The Guide: January 20, 2023

Preview of Georgetown’s Theater Scene

Smith Guide Desk Editor

FILM

FILM

MUSIC Red Velvet’s new experiemental EP, “Birthday,” makes great use of the group’s talent.

Emily

ILLUSTRATION BY: JASMINE CRIQUI/THE HOYA

Georgetown’s Theater Scene: Strong Community Builds Strong Shows

Dive into Georgetown’s spring theater scene with a preview of upcoming plays, musicals and shorts.

Emily Smith Guide Desk Editor

Classes have just started, but Georgetown’s theater community is in full swing, ready to bring shows of all genres to the campus community.

The Mask and Bauble Dramatic Society, Nomadic Theatre and Black Theatre Ensemble are all in the midst of auditions for their spring shows. Open to everyone, the groups all share a commitment to building inclusive and supportive communities for their cast and crew. Ranging from musicals to plays, each of these groups brings something new to the campus theater scene.

As the curtains open at showtime, these groups hope their audiences will feel the

dedication that they have put into delivering impactful and entertaining shows.

The Line-Up

This semester’s shows range from fullfledged productions to smaller performances.

Mask and Bauble, a student theater group, chooses three productions: one classic, one musical, and a student-written short. This semester, the group will put on the hit musical “Into the Woods,” with auditions being held until Jan. 21.

The musical, with music and lyrics by Stephen Sondheim and book by James Lapine, weaves a twisted yet humorous exploration of what people are willing to do to make their wishes come true, involving the fairy tales of Cinderella, Little Red Riding

Hood, Rapunzel and Jack and the Beanstalk, among others.

This semester, Mask and Bauble will also host the annual Donn B. Murphy One-Acts Festival, an assortment of one-act performances. Last year the group put on Machinal, Beyond the Lights and Violet.

Nomadic Theatre, a student theater group that focuses on contemporary comedies and dramas, will be producing “Last Summer at Bluefish Cove” by playwright Jane Chambers this spring.

The 1980 play focuses on a group of women at an isolated seaside town on Long Island. Their lesbian enclave is disrupted when a straight woman, recently separated from her husband, stumbles unaware into their resort and falls for the rakish protagonist.

Georgetown’s student-led productions engage theater experts and newcomers alike. Contrary to popular beliefs, participating in Georgetown’s theater scene requires no prior experience.

EMILY SMITH/THE HOYA

In addition to their mainstage productions, Nomadic is also hosting a Miscast charity performance. All proceeds will go towards arts education initiatives in the Washington, D.C. public school system.

Nomadic social engagement coordinator and Miscast performer Cameren Evans (COL ’24) said these performances are designed to give actors opportunities to perform parts for which they would not typically be cast while also raising money for D.C. public schools.

“It’s a take on MCC Theater’s annual ofBroadway Miscast Gala, during which actors sing songs that [they] would traditionally not be cast as—so roles that do not traditionally fit their gender identity, age, race, etc. Miscast is incredibly special because all of the proceeds go to D.C. public schools, which is so cool! Helping to support younger students indulge in their passions and be able to produce art is really exciting,” Evans wrote to The Hoya.

Black Theatre Ensemble, or BTE, which promotes Black voices and heritage in theater through poetry, song and dance, will produce “Long Time Since Yesterday” by playwright P. J. Gibson for their spring production.

“Long Time Since Yesterday” depicts Black women who fell out after college reuniting at the funeral of a friend who died by suicide, BTE Executive Producer Shakeer Hood (COL ’24) said.

Hood said the play is a powerful examination of Black women and tragedy.

“This is an enthralling piece about sisterhood, friendship and the struggles of grief that shows the tenacity and perseverance of black women through times of strife,” Hood wrote to The Hoya.

Like Nomadic, BTE also hosts other performances, such as monthly open-mic cofee houses, that encourage all performers to participate.

In all productions, however, the three groups encourage participation, regardless of skill level or experience.

“Into the Woods” Producer Drew Lent (COL ’25) said this promotes inclusivity in the theater community and dispels the notion that college theater requires an extensive resume.

“The theater community welcomes anybody with any level of experience or background. One misconception about theater is that you need prior experience in performing, but this is so far from the truth,” Lent said. “We are so excited when new people enter the community.”

The roster of Georgetown theater performances requires and relies on new student dedication to bring these powerful performances to life. From the smaller events to the big stage productions, these theater groups build a tight-knit and passionate community in order to bring these shows to their peers.

It Takes a Village

To bring their production to life, each group

must have a cast and crew dedicated to bringing the vision to the stage in order to tackle these stories. The shows rely on student involvement; from the director to the cast to the lighting, everything needs to come together by opening night.

“Into the Woods” Director Orly Salik (COL ’23), who will be overseeing a cast and crew of over 50 people, said having a cohesive team is integral to the production.

“It’s a big one for sure. We’re going to have a cast of 18 and double that number working behind the scenes,” Salik said in an email to The Hoya. “But we chose it because of this wonderful large group of people, both new to theater and old, that we are able to welcome in by doing the show.”

The commitment to the full production can seem daunting, but Evans said her admiration for her fellow students who find the time to perform is what brings her across the finish line.

“Creating art with people is always remarkable, but it’s especially significant because of how much people care about the shows we put on,” Evans said. “Most people in any process are full-time students with jobs and several other commitments, but they still choose to spend several hours a week to make a show happen.”

With the amount of time and energy invested in the show, those working on productions become close over the theater season, strengthening their performances.

Actor Grace Tourtelottee (COL ‘25) performed in last semester’s production of “RENT” and recalls the positive efects of spending so much time working on a show.

“I have found an amazing community in theater. This past fall I was in Nomadic’s production of RENT and the entire cast and crew got so close. It really brings people together.”

Hiruni Herat (COL ’23), director of “Last Summer at Bluefish Cove,” said that theater helped them find their home on campus.

“When I transferred to Georgetown I had no idea what I was doing and what groups I would be involved in,” Herat said in an interview with The Hoya. “When I went to the first theater interest meetings, I knew I had found my community.”

Herat said they have made lifelong friends from Nomadic, and that their work in theater has even helped them to realize they want to work in the arts professionally.

“When I came to Georgetown I had no idea what path lay ahead of me but throughout my time in the Georgetown theater community, I have come to realize that my true passion lies in the arts and, with the help of like minded creatives, have decided to pursue the arts full time,” Herat said.

Evans said participating in campus theater has changed the trajectory of her time at Georgetown.

“It can be really scary, and it can be disheartening to not get a role you had your eye on, but being a part of a process in whatever capacity can be such an enriching experi-

EMILY SMITH/THE HOYA

On-campus theater groups frequently take on classic plays like “Into the Woods” but also produce student-written shorts and musicals.

ence. I’m a theater minor now—something that completely came out of left field—and I couldn’t begin to imagine my life without theater on this campus.”

Not Just a Performance

These experiences are ultimately not just about the onstage show. To performers, they run much deeper in creating a second home and feeling of community for both their crew and audience members.

Herat said that their deep connection to “Last Summer at Bluefish Cove,” highlights their own experiences in a light they had not seen before in performance art.

“I think this show is very unique in the sense that it is an incredible representation of queer women,” Herat said. “The way queer women form friendships and relationships, the way queer women are funny, they way we grieve. It is one of the best representations of my experience that I have even found and I am excited for the community we form around a story like this.”

Herat said they are proud of BTE’s representation of Black women.

“The most exciting thing about this production is that the production team reflects the story and characters we are trying to ex-

press,” Herat said. “Our production staf consists of mostly Black women, we feel that it is important to be representative both on and of stage.”

Herat also said BTE aims to promote marginalized voices in theater, encouraging those who are curious to explore what the art community has to ofer.

“The most important message we would like to impart to the wider theater community and theater supporters is that there is space for Black voices in theater and art in general,” Herat said. “For many, theater doesn’t seem like an option because of how it has been represented nationally, however, we are actively proving that anyone can participate and enjoy theater.”

Art touches our lives and makes us feel less alone — from the saddest of Taylor Swift songs to the movie that made you feel authentically seen. It builds a community through shared experiences, which is the aim of Georgetown theater.

Salik said making people feel seen through theater is a priority as well for Mask and Bauble.

“‘Into the Woods’, at the end of the day, is a story about the importance of community and the awareness of our responsibility to one another. And I really think the production embodies this,” Salik said.

‘Babylon’ Suffocates From Its Own Excess

Damien Chazelle’s latest film, “Babylon,” impresses with its massive scope but suffers from self-indulgence and over-the-top scenes.

Luke McMahan Staff Writer

Movies love the movies. Demonstrated by cinema staples such as “8½,” “Sunset Boulevard” and “Cinema Paradiso,” there is a long and storied history of meta-commentary in film, in which movies either reflect or directly center on the world of film.

Damien Chazelle’s “Babylon,” a three-hour epic about the rise and fall of several characters during Old Hollywood’s transition away from silent movies, is the latest iteration of this type of commentary.

The film is 180 minutes of size and spectacle, pairing grand characters with even grander settings. Yet despite its impressive scope and many entertaining moments, the film often gets lost in its scale and capabilities, resulting in a mix of the welldone and the overdone.

The concept of “Babylon” is audacious and its execution is impressive. The sheer scale of its long sequences, including the first party scene, which lasted 30 minutes, and the war movie scene featuring Jack Conrad (Brad Pitt), was remarkable — the

coordination and directorial prowess required to make such scenes work demonstrate Chazelle’s expertise. The camera darts from spectacle to spectacle as it depicts the excess and extravagance of the Old Hollywood lifestyle, an allusion to the ancient city of Babylon, the opulent capital city of an ancient Mesopotamian society.

“Babylon” is at its best when thematically focused and direct in its storytelling: its middle portion, which depicts the direct transfer and immediate effects of Hollywood’s switch from silent films to talkies, is funny and entertaining, containing enough meta-commentary without drowning in self-indulgence.

The film’s performances unsurprisingly shine, with established figures like Pitt and Margot Robbie leading a troupe of dynamic actors in their emotional depictions of the film’s wild characters. However, the script does not provide enough substance to support these big personalities.

Most of the main characters fall from grace in stereotypical and underdeveloped ways. For instance, Robbie’s LaRoy represents the conventional

damaged partier persona, never really maturing past it nor explaining her conduct beyond having a troubled but largely unexamined familial situation. Even the two most interesting figures in the film, Sidney Palmer (Jovan Adepo) and Jack Conrad, fall victim to the lackluster character writing, with the latter meeting a rushed demise and the former not seeing sufficient screen time.

Beyond its characters, the most compelling aspect of Chazelle’s “Babylon” is its size. This applies not just to its runtime, but also to its set pieces and scope — the film feels defined by its colossal ambition. From the marathon riotous and drunken scenes to the out-of-place Oscars-esque film history montage near the end of the movie, “Babylon” opts for big and grand at every juncture.

This grandeur does not always work in the film’s favor, however. Chazelle seems to get lost in the possibilities of the concept of the film, describing it as a “love letter to cinema” and a “hate letter to Hollywood.” As can be seen in the film’s long-winded and misplaced ending, as well as the aforementioned cinema history montage, these positions are overly

apparent and on-the-nose throughout. After bashing Hollywood for nearly three hours, Chazelle’s need to ensure that the audience knows he’s still pro-cinema results in an over-emphasis on this support near the end.

Chazelle’s critically acclaimed film “La La Land” does a much better job handling the criticism of, and commentary on, Hollywood. Partially aided by significantly better and more multi-dimensional characters, the film’s commentary on film tropes and industry was much more nuanced and compelling than in “Babylon,” even though the film was inspired by and took place within Hollywood.

“Babylon” was never going to be a bad film — its director is talented, its cast is impressive and it was given a budget sizable enough to realize Chazelle’s vision. It contains many great moments which live up to its immense hype and considerable capacity. However, the movie’s propensity for self-indulgence and overly emphatic commentary on films and the film industry results in an overall disappointing experience and a lackluster addition to Chazelle’s filmography.

@BABYLONMOVIE/TWITTER

Starring: Brad Pitt, Margot Robbie

Directed by: Damien Chazelle

‘M3GAN’: A Messy Yet Well-Intentioned Start to 2023

William McCall Columnist

(1) A robot may not injure a human being or, through inaction, allow a human being to come to harm; (2) A robot must obey the orders given it by human beings except where such orders would conflict with the First Law; (3) A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

Isaac Asimov, in his “Three Rules of Robotics,” mapped out an ethical framework for humanautomaton relations. Unfortunately for the cast of “M3GAN” — Blumhouse’s latest, imperfectly entertaining horror hit — Asimov’s framework is disregarded by the film’s petite, eponymous murder machine.

Directed by Gerard Johnstone, “M3GAN” didn’t look like much at first: “killer doll” movies have become ubiquitous since the release of “Child’s Play”

(1988). So, I ought to be excused for rolling my eyes a little when I saw workaholic toy engineer Gemma – “Get Out’s” (2017) Allison Williams – create the eerily human, part-time-Olsen-twin-impersonator “Model 3 Generative Android” (M3GAN for short).

We’ve seen this sort of movie before, and it was only a matter of time before M3GAN (voiced by Jenna Davis) embarked on a rampage, squeezing trite scares out of the mismatch between M3GAN’s girlish appearance and chillingly sangfroid (sangdroid?) bloodlust.

Indeed, for the first hour of “M3GAN,” few of the film’s story beats feel original. M3GAN is gifted to Gemma’s bereaved niece, Cady (Violet McGraw), who becomes attached to the bot as a stand-in for her deceased parents. Tasked with safeguarding Cady’s best interests, M3GAN — à la HAL in “2001: A Space Odyssey” (1968) — takes her primary directive too far, butchering anyone she perceives as a threat to her relationship with her user.

“M3GAN’s” premise is a little too overused, a shortcoming hardly helped by the film’s cookiecutter dramatis personae. Particularly given its PG-13 rating — meaning that audiences can’t be

mollified by a spattering of gore — the pressure is on “M3GAN’s” characters to grab the viewer’s attention. Unfortunately, due to the static natures of those characters, that pressure ultimately goes unalleviated. Johnstone claimed that his team’s resolution to stick with a PG-13 rating was a choice rather than a demand from the studio. If true, his decision was regrettable.

While intermittently disappointing, “M3GAN” is more than just a gussied-up slasher. Portions of the film are admirably devoted to exploring not only the physical threat that AI like M3GAN may pose to humanity, but also the social threat. In an era where parenting is increasingly outsourced to technology, M3GAN is the ultimate iPad, entertaining, nurturing and “protecting” Cady. “With M3GAN,” chirps Gemma in a mock advert for the new toy, “she’ll take care of the little things so you can spend more time on the bigger things.”

There are consequences to this laissez-faire approach. Under M3GAN’s influence, Cady struggles to cope with her parents’ demise, becomes surly towards Gemma and even grows violent when

separated from her mechanized pal. M3GAN’s killing spree is far less terrifying than what she represents: the damaging subsumption of human functions by advanced tech. This motif is made somewhat less impactful by the fact that audiences will soon be happily consuming “M3GAN” on their tablets, laptops and phones.

At the same time, “M3GAN” is willing to make peace with its premise’s inherent absurdity (I mean, come on — it’s about a homicidal robot girl). Don’t get it twisted, “M3GAN” is still a tense affair with plenty of shocks, but it is interspersed with genuinely amusing jokes. From an unexpected cover of Sia’s “Titanium” to that dance scene from the movie’s trailer, Johnstone’s film embraces its campiness when appropriate.

2023 has kicked off with a fun, if passable, offering in “M3GAN.” Better films are sure to come, yet “M3GAN” may well be worth the price of admission especially if reports of full theaters are to be believed.

William McCall is a sophomore in the College of Arts & Sciences. Hoya Horror will appear online and in print every other week.

NEW RELEASES

@RANDOMHOUSE/TWITTER

By Varsha Venkatram

TELEVISION CHARLIE GRANDY ‘VELMA’

Mindy Kaling stars in the new “Scooby-Doo” spinoff cartoon series based on the brainy character of Velma Dinkley. The show follows Velma, recast as a person of South Asian descent, as she tries to uncover various mysteries. Audience and critic responses have been largely negative, but “Velma” is sure to be interesting, whether due to its quality or its surrounding drama. The first two episodes aired on HBO Max on Jan. 12, with weekly episodes to follow.

BOOK PRINCE HARRY ‘SPARE’

Following the tell-all Netflix documentary “Harry & Meghan,” Prince Harry’s new book details his experience as the second son of King Charles III in line for the British throne. The book is described as honest, insightful and heartfelt – albeit tending towards oversharing – revealing further insights into a previously closed-off monarchy. The “royal” memoir debuted at No. 1 on both Amazon’s and Barnes & Noble’s bestsellers lists, hinting that its contents is not to be missed.

ALBUM MILEY CYRUS ‘FLOWERS’

Disney Channel star-turned-singer Miley Cyrus recently released the lead single of her new album, “Endless Summer Vacation,” which releases in full March 10. The drop of the song coincides with the birthday of Cyrus’ ex-husband Liam Hemsworth. With a combination of catchy beats, low-pitched vocals and a self-empowerment message, “Flowers” is sure to attract listeners to the full album.

BOOK NATHAN PRICE

‘THE SUBTLE ART OF NOT GIVING A F*CK’

Based on Mark Manson’s 2016 bestselling selfhelp book with the same title, this new documentary follows Manson as he speaks about his philosophy on life. Described as a “guide to finding happiness,” the documentary adapts the book into an experiential, vivid and thought-provoking watch. The film is now streaming on Amazon Prime, Apple TV+ and Vudu.

MARKMANSON.NET

Alexis Kim Hoya Deputy Editor

Have you ever wanted to escape the drudgery of life on Earth, immersing yourself in a slice of a breathtaking paradise? Well, “Avatar: The Way of Water” may be just the film for you.

Over a decade since its predecessor was released, “Avatar: The Way of Water” returns viewers to Pandora — the fictional moon of towering trees, spiritually connected forests, vibrantly-colored flora and fauna and fantastical, floating mountains.

“Avatar: The Way of Water” opens with Jake Sully, the protagonist of the first film, and his spouse Neytiri’s family: Kiri, Lo’ak, Neteyam and Tuk. Despite their defeat at the end of “Avatar” (2009), the RDA (The Resources Development Administration), a human corporation aiming to exploit the natural resources of Pandora, returns

to the moon with “recombinant” soldiers (Na’vi bodies implanted with the memories of dead RDA soldiers).

Leading these “recombinants” is Colonel Miles Quaritch, the antagonist from “Avatar,” who seeks revenge against Sully for betraying the RDA. Quaritch threatens the safety of the Omatikaya, Neytiri and Sully’s tribe of forest Na’vi, forcing Sully’s family to flee to the faraway, foreign Metkayina reef clan. The rest of the film follows Sully and his family as they immerse themselves in the culture of the Metkayina people, who are markedly distinct from the forest clan they used to live with.

The visual effects of “Avatar: The Way of Water” are stunning and quite different from the original “Avatar” film, as it explores the oceans rather than the forests of Omatikaya. Watching the film in 3D makes viewers feel as though they are ex-

ploring the oceans alongside the characters — a striking experience, given how detailed, ecologically rich and bountiful Pandora is.

Fully generated using CGI, the movements, expressions and mannerisms of the characters feel surprisingly natural — an impressive feat considering that the Na’vi are significantly taller than the actors that portray them and that large swathes of the movie were filmed underwater. The CGI and visuals themselves made the cost of the ticket more than worth it.

Despite the immersive CGI, “Avatar: The Way of Water” presents the same culturally insensitive problems that the original “Avatar” film did. The movie borrows heavily from Native Americans and other indigenous cultures while failing to accurately portray the culturally significant characteristics of these groups.

The Na’vi also represent a mixture of different peoples, conflating geographically, ethnically

The much-anticipated sequel to “Avatar,” “Avatar: The Way of Water,” is breathtaking, but some of the characters are stereotypical and predictable.

and culturally distinct indigenous peoples and destroying the individualities of each group.

Cameron’s storytelling romanticizes colonization, detracting from the brutal history of colonialism by emphasizing the technological superiority of the RDA, depicting flashy battle sequences and portraying scenes of Na’vi resistance. Sully — a human soldier in the first film — is now fully integrated into Na’vi culture after his choice to permanently exist in his Na’vi form rather than switching between it and his human form. Sully’s integration follows the trope of colonist integration into societies perceived as primitive, suggesting that it is easy for colonizers to assimilate into indigenous cultures by simply learning about traditions and living among indigenous people.

Beyond the apparent cultural appropriation and the romanticization of colonization, “Avatar: The Way of Water” also lacks the compelling storytelling and character development of the first film. Director James Cameron, who directed “Titanic” (1997) and “Aliens” (1986), is well-known for being an excellent storyteller, making this film’s lackluster story quite surprising. Unlike the original film, there is no detailed lore-building, resulting in muddy motivations behind the characters’ actions and a general lack of detail — something that fueled the original film’s critical acclaim.

The film also introduces many new characters, yet nearly all of them are flat, falling neatly into stereotypical archetypes. The children are too directly characterized as the stoic and responsible eldest in Neteyam, the problematic middle child in Lo’ak, the quirky girl in Kiri, the weak baby in Tuk and the child raised by “savage” native peoples in Spider. Further, Colonel Quaritch, the antagonist, is portrayed as a revenge-driven soldier whose greatest weakness is his son, reducing the film down to a simple witch hunt. While these characters are well-portrayed and charismatic thanks to their skilled actors – including Zoe Saldaña (Neytiri) and Kate Winslet (Ronal) –the weak writing makes the film predictable and boring — even exasperating, given the 192-minute runtime.

In spite of its flaws, “Avatar: The Way of Water” is worth the watch simply due to its incredible graphics, as can be attested by the cutting-edge cinematographic technologies Cameron and his team utilized. However, viewers beware: the lackluster and roundabout storytelling may make the film drag on for what feels like hours.

Red Velet’s ‘Birthday’ is a Fun-Filled Whimsical Celebration of the Absurd

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Red Velvet’s new EP, “Birthday,” makes great use of the group’s talent but falls short in its attempts to transcend genres.

Sofia Wills Guide Reviews Desk Editor

“Birthday” is an eccentric celebration of what Red Velvet does best: experimentation.

Since their 2014 debut, Red Velvet has released a critically acclaimed and diverse discography, solidifying the group as a powerhouse within the third generation of K-pop. Red Velvet is characterized by their “Red/Velvet” concept of contrast; — “Red” tracks are fun and bold, while “Velvet” tracks are classy and elegant.

Following the group’s previous mini-album, “Feel My Rhythm,” which sampled Johann Sebastian Bach’s “Air on the G String From Suite No. 3,” “Birthday” samples George Gershwin’s “Rhapsody in Blue.” Staying true to its classical inspiration, the track highlights the group’s “Red” side and features verses filled with bright horns, twinkling percussion and a snapping bass.

As the verse moves into the chorus, power-

ful synths kick in and move the song to a minor key. Following this transition, the chorus of “Birthday” loses its thematic touch with its classical sample. Although the minor key adds mystery to the chorus, it is not enough to justify the dramatic genre change. Further, the song’s bridge features a rock-inspired electric guitar solo with a rough transition into the final chorus.

Like the track’s chorus, the “Birthday” music video loses its cohesiveness at times. Relying on an “Alice in Wonderland” theme, the music video features scenes with life-size chess boards, giant birthday cakes and bizarre monsters. However, when compared to the group’s previous storytelling in “Dumb Dumb” or “Peek-A-Boo,” Red Velvet’s most recent attempt at music video experimentation is overdone.

The EP’s second track, “BYE BYE,” is an immediate standout. In “BYE BYE,” the members sing about saying goodbye to a toxic lover. For

example, Wendy boldly sings, “I only had love for you/I only had love for you/Even if you spit it out loud/Your world is so damn cool.”

Similar to the chorus of “Birthday,” “BYE BYE” features haunting synths, violin-string melodies and enchanting harmonies. As the song progresses, Joy brings more painful emotions to the lyrics as the members become less forgiving, recognizing that without their toxic lover, they can now explore new possibilities.

“On a Ride” picks up the pace of the EP. Reminiscent of the amusement park theme from Red Velvet’s 2019 EP “The ReVe Festival: Day 1,” “On a Ride” uses pitched-up clown laughs and a descending xylophone as its melody, making listeners feel like they are on a hyper-pop merry-go-round. “On a Ride” commits to its whimsy while staying thematically consistent with “Birthday” and “BYE BYE.”

Suave and subtle, the EP highlights the group’s “Velvet” side with its fourth track,

“ZOOM.” Creating an alluring groove, “ZOOM” utilizes R&B-inspired melodies in its verses combined with a jazz trombone bass in its chorus. Similar to her recent solo project “28 Reasons,” Seulgi’s sultry vocal tone shines in “ZOOM.”

While its transition from “ZOOM” is sonically abrupt, the EP’s closer, “Celebrate,” is a beautiful ballad that describes wanting to stay at a party a little longer to enjoy the company of friends and family. Featuring a charming piano melody and an R&B bass, the track feels like a nostalgic celebration of the EP and Red Velvet’s accomplishments.

Ultimately, the experimentation on “Birthday” produces mixed results: while the classical sampling of “Rhapsody in Blue” is a refreshing payoff, the genre-hopping is too jarring. The rest of the EP, however, lets Red Velvet members shine, making it a creative, cohesive and overall great addition to the group’s discography.

Sleep 101: The Ultimate Guide to Catching Some Z’s

Sophia Williams Columnist

Welcome back to campus, Hoyas! For this installment of Wellness Personalis, I’m exploring sleep: what it is, how to customize it to your lifestyle, and its impact on wellness.

When I think about sleep, I think of the timeless distinction between “night owls” and “early birds,” formally known as sleep chronotypes. I’ve always considered myself a night owl, but on my flight home for winter break, I dug a little deeper when I had the opportunity to watch a MasterClass called “The Science of Better Sleep” by Matthew Walker, a professor of neuroscience and psychology at the University of California, Berkeley.

Walker discussed how to sleep “better” by understanding your personal sleep needs and what sleep can do for you, both in the long term and short term. Whether you have a New Year’s resolution to improve your sleep schedule or are just

curious about the truth behind sleep, you’re in luck. I have pinpointed what I hope are some interesting facts for you.

First things first, let’s define sleep. There are two types: non-rapid eye movement (non-REM) and rapid eye movement (REM). Humans cycle between these two types all night, forming a cycle we call “sleep.”

Walker says non-REM sleep transfers the short-term knowledge we learn daily to long-term memory storage. In terms of wellness, non-REM sleep strengthens the immune system and prepares our bodies to fight immune issues more effectively.

REM sleep, on the other hand, allows us to process emotionally challenging events and find the answers to our problems. Though this may sound strange, REM sleep makes connections between new information and information that already exists in our minds. Both parts of sleep contribute to our overall wellness, confirming that to be well is to sleep well.

Walker reveals that your inclinations as a “night owl” or an “early bird” are genetic. He also says that your determination can help you personalize your sleep schedule. To find out which “bird” I am, I took an online quiz called “The Automated Morningness-Eveningness

CROSSWORD

By Varsha Venkatram

Questionnaire,” or AutoMEQ — one of the many available online.

My results didn’t offer me a satisfying answer: I ended up between the types. Still, the AutoMEQ gave me an approximate bedtime that I can use to build a healthy sleep schedule. Walker recommends sticking to the same daily sleep routine to keep your circadian rhythm, the twentyfour hour cycle that aligns our wakefulness with day (light) and our sleep with night (darkness), balanced.

Walker says the average adult requires between 7-9 hours of sleep a night, but some people may require more or less. Meeting these requirements can be difficult with early classes — sometimes “night owls” have to follow an “early bird” schedule. However, prioritizing the quality of your sleep by reorganizing your schedule around the preferences of your sleep chronotype can help you improve your overall wellness.

Other factors also play a role in the quality of one’s sleep. Walker explains that melatonin manages the sleep-wake cycle of the circadian rhythm by inducing tiredness in the human body with the onset of darkness, indicating to the human body that, when night falls, it is time to rest. In light of this, I would recommend investing

in a sleep mask — especially if you and your roommate have different bedtimes. You can also help prevent false light from disrupting your circadian rhythm by avoiding light from electronics before bed and following a bedtime routine.

An especially important aspect of sleep for Georgetown students is its direct link to the immune system. According to a study by Dr. Cohen, individuals who report sleeping less than seven hours per night are almost three times more likely to contract the common cold. Sleep can naturally protect our bodies from the illnesses that constantly plague this campus by recharging the immune system and creating more immune factors like killer T cells, which combat disease by killing foreign cells and cells infected by viruses.

As Georgetown students, high-quality sleep can help us stay mentally and physically healthy amid demanding course loads. As we welcome the new year and a new semester, it’s the perfect time to personalize and enhance your sleep routine. Sweet dreams, Hoyas!

Sophia Williams is a first-year in the College of Arts & Sciences. Wellness Personalis will appear online and in print every other week.

The Guide’s crossword is back! Each week, turn to the back of our print edition (here!) for a new, themed minicrossword. Answers to the current crossword will be posted in the following week’s edition. If you have any feedback for our crosswords or would like to contribute, email guide@thehoya.com.