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(20 hours ago)
Opening this past Sunday at the Museum of Fine Arts in Boston, “Of Light and Air: Wub Homer in Watercolor” is the largest exhibition of this gentle American giant’s unique watercolor compositions in almost half a century. Due to conservation concerns, these works must be rarely viewed, preserving sensitive pigments and details that would otherwise be lost to time. This is a true once in a lifetime experience, one I highly encourage all readers to take.
(20 hours ago)
Justice has always relied on deliberations, the careful weighing of evidence within the quiet solemnity of the courtroom. However, in the digital age, that silence has been replaced by the roar of timelines and comment sections. Every high-profile case now unfolds in two arenas: one governed by procedure and precedent and the other by pixels, edits and algorithms. The courtroom has become content and the law has become a spectacle. The Johnny Depp and Amber Heard defamation trial in 2022 marked a turning point in this new age of “viral justice.” For weeks, millions tuned in to view livestreams of testimonies, watching cross-examinations like they were episodes of reality television. On TikTok, Instagram and YouTube, fans spliced moments into reaction videos, memes and emotional montages. Depp’s courtroom smirk became a trending sound, Heard’s tears were dissected frame by frame. Complex questions of defamation, abuse and credibility were recast into a binary drama of hero versus villain. By the time the jury returned its verdict, the internet had already declared its own — louder, faster and far more permanent.
(20 hours ago)
Geese’s new release “Getting Killed” has been met with essentially unanimous praise, and for good reason. The band has been around since their 2021 debut album, and, relatively speaking, have stayed close to their roots: funky rock with a chamber orchestra thrown in when deemed necessary. That’s not to say that their albums — “Projector,” released in 2021, and “3D Country,” released in 2023 — thus far have been monotonous, quite the contrary. Their fundamental sound stays the same, to be sure, but with each new release the band reaches through time and space for inspiration — whether from ’90s math rock, ’80s post-punk or — on their most recent album, a delightful mixture of bluesy krautrock and psychedelia hailing from the ’70s. On “Getting Killed,” we see Geese collaborate on production with Kenny Beats, which seems to have given us a sound familiar and foreign alike: The chaotic rock of their previous album, “3D Country” is there, but a tinge of melancholy seems to lightly cover the album, softening wailing guitars and angular drumming into something more powerful and more human than we’ve seen from Geese before.
(20 hours ago)
(20 hours ago)
(10/28/25 10:00am)
This past weekend, Oct. 23-25, was the annual Boston Bookfest. From October 2009 to present day, Boston has put on this weekend-long fest filled with free books, keynote speakers and anything else book-related you can think of. This year was no different with keynote speakers from across the country, authors and more. The headliner of this year’s 2025 Boston Bookfest was none other than Shonda Rhimes, television producer and author alike. Rhimes has a resume many Hollywood stars dream of, producing shows like “Grey’s Anatomy,” “Scandal,” “Bridgerton” and “How To Get Away With Murder,” to name just a few. A Hollywood name and now a New England resident herself, Rhimes spoke on the tenth anniversary of her memoir, “The Year of Yes: How to Dance It Out, Stand In the Sun and Be Your Own Person.”
(10/28/25 10:00am)
This Friday, Oct. 25, “Portals” opened its doors to the public in a grand reception worthy of much praise. “Portals” is the Brandeis Alumni Art Gallery’s most recent exhibition, highlighting a continuum of artists across 50 years of Brandeis history. Tama Hochbaum ’75, Bekka Teerlink ’00 and most recently Ally Sukay ’24 post-baccalaureate ’25, presented a large corpus of their works. The exhibition is currently open to the public at the Faculty Club. Instead of describing each artist individually, it may be better to consider these artists as they are in relation to the University. Whether these talented alumni left Brandeis recently or years ago, we — the Brandeis community — can understand their works better through the lens of their experience at Brandeis. Without a doubt, the artist that has captured the most recent Brandeis experience is Ally Sukay, who finished her post-baccalaureate program in 2025.
(10/28/25 10:00am)
When “Oppenheimer” (2023) swept the Oscars two years ago, it was not just a cinematic triumph, but also a philosophical one. The film’s haunting exploration of scientific responsibility left the audience wrestling with moral questions that went far beyond Los Alamos. Around the same time, “Barbie” (2023) had moviegoers asking what it means to be real, to be free and to define yourself outside others’ expectations.
(10/28/25 10:00am)
The second annual Albertine French Film Festival is now in full swing at the University. Last year, the festival’s inaugural week showcased a sweeping selection of contemporary French films at the Wasserman Cinemateque free of charge. Now in its second run, the festival presented by the French and Francophone Studies Program of the Department of Romance Studies spotlights even more French films, each of which pack a strong cultural punch. The festival began on Friday, Oct. 17, with the dark yet vibrant film “Disco Boy” (2023), providing the festival’s “Spotlight on Drama.” This week, the festival moved on to its “Spotlight on Documentary” with the haunting one-hour documentary “Dahomey” (2024), directed by Mati Diop. With a restrained and dreamlike meditation on colonialism and the effectiveness of restitution, this film follows 26 stolen royal treasures of the Kingdom of Dahomey as they are returned from Paris to their country of origin, the modern-day Republic of Benin.
(10/28/25 10:00am)
Brandeis’ latest theater production, “Our Town,” directed by Hannah Feldman ’27, captures the everyday life in a small town, filled with simple routines and ordinary moments. Set in two humble homes with plaid tablecloths and white picket fences, the minimalist design never distracts. This play and its characters feel both nostalgic and familiar.
(10/28/25 10:00am)
(10/28/25 10:00am)
(10/21/25 10:00am)
“Goon,” a Los Angeles-based indie rock neo-psych band, performed at Warehouse XI in Somerville on Oct. 2. The band — consisting of frontman Kenny Becker, drummer Andy Polito, guitarist Dillon Peralta and bassist Tamara Simons — took to Boston as part of their first headline tour across the U.S. following the release of their album, “Dream 3.” As its title suggests, the record feels like a sequence of dream-like landscapes, each vibrant with their lush vocals and spacious reverb, yet bearing a profound sense of turbulence. Much like the anxiety that permeates the most idyllic dream, Goon’s third full-length album exists in this atmospheric tension. Becker spoke to The Justice about how the record came to be this way, and the aesthetic visions that shaped it.
(10/21/25 10:00am)
On Sept. 28, we had the opportunity to view Paul Thomas Anderson’s new movie “One Battle After Another,” and listen to a panel of experts discuss the movie afterward. One of the points the panel touched on was that the “One Battle After Another” is an adaptation loosely based on Thomas Pynchon’s 1990 novel “Vineland.” The film stars Leonardo DiCaprio as Bob Ferguson, a retired revolutionary suffering from overwhelming paranoia trying to raise his daughter, Willa (Chase Infiniti), in seclusion, while the United States falls into disrepair around them.
(10/21/25 10:00am)
It’s been a long time coming — and it crashed and burned. When Taylor Swift announced her twelfth studio album “The Life of a Showgirl,” she cranked the hype up to 11. Posting bold pictures of herself dressed up in flashy vaudevillian garb, Swift promised that the new album would contain “melodies that were so infectious that you’re almost angry at it, and lyrics that are just as vivid but crisp and focused and completely intentional.” But when the album finally dropped on Oct. 3, millions of fans took to social media bashing this project for its lackluster lyricism and misleading theme. But is the album as bad as internet critics make it out to be?
(10/21/25 10:00am)
Content warning: this article includes mention of sex and blood — some of the more triggering moments from the show have been left out, but there is still mention and description of at least one scene readers may find upsetting.
(10/21/25 10:00am)
Departing from traditional senses of curation in response to the unique histories of Indigenous Americans, the Institute of Contemporary Art opened “An Indigenous Present” on Oct. 9 featuring site-specific works done by Indigenous contemporary artists. This exhibition is educational at its surface, tracing the history of certain pillars within contemporary Indigenous art. Curators Jeffrey Gibson and Jenelle Porter undoubtedly sought to reimagine the possibilities of curation for Indigenous art. Before diving into the experience of the exhibition, it must be noted that this article will not be similar to other exhibition reviews I have done in the past. Continuing the work that Gibson and Porter started in their unconventional yet just presentation of the genre, I aim to describe my experience within the galleries, discussing the art, the artist’s words and not relegating these artists to their origins. As the Indigenous Artist has been restricted to a Western understanding, I plan to write without consideration for comprehension. This curatorial experience may confuse, complicate and obfuscate the preconceived notions a viewer has, I can only hope to translate such an elation in the restrictive written word. I have chosen to present some works of the many that you can see at the exhibition, and I encourage you to go to the exhibition to see all of them.
(09/30/25 10:00am)
Spanning from Sept. 11 to Sept. 16 was New York Fashion Week. This semiannual event kicks off fashion month. NYFW is followed by all the other fashion capitals — London, Milan and Paris. These four events shape women’s wear for the upcoming spring and summer seasons.
(09/30/25 10:00am)
On Saturday, Sept. 13, the Boston Pops Orchestra began their “In Concert” series, where the renowned musicians perform a film’s score in time with its projection, with a showing of Rob Reiner’s 1987 classic “The Princess Bride.” The next day, at the Sept. 14 matinee experience, swaths of young families, cinephiles and Bostonians flocked into the symphony hall. Children dressed as the main characters Westley and Buttercup ran through the aisles while older groups of friends sipped wine, reminiscing about seeing the film in their youth.
(09/30/25 10:00am)
Since President Donald Trump’s return to the Oval Office, he’s taken on a great number of responsibilities.
