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01 MOVIE REVIEW

2017

MOVIE REVIEW

GHOST IN THE SHELL: MISGUIDED, UNINSPIRED AND NOTHING LIKE THE ORIGINAL So many of the iconic heroes and heroines of anime classics –from Goku to charming little Astro Boy to Ash Ketchum—are remembered for their smiles, even in the face of danger. They’re surrounded by vile evildoers, too stupid to see what fans know from the very start: don’t confuse kindness for weakness.

The 2017 Hollywood re-adaptation of Ghost in the shell takes a different step. It follows closely on the original’s style and visuals, but seems to ignore what made the original story so unique: it misinterprets quietness for flatness, optimism for one-liners and futurism for plot.

The original manga posed a philosophical question: “What does it mean to be human?” In a world where biotechnology is so advanced that cyber implants are commonplace, where surgeons have enhanced robot eyes, and politicians have bionic mouths, it challenges our perception of what makes a person themselves. Is it their brain? Their consciousness? Their soul?

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Through Motoko Kusanagi, a cyborg squad leader from sector 9 asks these questions. Her presence was something to hold onto in this crazy, dystopian futuristic nightmare. While the world was cruel and unforgiving, Motoko was childish, impulsive and awfully endearing. Watching her trade insults with her troops, calling Aramaki “Ape Face” or sticking her tongue out at her arch nemesis in a life-threatening situation was adorable and made her stand out in the chaos of it all. But she wasn’t stupid. She was completely aware that her body was entirely cybernetic and that was something that made her second-guess her own humanity.

THE ORIGINAL MANGA POSED A PHILOSOPHICAL QUESTION: “WHAT DOES IT MEAN TO BE HUMAN?” But Scarlett Johansson’s take on Motoko is stern, disciplined, and uninspired. An emotionless face with a sharp, ponderous stare. She always looks confused and worried, even when the situation warrants a laugh, or when her comrade Batou cracks a joke or two.

And the character’s jumps between Japanese and English dialogue are jarring and should’ve been completely avoided. At one point, someone in the theater shouted, “Pick one!” and everybody laughed. He had a point. The movie is plagued with hesitation.

But the 2017 live action remake recreated all the cyberpunk visuals—almost shot by shot—and nothing else. It translates into a vacuous story of choreographed action, losing so much time in uninspired gunfights, that it’s over-the-top-ness becomes trivial by minute 20. The movie grips you in a race car and speeds you through its plot screaming in your ear “fast fast fast!” until we reach some kind of plot device and then it goes “slow, slow, slow.” It’s an inconsistent wonky rollercoaster.

The original Ghost in the Shell thrives in rich, existential thought, one that inspired movies later box-office hit films like Avatar and the Matrix. It finds its value in the philosophical realm of human existence. Its vision was revolutionary and thought-provoking, and its deteriorating, over-industrialized world was an ominous warning of what a technologically-driven world may bring.

TO BE OR NOT TO BE

And it’s a shame, especially with such a memorable character as Motoko. She’s a blank slate, a living weapon with very few memories of her past. And that’s what makes her so special. She’s a hacker, a prodigy melee-fighter and an assassin.

She’s a cyborg with superhuman strength that leaps between skyscrapers, runs across walls and shoots down bullets. She’s the kind of person shady corporations hire to make people disappear without leaving a trace.

But in the original manga, she’s also a girl. A rebellious teenager with a quirky humor and a cynical attitude with all the hormones and self-esteem problems of an average high school senior. The artist captures her kindled spirit, her fears and struggles and grounds her on a human scale that seems believable, even in the midst of this crazy world.

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MOVIE REVIEW

LOVE, PYRAMIDS AND A WEDDING Cairo Time, is a meditative, pondering look into Egypt’s daily life and culture through the impossible love affair between a married Canadian magazine editor, Juliette (Patricia Clarkson), and a retired Egyptian man named Tareq (Alexander Siddig).

From the very first exchange between Tareq and Juliette in Cairo’s international airport, we get a note of the kind of silence the movie thrives on. Ms. Clarkson’s portrayal of Juliette is one of long, thoughtful pause.

Tareq introduces himself and Juliette reacts with confusion and disbelief. She’s expecting her husband yet finds one of his former UN security guards greeting her instead. Her paused response lingers for a sum five seconds, an eternity on film. And it’s these kinds of pauseful, quiet interactions that the movie thrives on.

Tension occurs, not in what transpires between the two, but the complete opposite. It’s what doesn’t happen between the unlikely pair that has us gripped.

And it’s effective. The movie paces beautifully through the breathtaking landscape of Egypt, making note of both its beauty and its plethora of problems: poverty, child labor and religious misogyny to name a few. But it doesn’t linger on them. That’s not the purpose of this movie. Juliette our bridge into experiencing Egyptian culture, and we will only go as far as she’ll take us.

As the days go by and her husband keeps getting delayed, Juliette starts to loose herself in loneliness and isolation, stuck in that hotel room. And when she tries to go

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Cairo Time, is a meditative, pondering look into Egypt’s daily life and culture through the impossible love affair between a married Canadian magazine editor, Juliette (Patricia Clarkson), and a retired Egyptian man named Tareq (Alexander Siddig).

From the very first exchange between Tareq and Juliette in Cairo’s international airport, we get a note of the kind of silence the movie thrives on. Ms. Clarkson’s portrayal of Juliette is one of long, thoughtful pause.

Tareq introduces himself and Juliette reacts with confusion and disbelief. She’s expecting her husband yet finds one of his former UN security guards greeting her instead. Her paused response lingers for a sum five seconds, an eternity on film. And it’s these kinds of pauseful, quiet interactions that the movie thrives on.

Tension occurs, not in what transpires between the two, but the complete opposite. It’s what doesn’t happen between the unlikely pair that has us gripped.

And it’s effective. The movie paces beautifully through the breathtaking landscape of Egypt, making note of both its beauty and its plethora of problems: poverty, child labor and religious misogyny to name a few. But it doesn’t linger on them. That’s not the purpose of this movie. Juliette our bridge into experiencing Egyptian culture, and we will only go as far as she’ll take us.

As the days go by and her husband keeps getting delayed, Juliette starts to loose herself in loneliness and isolation, stuck in that hotel room. And when she tries to go out, she finds herself wandering aimlessly, walking down the streets of Egypt until young men start following her, staring at her western clothing and whispering profanities.

And Juliette is used to a busy, different kind of life. As editor for a fashion mag-

Cairo Time, is a meditative, pondering look into Egypt’s daily life and culture through the impossible love affair between a married Canadian magazine editor, Juliette (Patricia Clarkson), and a retired Egyptian man named Tareq (Alexander Siddig).

From the very first exchange between Tareq and Juliette in Cairo’s international airport, we get a note of the kind of silence the movie thrives on. Ms. Clarkson’s portrayal of Juliette is one of long, thoughtful pause.

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Cairo Time, is a meditative, pondering look into Egypt’s daily life and culture through the impossible love affair between a married Canadian magazine editor, Juliette (Patricia Clarkson), and a retired Egyptian man named Tareq (Alexander Siddig).

From the very first exchange between Tareq and Juliette in Cairo’s international airport, we get a note of the kind of silence the movie thrives on. Ms. Clarkson’s portrayal of Juliette is one of long, thoughtful pause.

Tareq introduces himself and Juliette reacts with confusion and disbelief. She’s expecting her husband yet finds one of his former UN security guards greeting her instead. Her paused response lingers for a sum five seconds, an eternity on film. And it’s these kinds of pauseful, quiet interactions that the movie thrives on.

Tension occurs, not in what transpires between the two, but the complete opposite. It’s what doesn’t happen between the unlikely pair that has us gripped.

And it’s effective. The movie paces beautifully through the breathtaking landscape of Egypt, making note of both its beauty and its plethora of problems: poverty, child labor and religious misogyny to name a few. But it doesn’t linger on them. That’s not the purpose of this movie. Juliette our bridge into experiencing Egyptian culture, and we will only go as far as she’ll take us.

As the days go by and her husband keeps getting delayed, Juliette starts to loose herself in loneliness and isolation, stuck in that hotel room. And when she tries to go out, she finds herself wandering aimlessly, walking down the streets of Egypt until young men start following her, staring at her western clothing and whispering profanities.

And Juliette is used to a busy, different kind of life. As editor for a fashion mag-

Cairo Time, is a meditative, pondering look into Egypt’s daily life and culture through the impossible love affair between a married Canadian magazine editor, Juliette (Patricia Clarkson), and a retired Egyptian man named Tareq (Alexander Siddig).

From the very first exchange between Tareq and Juliette in Cairo’s international airport, we get a note of the kind of silence the movie thrives on. Ms. Clarkson’s portrayal of Juliette is one of long, thoughtful pause.

Tareq introduces himself and Juliette reacts with confusion and disbelief. She’s expecting her husband yet finds one of his former UN security guards greeting her instead. Her paused response lingers for a sum five seconds, an eternity on film. And it’s these kinds of pauseful, quiet interactions that the movie thrives on.

Tension occurs, not in what transpires between the two, but the complete opposite. It’s what doesn’t happen between the unlikely pair that has us gripped.

And it’s effective. The movie paces beautifully through the breathtaking landscape of Egypt, making note of both its beauty and its plethora of problems: poverty, child labor and religious misogyny to name a few. But it doesn’t linger on them. That’s not the purpose of this movie. Juliette our bridge into experiencing Egyptian culture, and we will only go as far as she’ll take us.

As the days go by and her husband keeps getting delayed, Juliette starts to loose herself in loneliness and isolation, stuck in that hotel room. And when she tries to go out, she finds herself wandering aimlessly, walking down the streets of Egypt until young men start following her, staring at her western clothing and whispering profanities.

And Juliette is used to a busy, different kind of life. As editor for a fashion mag-

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02 BUSINESS WRITING

2016

BUSINESS WRITING

BEETNIX OPENS ITS DOORS In early Spring, a new vegan “superfoods” and juice bar just opened its doors for the first time in Broughton Street. Gluten-free, conservative-free, pesticide-free, GMO-free, everything free!

Beetnix is located below its sister venue, Dancing Dogs Yoga studio. According to Shelley Lowther, the owner of both, they aim to create a tightly-knit community between the two.

That’s how Beetnix came to be and Lowther claims it’s already bustling with clients.

“At Dancing Dogs Yoga our focus isn’t getting you into a handstand. Our focus is getting you into a community. One that is supportive. I wanted to build into that community,” said Lowther.

I tried one of their juices “Sun Salutation” and I was pleasantly surprised.

“It’s been nonstop,” said Lowther. “I’ve always had the idea of having a juice bar or a health food store attached to my yoga studio. Providing people with other ways to get healthy. Not just the physical act of yoga and meditation but also bringing diet into that realm.”

The citrus-sweet taste was a refreshing way to kickstart the day and bottle came in beautiful laser-printed glass.

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said Nicholas Buttimer, the general manager of Beetnix.

Buttimer also mentioned some of the thoughts behind the customer experience. He said Beetnix aims to be a fast and healthy venue for people with busy schedules.

“Half our menu flows through the chill wall. It’s all grab-‘n’-go. So they just stand in line and they’re ready to go and be back in the office,” said Buttimer.

Lowther said she had the idea for quite a while. She felt that they had raised the bar for Yoga in Savannah, and it was time to raise it for superfoods and healthy smoothies as well.

And they all felt very confident about Beetnix success.

“If you look at places like California, New York, and even Florida, operations like ours –such as vegan or vegetarian cafés— are popping up everywhere.

People love them,” said Buttimer.

The recipes are pretty extravagant, and they include a vast array of ingredients, from turmeric to pitaya and all kinds of seeds. The smoothies have some of the most interesting combinations in their menu –like a recovery smoothie for athletes. It has ingredients such as reishi (mushroom powder) for muscle regeneration and maka for stamina.

“Usually a smoothie was created from a need. I needed something to boost up my immune system or I needed something after a run and that was the recipe that I 1

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The easy thing to do would be to use plastic. But we firmly believe that we sell a high-quality premium product and we think presentation should reflect that.

came up with,” said Lowther.

She is very interested in superfoods and has researched all kinds of roots, herbs, and seeds in creating the menu.

“Most of it was a process behind my kitchen counter. It started with me, but it’s also been a collaboration. I took the basis of how I would make my juice, and we’ve taken them to a bigger scale,” said Lowther.

The easy thing to do would be to use plastic. But we firmly believe that we sell a high-quality premium product and we think presentation should reflect that.

When asked about the name, Lowther said it’s a twist on the concept of “beatniks.” She wanted something hip and fun.

“There’s an old Facebook meme “Lettuce, turnip, the beet,” and we were playing with things like that. Beetnix came out of it. It’s a throwback, but it’s also very relevant.”

03 INTERVIEW

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2017

INTERVIEW

COMPOSER DAVID LANG TALKS “YOUTH”

David Lang, Pulitzer award-winning composer and one of the honored guests at the Savannah Film Festival of 2015, had his most recent film score for the movie “Youth” screening at the Trustees theatre on Monday, Oct. 26.

During an interview, Lang shared what it’s like working in the film i ndustry as a composer. The way he described it a director has a vision—an emotional story he wants to tell—and it is the composer’s job to help the director tell that story.

Lang shared some of his process in working in the film industry.

The way he described it, a director has a vision — an emotional story he wants to tell, and it is the composer’s job to help the director tell that story.

According to Lang, there is a vast difference in the process behind composing for a concert, and composing for a film.

The movie “Youth,” one of the main features at this year’s Film Festival, has been described as “a voluptuary’s feast, a full-body immersion in the sensory pleasures of the cinema” by The Hollywood Reporter after the film screened at the Cannes Film Festival.

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“The biggest challenge for me was trying to get inside the character because the character is a composer and because the whole movie is basically about his emotional life,” said Lang.

THE ORIGINAL MANGA POSED A PHILOSOPHICAL QUESTION: “WHAT DOES IT MEAN TO BE HUMAN?” The film revolves around a retired musician/composer named Fred (Michael Caine) and, according to Lang, how this character looks back on his life; what music meant to him when he was young and what it means to him close to the end of his life.

“That kind of distance is using music in a very powerful way, which is to mark how long his life is—what kind of emotional journey he’s on.”

Fred’s development has led Lang to reflect on his own life as a composer.

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The movie “Youth,” one of the main features at this year’s Film Festival, has been described as “a voluptuary’s feast, a full-body immersion in the sensory pleasures of the cinema” by The Hollywood Reporter after the film screened at the Cannes Film Festi “To me, the most difficult thing, but also the most beautiful thing, was to try to project myself into that same kind of emotional narrative.”

He illustrated by sharing the questions that the movie evoked in himself.

“What’s my relationship to the music I wrote many years ago, how have I changed?

What’s it like to be older, and to realize that time is slipping away and how does your music show that?”

Lang mentioned how this kind of engagement was “a very powerful thing,” how it was challenging but also “a great gift.”

“That’s really what Paolo asked [me] to do in the song, which I think is so beautiful.

You’re supposed to hear at the end of this movie, that this song encapsulates both ideas of where he was and where he is.”

He explained how musical scores are “sort of like time capsules,” where people are capable of remembering a moment in their lives when they were, essentially, another person. Lang said he was able to take that from his life and project it into Fred’s.

“At least I was able to identify with that aspect of him: that music is really about the passage of time.”

Before leaving, Lang shared some words of advice to SCAD students and aspiring artists around the world.

When asked about his future projects, Lang said he’s currently working on operas.

“My advice is that creativity is basically about risk. It’s about saying: ‘I can imagine something that could be in the world isn’t yet, and it’s not going to be, unless I put it there.’

“It’s is where my heart is. I have a lot of ridiculous projects coming up, which is really great.”

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04 HUMOR WRITING

2017

HUMOR WRITING

A RESIGNATION LETTER OF A NSA SURVEILLANCE OPERATIVE Dear Mr. Burke: I was performing my formal duties a few days ago, when I came to a sudden and unexpected conclusion.

I am not appreciated here.

First of all, I’d like to state –once and for all– that my name is definitely not Larry.

Or Lars. Or Larregmeister. In all my time working here I have always maintained a consistent level of respect and admiration for you. Because of this, I’ve kept quiet about my displeasure in the matter. And I tried very hard to bring it to your attention. I bolded my name in my work reports; I asked co-workers to say it in front of you; I even brought you those Starbucks chai lattes you like so much. And I made so sure they spelled my name right.

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I worked overtime. Spending holidays away from my family. My wife Sara always said you were “an insensitive prick.” But I defended you. “He’s a busy man, darling; he’s keeping the country safe! He doesn’t have time for petty things.”

Like BBQs. I invited you to so many. I wore my favorite apron. The one with the caption that reads “My boss rocks!” above the picture of a penguin playing electric guitar.

You never came.

Over the years I’ve stuck with you through thick and thin. Remember that time you asked me to tap into Senior Home phone lines? By the end of the week I knew bingo slang better than my own grandmother. Did you know they call the #88 “two fat ladies?” I couldn’t tell you why. What I can tell you is it has nothing to do with terrorists.

I heard so many callous stories of a woman named “Ms. Rodgers” that I could probably draw you a topographical map of her feet. I also learned 12 different methods to infuse olive oil. Which, not that you would know, but it really perfected my BBQs. Not that you would know.

I spent so much time listening to old women discuss knitting techniques that I bought my own kit and made Christmas sweaters. I made you one, remember? I knit a cute Rudolph trying to use a keyboard, but his hooves were too big to type so he just stared at it in disbelief. I even signed it as “Larry” so you could tell who it was from.

You never wore it.

Do you remember the time you made me play “Counterstrike” because you believed Osama’s associates were conspiring online? I raised my hand during that meeting. Asked if they’d really go with a terrorist-themed videogame and you said “Dammit, Larry! That’s what they want you to think. They’re hiding in plain sight!” I believed it. I thought you were a brilliant man.

Or what about that time you made me monitor people’s webcams? I discovered a lot about the human body. It’s amazing what people do with webcams in the comfort of their privacy. Sara still wonders why I don’t allow our children to have their own laptops.

But I stayed. Even after the government threatened to lower our budget. Even after headquarters questioned your authority. Even after all the controversy and protests.

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I stood by you.

But then you started sending out those hurtful emails to your wife, Melissa, calling me a “creep.” It really hurt. I thought I was your Lars.

I only installed one camera in your house. One. A tiny one above your bed. I couldn’t help myself. You just look so peaceful when you sleep.

Then imagine my reaction when I find that birthday card I sent you stashed under dirty cafeteria napkins. You didn’t even bother to open it. I know because I used glitter glue on the corners and they were still intact.

I’m heartbroken.

I thought you were a busy man. Now I realize you simply don’t care. So please take this as my formal resignation. I wish you the best in your affairs.

Please, don’t try to stop me. By the time you get this I’ll already be somewhere in Argentina, starting my own BBQ joint like that guy from Pootie Tang.

And don’t bother calling my now abandoned house. You will only hear a pre-recorded message of Ms. Rodgers counting her callouses.

Not forever yours,

Boris

LATER 1

06 CHANGE THIS

2017

HUMOR WRITING

URABENO “I can’t,” Arturo says, raising his hands in dismissal. “Between my career and my health, I don’t even have time for a girlfriend, let alone a child!”

Jose laughs. “Oh, sure,” he says, “that’s why you can’t get a girlfriend!”

Arturo lights another cigar. “Well, I might not have won the genetic lottery in this family, but at least I’m not out there having illegitimate children no one else knows about.”

Jose chuckles, hysterical. “Good old Sebas. Almost 60 and still kicking! Who’d knew he still had it in him!”

“I wonder who the unlucky girl was,” Arturo added.

“Enough. Have some respect; the funeral ended mere hours ago. You two are worse than children. You couldn’t raise a kid, even if you wanted to,” Claudia said. “This is serious. Without a legal guardian, it falls unto us to make a decision.”

“Well, if you’re so eager to act your age, why don’t you just adopt her and be done with it?” Jose said, “Might do you some good too. Aren’t you almost 40 and single? This might be your only chance.” A smirk plastered on his face.

Claudia throws a bottle at his feet and it shatters in a hundred little pieces.

“Woah there! Relax. It was a joke,” Jose says, cleaning his glasses.

“I can’t believe we didn’t get a single cent. All he leaves behind is that dirty old house and it’s nothing but rubble and tinder now,” Arturo says.

I get up from the wine stained couch and walk out of the living room.

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“I can’t,” Arturo says, raising his hands in dismissal. “Between my career and my health, I don’t even have time for a girlfriend, let alone a child!”

Jose laughs. “Oh, sure,” he says, “that’s why you can’t get a girlfriend!”

Arturo lights another cigar. “Well, I might not have won the genetic lottery in this family, but at least I’m not out there having illegitimate children no one else knows about.”

Jose chuckles, hysterical. “Good old Sebas. Almost 60 and still kicking! Who’d knew he still had it in him!”

“I wonder who the unlucky girl was,” Arturo added.

“Enough. Have some respect; the funeral ended mere hours ago. You two are worse than children. You couldn’t raise a kid, even if you wanted to,” Claudia said. “This is serious. Without a legal guardian, it falls unto us to make a decision.”

“Well, if you’re so eager to act your age, why don’t you just adopt her and be done with it?” Jose said, “Might do you some good too. Aren’t you almost 40 and single? This might be your only chance.” A smirk plastered on his face.

Claudia throws a bottle at his feet and it shatters in a hundred little pieces.

“Woah there! Relax. It was a joke,” Jose says, cleaning his glasses.

“I can’t believe we didn’t get a single cent. All he leaves behind is that dirty old house and it’s nothing but rubble and tinder now,” Arturo says.

I get up from the wine stained couch and walk out of the living room.

Claudia shouts at me. “Where are you going? Barely a word from you and you just stand up and leave? You look so much like her, maybe you should take care of her!”

“I don’t think an Urabeno should be anywhere near a child,” Arturo said, “he’s probably going to end up back in jail anyways. Then she’ll be our responsibility again.”

“I can’t,” Arturo says, raising his hands in dismissal. “Between my career and my health, I don’t even have time for a girlfriend, let alone a child!”

Jose laughs. “Oh, sure,” he says, “that’s why you can’t get a girlfriend!”

Arturo lights another cigar. “Well, I might not have won the genetic lottery in this family, but at least I’m not out there having illegitimate children no one else knows about.”

Jose chuckles, hysterical. “Good old Sebas. Almost 60 and still kicking! Who’d knew he still had it in him!”

“I wonder who the unlucky girl was,” Arturo added.

“Enough. Have some respect; the funeral ended mere hours ago. You two are worse than children. You couldn’t raise a kid, even if you wanted to,” Claudia said. “This is serious. Without a legal guardian, it falls unto us to make a decision.”

“Well, if you’re so eager to act your age, why don’t you just adopt her and be done with it?” Jose said, “Might do you some good too. Aren’t you almost 40 and single? This might be your only chance.” A smirk plastered on his face.

Claudia throws a bottle at his feet and it shatters in a hundred little pieces.

“Woah there! Relax. It was a joke,” Jose says, cleaning his glasses.

“I can’t believe we didn’t get a single cent. All he leaves behind is that dirty old house and it’s nothing but rubble and tinder now,” Arturo says.

I get up from the wine stained couch and walk out of the living room.

Claudia shouts at me. “Where are you going? Barely a word from you and you just stand up and leave? You look so much like her, maybe you should take care of her!”

“I don’t think an Urabeno should be anywhere near a child,” Arturo said, “he’s probably going to end up back in jail anyways. Then she’ll be our responsibility again.”

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“I can’t,” Arturo says, raising his hands in dismissal. “Between my career and my health, I don’t even have time for a girlfriend, let alone a child!”

Jose laughs. “Oh, sure,” he says, “that’s why you can’t get a girlfriend!”

Arturo lights another cigar. “Well, I might not have won the genetic lottery in this family, but at least I’m not out there having illegitimate children no one else knows about.”

Jose chuckles, hysterical. “Good old Sebas. Almost 60 and still kicking! Who’d knew he still had it in him!”

“I wonder who the unlucky girl was,” Arturo added.

“Enough. Have some respect; the funeral ended mere hours ago. You two are worse than children. You couldn’t raise a kid, even if you wanted to,” Claudia said. “This is serious. Without a legal guardian, it falls unto us to make a decision.”

“Well, if you’re so eager to act your age, why don’t you just adopt her and be done with it?” Jose said, “Might do you some good too. Aren’t you almost 40 and single? This might be your only chance.” A smirk plastered on his face.

Claudia throws a bottle at his feet and it shatters in a hundred little pieces.

“Woah there! Relax. It was a joke,” Jose says, cleaning his glasses.

“I can’t believe we didn’t get a single cent. All he leaves behind is that dirty old house and it’s nothing but rubble and tinder now,” Arturo says.

I get up from the wine stained couch and walk out of the living room.

Claudia shouts at me. “Where are you going? Barely a word from you and you just stand up and leave? You look so much like her, maybe you should take care of her!”

“I don’t think an Urabeno should be anywhere near a child,” Arturo said, “he’s probably going to end up back in jail anyways. Then she’ll be our responsibility again.”

“I can’t,” Arturo says, raising his hands in dismissal. “Between my career and my health, I don’t even have time for a girlfriend, let alone a child!”

Jose laughs. “Oh, sure,” he says, “that’s why you can’t get a girlfriend!”

Arturo lights another cigar. “Well, I might not have won the genetic lottery in this family, but at least I’m not out there having illegitimate children no one else knows about.”

Jose chuckles, hysterical. “Good old Sebas. Almost 60 and still kicking! Who’d knew he still had it in him!”

“I wonder who the unlucky girl was,” Arturo added.

“Enough. Have some respect; the funeral ended mere hours ago. You two are worse than children. You couldn’t raise a kid, even if you wanted to,” Claudia said. “This is serious. Without a legal guardian, it falls unto us to make a decision.”

“Well, if you’re so eager to act your age, why don’t you just adopt her and be done with it?” Jose said, “Might do you some good too. Aren’t you almost 40 and single? This might be your only chance.” A smirk plastered on his face.

Claudia throws a bottle at his feet and it shatters in a hundred little pieces.

“Woah there! Relax. It was a joke,” Jose says, cleaning his glasses.

“I can’t believe we didn’t get a single cent. All he leaves behind is that dirty old house and it’s nothing but rubble and tinder now,” Arturo says.

I get up from the wine stained couch and walk out of the living room.

Claudia shouts at me. “Where are you going? Barely a word from you and you just stand up and leave? You look so much like her, maybe you should take care of her!”

“I don’t think an Urabeno should be anywhere near a child,” Arturo said, “he’s probably going to end up back in jail anyways. Then she’ll be our responsibility again.”

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07 CHANGE THIS

2017

HUMOR WRITING

THE FIRST MONDAY IN MAY Film Festival 2016 swells in full swing this week, as well-dressed celebrities walk the carpet and people gather in celebration of one of SCAD’s biggest and most anticipated events.

And while it’s all about the art of filmmaking, that doesn’t mean we can’t take a moment to appreciate fashion, and maybe even try to mix the two.

“The First Monday in May” is a feature-film documentary about the creation of the Metropolitan Museum’s most attended fashion exhibition. China: Through the Looking Glass is an inspiring look at Chinese culture and its historical impact on Western fashion. Directed by Andrew Rossi, an Emmy-nominated director, the film follows the creative people behind the planning of such a massive event.

Perhaps the most memorable scenes of the movie were formed by the palpable personalities shining from the screen. Anna Wintour for example, the authoritative, powerful and elegant editor-in-chief of Vogue comes off as one of the most wildly entertaining element of the film. Her stellar persona shines through witty editing.

“A dragon woman is like the Chinese iteration of femme fatale” narrates a deep old man’s voice, before cutting to the face of Wintour in the back of a black hummer, wearing Gucci sunglasses and holding her staple venti-sized Starbucks cup. She is candid and efficient, and her reputation precedes her as she describes the World Trade Center office design as that of a “second-hand vintage shop.” She even tries to get a 78

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Film Festival 2016 swells in full swing this week, as well-dressed celebrities walk the carpet and people gather in celebration of one of SCAD’s biggest and most anticipated events.

And while it’s all about the art of filmmaking, that doesn’t mean we can’t take a moment to appreciate fashion, and maybe even try to mix the two.

“The First Monday in May” is a feature-film documentary about the creation of the Metropolitan Museum’s most attended fashion exhibition. China: Through the Looking Glass is an inspiring look at Chinese culture and its historical impact on Western fashion. Directed by Andrew Rossi, an Emmy-nominated director, the film follows the creative people behind the planning of such a massive event.

Perhaps the most memorable scenes of the movie were formed by the palpable personalities shining from the screen. Anna Wintour for example, the authoritative, powerful and elegant editor-in-chief of Vogue comes off as one of the most wildly entertaining element of the film. Her stellar persona shines through witty editing.

“A dragon woman is like the Chinese iteration of femme fatale” narrates a deep old man’s voice, before cutting to the face of Wintour in the back of a black hummer, wearing Gucci sunglasses and holding her staple venti-sized Starbucks cup. She is candid and efficient, and her reputation precedes her as she describes the World Trade Center office design as that of a “second-hand vintage shop.” She even tries to get a 78 year-old historic marble pillar removed only to accommodate an extra table.

It seems fitting that this movie is so driven by its characters, given that fashion is made up by anything but vanilla personalities. That’s not to say the clothes aren’t remarkable.

They are. The blend between Chinese patterning, silk fabrics, and ornate jewelry is

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08 CHANGE THIS

2017

HUMOR WRITING

A GLIMPSE INTO THE KAZAKH CULTURE OF ‘EAGLE HUNTRESS’ This film documentary chronicles a 13year old girl’s quest to become a true “Eagle Huntress.” It is packed with all the struggles and challenges that come with such an endeavor: climbing a mountain, raising a wild animal, training arduously for months and risking your life at every step of the way.

But the film is about so much more than that. It’s about cultural identity and transformation. It’s about challenging rigid traditions. It’s about the inseparable, powerful bond between a caring father willing to stand up to his peers and risk his reputation, and a passionate daughter with a dream worth pursuing.

This message rippled through the audience’s hearts at the Savannah Film

This film documentary chronicles a 13year old girl’s quest to become a true “Eagle Huntress.” It is packed with all the struggles and challenges that come with such an endeavor: climbing a mountain, raising a wild animal, training arduously for months and risking your life at every step of the way.

But the film is about so much more than that. It’s about cultural identity and transformation. It’s about challenging rigid traditions. It’s about the inseparable, powerful bond between a caring father willing to stand up to his peers and risk his reputation, and a passionate daughter with a dream worth pursuing.

This message rippled through the audience’s hearts at the Savannah Film

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This film documentary chronicles a 13year old girl’s quest to become a true “Eagle Huntress.” It is packed with all the struggles and challenges that come with such an endeavor: climbing a mountain, raising a wild animal, training arduously for months and risking your life at every step of the way.

But the film is about so much more than that. It’s about cultural identity and transformation. It’s about challenging rigid traditions. It’s about the inseparable, powerful bond between a caring father willing to stand up to his peers and risk his reputation, and a passionate daughter with a dream worth pursuing.

This message rippled through the audience’s hearts at the Savannah Film Festival, who left the Lucas Theatre on Thursday, October, 27 only after clapping through the credits.

But perhaps the most remarkable thing about this documentary is the explora-

This film documentary chronicles a 13year old girl’s quest to become a true “Eagle Huntress.” It is packed with all the struggles and challenges that come with such an endeavor: climbing a mountain, raising a wild animal, training arduously for months and risking your life at every step of the way.

But the film is about so much more than that. It’s about cultural identity and transformation. It’s about challenging rigid traditions. It’s about the inseparable, powerful bond between a caring father willing to stand up to his peers and risk his reputation, and a passionate daughter with a dream worth pursuing.

This message rippled through the audience’s hearts at the Savannah Film Festival, who left the Lucas Theatre on Thursday, October, 27 only after clapping through the credits.

But perhaps the most remarkable thing about this documentary is the explora-

This film documentary chronicles a 13year old girl’s quest to become a true “Eagle Huntress.” It is packed with all the struggles and challenges that come with such an endeavor: climbing a mountain, raising a wild animal, training arduously for months and risking your life at every step of the way.

But the film is about so much more than that. It’s about cultural identity and transformation. It’s about challenging rigid traditions. It’s about the inseparable, powerful bond between a caring father willing to stand up to his peers and risk his reputation, and a passionate daughter with a dream worth pursuing.

This film documentary chronicles a 13year old girl’s quest to become a true “Eagle Huntress.” It is packed with all the struggles and challenges that come with such an endeavor: climbing a mountain, raising a wild animal, training arduously for months and risking your life at every step of the way.

But the film is about so much more than that. It’s about cultural identity and transformation. It’s about challenging rigid traditions. It’s about the inseparable, powerful bond between a caring father willing to stand up to his peers and risk his reputation, and a passionate daughter with a dream worth pursuing.

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This film documentary chronicles a 13year old girl’s quest to become a true “Eagle Huntress.” It is packed with all the struggles and challenges that come with such an endeavor: climbing a mountain, raising a wild animal, training arduously for months and risking your life at every step of the way.

But the film is about so much more than that. It’s about cultural identity and transformation. It’s about challenging rigid traditions. It’s about the inseparable, powerful bond between a caring father willing to stand up to his peers and risk his reputation, and a passionate daughter with a dream worth pursuing.

This message rippled through the audience’s hearts at the Savannah Film Festival, who left the Lucas Theatre on Thursday, October, 27 only after clapping through the credits.

But perhaps the most remarkable thing about this documentary is the explora-

This film documentary chronicles a 13year old girl’s quest to become a true “Eagle Huntress.” It is packed with all the struggles and challenges that come with such an endeavor: climbing a mountain, raising a wild animal, training arduously for months and risking your life at every step of the way.

But the film is about so much more than that. It’s about cultural identity and transformation. It’s about challenging rigid traditions. It’s about the inseparable, powerful bond between a caring father willing to stand up to his peers and risk his reputation, and a passionate daughter with a dream worth pursuing.

This message rippled through the audience’s hearts at the Savannah Film Festival, who left the Lucas Theatre on Thursday, October, 27 only after clapping through the credits.

But perhaps the most remarkable thing about this documentary is the explora-

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09 CHANGE THIS

2017

HUMOR WRITING

REVISITING “CARTEL LAND” “Cartel Land,” the Oscar nominated documentary from 2015 just launched on Netflix. It follows the struggle of the on-going drug wars in Mexico and the story of the ‘Autodefensas’ of Michoacán, a group of civilians who have decided to take matters into their own hands, waging armed conflict against the Knights Templar cartel and his Familia.

During Savannah Film Festival 2016, writer and director, Matthew Heineman, sat down for an interview.

Heineman felt a “deep responsibility” to tell this story. He wanted to highlight there is a war happening in the country just south of the US, a war in which more than a hundred thousand people have been killed, and more than twenty thousand have disappeared.

The movie sheds light on the group of armed civilians, led by the physician Jose Mireles in Michoacán, who are fighting fire with fire against the Knights Templar drug Cartel.

The cameras behind “Cartel Land” take you close to some of the lives the drug wars have affected, even in the midst of shootings. When asked if there was

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“Cartel Land,” the Oscar nominated documentary from 2015 just launched on Netflix. It follows the struggle of the on-going drug wars in Mexico and the story of the ‘Autodefensas’ of Michoacán, a group of civilians who have decided to take matters into their own hands, waging armed conflict against the Knights Templar cartel and his Familia.

During Savannah Film Festival 2016, writer and director, Matthew Heineman, sat down for an interview.

Heineman felt a “deep responsibility” to tell this story. He wanted to highlight there is a war happening in the country just south of the US, a war in which more than a hundred thousand people have

“Cartel Land,” the Oscar nominated documentary from 2015 just launched on Netflix. It follows the struggle of the on-going drug wars in Mexico and the story of the ‘Autodefensas’ of Michoacán, a group of civilians who have decided to take matters into their own hands, waging armed conflict against the Knights Templar cartel and his Familia.

During Savannah Film Festival 2016, writer and director, Matthew Heineman, sat down for an interview.

Heineman felt a “deep responsibility” to tell this story. He wanted to highlight there is a war happening in the country just south of the US, a war in which more than a hundred thousand people have been killed, and more than twenty thousand have disappeared.

The movie sheds light on the group of armed civilians, led by the physician Jose Mireles in Michoacán, who are fighting fire with fire against the Knights Templar drug Cartel.

The cameras behind “Cartel Land” take you close to some of the lives the drug wars have affected, even in the midst of shootings. When asked if there was ever a moment that seemed too dangerous to film, Heineman admitted “there were times” but even then, they always strived to record those moments with.

To capture as much as they could to tell the reality of the story.

Even though there were many moments their lives were at risk filming, he emphasized how it’s nothing special. That they’re not the only ones.

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T H S I C O U L D FA D E I N T O T H E PA G E , T H E B L A C K C O U L D FA D E I N T O T H I S “Cartel Land,” the Oscar nominated documentary from 2015 just launched on G Ethe struggle of the on-going drug wars in Mexico and the story Netflix. ItPA follows

of the ‘Autodefensas’ of Michoacán, a group of civilians who have decided to take matters into their own hands, waging armed conflict against the Knights Templar cartel and his Familia.

During Savannah Film Festival 2016, writer and director, Matthew Heineman, sat down for an interview.

Heineman felt a “deep responsibility” to tell this story. He wanted to highlight there is a war happening in the country just south of the US, a war in which more than a hundred thousand people have been killed, and more than twenty thousand have disappeared.

The movie sheds light on the group of armed civilians, led by the physician Jose Mireles in Michoacán, who are fighting fire with fire against the Knights Templar drug Cartel.

The cameras behind “Cartel Land” take you close to some of the lives the drug wars have affected, even in the midst of shootings. When asked if there was ever a moment that seemed too dangerous to film, Heineman admitted “there were times” but even then, they always strived to record those moments with.

To capture as much as they could to tell the reality of the story.

Even though there were many moments their lives were at risk filming, he emphasized how it’s nothing special. That they’re not the only ones.

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