you ain’t my accountant; you don’t know what I’m doing; focusing on what I’m giving back; man, make better music.”

“The Train”: As the final track on the album, it explores the rapper’s feelings of detachment and that he feels like he’s departing somewhere, like he’s on a train to nowhere. “Watchin’ the trees pass by at a tempo; got a round trip ticket out to limbo; and I’m getting close to my kinfolk.”

Contact the author at journaleditor@wou.edu or on Twitter @journalEIC

perfectly marvelous

By: Brianna Bonham

As a theatre geek, I went into Cabaret with very high expectations, and I was not disappointed.

The audience was met with two different seating options, as they entered the auditorium. There were wooden risers built that had a slight curve around the stage, and held seats to give the place an almost “theatre in the round” feel.

The second option was round tables around the sides and front of the stage; each table held a lamp and table number. Before the show began, the Cabaret Boys offered the tables menus with refreshments such as cookies, biscuits, sparkling water, pink lemonade, coffee, and tea. If the audience members had a couple dollars, the Cabaret Boys would take audience members’ orders and interact with them.

If you want to grab a cabaret table, get there early! I was fortunate to sit at the cabaret table four, which is right next to one reserved for an actor for a scene in the show. It was a really good way to break the fourth wall and make the audience feel involved.

The set and lighting combined made the show feel dingy, but in a good way. The air looked slightly smoky in the light and the mirrored set was stippled with rust and dirt colors to give it an older feel. Darker lighting was used during the scenes that took place in the cabaret to give the space a darker appearance.

Costumes were done very well, and all looked very time period appropriate which set the scene for much of the show. Those who had never seen the show before may have been a little shocked to see that the Kit Kat boys and girls wore minimal clothing as they danced around the stage and cabaret tables to gave the show that raunchy, nightclub feel.

The main characters all had very appropriate costumes, Emcee and Sally both sporting more colorful, extravagant clothing. Sally wears a beautiful red coat in a couple scenes that I loved, because even though we had just seen her dance onstage in lingerie, it gave her an elegant poise and class. Other characters such as Cliff and Fraulein Schneider wore more practical, simpler costumes, with less color which reflected their characters quite well.

The actors and actresses all did a marvelous job staying in character, carrying their accents, and projecting to the audience throughout the entire show. I was very impressed with the ability to hear everything they were saying consistently. There were a couple times where it was hard to catch what they were saying, but I think it was a mixture of the accents and the speed at which they were talking that caused me to miss a few seconds here and there, so keep your ears open.

I’ll admit that I was a bit nervous about Emcee going into the show, because he is so bizarre and exorbitant, and when people think of Cabaret, a lot of people can’t picture anyone else but Alan Cumming playing him. All of my fears were disbanded after the first number because Gabriel Elmore did an amazing job playing Emcee. He was so relaxed and gave the character a sense of ease as he danced eroticly with the other cast members. The Kit Kat boys and girls were an essential part to the show and provided great audience interaction, and a seedy quality to the space whenever they were on stage.

Rebecca LaPorte (Sally) and Janelle Rae Davis (Fraulein Schneider) both sang beautifully and gave their characters so much life, though the characters were very opposite. LaPorte belted Sally’s rebellious anthem “Don’t Tell Mama” and hit every note perfectly. Davis utilized character voice and facial movements to make her aging character believable. Her despise for Lindsay Spear’s character, the fiery red-head Fraulein Kost, is hilarious as Kost keeps sneaking sailor boys into her home.

Zachary Warner plays the likeable Cliff and was refreshing to watch on stage. His interactions with Sally, Ernest, and the other characters were very believable and added quality to the show. Taylor Mead was flawless in his portrayal of Herr Schultz, giving the mousy man a lovable light in all of his numbers and providing great comic relief overall.

I would not recommend the show to kids under 12, because it is filled with lewd humor. I thoroughly enjoyed the performance and I look forward to seeing it again the second weekend.

Contact the author at bbonham15@wou.edu or on Twitter @WOUjournalphoto

“Deadpool” is Dope

By: Ashton Newton
Staff Writer

Superheroes have been huge in movies lately. A little too huge, some might say, but they’ve been wildly successful nonetheless.

Marvel’s “Deadpool” brings a new kind of superhero to the big screen; One which comic lovers know as an “anti-hero.” For him, the lines between good and bad are very blurry. So, obviously, when I found out everyone’s favorite “Merc with a Mouth” was getting his own movie, I was skeptical and afraid we’d get a watered down version.

By far the best part of “Deadpool” was the R rating. If comic Deadpool is known for three things, it’s blood, language, and chimichangas. The R rating allowed all three of those to be expressed in full. There was no holding back in the language or the gore, so the comic Deadpool was really well portrayed on film.

Ryan Reynolds did an incredible job as Deadpool, he didn’t hold back at all in his portrayal of the character. Even under a thick red suit, Reynolds was able to bring so much emotion out of the character through his masterful use of dialogue.

“Deadpool” was also a chance that Fox took to poke fun at itself and the entire superhero genre. Deadpool makes fun of Ryan Reynolds’ “almost Deadpool” from “X-men Origins: Wolverine” and his Green Lantern. The movie also jokes about the low budget being the cause of the lack of X-Men characters and the very confusing X-Men Universe timeline.

The movie is a very easy to understand story of revenge. Set in the larger universe of the X-Men movies, the film seemed a little underwhelming in its small scale. I mean, there’s a guy named Apocalypse who’s about to try destroying the world in a few months. But at its core, “Deadpool” is a fun and entertaining debut of the beloved character on the big screen.

Comedy outweighed action in “Deadpool”. Whether it was breaking the fourth wall or one of his many one-liners, Deadpool had the audience laughing from start to finish. Comedy worked most of the time. As expected, a few one-liners fell flat, and some jokes were placed at awkward times, but “Deadpool” was still an extremely funny and entertaining movie.

A major weak point in the film was the side characters. Colossus and Negasonic Teenage Warhead played the role of the voices of reason for Deadpool and Colossus trying to recruit him to the X-Men. The characters were undeveloped and provided nothing but some extra muscle for Deadpool and a few X-Men jokes.

The action was very fast paced and fun. I found myself wanting more of it in slower moments. The R rating allowed the action to be filled with blood and gore. The film didn’t hold back at all when it came to blood or dismemberment, and it was fantastic.

Overall, Deadpool was a fun but small film that managed to bring a fan favorite character to the big screen while parodying the entire superhero genre. The film didn’t disappoint and left me wanting more.

Kanye West: Living “The Life of Pablo”

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By:  Declan Hertel
Entertainment Editor

This may end up as my favorite Kanye album.

I dig his first three albums, but “808s and Heartbreak” is the first album of his I really, really dug, and I’ve only dug each subsequent one more and more. “The Life of Pablo” is the latest in a line of really great records. I love the gospel sound with all my heart, plus it keeps the weird industrial synths and sudden tone shifts of Yeezus, and lyrically speaking this is an album of a man struggling with his faith, his fame, his marriage, his baser urges, his fans, and his own mythology. It’s heavy and weird and—somehow—a little bit inspirational.

Look, my boy Kanye is a bit of a polarizing figure. For people who don’t listen to his music or his interviews or anything, all they’ve got is the award show outbursts and the Twitter rants. And while it’s unfair, it’s understandable. But that’s Kanye West the Public Figure.

I recommend listening to “My Beautiful Dark Twisted Fantasy” and “The Life of Pablo” to get a good idea of who Kanye West the Man is. I get this vibe from much of this album, and some of the tracks on “Fantasy” and “Yeezus,” that he is uncomfortably with finding himself happy.

He’s married to a woman who loves him and has guided him through his darkest times, not to mention mothered his children, and yet he still dreams of the destructive rock star life. He’s one of the biggest names in music, but can’t allow himself to take a break from work to tend to the rest of his life. On “Wolves,” the beautiful and haunting closing track of the album proper, he worries that his deceased mother would disapprove of his life and art, that he’s “too wild.”

He is a man deeply troubled by a great many things (not the least of which is his ego, which he freely admits), and his level of unabashed honesty on “Pablo” makes it really easy to empathize with a man who should be, by all rights, impossible to relate to.

Currently “The Life of Pablo” is only available on Tidal because who the hell knows, but just snag dat free trial, and I would be really, really surprised if it never found its way to a real release.

Incomplete and Miscellaneous Thoughts I Wrote While Listening to this Album Stoned:

Ultralight Beam:
Oh man when the gospel backing comes in, blew my damn mind for a second. Chance the Rapper’s verse is dooooope. Apparently this was why the album’s release was delayed initially, I can see why.

Father, Stretch My Hands Pts 1-2

Damn Yeezy getting weird again. Dude’s got a hell of a relationship with his family. His flow on Part 2 makes me uncomfortable and I loooove it

Feedback:
Man what a cool song. Savage feedback-y synths warm my soul parts

Low Lights:
More weirdness. Love the gospel influence. Ye did say this was a gospel record, dude wasn’t lyin’.

Highlights:
Oh man that first hook is giving me flashbacks to Daft Punk’s “Discovery.” Love it.

Freestyle 4:
This song strikes me as uncomfortably honest. So dope.
I Love Kanye:

Heheheheh Yeezy knows what’s up, love the self-awareness of closing with “I love you like Kanye loves Kanye”.

Waves:
The almost-namesake song. Comes in SUPER HEAVY after “I Love Kanye”

FML:
This song is fascinating, trying to give up the rock star life he worked so hard for so that he can be good to his family. Way dark and a bit spacey

Wolves:
Ugh this song breaks my heart. I hope he “fixes” it like he said he was gonna. I miss Sia and the other dude.

Sing Hallelujah for the Old Machine

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By: Darien Campo 
Staff Writer

Three Blind Wolves is a three-piece indie rock band that hails from Glasgow, Scotland. Though they’ve not been active long, they have quickly proven themselves to be a stellar group that is well worth listening to. Their unique sound, self-described as “folk-tinged psychedelic blues-rock,” is brought to life in their first full-length album “Sing Hallelujah for the Old Machine.”

Released in 2013 under Scottish indie label Instinctive Raccoon, “Sing Hallelujah for the Old Machine” is a piece brimming with a tremendous amount of power and emotion.

The tracks are a fantastic blend of driving guitar rock, backed by a complex orchestra of instruments. Mandolins, slide guitars, and horns fill out the sound on this album, bringing a very country/folk feel to the music. Almost like The Decemberists meets Arcade Fire.

Listeners are served with a wide array of arrangements on “Sing Hallelujah.” From songs like “Parade,” which pound the crunching guitar and hit us with a rousing chorus, to songs like “When the Garden Gets Near,” which features no more than Ross Clark and his acoustic guitar. And even with the diversity in dynamics, all of the songs seem equally compelling.

The album spans 11 tracks of raw humanity, poured out into your headphones. We’ve all listened to sad music, but you’ve probably never heard it sung like Ross Clark.

Clark’s vocals soar from soft whispers, mumbled into the microphone, all the way to roaring screams of power. Clark’s lyrics weave a gorgeous tapestry of wanting. Each song is a thread through different aspects of loss and loneliness, all penned by Clark himself.

“Sing Hallelujah for the Old Machine” is less about wallowing in our own sadness, and more about rejoicing in it. These songs almost seem to celebrate our human ability to experience such emotional pain. It brings a delightful edge to what could have just been a series of sad songs.

On the album’s single, “Parade,” Clark said: “Times are hard just now. You’ve got to keep yourself moving on.”

If you’re looking for a new rising band to keep an eye on, it’d be hard for me to find a better recommendation than Three Blind Wolves, and their album “Sing Hallelujah for the Old Machine.”

Guns and Gore: New Doom Releasing This Year

By: Ashton Newton
Staff Writer

When gamers hear the name Bethesda, they may be too focused on some of their newer material like “Fallout” or “Skyrim” to remember the roots of the company, a huge part of the early gaming industry: “Doom.”

The original “Doom” was first released in 1993 and shocked the gaming industry with its graphic and bloody gameplay. Since its release, “Doom” has had numerous sequels, remasters, and a film. The newest “Doom” will be released this May.

“Doom” follows a Space Marine working for the Union Aerospace Corporation who fights hordes of demons and undead. The original “Doom” was one of the first ever first person shooters and paved the way for current first person shooter games.

The newest Doom was announced at E3 2015, executive producer Marty Stratton promised “badass demons, big effing guns, and moving really fast” as the game’s key principles.

“Doom 3” was released in 2004 and pushed the boundaries for violence in games, just as every installment of “Doom” had done in the past. The newest “Doom” is no different; the newly released campaign trailer shows off the game’s action with chainsaws, dismemberment, and buckets of blood. It’s safe to say that those with weak stomachs should stay far away.

From the trailer, the new “Doom” is looking to be one of the most violent games ever created. The studio is shying away from the horror aspects of “Doom 3,” and jumping right into the fast-paced, gory goodness of the original.

Doom will be released on May 13 for Playstation 4, Xbox One, and PC, and is up for pre-order now.

Hooray for Hollywood: “Hail, Caesar!” Review

By: Declan Hertel
Entertainment Editor

There is a subgenre of movies that I started to enjoy with “The Big Lebowski,” began to love with 2014’s “Inherent Vice,” and have truly begun to appreciate with “Hail, Caesar!,” the latest offering from near-legendary filmmakers Joel and Ethan Coen: comedic neo-noir that is light on plot and heavy on mood.

In these films, what is happening is not nearly as important as the world it’s happening in and the people it’s happening to. The mood is what matters, character is what matters, and the meandering, disjointed plotline (or more appropriately, plot-dots (coined it)) becomes secondary.

I have to admit, I didn’t expect this at all from the Coen Brothers, two of my favorite filmmakers ever. Even the aforementioned “Lebowski,” which shows elements of plot-dot structure, still has a clearly visible and comprehensible progression of events, or as much of one as a noir can have. Noir has never been a genre known for easy-to-follow, A-B-C plotting, but these particular sorts of noir films take the inherent complexity and winding stories of the genre to their logical conclusion.

But just because I didn’t expect it doesn’t mean I didn’t love it. A sunny, comedic neo-noir taking place during the Golden Age of Hollywood, starring an astounding number of supremely talented actors, as created by the Coen Bros? It sure feels like someone asked me what I would really, really dig in a movie, although I don’t remember such an incident.

There are no real standout performances in “Hail, Caesar!” because literally everyone in the film is fantastic and clearly having the time of their lives playing these larger-than-life Hollywood types. Although, one performance that does rise above is Alden Ehrenreich as Hobie Doyle, a slightly dim, yet earnest and kindhearted star of many silly cowboy flicks.

Ehrenreich is a relatively unknown name in Hollywood at the moment, but I hope that this movie puts him on the map for real. Every moment he’s onscreen is an absolute joy and his adorable rapport with Veronica Osorio’s character in the middle third of the movie melted my heart (speaking of unknowns, I would also love to see Osorio get more work).

The best thing about this movie is that it not only takes its setting from the Hollywood Golden Age, but it also plays like a movie from the era. It’s a feeling that’s hard to describe, but it’s at least partially due to about half the cast getting at least one moment to be the undisputed star of the picture. It harkens back to when times were perpetually trying and movies were about entertainment: escapism. Before “intellectual” movies, before cinema was an “art,” and film was trying to find what it was. And it was entertaining. That’s what “Hail, Caesar!” is; it’s entertainment of the purest form.

I won’t pretend to know what the motivation behind “Hail, Caesar!” was for the Coen brothers. But as it is, it is a wonderfully fun piece of entertainment that doesn’t have any illusions of being something “greater.” It comes in, makes you all happy and fuzzy, and leaves. And sometimes, a film doesn’t need to do anything else.

The Super Bowl Ads Were the Real Winner This Year

By: Ashton Newton
Staff Writer

With Super Bowl 50 came a new batch of hilarious, awesome, and strange commercials. For years, Super Bowl commercials have been making us laugh, cry, and have warm feelings inside, and Super Bowl 50 was no different.

This Super Bowl felt specifically tailored toward fans of comic book movies. “Deadpool” had a pretty large presence, “Captain America: Civil War” had an awesome new trailer, and Coca-Cola had a movie-quality Hulk vs. Ant-Man commercial, with the two characters fighting over a can of Coke mini.

Turkish Airlines gave everyone a look at Gotham City and Metropolis to promote the upcoming “Batman v Superman” starring Ben Affleck as Bruce Wayne and Jesse Eisenberg as Lex Luthor.

Doritos delivered some extremely funny material, as always. One featured dogs dressed as people to buy Doritos from a store, and the other featured an ultrasound where the baby wanted Doritos enough to be born early.

The NFL itself had a notable ad that spanned the length of the entire game featuring a choir of “Super Bowl babies” playing off the statistic that 9 months after the Super Bowl, winning cities see a huge growth in children born.

Super Bowl 50’s commercials were star-studded. Kevin Hart chased his daughter’s boyfriend, Key and Peele danced in a hallway, Alec Baldwin entered a hilarious battle of words, and Steven Tyler talked to himself in Skittle form.

One commercial managed to become trending on Twitter. Mountain Dew’s Puppy-Monkey-Baby instantly became a big deal, not because it was funny but because it was so strange. The commercial received very mixed feelings from people on social media.

The strange was definitely a huge part of the Super Bowl ads this year too. One ad featured a personified intestine running to go to the bathroom. Another featured a man and his humanoid marmot hiking in the woods, until the man attempted to kiss the marmot.

The Super Bowl wouldn’t be the Super Bowl without some sentimental ads, too. One in general stood out for Audi. The ad features a retired astronaut who felt like he was blasting off into space one more time while behind the wheel of an Audi. Jeep also touched the hearts of millions with an incredible commercial detailing all the events that Jeep has been there for, including “running from dinosaurs” and “on the beaches of Normandy”.

Overall, the Super Bowl commercials did what Super Bowl commercials do best and left viewers happy, entertained, and a little confused (I’m looking at you puppy-monkey-baby).

Radiohead fans have gone berserk

By: Darien Campo
Staff Writer

Radiohead announced the release of their first album as an unsigned band, “In Rainbows,” on September 30, 2007. Guitarist Johnny Greenwood made the announcement in a one sentence blog post with no prior build-up:

“Well, the new album is finished, and it’s coming out in 10 days […] We’ve called it ‘In Rainbows’.”

Four years later on Feb. 14, 2011, Radiohead announced they would be releasing their eighth studio album, “The King of Limbs,” in only five days – again, with no previous mention of an album. To everyone’s surprise, the album actually released a day early.

It’s been almost five years since their last release and Radiohead fans are beginning to feel the rumblings of a new LP on the horizon.

In 2005 Radiohead ended their contract with EMI in order to pursue a modern method of exchanging music between the band and their followers.

“I like the people at our record company, but the time is at hand when you have to ask why anyone needs one,” said Thom Yorke, lead singer.

Radiohead is the world’s most popular band to go without a label, which has led to some pretty unorthodox and “Surprise!” album releases.

If you have ever spent time talking with a Radiohead fan, you pick up just how rabid and obsessive they can be. If you let them, they will go on for hours about how two albums recorded a decade apart are actually written to be played together in a certain order.

Although we sound insane, we’re completely justified in our obsession. Radiohead feeds their fans with cryptic messages and mysterious photos knowing that we’ll pick them apart for clues. Never before have I seen a band that can so successfully manufacture fanatical hype for their music without dropping a dime on marketing.

These last few months alone have been an incredible testament to the perseverance of the Radiohead fandom. Anyone curious enough to follow the “r/radiohead” sub-Reddit can watch the detective work unfold daily. Fans have programs set to alert them to every slight change in code on WASTE and Dead Air Space, the two parts of Radiohead’s website. (Is the album being secretly uploaded where we can’t see it?)

Fans collectively lost their minds the other week when a Soundcloud glitch revealed that the band had privately uploaded a track that no one could listen to yet. (A new single, set to release any minute?)

Anything posted online by band members is picked apart and scrubbed through as fans struggle to find any clue to the release of Radiohead’s ninth studio album – which they’ve collectively dubbed “LP9.”

The best part of riding the “Radiohead Hype Train 2016 (CHOO CHOO)” is knowing that the music we get will be completely worth the wait. And although we have to fight for every detail and go for years at a time with no encouragement or clues, I know that not a single one of us would have it any other way.

The Schwartz Awakens with “Spaceballs 2”

By: Ashton Newton
Staff Writer

It doesn’t take much to notice that, right now, Star Wars is on fire. The franchise has had an extremely successful past six months and shows no signs of slowing down.

Right now is the perfect time for Mel Brook’s “Spaceballs” sequel, “Spaceballs 2: The Search for More Money.”

The sequel was first officially mentioned when the original film came out in 1987 as a joke, but Brooks has recently confirmed on “The Nerdist” podcast; yes, it’s happening.

Brooks wants to bring back as much of the original cast as possible. Unfortunately Joan Rivers, Dick Van Patten, and John Candy have all passed away.

Brooks said in a 2014 interview that he would never do a “Spaceballs” sequel without Rick Moranis. Moranis hasn’t been active since 1997 and has yet to comment on the rumors. Moranis recently turned down a cameo in the “Ghostbusters” reboot.

The original “Spaceballs” was released in 1987, four years after “Star Wars: Return of the Jedi” and quickly became a beloved member of the parody family. IMDB has the movie ranked at the seventh best parody movie of all time, with the list topped by “Monty Python and the Holy Grail” and “Airplane!”

“Spaceballs” received a reboot in 2005 when Brooks directed a 13 episode animated series following the release of the “Star Wars” prequels. The series saw the return of Daphne Zuniga and Joan Rivers, but no other original cast members.

You can find the animated series on YouTube with all of its “Star Wars” parody fun. The first episode “Revenge of the Sithee” even features a character very similar to Darth Maul.

Not much has been confirmed regarding “Spaceballs 2,” but Brooks told “The Nerdist” that the film is in early stages of development and that he hopes to start shooting early this year.

Catching ‘em all for 20 years

By: Declan Hertel
Entertainment Editor

When it comes to my generation, I prefer the moniker “’90s Kids” to “Millenials” because at least the derision “’90s Kids” carries is self-inflicted. And “’90s Kids” are now reaching that age where they’re realizing that the things they love are aging with them, and not too long ago, a beloved franchise had an early release of their anniversary Super Bowl ad: kids, Pokémon just turned 20.

For those of you just emerging from that cave and joining the surface dwellers, Pokémon are fantastic creatures that inhabit far off lands, and certain humans that live in those lands, Pokémon Trainers, capture them, befriend them, and pit their team of Pokémon against the teams of their rivals in Pokémon battles.

With six generations of Pocket Monsters (“Pokémon” is a portmanteau) in a long-running anime and series of movies, a trading card game, twenty-four video games in the main series with a great many spinoffs plus an augmented-reality game on the way, and no end in sight for any of that, Pokémon is a cultural force to be reckoned with the world over, especially in America and Japan, its country of origin.

People love Pokémon. There are countless videos of Pokémon events wherein a large contingency of people dress up as Pikachu, the most iconic Pokémon, and perform silly dances. There is a very active “Trainer” community, with players of all colors and creeds coming together to whoop on each other’s virtual pets. Even the Trading Card Game, which is admittedly not as popular as it once was, still has a dedicated player base (that I would be an unashamed part of if I had time or money).

I was honestly a bit inspired by the ad put out by The Pokémon Company, probably because I’ve grown up with it. The message the franchise has always carried is gloriously represented: if you work hard and never, ever give up, you can be the very best, like no one ever was. Train on.

Oscars Bring Controversy

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By: Ashton Newton
Staff Writer

Each year, all kinds of movies are watched and talked about, but there is no bigger honor in cinema than winning an Oscar.

On Feb. 28, actors, directors, editors, and all manner of moviemakers from all over the world will come together in red carpet fashion for the 88th annual Academy Awards.

Still weeks away, The Oscars have been huge in the news with speculations and controversies, as well as the annual Internet memes about Leonardo Dicaprio wanting nothing but to win an Oscar.

This year, the nominees for best picture are “Spotlight,” “The Martian,” “The Big Short,” “Bridge of Spies,” “Mad Max: Fury Road,” “Room,” “The Revenant,” and “Brooklyn.” Each of these movies, in its own way, brought something new and unique to theaters.

Last year, best picture went to Alejandro G. Iñárritu’s “Birdman,” which also won three other awards. Wes Anderson’s “The Grand Budapest Hotel” took home four awards.

All the actors nominated for Best Actor are pretty big names. The list includes Eddie Redmayne (“The Danish Girl”), Michael Fassbender (“Steve Jobs”), Bryan Cranston (“Trumbo”), Matt Damon (“The Martian”), and Leonardo Dicaprio (“The Revenant”).

As for Best Actress, the list includes Brie Larson (“The Room”), Charlotte Rampling (“45 Years”), Cate Blanchett (“Carol”), Saoirse Ronan (“Brooklyn”), and Jennifer Lawrence (“Joy”).

The controversies started when the managing editor of BroadwayBlack.com, April Reign, pointed out that for the second year in a row, all 20 nominated main and supporting actors and actresses were white. She took to Twitter, getting the hashtag #OscarsSoWhite trending.

Some individuals like Spike Lee, Will Smith, and Michael Moore have taken to boycotting 2016’s Oscars for the lack of diversity, while others like George Clooney, Reese Witherspoon, and Don Cheadle have been outspoken with their negative views toward the lack of diversity. Even President Obama has commented on the controversy, supporting the outcry.

Those who have attempted to downplay the controversy received a lot of criticism, including Charlotte Rampling and Michael Caine.

Although people have urged him to boycott, Chris Rock will still be hosting the Oscars. Rock has said that he is preparing a sketch that shines light on the #OscarsSoWhite controversy. There is also a large line up of African American presenters, including Whoopi Goldberg, Kevin Hart, and Kerry Washington.

The Academy also unanimously voted to double female and minority voters by the year 2020. This will change the current makeup which is 90% Caucasian and 77% male.

Controversies aside, there are some incredible films nominated this year, a ton of big name stars, and Chris Rock’s jokes. The 2016 Oscars are shaping up to be highly memorable.

The Oscars will be held on Feb. 28 in Hollywood, California, but you can view it from the comfort of your own home on ABC at 4 p.m.

Netflix doesn’t chill with 2016 release schedule

By: Ashton Newton
 Staff Writer

Netflix has become a huge player in the television industry. The US alone has 40 million Netflix subscribers, and 61% of subscribers binge watch a series every few weeks.

With so much success, it’s hard to believe that I go on Netflix after a long day and can’t find anything to watch.

Maybe I’m just picky, but luckily Netflix has a solution with an amazing lineup of shows for 2016.

Starting in February, Netflix is releasing the long awaited “Full House” reunion, “Fuller House.” The show will bring back almost all of the original cast members. Also in February, Judd Apatow’s original series “Love” will be coming out. “Love” is said to be a “down to earth look at dating” adult comedy.

March will bring season four of “House of Cards” and the second season of Marvel’s “Daredevil,” which will add The Punisher and Elektra to the Marvel Cinematic Universe.

In April, “That 70’s Show” stars Ashton Kutcher and Danny Masterson will be returning for the new Netflix original “The Ranch.” Also in April, the second season of “The Unbreakable Kimmy Schmidt” will be coming out.

Lastly, season four of “Orange is the New Black” will be released on June 17, just in time for a summer binge-watching session.

As for Netflix’s upcoming content without a definitive release date, there is a lot of content to be excited for in the second half of the year. Marvel’s third superhero will be jumping into the mix with “Luke Cage,” in which Mike Colter will be reprising his “Jessica Jones” character in the title role. “Jessica Jones” will be returning for a second season as well.

“BoJack Horseman” will be getting a second season, along with “Narcos” and “Marco Polo.”

Netflix will also be releasing a television adaptation of Lemony Snicket’s “A Series of Unfortunate Events.” Rumors have surfaced that Neil Patrick Harris will take up the role of main villain Count Olaf.

A list of codes recently surfaced that you can type into Netflix for extremely detailed categories. Some of these categories include “Soccer movies” and “Deep sea horror movies.” You can find a list of some of the codes by hopping onto netflixcodes.me, but there are hundreds to view online and even more that haven’t been found yet.

With all of these options and new ways of finding new content, Netflix users should be excited that 2016 is turning out to be a truly prolific year.

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