Volume XXXII Issue 6 1 March 2024

Enhancing Support for International Students: The Hiring of a Dedicated International Student Advisor at Scripps College

By Ellen Hu ’24 Editor-in-Chief

On Feb. 8, Scripps College officially announced that Rebecca (Becky) Kyles was hired to assume the full-time position of International Student Advisor as a member of the Dean of Students Office. This followed a 16-month period in which the college did not have an International Student Advisor, instead placing many of these responsibilities on the Registrar and other international students.

The announcement was made during an official dinner in the Hampton Room by President Amy Marcus-Newhall and Dean of Students Sha Bradley. The administrators were joined by approximately 40 Scripps international students who participated in further discussions about what support they needed from the college.

“I was curious to see why they had suddenly started to care,” Tara Zhang ’24, one of the attendees, said. “I didn't want to get my hopes up too high, given the relationship we have with administration.”

Previously a part-time position through Scripps Communities of Resources and Empowerment (SCORE) known as the International Student Coordinator, the role went unfilled following the leave of the previous coordinator Ge Yao Liu in the fall of 2022. The new International Student Advisor position will be full-time.

This is the first time that Scripps has hired a full-time administrator with this title, and the change gives

Kyles twice as much time to support and affect change in the international student experience at the college when compared to previous administrators in the role. So far, her work at Scripps has supported students in feeling seen and heard.

This was expressed by Zhang, who encountered issues with her student visa before the spring 2024 semester. Following several days of communication with Scripps, she was able to return to campus albeit missing classes and incurring additional plane expenses. She originally sought reimbursements for these expenses upon her arrival to

IN THIS ISSUE

campus but eventually decided not to pursue it further.

This experience was communicated to Kyles in a one-on-one meeting, and the next day Zhang received an email asking for the receipts – Kyles would be pursuing key steps in receiving reimbursements on her behalf. “It was so nice and it was like the first time I really felt cared for by the school,” Zhang said.

In addition to the announcement of Kyle’s role on campus, the dinner served as an open forum for international students to give feedback on their experiences at the college. Everyone had different frustrations but similar problems, most of which the administrators had not been aware of.

Students spoke of the financial, professional, personal, and work problems they face as a result of Scripps' organization and systems. However, one main topic of conversation surrounded pre-orientation policies and a lack of support upon arrival.

“No special arrival, no welcome, no sense of belonging or joyful

move-in,” international student Rozenn Le Roux ’26 said. “After receiving their keys, [international students] will spend the rest of the week chasing the few people they're in contact with to figure out how to get into their dorm (because no one tells them they need a code), to then figure out how to get food in the dining hall, or even how to locate where the dining hall. It's all hassle, struggle, and burden on the shoulders of students who come here with dreams and sparks in their eyes, only to see them extinguished on their first day at Claremont.”

While administrators listened to these concerns, some students were unsatisfied with their response. “I felt like the response was still very performative in that it was an apology again, but no action,” Zhang said.

Overall, Zhang considers the dinner a “success” but is skeptical of what support for international students will look like moving forward. “I'm just glad to see that they're putting in a little bit of effort now, but I don’t know how consistent this is going to be,” she said.

International students are excited about what Kyles will bring to Scripps and have high hopes for what this could mean for Scripps’ support of the international community. “Kyles’ arrival will enable her to better guide future students through the essential stages of arriving in a new country,” Le Roux said.

Through some students’ eyes, Kyles’ positive impacts will depend on how much support the institution provides for the role. “If anything, I think I trust that [Kyles] will do a good job – I don't think the institution will support her doing a good job,” Zhang said.

Only time will tell what the relationship between these students and the administration will look like. “This event was not only a source of hope for change for international students and their voices but also a possible positive impact on future generations who now have a dedicated advisor,” Le Roux said. “Our minority is important to the school's reputation abroad but also crucial in maintaining an international presence on campus.”

Suzanne Keen is Back Once More

2024 Oscar Nominations: Expectations vs Realities Why “It Never Rains in Southern California” is Becoming Such a Lie

Ellen Hu ’24 • The Scripps Voice

Expanding the Realm of Ceramics: An Interview with Jasmine Baetz

Family Weekend: A Fairytale or a Facade?

By Belén Yudess ’25 Copy Editor Intern

From Feb. 17-19, families flocked to Scripps for the college’s annual Family Weekend. This three-day event offers relatives a brief window into their student’s academic and co-curricular life at Scripps, complete with a Malott brunch. Programming for this event included a series of faculty lectures, student panels, botanical tours, and an ABBA tribute band — with special guest singer Izzy Gustitis ’26 — hosted by Scripps Presents.

Although Family Weekend consists of a multitude of moving parts, a chance for families to connect with their students lies at its heart. “I feel that Family Weekend is an opportunity to give my parents and other family members, a glimpse into my college experience,” Tori Eichel ’25 said. “Over the years they have been able to meet my friends and their families, meet faculty members, and participate in my daily activities on campus.”

Brooke Kasl-Godsley ’26 echoed this sentiment, explaining how specific campus locations from her life became important parts of her family’s experience. “My mom really wanted to go see Denison and I think my dad liked seeing Denison,” she said.

For many, the ABBA event was the highlight of the weekend. Eichel and her family were able to channel their inner dancing queens alongside a crowd of other families and community members.

“I loved seeing everyone dancing and singing and encouraging their folks to get up and move with them,” Eichel said. “My parents told me how incredible it was for them to see students expressing themselves freely through their ABBA-

inspired outfits and free-spirited dancing because they could tell how supportive and loving the Scripps community is.”

Aside from the structured activities available, Kasl-Godsley stated that some of her favorite moments were the ones that happened naturally among her family and friends. “My dad [ended up] sending me a really nice text afterward that was like, ‘it was really nice to see you living your college life and to meet your friends’ and everything,” she said.

Kasl-Godsley touched upon the sense of familiarity brought by her parents’ presence throughout the weekend. “I’m very happy to be here, but it’s nice being parented again,” she said. “I’m no longer the sole one responsible for my well-being even if it’s for like two days.”

Family Weekend is meant to highlight the more pristine and positive aspects of the student experience at Scripps, evident through the tents temporarily constructed for outdoor dining, the catered meals, and the line-up of student and faculty success stories featured during organized talks. Although marketing strategies are expected during an event of this magnitude, KaslGodsley points out her hesitation to accept these tactics.

“I had a great time watching my parents and I think that parents really like it, but it feels weird to me, especially this Family Weekend because there’s so much tension between students and the administration right now,” Kasl-Godsley said. “I know a lot of it’s directed towards Pomona’s administration and not quite our administration, but we’re definitely not in the best place right now.”

Kasl-Godsley continued to explain how presentations, specifical -

ly from President Amy Marcus-Newhall, did not seem entirely truthful to the reality of Scripps. “President Marcus-Newhall was talking about this program that they’re doing where they’re trying to raise a bunch of money so more people can access Scripps, and we’re like, ‘they just want more money,’” Kasl-Godsley said. “It feels like they’re using the experiences of first-generation or marginalized students or people who need scholarships to access Scripps to get more money and then not actually providing them a ton of support once they get here. I think the way that administration presents themselves to parents is definitely a marketing scheme. And obviously I love it here, but I also understand that there are many flaws. It’s a little bit insidious, especially in the current climate and the fact that the administration isn’t really listening to its students right now.”

In recent years, marketed events have been sites of student activism on behalf of larger issues. The 2022 Scripps Admitted Students Day happened amid student uproar over the housing shortage, and the 2023 Pitzer Admitted Students Day saw action from Claremont Student Workers Alliance (CSWA) in response to the firing of three McConnell dining hall staff members. Although this Scripps Family Weekend was not met with direct demonstration, Kasl-Godsley acknowledged the need for the administration to welcome student input rather than dismissing it.

“I don’t know what it would look like for the administration to be more transparent,” she said. “It’s nearly impossible to eloquently admit that your students are upset with you but I don’t understand what’s in it for the administration.

They’re making their job so much harder by not listening to their students. I get there are forces that are far outside of our control and our knowledge but, there’s all of these issues going on on campus … and [members of administration] were students once, you understand what it’s like. How do you change that much?”

Aanji Sin ’24

Editor-in-Chief

Ellen Hu ’24

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Alyssa Wend ’24

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Ellen Wang ’25

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Isabel Suh ’24

Head Design Editor

Elita Kutateli ’26 Design Editor

Nawal Hassan ’27 Design Editor

Hannah Fawley ’27 Design Editor

Juliette Des Rosiers ’26

Copy Editor

Frances Walton ’26

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Belén Yudess ’25 Copy Editor Intern

Ashley Ta ’27

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Carah Allen ’26 Webmaster

Anna Odell ’27 Social Media Manager

Momoka Schmid ’25 • The Scripps Voice

“K” is for Keen and “C” is for Core: Suzanne Keen is Back Once More

By Juliette Des Rosiers ’26 and Belén Yudess ’26 Copy Editor and Copy Editor Intern

After resigning from the position of Scripps’ President in the spring of 2023, Suzanne Keen is returning to Scripps as a tenured faculty member in the English department. This fall, she will be teaching two courses: 19th Century British Poetry and Core III: Children’s Literature.

The Core course will be centered on historical children’s literature, including reading material dating back to the 17th century, such as The New England Primer. Additional texts include Lois Lowry’s Number the Stars, The Norton Anthology of Children’s Literature, various picture books, and Comet in Moominland by Tove Jansson. The curriculum will focus on literature for ages 8-12, with the first day looking at picture books and ending the semester with short chapter novels.

“The whole course is organized around the idea that children’s literature always has a purpose having to do with literacy,” Keen said. “We will talk about literacy and think about methods of learning how to read. But at the same time that children’s literature [is teaching literacy], even the things that seem most innocent, like the alphabet, have purposes of inculcating virtues, morality, or cultural knowledge.”

Keen’s inspiration for the class draws from her love of reading books intended for youth into adulthood, her favorite being His Dark Materials by Phillip Pullman. She hopes that

Core III students will share this love for children’s literature or, at the very least, rekindle it while taking this course.

She remarked on how the line between youth and adult books can be subjective, with secondary school teachers pulling from books advertised towards adults, and older readers choosing to buy Young Adult novels.

“Adults like to read what is written for young adults because some of the best writing comes out of those texts,” Keen said. “It would be dumb to cut yourself off from that – everybody should be able to read whatever they want.”

Keen is aware that concepts deemed appropriate for children’s literature in the past would be shocking to a contemporary reader. With this in mind, she has written a content warning into her syllabus, making students aware these topics

may be troubling and encouraging them to approach her privately with any concerns.

“It’s immediately apparent that some of the ideas that are inside the [historical] children’s books aren’t ideas that we share now,” Keen said. “That includes overtly classist, racist, sexist, and condemnatory religious language ... Myths and fairytales are [especially] violent, and in order to critique these works and grapple with their impact on child readers, we have to read them.”

Students’ final projects will be an opportunity to explore what they find most interesting about historical and contemporary children’s books. They will be encouraged to use Denison as a research resource through this process.

Keen is excited to use the robust Denison Library archives as a resource for hands-on learning with children’s books, especially to expose students

to books from diverse cultures. This multicultural focus stems from her acknowledgment that “a lot of times when people think about children’s literature, they think of it as AngloAmerican,” she said.

“It may be that an individual student decides to focus on something that is not English or American,” Keen said. “There’s a lot of openness in terms of where people go with their projects.”

Keen is a proponent of diversity in children’s literature and sees the value of having active discourse about it, especially considering recent legislation in favor of banning books. A subunit of the course will be dedicated to censorship where students will examine the American Library Association’s principles of freedom of press.

“I’m a free-speech and free-press person, and I really believe that parents can talk to their kids about what is appropriate or not appropriate,” Keen said. “Libraries should [not] be places where things are prescreened.”

Keen is confident in Scripps students’ abilities to engage in these often difficult and complex conversations, which is why she is enthusiastic to return to the classroom.

“One of my favorite things about Scripps is my conversations with students because it’s such a neat thing to choose to go to a place like Scripps and the people who do it are special,” she said. “I love teaching undergraduates, and I’m really looking forward to getting back in the classroom.”

WiMSoCal Brings Mathematical Empowerment to The Claremont Colleges

By Ella Young ’24 Staff Writer

The Symposium for Women and Gender Minorities in Mathematics, known as WiMSoCal (pronounced “whimsical”), was hosted at The Claremont Colleges on Feb. 24. The event took place at Pomona’s Estella Laboratory and hosted a variety of mathematics students, faculty, and researchers from across Southern California to celebrate and encourage the presence of women and gender minorities in math.

“WiMSoCal, being a local, welcoming conference, creates a space for students to easily attend and engage with mathematics, the community, and general fun,” said Scripps math professor and one of the organizers for this year’s event, Christina Edholm. “Having a conference which focuses on research and community building while celebrating the participants creates a community that invites more people in — something we need in mathematics.”

The day included several research talks on pure and applied math, which students were free to attend, and talks on adjacent fields, such as the history of math and math education. Talks were given by professors and graduate students from various colleges and universities across Southern California, including University of

Southern California (USC), University of California, Santa Barbara (UCSB), University of California, Los Angeles (UCLA), and The Claremont Colleges.

The event also featured several poster presentations, which gave current students the opportunity to present their original research in a welcoming environment.

In line with the mission of inclusivity, this year’s keynote presentation, given by Harvey Mudd professor Talithia Williams, centered on how to engage the public in mathematics. During her presentation, Williams led the audience in a candid conversation about the ways the field tends to be exclusive and why that is the case. Throughout the talk, Williams wove in anecdotes of her personal experience as a Black woman in mathematics to further illustrate the importance of accessibility in math.

The talk was well-received among attendees. “Learning about new mathematical research was amazing,” Natalie Burton ’24 said. “I’m grateful to have heard Professor Williams share her story.”

In addition to the keynote speaker, the other main event of WiMSoCal was the career development panel. The panel featured four women mathematicians from various areas of expertise and careers. The speakers discussed topics such as math research, careers in academia versus

industry, and the challenges of being a woman in such a male-dominated field.

“It was helpful to hear from a variety of speakers and get advice based on their experiences,” Burton said. The event centered empowerment, including combatting impostor syndrome and challenging societal expectations of women’s roles in mathematics.

“For me, math is a universal language which we all can use to communicate ideas with, so ensuring access and encouraging participation is key,” Edholm said. “There are groups of individuals who have been historically underrepresented in mathematics, and it is important we reach out and create pathways to engage and incorporate. Hopefully, WiMSoCal creates an event where all are welcome and celebrate, breaking down any barriers and allowing for math to be more accessible and highlight those who usually aren’t spotlighted.”

Closer to home, the Scripps math department is working to develop the community here. “In the department, we focus on sharing opportunities, connecting with students, and building a community,” Edholm said. “One of our plans going forward is working more on building community. We have started with some events, but the hope is to do more. Part of

this community building will be driven by faculty and students combined — building a space at Scripps to allow for conversation, research, and general fun surrounding mathematics.”

Events like WiMSoCal, as well as organizations like the Association for Women in Mathematics (AWM), which hosts several smaller networking and research events for female mathematicians, are a stepping stone for increasing women and gender minority engagement in math. Although gender diversity in math is far from where it needs to be, such events serve to stimulate and encourage mathematical growth in members of groups who are usually pushed away from the field.

Edholm hopes to hold more of these events at Scripps soon. “[The Scripps math faculty] have also been working to engage more with AWM,” she said. “Any students wanting to become more involved or help foster a community are encouraged to reach out to me and other members of our department.”

Math majors, minors, or otherwise math-interested students can reach out to Edholm at cedholm@ scrippscollege.edu to engage with the mathematics community at Scripps and keep updated on future department events.

Photo Courtesy of Scripps College

Expanding the Realm of Ceramics: an Interview with Jasmine Baetz, Curator of the 79th Scripps Ceramic Annual

Jasmine Baetz, the Scripps College Lincoln Visiting Artist in Ceramics, dove into theories of Brownness in her curatorial success at the 79th Scripps College Ceramic Annual, titled The Idea of Feeling Brown

In her curatorial debut, Baetz strove to display ceramics in their full expansive nature by creating space for the Brown community to recognize themselves within the pieces.

“There can be a grounding element to ceramics practices,” Baetz said. “And when you are grounded in that way, you can have conversations and share ideas with an expansive mindset, which can greatly facilitate marginal or difficult conversations.”

Baetz, after reading José Esteban Muñoz’s The Sense of Brown three years ago, felt immediately inspired by his framework, theory, and language. The work in this exhibition all exist in unison with Muñoz’s ideas and frameworks, which “indicate the approximation and negotiation of feeling Brown; the ongoing work of settling and unsettling how each artist considers and visualizes their relationship to a Brown commons. The pieces, each thought-provoking and transformative, refuse the typical expectation of ceramics,” Baetz wrote in a statement about the exhibit.

Upon entering the gallery, the viewer is welcomed into an immersive creative space complete with performance art, sculpture,

virtual reality, floor-to-ceiling paintings, and its own bodega with a mascot. The viewer’s eye is caught by the huge floor-to-ceiling painting: shades of black, yellow, and red against the stark white wall.

Created by Magdolene Dykstra, this piece was done using individual fingerprints. In a nontraditional nature, it reveals itself through its “ceramics sensibility,” according to Baetz. Baetz described that the piece uses “three of the oxides commonly used in ceramics palettes.” In its grandeur, Dykstra created a unique temporary and transitional piece that, titled after Muñoz’s work, is exemplary of Munoz’s wider view of ceramics frameworks.

Heidi McKenzie’s artwork, positioned across the room, features porcelain light boxes and hanging window pane pieces. These pieces examine colonialism and its impact on the lives of people of color. They serve as a connection between various other artworks, especially those directly influenced by colonial forces, such as Habiba El-Sayed and Raheleh Filsoofi’s pieces. The integration of virtual reality and augmented reality artwork on the iPad allows for direct engagement with El-Sayed’s discourse on her work within the colonial institution.

On the left wall is a video of Filsoofi against a black background holding a plate, delicately and rhythmically biting its edges, turning it, and continuing the pattern. The plate is then displayed before the viewer, connecting this performative action with the physical piece. This, as Baetz describes, was one

of the first pieces she saw when developing the exhibit. The piece strives to affect “the way we feel and make each other feel through the transmission of our artworks,” Baetz said. It also evokes a “relational experience reaching across the screen,” creating a pattern language, as well as a connection to the viewer, as individuals feel immersed in the physical and visual display.

Baetz’s interest in community engagement and antiracist practice is evident throughout the gallery. She strives to create a space for individuals to think about “what’s shared between people, especially people with not identical experiences, but experiences that have similar throughlines,” she said.

This framework ties together and orients the space around racialized experience. “While it isn’t necessarily a show about identity, it makes space for serious and thoughtfully considered expression of experiences,” Baetz said.

As a first-time curator, Baetz wanted to challenge social norms in the field of art. Despite movements in the art world to feature and represent BIPOC artists, the field of ceramics remains dominated by white curators. As part of reducing inequities in art, Baetz thought heavily during her curatorial process about the need to compensate artists for their work and their time. “It has not been typical of previous Scripps Ceramic Annuals to pay artists for their work,” she said. This is something she fought to rectify.

“Those are some very low bars we can clear going into the future,

thinking about the incredible labor of artists and having some form of compensation,” Baetz said. “I think that will also really change the annual and what’s possible for curators and artists in the future. They did give that honoraria to the artists this year, for the first time, and I’m very happy that they are making that change.”

In this unique space, you can each see how ceramics continue to grow and evolve into something more expansive. Baetz hopes the show inspires viewers to “apply critical and queer theory, [the] idea of performance, and put it into more fields.” Through her rigorous framework, she hopes the viewer can start conversations about “ceramic art, artists, processes, literature, and writing.”

As the echoes of previously silenced narratives reverberate within the walls, Baetz’s exhibition establishes exactly what it had hoped to achieve.

Don’t forget to visit the exhibit at the Ruth Chandler Williamson Gallery at 251 E 11th St. (Open Wednesday through Sunday 12 p.m. - 4 p.m.!)

The gallery has free collaborative zines from the students in Baetz’s class Special Topics in Ceramics: Feeling Brown. In them are interviews with the artists done by the students. Please pick one up and read for yourself how fantastic each of these artists are and the brevity of their works. To see Pepe the Puma and buy your own ceramic produce at the Bodega go to the gallery from 12 p.m. - 4 p.m. on Fridays.

Alexandria Smith ’27 Staff Writer

The Scripps Voice • Alexandria Smith ’27

Crossword: Books

Note: Spaces are included.

ACROSS DOWN

2. Memoir following a woman’s journey of mourning her mother’s death and hiking the Pacific Crest Trail

3. Written by a badass woman writer during a one-night-only writing challenge and features a popular monster (and the monster’s maker)

5. Classic novel following the courtship of the Bennet sisters

6. “I speak for the trees”

7. Shel Silverstein short story about kindness and friendship

10. Queer romantic comedy about two women, one of whom is stuck in time on the NYC Q train, written by an author also known for novel Red, White, & Royal Blue

12. Features a dystopian society without color, emotions, or memories of the past

13. Novel following Stanley Yelnats at a boys correctional facility, Camp Green Lake

14. The 2023 addition to the Riordan-verse

16. 2023 memoir by notable transgender Canadian actor

17. 1985 novel set in a dystopian near-future following Offred

18. Fictional British protagonist known for his incredible ability to solve crimes

19. French novel following a boy learning about the world, even though the cover often depicts him standing among the stars

1. Big Brother is watching

2. Children’s novel following Auggie Pullman, a kid with Treacher Collins syndrome, as he starts the 5th grade after previously being homschooled

4. Graphic novel and memoir recounting growing up during the Islamic Revolution in Iran

8. Memoir by comedian, SNL alum, and creator of sitcom Parks and Recreation

9. Graphic novel chronicles author’s father’s experience of the Holocaust; found in abundance in the Scripps browsing rooms

11. 2010s series about sparkling vampires

15. Bilbo and Sam have to leave the shire to destroy the ring

2024 Oscar Nominations: Wishful Expectations vs Potential Realities

By Frances Walton ’26 and Belén Yudess ’25

Copy Editor and Copy Editor Intern

Campus-wide Grammy’s rainy-day watch parties and Super Bowl Sunday shenanigans have left us excited to see how Scrippsies celebrate the 2024 Oscars! This year’s featured films produced a plethora of 2023’s most popular fan edits (SpiderMan: Across the Spider-Verse ) and meme-worthy phrases (a tie between “SUBLIME!” and “Do you guys ever think about dying?”). Whether you dedicated six hours of your life to “Barbenheimer” or spent your summer rewatching the hit computer-animated film Barbie in the Nutcracker instead, here are our expectations (hopes) vs. reality (probable outcomes) of a handful of this year’s nominees.

Best Picture

Expectation: Oppenheimer

Oppenheimer had some large shoes to fill this box office season, and it delivered. From the star-studded cast, remarkable score, complex yet clean cinematography, and nuanced plot, Oppenheimer lived up to the fanfare of “Barbenheimer.”

Oppenheimer follows the life of J. Robert Oppenheimer (Cillian Murphy), lead scientist of the Manhattan Project during World War II who was dubbed the “father of the atomic bomb.” The almost three-hour film covers Oppenheimer’s early days as a budding physicist, his time at the Los Alamos Laboratory constructing and eventually creating the atomic bomb, and his investigation and governmental downfall at the hands of United States Atomic Energy Commission Chairman Levi Strauss (Robert Downey Jr).

Christopher Nolan knows how to tell a story. Oppenheimer’s success lies in its rich and oftentimes morally conflicting plot. Regardless of J. Robert Oppenheimer’s fame and scientific success, he was a man who caused catastrophic amounts of suffering and destruction, both in Japan and among the Indigenous communities displaced and poisoned by his nuclear experiments.

Although the film could have addressed the latter reality much more than it did, it never shies away from the distress Op penheimer caused or experienced over his di rect con tribution to death and dis ease. Aside from the sev eral sexual esca pades it portrays, the majority of Oppenheimer’s personal narra tive stems from his guilt and regret over his creation and its potential to one day destroy the world. It is this

moral resignation and questioning that gives Oppenheimer an edge and causes those three hours to fly by. Also, when your cast is so jam-packed with big names that Rami Malek is given a minor role with one line, something is going right

Reality: Oppenheimer

Best Actress

Expectation: Lily Gladstone for Killers of the Flower Moon

The critical consensus is that the Best Actress race is between Lily Gladstone and Emma Stone, who gave multilayered and fine-tuned performances of complex women through their roles. While I loved both performances, Gladstone edged out Stone in my heart.

Gladstone’s greatest strength is her ability to portray complexity in Mollie. Her role was not easy; Mollie’s character contends with racism, love, sickness, and so much more, making her portrayal a challenge (to understate the situation).

Nevertheless, Gladstone has mastered showing competing interests and emotions in her performance, com passionately relaying the complicated situations Mollie faces. Somehow, despite Mollie being bedridden for much of the movie, Glad stone can embody her character’s humanity with a grace that not many actors possess.

distraught scientist without batting an eye. There are various scenes where these switches happen quickly and subtly; specifically, the scene when Oppenheimer addresses the bombs’ role in helping the Allies win the war. Although Murphy’s tone is celebratory and secure, his slight pauses between words and vacant stare signify the internal strife Oppenheimer experiences as he realizes the extent of his work.

From his confident strut, frenzied facial reactions, and sly smiles, Murphy reaffirmed his position as a top contender in Nolan’s rolodex of leading men for all his action-packed films. Reality: Cillian Murphy for Oppenheimer

Best Supporting Actress

Expectation: America Ferrera for Barbie

While Mollie’s character is based on a real person, little information exists regarding her mannerisms or personality. With this in mind, Gladstone was required to both honor and recreate Mollie without much to base her character on. She took this hurdle in stride – not caricaturing or cheapening Mollie’s historical presence. Instead, I feel that she created a convincing and well-rounded portrayal, something not easily done.

Side note: I am curious why Da’Vine Joy Randolph was slotted for supporting actress. If she were in this category, I would be rooting for her.

Reality: Emma Stone for Poor Things

Expectation: Cillian Murphy for Oppenheimer

Cillian Murphy lived up to his esteemed title as my (Belén’s) cousin’s favorite actor and possibly his reputation as one of the “greatest Irish actors of all time.” With almost 30 years of acting under his belt, Murphy commanded the screen with a charisma and vulnerability that only an expert can achieve. Murphy is able to seamlessly maneuver through Oppenheimer’s distinct portrayals: the frustrated genius, shameless womanizer, betrayed friend, and morally

America Ferrera has nothing to prove. Yet, she continues to set the bar high in every production she stars in, Barbie is no different. Ferrera’s powerhouse performance as Gloria, a Mattel employee who guides Barbie in the real world and dreams of designing her own dolls, exemplifies the actress’ dynamic range and exceptional acting. Ferrera’s talent shines through in her ability to ground her character in resilience and empathy. Whether showcasing the challenges of being a mom to a teenage daughter, the struggles of a woman working in a male-dominated industry, and the tribulations of being a friend, Ferrera imbues a certain level of grace in Gloria’s care towards others and humor in the ways in which she immediately reacts or responds to a situation. This balance is most evident in Ferrera’s heartfelt monologue regarding the unfair dichotomies of being a woman: as she vocalizes her character’s frustrations over so ciety’s double standards towards women, Ferrara’s tone becomes firmer and her conviction lights up the screen.

Ferrera, whose fam ily is from Honduras and has Indigenous roots in the country, continues to provide valued representa tion for the BIPOC community through her layered depictions of Latinx women, a legacy she maintains and highlights in Barbie

roles (á la La La Land), Gosling gave his whole heart to Ken and really dove into the campy fun that the role necessitated. His delivery was on point throughout the film, making Ken feel real and unreal, somewhat like a Barbie doll. This role spotlighted his greater acting range, charisma, and musical skills.

But let’s be honest – I’d bet my single room that Gosling will not win this category. We all know that the Oscars can’t determine the best person to win a category every time, but they are biased toward more “serious” roles and films. Embodying a goofy character, rather than a heavier one, requires a lot of finesse from the actors in question. In fact, I’d guess that many esteemed actors, some on this list, would not touch Ken with a 10foot pole. So, here’s to Ken. I hope he wins, at least to spite film bros who take movies too seriously.

Reality: Robert Downey Jr. for Oppenheimer

Best Original Song Expectation: “I’m Just Ken” by Andrew Wyatt and Mark Ronson from Barbie Angsty first love gone wrong, throwbacks to the moves and jumpsuits of Grease, and the newly coined phrase “blonde fragility,” “I’m Just Ken’’ has it all! An equally electric and reflective ballad, this hit single from the recent Barbie movie quickly became an integral contribution to pop culture history.

What makes this song such a hoot is the absurdity of the lyrics. Let me preface this by saying that the deeper meaning of the song is powerful; constantly being compared to others is painful, and the only way to combat that is by realizing that you are Kenough. Indeed, that is a valuable message. But let us remember that these lyrics are coming from the mouths of dolls. The over-exaggerated reconciliation of the Kens and the several Ken puns embedded within this number grounds the song in comedy with sprinkles of quot-

Reality: Da’ Vine Joy Randolph for The Holdovers

Best Supporting Actor

Expectation: Ryan Gosling for Barbie

Camp deserves points, too (A.K.A. I don’t feel passionate about any of these actors, so I guess I will talk about Gosling and the academy).

Gosling stepped outside of his comfort zone with his role in Barbie While he is known for more emotional

Like many, I, too, was skeptical after seeing Ryan Gosling in that faded blond wig and surfer boy aesthetic.

Although Gosling is a seasoned actor and singer, as proven by his success in La La Land, embodying Ken is a tough undertaking. Watching Gosling take this song by the reins – in true “patriarchal” fashion – and deliver such an iconic performance proved that he was the true Kenergy of the song.

Reality: “What was I made for?” by Billie Eilish from Barbie

The Oscars will air March 10 at 4:00 p.m. PDT.

Netflix’s “Avatar: The Last Airbender” Proves Some Stories are Better Left Animated.

By Aanji Sin ’24 Editor-in-Chief

After a long delayed and even longer anticipated expedition from camera to screen, Netflix’s liveaction adaptation of Avatar: The Last Airbender finally hit the streaming service on Feb. 22. Fans have been clamoring for a proper revitalization of the beloved series for years; the original animated series premiered nearly two decades ago, is hailed as one of the greatest animated series of all time, and has so far only been succeeded by one underdeveloped, whitewashed film adaptation by M. Night Shyamalan that fans tend to keep firmly shut out of mind. As a consequence, the expectations for the series’ live-action rendition were blisteringly high, but unfortunately a combination of lazy writing, hasty pacing, and just plain stiff acting has the series falling fast and flat.

As an Avatar fanatic since childhood, I was not without my hopes for the series. Like many other fans, a part of me naïvely wished for a complete one-to-one remake of the original animation: the exact same characters, every moment both iconic and ordinary, a script that was just as funny and thoughtful and conscious. But all of that flew out the window when the news broke of original creators Michael Dante DiMartino and Bryan Konietzko leaving the project in its early stages due to “creative differences,” namely an ambition to mature the original content in its violent content and overall tone. And the end product proved to me what I worried about back then: that there isn’t a single possible readapted version of Avatar that could hold a candle to its source material because the original series is a seriously, truly perfect piece of media.

Avatar: The Last Airbender takes place in a world where people possess the ability to control, or “bend,”

the four major natural elements: water, earth, fire, and air. The Water Tribes, Earth Kingdom, Fire Nation, and Air Nomads existed in harmony with one another until the Fire Nation began to wage a war intent on world domination. The Avatar, the only bender who can wield all four elements and keep peace between the nations, disappears when the Air Nomads are wiped out as the war begins.

One hundred years later, the young Avatar, Aang of the Air Nomads, is discovered preserved in an iceberg by a pair of siblings from the Water Tribe. The three of them embark on a journey for Aang to fulfill his role as the Avatar, master all four elements, and finally put an end to the Hundred Year War. On their way, Aang is hunted by Prince Zuko of the Fire Nation, who vies to bring the Avatar to his father in order to absolve his banishment and restore his title as heir to the throne.

I’ll start with what’s good about the remake because I’m fair like that, and also because this will be very brief. My favorite part of the series was Zuko, which was pleasantly surprising to see that they nailed one of the best written characters in history (and the first fictional crush I ever had). Dallas Liu delivers a fantastically studied performance that emulates Zuko’s brooding yet impassioned core while adding a necessary flair of his own. His dynamic with Iroh (Paul Sun-Hyung Lee) beats out the main trio as the heart of the series.

Zuko and Iroh remain the most consistently high-quality aspects of the show, while other facets shine in some places but fail to impress in others. The visual effects of the elemental bending are beautifully done, in particular the fire bending. Hand in hand with this are the choreographed action sequences, the artistry of which excels when the creators aren’t worried about adapting the same ani-

mated sequence to a tee. Aang and Zuko’s hand-to-hand skirmish in episode three, “Omashu,” and Kyoshi’s devastation of the enemy in episode two, “Warriors,” depict altercations completely original to the live-action plot and thus open an area for creativity to blossom, whereas fights such as Katara’s memorable showdown with a waterbending master in episode seven “The North” feel overly rehearsed and bland — places where the creators’ attempt to maintain fidelity to the original animation hurts more than helps.

The tension between the liveaction’s desire to fly free or stick to its source material’s established greatness is palpable throughout all eight episodes. It chooses its moments, but ultimately its demise stems from the live-action’s innate inability to capture the magic of the animation’s in its piss-poor script.

The pacing of this series is unlike any trainwreck I’ve ever witnessed, racing at top speed through multiple episodes at a time, then chugging to a crawl at the most inconsequential of moments. The three consecutive episodes of “Omashu,” “Into the Dark,” and “Spirited Away” cram at least six different scenarios and storylines from the original series and half-heartedly attempt to weave all of them into a followable plot. It’s as if the creators cherry picked the original’s most dramatic and showmance-y moments, and then wrote around those moments to create a plotline that was similar, but different enough to cry ingenuity. Still, if you’re going to rewrite a story and do it differently from the first time, at least do it in a way that’s coherent.

The writing also extends to a trite and lackluster script, filled with exposition-heavy dialogue and cheesy, soulless one-liners that attempt to bear the weight of a narrative surrounding genocide and war. Not only that, they also fail to replicate the

charm of the characters fans know and missed on their screens.

Even though the main cast of young actors struggle to deliver the perfect depictions of such beloved characters, most of them are talented enough to hold their own (Gordon Cormier as Aang and Elizabeth Yu as Azula come to mind), and it’s evident that a more thoughtful and intentional script would bring out better performances. However, some characters feel far past the point of return, most notably Kiawentiio Tarbell’s Katara, whose passive and meek writing siphons all traits of righteousness, compassion, and anger that made Katara the heart of the original animation.

While the visual effects of the bending are an impressive feat, the rest of the series’ atmosphere is a CGI and lighting nightmare. The only way I can describe it is that it looks like an ad for a Disney California Adventure ride: shot entirely on a production stage without a lick of natural light. It most likely had a negative impact on the actor’s performances as well; as my suite mate who watched the pilot with me despite having absolutely no previous Avatar knowledge remarked, “It must be hard to act well when the only things you have to react to are green screens.”

In recent years, the ongoing sludge of mediocre sequels, remakes, and live-action adaptations has felt endless and disheartening to wade through, and this newest installment of Avatar is yet another attempt to elevate animation to a “superior” art form that fails to do so. This adaptation only stands to prove the necessity and intent behind the animated format of the original, and how it successfully underscores one of the series’ central messages: that whatever darkness exists in the world, it is a worthy endeavor to do everything you can to spread happiness and peace in every tiny corner of it that you can.

This is what Aang embodies, what set Avatar apart from other fantasy franchises out there, and what the whimsy of animation can get across to the viewer alongside its larger depictions of war and colonization. By “maturing” the content and elevating its format to a live-action, this message is effectively zapped out of the project, leaving behind the shell of yet another war story.

It’s clear that after two unimpressive adaptations, the reason why it’s impossible to make a satisfying rendition of Avatar is that it simply doesn’t need one. And the changes that the live-action attempts — the rushed storylines, the tempering of character motivations, removing “outdated” messaging — feels like pulling out layers of a Jenga tower haphazardly and expecting the whole thing not to topple over in the process.

The original animation was a small, perfectly contained piece of work — only three seasons and 61 episodes — with all of its elements slotted together and sanded down with intentionality and precision. Why mess with perfection? Sure, you can keep making adaptations of Avatar for fans who just want to have fun, but for a lot of us, these continuous disappointments just push us back towards the comforting embrace of the original series, instead of hasty storytelling and CGI spectacle.

Both the live-action and animated series of Avatar: The Last Airbender are now streaming on Netflix.

Ella Lehavi ’24 • The Scripps Voice

Noelle Lambert, “Survivor” Star, Speaks in Balch Auditorium

By Charlotte Korer ’27 Staff Writer season.

Noelle Lambert gave a talk on Feb. 13 as part of the Scripps Presents event series to share her story as an amputee. She is most well known as a U.S. Paralympian and as a contestant from Season 43 of Survivor. Her ability to not only keep up but also succeed in challenges made her a fan favorite and she managed to do it all with just one leg.

Lambert began her talk explaining her moped accident in Martha’s Vineyard in the summer of 2016. At the time, she had just finished her first year at The University of Massachusetts Lowell. She was a committed athlete, teammate, and the star player of her Division I women’s lacrosse team.

Lambert’s head coach came to visit her in the hospital, “And I don’t think she took two steps in the door before I could ask ‘okay, what do I have to do to get back on the field?’” Lambert said. “What do I have to do to play? Because this cannot be it. I will not allow this to be the rest of my story.”

Determination was not the only emotion Lambert felt. She was overwhelmed by sadness, grief, and hopelessness. That’s when some of the Boston Marathon survivors reached out to her and showed her all the different kinds of sports prosthetics available.

“So I woke up the next day and thought to myself, ‘I do not want to let this one accident define the rest of my life and define the person that I wanted to become,” Lambert said. “I’m going to return playing Division I lacrosse.’”

Newly out of the hospital, Lambert decided she couldn’t wait around the house for life to start again as her teammates returned for what would’ve been her sophomore

“I think the best place for me to be recovering is with my teammates,” Lambert said. “And I want to show the support that they gave me when I was in the hospital. I didn’t even have a walking prosthetic yet and I was driving myself back and forth to school every single day to be at practice. I was also taking online classes so I didn’t get behind on my schoolwork. On top of doing physical therapy three to four times a week. I never had time to feel sorry for myself. And I never had time to go into a deep depression.”

Two and a half months after the accident, Lambert got her walking prosthetic. She hoped it would be a smooth transition from walking prosthetic, to running blade, and back on the field in no time. Lambert describes her disappointment in finding out that running blades cost anywhere between $10,000 to $30,000.

“I’m 19 years old at the time — I don’t have this type of money,” Lambert reacalled. “I didn’t want to bankrupt my parents every single time I wanted a new and exciting leg. So I was sitting there thinking lacrosse is done … by the time I get a running prosthetic, I’m going to be graduating college.”

She applied for as many nonprofit foundations that worked to provide prosthetics to amputees as she could, but it looked like it was going to be at least a six month wait. So, she became a student coach.

Nine months after her accident, Lambert got her running prosthetic. However, her new leg was not the one-way ticket back to lacrosse she hoped it was. Lambert describes the discomfort and instability of her new leg. Running for more than 10 seconds hurt and she was close to quitting.

“I remember going home, taking

my legs off, throwing them on the ground, saying ‘I’m done, I quit,’” Lambert said. “It’s over. If I can’t even run in a straight line, how am I going to be able to play at one of the highest levels that you could play in for collegiate lacrosse?”

But with the support of her family and team, she got back on her feet. She worked for the whole summer to get used to playing her favorite sport again with her new leg. During her junior season, Lambert was back in lacrosse playing as an amputee with able-bodied people like the accident never happened. But, Lambert decided something was missing.

“I needed to give back all the support and helping hands that I received to portray a message out to the world that if I can go through something I went through and still live the life that I want, then 100% so can anybody else,” Lambert said. “With the help of my incredible family, I was able to start the Born to Run Foundation. And the foundation focuses on donating specialized prosthetics to entities in need.”

Despite her achievements with Born to Run, Lambert was at a bit of a loss after her graduation in 2019. It was unclear to her what her next step in her athletic career was. That’s when the U.S. Paralympic Track and Field team asked if she wanted to run a trial race, so Lambert and her mother flew to Arizona. She wasn’t much of a runner, she had no coach, and she was more nervous than ever before.

“And when I landed, I realized that the entire U.S. Paralympic national track and field team was going to be there, all the head coaches, and that I was going to be competing against the reigning national champion,” Lambert said. “I looked at my mother and said, ‘Let’s go home. I’m done. I don’t want to do this.’”

Little did she realize she had

an advantage. Lambert had been competing with people with two legs for her entire college career and doing burpees whenever she fell behind. Lambert came first in her first race, beating the reigning national champion and securing a place on the U.S. Paralympic Track and Field national team.

In the postponed 2020 Tokyo Olympics, she placed sixth in the 100M and also broke her own American record. As a pastime, Lambert started snowboarding. She dove right into the deep end and competed in European competitions after only a month of practice, later placing at the World Championships. As of now, on top of training for the Paris 2024 Summer Paralympics Track and Field events, Lambert is also training for the Milan 2026 Winter Paralympic Games.

The last thing Lambert wanted throughout her athletic career was to be treated like an outsider or less capable than those with two legs. “I didn’t pave the way the path of people believing in people with disabilities,” Lambert said. “But I think I started to make people realize not to judge people just based off of how they look.”

Lambert encouraged her audience to never give up and rely on their support systems. It does no one any good to bottle up their emotions in the aftermath of trauma. Lambert uses her reliance on her coaches to show that with the support of their community, people can go on to do great things.

“[Losing a leg] was the first time in my life [that] I realized that mental health is so important,” Lambert said. “If you are ever going through a difficult time, you need to find that one person to rely on. After crying for about three to four hours, it finally like I felt like I could breathe. There was a weight lifted off my shoulders.”

Photo Courtesy of The Boston Globe

How to Vote as a College Student

By Aviva Vic Maxon ’24 Staff Writer website.

Everywhere you look, there is an election happening. From political advertisements to ballot boxes, it seems like the only thing I see is the upcoming election.

Primaries, crucial for choosing the presidential nominees and putting forth the best candidates for local and statewide elections, will be underway as we look ahead to November.

In some areas where one party is extremely dominant, the primary can also function as the election — if a district is almost guaranteed to vote blue, the primary matters most in choosing who represents you. Primaries are at different times in each state. California, alongside 14 other states, is hosting its primary on March 5. If you are a resident of California, you can still vote in person or by mail-in ballot until that date. Here are the answers to some commonly asked questions about the mechanics of voting.

Am I eligible to vote?

United States citizens who are 18 years or older are eligible to vote. If you are unsure of your citizenship, immigration status, or eligibility for any other reason, there are resources available to you at hellousa.org/ citizenship

How do I know if I’m registered to vote?

You can check your voter registration on your state’s Secretary of State website. Just search, Secretary of State of your state, and there should be a voters portal. Other organizations like Vote.org also can help you check your registration status.

How do I know where I am registered to vote?

If you have voted before, you should be registered at the location you last voted. For many of us, that is our parent’s house. Generally, one is initially registered to the address on their driver’s license or other stateissued ID card. You can check on your Secretary of State’s website.

Should I register at home or Scripps?

This is totally up to you! If you are not from California, you will have to change your residency, which means you will have to get a new driver’s license or other state-issued ID. It also means you will pay California state income taxes instead of your home state’s. If you are from California, your ID and taxes will not change if you change your registration.

You should also think about

the issues you care about in your community. Where is your community? I personally feel more connected to and responsible for the community I grew up in, so it is important to me that I vote in those elections. I know others who are more integrated in the Inland Empire and choose to vote here.

There is no right or wrong answer. Oftentimes, students from swing states like to stay registered in their home state to sway elections, particularly since Claremont is in a solidly blue district. That being said, votes in Claremont still matter, especially on the local level.

How do I request a mail-in ballot?

You can request a mail-in ballot two ways: either by sending in an application for a mail-in ballot by mail to your Secretary of State or by filling out the application online. The online form is generally faster and more convenient.

Vote.org also has resources to help you request your ballot. Some states send ballots automatically, others send them upon request, and others only allow mail-in ballots for specific reasons. All of that information should be available on the Secretary of State

How do I know who to vote for?

Research your candidates! This can seem like a daunting task, but there are lots of organizations to help you. Many cities and/or counties and non-profits put out voting guides where the candidates have answered questions to help you determine who will best serve your community.

Organizations like the League of Women Voters, VOTE 411, and Ballot Ready all provide area-specific voting guides. VOTE 411 and Ballot Ready are non-partisan, while League of Women Voters is a special interest group focused on women’s rights and needs. Local papers and TV stations often have candidate information and Q&As available for local elections.

Does my vote matter?

Yes. Voting is one of the most important tools for civic engagement we have. As citizens, it is our right and responsibility to engage with our government so that it can serve the most people as effectively as possible. Municipal, county, and state elections matter and are direct voting. Be an active citizen. Vote.

I vote because I want to participate

in my government, help make a change in my community, and push our government to live up to its ideals. Voting is not the only way to engage with the government, but it is the way that reminds us, The People, that the government is supposed to serve us.

If the government is not serving The People, we have the right and responsibility to change it. Other ways to be civically engaged include contacting representatives, running for office, protesting (when necessary), and attending city council meetings. We are so lucky to have a voice in our government. We should use it.

Voting does not have to be confusing or difficult, and there are resources to help you. The Laspa Center for Leadership will be holding events around voting and civic engagement later this semester as well as in the future. They also have voter information and would be happy to help you register or answer any other questions you have about voting. Stop by the office in Seal Court (next to CP&R) or email Laspa@ Scrippscollege.edu.

Maxon is an Intern at The Laspa Center focusing on civic engagement.

Ella Lehavi ’24 • The Scripps Voice

Why “It Never Rains in Southern California” is Becoming Such a Lie

By Anna Grez ’27 Staff Writer

When I read in the news that a massive rainstorm was coming to California in early February, dumping a predicted 10 inches of rain, the Pacific-Northwesterner in me scoffed. Coming from an extremely rainy part of Washington state — imagine Forks from Twilight — I’ve dealt with more than my fair share of rain and the flooding that comes with it.

The rain started to come, and with it came hopes of classes being canceled due to the “adverse conditions.” I laughed at the absurdity of rain canceling anything at all, much less school. And then the rain continued.

Streets flooded, classes were canceled, and my platform Doc Martens which got me through many wet Washington winters were suddenly not enough to elevate me above the flowing streams. I was confused — how could rain, so much like what I am accustomed to at home, be bringing with it seriously hazardous conditions?

The storm, the product of a particularly formidable atmospheric river strengthened by the warmer waters during this El Niño year, delivered a stream of intense rain to California over the first and second weeks of February. According to NASA’s Earth Observatory, the rainfall between the second and sixth exceeded 13 inches in parts of Los Angeles County.

With the rain came extreme flash flooding, mudslides, fallen trees, and power outages. The Los Angeles Times reported nine deaths: four by fallen trees, at least three by car wrecks, and one due to the storm’s resulting power outages. Half a million people were still out of power by Feb. 9.

California’s issue is not necessarily the rain itself — the precipitation replenishes aquifers and reduces fire hazards. The problem stems from the state’s lack of infrastructure and antiquated water conservation systems.

Flash flooding, the most immediate, and arguably most dangerous product of rain, strongly impacts densely populated areas and is a concern anywhere with lots of development. Buildings, highways, driveways, and parking lots increase runoff as the water cannot simply be absorbed by soil and vegetation. Accompanied by improper drainage, flash flooding is inevitable.

This is ever present in Southern California — in an attempt to control flooding in the 1930s, the Army Corps of Engineers chose to encase the entirety of the Los Angeles River in concrete. Due to the city’s status as a concrete jungle, hazardous and dirty runoff ends up in this antiflooding-channel, contributing to dangerous water conditions.

The river’s ability to contain water and reduce flooding is not entirely sound, as areas along the southern part of the river still flood and impact over 1 million people.

Further complicating the issue, the communities endangered by these conditions are disproportionately Black and Hispanic.

“Well, in general, California gets very little rain and so the change of having more rain — we’re not prepared for it, which kind of sucks considering the climate crisis,” Southern California native Anna Odell ’27 said. “It’s definitely going to be an issue that continues to happen in the future so I feel like we should start to address our drainage issues.”

Improper drainage can also destroy many of California’s plant ecosystems. More accustomed to drought, much of California’s landscaped areas are populated with drought-resistant plants that require little rainfall. When rain does fall, and falls hard, these plants are drowned rather than replenished.

Southern California’s vegetation and soils are also a factor in the lack of absorbency. Unlike the grasses and plants of Washington’s rainforests, which absorb up to 180 inches of rain each year, California’s native grasses and vegetation do not have the same capabilities. As a result of the soil’s low water capacity, standing water becomes an additional issue.

While El Niño certainly contributed to the elevated rainfall and higher levels of precipitation California has seen in 2024, it is not the sole cause. Increased global temperatures allow for air to hold more moisture, causing greater volumes of water vapor to be stored, and higher

levels of precipitation. The EPA states that global average surface temperature has risen at an average rate of 0.17 degrees Fahrenheit each decade since 1901, increasing about 1 degree Fahrenheit in the last 100 years. Among the disastrous predictions of what climate change may bring is damage to the state’s water management and supply.

There is encouraging news about protecting California’s water systems, though. In December 2023, the Department of Water Resources approved the Delta Convergence Project, a network of waterways that will collect water in the SacramentoSan Joaquin Delta and distribute it throughout the state. This new infrastructure will better preserve the water supply, protecting it from predicted losses from sea level rise and earthquakes. Climate change is predicted to bring increased rain throughout California, and this new system will act as a safeguard against saltwater intrusion, while simultaneously taking advantage of increased rainfall.

After my first California rainstorm, I finally understand how different the same amount of rain can look in two places. While I feel lucky to have the knowledge of a Washington resident, California’s frightening lack of preparedness and infrastructure has prompted me to reassess my previous judgments. And after getting over my embarrassment, I am seriously considering investing in an umbrella for next year.

Anna

’27

The Good and the Bad: The Rise of Wellness Influencers

By Ellen Chapman ’27 and Skylar Cohen ’27 Staff Writers

From Goop to Poosh and every celebrity or influencer-backed wellness brand in between, the world of health and wellness has gotten incredibly clouded by unscientific suggestions. The haphazard attachment of buzzwords such as “detox” and “clean” to promote products leaves consumers guzzling greens, powders, and munching on gummies. But what truly is “wellness” and who should we take health advice from?

In October 2018, TikTok became the most downloaded app in the United States. Consumers were enthralled by short dance videos, challenges, and day-in-the-life vlogs. Amid this exponential rise in popularity, the existing phenomenon of the wellness influencer gained new traction. In short videos, these influencers shared their diets, workout routines, and supplement rituals which spurred impressionable viewers to try these wellness regimens in hopes of bettering themselves.

As the popularity of these influencers rose, so did the market for the wellness industry. Companies like Bloom Nutrition, Goop, Poosh, Olly, and various health food stores have all seen increased consumer spending. Wellness culture has driven profits for these companies by sponsoring influencers and celebrities to promote their products. Health food store Erewhon has become widely known for $18 health smoothies in collaboration with celebrities such as Hailey Beiber, Bella Hadid, Olivia Rodrigo, and Kourtney Kardashian, thereby promoting the grocery store and encouraging consumers to purchase food and drinks.

Other wellness brands have followed this model of sponsoring influencers and then reaping the benefits of said influencer’s large following. The growth of this industry is heavily accredited to influencers on TikTok, Instagram Reels, and Youtube Shorts.

The accessibility to wellness ad health-related content over a magnitude of platforms is

not an inherently negative thing. The abundance of noise, however, works incredibly efficiently to obscure facts and mislead consumers.

Wellness influencers continuously promote ineffective products for their own gain. Take Bloom Nutrition as an example – the greens powder that has been plastered all over social media is not FDA-approved or backed by research studies. According to registered dietitian (RD) Christina Manian, “though most of the ingredients found in this popular supplement are known health foods, when dried and powdered they are stripped of their fiber and water content — key nutrients for gut health.” This fact directly contrasts the supplement’s claims to “debloat and support digestion.”

That being said, not all health-related information on social media platforms is misinformed or rooted in consumerism. An abundant network of qualified health professionals is sharing safe, science-backed information to promote healthy lifestyles.

When doom-scrolling the wellness realms of the internet, double-check if the content creator indicates their credentials and experience before taking their advice as fact. Consumers need to know that anyone can call themselves a nutritionist or lifestyle coach, but certifications such as Registered Dietitian (RD), or Bachelors of Science in Nursing (BSN) indicate a higher level of education and legitimacy of the account holder.

Additionally, the longevity of a certain practice is important to consider when attempting to differentiate between trends and time-honored facts. Before taking a supplement or going on a carnivore diet, you should always talk to a healthcare professional. Medical advice should always stem from your medical providers, not @ skinnywellnessbae on TikTok. Further, scientific studies on many wellness trends exist, and when contemplating the effectiveness of a certain trend, these can be immensely helpful.

An unfortunate facet of wellness culture is the

promotion of narrowminded and unattainable health goals. This polarizing rhetoric distracts from the importance of a balanced life and contributes to unhealthy standards and practices.

Wellness is not a universally applicable set of rituals and products. Rather, it is a practice defined by each unique individual. Genetics and lifestyle play a large role in the results of a “life-changing” wellness trend and therefore it is far more productive for individuals to cultivate a healthy lifestyle that is tailored to their specific needs and

goals. A wellness routine is an important part of one’s self-care and therefore should be catered to that person’s enjoyment and sustainability.

As internet users, we find joy in participating in trends and consuming certain wellnessrelated media. However, it is important to be aware that much health-related content is not rooted in fact, but is a vehicle to further promote the wellness industry. Making informed decisions and understanding the underlying intent behind wellness content is critical to a healthy consumption of this type of media.

Graphic Courtesy of Vectors

Horoscopes: March Madness (Not the Sport) Edition

By Belén Yudess ’25 and Ella Young ’24 Copy Editor Intern and Staff Writer

Stresssss

By Ashley Ta ’27 Copy Editor Intern

The horse hair of a bow scratches the tense metal wires of a violin, singing

The waves, charged by the wind, wrestle each other at a chance to slice stones, ebbing and flowing

The muscles and bodies of combatants waiting, shaking, charging, dancing

The breaking and burning of wood spits sparks into a soft and warm glow

Heat and pressure create a glimmering diamond

And Stars!

How explosive, how enraged, how catastrophic, how their molecules uncomfortably twitch and twist restlessly!

But how silently and humbly do they place themselves in our sky

Stress and relaxation are but musicians in the same orchestra Listen — to the beat and rhythm of your stress.

Can you dance?

Atmospheric

River

By Rebecca Allen ’25 Staff Writer

When the thunder Came rolling in, Everything I said was wrong.

It was her hair.

Her dark hair,

The color of a raven’s feathers.

It reminded me of My mother’s,

Or at least the color that Came from the box

At the hair salon.

By the end of the month, Her silver roots would show

And it would be time

To go back again.

I’d loved you then, In your incompleteness

And I went out on a limb, Only to return Without you.

Taught Me How to Breathe

By Aviva Vic Maxon ’24 Staff Writer

i.

Eyes see, 18 years old a different world, a different me age old fights, fought, won and lost diverged from each other, but we kept each other, Alive

ii.

i let go of you, long before apologies made, let go hurt names & new lives, decisions night after night after night

Alive