FILM Tanvi Gorripati (CAS ’27) dives into the ’90s aesthetic of blast from the past “Y2K.” B2
TV Grace Ko (CAS ’27) says the final season of “Arcane” is magical, explosive and vibrant. B4
DANCE Elizabethe Bogrette (SFS ’27) and Caroline Brown (CAS ’26) praise Rangila 30: Under the Stars. B7
6, 2024
The latest iteration of this cult classic lacks the depth and originality of the first film. B3
James Pocchia
Contributing Editor
Tanvi Gorripati Deputy Guide Editor
In his directorial debut “Y2K,” Kyle Mooney successfully creates a nostalgic teenage comedy yet fails to integrate gruesome slasher film elements that he seems to aim to include. The premise of the movie contains striking similarities to many classic teenage comedies: two outcast teenage boys, Eli (Jaeden Martell) and Danny (Julian Dennison), sneak their way into a New Year’s party with the goal of Eli kissing his crush, a popular closeted computer nerd, Laura (Rachel Zegler). However, the party comes to an abrupt halt as the clock strikes midnight, when every piece of technology somehow comes alive, binds together and starts killing everyone in its way, turning the party into a gruesome murder zone. Danny, Eli and Laura band together to escape to safety and fight against the technology.
While I wasn’t around during the 1990s and therefore cannot certify the accuracy of the references that make up the majority of the film, “Y2K” successfully portrays the overall aesthetic of the time period. The movie is full of blasts from the past, including a cameo by the iconic metal band Limp Bizkit’s Fred Durst, who plays a version of himself in the era. His appearance is a perfect example of the film’s ability to evoke the iconic music and pop culture of the era, offering a fun and authentic glimpse into that time, even if some of the references may not resonate with those unfamiliar with it. While effectively creating nostalgia, Mooney also attempts to warn his audience of the future of technology. The film’s premise makes a
statement about the enduring worries around technology and the universal anxiety that the machines humans create will inevitably turn on us. The film echoes a fear that, as we increasingly rely on technology, we may be heading toward an uncertain future where we lose control over the very systems we’ve designed to improve our lives. This theme remains relevant today, serving as a stark reminder of the potential consequences of unchecked technological progress.
The first half of “Y2K” is full of zany jokes and quick humor, leading to many laughs and evoking nostalgia for the era. The fast-paced, comedic energy sets a lighthearted tone, capturing the essence of teen comedies and providing a fun experience for the viewer. However, the second half of the film, which shifts into slasher territory, falls flat in comparison. As it tries to embrace an apocalyptic, even “Matrix”-like atmosphere, it struggles to balance its disparate elements. The slasher scenes feel disjointed and less impactful as the film tries to juggle too many things simultaneously — a gory premise, the tension of survival, a budding romance and a heavy focus on 1990s nostalgia.
Julian Dennison as Danny was by far the most memorable performance in the film. He brought a perfect blend of humor and heart to the role, capturing the essence of a great friend who just wants his best friend to kiss the girl of his dreams with impeccable comedic timing and emotional depth. His line delivery was hilarious, and he definitely earned the most laughs throughout the film, showcasing his ability to command at-
tention and bring the audience along with him.
On the other hand, Mooney’s portrayal of Garrett, the dreadheaded stoner sidekick who serves as an older brother figure to Danny and Eli, was equally hilarious but in a much more subtle, laidback way. Mooney’s understated humor added a different layer to the film, providing a nice contrast to Dennison’s more exuberant performance while still contributing to the overall comedic vibe.
Despite the movie being rooted in a familiar and stereotypical storyline, it uniquely calls itself out whenever it falls too deeply into predictability. This self-referential humor works in the film’s favor, showing the filmmakers’ ability to poke fun at the typical tropes of the genre while still delivering a story that engages with its audience through wit
and humor. The moment of self-aware laughter serves as a refreshing reminder that “Y2K” doesn’t take itself too seriously, allowing it to both entertain and critique the very formula it follows.
“Y2K” is a fun and entertaining experience that successfully taps into 1990s nostalgia while blending comedy with horror. The first half of the movie captures the nineties through its quick humor and hilarious moments. However, the shift into the slasher genre may have you feeling nostalgic for the lightheartedness of its earlier moments. While the film may falter in balancing all of its competing elements, it contains memorable performances and offers plenty of laughs, making “Y2K” a worthwhile watch for anyone looking for a mix of humor, horror or nostalgia for the nineties.
Mauro Mazzariello
Hoya Staff Writer
The story of Count Dracula has been told countless times on the silver screen: a young Jonathan Harker unwittingly becomes enveloped in the schemes of a bloodthirsty vampire and races to save his wife from the monster’s clutches. It’s a tale as old as time — or at least as old as 1897. If Bram Stoker’s “Dracula” is the older brother who shines in the spotlight, then “Nosferatu,” directed by Robert Eggers, acts as the overlooked yet equally competent younger brother who lurks in the shadows. Based on the 1922 movie of the same name, which took much of its source material from the 1897 novel, “Nosferatu” offers a deeply disturbing vampire story that will ensure you sleep with the lights on.
“Nosferatu” starts with Thomas and Ellen Hutter, newlyweds in 19th-century Wisborg, Germany. Thomas (Nicholas Hoult), hoping to secure a better financial position, embarks on a journey to Transylvania to help close an account with a mysterious man looking to buy an old mansion in Wisborg. Thomas, not heeding the pleas of Ellen (Lily-Rose Depp), who has been
having ghastly premonitions (rookie mistake), travels to the castle of Count Orlok (Bill Skarsgård) to finalize the deal. Things take an entirely expected dark turn once Thomas arrives at the castle, setting off a bloody chain of events that threatens Ellen’s life. Thomas escapes the count’s clutches and races home to try and save Ellen, who has been experiencing unexplainable and rather terrifying fits in her sleep. Friedrich Harding (Aaron Taylor-Johnson), Thomas’ good friend, seeks the help of Doctor Wilhelm Sievers (Ralph Ineson) and disgraced Professor Albin Eberhart von Franz (Willem Dafoe).
As Count Orlok descends on Wisborg, bringing plague and death with him, they race to stop him from killing Ellen and the rest of the city.
The movie’s main star is Count Orlok, portrayed hauntingly well by Skarsgård. His appearance bears an uncanny resemblance to Vlad the Impaler, a prince from what is now Romania who was the original inspiration for “Dracula.”
Everything from the heavy Transylvanian accent to the mustache and his grotesque physical appearance invokes tension within the audience when he is on the screen. The Count’s decaying, repulsive figure amplifies the atrocities he
commits — he is not some sickly and strange vampire but a truly terrifying abomination. The special effects, most notably the gallons of blood used throughout the movie, were a true marvel.
Dafoe returns to his typical typecast of “crazed old man” and gives us a determined yet slightly whimsical Professor von Franz, alienated from academia for his fascination with the occult. It is the professor’s love of the occult that ultimately saves the day, as he is the one who spearheads the charge against the vile Count, putting him in the same “hero” category as the well-known vampire-slayer Van Helsing in “Dracula.” Taylor-Johnson’s portrayal of Friedrich, a good man caught up in the havoc of his friends’ problems, is solid but leaves something to be desired. Still, the anxiety in his stressful conversations with Sievers and von Franz is truly palpable to the audience.
Depp does a great job depicting the tormented Ellen, a woman plagued by awful premonitions since childhood. Her revelation to Thomas in the latter half feels a bit forced and could have used further explanation, but her character’s central role in the story was a refreshing change of pace from the typical damsel-in-distress nar-
rative. Instead of merely being rescued by her husband, she is ultimately the one who must face the Count and save everyone she loves.
The horrors of this movie are in full force through truly spectacular cinematography. A wide and refreshing range of camera angles helps communicate the sheer dread of being stalked by a vampire. The movie blends beautifully scenic shots of Wisborg and Transylvania with up-close and personal images of the characters as they witness horrors beyond their comprehension.
“Nosferatu” is a wonderfully horrifying entry into the vampire movie genre. The top-notch and deliberate cinematography will make you squirm in your seat, if not jump out of it altogether. The story deviates enough from its source material to make it a refreshing watch while remaining true to the elements that make Count Dracula such a pop culture icon. While some of the characters leave something to be desired, the acting as a whole is extremely convincing and amplifies the scare factor of this movie. Just as every vampire needs blood to survive, you need to go see this movie (unless you faint at the sight of blood, then definitely go check out “Moana 2” instead).
James Pocchia
Contributing Editor
Spoiler alert: Spoilers ahead for “Gladiator” and “Gladiator II.”
I distinctly remember the first time I experienced “Gladiator.” It was the first movie I ever watched in which the main character dies at the end.
At just 12 years old, I gazed in awe at my television screen as Maximus Decimus Meridius sacrificed his life in service of a greater purpose. On a quest for revenge, Maximus had learned to use the spectacle of violence against its perpetrator, the sadistic Emperor Commodus, paving the way for a better future for Rome. And I, like Lucius, the main protagonist of “Gladiator II” who was also roughly 12 when he watched Maximus die, “never forgot it.”
Given my adoration for “Gladiator,” I was heartbroken to discover that “Gladiator II” is little more than an emotionally hollow legacy sequel that fails to justify its own existence and falls far short of the standard set by its forebear.
Released Nov. 22 and directed by Ridley Scott, “Gladiator II” depicts the bloodsoaked journey of Lucius Verus Aurelius (Paul Mescal), the forgotten prince of Rome.
Living an idyllic, pastoral life with his wife in the African kingdom of Numidia 25 years after witnessing Maximus’ death, Lucius finds his tranquil existence disrupted when the Roman army attacks his village, inciting a battle during which Lucius’ wife is killed.
Captured and brought to the Colosseum as a gladiator after impressing the businessman Macrinus (Denzel Washington), an enraged Lucius fights to exact vengeance upon those responsible for his wife’s demise. However, he soon becomes involved in a conspiracy to rescue Rome from the tyranny of its twin emperors, Geta (Joseph Quinn) and Caracalla (Fred Hechinger).
Lucius represents the one redeeming quality of this misguided sequel. Mescal delivers an admirable turn as the lost Roman prince, bringing physical intensity to every sword fight while simultaneously infusing grins with a world-weary charm that elevates his often clunky dialogue.
While Lucius exhibits many of Maximus’ traits — such as a reluctance to accede to wanton violence and a sense of duty towards Rome’s smallfolk — he trades Maximus’ single-minded desire for vengeance for a flexible worldview. Yet he also shows a level of wrath that Maximus (who, as revealed in a trailer, was Lucius’ biological father) never displayed. The nuanced development of Lucius as an independent figure who still shows some flashes of his father’s personality serves as perhaps the only strong aspect of the screenplay.
Unfortunately, the film’s script disappoints in nearly every other way. Gone are the memorable quotes of its predecessor — indeed, we will never again hear the likes of “What we do in life, echoes in eternity!”— as they are replaced by nonsensical sentences that disrupt conservations and seem as though they were shoehorned into the script merely because they sound “slick.” For example, lines like “To restore order, I must have power!” seem as though they were inserted into the script by a 15-year-old “Gladiator” enthusiast rather than a professional screenwriter.
IMDB
James Poccia (CAS ’25) comments on the pitfalls of “Gladiator II,” which fails to live up to the first film’s legacy.
The screenplay also fails to develop the film’s numerous side characters, instead sliding into rote characterizations that often ape previous works.
The twin emperors, Geta and Caracalla, are merely slightly modified — and less nuanced — reproductions of “Game of Thrones”’ Joffrey Baratheon, despite committed performances from Quinn and Hechinger, respectively. Despite his important role in the first film, the once-compelling Senator Gracchus (Derek Jacobi) merely delivers a few boringly obvious lines and then perishes ignobly. The script especially mishandles Acacius (Pedro Pascal), as it settles upon a frustratingly one-dimensional characterization after ostensibly establishing the foundation for a complex moral compass.
Often, when an action film exhibits screenplay deficiencies, the audience can turn to its technical proficiencies for enjoyment. This option is not available for “Gladiator II.”
Every frame of Scott’s film seems desperate to convey the grandiosity of Rome, precluding the covert character conversations and intense scenes of political intrigue from displaying any intimacy. Rome, meanwhile, loses its luster thanks to a muted color palette — apart from the film’s final shot — and subpar CGI.
For every somewhat entertaining battle sequence — the best of which spotlight hand-tohand combat — the tendency toward 15-yearold “Gladiator” enthusiast rears its ugly head, generating moments of absurdity such as great white sharks inexplicably appearing in the Colosseum during a naval battle or a gladiator riding a rhinoceros. These battles are further undermined by a frustrating lack of stakes: Since no character (except, perhaps, Lucius) receives any significant development, there is a stunning lack of tension said characters’ lives are threatened.
Ultimately, it is difficult to think of “Gladiator II” as anything other than an unnecessary extension of a beautiful story. Unfortunately, given Hollywood’s obsession with legacy sequels, we can expect many more misguided attempts at cinematic follow-ups to populate theaters indefinitely. Look at the recent announcement of “Gladiator III” if you don’t believe me.
Grace Ko
Hoya Staff Writer
Spoiler alert: Spoilers ahead for “Arcane.”
There is no denying that “Arcane” is an unparalleled visual feast. In its answer to the high expectations that were set from its first season, “Arcane” is able to craft a cohesive, satisfying ending to its quite larger-than-life story.
Divided into three acts, the second season of “Arcane” begins directly in the aftermath of Jinx’s (Ella Purnell) bomb attack against the council of Piltover. While Jinx has escaped and has hidden herself away to grieve the death of her adopted father Silco, Jinx’s attack itself has heightened tensions between the cities Piltover and Zaun, the oppressed Undercity, that threaten to topple over into a mass-scale war. As tensions continue to rise, Vi (Hailee Steinfeld), Jinx’s older sister, becomes caught between these two worlds as her loyalty to her homeplace, Zaun, becomes entangled with her budding
life in Piltover, as she begins to realize that maybe her sister can’t be saved.
Visually, “Arcane” fills the screen with even more vibrance and artistic creativity compared to its first season. The animation wields an understanding of color and texture that it uses to effectively convey a wide range of emotions as well as create incredible works of art. An example of the show’s artistic ability is in one of the final scenes in the last episode, which takes place in an extraterrestrial plane where Viktor (Harry Lloyd), the season’s final antagonistic force, and Jayce (Kevin Alejandro) reunite. The setting itself is singularly unique through the use of the surreal nature of an infinite black space that is still yet filled with elegance through the sharp lines of gold that cut through its backdrop. The grand moment of this set comes to a full head when Jayce and Viktor sacrifice themselves, with the setting erupting in a breathtakingly vibrant flow of color with textures that borderline
the smoothness of animation and the rough marks of a sketch.
Narratively, however, “Arcane” stumbles in its lack of clear development given to some of its subplots across the season. This issue seems to result from the restrictive nine episodes given to the season that are not entirely enough to paint the massive vision of an ending that the writers have created. Yet, this does not mean that “Arcane” fails to tell a compelling narrative. Its writing and animation are skillfully combined to create a heart-wrenching story with a unique cast of characters whose background and motivations are all fully realized. This is further elevated by incredible performances by the voice actors whose ability to convey a massive range of emotions from simply their voice really shapes these characters into who they are.
The best representative of the strengths and weaknesses of the second season is its seventh episode, “Pretend Like It’s the First Time.” One of the focuses of the episode is Ekko (Reed Lorenzo Shannon) who is sent to
IMDB
Grace Ko (CAS ‘27) argues that the vibrancy of the final season of “Arcane” continues to impress audiences returning to the show.
an alternate universe by the Hexcore. With its focus particularly on Ekko, a character who had nearly lost everything in his life, his choice to ultimately leave such a heaven and his budding relationship with Powder (Mia Sinclair Jenness), the form of Jinx who had never become broken and maddened, builds upon the character’s true selflessness while leaving audiences with this crushing realization of what could have been.
However, the episode’s 40-minute runtime is not enough to explore this idea. Interaction between Ekko and this universe feels limited, and short conversations and montages are not enough to build this romantic connection between Ekko and Powder. Exploration of Ekko’s experience is further limited through a combined focus on Jayce’s time in a dystopian hellscape. The universe Jayce explores also has its own quite intriguing beauty and story, but, again, with the restrictions of a joint focus and a short runtime, the viewers are left to only small glimpses of what could never happen. Both stories are fascinating and are paired with spellbinding art, but the more brilliant the story, the more disappointing it is when there simply is not enough time given to push the idea to its complete potential.
Even with these limitations, “Arcane” builds a completely gripping narrative of heartbreak, loss, pain and the endurance of hope. The pure magic of “Arcane” is that no matter how far they’re pushing the boundaries of its narrative, it never feels in over its head. Instead, it unlocks a persistent potential that demonstrates just how pure love and passion for a story and its universe can create a timeless piece of art.
Luke McMahan Guide Columnist
In 1970, Med Hondo, a Mauritanian-born French filmmaker renowned for his radical productions, released “Soleil O,” which seems to echo the sentiments of Frantz Fanon’s 1952 book “Black Skin, White Masks.” This film, shot using equipment funded by the director himself, was made by a crew of just five people and starred mostly friends who participated voluntarily on weekends. However, Hondo makes up for the film’s limited production and meager resources with an assault of groundbreaking cinematic techniques that relentlessly investigate the struggles of formerly colonized Africans in France. Engaging with a myriad of issues ranging from language to biracial romantic relations to culture in the colonial era, Hondo’s film represents a brilliant cinematic adaptation of the struggles of decolonization.
The film’s opening sequences concisely portray the physical and psychological devastation of colonization on the native population. The film opens with a stop-motion animation of an African leader surrounded by his people who is then approached and immobilized by white
soldiers. The next scene features a group of Black men staring into the camera while a narrator remarks on the institutions of industry, culture, art, currency-based economy, science and education that flourished around the world prior to colonization.
Following this, a white priest baptizes the men, who apologize for speaking in their native languages before adopting new Western names, marking their conversion to Christianity. Portraying the utter dehumanization of colonized people, Hondo emphasizes how the processes of colonization stripped individuals of their identities, linguistic communities and guiding ideals. The men are then trained to become loyal subjects, taking up crosses and turning them around into swords. In an instant, the oppressors order the colonized to alternate between both humble Christian servants and unwavering imperial soldiers. The colonizers, after subduing the people’s leadership and usurping their way of life, impose their own culture and instill a sense of inferiority onto the oppressed to exploit them as a working and fighting force.
Finally, the men stand the attention of a white officer and several Black puppets. With
Are you a supporter of local craftspeople? Would you like to stroll through a museum’s “Castle Garden” with a warm drink in hand? Then visit the Heurich House Museum’s 12th annual local artisan craft market in Dupont Circle to find artist workshops, craft stations and tours between Friday, Dec. 6 and Friday, Dec. 13.
the call “French American English,” the men attack each other until they all lay exhausted on the ground. The same goes for two Black men in soldiers’ uniforms, who fight for a single bill held over their heads by the white commander. The scene brilliantly encapsulates the colonizers’ efforts to sow discord among the oppressed, rendering them continuously powerless. Arbitrary divisions and infighting persist, achieving nothing but mutual debility. Even those colonized who find themselves in positions of power, lured by meager payment, eventually fall victim to this same imposed friction. Puppet representatives of the colonized group preside over everything at the ultimate command of colonizer officers. Interestingly, Hondo does not specify the ethnicity or nationality of any of the film’s Black characters, instead portraying them as pan-African. The colonizers’ shouts of “French American English” is another composite, this time of colonizing forces. Hondo’s lack of specificity symbolizes the struggles not just of those communities with which he is directly familiar, but also those colonized across the African continent. What follows is a monologue from one man of the colonized group. Standing still with
By Caitlin McBride
As temperatures drop, make the most of the cold weather! There are five ice skating rinks near Georgetown University, each with their own perk. The Washington Harbour Ice Rink (on the waterfront) is right by campus, the National Gallery of Art Sculpture Garden Ice Rink offers up-close views of giant sculptures, the Wharf Ice Rink has Washington, D.C.’s only over-water rink and the National Building Museum Ice Rink has a brand-new indoor rink. Check each for hours and price, generally $10 to $15 for about 90 minutes.
arms and legs apart, posed like a lifeless doll with an equally lifeless smile, he describes how he has begun to take part in the arts of the colonizer: “I am bleached by your culture, but I remain” a Black man. Sentiments like these imbue the film and allow Hondo to bring Fanon’s theories to life on screen. He writes that colonized people who harbor an inferiority complex attempt to assimilate into the colonizer’s culture. They don white masks and try to endear themselves to the colonizer by means of open imitation of their language and values. Yet, as much as one adopts what Fanon calls the mother country’s culture, the same systems of forced inferiority and otherness of the oppressed perpetuate, leaving the individual divided from both his native and non-native senses of self. While no longer as violent as the aforementioned arbitrary infighting, the goal of keeping the colonized down, even in a decolonized world, remains.
“Soleil O,” with its evocative allegories and revolutionary theater techniques, effectively tackles the manifestations of colonialism’s past. The film crafts a remarkable depiction of the realities Fanon laid out in “Black Skin, White Masks” faced by formerly colonized Africans.
Holiday music is here! On Saturday, Dec. 7 from 1 p.m. to 4 p.m., there will be 10 outdoor live music performances at respective locations in Georgetown. From soul to jazz to a capella, peruse Wisconsin Avenue and M Street to take it all in. There will also be more than 40 shops and restaurants with discounts, treats and pop-up events, including GRECO, maman and 1310 Kitchen & Bar.
If you like ugly sweaters and beautiful music, this is the event for you. Whether your sweater is a treasured handme-down, a hand-knitted masterpiece or proudly thrifted, wear it with pride at this concert of orchestral Christmas hits and and classics! Tickets are available online for the show Dec. 4 at 7:30 p.m., starting at $25.
What Does it Take to Be a Kennedy? DC Hunts for the People’s Princess, Jack Schlossberg
Anandita
Agarwal Guide Columnist
We’ve all got that one friend who looks a little too much like Cole Sprouse. At every party, they pop out the party trick of a spot-on imitation. Who would have thought that their “fun fact” could become their ticket to fame?
If you’ve been even remotely connected to the internet in the past month, then chances are you’ve seen the plethora of celebrity look-alike competitions that have spawned around the world, with a new one popping up every day. What started as a small “meme” competition in New York City by social media influencer Anthony Po has grown into a cultural phenomenon that sees almost every city in the West, especially in North America, proclaiming a mascot; a silly, goofy guy that embodies their town. Chicago had Jeremy Allen White. Dublin had Paul Mescal. New York, famously, had Timothee Chalamet. San Francisco had Dev Patel. London had Harry Styles. And last Sunday, Washington, D.C., decided they wanted Jack Schlossberg. Amid disillusionment with democracy and socioeconomic stagnation, celebrity look-alike contests allow the culturally savvy and online Generation Z to “feel something.” New York Times culture critic Amanda Hess compares
the new trend to the Charlie Chaplin or Shirley Temple look-alike competitions during the Great Depression, writing those competitions “handed out what amounted to consolation prizes for the nation’s miserable conditions.” In their most recent iterations, these competitions seek men who exist in the female or queer gaze, embodying a kind of nonthreatening, safe masculinity — in other words, men who are not afraid to be feminist or feminine and politically conscious while maintaining a fun and sexy demeanor. No one embodies this in a more D.C. manner than the “People’s Princess,” John Bouvier “Jack” Kennedy Schlossberg. The 31-year-old is a Vogue political correspondent, grandson of former President John F. Kennedy and a Harvard University-educated lawyer whose online presence is baffling to anyone above the age of 40. Schlossberg’s often idiosyncratic and “silly goose” persona — in one moment decrying people who oppose vaccination and in the next telling you, the viewer, that he “needs you, wants you” — has allowed him to amass a viral online presence and become a Gen Z political icon. For the organizers, Ruchika Sharma and Georgia Parolski, picking Schlossberg was a moment of pure genius: He embodies the political ethos of the metropolitan D.C. area.
Standing in the crowd at Meridian Hill Park that sunny Sunday morning Nov. 24, it was
easy to feel that sense of D.C. community. Like many of those in the crowd, my friends and I had commuted after seeing the contest on Schlossberg’s Instagram story, where he had promised “to see you cherubs there!!!” Sadly, the Kennedy scion did not appear — but the other Jacks were present in abundance. It seemed every run-of-the-mill white man with brown hair in the area had shown up.
There were 14 self-proclaimed Jack Schlossbergs, including a female Jack pronouncing that she was for “the girls and the gays.” Another was “just trying to make his dad proud.”
All of them wore some iteration of Schlossberg’s iconic suits, except for a lone Jack who had stumbled upon this competition in the wild (on his morning run). He stood alone in a black tracksuit until contestants were asked why they should be the winner, to which he responded, “Who is Jack Schlossberg?” Another began to strip in response before donning a ’Merica eagle cap. A Jack with ample chest hair was prepared with an answer: He was from Massachusetts, worked in politics and had an uncle who opposed vaccines.
The Jacks were narrowed to seven, then five finalists based on crowd responses. It was hard to deny that the remaining five, including female Jack — who proclaimed she was
ANANDITA AGARWAL/THE HOYA Anadita Agarwal (SFS ’28) reports on the city’s recent Jack Schlossberg lookalike contest, a uniquely D.C. twist on a popular social media trend.
“proof that Jack is a lesbian” — were able to embody a kind of Kennedy charm that has made millions fall for Schlossberg. But to be Jack, you cannot only look like him — you have to know him as well. The last round consisted of Schlossberg trivia questions: This was where the fake Jacks were ruthlessly rooted out and where our winner shone. Following a tirade of questions about Schlossberg’s zodiac sign, fraternity, parentage and media coverage, Daniel Bonomo (GRD ’26), known to the audience as “green tie,” was an undeniable favorite.
As the Jacks waited in bated breath for the judges to reveal the winner, the audience began to chant “green tie.” Someone procured a tiara for the reveal. And with all the grace of a king being crowned to reign, “green-tie” Jack accepted the crown, waving to the audience like adoring subjects. In his acceptance speech, he reiterated Schlossberg’s message that “he loves us all” and ended with an imperative to “go watch Wicked right now.”
After his crowning, Bonomo was surrounded by news reporters and fans, including myself. When he revealed that he was a 25-year-old international development graduate student at the School of Foreign Service, I knew I had to interview him.
In a follow-up interview, the new Jack Schlossberg revealed that he discovered the competition because “he’s chronically online,” convinced by his friends and girlfriend. To prepare, Bonomo put on his fanciest tie — because “Jack is a nepo baby, after all.” His morning saw him running to the park, because he was late (“I’m always late,” he said), not thinking he would win. For him, the competition was a fun time, “embodying Jack’s silliness,” but the funniest part was seeing what people said about him after winning: getting mobbed by people wanting to take photos after, being texted by friends outside of D.C. about it and people recognizing him on the street since.
And just like the immaculate vibes of the competition, his prize and preparation were a chaotic mishmash. This is the center of the celebrity look-alike competition’s appeal: It feels like an event by the people, for the people. Organized through grassroots marketing, with absurd rules and insignificant prizes, these contests have become a space for joy both online and offline in a world filled with “doomscrolling.” This is embodied by Bonomo’s message of “silliness” as the levity of the completion has been a balm to a city driven by politics in a time where no one really enjoys politics very much.
‘Under the Stars’ for
Brown
Senior Guide Editor and Contributing Editor
The energy of Gaston Hall was electric. From the dancers pouring their hearts out on stage to the audience clapping along to the old-school Bollywood beats to the comedic routine of the emcees, Rangila 30 captured the best parts of cultural appreciation on campus Nov. 22 and 23.
For Rangila’s 30th anniversary, Georgetown University’s South Asian Society (SAS) pulled out all the stops. With the theme “Under the Stars,” the event embodied both the elegance of its celestial motif and the brilliance of its over 450 performers. Over the span of two nights and three performances, an audience of more than 2,000 was treated to an unforgettable experience of dance, music and philanthropy.
From humble beginnings in 1995, Rangila has grown from a modest gathering of 10 students to the nation’s largest charity dance showcase. This year’s event included nine distinct genres of
dance, seamlessly blending classical South Asian forms like Bharatanatyam and Kathak with contemporary styles from the 2000s and beyond.
Rangila’s philanthropic contributions are equally impressive. This year, SAS partnered with Little Sisters Fund (LSF), a nonprofit dedicated to empowering at-risk girls in Nepal through education and mentorship. Trevor Patzer, the organization’s founder, delivered a moving speech during the event, shedding light on the organization’s transformative impact in providing educational opportunities for nearly 4,000 young Nepali women. Additionally, Sapana, one of the Little Sisters, told her story of how the foundation changed the trajectory of her own life by supporting her education.
This year, Rangila raised a staggering $125,000 in revenue, which is a true testament to the power of art and community coming together for a common cause. Even more impressive is the organization’s transparency, with coordinators promising to publish detailed invoices on the Rangila website for the first time in history.
Shivali Vora (SFS ’26), one of the choreographers, said Rangila has provided her the
chance to perform while displaying South Asian culture to the Georgetown community.
“Rangila has been an amazing opportunity to use my passion for dance to help showcase South Asian culture,” Vora told The Hoya. Full disclosure: Shivali Vora (SFS ’26) serves as one of The Hoya’s Senior Science Editors.
Overall, the performances were not only incredibly choreographed, providing the audiences with a stunning visual display that left them immersed throughout the entire length of the show, but dedicated to presenting authentic cultural representations on Georgetown’s campus.
One of the most standout performances was the Classical Fusion segment, which beautifully merged traditional choreography with modern influences, creating something entirely unique and electrifying. The dance incorporated traditional movements from regions across South Asia to spotlight its enormous diversity of dance techniques and music.
Returning to Rangila for the first time since 2014 was Afrofusion, a segment that seamlessly combined Afro-Caribbean and South Asian dance in an energetic and expressive perfor-
DONHEE CUI/THE HOYA Elizabethe Bogrette (SFS ’27) and Caroline Brown (CAS ’26) report on the electric performances and importance of the South Asian Society’s 30th Rangila dance showcase.
mance. Dancers adapted traditional South Asian styles to emphasize the strong beats and percussion of Afro-Caribbean music, creating a completely new form that highlighted the adaptability of South Asian dance in other cultures.
However, Rangila is more than just the dance performances; it is a celebration of the music that characterizes South Asia. Studio Rangila’s musical act was a highlight, showcasing a mix of South Asian vocal and instrumental styles that captivated the crowd. The ensemble effortlessly navigated through different languages and genres, creating an auditory journey as diverse and vibrant as the musicians themselves.
To end the night, Rangila’s seniors performed the Senior Shandaar, a rapid-fire set of dances that incorporated all nine styles showcased throughout the show. The energy of each performance was electric, with the experienced dancers effortlessly mixing forms and techniques. The last number, Bhangra Finale, brought out every senior to crowd the stage and aisles of Gaston Hall as drummers in the audience beat out the rhythm of the music. The passion and effort of every dancer shined through in this final performance, creating a thrilling closing experience for the audience.
The magic of Rangila, however, goes beyond the stage. “Under the Stars” didn’t just nod to its stellar performers and coordinators; it was a celebration of legacy. For 30 years, Rangila has not only dazzled audiences but also united students in a shared mission of cultural pride and philanthropy. This year’s show felt like a culmination of everything Rangila has been building toward — a night of beauty, purpose and community.
Evan Bournazian Hoya Staff Writer
What began as a surprise feature on rapper Future and producer Metro Boomin’s song “Like That,” Kendrick Lamar’s scorching run throughout 2024 culminates in his newest album, “GNX.” Lamar’s sixth studio album, which he unexpectedly released Nov. 22, embraces West Coast hip-hop and R&B sounds while taking aggressive and melodic vocal approaches.
In the wake of Lamar’s most recent conflict with fellow rap superstar Drake, “GNX” builds on a series of singles that saw Lamar dismantling Drake’s reputation in the music industry and led Drake to sue Spotify and Universal Music Group. “GNX” builds on Lamar’s ensuing victory lap, continuing from his joint concert with Amazon Music titled “The Pop Out: Ken & Friends.” The event unified several Los Angeles-based musicians and celebrities such as Tyler, The Creator and Lebron James in what was one of the most electrifying concerts of the year (which I can attest to, as I was right up at the barricade of the Kia Forum standing floor). With these successes, Lamar’s announcement as the
headliner for the Super Bowl LIX Halftime Show caps off the road to “GNX.”
Through boisterous tracks that capture the essence and sounds of West Coast hip-hop, the same styles Lamar worked to defend in his battle with Drake, “GNX” cements Lamar’s legacy as rap’s figurehead. Lamar deviates from the themes of introspection emblematic of such past works as 2022’s “Mr. Morale & the Big Steppers.” Instead, he explores more boastful themes that, coupled with high-energy yet lyrically-dense tracks, lead “GNX” to be one of Lamar’s most catchy and lively works to date.
“GNX” begins with “wacced out murals,” a track on which Lamar raps over a minimalist string instrumental produced by Jack Antonoff and Sounwave about his bitter feelings regarding the rap landscape and his place in it. In one key line on the song, Lamar describes how he “used to bump Tha Carter III, I held my Rollie chain proud / Irony, I think my hard work let Lil Wayne down,” as he considers the public scrutiny around his selection as next year’s Super Bowl headliner over rapper Lil Wayne. As Wayne is from New Orleans, where the Super Bowl is set to take place, Wayne expressed dismay surrounding Lamar’s selection and even responded to the lyric. However, Lamar
By Amber Cherry
uses this line and others not to diss Wayne, but more so to stand up for his own legacy.
The next track, “squabble up” features a West Coast-inspired funk instrumental and samples singer Debbie Deb in a moment that continues Lamar’s uplifted confidence and follows up on his past criticisms of Drake from hit single “Not Like Us.” The third track, “luther,” deviates from the more rigid approach in the first tracks to a harmonious duet between Lamar and SZA in which the two look toward a possible future where they could take away all pain from their lovers. Meanwhile, “man at the garden” fits in line with the themes of Lamar’s previous work as he contemplates whether he is deserving of achievements but concludes with the declaration that he is “the greatest of all time.”
“hey now” turns back to more aggressive tones over dark production, which are eventually upscaled by spacey synths before fellow underground L.A. rapper Dody6 trades lines with Lamar. Lamar’s choice to embody a West Coast-centric approach to the record reaches its peak on “reincarnated” as he raps over a sampled 2Pac instrumental.
On “tv off,” Lamar reunites with Mustard, the producer of “Not Like Us,” in a highlight of the album. The rapper-producer duo
presents smug lyricism and production in a horn- and bass-infused track. In the second half, Lamar ushers in the second instrumental by yelling “Mustard,” a moment that has gone viral across social media, before rapping about how there remains “no other king in this rap thing, they siblings.”
“heart pt. 6” serves as a continuation of Lamar’s “The Heart” series of songs, in which he reminisces on his memories with the Top Dawg Entertainment label over slick string and drum instrumentals. With “gloria” as the outro, once again featuring SZA, the two reconnect themes of preserving love and conclude the album by detailing a dual-sided relationship.
“GNX” ushers in a new era in Lamar’s career that sees him at new commercial peaks while maintaining past quality. While “GNX” is not as heavily thematically focused or reflective as many of Lamar’s past albums, such as 2015’s “To Pimp a Butterfly” or “Mr. Morale & The Big Steppers,” he instead chooses to embrace West Coast hiphop and highlights a variety of acts. As a whole, “GNX” remains an impressive addition to Lamar’s catalog and further propels him as arguably the most impactful rapper to come out of the 2010s.
1. Using study days to get ____
6. To watch an entire show in a day
7. An organ you will use during finals season
8. Direct object pronoun for the plural “you” in Spanish
9. To video call someone, abbr.
10. You may be taking these next week
1. The elementary school that is the subject of an Emmy-winning show, minus a “T”
2. An aptly named type of grain used as horse food, in German
3. An extractable nuclear antigen, abbr.
4. Something you may get during this coming break
5. Small impressions
1. A turkey is one
5. What one may say about Trump’s new Health and Human Services Secretary, “ ___, _ _elieve, has a brain worm”
7. Someone who waits until after Thanksgiving to celebrate Christmas might say, “_ ____ myself into the holiday”
8. What you might call your grandma
9. With 6 down, a classic Thanksgiving casserole
1. At Friendsgiving, everyone should _____ their favorite dish.
2. The Guide’s own Bethe Bogrette’s catchphrase; what you might say if you are feeling scared
3. Makers of ProCal protein powder
4. Minus a “sometimes” vowel, famous animation studio also known for its theme parks
6. With 9 across, a classic Thanksgiving casserole