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(02/10/26 11:00am)
As a dear friend and I walked into the movie theater, the anticipation of the new Disney movie, “Zootopia 2,” made us wonder about the quality of the movie we were about to see. Was this going to be another hit from the company that carried on the legacy that movies like “Snow White” (1937), “The Lion King” (1994) and “Encanto” (2021) left behind? Or — and this option we feared the most — would this follow the company’s recent unfortunate streak of movies like “Wish” (2023) and “Snow White” (2025) that, though not as bad as people make it out to be, look subpar by Disney standards?
(02/11/26 9:30pm)
— Correction: The sudoku solution was re-uploaded.
(02/10/26 11:00am)
(02/10/26 11:00am)
A new independent horror film has landed on the big screen with a bloody splash. “Iron Lung,” based on the 2022 video game of the same name, is the most recent passion project from Mark “Markiplier” Fischbach, who wrote, directed, produced and acted in the feature film. For those who are unfamiliar with Fischbach, he is a YouTuber who has been posting gaming content primarily for the past 13 years. At the time of writing “Iron Lung,” he had over 38 million subscribers. Although Fischbach is known for his “let’s plays” videos — especially of the “Five Nights at Freddy’s” games — he has experimented with filmmaking and storytelling on his channel many times over the years. However, “Iron Lung” is his first foray onto the big screen.
(02/11/26 7:35pm)
In times of political instability, art has been a refuge for many time and time again — which you could argue is supremely unsurprising. Art is a fundamentally political sphere, but also one where ideas of progress and liberalism have almost always dominated. The Grammy Awards are meant to recognize the best of the best in musicianship and recording prowess and span more than three hours of scripted speeches, jokes, wins and losses. With this in mind, one would think that the Grammys would be a similarly political event — one where common values of community, compassion and activism are mutually agreed upon. This hasn’t been the case, however. Up until now, the Producers have carefully distanced the event and its place in the cultural zeitgeist from any sort of unequivocal political stance, which seems antithetical to its purpose to begin with. Recognizing art means to recognize the values that come with it — but to the Grammys, high viewership, overly scripted jokes and luxury have been the main priorities, so it seems. That being said, we as a nation are in a time of great stress. America is going through a politically unstable period: large swaths of communities across the country are being targeted, injured and killed and millions of voices have risen in an outcry. If there was a time to get political, it would be now, and the Recording Academy seems to have come to the same conclusion. The question is: Is it enough?
(02/03/26 11:00am)
As a part of their “Reimagining Modern Art” collection, the Museum of Fine Arts Boston has revamped and recontextualized works from the early 20th century. In new individual galleries, presented alongside new information and highlighted for their skill and innovation, paintings by Remedios Varo, Joan Miró, René Magritte and more are exhibited with new life and light. Juxtaposed with works by Alexander Calder and Ernst Ludwig Kirchner, these new galleries become an explosion of color, a labyrinth of changing forms and an emotive well of oil, canvas and metal. Truly a collection of exemplary works from expressionism, surrealism and modern sculpture, the MFA useum of Fine Arts has done an excellent job at continuing a popular trend in museums of recontextualizing their works in new relationships to one another. As museums constantly endeavor to reconsider and look at works through new lenses, this new gallery expansion is an excellent opportunity to see how museums work with their collections. Additionally, as our nation quickly moves towards the values of the past in a conservative movement that is gripping our globe, modern art highlights the possibilities of a different future.
(02/03/26 11:00am)
Vince Gilligan, the creator of the ever-popular shows “Breaking Bad” and “Better Call Saul,” has done it again. “Pluribus,” Apple TV’s newest foray into science fiction (which, in my opinion, is its strongest genre — just see “Severance”), is Gilligan’s first science fiction story and his third New Mexico–centric show. As someone who grew up in New Mexico and has grown used to hearing people immediately say “Breaking Bad?” any time that I mention where I’m from, I was curious to see how Gilligan, who masterminded one of the most influential shows of the 2010s, was going to present New Mexico in a universe completely disconnected from that of Walter White and Saul Goodman, which is the setting Gilligan’s recurring crew has been working in for the better part of two decades. My biggest question: How would New Mexico be shown?
(02/03/26 11:00am)
As 2026 started to unravel, a new jaw-dropping children’s spectacle proudly roared onto the Adam Theater. “Library Lion,” directed by Ran Bechor, has ended its run and solidified itself as a truly meaningful show in an era of otherwise thoughtless entertainment. As a musical adaptation of the award-winning book by Michelle Knudsen with the same title, the audience was transported into this wonder-filled library, and, behind the children’s amusement, a clear message was portrayed. Through creative blocking, farcical acting, pseudo-melodramatic musical accompaniment and an impressively-built full-functioning lion puppet, “Library Lion” has taught its young audience the importance of empathy when faced with rigid rules while propagating literacy amongst children.
(12/09/25 11:00am)
We’re halfway into the 2020s, and so far it has been a decade defined by throwbacks — Y2K fashion is coming out of exile, the 90s are making a reappearance, and — for this review — most importantly, 2010s indie sleaze is back with a vengeance. We saw The Dare suddenly emerge as a new artist to follow in 2024, followed by an onslaught of similar — yet not derivative — bands in his wake: Bassvictim, MGNA Crrrta, The Truth, 2hollis — and, most importantly, The Hellp. The Hellp have been around since 2021, making music drenched in muddy synths, angular drumming and glitchy production that creates a musical experience that, yes, harkens back to the indie sleaze artists of the 2010s (LCD Soundsystem, The Strokes and MGMT, to name a few) but is all the same fresh and intriguing. “Riviera” will be the third album the band has released, and it has a lot to live up to: at their best, the musical chaos that so defines The Hellp’s discography is elevated into something beautifully transcendent — but at their worst, the chaotic nature of The Hellp leads to something undefined and messy. “Riviera” is proving to be an album that might not be that simple to define — for better or for worse.
(12/09/25 11:00am)
(12/09/25 11:00am)
Her authorship of “The Thanksgiving Play,” alongside a myriad of feats of great theatrical grandeur, such as an adaptation of Peter Pan on Broadway, makes Larissa Fasthorse more than worthy of our praise and recognition through the Brandeis Creative Arts Award. The Award has been previously granted to notable figures including Leonard Bernstein, Charles Chaplin and Stephen J. Sondheim, with our newest recipient showing her might on equal footing. Fasthorse’s ceremony was held in the afternoon of November 21, 2025 and soon thereafter, she would attend the opening night for the Brandeis Theater Arts Department’s production of “The Thanksgiving Play.”
(12/09/25 11:00am)
There is no easy way to encapsulate the thought-provoking, fully and incredibly moving experience that was the Undergraduate Theater Collective’s fall musical, “Ride the Cyclone.” Directed and choreographed by Greg Roitbourd ’26 and assistant directed and choreographed by Kennedy Robertson ’28, the show was flashy, with monumental set pieces designed by Triona Suiter ’27, projections by Milo Giordano ’29, energetic choreography, fun music that occasionally overpowered the singers, and a massive array of costumes designed by Sam Taxman ’27, Jae Fioribello ’28 and Madelyn Zimbalist ’28. The show was laugh-out-loud funny, with characters belittling each other and songs that ranged from a rap about how “awesome” a character’s life was to a glittery song about humanoid-cat aliens — more on that later. It was also incredibly dark, diving headfirst into its central theme: What makes life worth living?
(11/18/25 11:00am)
As we enter into the final months of the first year in Donald Trump’s second presidency, America has witnessed many renovations of historical monuments and the generation of new architectural plans for Washington D.C.. With the Aug. 28, 2025 Executive Order “Making Federal Architecture Beautiful Again,” the second Trump Administration has stated,
(11/18/25 11:00am)
“Only Murders in the Building,” Hulu’s murder-mystery comedy starring Steve Martin, Martin Short and Selena Gomez, has been a favorite of mine since it was first released in 2021. It has tight, consistent humor, a quirky ensemble, unexpected celebrity cameos and most of all, outstanding mysteries. Each episode, new details are revealed: a shocking twist or a new piece of evidence that makes the viewer wonder how they hadn’t seen a critical clue and constantly shifted suspicions between a host of equally likely suspects. For four seasons, I was excited to turn on the television every week to get a step closer to figuring it out, and to see if I could piece together the puzzle before the characters in the show did — and even if I didn’t, the “whodunit” answer still felt like a satisfying conclusion each season.
(11/18/25 11:00am)
(11/18/25 11:00am)
(11/11/25 11:00am)
It is common knowledge that producing an adaptation from novel to screen perfectly is nearly impossible. This is no exception with Guillermo del Toro’s “Frankenstein,” (2025) starring Jacob Elordi, Mia Goth and Oscar Isaac. While each actor put on an amazing performance and encompassed the souls of each of their characters successfully, there was so much lost when del Toro adapted Mary Shelley’s novel of the same name into a movie. First published in 1818, Shelley’s novel is an enduring classic which has fascinated us for centuries. Shelley’s writing, while it may seem confusing at first, is a beautiful representation of what it is to grapple with narcissism and man’s constant reach for greatness. She created a character, Victor Frankenstein, that houses so much nuance within him and leaves us — the readers — grasping for more. We are urged on with every page and wonder who is the true villain of this story, all the while unknowingly falling in love with the creature Frankenstein creates. This is where my greatest critique of this new movie lies — there is no room for us to consider how much or how little we want to believe in these characters. The movie hits the nail on the head, too obviously showing us that we need to believe Frankenstein is the real monster. While the choice to make every death directly at the hands of Frankenstein instead of at the hands of the creature is gripping at first glance, it takes away the joy of realizing that the Creature isn’t really at fault for these murders. The real culprit is Frankenstein, whose desire for power fuels the creation of the creature, but Frankenstein’s choice to push his creation away forces the creature to choose a life of violence. What I am trying to get at is the obvious lack of nuance within these characters and the lack of subtlety with their actions. The nuance and creativity is one of the most important parts of Shelley’s novel, and without, it the movie feels lackluster.
(11/11/25 11:00am)
Released on Oct. 24, Daniel Caesar’s fourth studio album, “Son of Spergy,” has reintegrated the grassroots nature of R&B back into the community. The album was highly anticipated after Caesar teased its upcoming release with a string of free pop-up shows. Across 12 tracks, Caesar experiments with new genres including folk and gospel and explores the struggle with his father and religion through intricate storytelling. “Son of Spergy” is Caesar’s most unique album yet.
(11/11/25 11:00am)
A man and a woman, the man holding his chest while on his knees. A large, white, Venetian-style bridge. Three stained glass panels depict a heart, scales and coins. These are the three images that greeted the audience of Hold Thy Peace’s fall production of “The Merchant of Venice: A Reimagining” over the past weekend. Directed by Laurel Kane ’26, this production took one of Shakespeare’s most infamous comedies and transformed it into a powerful piece of dramatic theater that left audiences in awe.
(11/11/25 11:00am)
