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A new take on the love story ended prematurely by illness, We Live in Time gives us a realistic and bittersweet view of what it means to love without regrets. Its genuine interactions and nonlinear plot create a relationship that’s beautiful because of the characters’ efforts toward each other, rather than their tragic premise.
In recent years, there has been an almost perverse public obsession with Donald Trump — 45th president of the United States, convicted criminal and renowned business tycoon. Ali Abbasi’s latest film, The Apprentice, explores the latter of Trump’s identities. Starring Sebastian Stan as Donald Trump, the film follows how Trump launched his career as a real estate businessman in New York City into a massive story of financial success. Particularly, it traces how he gained that success through his relationship with another figure of great controversy, Roy Cohn.
On Oct. 1, the University’s very own alumna Louise Erdrich published her latest novel The Mighty Red, an idiosyncratic story following the teenage, gothic intellectual Kismet Poe. Throughout the narrative, Poe survives her tragic newlywed life in her small, sugar-beet-farming town in North Dakota, backdropped by the 2008 financial crisis.
My mother always hated her gray hair. I’d watch as she separated her white strands from the rest of her dark brown hair, gathering them in her fingers as if to count them. I’d catch her glancing in the mirror at her hair, or avoiding wearing gray clothing because she thought it accentuated the color.
The rollout for Chromakopia — a series of dystopian, auteurist videos set to abrasive musical snippets — felt like deceptive advertising. I thought Chromakopia would be a hard-hitting, concept record with an ominous, experimental sound that cast Tyler, the Creator as a wild aggressor figure, given the dictatorial imagery of him ordering marching figures into planes before blowing them up.
Listening to Machine Girl can sometimes feel like being inserted headfirst into a meat grinder; it’s an unrelenting assault that leaves you strangely exhilarated but also satisfied. Their latest release — MG Ultra — which dropped earlier this month, strays slightly from their usual aesthetics, but it still manages to deliver the sonic violence that unmistakably qualifies it as a Machine Girl album.
For their Fall 2024 show, Hopkins’ longest-standing theater company, The Barnstormers, performed one of Shakespeare’s most performed plays, the romantic comedy Twelfth Night. I made sure to attend their first performance on Oct. 24, which had a sparse crowd — likely due to it being on a Thursday — but an energetic atmosphere.
As October comes to a close, we are on the precipice of the spookiest of nights. Some delight in this atmosphere, while others are more content to cower in their rooms with a good movie; yet still, others were just reminded that Halloween is this week, and are currently scrolling Amazon for costume pieces with same-day delivery. Whether your Halloweekend just passed, or for some reason you’re celebrating in November (weird choice), there are plenty of new releases and events which will soothe your soul — perhaps enough to reinhabit your body.
On Oct. 13 from 2—4 p.m., four faculty filmmakers from the Film and Media Studies department screened their work for coworkers, students and friends in the Gilman 50 auditorium. The event highlighted the presenters’ labors of love, with a program that featured the following works: unravelling by Susan Leslie Mann and John Bright Mann, Manger by Jimmy Joe Roche, Turf Valley by Adam Rodgers and Thomas Ventimiglia, and I’m Not Your Monster by Karen Yasinsky.
On Oct. 4, Netflix released The Platform 2 which is a Spanish dystopian thriller that reimagines the prison system as a vertical self-management center. A second installment to The Platform universe, the movie begins with two cellmates Zamiatin (Hovik Keuchkerian) and Perempuán (Milena Smit) who wake up on level 24 of the prison.
Lizzy McAlpine’s most recent release, Older (and Wiser) won me over before I even listened to it. I cannot emphasize how much I love a good — or bad — pun, and deluxe albums with witty titles are my guilty pleasures (see: guts (spilled) by Olivia Rodrigo and Call Me If You Get Lost: The Estate Sale by Tyler, the Creator).
“It’s like standing in a power station on acid,” said Richard D. James, better known as Aphex Twin, of his landmark album Selected Ambient Works Volume II. Thirty years later, its beautiful yet unsettling dreamlike soundscapes remain as captivating as ever, and earlier this month the album returned with an expanded anniversary edition.
In an interview with The News-Letter, Judah Akers, lead singer of indie folk band Judah & the Lion, said that they make music, “for people… to point people to hope.” Their newest album, The Process, is a journey through the five stages of grief. Twenty-four tracks guide listeners through the thick of denial, anger, bargaining and depression all the way to acceptance.
Poet Megan Pinto held an event at local cafe Bird in Hand to present her debut poetry collection, Saints of Little Faith on Sunday, Oct. 6. Alongside Pinto, Samuel Cheney, Jimin Seo and Jess Yuan presented their work. After the attendees had settled into their seats inside of the atmospheric bookstore, the poets were introduced and the event began.
The Hopkins Symphony Orchestra (HSO) delivered an expert performance on the evening of Oct. 5 in the Shriver Hall auditorium. The orchestra opened with William Grant Still’s Serenade before shifting to Maurice Ravel’s Piano Concerto in G Major and ending with Antonín Dvořák’s Symphony No. 9, or From the New World.
Sally Rooney’s Intermezzo, the Sept. 24 addition to her oeuvre, is a novel chronicling the tumultuous relationship between the Dublin-based 22-year-old competitive chess player Ivan Koubek and his 32-year-old barrister brother Peter after the death of their father. Or, more suitably, Intermezzo is a novel chronicling the men’s relationship with women. What could have been a novel interrogating a variety of worthy themes — the function of grief and trauma in love, the explosive or inopportune nature of fate or the destructiveness of family — is instead a novel that reads like a pubescent teenage boy preoccupied with sex.
South Korean author Han Kang won the 2024 Nobel Prize in Literature on Thursday, Oct. 10 "for her intense poetic prose that confronts historical traumas and exposes the fragility of human life.” She is the first Asian woman to win this award.
The Peabody Symphony Orchestra (PSO) held its first concert of the 2024–25 season on Thursday, Oct. 3 at 7:30 p.m. in the Miriam A. Friedberg Concert Hall at the Peabody Institute. Under the baton of conductor Joseph Young — Ruth Blaustein Rosenberg artistic director of ensembles — the orchestra presented works by Samuel Coleridge-Taylor, Robert Schumann and a performance of Darius Milhaud by soprano Tina O’Malley, winner of the 2024 Sylvia Green Voice Competition. This concert was part of the ongoing Ruth Blaustein Rosenberg Concert Series.
Hello and welcome! As we enter into the week of fall break, I hope each of you feels a slight release from the pressures of midterms. For your moment of free time, late night creative curiosities or general interest in the local arts scene, the Arts & Entertainment section is here with a list of media to inspire and satiate you. As always, we hope you enjoy our picks for the week and check some of them out!
“I was always a nerd,” said Jordan Jackson — a Baltimore-based comic artist, writer and faculty for animation at the Maryland Institute College of Art (MICA) — during my First-Year Seminar: Writing with Pictures: An Introduction to Writing Picture Books and Graphic Novels. On Monday, Sept. 30, my class was honored to have Jackson join our class to discuss his journey as an artist and his creative process.