The Hoya: The Guide: October 6, 2017

the guide F R I DAY, O C T O B E R 6, 2017

ILLUSTRATION BY EMILY SHAMBAUGH, GRACE CHUNG AND MICHELLE ZHU/THE HOYA

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EASTWARD FILMS

Brent Craft (MSB ’08) got his start in the film industry after graduating from Georgetown, working as a stuntman and actor in “Friday Night Lights.” He ultimately decided to try his hand at the independent filmmaking process and teamed up with fellow Hoyas to develop a script and eventually launch a Kickstarter campaign to fund the film.

Lights, Camera, Action: The Road to ‘Lady-Like’

Alexandra Brunjes Hoya Staff Writer

When Brent Craft (MSB ’08) concluded his athletic career after graduation, he shifted his focus to an entirely different passion: filmmaking.

After spending time in Los Angeles after college to work on the sets of television shows like “Friday Night Lights,” Craft began dedicating his time to an independent film project. The result was a collaboration between Craft and his family members — through blood or Hoya spirit — and a subtle tribute to his Georgetown experience.

After two years of hard work, Craft is set to release the product of his commitment Oct. 10: “Lady-Like,” a hilarious college comedy set in Georgetown,.

Collegiate Aspirations “Lady-Like” was born of Craft’s creative abilities and intense commitment, both of which found their start at Georgetown. Craft spent his time at Georgetown dedicated to football, but he admits he

always thought he would enter the entertainment industry after finishing his football career.

“I wanted to focus on sports until I couldn’t anymore, knowing that that window in life was going to close,” Craft said in an interview with The Hoya.

As a busy Georgetown undergraduate, Craft still found time to write.

“When we travelled to away games, I would always write scenes, mostly comedic, and pass them around the bus and see if I could get guys to laugh. A lot of my writing started like that,” Craft said.

Following graduation, Craft played for the Arena Football League, and during the offseason, shot “Friday Night Lights.”

The experience gave him his first glimpse of a set and allowed him to develop his understanding of the film industry, experiences that proved useful when he began production of “Lady-Like.”

After a few years of working in LA, Craft decided to dive headfirst into the independent filmmaking process.

“The old-fashioned way to create a film is to write a script and then have it get

picked up by a studio,” Ryan Craft (MSB ’06), an executive producer of the film and Brent Craft’s older brother, said.

“The idea that Brent was going to take his own script and get it made took a lot of courage, but I think he thought it was the best way to get noticed.”

The film, which follows a group of girls in college, is based on the younger Craft’s experience at Georgetown.

“Brent knew some girls at Georgetown that were really dynamic and hilarious,” Ryan Craft said. “He thought that sometimes girls don’t get as much credit for being as raw and funny, so he wanted to explore that idea.”

Shot primarily in a townhouse on O Street, the film also features locations frequented by Hoyas, such as the Lincoln Memorial, The Tombs and Sweetgreen.

After developing the idea with a manager in LA, Craft moved back to New York City and teamed up with his friend Matthew Nemeth (COL ’07) and his older brother to get the project off the ground.

“At the beginning, it was sort of just the three of us,” Nemeth said. “Original-

ly, I was just going to work with Brent on the script and help with preproduction, but since it was a small-budget project, I ended up doing a lot more.”

Bringing ‘Lady-Like’ to Life Once the initial team was assembled, it tackled its first obstacle: funding.

The team launched a Kickstarter in the beginning of 2015 and has since raised $62,867. The page was so successful that it was labeled a Kickstarter Staff Pick.

After the budget fell into place, the casting began to come together, too.

“At first, Matthew Nemeth and I were casting using a free platform called Backstage in New York,” Craft said. “But we were getting great responses, so we decided to bring in a casting director and try to cast a few bigger names that would’ve been difficult to get otherwise.” “[The casting agent] really connected to the project and the story and helped Brent find actors, which was part of the reason we were able to get this done on a shoestring budget,” Ryan Craft said.

The “Lady-Like” cast features Stephanie

friday, october 6, 2017 Simbari of Oxygen’s comedy series “Funny Girls,” Sarah Moliski of “Unbreakable Kimmy Schmidt,” Maddie McGuire of “ER” and Allie Gallerani of “The Good Wife,” in starring roles. Shooting for the film began in May 2015.

“I was drawn to the film because it reminded me of ‘Bridesmaids’ in terms of its raunchy humor and depiction of female friendship,” Gallerani said in an interview with The Hoya. “I remember laughing out loud at the script when I read it for the first time.”

Creating “Lady-Like” was no small feat: It was the result of the hard work and dedication of the core members of the team. Aside from Brent and Ryan Craft and Nemeth, several other Georgetown alumni played integral roles in the film’s production: Darren Craft (MSB ’08), the movie director’s twin brother, served as a producer, co-producer Matt MacNelly (COL ’08) helped coach actors and associate producer Darren Alberti (COL ’08) also acts in the film.

Back to the Hilltop Once “Lady-Like” began materializing, it became clear that Georgetown would play a large role in its creation. This connection begins with the Craft family: Brent, Ryan and Darren’s father attended Georgetown as an undergraduate. The two Craft sisters are also members of the Hoya family — one attended summer courses at the university and the other received her Master of Business Administration from Georgetown.

“I also met my wife at Georgetown,” Ryan Craft said. “We’re a pretty Georgetown-centric family, and we fell in love with the campus and the town — the cobblestone, the tree-lined streets, the

the guide townhouses — and we loved Washington, D.C.” The Craft brothers’ love for the neighborhood led to it being the primary filming destination.

“I wanted to capture everything that comes with Georgetown,” Brent Craft said. “I personally think that there aren’t enough films shot in Washington, D.C., so I thought that it had a lot of value to add.”

“The idea of filming it where home is for us was very important,” Ryan Craft said.

Though the film features many distinctively Georgetown locations, Craft decided not to explicitly refer to Georgetown University in the film, as he wanted it to feel like any college experience.

All of the film’s on-campus scenes were shot at Princeton University. Still, the heart of “Lady-Like” bleeds blue and gray.

“We really leaned on fellow Hoyas that were working in and near and around film and entertainment,” Craft said.

Although the cast and crew of “LadyLike” includes several Hoyas, none of the film’s core creators were involved in film programs or organizations while at Georgetown.

“The film program at Georgetown really wasn’t big enough at the time I was there,” Craft said. “I never could dedicate my resources to that as opposed to football.”

Nemeth had a similar experience. “By the time I was a sophomore or junior, I knew that I wanted to work in film or television, but it felt like I’d exhausted everything that Georgetown had to offer on that front,” Nemeth said.

The development of the film and media studies minor since the graduation of the Craft brothers seems to mark a forward

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progression in film at the university.

“In the past decade there’s been a big movement of film at Georgetown,” Ryan Craft said.

Lights, Camera, Action The development of “Lady-Like” demonstrates the increased access young filmmakers have to the industry.

“It’s amazing what’s available to you at this day and age if you’re willing to educate yourself on it and utilize it,” Craft said.

He cited free platforms such as Kick-

EASTWARDFILMS

“Lady-Like” was largely shot in the Georgetown neighborhood, with many scenes taking place in spots frequented by students, like Saxby’s and Sweetgreen. The film stars Stephanie Simbari, of Oxygen’s “Funny Girls,” left, and Allie Gallerani of “The Good Wife.”

starter for fundraising and Backstage for casting, and he described the ease with which individuals can find and use editing software and cameras.

“It’s all far more accessible than they’ve ever been in history — it really does give an independent filmmaker a chance,” Craft said.

Nemeth echoed this sentiment, saying, “You have to just do it. It’s a lot easier now than it’s ever been.”

“Lady-Like” quickly moved into postproduction with the goal of submitting to the festival circuit.

“We were really hoping for [the] Tribeca [Film Festival] because of our connections to New York,” Ryan Craft said. “But unfortunately we got cut at the end. The woman who runs the department called us and said, ‘We loved your film — you were a heartbreaking last cut, and we’re so sorry.’”

Despite this disappointing loss, “LadyLike” still received recognition. The film was accepted to the Sunscreen Festival, a premiere film festival in Tampa, Fla., where Craft ended up winning Best First Time Director.

“Lady-Like,” while truly a collaborative effort, ultimately got its start with Craft’s dedication.

“Brent has always had an artistic slant for things,” Ryan Craft said.

Nemeth agreed, saying that Brent is what drew him to the film.

“He’s got a magnetism to him, and he really believed in this project. Seeing him this passionate made me want to help tell the story,” Nemeth said.

“I wouldn’t be lying if I said there’s been a lot of blood, sweat and tears poured into this thing,” Ryan Craft said.

“It’s been a long slog of a project, but it came out in such a great way.”

“Lady-Like” premieres Oct. 10 and can be viewed on the following platforms: Google Play, Amazon, iTunes, Microsoft Video, PlayStation and selected on-demand cable networks.

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friDAY, october 6, 2017

Feature

DREAMWORKS STUDIOS

“Thank You for Your Service” follows the story of three soldiers as they return from deployment and face challenges readjusting to life at home. Miles Teller stars as real-life veteran Adam Schumann, whose experience with post-traumatic stress disorder is a focal point of the film. “Thank You for Your Service” premieres Oct. 27.

Miles Teller, Jason Hall Discuss New Film olivia jimenez Hoya Staff Writer

Oct. 27 will mark screenwriter Jason Hall’s directorial debut with “Thank You for Your Service.” Starring Miles Teller as real-life veteran Adam Schumann, the film explores the difficult transition many soldiers face as they adjust to life at home following deployment.

Hall, Teller and Schumann sat down with writers from three Washington, D.C. college publications — American University’s the Eagle and The Georgetown Voice and The Hoya — to discuss the making of “Thank You for Your Service,” its depictions of post-traumatic stress disorder, and their hopes for the film.

What do you hope audiences will take away from this film?

HALL: I hope that audiences will come away with a better understanding of what these guys have gone through.

It will enable us to start a conversation with the veterans. I don’t feel there is a conversation going on right now. I think

it’s, “thanks a lot for your service,” and then we just move on and everybody excuses themselves from it. I think we have to find a better way to welcome our warriors home.

“

I hope that audiences will come away with a better understanding of what these guys have gone through. It will enable us to start a conversation with the veterans.”

JASON HALL Director, “Thank You for Your Service”

TELLER: Along that note, personalizing it and putting a face on PTSD, right?

I think it’s easy for all of us to see somebody in uniform and thank them for their service and that’s it. I think we use it as a way to relieve our own guilt. Like Jason said, we’ve been sending young men and women to war for thousands of years and we still don’t know how to bring them back. I just hope that it invokes a conversation and charges people up to speak about the forgotten soldier.

Once the guy gets home, you don’t see him in uniform, but that trauma is with him for the rest of his life. It’s happening to our youth and it’s a very complex issue, so I think if we can package it up and people feel like they can understand this disease better and what these guys went through, that’s great.

SCHUMANN: For me, I just hope that when people get done with watching it, they’ll notice that it makes sense now.

It brings it into perspective, like maybe that’s why he wasn’t talking. Maybe this upsets him or her. Maybe that’s why she’s not her old self. I just hope people get a better understanding and they can talk about it. I just want people to talk

about it. That’s it.

Do you think that the film successfully encapsulates the experience of having PTSD? Was there anything the film wasn’t able to capture?

SCHUMANN: It got it right. PTSD is different for everybody, but I don’t think any one person who would have ever had it or has experience with it would watch this and go, “Oh that’s not how this is.” I think it covered all the bases that people deal with.

HALL: We didn’t approach this like a PTSD story. We approached this as a personal story of these three guys coming home and the struggles that they went through. There’s a lot of stuff that people go through coming home. These guys went through this. Some guys don’t go through it. Some guys come home and they’re fine. But, what we tried to do was tell the personal story of these three guys coming home.

Miles, how was it different for you acting when the person you are portraying is

FRIDAY, OCTOBER 6, 2017 watching the film? Did that change anything for you?

TELLER: I flew up to North Dakota with [Hall] and I was really nervous at that point. You know, it was my first time meeting [Schumann] and understanding how sensitive this material is. If anyone was making a movie about my life, I’d be pretty nervous, let alone what I consider to be the toughest and maybe the most unflattering moments of my life. So, going up there for that, I was really nervous. Then it didn’t take long before we kind of got into it and understood, look, I want to get this thing right, so let’s get to a place where we can be honest with each other. Having him on the set, it was just a resource to me. It didn’t add any more pressure.

“

I just hope that it charges people up to speak about the forgotten soldier. Once the guy gets home, you don’t see him in uniform, but that trauma is with him for the rest of his life.”

MILES TELLER Actor, “Thank You for Your Service”

HALL: Did you guys see Adam in the movie? He comes when they get off the plane, he’s taking the gun and he welcomes himself home. He says, “Welcome home, Sgt. Schumann.” So, Adam had his own little debut.

SCHUMANN: A little cameo.

The casting in this movie was very strong. But this isn’t a role that you’ve really played before.

So, why did you decide to take on this role?

TELLER: At first I honestly didn’t want to do it because I felt like even acting like I had PTSD and had been to war was unethical. But, the more I thought about it, that flipped and I said that this is an opportunity to really sink your teeth into something and if you do a good enough job you can, hopefully, affect people in ways that I think people should be affected.

While we’re on the subject of acting for this role,

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were there any certain steps that you had to take to prepare for yourself for such an emotional role?

TELLER: I started reading. I read both books, obviously, that David Finkel wrote, “The Good Soldiers” and “Thank You for Your Service.” Then I read some books recommended to me on PTSD, specifically, and mental health. I can absolutely draw upon that. But just for me, as a person, I don’t learn as much just from reading something as much as I do just experiencing. Being with Adam just those two or three days and then getting put through a boot camp where I felt like really getting in the mind of the soldier and what these guys went through.

Adam, in the movie, your character is talking to the officer in charge of the treatment facility and he says something along the lines of, “You gotta open this up for yourself.”

Do you think the sharing experience of this movie was part of your healing process?

SCHUMANN: Yeah, I started talking to Jason about this a while back. I think just talking about it is therapeutic. I can see Miles on screen and I can see my ex-wife on screen and I can see my kids and the realism is that, yeah, it was a horrible time in my life. But, was. It’s in the past and I can see that. It’s nice to see that progression. It’s definitely been beneficial from beginning to end. Absolutely.

With this being your directorial debut, how has this experience working on this film differed from other projects that you’ve done in the past?

HALL: For me, it was great because I got to make the decisions. When I write something, I see what it is. I see every room; I see all of it. And then if you hand it over to someone else, they’re going to see something else no matter what you wrote. For me it was an opportunity to bring it home, to realize what I had imagined, to put all the work that I had put into the script and get to know these people.

Adam, what would you say to a veteran who is in a similar situation coming out of deployment?

SCHUMANN: For a fellow

DREAMWORKS STUDIOS

“Thank You for Your Service” is the first film directed by Jason Hall. Hall’s past film credits include writing the screenplays for “Paranoia,” in 2013, and “American Sniper,” in 2014. veteran, if everything’s fine, awesome.

With you, I guarantee that veteran knows [someone] that’s struggling. Send them a message. Do you need anything? How are you doing? That’s it. Because sometimes you get out and you walk away and everyone goes their separate ways and we’re all back to working at Walmart and f--king Home Depot and hanging sheetrock and driving trucks and back to Middle America again. You lose sight of what you did. Check on your buddy basically. And for guys that are coming back and have problems, admit it. Go get help.

It doesn’t degrade your service or what you did. Go get help. You deserve quality of life for what you did. You owe it to yourself to go get help.

Miles, after taking on this role, you’ve been in comedies and you’ve been in dramas.

Do you think you want to veer more toward dramas now? Do you think you want to go back to comedies?

TELLER: For me, appetitewise, I wanted to do comedies. I handle my day to day as more of an upbeat sort of person. I’m not super intense all the time. But,

as you get older and get more responsibilities, I’m drawn towards drama. The last couple of things I’ve done have been dramatic, this next thing I’m doing is dramatic. It’s a lot. This movie stuck with me a lot. You do have to sacrifice yourself over these roles if you want to do them justice.

HALL: I think the important part of what he’s not saying to that is that he feels a tremendous amount of duty to tell this story and tell some of the other stories, too. And for an actor to take on some of that stuff, it does cost you something. It has to be worth it. This meant something. We knew that we were telling the stories of real people and we knew that we had to get it right and if we didn’t, we’re going to have to live with that. He and every other actor that came on board put a tremendous amount of work and effort to getting it right for the people we’re telling the story for.

I’m really happy that the people that we’ve told the story about have embraced the story. That’s the most important thing. To have Adam watch it and have Adam give me a big hug afterwards and to say, “You guys got it right,” that’s just gravy. For me, that was the hurdle.

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friDAY, October 6, 2017

TESTING TRUISMS

“The Best 4 Years of Your Life”

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Vera Mastrorilli

he worst moment at family reunions comes when well-meaning relatives — likely with several drinks under their belts — find you and announce that college is supposed to be the best four years of your life. Nostalgic alumni, high school teachers and overbearing relatives are eager to tell you that you have reached the pinnacle of happiness here on the Hilltop. Many of us shudder at the prospect.

Others may sincerely say, “If I can’t go to heaven, take me back to Georgetown.”

For some Hoyas, this makes a lot of sense.

In theory, Georgetown offers the best of both worlds: independent living and a support system. Gone are the hassles of curfews and direct

supervision — you can spend their your however they choose. You live within walking distance of all of your friends, and in college, there are more social events in a given week than your high school hosted in four years. Many students have never had so much control over their own routines as they do at Georgetown.

But part of the appeal of this independent living is that it is not entirely independent.

When you get hungry, you can drop by O’Donovan Hall or an on-campus convenience store and get a fully prepared meal in minutes. If a light bulb goes out in your apartment, a member of the facilities staff can come and change it for you. When you grow tired of studying in your room, you can choose from any number of designated study areas equipped with desks and outlets.

Georgetown can take care of the tedious and boring responsibilities of truly independent living while also giving you freedom to spend your time as you please.

If this is your Georgetown experience, college may indeed be the best — or most carefree — four years of your life. But this idealization of college life is far from reality for many, if not

most, students. The notion that college years are the best fails to take into account that being in college may not exempt students from adult responsibilities.

Many students must work while taking classes to pay for personal expenses or tuition, even with the help of university resources. In providing for themselves, these students may not have the same sense of freedom that their non-working counterparts do. The responsibility of earning enough money to remain a fulltime student means that personal preference alone does not necessarily determine student’s routine. Under such pressure, students’ college years may not be their best.

Likewise, premed and prelaw students must tailor their college routines to study habits and grades that will enable them to get into graduate programs. Constant assignments and lack of sleep take a toll that may not outweigh the social benefits and conveniences of college life. In fact, all types of students may face academic pressure, not to mention personal difficulties, that makes them hope for a better life after college.

If college is not the greatest time of your life, when will be? Studies indicate that people are

happiest in their late teens and early 20s and in their 70s and 80s. Yet looking forward to happiness 50 years from now provides little comfort.

However, other factors that have nothing to do with being in college also contribute to wellbeing. One study found that the greatest predictor of happiness is autonomy — the feeling that you control what you do and the choices you make. So after you secure a career doing work that interests you, escape the financial and academic pressures of college and have more time to spend as you want, you may become happier.

Quality of relationships also influences happiness. While some students form lifelong bonds with their classmates, others may not find the people they really click with until after they graduate.

To counter one cliche with another, everyone’s college experience is different — so while college has the potential to be the best four years of your life, it does not have to be. The good life is not out of reach, even if you do not find it on the Hilltop.

Vera Mastrorilli is a junior in the College. TESTING TRUISMS appears online, and in print every other Friday.

the music on my playlist

Maggie Bolas’ Top Picks ‘free fallin’’ by tom petty

Maggie Bolas is the president of a cappella group Superfood.

‘so much more than this’ by Grace Vanderwaal Performed and written by Grace VanderWaal, “So Much More Than This” was released as a single Sept. 15 and is quickly gaining steam on the pop charts. As catchy as the tune is, the voice behind it is even more impressive: At only 12 years old, VanderWaal won the 11th season of the NBC competition “America’s Got Talent” and signed a record deal with Columbia Records. “So Much More Than This” is a song about looking beyond the superficial, and VanderWaal’s ability to start soft and build to the chorus allows for this message to jump out at the listener.

GRACE VANDERWAAL

LEDZEPPELIN.COM

‘stairway to heaven’ by led zeppelin First debuting on the radio in 1971 and officially released on the album “Led Zeppelin IV”, the iconic rock song “Stairway to Heaven” is a piece of art. In an attempt to get away from the city, lead guitarist Jimmy Page and the rest of the band retreated to Headley Grange in Hampshire, England. It is here that the band experimented with the acoustics of the large former poorhouse that heavily influenced its music and where Robert Plant wrote a majority of the lyrics to “Stairway to Heaven.” The band’s focus on creating art is evident in the song’s structure and flow: The song is one long roller coaster, with several different layers, and should be listened to as a story.

This week, we remember the man who influenced rock, and all genres of music, forever. Tom Petty was born and raised in Florida and was heavily influenced by Elvis Presley. He is best known for his singalong rock tunes that can transport listeners back in time. Today, we remember his greatest hits like “Free Fallin’,” “You Don’t Know How It Feels” and “I Won’t Back Down.” Covered by artists from John Mayer to Coldplay, “Free Fallin’” will forever be a nostalgic classic. Whether listening with a group of friends or just by yourself, Petty’s tunes will make you want to reminisce about fond memories. Listening to “Free Fallin’” is a great way to pay homage to the rock-and-roll legend.

TOMPETTY.COM

IMAGINE DRAGONS

‘believer’ by imagine dragons “Believer” was released as a single earlier this year and made its way onto Imagine Dragons’ latest album, “Evolve.”

The band’s use of drums, layered vocals and a slow rhythm enables listeners to immerse themselves in an eerie scene.

The spitfire lyrics grab listeners’ ears, pulling them into a rousing, powerful chorus. As reflected in “Believer,” Imagine Dragons has the expert ability to use different electronic elements to produce a fun alternative rock sound. The band’s concerts are always high-energy, with fans cheering and singing along with lead singer Dan Reynolds.

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MUSIC

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THIS WEEK’S TOP FIVE

NEW RELEASES

Things to Do This Weekend

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ANACOSTIA COMMUNITY MUSEUM

The Anacostia Community Museum is celebrating its 50th year with its “Your Community, Your Story” exhibit this weekend. The exhibit will highlight the museum’s history of showcasing people-oriented projects and will educate visitors on a historically underserved but lively community on the other side of the city.

Admission is free of charge between 10 a.m. and 5 p.m.

SMOKEPURPP FT. DRAM

DEMI LOVATO

SMOKEPURPP FT. DRAM ‘COUNT UP’

DEMI LOVATO ‘TELL ME YOU LOVE ME’

On the 13th song of “Deadstar,” his most developed project to date, South Floridabased Soundcloud rapper Smokepurpp breaks free from his trademark lo-fi sound to deliver a smooth, clean track. Smokepurpp’s finely auto-tuned vocals roll over a symphony of smooth synths and driving percussion as he raps about his newfound wealth from his rise to fame. He partners with D.R.A.M., best known for party staple “Broccoli,” whose verse fits right perfectly into the boastful track.

On the second track from her new eponymous album, released Sept. 29, Demi Lovato’s booming vocals once again prove that she is no longer a Disney pop icon but a full-blown rhythm and blues star. She belts out emotionally charged verses about needing someone, singing, “All my friends, they know and it’s true / I don’t know who I am without you / I got it bad, baby.” Lovato does not shy away from discussing her past experiences with drug addiction; instead, she openly displays her vulnerability.

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Join the Phillips Collection for a new exhibit that showcases some of Renoir’s most important works like “Luncheon of the Boating Party,” as well as more than forty other works that demonstrate the vivacity of Parisian life during the Belle Époque.

The Phillips Collection can be found to the west of Dupont Circle. Admission is $12 for adults and $10 for students with a university ID.

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MAREN MORRIS ‘DEAR HATE’

THE NEIGHBOURHOOD ‘24/7’

This emotionally driven track, co-written with Vince Gill in the aftermath of the 2015 Charleston, S.C. shooting and released in response to the recent tragedy in Las Vegas, is an ode to the triumph of love over hate. Singer-songwriter Maren Morris croons that despite a seemingly endless string of hateful acts, “Love’s gonna conquer all.” All of the proceeds from the beautiful track will be donated to Nashville’s Music City Cares Fund to benefit victims of the shooting and their families.

The indie rock band that first shot to fame following its 2012 hit “Sweater Weather” recently released its latest extended play, titled “Hard.” On standout track “24/7,” lead vocalist Jesse Rutherford takes a positive turn, urging his partner and listeners to live in the moment and not rush through life because “you can’t worry ‘bout time.” Throughout the EP, the band develops a more electronic sound than it has in past works, creating a setlist that is exciting and enjoyable to hear.

THETASTEOFDC.COM

ARTECHOUSE

Lovers of art and technology can visit Artechouse to view “Spirit of Autumn.” This project transforms the art center’s space into an autumnal landscape that responds to visitors’ actions.

Bright colors and beautiful patterns are projected onto the walls and ceiling. Also debuting is a virtual reality app to accompany the exhibit.

The museum is open between 10 a.m. and 10 p.m. with tickets ranging from $8–20.

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PHILLIPS COLLECTION

TASTE OF DC

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SI.EDU

RENOIR AND FRIENDS OPENING

D.C. will host the largest culinary festival in the mid-Atlantic with selections from more than 65 local restaurants, from upscale to fastcasual establishments. Taste of D.C. will also feature live music and an artisan market.

The festival takes place Oct. 7-8, with basic tickets going for $13.20, at Lot 8 at the festival grounds of Robert F. Kennedy Stadium.

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This weekend will also feature one of D.C.’s most exciting music festivals. Major artists like Galantis, Young Thug, Vince Staples and Foster the People will be playing, over three days of music and celebration. The event will take place at Union Market.

Tickets range in price from $74 for single-day entry to $169 for a three-day pass.

ALLTHINGSGOFALLCLASSIC.COM

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friDAY, October 6, 2017

movie review

WARNER BROS.

Decades after the release of the orginal film, “Blade Runner 2049” brings audiences yet another compelling sci-fi story, starring now-veteran Harrison Ford and Ryan Gosling.

Despite its action-packed plot, the film is able to deliver an emotionally driven story with thoughtful character development and stellar cinematography.

Blade Runner 2049

Starring: Harrison Ford, Ryan Gosling Directed by: Denis Villeneuve José Villalobos Hoya Staff Writer

The sequal slump is among the most feared phenomena in Hollywood. Rarely do remakes and follow-ups live up to their billings; they instead rely on the nostalgia of fans and hope for the continued efficacy of overused techniques and motifs.

“Blade Runner 2049,” to the benefit and enjoyment of all, does not fall into this trap.

It picks up right where its predecessor left off, borrowing just enough from the stylistic sophistication of the original film to build rapport with overprotective fanatics of Ridley Scott’s science fiction classic. But director Denis Villeneuve is not just satisfied with merely honoring the film’s forebear.

The original “Blade Runner” from 1982 stars Harrison Ford as Rick Deckard, a disgruntled cop in a futuristic Los Angeles. His life drastically changes when his supervisor tasks him with his final assignment: chasing after and “retiring” replicants — bioengineered androids that provide slave labor in extraterrestrial colonies — many of which have rebelled against humans and dangerously roam the Earth.

Rather than the fast-paced, action-filled production that the plot seems to suggest, the film is pensive, emotional and aesthetically pleas-

ing. In the neonoir vein, the original film’s experimentation with light and angles and its thoughtful representation of the human condition earned the movie a cult following that remains strong today.

Ryan Gosling takes up Deckard’s role in the latest release of the franchise and masterfully sustains the tormented persona that Ford created. Villenueve, best known for “Arrival,” a Best Picture nominee in 2016, picks up the story where Scott left off and takes full advantage of advances in cinema. He shows cinematic shots and digital design are art forms of their own that can transcend plots and actors’ performances.

“Blade Runner 2049” has its own complexity, beauty and masterful performances, with story arcs and conflicts that respectfully push the original’s boundaries. Asking new questions about the meaning of humanity and the limits of life, the film manages to haunt its characters and viewers alike.

Gosling is at his best here. Seemingly stoic and collected, but always on the verge of falling apart, he appears comfortable in a serious role he has honed through previous performances in productions such as “Drive” and “Only God Forgives.”

Able to capture the torment and struggle that is so central to the original film, “Blade Runner

 2049” reminds viewers what helped distinguish its precursor from typical sci-fi films.

When Gosling is joined by Ford, the two are explosive and deliver on the seemingly impossible promise of merging two timelines together without losing the essence of either.

Ford delivers some of his best work in years, proving that characters solely relying on his effortless charm are a waste of talent. The effect of bringing past and present together underlines the movie’s reflections on the passage and meaning of life.

Despite the movie’s flaws, such as Jared Leto’s unfortunate overacting as the film’s villain, Niander Wallace, and its almost threehour run time, “Blade Runner 2049” may be one of Hollywood’s best releases this year.

Watching the trailer, one might expect another action-filled blockbuster that relies on violent sensationalism and mesmerizing filmography to make up for unoriginal conflicts and poor character development. All of that speculation is thrown out the window 10 minutes into the film, when major elements of the plot that never made it to the trailer inject the story with substance, emotion and depth.

Furthermore, the film is able to deliver without making use of gratuitous violence. The perspective of the camera shifts to avoid the most violent part of a knifing, and ellipsis is used to

skip past a scene of gruesome disfiguration, but all the clues are left for the audience to decipher what happened.

Pain and violence are present throughout the movie, but Villeneuve picks and chooses, making sure the proper effects are felt at different times, and letting emotional distress take precedence over physical displays of violence.

With a darkness and elegance that echoes neonoir classics like “Chinatown” and “Se7en,” “Blade Runner 2049” depicts pain and conflict through changes in ambiance and subtle developments, magnifying the torment and struggle of its protagonists and thrusting them upon a captivated audience.

Following the path paved by “Mad Max: Fury Road,” “Blade Runner 2049” challenges producers and directors to create high-grossing films with star-studded casts that actually deliver and blend exciting and enthralling action sequences with provocative questions about the human condition.

It is a good sign when an already attractive trailer leaves enough mystery for moviegoers to be joyfully surprised as they watch. To honor that, filmmakers have been very careful to ask that certain developments be kept secret until the release of the movie. In respecting that wish, there is little more that can be said about this movie, except that you need to watch it.

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friday, oCTOBER 6, 2017

THE HOYA

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concert review

A$AP Mob Echostage LIAM O’DONNELL Hoya Staff Writer

As artists of a genre that has always prided itself on its collaborative and collective culture, A$AP Mob stands as one of hip-hop’s last real rap groups. Although there are many smaller joint acts today, like Rae Sremmurd and Migos, gone are the times of Wu-Tang Clan and A Tribe Called Quest — crews that, united through their shared identity and creative passions, gave their neighborhoods and boroughs a distinctive sound.

Even Odd Future Wolf Gang Kill Them All, which was at the forefront of hip-hop just five years ago, has now split into individual artists who no longer seem to have any relationships with one another.

This group tradition, which originated as an artistic manifestation of urban community culture, is a fading pillar of hip-hop, and A$AP

Mob seems to be the last effort to preserve it.

In the past year, A$AP Mob and its members have released two group albums, several solo projects and an endless stream of clothing and merchandise, all of which have received positive reviews.

Further, the group has embarked on a nationwide tour under the singular headliner of A$AP Mob. This headliner is significant because the popularity of one of its members, A$AP Rocky, easily eclipses the others; he would be the headliner of just about any other tour. However, the group is intent on selling itself as a unified collective and not just as an assortment of separate artists.

Unfortunately, at the D.C. stop, these discrepancies in star power were obvious, to the group’s detriment. A$AP Mob has launched two extremely successful solo stars in A$AP Rocky and A$AP Ferg, and it was clear that these artists were the sole

American Made

attraction for the crowd.

Other members, like A$AP Twelvyy, A$AP Nast and Key!, each had their own solo moments, but these were often the lulls of the show. The majority of audience members did not know the lyrics to their songs, so when A$AP Twelvyy would rap between songs by A$AP Rocky or A$AP Ferg, the crowd would stop singing and dancing, creating awkward moments where audience members would stop and look around, waiting for the next song to start.

This also happened when group members performed their individual verses on the group songs. While the rappers had chemistry, singing each other’s lines and going bar for bar, the differences in popularity between the artists made a unified performance extremely difficult.

Luckily, A$AP Rocky and A$AP Ferg shared the spotlight often enough to make up for the

Hoya Staff Writer

Director Doug Liman and megastar Tom Cruise are a match made in Hollywood heaven. Liman’s “Edge of Tomorrow,” starring Cruise, was a box office success, receiving positive reviews from critics for both Cruise’s performance and Liman’s work.

Fortunately for Cruise’s fans across the world, the renowned actor delivers yet another entertaining and explosive performance in “American Made.” In the film, Cruise portrays a real-life pilot of the 1980s, Barry Seal. The audience is immediately introduced to the commercial airline pilot, who is recruited by the CIA to document communist guerilla movements in Central America. After being taken in by Colombian narcotraffickers, however, Seal becomes Pablo Escobar’s top drug courier.

Liman attempts to follow the paths of critically acclaimed television shows like AMC’s “Breaking Bad” and Netflix’s “Narcos,” which explore the dangers that accompany the world of drug production and trafficking.

Set in Latin America and the southeastern United States, “American Made,”

lesser-known acts. The first half of the show was predominantly performed by A$AP Rocky, who demonstrated exactly why he is the star of the group with his natural charisma.

movie review

Starring: Tom Cruise, Domhnall Gleeson Directed by: Doug Liman Ben macher

ASAP MOB

like “Narcos,” focuses on cocaine traffickers. In fact, “Narcos” even featured Seal as a character in one episode.

Yet the film is unable to capture the essence of “Narcos,” which keeps the audience intrigued for the entire 60 minutes of each episode with its captivating plots.

The film’s first mistake is rooted in its cinematography. While there are some aerial shots of Latin America that are no doubt spellbinding, the use of colored filters is excessive. The aerial shots seem to come straight out of a travel Instagram account, giving every scene a light hearted, romanticized feel.

This upbeat energy unfortunately affected the characterization of the film’s drug lords as well. Given the extent of the horror and crimes committed by the Medellín Cartel, its leaders — Escobar, Jorge Ochoa and Carlos Lehder — should not be portrayed as a group of teenage misfits who happen to own the most profitable drug organization of all time. Instead, depicting Escobar, Ochoa and Lehder as more serious and ruthless, just as they were in real life, would have made Seal’s interactions with them more authentic.

Another error on the part of Liman and the film’s screenwriter, Gary Spi-

 nelli, was the failure to explore the psychological aspect of Seal’s story. Had the film attempted to uncover why Seal transitioned to this life of crime, it would have made for a compelling narrative.

But instead, the audience is presented with a multitude of close-ups of Cruise smirking behind aviator sunglasses; his concerning criminal behavior is minimized, and there is undue focus on the entertainment value behind his actions.

Ultimately, the audience only receives small glimpses into Seal’s mind as he attempts to balance pressures between the Medellín Cartel and the CIA. Although “American Made” may have an appeal similar to that of “Narcos,” it fails to make contextual references and consider the characters’ psyches, which were among the factors contributing to the show’s success in the first place.

Nevertheless, the fast-paced storyline and the performances of Cruise and Domhnall Gleeson, who plays the shady CIA agent Monty Schafer, make up for the film’s missteps.

From start to finish, the audience is presented with a storyline that is highly entertaining, filled with scenes of espionage, drug smuggling, money laundering and political corruption. Seal’s life-

was truly astonishing and Liman does a fair job telling his story, but Cruise truly makes it entertaining.

Cruise perfectly represents the charming and sociable Seal; he effortlessly displays confidence and bravado when Seal is ahead of the game, yet shows convincing protective instincts when the character is in danger. Luckily, Gleeson is just as entertaining as Cruise in his performance of Schafer. In one instance, Seal asks Schafer, “Is all this legal?” to which Schafer boldly replies, “If you’re doing it for the good guys.” Gleeson’s comedic timing allows the film to balance its action-packed sequences with more humorous moments. Furthermore, Cruise and Gleeson had remarkable chemistry every time they were paired on screen.

Coupled with an action-packed storyline, “American Made” had all the potential to be a successful film. Unfortunately, the overly lighthearted depictions of the world of drug trafficking and of drug lords in particular weakened it. Overall, “American Made” is worth a trip to the theaters if you are in the mood for fun, high-speed thrills. But if you are looking for a thoughtful, well-written story about drug trafficking in Colombia, “American Made” may simply not be worth the time.

friday, october THE HOYA6, 2017 B10

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friDAY,THE October 2017 HOYA 6,B10

performing arts

Coming Soon: Mask and Bauble’s ‘Rumors’

megan decourcey Hoya Staff Writer

The Mask and Bauble Dramatic Society’s first show of the season “Rumors” is overthe-top, entertaining and, simply put, ridiculous. Written by Neil Simon, who is is best known for his play “The Odd Couple,” which later became a popular sitcom, “Rumors” contains Simon’s trademark quick wit and absurd sense of humor. Tasked with handling its interpretation are director Ryan Seideman (COL ’19) and producer Colton Wade (SFS ’17, GRD ’19), with technical direction

by Katie Morgan (COL ’20) and stage management by Daniel Wheelock (COL ’19).

In choosing the show, Seideman and Wheelock decided on “Rumors” together. Seideman is a comedic director and knew that he wanted to do a farce – a humorous play dependent on absurd situations. After looking through scripts, he picked up “Rumors” and knew instantly that it was the one.

“I think that in the scope of Mask and Bauble, we have not done a whole lot of farce, at least since I have been here,” Seideman said. “I

think having that specific genre is what makes the show unique in the scope of the Mask and Bauble season.”

“Rumors” is set at a lavish dinner party, where four couples arrive to find the hostess along with the entire staff missing. There is food on the table, but it is all uncooked. The host, New York’s deputy mayor, is found upstairs with a bullet hole in his ear. Fearing for his reputation, he begs the first couple that arrives, socialites Ken and Chris Gorman, to keep his secret. From that point on, “the play is about them trying to cope with this ridiculous situation in the way that rich couples in the 80s would,” Wheelock said. There is physical humor, a fast pace and, of course, drama.

Of the 10 cast members, six are freshmen.

Seideman said he has been extremely happy to work with this cast.

“Mask and Bauble is so open to everyone.

There is always room for someone to get involved,” Seideman said. “I think that a lot of people are not sure about doing theater and it’s a great opportunity to get to know a lot of people.”

His point was proven in the endless laughs

and supportive comments heard at rehearsal.

Whether it is working through scenes or attending an improv workshop, the closeness of the cast allows them to be genuine on stage.

This translates into an engaging experience for both the cast and the audience.

“Rumors” is the first production of Mask and Bauble’s 166th season. Every year, the club chooses a theme, and this year, Mask and Bauble has chosen “incredibly rare and dangerously new.” Even though “Rumors” originally premiered in 1988, many of the topics it touches upon are particularly relevant to today’s cultural atmosphere. Mixed in with the comedy is commentary on class, politics and status. Dan Ruescher (COL ’20), who plays Ken Gorman, sees all these aspects in many of the characters.

“These characters are on the wealthier side of the society, they all have reputations they are trying to uphold,” Ruescher said. “They all like to gossip, they all like to talk about each other behind each other’s backs. This kind of juicy gossip is something that their society generally would love, so this would all be re-

ally dangerous for their reputations if it got out.”

Considering that -classes have only been in session for six weeks, there has not been a great deal of time for a cast and crew to put together the show. However, this cast is itching to give its audience something to laugh about.

Abi Franklin (COL ’19), who plays Chris Gorman, relayed how the organization has been integral in preparing the cast and instilling a readiness in all of them.

“Mask and Bauble has been a really great community, since my first day working here,” Franklin said. “They have a great creative vision and an inclusive space that is great for fostering all sorts of ideas, people and opportunities.”

“Rumors” will be performed at 8 p.m. on Oct. 12, 14, 18, 19, 20 and 21, with an additional matinee at 2 p.m. on Oct. 15. All performances will take place in Poulton Hall, Stage III. Tickets are $12 for general admission and $8 for students and can be purchased online or before the show if any remain available.

performing arts

‘Stones in His Pockets’ at the Keegan Theatre Rachel linton Hoya Staff Writer

The set consists of only eight objects: on the left and right sides of the stage, two black production cases, and in the center, two movie set black folding chairs stamped with “EXTRAS” in white letters. To the far right sits a movie camera. Behind it all stands a projection screen.

Despite the sparse set and dearth of physical props, the Keegan Theatre’s production of Marie Jones’ “Stones in His Pockets” comes to life on the merits of its actors. The minimalism of the technical elements helps dramatic skill shine through, and the few onstage elements are used to full effect by director Abigail Isaac Fine.

Set in a rural town in Ireland currently inundated by an American film crew, “Stones in His Pockets” examines the clash of cultures between a small town, sustained for years by land and livestock, and the glamourous Hollywood film industry.

The play centers on two men serving as extras in the film: Jake, played by Matthew Keenan, who is living with his mother after recently returning from a failed attempt to find his fortune in New York, and Charlie, played by Josh Sticklin, who has lost his video rental store after a bigger chain moved into town, and now travels the country with nothing but a tent.

Both characters are intrigued by the promise of the movie business — fame, fortune and, for the extras, forty quid and three meals a day — and both have nowhere else to go.

Keenan and Sticklin are the only actors in the play, but not the only characters: Keenan

also plays a drug-addicted teen, a peppy production assistant and Mickey, an old hand at the business of being an extra, while Sticklin shines as a teenager, an over-the-top bodyguard and a Hollywood actress, among others. Keenan also designed the set for the play.

The physicality of the actors and their rapid switching between roles is the strongest part of the play: The moments in which Keenan springs from the hunchedover Mickey to respond as Jake to his own lines are hilarious, and the clear definition brought to each character forestalls any potential confusion.

The few technical elements are used to excellent effect, most notably the camera and projector combination. At several points in the show, Charlie and Jake go to it to fulfill their roles as extras — digging turf, cheering, dancing — and the results are projected for the audience to examine closely with detail. The device highlights the humor of the script without detracting from the skill of the actors, which Fine keeps at center stage.

Despite the darker themes at the heart of the show, “Stones in His Pockets” deserves its label as a tragicomedy. The humorous elements of the show shine through from start to finish.

Some of the humor comes from the stereotypes of the movie business: the aggressive bodyguard, the beleaguered production assistant and the extravagant Hollywood star. Other elements stem from the frank depiction of life in a small Irish town: the ubiquity of cows and the way everyone knows everyone else’s business within minutes.

But most of the humor comes from the clash

between the two: the American actress with — she insists — Irish heritage, trying to get her accent just right, and Jake attempting to convince her that Seamus Heaney’s poetry is his own. It is the script’s strong humor in the face of sadness combined with the comedic timing of the direction that carries the show and keeps the audience laughing right up to the final curtain.

The Keegan Theatre is in many ways the ideal place to produce “Stones in His Pockets” in the United States.

Originally written in 1996 for a Dublin-based theater company and first performed in Belfast, Ireland, the play focuses on the clash between American and Irish culture; the Keegan Theatre has been working to bridge the theatrical

traditions of the United States and Ireland since 1999. In addition to productions of Irish plays like “Stones in His Pockets” and a Christmas tradition play, “An Irish Carol,” Keegan Theatre tours Ireland almost every year with classic American plays.

This commitment to honoring Irish theatershines through in the production. The strength of the actors, the clear direction and the powerful script bring a complex world to life even with little aid from technical elements — a victory for both minimalist theater and for its audiences.

“Stones in His Pockets” is running at the Keegan Theatre through Oct. 15. Tickets can be purchased online at keegantheatre.com.

KEEGAN THEATRE

The minimalist production of “Stones in His Pockets” at the Keegan Theatre shows the theater company’s strong committment to drama with high-quality acting and a clear directorial vision.

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friday, october 6, 2017

THE HOYA

television review

The Deuce

Starring: James Franco, Maggie Gyllenhaal Created by: David Simon, George Pelecanos Gabrielle Irwin Special to The Hoya

Filled with sexy intrigue and authentic portrayals of human strife, “The Deuce” is the latest in HBO’s lineup of addictive, provocative television dramas. The show, which premiered Sept.

10, has received critical acclaim thus far and was renewed just nine days after its first air date.

The show follows the various acts of debauchery and crime that thrived on the “Deuce” — New York City’s 42nd Street — during the 1970s, and delivers with a compelling plot, stellar cinematography, and a standout performance by lead actor James Franco.

Franco stars as both Vincent, an aspirational barman, and Frankie, his lighthearted twin brother who is mired in gambling debts. In order to repay his brother’s debts, Vincent becomes business partners with Rudy Pipilo, a mobster who plans to revamp the Deuce into its former glory as a hotspot of drug dealing and prostitution. The pimps and prostitutes who work along the Deuce must reckon with their personal problems, as well as the corrupt police force patrolling the area.

It is refreshing to see a show pry unapologetically into a subject as taboo as prostitution.

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Amid the many sex scenes are love triangles, broken relationships among family members and, at the heart of each character, the undying dream for a better life. Each character comes from a different walk of life, which makes the show feel more realistic and honest.

Remarkably, “The Deuce” never gives into the temptation of becoming overly dramatic, despite dealing with subjects like drugs, sex and crime. There are no turns of events so dramatic that they seem implausible, nor are any of the characters overly exaggerated or caricatured.

Even the sex scenes, frequent as they are, are not overdone; rather, they desensitize the audience to sex much in the way the characters in the show are constantly exposed to the sex industry.

The relationships between pimps and prostitutes in the show create a complicated web of violence and deceit. Pimps C.C., Larry and Rodney, played by Gary Carr, Gbenga Akinnagbe and Method Man, respectively, switch mercurially from tender protectors to brutal tyrants with their girls. Their deceptive dual natures allow the pimps to convince the girls into doing whatever sex act or drug run is asked of them, even if they have been abused previously. Candy, played by Maggie Gyllenhaal, is the only character to break this mold by choosing to not have a

pimp. She removes herself from the system by getting into the grindhouse movie business.

Steeped in corruption, eroticism and ambition, “The Deuce” is not so much sexy as it is provocative. The setting is criminal by nature, and the presence of New York City’s crooked police force in the show only serves to exacerbate the violence and conflict.

Vincent is by far the least corrupt and most sensible character in the show, unlike Frankie, who is irresponsible and reckless. Although they are identical twins, Vincent and Frankie are completely opposite in character, serving as perfect foils for one another. The show’s comic relief comes mainly from Franco playfully bantering with himself in the twins’ interactions.

Vincent and Frankie’s relationship is a gem, particularly within the context of their isolated, dangerous world.

The show’s cinematography is also beautifully crafted. The golden, smoky atmosphere that encompasses the world of “The Deuce” expresses the intimacy of the settings in the show: hotel rooms, theaters, bars, diners. The shots themselves jump from character to character, seamlessly weaving together many different storylines, and cut quickly to show violent, frantic situations. The camera tends to stay with the

 faces of the characters during moments of pain or conflict, which allows the audience to recognize their turmoil and fear and thus become personally invested in their welfare, rather than focus on the physical aspects of the violence.

The score is incredible, as is typical of HBO shows, but the background music breathes life into those warmly lit settings to create perfect moments of intimacy.

However, “The Deuce” could improve on its individual character arcs. The last installment of the eight-episode season was impactful, but it remained anticlimactic and left most loose ends untied. More structure should have been in place to develop the characters’ progression in the show’s short time span, or perhaps one or two additional episodes would have allowed for the season finale to feel less rushed.

“The Deuce” dives into a harmful subculture of New York City in the ’70s and provokes conversation about the nature of the sex industry today, despite being set almost half a century ago. The characters themselves are multidimensional and intriguing, but the show could benefit from paying more attention to the characters’ motives. Ultimately, “The Deuce” is sharp, impactful and risque — yet another success from HBO.

episode review

VICE: Post-Truth News and Microbiome Created by: Denis Villeneuve Yewande Ilawole Hoya Staff Writer

VICE News has created a niche in the world of media by exploring offbeat stories in remote corners of the earth. The program has evolved into an influential media giant for young audiences yet continues to cover topics that remain obscure to most of the Western population. However, in this week’s episode, it dives into a problem at the forefront of global communication: fake news.

This week’s episode is titled “Post-Truth News and Microbiome.” The first 17 minutes of the episode chronicle the evolution of the term “fake news” and focus on President Donald Trump’s distrust of the media. VICE’s correspondent, Isobel Yeung, meets with advocates from both sides of the debate on fake news and alternative facts, which ensued following the election of Trump in 2016. She spends time with a pro-Trump journalist, asking him thought-

ful questions about the implications of his reporting. Yeung also meets with Eugene Yi of the Massachusetts Institute of Technology Media Lab to quantitatively understand the connection between the media and the Twitter-driven politics of the 2016 presidential election.

VICE uses a creative filmmaking style, with the documentaries being divided into two 15-minute segments. These relatively quick segments have both their advantages and disadvantages: They are short enough to maintain the audience’s interest but struggle to fully tackle all the questions associated with the subject matter. Especially given the scope of the subject matter in question — fake news — these segments should have been more fleshed out, as they tend to leave viewers feeling as though they are missing pieces of the puzzle.

In its second half, the show jumps across the globe to the Central African Republic. The segment follows develop-

 ments in antibiotic technology and the study of human microbiomes that regulate the immune system and food digestion. Correspondent Thomas Morton travels to the CAR to better understand the benefits of microbiome diversity in combating infections and superbugs.

This portion of the episode has the potential to be extremely confusing given how the scientific subject matter is packed into such a short amount of time.

However, both Morton and the scientists use plain language to explain the technical aspects of their analysis. Ultimately, the segment does a fantastic job of presenting both professional opinions from respected figures in science and medicine and testimonies from people in the United States undergoing experimental treatment to repopulate their microbiomes.

VICE also interviews citizens of the CAR to understand their forms of medicine and healing. It is compelling to listen to their stories and experiences and learn about

their way of life, which so directly contrasts with ours. The episode’s brevity works well for this segment, as a longer piece would be technically denser and harder to digest for the average viewer. The length of the segment helps VICE to include only the most important information. Not only does the program successfully present the information in an understandable way, but it focuses on the human narratives connected to the scientific developments, which helps make viewers more invested in watching.

VICE has carved out a commanding place in the world of media by expanding and evolving to talk about issues crowding social media feeds but also by staying true to its roots in covering stories off the beaten path. This week’s episode captures both sides and the full range that VICE has achieved in its diversity of stories, and may be the highlight of its season.

“Post-Truth News and Microbiome” airs tonight at 10:30 p.m. EDT on HBO.

FROM SET TO SCREEN: “LADY-LIKE” MOMENTS

EASTWARD FILMS

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Illustration by mina lee and valerie Ma/the hoya EASTWARD FILMS