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(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)
Nov. 16 marked the second annual installation of “Bandapalooza” in the Levin Ballroom. Brought together by the Music and Dance Band, Top Score, Klezmer Band, Brandeis Radio Service Student Music Committee and Jam Club, the event showcased eight Brandeis-born bands and one independent musician. The night was marked by community engagement and a passion to make music interactive for all who attended the event.
(11/18/25 11:00am)
On Friday, Nov. 14, the University concluded its annual celebration of Kindness Week with a club and service fair in the Shapiro Campus Center 's Atrium. Hosted in a prominent and well-trafficked hub for campus life, the event allowed students to interact with the fair as they desired.
(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.
(11/11/25 11:00am)
CONTENT WARNING: This articles contains mentions of sexual assault and domestic abuse.
(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.
(11/04/25 11:00am)
If you’ve spotted a wagging tail and a pair of eager eyes patrolling campus lately, you’ve already met Justice, Brandeis University Police’s newest and arguably most beloved team member. Justice isn’t your typical officer, she’s a comfort K9 with the Brandeis Police Department, here to spread a little joy wherever her paws take her. The idea for introducing a comfort dog to campus came from Chief Matthew Rushton, who recognized the growing importance of emotional support programs in law enforcement and higher education. “Seeing the success of similar programs at other universities and police departments, it was kind of a no-brainer. The chief saw how effective comfort dogs could be in creating connections and reducing stress, and from there, everything just fell into place” explained Officer Dave Thompson, Justice’s handler in an Oct. 30 interview with The Justice.
(11/04/25 11:00am)
On Oct. 31, Professor Ramie Targoff (ENG) delivered a lecture titled“A Master Class in Witchcraft: The Real Women Behind Macbeth’s Weird Sisters.”
(11/04/25 11:00am)
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.
(11/04/25 11:00am)
Who is Jon Hochschartner and what is he on about?
(10/21/25 10:00am)
Sister Dolores Jean Schmidt has been one of the most important and unique figures in men’s college basketball for her over-30-year career as team chaplain for the Loyola University Chicago Ramblers men’s basketball team. Many schools, specifically Jesuit institutions, have dedicated team chaplains who provide spiritual guidance and lead their teams in prayers before their games. Basketball powerhouses such as Gonzaga University and Marquette University participate in this practice, although their chaplains aren’t as iconic as Schmidt, who guides the Loyola Chicago Ramblers.
(10/21/25 10:00am)
On Oct. 9, Brandeis Hillel held a vigil for the victims of the attack in Israel on Oct. 7, 2023. The vigil, formatted as a service, was held in Berlin chapel. Between the accounts of community members who spoke about the lives of the deceased, a number of prayers were offered to honor the deceased. A screen at the front of the chapel displayed photos of victims of October 7.
(10/21/25 10:00am)
On Saturday, Oct. 18, protestors gathered globally by the millions to speak against the so-called authoritarian actions of the Trump administration. They united under one simple message, “America has no kings, and the power belongs to the people.” According to the No Kings’ website, more than seven million demonstrators marched, chanted and exercised their First Amendment rights across more than 2,700 locations in the United States.
(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)
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)
By now everyone has heard of Artificial Intelligence, but not of the unprecedented ways in which it’s being used. I’m not talking about AI being used to make art, businesses or to assist students with school work; I’m talking about misled people falling in love with AI chatbots. On the social media platform Reddit there is an online community of individuals that have romantic relationships with AI chatbots called r/MyBoyfriendIsAI, with approximately 28,000 members. It was founded on Aug. 1, 2024, and the community description reads as follows:
(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.
