Faculty: John Gregory Brown, Susannah Nevison, Joe Sacksteder, McCormick Templeman, and Erica Trabold
Credits: front cover photo by Medford Taylor, p. 22 Ashley Bryan Center, p. 26 SRF Schweizer Radio und Fernsehen, p. 29, 30 A. Abbas/Bruno Barby of Magnum Photos, p. 47 & 49 Columbia Pictures, p. 50 Big Machine Records, p. 57 Paramount Pictures, all other photography: Adobe stock
CORE 120: The Mindful Writer is a workshop-based course that helps students become confident and effective readers and writers. Using the New Yorker magazine as their text — each student has an individual ten-week subscription — students read deeply and widely in the magazine that has become one of the leading voices in American letters. Founded in February 1925 and published continuously since then, garnering more National Magazine Awards than any other American magazine, the New Yorker — referred to in Harold Ross’s famous editor’s prospectus as “a magazine that is not edited for the old lady in Dubuque” — publishes weekly reporting and commentary on politics, the arts, science and medicine, foreign affairs, business, technology, and popular culture, as well as fiction, poetry, and cartoons. It is known for its signature departments, including The Talk of the Town, and its distinctive covers — sometimes barbed, sometimes affectionate, sometimes elegiac, and sometimes comic or ironic — which frequently address national or international events, figures of importance, or trends. Students learn to discern the form and tone of different kinds of writing and to understand the variety of rhetorical styles and choices practiced by writers. By reading and writing across a range of articles, they practice those styles, honing their skills as prose writers and learning how to use tools and strategies such as research, interviews, and first-person reporting to enhance their own work. They meanwhile practice writing with care, precision, and intellectual rigor, moving through successive drafts of every piece and discovering that writing — good writing — is a product as much of revision as inspiration. (Meanwhile, they also learn a whole lot of fascinating stuff about the world in general.) The diverse pieces collected here represent a necessary fraction of the many examples of work produced by students in sections of The Mindful Writer.
THE MINDFUL WRITER
CORE 120 Fall 2022 - Spring 2024
THE TALK OF THE TOWN COMMENT
Lorelei Teeter 2 Female Rage
STATISTICAL ANALYSIS
Alice Duncan 3 Fancy Feast
Mariam Faiza Lara 4
SWEET FEARS
Diving into the spookiness that haunts Sweet Briar
ALTAVISTA POSTCARD
Kaitlyn Murray 4 Head of the Heard!
SHOUTS & MURMURS
Alex Slayton 6 Wow, you look familiar.
REPORTING & ESSAYS
PROFILES: ZHEN LIANG
Sadie Logan 7 A Modern-Day Philosopher
PERSONAL HISTORY
Andro Hayward 9 Teacups Crack
ANNALS OF INQUIRY
Yajahira Torres 12 Fuerza Regida
Does Fuerza Regidas’ Music Promote Violence? AMERICAN CHRONICLES
Elizabeth Wells 14 What’s So Wrong with Being the Elephant in the Room?
A young republican gains confidence through kinship with Phyllis Schafly
DEPT. OF MARINE BIOLOGY
Ray Sparks 16 A Whale of a Mind
The importance of focusing on mental health
LETTER FROM VERMONT
Mia Tanguay 18 Sugaring Season
One family’s adventure in the maple woods
THE CRITICS
A CRITIC AT LARGE
Gracie Shipley 20 Harry Potter and the Billion Dollar Rivalry
How Disney lost its hold on the theme park monopoly ON TELEVISION
Maimuna Mustafiz 23 Why Dahmer?
Murphy’s Dahmer – Monster: The Jeffrey Dahmer Story BOOKS
Jeenam Bhattarai 26 Chitra Banerjee Divakaruni’s Palace of Illusions
A symphony of heroic feminism
BOOKS
Allison Cole 28 Donna Tartt’s The Secret History
A novel with so many questions, it’s infinitely re-readable COMICS
Leah Paloma 30 Teen Titans
Tara Markov grows up in the D.C. Universe’s Judas Contract arcs and adaptations
THE CURRENT CINEMA
Mithila Hridy 28 Hoop Dreams
The aspirations, struggles, and triumphs of Hoop Dreams
the talk of the town
COMMENT
Female Rage
There’s a certain sadness that comes with being a woman. A certain quiet fury that every woman possesses. In a society that repeatedly mistreats us and expects us to grin and bear it, every time we swallow our fury, it lodges itself somewhere deep inside of us, in a place that we lock away in hopes of it never seeing the light of day. A commonly used term for it is “female rage,” or “feminine rage,” a term that seems to be both an oxymoron and a redundancy. Truthfully, rage is synonymous with being a woman. However, according to our society, few things are more unfeminine than anger, and rage isn’t a delicate emotion by any means. According to our society, to be a woman is to be passive, and to be so furious at a mistreatment many deny exists is distinctly transgressive, so we hide it. But it’s there. In each and every woman, there is a quiet rage, and it shapes everything we do.
An example of female rage can be seen in Taylor Swift’s song “Mad Woman,” which describes this quiet fury perfectly, as well as the repercussions of actually letting it show. In the song, Swift sings, “And you’ll poke that bear ’til the claws come out / And you find something to wrap your noose around.” These lines perfectly describe the impossible standard women are held to: they are repeatedly mistreated and expected to stay demure, and, when they finally retaliate, they are crucified for it. They become “hysterical”—an arguably misogynistic word stemming from the Greek hystera, meaning uterus, and a former diagnosis given to women equating their emotions to madness. Their reactions are turned into memes and gifs, and they are immortalized by the internet to be mocked forever. The thing that brought these women to that point isn’t shown because it ruins the joke. The trope of the crazy lady is quite common, but it’s easy for us to embody it. All it takes is a justified reaction.
Female rage has been a popular sub-
ject in many forms of art over the centuries as well. And yet, in many well-known depictions, whether in real life or art, these women are coded as ugly. When looking up a woman who is well known for fighting against men in power, especially in modern day, more than anything you’ll see pictures of her that are made to look unflattering. After all, what better way is there to discredit a woman in our society than to portray her as unattractive?
At the same time, the idea that a woman must be attractive for her anger to be justified is another problem. While people may strip a woman of what they see as her physical beauty, they see it as a way to discredit her entirely and shift the focus to her appearance rather than what she is saying and feeling. However, perhaps what we need is a woman who gives up notions of beauty entirely. Female rage can often be romanticized, but it’s more
than the heavily filtered image of a pretty girl quietly crying.
The depictions that are needed are of the women who open their mouths to scream, images of not only rage, but wrath, that make people want to avert their eyes and truly think. Rather than images of a woman suppressing her rage or letting it out in a socially acceptable way (crying silently when no one can see her), what we truly need are depictions of women, to put it colloquially, losing it. Rather than a quiet rage, we need wrath. Rather than a picture of a beautiful woman staring into the distance to depict a romanticized melancholy, what truly leaves an impression is Artemisia Gentileschi’s Judith Beheading Holofernes (c. 1612-13), or Betye Saar’s Liberation of Aunt Jemima: Cocktail (1973).
Depictions of female rage removed from the male gaze are important; however, it’s important to note that the
women in such pieces of art are more respected than those in real life, and when removed from what is considered beautiful by the male gaze rather than catering to it, women expressing emotion of their experiences are often discredited. Real women are memed; TikTok compilations are produced with the goal of mocking them. Everything about them is picked
STATISTICAL ANALYSIS
Fancy Feast
Dr.Tim Loboschefski, psychology professor at Sweet Briar College, is good humored and rodent-esque (rather like Peter Pettigrew from the Harry Potter movies, though not as evil). He doesn’t look the way college professors are often depicted— tweed suits, wire rim glasses, likely to burst into a dry lecture at any moment—and his introductory course is not held in a lecture hall, despite it being a lecture-based class.
Usually, psychology classes are held in Guion, the math and science building. For an unknown reason, his was moved into the history building this semester. “Lobo,” as students call him, is indignant. His office is still in the basement of Guion, and it’s an annoyance to come all the way across campus (the way students do). The newly dubbed psych room is very beige— unremarkable compared to what goes on in class.
On Thursday, the topic on the syllabus says, “The reason why scientists are destined to be alone,” yet the slideshow and lecture are all about research methods, psychological research methods, to be precise. These don’t differ from methods used in other sciences, but what is a useful research method for psychology may not be good for biology.
What are the different methods? Case studies, surveys, and experiments. Lobo presents the class with a case for surveys.
apart, from their body language to their appearance. People cherry-pick everything about their words to make them look crazy or dishonest.
A woman today can’t cry, scream, laugh, or anything else. She can tearfully recount the story of her assault and face the wrath of an entire nation; her life being torn apart by the cruelty of others
because she dared to speak up. In every woman, there’s a desire to scream until you can’t scream anymore. So, the next time you’re laughing at the crazy lady in a movie or on the news, consider how easy it would be for you to be the next one in her place.
- Lorelei Teeter
The questions can be specific, posed to many subjects, and most importantly, research is gathered for cheap. It is unsuitable for biology because plants can’t answer questions. However, even with this information, his students need an example.
“How many of you would eat dog food for a million dollars?” he asks.
Hands go up, and he laughingly shouts that those who don’t have their hands up are LYING to themselves.
“Is it the wet kind or the dry kind?” a girl asks. This is the wrong question. He says you’re STILL lying to yourself if you think it matters what kind it is when the exchange is One. Million. Dollars. Then he drops the hypothetical price to a thousand. As expected, some hands go down, but lively chatter all around says it’s still a great deal. Ah, what college students wouldn’t do for a thousand bucks.
There’s still space on the slide, and sure enough, the price drops. Who would still do it for $67.52?
That’s what businesses do; they survey people about prices, shifting the number up and down to see how much profit can be gotten for a product. A true teaching moment. “Now,” he says, pointing out into the classroom, “is the time where it makes sense to ask if it’s wet or dry food.”
The price drops to a buck. Almost all hands are down. One or two people are brave enough to lift a hand into the air. A girl with smart round glasses asks, “How much? A whole can or something? Or just a bite?”
“Let’s say a forkful. A forkful of whatever the dog equivalent of Fancy Feast is.”
One of the girls, with red streaks on the sides of her long black hair confidently says she would do it. Apparently, she’s eaten weirder things for less.
Lobo reaches into his gray computer bag. Searching the outer pocket, he pulls out a small can. The crowd goes wild. He
takes out a fork.
Lobo banters that the dog version of fancy feast contains chicken, tomatoes, and wild rice. He taunts: “In Prothro, this would be called a couscous salad!”
He invites the few people who kept their hands up to the front of the classroom. He takes out five crumpled one dollar bills from his pocket. His next sentence is hard to catch through all the side talk. It’s a thoroughly unprecedented class.
“I’ll give you a dollar if you do it. But! This may not be gluten free… I dunno.”
One student turns back around. Lobo starts opening the flimsy metallic top, and another goes back to her seat. There is only one brave soul left. She swings her black and red ponytail and takes the fork with a bite-sized amount of dog food on it. It's a small, brown, wet clump and does not look particularly appetizing. She pops it in her mouth and there are cheers! Gasps! Groans! Dr. Loboschefski is wearing a delighted grin. He hands her the dollar. The girl takes it and, while swallowing with no grimace, says: “It didn’t taste like anything.”
Lobo looks at his student consideringly.
“Actually, you know what? I was gonna give each of the four people who said they’d do it a dollar, but I’ll give it all to you instead.”
- Alice Duncan
SWEET FEARS
Diving into the spookiness that haunts Sweet Briar
With glass beakers clinking and tap water trickling, the air in the laboratory is filled with the distinct nail-polish-remover-y smell of acetone. The chemistry lab is often known as a chaotic room filled with dangerous chemicals, sharp objects, and an overload of people, all trying to desperately finish their work before the three-hour time frame is up. After a long chemistry lab class, students in Sweet Briar are taking off their gloves and aprons and storing them in their designated drawers in the laboratory.
“Nobody usually messes with your stuff,” Pamela Simpson, the lab instructor, says to the class, “but if your things go missing, it might be Daisy’s doings.” This earns some scoffs.
Even 138 years after her passing, Daisy is a commonly used name on Sweet Briar’s campus. Some people at the college might only recognize the name from Daisy’s Café and Daisy’s Closet. Others know it, though, by delving into the college’s history. Maria Georgiana “Daisy” Williams was the only child of Indiana Fletcher and James Henry Williams, the founders of Sweet Briar College. Daisy died at the age of sixteen due to an antitrypsin deficiency that could have been easily treated in today’s world.
“I don’t like the fact that she was younger than us when she died,” says Jasmine Mooney, a freshman at Sweet Briar, “and we’re in college and we got what she always wanted. So, she might like,” she takes a quick pause, “beat us for it?” She purses her lips and shrugs her shoulders and states that she does not like walking to her car by herself at night knowing
that “Daisy” could be around.
After Daisy’s death, Daisy’s mother, Indiana Fletcher Williams, left an estate of over 8,000 acres to create Sweet Briar College. Although Daisy died in New York, her body was brought back to Sweet Briar and buried in the burial grounds of Monument Hill. Every year on Founder’s Day, Sweet Briar women walk up to Monument Hill wearing white dresses and place a daisy on Daisy’s grave.
Christina Lytle, from the class of ’88, was one of the women who walked up to Monument Hill this year. She kept looking in every direction, her eyes gleaming with nostalgia. “You know, I remember there being more trees on that side of the lake,” she observed. When asked about any encounter with Daisy’s ghost, Christina laughed. “I don’t think Daisy is the one y’all should be concerned about,” she continued. “It is said that Indiana’s brother, Lucian Fletcher, would’ve been a more menacing soul to be haunted by.”
As it turned out, Indiana Fletcher’s brother, Lucian Fletcher, did express opinions against leaving all the estate for the college as he would have liked it better if it had been distributed among the siblings. Indiana had to face many legal challenges before her bequest launched Sweet Briar College in 1901.
Fast forward to 2022, and Saryt, a freshman at the college who lives off campus, is often seen hanging around in the common areas of different dormitories. When asked about her thoughts on Lucian, she said, “Oh haha. I, uh, hate Lucian. I stay away from Guion with like every single piece of my being.” She continued, “I have heard from many people that the basement of Guion is just…..unsettling.” Saryt believes that Lucian is not a wandering ghost like Daisy; he is just stuck there in Guion, which is the academic building for sciences. “The thing is, he got cheated out of his inheritance. But he was a screw up and because of that, he inherited nothing. And he is angry,” Saryt explained.
But this is an event from hundreds of years ago, and the college is now beaming with bright students. There might be things that do not make sense at times: like how the fifth floor of the Meta Glass dormitory is always closed and its elevator never goes up to that floor. Girls from Meta Glass are often heard saying, “The only way to go to the fifth floor in Meta is if Daisy takes you there.” Maybe Dai-
sy’s soul does try out playful tricks on the girls of Sweet Briar, but the girls always have a smile on their faces while engaging in the discussion of her ghost. It is apparent that the girls are aware that a harmless little legend keeps the excitement alive on campus.
However, some girls are more spooked by the thought of Daisy’s ghost than others. As Jasmine Mooney puts it, “I’ve definitely slept better some nights not thinking about her.” She is also particularly disturbed by the fact that the health and wellness center on campus had to relocate to the basement of the Chapel after a young nurse allegedly died while working on her night shift in the health center. Nobody really knows exactly what events transpired that prompted the health center to relocate, but the news of its doing so to a place where the people can be closer to God undoubtedly causes shivers to run down the spines of those who hear about it.
- Mariam Faiza Lara
ALTAVISTA POSTCARD
Head of the Heard!
Ona small country road pinned between the cities of Lynchburg and Altavista in Virginia, you will find many farms, old houses, broken down trucks, falling barns, and plenty of kind people. This is the kind of place where everyone knows everyone. One of these farms is owned by Wayne Gowen, also known by the nickname “Winky.”
The land itself has been farmed and owned by the Gowen family for well over 100 years, and Winky says he hopes it stays in the family for 100 more. The farm is breathtaking, with its rolling hills, beautifully aged trees,
dazzling pond, and more fields than the eye can see. One of the most interesting things about the farm, however, are the animals you can find galloping, hopping, flying, running, and grazing through the pasture at the heart of the property.
Over the years, the farm has been used for two main things: traditional farming and cattle farming. Winky can’t farm full time like he used to due to old age. Instead, he rents out the fields to other local farmers and only maintains a small vegetable garden for himself. One of the pastures he used to rent was to his cousin for his herd of cows. For decades that’s what the main pasture was used for. In 2021, Winky’s cousin decided to move his cattle back to his own farm, which left the center lot vacant.
Scotty Gowen, Winky’s nephew, and his wife Christy Gowen have stayed close to their roots. They do not have their own farm but trade their help and labor for use of Winky’s farm next door. Scotty and Christy do not farm traditional fields. Rather, they use the land for something far more unique. About a year ago, they answered a phone call from the Lynchburg Humane Society (LHS). LHS asked if the Gowen farm had space for two rescues: a male donkey named Bucky and a blind, deaf horse named Buddy. Scotty called Winky to see if they could make some use of the previously empty center pasture. This was the start of what they now informally call “Christy’s Petting Zoo.”
Not even a month had passed when Christy and Scotty received their next call. Since many of the neighbors knew the Gowens were newly into the rescuing business, the correspondence came from another local farmer who had caught wind that a heifer had died shortly after calving on a farm nearby. It’s not common, but also not unusual, for some cows to die after birthing their calves. There are many reasons for this that range anywhere from exhaustion to bovine uterine prolapse (when the cow’s uterus comes out during contractions after calving, resulting in massive internal bleeding and ultimately death). When these kinds of situations occur, it is common for farmers to just let the newly born calves die since the effort and money
it takes to raise a newborn calf is substantial. Christy, being the animal lover she is, had to take action.
This newborn calf was only a few days old and was so weak she couldn’t stand or eat. For several days Winky, Scotty, and Christy took turns syringe feeding the calf until she was strong enough to take a bottle. Once the calf was up and moving a few days later, the work was easier. Twice a day, one of the three Gowens would head down to the fenced lot and feed the calf that they now lovingly call Lucy-Moo. Christy admits to even having snuggled with her sometimes—until she’d outgrown her lap. A season later, the phone rang again.
This time, the call was from a farmer who was looking for someone to rescue his two female donkeys. The family could no longer take care of them and wanted to find them a good home. They definitely called the right person because, again, Christy could not refuse. With little convincing, Winky had agreed to let the other donkeys into the pasture. I mean, what’s two more animals? Within a week the two new female donkeys, Scarlet and Fiona, were on the farm. Unlike the others, these donkeys were not as people-friendly, but despite their independent nature, they always came running when Christy called.
Unlike the big-animal rescues, the next members of the herd to come were just under twenty chickens and a rooster. As a fellow bird-enthusiast himself, owning around fifteen Guineas, Winky did not seem to mind the extra feathers on the farm. He claimed years ago he tried to single-handedly bring back Virginia’s pheasant population, hatching hundreds of them a season and releasing them into the wild. Different from the rescues, the brood of chickens were more of an investment. Their eggs supply all of Scotty’s, Christy’s, and Winky’s needs each week. It seemed to become widely known around the area that the farm had taken on a rescuing nature, because only a short while after the chickens, the phone rang for a third time.
Another calf had been born and lost its mother. By this point Winky didn’t even have to think about the extra addition—the more the merri -
er. Winky expressed that he missed sitting at his dining-room table with his cup of coffee watching the animals each morning. He was glad to see cows return to the farm. The Gowens quickly welcomed the newest member, “Willie,” to the pasture. Around the same time, Christy read a poster explaining that a woman in Lynchburg was looking for people to rescue her three miniature horses. Due to city ordinances, they needed to be relocated, and quickly.
Within a few days the newest members of the herd were being offloaded from the truck and introduced to the other animals. The miniature horses were a little family: father Sfen, mother Fera, and baby Spitfire. As soon as they entered the closed-in lot, they began sprinting in circles around the fence line. Within minutes all the other animals were right alongside the gate greeting their soon-to-be brothers and sisters. The donkeys did not seem as interested in the miniature horses as the others; at times they even seemed frightened.
When talking with the Gowens about their future plans, it seemed clear to me that they really didn’t have any. The animals came one by one, but none of them had been planned for.
Scotty and Winky both stood at the fence line watching Christy feed the new miniature horses. Overhearing a conversation between them, it seems they are about to get four more calves. If they did, that would bring the total animals up to three donkeys, three miniature horses, one pony, one heifer, five calves, and a brood of chickens. There were also whisperings of goats; however, that could not be confirmed. The smile on Christy’s face was clear as day. The animals on the farm had brought joy to many people including the Gowens, children, grandkids, cousins, and other local farmers. Christy, still in the fenced lot, looked over and beckoned me in. The miniature horses were nice enough, but I couldn’t tell if it was just me or the apples I was holding. Offering another apple, I heard over my shoulder: “Careful of that one! He bites!”
- Kaitlyn Murray
SHOUTS & MURMURS
Wow, you look familiar
BY ALEX SLAYTON
It is in the moment I see your face that the harrowing tale of waving “back” to someone who’s not waving at you takes a dark twist. I don’t know if it’s because you remind me of a young version of my great-grandmother, but something about you compels me to talk like we are old friends. I learn we are not. This does not matter to me. I have made my choice, and I can no longer retract the statement I’ve just made in which I declared an undying love to you that has been festering in me since preschool.
ring from a gashapon-esque machine in a Domino’s grocery store that was overtaken by a Mariano’s over a decade ago in my back pocket especially for this type of circumstance.
People are looking at us from inside the fancy restaurant you were about to go into before I stopped you. I’m about to apologize for my interruption but then a strange, beautiful, gorgeous, tall stranger stands with his arm around your shoulder asking who I am. I do not notice the matching rings on your fingers, so naturally I take offense to this—thinking he is some creep coming onto you. I have been carrying a wonderfully made
I get down on one knee. If I fail to convince this man that I’m completely and totally in love with you, who knows what secondary location he will take you to. My proposal to you is heartfelt, moving, people are brought to tears. I exclaim with such passion how those late-night drives in high school meant more to me than you could ever realize, and how every day apart from you I’ve spent regretting not confessing my love. At this point a single tear drips from my eye. You are so touched you throw away your own ring and kiss me in front of the restaurant. People clap, cheer, scream—even your now-ex-husband cannot stay mad in the face of true love.
We elope to Uruguay so your homophobic parents cannot stop the wed-
ding. Through our twelve years of marriage we have three kids, one of whom tragically dies in a yachting accident. Three days before our thirteenth wedding anniversary, you tell me you’re so glad I could fill in the amnesia that clouded your early life, having no clue you’d had someone who loved you as much as I do. Did. I escape in the night after accidentally calling you Cynthia instead of Maria when you catch onto my ruse. What will our kids think?
The next time I recognize a stranger it is Jeremiah, the child lost to a yachting accident. I am overwhelmed with joy, seeing as he has two feet and is standing. I knew it meant something that we couldn’t find the body. I knew it.
I grab him in my arms, enveloping him in the hug I wish I would’ve given him before his “death.” I have tears streaming down my face as I hold him close to my breast. It’s okay you’re not hugging back, Jeremiah, you probably have nerve damage from your resurrection. I can’t wait another second to take you home with me, so I don’t. I pull you into my teal Saab 9-3, pointing out where there are still stains from your spit-up.
It’s okay that you seem frightened, I can only imagine the hardships you went through to get back to me. We’re thirty minutes into the drive (I only go to gas stations a minimum of ninety minutes away because I’ve successfully pissed off every single attendant in a hundred-mile radius due to my overwhelming amount of suave-ness—but hey people are always going to be jealous) when I turn on the radio. I briefly hear a news clip of a kidnapping and a broadcaster begging the public to look out for a teal Saab—probably a 9-5, those are really sketchy.
Switching to a classic rock station, I begin to explain in detail the heart-wrenching funeral service your mother and I put on for you. I’m sure your tears are due to the devastation of hearing about our divorce, but you have to know at some point, and it might as well be now. We’re about thirty minutes out from your childhood home when I hear a helicopter. I notice you’ve stopped crying. Looking back in the mirror I realize I’ve made a mistake. You’re a ginger. My Jeremiah would never dye his hair ginger. I slowly pull off to the side of the road. Shit. I’ve done it again.
PROFILES
A MODERN-DAY PHILOSOPHER
How Dr. Zhen Liang’s endeavors into philosophy can teach us to be better citizens of the modern world
BY SADIE LOGAN
Within the Shandong province of east China lies a city named Jining, known as the birthplace for much of Chinese civilization. It is here that two incredible philosophers were born – in 551 BCE, one of the most influential figures in Chinese history, Confucius, and in 1990, one of the most experienced and intelligent people I’ve ever met, Dr. Zhen Liang. While Confucius is one of the most well-known philosophers in the world, with a story that’s been told time and time again, I think it’s important to shift our attention to the new thinkers of the world, like Dr. Liang, to see how they use philosophy to better understand our modern condition.
Take a moment to really reflect on modern society; how would you describe it? Chances are you thought of something along the lines of: individualistic, technological, industrial, maybe even democratic. But many of these descrip-
tors are only relevant to the modern condition that we experience in the Western world, and while Eastern Asian countries like China and Japan are incredibly technologically advanced, the way they experience the modern condition is different. This is something that Dr. Liang continues to tackle throughout her work.
Dr. Liang has been a philosophy professor at Sweet Briar College for less than a semester, but her expertise in her discipline is evident. Dr. Christopher Penfield, director of the philosophy program at Sweet Briar, shared that she has an “uncommonly wide range of philosophical expertise”—with her proficiency covering both Western and Eastern thought and their histories, and with specific specialization in early modern philosophy, process philosophy, and Chinese philosophy.
I first met Dr. Liang in September after enrolling in two of her classes. Im-
mediately, I developed an admiration for her. Yes, she was a professor in the discipline that I am committing my life to, but it was even more than that. If you’ve ever met Dr. Zhen Liang, you’ll find that she is an incredibly well-educated, self-assured woman. Although petite, she carries herself with confidence. Every day she walks in with her papers in one hand and her cup of coffee in the other—her stride steady, her shoulders relaxed, and her head level. Her clothes are always worn and styled neatly, whether it’s a blazer and some dress pants or a blouse and a skirt. And if you’ve had the chance to attend one of her lectures, you’d realize just how eloquently she explains difficult philosophical concepts.
Just recently, Dr. Liang invited me to her office. I was welcomed into a room furnished only with a desk, a bookshelf, and a table. The room itself was small, but the warm afternoon sunlight that poured in through the tall windows made it seem much larger. I sat down at the table, and she took her seat across from me, a cup of coffee in her hand. At this point, I was already well acquainted with my professor, and my interest in her philosophy career was already well established.
“When I came [to the United States], I never thought that I would become a philosopher,” Dr. Liang told me, holding her cup of coffee with both hands. It’s easy to assume that philosophy came naturally to Dr. Liang, as she was born in the hometown of Confucius. But for her, Confucianism was less a philosophy than a state ideology, one that she says can be “quite oppressive, especially towards women.” So, when she moved to New Mexico in 2010, in pursuit of an education at St. John’s College, she found herself drawn towards the Western notions of freedom and equality. It was this drive that sparked her initial interest in Enlightenment thinkers like Jean-Jaques Rousseau and John Locke.
In her junior year at St. John’s, after having studied the early modern thinkers, Dr. Liang realized that she was interested in abstract concepts, like the infinity and our modern condition. Her interest persisted into the next year, during which her undergraduate professor introduced her to 20th century contemporary philosophy. This inspired her to study Martin Heidegger and hermeneutics, which is the study of interpretation. The passion that she developed for these concepts
motivated Dr. Liang to pursue philosophy in graduate school, where she earned both her master’s degree and PhD at DePaul University.
During her time at DePaul, Dr. Liang stumbled upon a course that hadn’t been taught in a while. The course was named “Introduction to Asian Philosophies.” She smiled, explaining that at the time she thought, “You know what? I’m Chinese, I’m Asian, maybe I could teach this course.” As it turns out, she did teach that course—and perhaps even more admirably, she taught herself those Asian philosophies. For the first time, the ancient Asian texts that she knew of growing up weren’t just “prosaic moral teachings”—she said, using air quotes. Rather, they had their roots within philosophy.
Although not mentioned frequently, philosophy truly is the foundation for all of the perspectives about the world that we’ve adopted within the modern condition. Because of thinkers like Rene Descartes, Isaac Newton, and Immanuel Kant, the world we live in today is one of science and rationality. In fact, philosophy is the foundation for all the science and technology we use today. Think about the one thing we probably couldn’t live without: smartphones. These and all other computer-based devices use the binary system, which was invented by the German philosopher, Gottfried Wilhelm Leibniz. Even one of the people that we consider the most influential scientists of our time, Isaac Newton, wasn’t even considered a scientist during his time. Instead, he was known as a natural philosopher. If you take the time to think about it, you’ll realize that all the things that make up our modern condition find their roots in the philosophies of the early modern thinkers.
Dr. Liang thinks that it is important to recognize that this modern condition, one valuing mathematics, science, and technology, is not only the condition of the Western world but can be seen in Asian countries, as well. “Growing up in China, there was an emphasis on the idea that technology and science is power,” she said.
Asian countries saw the flourishing that came from technological advancements in the West and adopted that lifestyle without acknowledging its roots. But when you reflect further, you’ll see that this disconnect between modern society and its roots in philosophy is noth-
ing new. Dr. Liang made it clear to me that even in the Western world, where all the values of our modern condition developed, “there is something being lost and forgotten.”
One of the spe- cializations of Dr. Zhen Liang’s phi- losophy career is that of Chinese phi- losophy—more specifically, Confucianism. “I don’t think anyone can summarize Confucianism with a couple sentences,” she said. “It’s an immensely profound school of thought.” Instead, she described the philosophy through its key concepts: ren (goodness), yi (appropriateness), and li (ritual or proper conduct).
trolled. In China, there is an emphasis on li , or conventional norms. Integrating li into the daily lives of the people cultivates an internal sense of fulfillment and duty, making people desire to be good—not because they are forced to, but because they want to. Dr. Liang recognizes that the concepts of guānxi and li may not be as efficient as our Western practices of law and punishment, but if we could just take a moment to consider them, “our society could have more warmth.”
Just as modern Western society is founded upon the principles of Western philosophy, much of Chinese society is founded upon the principles of Confucianism. For Confucius, the way of becoming an individual is through fulfillment of your roles in society. This is why Chinese society largely operates on the principle of guānxi , which can be translated as “connections” or “relationships.”
Dr. Liang has lived in the United States for over a decade now and has spent much of her time here studying both Western and Eastern philosophies. Not only does she have extensive knowledge of these philosophies, but she has experienced their effects on their respective regions of the world. While Dr. Liang appreciates the Western notions of freedom and equality, there are certain aspects that she thinks our Western society could benefit from adopting—in particular, this focus on guānxi
Dr. Liang described this concept through the ways in which society is con-
Hearing Dr. Liang explain these concepts in such a captivating way really opened my eyes to just how beautiful Chinese philosophy is. Living in the West, we tend to view Confucianism as this rigid, authoritarian way of life—one that doesn’t allow for self-expression or freedom, but that’s really not the case. If we would simply take the time to look into the philosophical roots of these ways of life, not just those of Asian societies, but of ours too, we’d understand that they’re all equally valid.
This is something Dr. Liang touches on in her paper, “Chinese Philosophy as the Pursuit of the Dao: An Inquiry into the Common Quest of Philosophical Thinking in Both Chinese and Greco-European Traditions.” At one point, she describes how “mutual intellectual empowerment should be the new standard in East-West cultural exchanges” and that the “sense of superiority/inferiority of the West/East is a major impediment to genuine cross-culture dialogues.” The truth is, our modern condition is universal; we’re all experiencing it. Dr. Zhen Liang and others like her should be an inspiration to all of us—and not just because she is well-educated, but because she has used her education to better understand our modern society.
I thanked Dr. Liang for her time before leaving for my next class. As I made my way to the classroom, I savored the feeling that normally comes after having a philosophical discussion. It sounds cheesy, but I can only describe it as a feeling that I had uncovered a new aspect of life, that I had taken another step forward in my journey of understanding the world I live in. As I took my seat, Dr. Liang walked in, making her way to the front of the classroom, a stack of papers in one hand and a cup of coffee in the other.
TEACUPS CRACK
How the pressure to be a great dancer can lead to unintended consequences
BY ANDRO HAYWARD
Most people, when they turn fifteen, are worried about how they are going to look sophomore year, what they are going to wear to homecoming, or whether or not they will pass their permit test. Most fifteen-year-olds aren’t worried that they may never be able to walk again or that they may have to go about life with crippling back pain, numerous physical therapy visits per week, and the possibility that they may never again be able-bodied. I was one of the few who worried because I had let the thing I loved so much be the thing killing and crippling me.
At fourteen, I was a rambunctious child, always finding new ways to pick myself back up after I had fallen or allowing myself the freedom to try new things. I didn’t worry about what would happen if I wasn’t careful with the amount of stress my body was taking from the 10+ hours of dance classes plus five to eight hours of outside rehearsal for upcoming performances. That was the year I first comprehended what dance meant to me. I had grown up dancing in a small recreational studio in Durham, North Carolina, my entire life, and it was something I always felt an immense amount of joy
doing, but I didn’t realize until then that it was something I wanted to be a part of my life forever.
Sadly, with how this story ends, I don’t know how much longer it will continue to be a part of my life. I had woken up that October morning, thinking only about a crucial rehearsal that night. I had been given my first solo role in The Nutcracker , the lovable, familiar ballet centered around a girl named Clara, or Marie if you’re European, and her beloved toy Nutcracker, lovingly given to her by her uncle, Herr Drosselmeyer. I was given the role of Tea, which at that point was known as Chinese Tea. My home studio, Barriskill Dance Theatre School, has since replaced the names of many of the characters in the show to reflect the progression toward a ballet world without cultural appropriation. It is well known within the studio that anyone who received this role was, as it is called in the dance world, a “jumper.” I fit that description to an absolute T. (No pun intended.)
I was in the second highest level of ballet at the studio, Ballet 8, and because I was an older student, I was expected to be a leader. I also was a
part of many other styles, including jazz, contemporary, and hip-hop, and because of this, I felt the responsibility of raising the younger dancers at the studio. This pressure to be the best at your craft, while also helping and teaching kids who could be upwards of 10 years younger, can start to affect you, both physically and mentally. It was always funny to me that I had to be a role model to children who weren’t mine when, as William Hamilton, an orthopedic surgeon who specializes in sports medicine, and Linda Hamilton, a former ballet dancer herself who now works as a “performance psychology specialist,” write in a paper they wrote in 1989 about ballet and stress: “Dancers begin classes before puberty, and the dancer must remain prepubescent in shape.” Since I never wanted to fail, I did everything I could to be “perfect,” or at least as perfect as I could be. It was a toxic mindset, I know, but I was fourteen. I didn’t know anything but dance. It was, what I saw as, my lifeline.
I went into ballet class at about 4:30 p.m., thinking it would be like any normal Friday. I was blissfully unaware of what would happen if I wasn’t careful. It was a combined class, with levels ranging from Ballet 7 to what we called “pre-pro ballet,” taught by Mari O’Donnell, a tall, young, former professional dancer-turned-studio-owner.
In 2017, she bought the studio from Michael Barriskill, a former broadway performer and namesake of the studio, and Elliot Pack, a former professional dancer. A parent to three young children herself, Mari always felt like a parental figure around the studio, with her eternally warm expression, helpful critiques, and loving gaze, and that night, she was the same. We finished class at around 6:30 p.m., and off to rehearsal we went. It was the first rehearsal where everyone in the second act, also known as “The Land of the Sweets,” were together in one space and having a good time, socializing and getting ready to dance for each other.
When I look back at what happened 30 minutes into that rehearsal, I feel unimaginable guilt. In the moment, I felt an overwhelming sense of embarrassment, like I had failed everyone in my life who was pushing for me.
The rehearsal began, as it had before and would after, with an announcement of the order for that night. I was announced as third, and as I got prepared to do my solo for the first time in front of everyone, I remember feeling overtaken by sheer anxiety about what was riding on this solo. The solo was only about a minute and 30 seconds long, but it was a big determiner of whether or not I would perform better parts in performances to come. Tea is one of those parts that you hope to get early in your career because it opens the floodgates for what you can get later. If you get to play Tea, it is well known that you will be a soloist the next year. Although, I never got to find out what would happen because the next year was 2020, and the dumpster fire of a pandemic took over.
Dance is a dangerous thing for anyone of any age but especially for 14-year-olds, most of whom don’t yet understand their bodies’ limits. The perfectionism and mental intensity dance requires are enough to take anyone out, as are the extreme contortions classically-trained dancers must perform and perfect. One of my early teachers would sit on us when we were doing the splits, throw things at us if we didn’t have our legs at the right angle, and slap our stomachs to make sure our cores were engaged, a habit I have had to force myself to break. I was 8. Her methods are not unique, though. I have dealt with a lot of teachers who use similar methods to teach prepubescent children. They always used to tell us that the pressure to perform at that age was “better” for us than the protection of our brains and bodies. In a study done in 2006 on The Scotland Ballet, a member who, for confidentiality purposes, has remained anonymous, stated: “From the school days, you’re made well aware that failure is not acceptable … sometimes you’re made to feel like you failed, when really, you just weren’t perfect.”
The danger with dance doesn’t just stop at what teachers make their dancers do; it also includes the props they make them use. Imagine you learn a dance that requires precision and abnormality in the movement of limbs. You also see that you have to deal with fans and a giant teacup, props which, in this context, are not as abnormal as
they would be anywhere else. You find out that you have to both squat in the teacup and allow yourself to be rolled out by two eight-year-olds who have absolutely no idea what they are doing. I can imagine you would be as terrified as I was. At fourteen, I never considered jumping out of a teacup could be anything short of imaginary and, if real, magical at best. All I could think before I was rolled out was “don’t fall, don’t embarrass yourself.” This was the first time I had seen the cup, let alone actually jumped out of it. No eight-year-olds were there that night, so I was excited to be rolled out by the Marzipan Shepherdesses who had all done the role before and knew about some of the thoughts running through my head.
There is a moment right before any jump where you think the adrenaline is going to kill you. During the opening movement to the Tea solo, a toe touch requires the performer to create the illusion of a middle split in the air. The performer only has a few seconds to figure out the physics of getting enough airtime and height to fully extend their legs in the jump.
I had believed, before stepping into the cup, that I had done all the necessary work to make it happen. What I hadn’t counted on was the amount of space I would have to complete the movement, swiftly and with precision. I felt like I was being hit by a train of fear when I stepped into the cup. I lost all the courage I had gathered, looking at the styrofoam and glue creation
in front of me. Its construction made the jump go from being extremely impressive to extremely dangerous. I discovered quite quickly how wrong it could go. If I had actually completed the jump with precision and perfection, this story is not one I would be telling, but unfortunately, that’s not how it ended for me. I had a dream the night before that everything went absolutely perfectly with the stupid cup. In that dream, I was happy, healthy, and perfectly fine after leaping out of a literal teacup. As I’ve said, though, that was only a dream. The reality of what unfolded was way worse than I could have imagined it to be.
I don’t understand the physics of what happened. It’s been five years since that day, and the only thing I remember is someone saying “Go,” even though no one actually did. I jumped, and the rest is kind of a blur. I remember feeling my heart rush at the thought of jumping, then the feeling of flipping in the air, then the feeling of landing directly onto the back of my neck, and more importantly, my spinal cord.
Somehow, I managed to snag my foot on the lip inside the front of the cup and flipped directly onto my spine. I should have stopped rehearsing right then and there, but because I was scared of criticism from my peers and disappointment from my teachers, I continued like nothing was wrong, like nothing had happened. We wouldn’t know the extent of the damage until about a year later, when I decided I had enough of being in an enormous amount of pain. In an interview for Dance Magazine , Brooke Siem, a former professional dancer who now writes books about mental health, says, “pain is pain, no big thing … beat everyone at everything, even in how much pain I could bear,” which funnily enough was my same thinking. About a year went by, as the pain in my spine festered and limited my mobility. I had gotten to the point where I would wake up in excruciating pain and barely be able to walk without feeling like I was being burned from the inside out. There would be days when I would be getting ready and suddenly my legs would give out on me – from lack of blood flow due to the damage, we would later discover – and I would
go about my routine, my legs feeling like they were being stabbed with tiny knives for hours on end. The only things I was even allowed to try before the x-ray were a few painkillers a day and one 30-minute massage, which did nothing to touch the pain I was experiencing. My family is not one to go to the hospital unless something internal has become external, or the problem is terminal or fatal. Although my mother may be a part of the healthcare field – a cancer researcher at the University of North Carolina-Chapel Hill – she has a habit of not believing her children when they say they are in pain. When I came to her for, what felt like, the 500th time because I was having difficulty breathing – I wasn’t allowed to take breaks from the full amount of dancing I was continuously doing –she finally gave in, simply due to her annoyance with my plight. It was unhelpful that in 2020 I was experiencing my worst pain, but finally, I was able to see someone about the injury I had sustained a year before.
Finally, I got x-rays done and received professional help for my fractured spinal column. I felt, and still feel, guilty, like I didn’t deserve help because I made the decision to jump. How long it took to ask for help is a testament to my stubbornness and to the fact that dancers are always told to “stay strong.” We can’t show pain or tiredness in any way. A 1994 article in
Performing Arts Medicine , specifically about dancers and injuries sustained while working their craft, Peter Ostwald, a psychiatrist, author, and founder of the UCSF Health Program for Performing Arts, states that “to relieve the discomfort, dancers shift the body weight” rather than stop. Along with my injured spine, I also chronically suffer from bilateral Achilles Tendinitis, inflammation of the Achilles tendon that leads to crippling pain with any kind of movement.
I remember doing a performance of Elvis Presley’s All Shook Up , a musical where I was an ensemble dancer. I was in complete pain in my legs. At intermission, I decided enough was enough and, finally, downed four Advil and used a medicated balm which dulled the pain for only an hour but, nonetheless, lifted my spirits. Then the pain came back, worse than before, but I kept a straight face the whole time, determined to not let anyone in on this secret and to not see the disappointment of those around me. I should have been in a puddle of tears on the floor, crying in agony, but when Mari asked me if I had been in pain the entire time, I explained I had the same straight expression, actually laughing, if my memory serves me correctly. She looked at me and said, “makes sense,” taking into consideration both my stoicism and how my family, dance and blood alike, dealt with pain of any
kind. That was the week before I had to perform in The Nutcracker , the same year I broke my back.
That was just how I was trained, and it is a normal occurrence, especially within the ballet world due to how short a dance career can be, to dance on numbed broken bones, stress fractures, broken toenails, bone bruises, and worst of all, chronic injuries. According to Kansas City Ballet, a reputable ballet company located in Kansas City, Kansas, “typically, a dancer’s career ends anywhere between ages 30 and 40,” with 40 being considered old. We are taught from a very young age to just suck it up. “Nobody cares if you are in pain or so tired you can barely move” was something I heard regularly from teachers growing up. You just kind of get used to being eternally in pain and your body being way too tired to function, but you keep going. No matter what, the show must go on, as the saying goes. I’m not saying it’s okay, by any means, to treat pain this way and in fact, let this be a warning to not let pain fester, but this is what we grew up with. The mindset that you have to be “perfect” dancers to deserve the praise you are conditioned from a young age to crave tears you down in ways you don’t even realize before it’s too late.
I broke my back for the art form I loved before I was even fifteen. I had no idea if I was ever going to live a normal life after the accident or if I would ever walk normally again. I thought my life, dance and able-bodiedness, was over when I found out my spine had been fractured in two places, that I had a bulging disk because of it. I hate that not even thinking to ask for help until I was fully trapped in my pain was normalized by my relationship with dance from such a young age. I hate that I couldn’t help myself before it was too late. But most of all, I hate that I blame myself for the accident, when it was really a representation of how the dance world failed to protect my body and how those who were older, both in age and experience, did nothing to help me. Dance taught me resilience, determination, and gave me the ability to think for myself – but at what cost to me and many like me at that young age?
ANNALS OF INQUIRY
FUERZA REGIDA
Does Fuerza Regida’s music promote violence?
BY YAJAHIRA TORRES
September 31st was, for many, a night meant to be filled with fun music, good vibes, and better drinks. I met Maria Delgado while attending the Fuerza Regida concert in Charlotte, North Carolina. We had both been in the bathroom together blissfully unaware of the chaos forming outside. She complimented my outfit, remarking that my necklace matched perfectly with my corset.
I thanked her but failed to conceal my reason for being in the bathroom in the first place. I was visibly in distress and in desperate need to relieve myself. She kindly allowed me to cut her in line, and I was extremely grateful to reach the toilet just in time.
I recall hearing faint screams but assumed that it was just the fans having a blast. Once I walked out of the bathroom, I realized something was wrong. A crowd of people, almost like a wave, were making their way across the narrow street to the other parking lot. I looked around for my family, but they were long gone. Maria stepped out immediately after me. I looked over. Her face turned
from confusion to panic. Her eyes suddenly widened, and she swiftly turned to grab me. I was in such shock that I let her, a complete stranger, drag me into the crowd surge. I still wasn’t understanding the situation, but Maria was an avid concert-goer. This tiny 26-year-old woman pushed people left and right, fought her way through the mob, and never once let go of my arm or looked back.
Suddenly, there I was in a random parking lot with this random lady, still oblivious to the entire incident. We sat in silence together, both nervously dialing our loved ones. Once my mom answered my call, she explained what had happened. Maria and I exchanged phone numbers. Later, I texted her a long message thanking her for everything and sharing that I admired her bravery that night.
Fuerza Regida is an American group, but their music is deeply rooted in the Mexican regional genre. They were founded in San Bernardino, California, a city known to perpetuate “Cholo” culture. Over the years FR has built a massive
fanbase, filling stadiums of more than ten thousand across the United States. Their most recent song, a collaboration with Shakira called “El Jefe,” amassed more than 64 million views on YouTube alone. The song, which greatly diverges from their past music, was not received well by their audience. This is not the first time Fuerza Regida has dipped their toes into new genres. It would seem, however, that 2023 has seen an increase of FR songs outside of their traditional genre.
I asked Maria why she believed Fuerza was taking such a sudden shift in the type of music they were creating. “I mean they have been criticized all over the media,” she said. “People think their music paints a bad light on Mexican music, and they are not shy about it. I think it’s the lyrics that most people have a problem with.”
Jesus Ortiz Paz, aka JOP, is the vocalist of the band. Some people say Jesus and Fuerza Regida are the reason Mexican regional music is setting new records worldwide, but others would disagree. Regional Mexican music in itself is not a genre that can be easily defined. It is a deeply intricate genre rooted deeply in Mexican culture. The essence of the genre cannot be condensed and deconstructed to a single core. It does not have a specific sound or specific lyrics that might help distinguish it. It has evolved and become something new again and again, throughout the years. The soul of this music has always contained elements of love and violence—but overall storytelling.
Mexico didn’t always have the music they have today. In the 1830s, Mexico was introduced to folk music. The people of Mexico took the idea of storytelling in folk music and the sounds of the guitar and accordion and created a brand-new genre, polka. During the Mexican Revolution, this genre was transformed even further, promoting patriotism and news of the war within its lyrics. This new and modified genre was termed Boleros Mexicanos. Then the genre evolved further, eventually starting to combine mariachi and romantic lyrics.
The real change began in the 1970s, when the news of drug traffickers started spreading nationally. The idealization of the “narco” lifestyle and the tales behind them were making their way into the mainstream. It was seen as taboo at first, but a group called Los Tigres del Norte helped pave the way for the normaliza-
tion of singing about these topics. Their songs were popular among the younger generation and looked down on by the older generation.
Parents were scrambling to figure out how to shut them down for good. Through the controversy, Los Tigres del Norte continued to release songs about such topics and reformed the Mexican genre, contributing a brand-new sound and image. The genre continued to evolve, now being coined Narcocorridos. Narcocorridos are considered to be violent due to their glorification of Narcos and their devious acts. There was such controversy towards this new genre that it was ultimately banned in Mexico. This prohibition forced the genre to take life in the United States as the population of Mexican Americans rose.
Then there came Chalino Sanchez, a man who earned great respect within the industry due to his new and improved approach to Nacrocorridos. He was one of the first Mexican artists to use drug lords’ names in his songs. This would lead to his unfortunate death at the hands of the opposing cartel organization of the person mentioned in his song.
The lyrics revolve around the drug
trafficking world. There are specific mentions of “El Chapo” and “El Mencho,” two of the biggest drug lords of this generation. These names are unspokenly off limits for most Mexican artists, due to the implications behind mentioning them. Once a name is mentioned, it is seen as the artist supporting that certain person and the cartel they belong to. This is a dangerous situation to put yourself in as an artist. Opposing cartels see it as a threat. They will take that threat personally and, more often than not, execute punishments to the fullest extent. Recently, FR were the recipients of such punishments. They received a death threat from the CJNG cartel. The threat stated, “You are not welcome in Tijuana.” The message was loud and clear, and FR canceled all further concerts in the region.
Other lyrics involve the degrading of women and the glorification of partaking in drug use. One song titled “¿Que Se Te Quito,” has a deeper message behind its playful beat and vague lyrics. The song is structured as a call and answer. One person asks, “What was taken from you?” Another person answers, “Sleep.” The lyrics then go on to insinuate the loss of
desire to sleep is due to a powdery substance being inhaled.
A new song on their album named “Sobras y Mujeres,” which translates to “Leftovers and Women,” degrades women in an almost passive aggressive tone. The song is from the lead singer’s point of view. It talks about a woman who previously rejected him. The song’s lyrics state that she may have rejected him, but now she’s sweeping his floors. Many fans of FR had choice words for the song, one of them being Maria. Her opinion of the matter was clear: “I hated it. It felt like something my dad would say, and I didn’t like that.” She continued to explain that there is already so much sexism present in Hispanic communities without artists spreading such “hateful lyrics for the world to sing.”
It is important to understand the psychological correlation between FRs songs and the recent violence displayed by its listeners. There is a strong correlation between the two but that does not necessarily mean that because of one the other has to be true. Lyrics such as the ones FR uses can be a huge influence, but maybe violent people just choose to listen to violent music?
DEPT. OF MARINE BIOLOGY
A WHALE OF A MIND
How killer whales can help us relearn our humanity
BY RAY SPARKS
Whenyou look into their eyes, you know somebody is home,” former SeaWorld trainer John Jett says about orcas—also known as killer whales—in the 2013 documentary Blackfish. About the size of a school bus and weighing approximately three to four tons, orcas possess a level of intelligence on par with (if not greater than) that of human beings. When I bring this up with people, the first response I often get is, “Where are their technology and buildings, then?” It’s a question prompted by the decidedly human viewpoint of what intelligence truly means.
To fully answer the question of other species’ intelligence, we must discard many of our preconceived notions. Killer whales don’t require inventions; they are the apex of ocean predators with no need for modern technology.
As humans, though, we view our great and resourceful technological success as a hallmark of our intellect. Our idea of intelligence correlates with our notion of civilization—it’s what sets us
apart from the rest of the animal kingdom. This civilization gave us advanced shelters and agriculture—the ability to automate and cultivate the process of our survival. However, this philosophy is not exclusively used on other species. In reality, this line of thinking is far more rooted in colonialism than one might suspect. Throughout history, we can see technologically advanced countries wiping out the “primitive” natives of other nations, deeming them less intelligent. Just as we have historians working to reveal the true stories of how the countries of the world came to be, there are also a plethora of scientists pouring themselves into proving just how intelligent other species can be.
On her podcast, Tracie Merril, the education curator at Washington State’s Whale Museum, interviewed Dr. Lori Morino, the founder and president of the Whale Sanctuary Project. The Whale Sanctuary Project works to provide—as the name would imply—sanctuaries for whales, with orcas being one of their
main focuses. Their mission statement is “To transform the way people relate to whales and dolphins by bringing an end to their exploitation and by creating seaside sanctuaries.” Most countries have ceased the capture of orcas, the primary exception being Russia capturing killer whales for Chinese aquatic parks. As of today, at least fifty-three orcas are still held in captivity, according to the Whale and Dolphin Conservation.
During the podcast episode, Merril asks Dr. Morino about the orca brain and how it got to the point it is today. “The orca neo-cortex is even more wrinkled than the human brain. Meaning in their evolution, they’ve had to pack a lot more tissue into their cranium.” Dr. Morino describes the folds in a brain as a crumpled-up sheet of paper. If one were to unfurl a brain, the amount of wrinkles would determine its total surface area. “[More wrinkles] increases the number of units of information that can be handled by that brain,” says Dr. Morino. She adds that “[Orca’s] convolutional index— or what we call a gyrification index—is substantially greater than a human’s.” In simple terms, a killer whale’s brain is capable of storing far more information than that of a human.
Orcas and other cetaceans developed their intelligence rapidly to chase food and deal with a change in the planet’s temperature approximately thirty million years ago. Toothed whales traded their larger bodies for sleeker, faster frames with bigger brains. When it came to hunting prey, social structures were imperative to the success of species such as the killer whale. Humans experienced a similar phenomenon on land, working in groups to pursue our meals. In the process, both cetaceans and humans created their own languages.
The use of language is a cornerstone of human culture. Written and spoken word binds us together across the globe, connecting us through communication. In sci-fi and fantasy stories, made-up languages have direct translations into English. For example, the fictional Star Trek language, Klingon, is learnable on Duolingo, a language-learning app. However, this sort of simple translation doesn’t truly exist when it comes to languages developed entirely out of human influence. A shining example is the language of orcas.
“We can learn a lot by their vocalizations,” said Tracie Merill in my interview with her. Orcas use intricate and unique dialogues to communicate, conveying multitudes of information. “[We can determine] the ecotype, family pod, and sometimes—in very rare cases— even identify who the individual is. Like Onyx, who is an L pod whale, when he was swimming with J pod, making [a distinct] noise,” Merril said. In killer whales, scientists have observed distinct dialects between different pods and different areas’ populations. Orcas are found in all the world’s oceans, creating much diversity between them. Killer whale calves are born “babbling” and are taught the language of their pod by their mothers. The mothers—and grandmothers—of killer whales are the teachers of their pod, with female orcas capable of living into their early hundreds (early sixties for males).
“They are matrilineal/matriarchal, which is rare among the animal kingdom,” said Merill, “They are one of only five or six species we know of that undergo menopause, including humans— which leads to the ‘grandmother effect.’ They are also the only animal species I know of where both sons and daughters stay with their mothers their entire lives.”
Mothers have been observed teaching their young pod-specific strategies for hunting. Whether purposefully beaching themselves during high tide to catch sea lions on the shore or stunning fish underwater with a whip of their tail, orcas pass on their methods of catching food throughout the generations of their pods.
Bonds within families and social groups are present in nearly every human’s life. Killer whales parallel us in this way as well. When speaking on orca’s strong familial bonds, Merill said, “Their life cycles are very similar to humans— including caring for offspring. Family members share food with each other— especially between moms and sons—and help each other with babysitting duties.” She also told me about how killer whales will grieve their lost family members. “I think Tahlequah (a female orca) carrying her dead baby for seventeen days was pretty heartbreaking and definitely demonstrates their ability to have deep emotions and grieve,” she said.
Throughout my interview with Tracie Merill, I found myself thinking back to watching the documentary Blackfish a month or so earlier. Captive orcas had
been seen calling out to their families in their native dialects, trying to find them. The 2013 documentary caused a massive stir in the public, resulting in SeaWorld’s attendance rate plummeting. They lost over $1.7 billion in market capitalization, and several corporate partnerships fell through. Blackfish put the detrimental effects of captivity on killer whales on display, with a primary focus on Tilikum—a male orca who was responsible for the death of three trainers.
In the wild, there are no known reports of orcas ever harming humans. “I think the fact that they haven’t attacked people in the wild demonstrates their intelligence and empathy to other species,” Merill said to me. In an episode of National Geographic’s podcast Overheard, photographer Brian Skerry describes an encounter he had when photographing a killer whale. The particular pod he was taking pictures of hunted stingrays. An adult female approached Skerry with a half-eaten stingray in her mouth, dropping it in front of him. Skerry recalls being in shock at the behavior, as well as partially terrified. He stated that the female orca looked between him and the stingray several times, waiting for him to accept the offer. When Skerry remained still, the orca gently picked up her meal and swam off to share it with her pod mates.
Contrary to their name, killer whales are friendly creatures by nature, which poses the question as to why so many orca trainers have been injured and or killed by the animals. The key difference is obvious: the orcas who harmed humans were being held captive. On CNN, host
Jane Velez-Mitchell said, “If you were in a bathtub for 25 years, don’t you think you’d get a little irritated, aggravated, maybe a little psychotic?” She was speaking about Tilikum after he killed his trainer, Dawn Brancheau. Velez-Mitchell made a direct connection to the psyche of an orca and that of a human. It’s unknown if she realized just how accurate her statement was at the time.
Human beings are quick to elevate themselves as the superior species of our planet. It’s quite an easy assumption to make. With our computers, skyscrapers, cars, planes, rockets, and more, our technological marvels set us so far apart from the “primitiveness” of the rest of the animal kingdom. Yet, our society coddles this technology so much it neglects the roots that got us here. Human nature lends itself to compassion and empathy, but the isolation of the information age shuns this.
In my study of the culture of orcas, I have found one common thread that relates to humanity and an answer to the people who ask about the lack of orca cell phones and suburbs. Orcas, alongside several other animals, never discarded that compassion and empathy. They still depend on it as the backbone of their survival, and plenty of examples display this. A mother caring for her young her entire life, and she and her pod grieving if they pass. The cultural foods and hunting traditions that pass through the generations—taught with love and attentiveness. A fierce loyalty that causes an entire pod to strand itself on a beach to stay with one stricken member. Rescuing humans from shark attacks and drowning, as well as occasionally offering to share their meals with us. Orcas display a compassion toward us that it is only fair we return in kind.
We, as humans, are just as animal as every other creature on this planet. Despite what common lines of thinking perpetuate, this is not a negative. We can exist as humans—with our technology and buildings—as well as display the same compassion as these fellow animals. When it comes to what it means to be alive on this planet, not all things are simply black and white.
LETTER FROM VERMONT
SUGARING SEASON
One
family’s adventure in the
maple woods
BY MIA TANGUAY
Afamily adventure in Vermont is making maple syrup and wishing you were warm. Vermont is the number one producer of maple syrup in the United States, and it helps Vermont tourism by showing tourists the process of how it’s made. This practice was started to help farmers supplement their income during the winter months since they couldn’t grow anything. The whole process of making maple syrup is called Sugaring, and the season you do it in is called Sugaring Season, which lasts through early February and late March but can go into early April if it has been a really cold year. Maple syrup is something most Vermonters have in their houses. Many people put it on their pancakes and waffles, but it is also a great sugar to bake with. One of my favorite ways to use it is sugar on snow, where you put hot maple syrup on clean snow and eat it with a spoon (and sometimes condensed milk). The best time to eat this is at the end of the
season because that is when you get the richest tasting maple syrup and the last snow of the year. My family also uses it in regular cooking as sometimes it is the better-tasting option. My aunt and uncle have a sugaring shack on their property, and they make maple syrup as a side business at their sawmill. Each year they will collect the sap and boil it so that they can package it in gallon jugs to sell to people. It is a family endeavor, if you are doing buckets but there is another kind where you use tubes and suction to pull the sap out of the trees and straight to the tank at the shack.
My family got together to collect the sap one cold morning. All of us were bundled up in our winter clothes to go tramping through the snow to get the sap. My cousins, brother, and I sat on the back of the trailer while the four-wheeler pulled it towards all of the trees with buckets, while the parents walked behind, watching to make sure we didn’t fall off.
The four-wheeler pulling us up stopped at the top of the hill. Then, we spread out to grab different buckets to bring back to the trailer with the tank. I was very small, so I had help carrying the buckets back to the tank to dump them in. There were lots of buckets, and we had about 20 people grabbing and pouring them, after a couple-mile hike through snow and the woods. It took hours to get all of the sap.
After we poured all of the buckets into the tank, we headed down the hill to the sugar shack to filter the sap again, bring it into the pan, and start boiling it to make the syrup. Then, we had to wait and wait and wait. We were still in the shack until it was pitch black outside, waiting for the syrup to be finished. Each of us kids got a small jar of syrup to taste and to keep our hands warm, since it had just come right out of the pan. All of the adults and some of the teenagers were the only ones packaging the hot maple syrup, since it is molten sugar that will burn you if you get some on yourself. Once all of the syrup was packaged, we left the shack and went to bed. My family will sell the syrup as another means of income in the winter months, as the area is also a sawmill.
To tap a tree, you need to know where you did it the year prior and only use maple trees that are at least a couple of years old, not any of the baby trees as they won’t have enough sap in them. After finding where you drilled the year prior, you will go down a foot and to the right a foot to find a spot where there are no drilled holes. A healing hole from the previous season will look like the tree growing inside the hole but there will be
a split in the area since you cut into the tree. You will drill a hole at a downward angle to help the sap flow about 1 inch to 1 ½ inch into the tree. Change where you do it each year to help the tree heal after the season is finished.
Once you have done that, you put in your spile, or spout. You push it snugly in the hole. That’s how you tap a maple tree, but now you need to attach a bucket to the spile so you can collect the sap. You always use metal buckets with covers so that leaves and other debris don’t get into the sap. You do all of this at the beginning of the season so that you get as much out of your trees as possible.
So, after a while, you will go out to collect all of the sap and you will put it in a giant container that is on a trailer attached to a four-wheeler. You will pour the sap into the container and there will be a filter that filters out the larger debris. Once you have dumped out all of the sap into the giant container, you will bring it back to the sugar shack and connect it to the other filter to filter out the smaller debris. After filtering the sap, you will put it in your boiler once it is heated up. You will either start your fire or use propane to heat the boiler to start boiling the sap. As the sap is mostly water and a
little sugar so you have to boil out all of the water to get it down to just the sugar and in the consistency of syrup.
To make one gallon of maple syrup you need 40 gallons of sap. The best tree to tap is a sugar maple as it has the highest sugar content. You will boil it till you reach 219 degrees Fahrenheit, and you will filter it again to get all of the niter out (sugar sand). Now is the best part: you get to try the maple syrup to see what to grade it and how it tastes.
The different grades of maple syrup are Golden, Amber, Dark, and Very Dark. Each of these grades has different tastes. Golden is a delicate taste of maple, and it is the earliest sap used, with the lightest color. Amber has a rich taste and is the mid-season sap, with the color of amber. Dark has a robust taste and is after the mid-season sap which has a darker brown color. Very Dark has a strong taste and the last sap of the season which is the darkest color of all of the grades. It is hard to describe the taste of maple syrup to people who haven’t grown up with it, but it definitely has a woody kind of taste and that depends on when you tap and cook the sap.
The next step is to package the syrup into whatever container you would like to put it in and put the grade on it. Most people will put it into plastic gallon jugs, but other options are cans, glass bottles, and smaller plastic containers. After all of this, you will have syrup to use in many different things from baking to cooking—or just have it on its own.
Lastly, never give a Vermonter fake maple syrup. We might give you a weird look and ask if you have the real thing.
A CRITIC AT LARGE HARRY POTTER AND THE BILLION DOLLAR RIVALRY
How Disney lost its hold on the theme park monopoly
BY GRACIE SHIPLEY
Theinfamous rivalry between Universal and Disney has been long standing in the public consciousness, especially when it comes to the wildly popular theme parks located within a few miles of each other in Orlando, Florida. The two companies have been fighting each other for attendance and revenue for years, but how did we get to this point? How did Universal Studios become a genuine competitor to the massive corporation responsible for decades of family memories and a status symbol to the wealthy upper middle class families that are able to afford such an extravagant vacation?
The creation of a Hollywood theme park began with the Universal Studios tram tour. The tour began in 1964, with the official opening of Universal Studios to the public. The tour would take guests around the fully functional backlot, where films including Spartacus and To Kill a Mockingbird were filmed. The Universal Studios Amphitheater gradually became
a more popular place to hold shows and concerts. Scenes were slowly added to the tram tour and became increasingly popular with guests. Slowly, the studio became a popular destination in Hollywood and the theme park known today.
Feeling the success of their Hollywood theme park, plans were made to bring the park to the East Coast in December of 1989. Unfortunately for Universal, Disney was already coming up with plans of their own. Disney signed a contract with MGM allowing for the use of MGM properties in a brand new third theme park that also functioned as a working movie studio. After using everything that made the first Universal Studios park so successful, the park opened just months before it in May of 1989. The two parks had marked out their territory and were preparing for war.
Having to compete with their multi-million-dollar neighbors, Universal Creative was forced to come up with
solutions to their low attendance. A year after opening in 1990, Universal Orlando introduced Fright Nights to the public. It started out as a three-night event featuring a haunted house nestled within the abandoned Jaws queue, scare actors, and live performances, but over the next few years grew into something even bigger. Knowing that this event had an edge over their family-friendly competitor, they brought it back in 1992, branding it as Halloween Horror Nights. Soon, the park event began introducing original characters such as Jack the Clown, the Director, the Caretaker and the Storyteller. These characters would receive their own houses and scare zones within the park and quickly became fan favorites.
Disney took a much different approach to their Halloween event. With the original intent behind Main Street USA to celebrate the Fourth of July as a year-round celebration, adding Halloween alongside it was a daunting task to say the least. The first holiday themed endeavor began with Mickey’s Very Merry Christmas Party. Noting the success of this event, and the success of Universal’s two previous Halloween themed events, Mickey’s Not So Scary Halloween began in Orlando in 1995, with a more family friendly approach to Universal’s gore-filled nightmare. The event started out as a one-night celebration taking place on Halloween, but quickly expanded over the next few years. Rather than create original characters the way Universal did, Disney relied on their backlog of characters like Maleficent, the Evil Queen, and Gaston to add to the spooky atmosphere. Kids were encouraged to dress up and cast members would hand out candy at certain locations at the park. Universal once again found itself embroiled in competition.
Noticing the popularity of bringing beloved characters into their parks, Universal soon began licensing the rights to popular horror films such Saw, Nightmare on Elm Street and Halloween. The more popular the event was able to license, the more popular it became. One of the largest years in the event’s history was the first Stranger Things theme house, with lines as long as four hours at certain points during the night. Each event grew longer in length and more intractable in design, leading work to begin on the next year’s Halloween Horror Nights to begin almost two whole years in advance
in 2019. The event became a staple in both Universal parks and is considered by many to be one of the greatest Halloween themed attractions in the world.
Still feeling the effects of competition, Universal sought out the rights to one of the biggest franchises of all time, one owned by J.K. Rowling. Rowling was not easy with the negotiations and insisted on full creative control. The original pitch to bring Harry Potter to Walt Disney World was canceled after they refused to create a life-sized Hogwarts Express to transport guests, a fact the train-loving Walt Disney would be devastated to hear. With Universal bending to each of Rowling’s whims, construction began on the Wizarding World of Harry Potter at Universal’s Islands of Adventure park in Orlando. After opening in the Summer of 2010, the park proved to be a commercial success. The ride Harry Potter and the Forbidden Journey remains one of the highest rated theme park attractions in the world by both guests and the theme park industry as a whole. The mer-
chandising of the park raked in millions of dollars with wands, robes, and creatures all focused around the four distinct houses which fans were eager to show off. Disney lost one of the most lucrative deals in theme park history and gave their biggest competitor a massive advantage. Universal went from a park guests would stop at during their trip to Disney, to a park people would skip Disney altogether for. Disney needed to gain the upper hand. After years of searching, ideating and planning, Disney revealed their plans at that year’s D23 Expo. What franchise did Disney deem to have the same widespread appeal as the boy who lived? Avatar.
Disney dropped millions of dollars to build a themed land around a franchise most people can’t even name the main character of. Universal constructed a lifesized Hogwarts castle, creating millions of dollars worth of merchandise that was flying off the shelves and created one of the most highly rated themed entertainment experiences in the world while Dis-
ney was creating one singular 10-foottall Na’avi animatronic for a single, slow paced dark ride. Even with Disney Legend Joe Rhode at the helm, the project would be doomed to live in Universal’s shadow for years to come.
I think the experience of one particular theme park reviewer, Jenny Nicholson, sums up the general feeling of Avatar themed expansion quite well: “I walked past this kid who was completely in awe and was staring open mouthed at a picture of the Na’vi, and then he turned to his dad and asked, ‘there’s a movie?’”
At the end of the day, Disney lost a massive bet and allowed their competitor to gain an edge they should have seen coming. Universal stepped into Disney’s territory, and Disney was not going to give up without a fight.
One thing Disney still had going for them around the time of the Harry Potter acquisition was Universal’s reliance on screen-based attractions. Universal had massive intellectual properties such as Shrek, Despicable Me, and Transformers, but didn’t bother with any sort of physical sets within these multi-million-dollar attractions. Disney still used the physical sets and animatronics that theme park enthusiasts and families alike enjoyed. In an attempt to turn the tides, Universal Studios Hollywood tested the waters by opening up an attraction full of physical sets and animatronics. The attraction was set around the Illumination film, The Secret Life of Pets, and captured the same audience of families and young children Disney had a monopoly over for years. Disney currently has the upper hand when it comes to dark rides, but Universal is closely watching and listening with pencils and drawings at the ready.
The final nail in the coffin for Disney’s downhill spiral began in 2019 with a new expansion to Disney’s Hollywood Studios, a land designed to transport guests into the world of Star Wars. This was yet another response to Universal’s Wizarding World that had been in the works for years. The company began planning the expansion from the moment the rights to Lucasfilm were first acquired. What Disney didn’t predict, however, was the absolute backlash over the two latest Star Wars films: The Last Jedi and Rise of Skywalker. Instead of relying on material from the beloved original trilogy of films, Disney created their own planet of Batuu, completely separate from any familiar planets
of the Star Wars franchise and placed the characters of the sequel trilogy within it. To start, there was only one attraction in the entire expansion, Millennium Falcon: Smugglers Run. While the concept for the ride was great, the execution was less than stellar. Disney had copied from Universal and made an entirely screenbased attraction while only using physical sets as a mere photo opportunity within the queue. This left fans with nothing to do, unless they had money.
What Disney learned from Universal is just how much fans were willing to pay to enhance their experience and feel immersed in the world they created. Harry Potter fans would spend hundreds of dollars on wands, creatures, and butterbeer just to feel like they were attending Hogwarts, so what was stopping Star Wars fans from spending the same amount on lightsabers, droids, and blue milk? The one thing Disney missed when it came to this calculation was the immersion required to demand such a high price. People had dreamed of going to Hogwarts for years, and finally got to experience it for themselves for the price of a ticket and some extra merchandise. Star Wars fans had never even heard of Batuu before arriving at the park, not to mention that the beloved characters they had fallen in love with were noticeably absent. Adult Star Wars fans were unwilling to drop thousands of dollars on a vacation just to let their child take a picture with discount Darth Vader.
In retaliation to the poor reception to their Star Wars expansion that had taken years to build, and to add to their Disney+ collection, Bob Iger, the CEO
of Disney at the time, made the decision that would seal Disney’s fate for at least the next decade, to buy Fox and all of its properties. The news was earth shattering, with many calling it one of the biggest deals in entertainment history, and others calling into question the ethics of such a decision. What no one was able to predict would be how 2019 was the worst possible year for them to make such a financially draining decision.
In 2020, during Covid-19, CEO Bob Iger left the burning ship over to his successor Bob Chapek. Left with the financial bombshell of the Fox deal and revenue from the parks crashing through the floor, Chapek took out his ax and began to swing it every direction he could. New projects were stopped in their tracks, film budgets were slashed in half, and employees were laid off. After two years of relentlessly cutting costs in any way possible, the parks began to reopen, and the carnage was revealed. The thing everyone had been most excited for, a themed expansion coming to Disney’s California Adventure, based on the biggest film franchise in modern history, Marvel, opened to the public.
Much to the shock and horror of everyone, the expansion’s flagship attraction was one of the most cheaply made, pathetic excuses for a Disney attraction in decades. Opening a simulation ride that consisted of frantically waving your arms about to shoot webs at a screen was bad enough, but the screens were so poorly calibrated on opening that any actual points earned were out of sheer luck. And, in one of the most exploitative practices in recent Disney history, the gift shops
around the attraction sold a ‘web slinger’ that could be worn on the attraction to help you get a better score. This needless hunk of plastic cost $50. The Spider-Man themed attraction looked and felt as if it belonged in a Six Flags park, not a destination theme park that costs thousands of dollars to visit. Fans were furious, and Universal bided their time waiting for the right moment to drop another nuclear bomb on Disney.
Universal announced a third park coming to Orlando, called Epic Universe. The park would feature Universal Classic Monsters, How to Train Your Dragon, more Harry Potter, and the biggest surprise of all, a Nintendo expansion including Pokemon, the Legend of Zelda, and Mario. Multiple billion-dollar IPs were ripped away from Disney’s hands. Not only was this expansion being worked on during the pandemic, other projects were being worked on in Universal’s remaining parks such as Hagrid’s Motorbike Adventure and Velocicoaster, became huge hits for the park. With so many huge projects announced by Universal, Disney fans anxiously waited for the 2022 D23 Expo, where surely Disney was about to announce their biggest project yet. They had to, it was the only way to compete with such a huge announcement. The parks panel began, and the big announcement was: Nothing.
They had absolutely nothing to show to fans. They pulled out a few images of Blue Sky concepts that everyone in the audience knew would never actually happen, and left the hour long panel with nothing fans didn’t already know going in.
Disney’s current problem is that they believe fans will be loyal to them simply because they are Disney. They rely entirely on nostalgia while their current empire crumbles to the ground. Through Disney’s careless and money hungry ways, they have abandoned their once unstoppable presence in the theme park industry in favor of quick cash grabs and poor decision making. As sad as it is, watching a titan lose its grip on the market allows for innovation to come from other parks. More innovations are sure to follow, and at the end of the day, will advance the themed entertainment industry with or without Disney leading the charge.
ON TELEVISION
WHY DAHMER?
Success and controversies surrounding Murphy’s Dahmer – Monster: The Jeffrey Dahmer Story
BY MAIMUNA MUSTAFIZ
Truecrime is a nonfiction literary, podcast, and film genre which examines actual crimes and details the actions of real people associated with and affected by them. It was popularized in 1966 by Truman Capote’s book In Cold Blood (and Richard Brooks’ masterful 1967 film adaptation) and has recently become a pop culture phenomenon that has spilled over to other mediums. If there has been a killer, a robber, a conman, a mafia, or even a gun-wielding, musically-inclined exotic animal park owner with a ferocious temper, chances are they have been featured in a docuseries on Hulu, a podcast on Spotify, or a show on Netflix.
Amid this true crime craze, Ryan Murphy’s Dahmer – Monster: The Jeffrey Dahmer Story was released on September
21st, 2022, and acquired the streaming service’s most-watched title of the week and its biggest-ever series debut despite receiving little to no advance marketing. Netflix users logged nearly two hundred million hours watching the program in its first week of release—more than three times as many hours as Netflix’s most popular series. It was no surprise that a Ryan Murphy production of grotesque and macabre nature would attract a blockbusting audience given the success of his other hits, like Ratched and American Horror Story. But even after decades of shows, documentaries, and memoirs, why is Jeffrey Dahmer’s story still attracting everyone’s interest?
The joyful birth of a baby boy, then a quick cut to the mother receiving the
news that her child is deaf due to antibiotics prescribed during her pregnancy – this is how the Netflix miniseries Dahmer — Monster: The Jeffrey Dahmer Story begins. The baby boy, who we will see be one of the many victims of Jeffrey Dahmer, is a thirty-one-year-old black man named Tony Hughes (played by Rodney Burford). In the fifteen minutes of screen time before Tony meets Dahmer, we see him as an aspiring model in his 30s with a loving mother and amazing friends who unfortunately falls in love with a serial killer. This episode, “Silenced” written by David McMillan and Janet Mock and directed by Paris Barclay, opens without audio to give the spectators a sense of Tony’s life. This empathy makes his murder that much more harrowing. But this segment of the show is an exception rather than the norm; it’s the only episode in which the victim’s life is highlighted.
Dahmer begins at the end of 1991 as prolific serial killer, necrophiliac, and cannibal Jeffrey Dahmer (a fantastic portrayal by Evan Peters) picks up Tracy Edwards (played by Shaun J. Brown) at a Milwaukee-area gay bar and brings him back to his dingy apartment. Absolutely everything is a warning sign: a drill drenched in blood, a tank filled with dead fish, a festering stench, a mysterious blue shipping drum, and a VCR playing The Exorcist III. Tracy — historical spoiler alert — escapes and gets the police. After, it’s quickly discovered that Dahmer has, over three decades, murdered and defiled seventeen young men, fourteen of them people of color, ten of whom were black.
For most of the episodes, we follow Jeffrey Dahmer throughout a childhood in which he is an antisocial young boy (a superb Josh Braaten) who grows into a dissection-obsessed teenager. The show goes back and forth between depicting Dahmer’s increasingly nightmarish acts and recounting his troubled upbringing. He’s portrayed as the product of a problematic nuclear family with a caring but distracted father (Richard Jenkins’ Lionel) and an unstable and poorly treated mother (Penelope Ann Miller) who end up getting a divorce. After Dahmer’s first murder of a boy (whose name we don’t find out until the end of the show), the series unfolds all of Jeffrey’s psychopathic, cannibalistic, and gruesome acts. Sometimes the audience gets flickers of the lives of the victims and relatives or
momentary glimpses of institutional failures of the police. We occasionally see systematic racism and homophobia due to the AIDS epidemic, circumstances that enabled Jeffrey Dahmer to continue killing for so long. However, these problems seem to be an afterthought of the show; it’s clear the spotlight belongs to Dahmer and Dahmer only.
“Something that we talked a lot in the making of it is we weren’t so much interested in Jeffrey Dahmer, the person, but what made him the monster that he became,” Murphy said at an event for Dahmer at the DGA Theater in Los Angeles. “We talked a lot about that … and we talked about it all the time. It’s really about white privilege. It’s about systemic racism. It’s about homophobia.”
Ryan Murphy and co-creator Ian Brennan claim that Dahmer doesn’t glorify or revolve around Jeffrey himself, but that doesn’t appear to be true. Very early in the show Dahmer’s neighbor Glenda Cleveland – played by Emmy Award-winning actress Niecy Nash – is introduced as one of the “main characters” of the show. She tried to alert the police countless times (including the time when the police escorted the fourteen-yearold boy to Jeffery themselves) because
of the awful smell and sounds coming from Dahmer’s apartment. While the show somewhat revolves around Glenda (she has a screen time of only an hour and fourteen minutes in the eleven hours show), the majority of the series revolves around Jeffrey’s life and killings, which contradicts what Murphy said.
The show has been met with a plethora of backlash, a significant part of which has come from the victims’ real-life families. Rita Isbell, the sister of victim Errol Lindsey, gave an impact statement during 1992 court proceedings and was later portrayed in Dahmer by Dashawn Barnes. Rita said in an essay published by Insider, “I don’t need to watch it; I lived it.”
Isbell, now in her 60s, claims that Netflix never contacted her about Dahmer or her depiction in it. After the dramatization of the courtroom scene, she also writes that she wishes the streaming service had “asked if [the victims’ families] mind or how [we] felt about making it. They didn’t ask [us] anything. They just did it.”
The mother of Tony Hughes, another victim, even questioned how Netflix could give green light to air the show. Numerous family members claim that
they found out about the show “when everyone else did,” accusing Murphy of not contacting them beforehand. Even though Murphy fought against these claims, the backlash kept coming. Despite all of this, Netflix has renewed Ryan Murphy’s Monster for two seasons– announcing that it will become an anthology series.
One in three Americans (35%) say they watch true-crime content at least once per week, including one in four (24%) who say they watch it multiple times per week. Only 30% say they never watch it. The top two ways people say they consume true-crime content are TV shows (52%) and films (39%). But why are we so taken with such a dark and disturbing genre? The answer lies in the human morbid curiosity and a need for escapism.
For some, watching these terrible tales about events that took place decades or even just a few years ago offers a strange sense of satisfaction that maybe things are and will be fine because they could be worse. This theory for the true-crime craze dates back to Sigmund Freud and his idea of schadenfreude: pleasure from other peoples’ suffering. It isn’t always fueled by malicious intent but simply relief
that it’s happening to someone else, not us. Psychotherapist F. Diane Barth wrote about the topic for NBC News and suggested it could be our “pervasive sense of helplessness” that is satiated by watching or learning about the pain others endured.
Researcher and author Coltan Scrivner asserts that the popularity of true crime suggests that “morbid curiosity is a common psychological trait.” True crime gives people a glimpse into the minds of others who have committed what forensic psychologist Dr. Paul G. Mattiuzzi calls “a most fundamental taboo and also, perhaps, a most fundamental human impulse”— murder. “In every case,” he writes, “there is an assessment to be made about the enormity of evil involved. Serial killers tantalize people much like traffic accidents, train wrecks, or natural disasters.”
Scott Bonn, professor of criminology at Drew University and author of Why We Love Serial Killers, writes in TIME magazine, “The public’s fascination with them can be seen as a specific manifestation of its more general fixation on violence and calamity. In other words, the actions of a serial killer may be horrible to behold, but much of the public simply cannot look away due to the spectacle.”
The perpetrators of these crimes might serve an important societal role, as true crime writer Harold Schechter explained to the weblog Hopes & Fears, “Crime is inseparable from civilization— not an aberration but an integral and even necessary component of our lives— is a notion that has been advanced by various thinkers,” including Plato, Sigmund Freud, and Émile Durkheim. Schechter continues, “If such theories are valid (and they have much to commend them), then it follows that criminals can only fulfill their social function if the rest of the world knows exactly what outrages they have committed and how they have been punished—which is to say that what the public really needs and wants is to hear the whole shocking story. And that is precisely what true crime literature provides.”
It is hard to say definitively whether or not true crime as a genre is ethical. After all, the whole genre is based on relating accounts of actual crimes with real victims and real tragedies. To answer the question of whether true crime is ethical, we would have to explore why
these stories are being told. The artists behind Dahmer claim to expand its horizon outside of the serial killer’s life, but the art shows something entirely different. Twisting of the facts and dramatization also come into play with the moral obligations of artists. The show portrays Joyce as a pill-popping bipolar mother who didn’t take care of Dahmer, and Lionel strangely bonding with his son over dissecting roadkill. But none of those ever happened, according to Lionel Dahmer’s A Father’s Story which also, in a sense, tries to explain Dahmer’s behaviors by his childhood or even by his father’s childhood, but that’s a topic for another time. Lionel is considering suing Netflix over two of its hit series about his infamous son: Dahmer – Monster: The Jeffrey Dahmer Story and Conversations with a Killer: The Jeffrey Dahmer Tapes. So, what are the responsibilities of creative artists in making use of circumstances such as this? If a poet, novelist, or painter chooses such a sensational subject, are their obligations any different than that of those creating mass-market entertainment? Relevant to Dahmer, is it possible to make true crime—whether it’s documentaries, shows, or podcasts— without re-victimizing the real people who are depicted in these series?
According to Bethone Butler of The Washington Post, “It’s really difficult. But there is one good example that I can think of. So, there was another Netflix docuseries called The Keepers which looks at the case of this Baltimore nun who was
murdered decades ago. And because the series actually involves former students of Sister Cathy—that was the nun’s name, Cathy Cesnik—it involves her students, and it really tells their stories, as well. You know, there are grisly details. It is about a murder. But all throughout the episodes, you really feel like Sister Cathy is at the center of it.”
If the entire series Dahmer were like the episode “Silenced”—of course with the consent of the victims’ relatives— Dahmer’s victim wouldn’t have belonged to him. If all the victims were portrayed as real people with their lives highlighted, then the audience would actually have been able to think of them as human beings. The producers of Dahmer set out to accomplish one thing and ended up creating something entirely different.
At the end of the series, Lionel says, “I have been looking everywhere to find out who was responsible for all this, blaming everybody except myself. And it’s me. I’m the one to blame. . . . Listen to me. It’s me. I did this to you.”
Perhaps Lionel did do that to Dahmer. Or maybe it was the divorce of his parents or the hernia operation that he had when he was a child. There is no way to know with certainty. But what we know for sure is that humanizing him in mass media is re-victimizing the affected people. Creative artists ought to be careful about what they put forward in the media, and we can hope the second season of this series redeems itself from the mistakes it made in the first.
CHITRA BANERJEE DIVAKARUNI’S THE PALACE OF ILLUSIONS
A symphony of heroic feminism
BY JEENAM BHATTARAI
“I will not tie my hair until I have washed it with the blood of my enemy. I will not bind it until I have tied it with a knot of his entrails.”
—Chitra Banerjee Divakaruni
It isn’t the first time somebody has attempted a rendition of an epic historical story. Still, Divakarunis’s 2008 novel The Palace of Illusions breathes a new life, enchanting a perspective often overshadowed by the original Mahabharata, the story of Draupadi, a Kritya woman who brings doom to her clan and whose
scalding tongue and fallen garments are solely responsible for the greatest bloodshed in Kurukshetra.
The Mahabharata, originally written in Sanskrit by the great Ved Vyas has been rewritten and retold in countless ways throughout history in every Hindu household. Yet, Divakaruni’s narrative
adaptation of it to The Palace of Illusions holds readers captive with its beautiful storytelling alchemy narrated by Draupadi, who otherwise was just a secondary character lost among the macho heroes of blood and war.
Draupadi was conceived from fire and a humming prophecy: “This dark-complexioned girl will be the first of all women, and in time would accomplish the purpose of the Gods, with her many a danger will overtake the Kauravas and start the Kali Yuga.” Her fate frightened her, and throughout her childhood, she wanted to escape the encapsulated palace of her father, and weaved dreams of finding love and a palace that was wholly her own. Her beauty was described as celestial but not limited to that as she was educated in economy and political science. She was truly the feminist of her time.
Yet, destiny got to her in the most heart-wrenching way, and she was tricked into joining five men in matrimony. Arjuna, the warrior Pandavas prince, lawfully won her over in the Swayambar and took her home to the small hut in the exiled forest, which looked nothing like the palace she dreamt of. Arjuna knocks at the door: “Mother, I have brought something for you.” Draupadi responds: “Whatever u brought, split the thing among you five brothers.” What was spoken was integrity, which is against dharma to break, meaning Draupadi was to be shared as cattle to the brothers.
She had fallen for another warrior, Karna, who was not allowed to participate in the Swayambar because of his caste. She planted him on the deepest corner of her heart as a secret desire and stood a loyal consort to her husbands even when they were involved with other women. Finally, her loyalty was rewarded with a mystical palace in Indraprastha which could compare to heaven-like beauty and magic, and she ruled as an empress. Her happiness did not last long as the Pandavas brothers bet and lost everything they owned- themselves, their kingdom and their beautiful queen to their half-brothers Kauravas. Draupadi was abused and disrobed in front of the whole Kauravas court and their husbands could do nothing but watch and weep.
Then, she cursed them with a prophecy: “I will not tie my hair until I have washed it with the blood of my enemy. I will not bind it until I have tied it with a knot of his entrails.” The burning fire
within her for revenge and rightfully so was beautifully illustrated by Divakaruni throughout the novel.
The strong emphasis on the female perspective and human emotions is inspiring with contemporary relevance and emotional depth. Perhaps, the author being a female herself could capture Draupadi’s resilience in more practical ways. My favorite attribute of the fearless princess was her not being apologetic in accepting her desires and harboring feelings for an enemy. It was also stated that in an earlier birth as Indrasena, she was married to Maudgalya, a sage with leprosy. She was insatiable in bed, and he cursed her to be reborn and have five husbands to satisfy her lust. The character was imbued with human feelings and virtues alike. Through her eyes, I witnessed the intricacies of a woman’s role in a world dominated by men, her unfulfilled desires, and the complexity of her relationship with her five husbands and naïve children.
However, like any work of literature, The Palace of Illusions also has its share of critics and potential weaknesses. Divakaruni’s deliberate creative choice of deviating from the original Mahabharata hurt many readers’ feelings who place the book in their temples and prefer more faithful retellings. The thirst for the palace in The Palace of Illusions, the central
most important setting of the book, was not quenched by its lack of description and symbolism.
As the novel progresses, it gets sucked into the war and the protagonist Draupadi gets reduced to a caricature of herself, devoid of motherly feelings, and appears as a cold, distant mythological character who dies a lonely death falling off a mountain cliff. Perhaps, the author was too restricted by the original story.
ration that authors like Chitra Banerjee Divakaruni bring to these ancient tales. Ultimately, the reception of such adaptations depends on individual preferences and expectations, and all should be respected.
Chitra Banerjee Divakaruni’s novels are known for their rich exploration of female characters and cultural themes, and often incorporate elements of magic or mythology. Some of her other works like Before We Visit the Goddess and The Forest of Enchantments share the feminist lens with The Palace of Illusions, reimagining classic tales through the eyes of strong female characters, spanning different generations and epics. “The mysterious woman” style of narration is unmistakably Divakaruni’s and is her trademark appealing to readers with a variety of preferences.
What I personally believe is the retellings of classic stories often involve reinterpretation and artistic freedom. While some readers may be critical of these deviations, others may appreciate the fresh perspective and narrative explo-
In essence, The Palace of Illusions is not merely a retelling of an epic but an immersive journey through the intricate labyrinth of human desires, relationships, and destinies. It is undoubtedly one of her bestselling novels that is half history, half myth, and wholly magical reminiscent of an ancient saga with contemporary relativity. It is a tale that transcends the boundaries of time and culture, unveiling hidden complexities by reimagining them with beauty, grace, and intellectual depth.
BOOKS DONNA TARTT’S
THE SECRET HISTORY
A novel with so many questions, it’s infinitely re-readable
BY ALLISON COLE
The Secret History by Donna Tartt manages to tell the reader exactly what is going to happen and still shock them at the same time. The prologue opens with the main character, Richard, describing his classmate Bunny’s murder, and how he had yet to come to terms with what the group had done. It is beautifully written, with a mockingly pretentious air about it, meant to critique the very idea of pretentious aesthetics itself.
Henry Winter, who is both a main character and the primary “antagonist” of the story, is encouraged by his profes-
sor, Julian, to live out his life as a Greek tragedy. As a result, Henry becomes obsessed with the idea of a bacchanal, a ritual of the Dionysian cult. This results in Henry, along with his friends and fellow classmates Camilla, Charles, and Francis, accidentally killing a farmer after doing drugs, essentially out of their minds. Soon enough, Bunny finds out what they have done and begins blackmailing the group to get what he wants. Bunny spends a major portion of the second half of part one blackmailing them and dropping little hints, such as mentioning prison. He
extorts Henry for money while holding the murder over his head.
However, Richard is the one recounting these events, and he is an unreliable narrator who admits multiple times on his own that he is a good liar. Richard does not seem to like Bunny very much. Bunny is known to be extremely bigoted, calling people slurs and making fun of Camilla, with whom Richard is in love from the very beginning. Bunny actually harasses Camilla very differently over the murder than the others, using the fact that her brother Charles is taking advantage of her against her, rather than against Charles. Overall, the idea is that you are supposed to be rooting for the killers to get away with murdering Bunny because he is established early on as a terrible person—but the reader does not actually know if they can trust Richard to paint an accurate picture.
Richard is known for lying about each of the characters. He leaves Camilla out of any wrongdoing, even when he describes Bunny’s murder. He idolizes Henry at first, but then when he finds out that he was in a relationship with Camilla, suddenly switches to portraying Henry as a violent psychopath. Charles is kind and handsome, until the truth comes out about what he was doing to Camilla, when he becomes possessive and an alcoholic. Francis gets a somewhat similar treatment to Camilla, but in the beginning, Richard is unkind in his description of him because he believes Francis and Camilla are in a relationship. Once he finds out Francis is gay, his descriptions become much kinder and more “accurate” (though we cannot actually be sure of which way the accuracies go with any of these characters).
The most compelling and complex character, however, is Henry Winter. He is the closest with Julian, and lives his life as Julian encourages him to. Greek tragedies often involve somewhat homoerotic relationships between the mentor and the pupil, which is heavily implied between Henry and Julian. Henry is incredibly cold, calculating, manipulative, and pretentious (at least as far as Richard’s description of him goes). The reader is forced to believe that Henry orchestrated the entire murder, while Richard and the rest of the Greek students are innocent bystanders. Henry’s obsession with the aesthetic of a Greek tragedy is ultimately what leads to his death.
Henry didn’t see himself doing anything in life. He attended college for the aesthetic, killed two people for the aesthetic, and then killed himself for the aesthetic. This ties back to the very first paragraph of chapter one: “...a morbid longing for the picturesque at all costs,” (Tartt 7), which Richard describes as his own fatal flaw, but applies to all the characters just as well. Henry whispers something to Camilla, which the reader is not given the privilege of knowing, before shooting himself twice in the head.
There are several theories about what he said, the most popular being “live forever,” which is a recurring statement made throughout the book.
There is a rather bitter irony about this phrase, as it is initially said by Bunny on page 38. There is a continued symbolism of eternal youth and eternal life, with ferns being referenced many times throughout the book. Ferns represent everlasting youth, and are attributed to Bunny many times, even making an appearance at his funeral on page 367. Bunny’s funeral is an unfortunate reminder of how people romanticize the dead, even when they weren’t a good person. Bunny was homophobic, misogynistic, antisemitic, and anti-Catholic. Yet, on page 357, the college president gives a speech where he says, “he touched people’s lives.” Everybody wants to act like they were close friends with Bunny but had never said a word to him while he was alive. Bunny’s death is unfortunately a reflection on how people treat the dead in real life: his death was used for others to gain sympathy. His own mother is more concerned with what this makes her family look like than the loss of her son itself. (“‘The mother grieves. Not for her son,’ he added hastily, when he saw I was about to
speak, ‘for she is a wicked woman. Rather she grieves for the shame which has fallen her house’” (Tartt 360).) At this point, the police believe that Bunny was killed due to drugs, and now his mother is terrified that people will believe that could affect her family.
The Secret History provides a critique of chasing an aesthetic to the extreme. The knowledge of an unreliable narrator opens so much room for interpretation, and I know my copy of this book has dozens of annotations made throughout the six times I have reread it. To hear the story told from the perspective of the other characters, especially Camilla, would be incredible, but I also believe that it would diminish Richard’s account.
The advantage to Richard telling the story is that the reader is left unsure whom to believe: could Richard have been the one to push Bunny, rather than Henry? How accurate are Richard’s perceptions of his friends? Is he actually as unreliable as he leads the reader to believe? There are many questions that the reader is left to ponder as they complete the book for the first time. I have never read a book with the same level of re-readability that The Secret History has, and I am unsure if it would be possible to find one.
COMICS
TEEN TITANS
Tara Markov grows up in the D.C. Universe’s Judas Contract arcs and adaptations
BY LEAH PALOMA
The year is 1982. D.C. Comics writer Marv Wolfman and artist George Pérez are in the early years of their critically acclaimed New Teen Titans run. At the suggestion of D.C.’s editor, Wolfman and Pérez enter into a collaboration with the National Runaway Association, visiting several runaway centers in New York and speaking firsthand with the centers’ staff and inhabitants. In December, they publish the story “Runaways” in issue twenty-six of the New Teen Titans, wherein heroes Robin and Starfire witness the
death of a runaway teenage addict. Besides the addict, the lives of several other fictional runaways are chronicled in short scenes, from a pregnant girl disowned by her father to an abused boy fleeing a dangerous homelife. One of these displaced teenagers stands out amongst the rest.
In a terrorist attack on the Statue of Liberty, Changeling (more commonly known as Beast Boy) encounters a fifteen-year-old girl with geokinetic powers. Enter: Tara Markov/Terra. She is the illegitimate daughter of the king of a
small fictional European nation. She and her older half-brother, Brion Markov/ Geo-Force, gained their powers as part of a genetic experiment. Over the next two years, she will join Robin, Starfire, Changeling, Kid Flash, Cyborg, Raven, and Wonder Girl as the eighth member of the New Teen Titans.
In 1984, the Titans—minus Kid Flash, who has retired, and Robin, who has passed on the mantle and is operating covertly by his secret identity of Dick Grayson—enter into a months-long investigation meant to dismantle the cult of Brother Blood. Amidst the investigation, Tara—who stands out as sarcastic, quirky, and vulgar beside her straightlaced wholesome teammates—is revealed to be working closely with Slade Wilson/ Deathstroke the Terminator, who has been the Titans’ archnemesis since his introduction in the second issue. Since her first appearance, Tara has been operating as a double agent and Slade’s apprentice. Together, they have taken the Judas Contract, a hit put out by Brother Blood to ensure the death and destruction of the New Teen Titans.
The Judas Contract arc is considered an iconic storyline in comic book circles. Betrayal of this nature was not yet commonplace in the genre. In the words of Brad Meltzer, a novelist and lifetime comics fan who was twelve at the time of Tara’s introduction, “Sure, there were always heroes who were later revealed as villains. At Marvel, the Avengers did it every week. (...) But the end of those stories was always the same: the so-called ‘villain’ (...) came to their senses and saved the day. In Terra’s case, however…this girl didn’t just infiltrate the Titans—she really wanted to kill them. And best of all, as the months wore on, Wolfman and Pérez never backed away from the decision. Indeed, issue after issue, they kept turning up the despicable meter on Terra’s actions. By the time they were done, Terra wasn’t just working with Deathstroke, she was sleeping with him.” This is where the morality of Tara and Slade’s relationship extends past the comic book realms of good and evil. Tara is a trained mercenary and assassin, yes, but she is also a fifteen- to sixteen-year-old girl.
According to the D.C. Continuity Project, a blog dedicated to creating a cohesive timeline of D.C. Comics’s fictional history, Slade is about thirty years her senior. Of his three children, two were
born before her. And the sexual nature of their relationship goes well beyond subtext. In supervillain hideaways where Tara reports back on her fellow Titans, she lounges in lingerie and heavy makeup, chain-smoking cigarettes and teasing Slade with pet names like “hot-shot” and “honey.” Compared to the visual appearance of her modest Titans outfit, the contrast is startling. Tara’s sexuality is virtually linked to her immorality, and she is never written as a victim despite the obvious abuse in power. At the end of the Judas Contract storyline, she confronts Slade in Brother Blood’s lair between rounds of battle with the Titans and Slade’s estranged seventeen-year-old son, Joey Wilson/Jericho. “I heard you callin’ to your kid, beggin’ ’im to help you. You’ve gone soft and old—and useless,” Tara claims with an accusing pointed finger. “You know the only reason I joined you, Slade—an’ it wasn’t ’cause we were lovers.” Within pages of this confrontation, Tara commits suicide.
Overcome by emotions and a sense of
betrayal, she tears down the walls around her and kills herself under a self-imposed avalanche. As the narrator tells us, “Her name is Tara Markov and she is little more than sixteen years old. And due to the fault of no one but herself, she is insane. No one taught her to hate, yet she hates…without cause, without reason. No one taught her to destroy, yet she destroys…with glee, with relish. Don’t look for reasons which do not exist—plainly, Tara Markov is what she is. And she has taken a great power and made it as corrupt as she is. She could have dammed raging rivers and funneled water to lands parched, dry, and dead. Her powers were limited only by the mind which controlled them. A mind which sought not hope…not love…not life…but death. And she found death. But not her enemies’. Her own.”
After the New 52 relaunch of the D.C. Comics brand in 2011, a soft retcon was introduced in the form of the Rebirth series in 2016. Critically acclaimed writer Christopher Priest was given the first
run of the Deathstroke Rebirth solo series. In issues twenty-seven and twenty-eight, Priest focuses primarily on Slade’s previous relationship with Tara, who trained under him at seventeen before failing the Judas Contract mission and going into escort work alone as a young adult. Priest’s entire run is focused predominantly on Slade’s relationship with his family. His questionable decisions are at the forefront of all the interpersonal conflict which surrounds his career as a middle-aged assassin and former United States military soldier and experiment.
In flashbacks, he gets into physical altercations with his wife, beats his sons, abandons his daughter, and is indirectly responsible for the death of his eldest child, the physical muteness of his second, and the forced emigration of his illegitimate youngest. In the present, he feuds constantly with his ex-wife, has an affair with his living son’s fiancée, manipulates his daughter’s feelings of confusion over her mixed race identity, and has a life-changing experience during a battle which causes him to repent and seek a better path—for all of ten issues.
It’s his ex-wife Adeline who initiates Tara into the Titans ripoff, Defiance—a morally gray “superhero” team consisting of the fourth Kid Flash, the third Power Girl, Adeline and Slade’s son Jericho, and Slade’s daughter Ravager—which Slade is founding. Adeline believes that Tara’s history with Slade would make her an eager and willing accomplice in a mission meant to destroy him and Defiance. These plans are thwarted in issue twenty-eight, when Slade dismisses Tara’s presence with a confession that has been almost a decade in the making. “I never loved you, Tara,” he tells her with his back turned as he walks in the opposite direction. “Years ago…you were just a child. I took advantage of you. It was wrong.”
This revelation should bring about a moment of catharsis for Tara, who, like many trauma victims, has found herself aimless and depressed in her early adulthood since Slade’s manipulation. But writer Priest makes it clear that their relationship was never sexual in this continuity. In fact, in a flashback scene where Tara is waiting naked for him in his bed, he throws her clothes at her and tells her off for her attempts at seduction. “I’m not one of your marks. Just stick to the plan.”
In an interview with Multidiversity Comics, Priest explains that company
censorship made it hard for him to explore Tara and Slade’s relationship to the extent which he intended.
Because of Deathstroke’s heightened popularity and view by readers as a “badass” and a “man’s man,” acknowledging his pre-New 52 backstory as a canonical child molester introduces the possibility for an unintentional condoning of his actions.
“I was frustrated by the insistence we round the edges off of [Slade and Tara’s relationship]. Mainly because, I promise, 90% of the fans already know the story and little kids don’t read Deathstroke. So, who were we protecting? The company? The fans? Or were we protecting Deathstroke by shaving edges off of what he is—a reprehensible human being.” This isn’t to say that Tara and Slade’s relationship isn’t still inappropriate in Priest’s run. There is no reason, no matter what the circumstances, that an adult should be kissing a teenage girl and making romantic promises to her—there just isn’t. However, by aging up Tara by a year and toning down the sexual element of her and Slade’s relationship by a techni-
cality, the severity of the original situation is shoved under the rug in favor of protecting the popularity of a character who was created and written with sexual immorality in mind. As Priest points out in his interview: Slade’s not a pedophile and Tara isn’t innocent. However, he’s still a child molester and she’s still a victim. Priest’s writing doesn’t change that.
Teen Titans: The Judas Contract, released in 2017 and directed by Sam Liu, is the ninth film of the D.C. Animated Movie Universe. It’s the second animated adaptation of the Judas Contract storyline, preceded by season two of Cartoon Network’s Teen Titans animated series in 2004. Unlike its predecessor, the film was released with a PG-13 rating, meaning that it has space to acknowledge the adult subject matter where the television program couldn’t. The Judas Contract’s Teen Titans are led by an adult Starfire and Nightwing (a.k.a. the first Robin, Dick Grayson). Membership is composed of teenagers Beast Boy, Raven, Blue Beetle, and the fifth Robin, Damian Wayne.
The truth unfolds within days of Tara’s one year anniversary as a member of the
team. Like in the comics, the Titans are kidnapped one by one except for Dick. In this iteration, Damian is kidnapped first, as he’s caught following Tara when he and Raven begin to become suspicious of her intentions. In the days before his rescue, Slade taunts the twelve-year-old by reading him texts about the party he’s missing at Titans Tower while being held hostage. “You should go,” Damian retorts, “playing with teenagers is about your speed.” “I’m not gonna let you bait me, kid,” Slade replies, but by the end of the conversation, he’s threatening Damian with the line: “Shame I don’t have more time to break you down. Inside a month, I’d have you bringing me my pipe and calling me Papa.”
Icky lines like this correlate with scenes reminiscent of Tara and Slade’s time together in the New Teen Titans. Tara is a made-up nymphet in glossy hot pink lingerie and gaudy colorful makeup. She approaches him while he’s doing research on the Titans and presses herself against him, stealing a kiss before—like in Priest’s run—he pushes her away and scolds her for her behavior. “Just a lit-
tle longer, Tara. With the money from [Brother] Blood, we’ll form our own league of assassins. You and I. Together in every way.”
Unsurprisingly, this promise never comes to fruition. Slade surrenders Tara alongside the Titans to complete the contract after Dick is wrongly presumed dead. Following Dick’s rescue mission and the battle that ensues, Tara commits suicide and takes her dying breaths in Beast Boy’s arms. Unlike in the comics, she isn’t even granted the respect of an ending scene funeral.
These three examples of Judas Contract arcs and adaptations make it apparent that D.C. has handled the emotional and sexual abuse of Tara Markov about as well as they’ve handled the experiences of several other characters, both in and outside of the Titans team specifically. On-screen rape in comics is always surrounded by controversy, but the domination of female characters as proof of an antagonist’s inherent evil has been an accepted trope in and outside of the
genre for decades. To quote John Ridley in The Other History of the D.C. Universe, “Tara deserved more than what she got, and she deserved to be remembered as being better than the nature to which she succumbed. But history is written by the living. Not the dead.”
THE CURRENT CINEMA HOOP DREAMS
The aspirations, struggles, and triumphs of Hoop Dreams
BY MITHILA HRIDY
The critically acclaimed documenta-
ry Hoop Dreams, which Steve James directed in 1994, is not just a basketball movie; it also offers a moving and powerful examination of the American dream, social inequality, and the never-ending pursuit of excellence. In pursuit of their goals of becoming professional basketball players, two teenage African American basketball players, William Gates and Arthur Agee, are followed throughout the course of five years in this documentary.
Hoop Dreams is still a timeless and engrossing cinematic masterpiece, fundamentally an ode to the strength of
dreams. Basketball is more than just a game for William and Arthur; it’s a ticket to a brighter future. Having grown up in Chicago’s impoverished areas, they view basketball as their ticket out of a life of struggle and adversity. Their unrelenting resolve to succeed on the court in spite of many challenges is masterfully shown in the documentary.
The film opens with a mesmerizing scene of young William Gates shooting hoops in a dimly lit gym, symbolizing the birth of his dream. This dream isn’t just about becoming a basketball player; it’s about escaping the limitations of his environment and transcending the ex-
pectations set for young African American men in inner-city Chicago. Similarly, Arthur Agee dreams of making it to the NBA as he dribbles through the cramped hallways of his housing project. These early scenes establish the dreams of these young boys as the driving force of their lives.
Hoop Dreams takes us on a rollercoaster journey through the pursuit of excellence in basketball. William and Arthur are incredibly talented players, and this film meticulously documents their development from high school prospects to potential college athletes. Their dedication, hours of practice, and the support of their families and coaches are showcased as they strive to make it to the next level.
The film doesn’t shy away from the harsh realities of the game. I see the pressure, the injuries, and the politics of high school basketball. The intensity of competition is palpable as the boys’ face challenges on and off the court. They learn that talent alone is not enough to guarantee success; perseverance and resilience are equally vital. This narrative resonates not only with aspiring athletes but with anyone striving for excellence in their chosen field.
One of the most striking aspects of Hoop Dreams is its portrayal of the socioeconomic disparities that exist in America. William and Arthur come from impoverished families where their parents work hard to make ends meet. The film contrasts their lives with those of their more affluent, predominantly white counterparts, who attend suburban high schools with better facilities and resources. This stark contrast serves as a microcosm of the larger social and economic disparities that exist in the United States.
The documentary emphasizes how one’s socioeconomic status frequently determines access to high-quality education, coaching, and opportunities. William and Arthur face numerous obstacles in their pursuit of basketball excellence, from navigating the complexities of school transfers to finding ways to fund their basketball dreams. These challenges underscore the systemic inequalities that persist in American society.
A central theme in Hoop Dreams is the role of family in the lives of William and Arthur. Their families provide unwavering support and love throughout their journey. The documentary paints a heartfelt picture of the sacrifices their parents
made to dream of a better life for their children. For William, his older brother, Curtis, serves as a mentor and role model, guiding him through the ups and downs of the basketball world. Arthur’s mother, Sheila, emerges as a resilient figure, working tirelessly to ensure her son has the opportunities he deserves. The bonds between these families and their sons are a testament to the power of familial love and support.
Hoop Dreams doesn’t shy away from the harsh realities of life. Both William and Arthur face significant setbacks in their basketball journeys. William, in particular, suffers a devastating knee injury that threatens to derail his dreams. Arthur faces academic challenges that make it difficult for him to secure a college scholarship. These setbacks highlight the fragility of success in the world of sports. However, what sets these young men apart is their resilience. They refuse to give up on their dreams, even when the odds are stacked against them. William undergoes grueling rehabilitation to recover from his injury, while Arthur works tirelessly to improve his academic performance. Their determination in the face of adversity is a source of inspiration, reminding us all of the importance of perseverance.
Race is an underlying theme in Hoop Dreams, as it is in the lives of William and Arthur. The film subtly addresses the racial dynamics at play in their pursuit of basketball excellence. As young African American men in a predominantly white sport, they face both overt and covert forms of racism.
Overt racism is clearly evident in the documentary. William and Arthur frequently encounter overt discrimination, primarily from people who think that their racial backgrounds limit their success in basketball. Some white coaches, scouts, and even teammates harbor preconceived biases about their abilities based on stereotypes. For instance, there’s a poignant moment in the film where Arthur’s mother is told that a predominantly white high school may not be the best place for him, hinting at a racial bias in opportunities. This kind of overt racism serves as a reminder of the pervasive prejudices that people of color, particularly black individuals, continue to confront when aspiring to achieve their dreams.
Covert racism, on the other hand, is more insidious. It’s manifested through systemic inequalities and subtle biases. The documentary subtly captures the microaggressions and unequal treatment
that William and Arthur encounter, often disguised as being part of the game. The lack of resources and opportunities in their underfunded, predominantly black school compared to more affluent white schools is a stark example of systemic racism. The racial profiling incidents, like the police questioning of Arthur while he’s simply shooting hoops, speak to the everyday challenges black youth face.
The impact of overt racism is immediate and painful, creating barriers that are difficult to overcome. It can shatter dreams, as seen in William’s injury, which many attribute to a lack of proper care and opportunities. In contrast, covert racism operates more subtly, making it harder to pinpoint. It erodes the self-esteem and confidence of individuals over time, limiting their access to resources and support.
In Hoop Dreams, the racial element not only adds complexity to William and Arthur’s journey but also serves as a microcosm of the broader issues of racial inequality in America. It highlights the systemic barriers that marginalized communities often encounter, making their pursuit of success an uphill battle. This documentary is a poignant reminder of the resilience and strength required by black youth in the face of such adversi-
ty, shedding light on the deeply rooted issues of racial inequality that persist in our society. William and Arthur’s story becomes a symbol of hope, inspiring viewers to confront these issues and work towards a more equitable future. The documentary captures instances of racial profiling, discrimination, unequal treatment and the challenges that black youth encounter in pursuing their dreams.
Hoop Dreams also explores the illusion of stardom. Both William and Arthur have aspirations of playing in the NBA, but only a fraction of high school basketball players ever make it to that level. The documentary showcases how the promise of fame and fortune can be both a motivating force and a double-edged sword. As the boys grow older, they face the harsh reality that the path to the NBA is fraught with uncertainty. The film captures their moments of selfdoubt and the realization that the odds are against them. This exploration of the illusion of stardom serves as a cautionary tale, reminding us that the pursuit of dreams should be tempered with a dose of realism.
Hoop Dreams has had a profound impact since its release in 1994. It has been celebrated as one of the greatest documentaries ever made and also won the Audience Award at the Sundance Film Festival in 1994, and since then, has garnered critical acclaim worldwide. Its influence extends beyond the world of cinema and into the realms of sports, social justice, and education. First and foremost, it increased visibility for young, aspiring athletes hailing from underprivileged backgrounds. Through its compelling storytelling, the film made their struggles and dreams vividly visible to a wide audience. It prompted conversations and contemplation about the formidable challenges faced by marginalized communities in their quest to excel in the world of sports.
One of the film’s lasting legacies is its advocacy for education among student-athletes. Hoop Dreams passionately emphasized the critical need for academic support and mentorship for young athletes. This led to a surge in advocacy for the rights and opportunities of student-athletes, ensuring that they receive not only athletic coaching but also educational empowerment.
Moreover, Hoop Dreams emerged as a powerful source of inspiration for
countless young athletes. William and Arthur’s journey taught them valuable life lessons about resilience, hard work, and the unwavering support of family. The documentary served as a wellspring of motivation, encouraging these young individuals to surmount their own obstacles and chase their dreams with renewed vigor.
Beyond its impact on sports and education, Hoop Dreams also stands as a poignant social commentary. The documentary eloquently exposes the racial and socioeconomic disparities deeply ingrained in American society. It has become an indispensable educational tool, used to stimulate conversations and reflections on themes of race, inequality, and access to opportunities.
The film has also had a transformative effect on the world of documentary filmmaking. The film’s monumental success set a new standard, inspiring documentary filmmakers to embrace long-form storytelling and immerse themselves in the lives of their subjects over extended periods. It paved the way for a new era of documentary filmmaking, where indepth exploration of human experiences became the hallmark of the craft. In doing so, Hoop Dreams etched its name in the annals of film history as a trailblazing work that not only captured hearts but
also sparked significant change in society and the art of filmmaking.
Hoop Dreams is a timeless masterpiece that transcends the world of basketball to become a compelling narrative about the human spirit and the pursuit of dreams. It is a mirror reflecting the struggles, aspirations, and inequalities of American society. William Gates and Arthur Agee’s journey is a testament to the power of dreams, the importance of resilience, and the enduring bonds of family. We are reminded that the pursuit of excellence is not limited to the realm of sports. It is a universal theme that resonates with anyone who strives for greatness in their chosen field. The documentary continues to inspire, educate, and provoke discussions about the challenges and opportunities that shape our lives.
Hoop Dreams is more than a film; it is a reflection of the American dream and a testament to the indomitable human spirit. In the world of documentary filmmaking, it stands tall as a beacon of storytelling excellence, reminding us of the power of cinema to capture the essence of our shared human experience.
