The Hoya: The Guide: February 22, 2019

F RI DAY, FEB R UA RY 22, 2019

. . . e g n a h C f o Season The Relevancy of Awards Shows

ILLUSTRATION BY: ELOISE OWEN AND EMILY SHAMBAUGH/THE HOYA

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FRIDAY, FEBRUARY 22, 2019

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RECORDING ACADEMY/GRAMMYS/FACEBOOK

Between the Oscars going forward without a host for the first time in 30 years and the growing trend of artists refusing to submit their work for Grammys consideration, the significance and worth of awards shows seems to be in limbo as they continue to be plagued with systemic social justice issues.

Awards Shows Face Tests of Credibility, Relevance ALLAN NAVARRO Hoya Staff Writer

Over the past few years, awards shows in the film and music industries have lost credibility among artists and consumers alike because critiques about diversity have plagued both industries. The issue is mainly centered on racial disparities in nominations and award choices.

The Grammys and the Oscars, as the highest profile shows, have faced the most criticism. The response from both shows has largely been considered inadequate, as they still opt to award more commercially mainstream artists and undermine other more culturally relevant artists. While there was hope that 2019 would provide a new direction for the awards, the results haven’t been promising so far.

The 61st annual Grammy Awards took place Sunday, Feb. 10, with one of the most diverse fields of nominees in recent history. However, yet again, the show made bigger headlines for its systemic issues.

After repeatedly snubbing hip-hop acts, the Grammys made history by awarding Childish Gambino both Record and Song of the Year, making him the first hip-hop act to take home both awards. The Atlan-

ta native’s chart-topper “This is America” covered the topic of racial oppression in the United States and made waves for its complementary video. Gambino was not present at the awards show, however, the first time since 1989 that a living nominee was not present to accept one of the general field awards.

The Oscars have also recently been rife with controversy: The 2019 show will be the first in 30 years without a host after organizers failed to replace Kevin Hart after his previous homophobic tweets resurfaced. The Hart incident is not an isolated one for the Oscars; social movements like 2015’s #OscarsSoWhite and 2018’s #MeToo have also called out the awards show for its lack of diversity and issues of sexual harassment across the film industry.

Similar social justice issues have plagued the Grammys, Oscars and other awards shows. These developments raise concerns over how awards shows in general can reverse their diversity issues and stay relevant.

HISTORY OF AWARDS SHOW BACKLASH

As these scandals have not been addressed, artists have recently spurned the Grammys. In fact, this year’s Grammys gained more notoriety for the artists

who declined to perform at the ceremony than those who did: Stars like Kendrick Lamar, Ariana Grande and Drake all declined to perform at this year’s awards for various reasons.

More and more artists are declining to submit their works for consideration at all, seeing the awards show as less relevant than ever.

Chief among these artists is Frank Ocean, who chose not to submit his avant-garde R&B album “Blonde” for Grammy consideration in 2016, citing his belief that the awards show’s infrastructure is outdated.

The Grammys do not “seem to be representing very well for people who come from where I come from, and hold down what I hold down,” Ocean said in an interview with The New York Times in 2016, breaking from his typically mediashy persona.

In subsequent years, rap superstars Drake and J. Cole also refused to submit their albums for consideration.

This trend is in large part because of rap’s overtaking of rock and roll as the most popular genre in the United States, according to USA Today, and the Grammys’ failure to recognize that trend.

Hip-hop and R&B accounted for 25 percent of all music sales in 2017, outpac-

ing every other genre. Nevertheless, only two hip-hop artists have ever won the coveted Grammy for Album of the Year — none since Atlanta duo Outkast took home the award in 2004. Until Childish Gambino’s win in 2019, no hip-hop song had ever won Record or Song of The Year.

The Grammys are also frequently criticized for failing to recognizing deserving works by artists of color in their major categories. In recent years, the ceremony has routinely selected albums from white artists over groundbreaking hiphop and R&B albums that were cultural phenomena.

Examples include Adele’s 2016 victory over Beyonce’s “Lemonade” and Taylor Swift’s victory over Kendrick Lamar’s “To Pimp a Butterfly” a year earlier. This phenomena even occurs within categories supposedly built for black hip-hop artists; this is epitomized by Macklemore’s victory for both Best New Artist and Best Rap Album over Kendrick Lamar in 2014.

The Oscars have also seemed to be content with avoiding better, more groundbreaking movies for safer selections that have broader support. With this year’s Oscars, some, such as the writers at Variety magazine, have been calling out the awards show for favoring movies that had big box office returns and would be

FRIDAY, FEBRUARY 22, 2019 popular enough to generate higher ratings for the awards show.

Movies like “A Star is Born” and “Black Panther” are fan favorites that might bring in more viewers to the awards show than years past, which could potentially boost the Oscars’ appeal. As more and more customers have stopped watching and viewership continues to plummet year after year, awards shows are struggling, leading to decisions like these to let commercial popularity decide some of the candidates and, potentially, the winners.

CHANGING RELEVANCE IN THE ARTS

Artists and filmmakers alike recognize the loss of cultural relevance awards shows have suffered as media consumption has shifted to online platforms like Netflix. In this way, awards shows are becoming a relic of the past, serving as nothing more than a rubber stamp on what audiences already think is good and rarely showcasing anything new.

The Motion Picture Academy, which is in charge of the nominations and award selections, is particularly seen to represent an antiquated body. The awards are the Academy’s mode to promote itself as opposed to recognizing cinematic brilliance, according to Chad Davis (SFS ’19) who serves as co-president of GIFS, the Georgetown Independent Film Society.

“I think the Oscars are now a way for Hollywood to celebrate itself,” Davis said.

“To celebrate the Academy, which is an inherently exclusive group of people.”

The Oscars’ exclusivity and lack of diversity has become a major talking point in recent years. In 2016, #OscarsSoWhite began as a grassroots movement on Twitter to boycott the Oscars after every acting nomination was awarded solely to white actors and actresses for the second-straight year.

“People of color, queer people, women and other marginalized groups have finally found platforms to produce their content on a large scale,” Davis said. “If the Oscars want to stay relevant, they need to redefine ‘The Academy,’ which is overwhelmingly white and male, and start acknowledging films that exist outside of the Hollywood sphere.”

In music, stars are seemingly created out of thin air because of the independence that the internet has granted artists — a contrast to how theaters serve as gatekeepers in film. Some of the biggest artists in hip-hop — and thus in music — in 2018 included Juice WRLD, XXXTentacion and 6ix9ine, all of whom were virtually unknown two years earlier. These artists developed their own celebrity and support through social media virality, eschewing the need for the Grammys to stamp them with their approval.

In the era of streaming and social media, the modern rap landscape is made up primarily of artists who wield influence on social media platforms and transition that fame into high Billboard chart placements. The most important part of their music is no longer the quality of the product, but rather their image and ability to create clicks for online platforms.

THE HOYA

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HOW CAN AWARDS SHOWS KEEP UP?

Awards shows are ultimately concerned with appealing to the masses.

Sometimes, that curatorial conservatism creates unappealing results for avid fans of film or music or anything in between, even if they sacrifice cultural relevance in the process.

The Oscars’ main problem seems to be about diversity and inclusivity. “The only way for the Oscars to be fixed is for them to stop prioritizing profits over all else, because the system behind the Oscars is chock-full of structural marginalization,” according to Davis.

The Grammys face a similar problem as they fails to balance objective quality. With every Grammy awarded to a commercially popular yet culturally less relevant artist, more and more young people, musicians included, are turning away from the oncerevered iconic American event.

As with every awards season, diversity, inclusivity and innovation become major talking points that surround these awards shows. Yet even for those who see the problems inherent within the election process of these works and representation in their respective electing bodies, they cannot ignore the Oscars’ and Grammys’ cultural relevance.

Despite the awards shows’ myriad issues, predictions for awards still dominate the internet and these nights are still largely considered the biggest nights in their fields. Most of the field’s top talent gather under one roof for a night to celebrate the year in their artistic craft in what, to most, remains a ceremony worthy of praise.

TIME’S UP/FACEBOOK

Both the film and music industries have experienced intense backlash in the wake of social movements like Time’s Up and #OscarsSoWhite.

GRAMMY AWARDS

The Grammys added to the series of scandals last week, cutting Drake’s acceptance speech short as he was speaking about the declining importance and relevance of awards shows in today’s music climate.

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FRIDAY, FEBRUARY 22, 2019

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MOVIE REVIEW

‘Isn’t It Romantic’ Parodies Romance, Celebrates Self Directed by: Todd Strauss-Schulson Starring: Rebel Wilson, Liam Hemsworth, Adam DeVine, Priyanka Chopra NOELLE WHITMAN Hoya Staff Writer

Starring comedian Rebel Wilson, “Isn’t It Romantic” delights audience members with its lighthearted satire of romantic comedies, celebrating female empowerment while revealing how negative social norms manifest themselves in cinema.

This parody follows the life of New York architect Natalie, uninspired and invisible in her career while struggling to find purpose in her personal life. After being mugged on a subway and suffering a head injury, Natalie reawakens in an alternate universe — an idealized world in which all romantic comedies take place.

Director Todd Strauss-Schulson begins the film with a cynical portrayal of the protagonist’s life, highlighting the mundane aspects of Natalie’s routine such as crammed subway rides and encounters with apathetic neighbors.

This bleak representation of the world mirrors Natalie’s deeply entrenched views of herself: She dismisses her personal aspirations and fails to recognize her own

unfulfilled potential. Natalie also scorns romantic comedies, claiming that they create unattainable standards for love that only lead to disappointment.

Natalie’s cynicism toward love transforms over the course of the film as she encounters the dashing millionaire Blake, played by Liam Hemsworth, who instantly becomes enamored by the leading lady.

With a beautified depiction of New York as the backdrop to this budding romance, Natalie’s skepticism regarding relationships gives way to hesitant hopefulness.

However, it is Natalie’s relationship with herself that proves to have the most profound change despite her pessimistic tendencies.

The intentional artistic choices in portraying the film’s fantasy world are effective in immersing the audience in this idealized universe. Although the music selection borders on cliche, the film offers visually pleasing shots of beautified New York, with streets filled with cafes and floral shops while whimsically styled costumes decorate every scene in pastel hues.

While the visual components of the film

do not disappoint, the film also incorporates social critiques in response to common stereotypes in romantic comedies.

Natalie challenges the traditionally toxic social dynamics among female characters by immediately seeking reconciliation with her nemesis in the alternate universe.

Natalie’s friendship with Donny, her gay neighbor and close friend played by Brandon Scott Jones, also defies the customarily passive role of “gay best friends” in romantic comedies. Rather than simply presenting Donny’s role as assisting the protagonist in her romantic pursuits, the film shows an expanded portrayal of his life outside of his friendship with Natalie.

Though the film examines these romantic comedy stereotypes, the script falls short in its attempts to incorporate themes of self-worth and identity. Spirited and outspoken, Natalie as a character defies the traditional mold of a slender and demure protagonist.

Furthermore, the casting of Wilson successfully attempts to foster body positivity for audiences. The script attempts to straddle the balance between incorporat-

 ing Wilson’s raunchy humor and serious reflections regarding women’s self-esteem and individuality.

The writing, however, is guilty of shoehorning jokes into scenes, resulting in an awkward dichotomy between contemplative scenes and humorous ones. Although Wilson attempts to widen the narrow scope of her character, emotionally charged scenes fall flat because of the inconsistency and hollow language of the script.

Despite its flaws in critiquing the social norms found in romantic comedies, “Isn’t It Romantic” incorporates satire, romance and visually engaging cinematography in an amusing narrative. Given the superficiality of the script, Rebel Wilson’s performance is convincing and provides glimpses of unfulfilled potential, similar to the unrecognized capabilities of the film’s protagonist herself.

While audience members may find themselves disappointed by the film’s lackluster nature, the protagonist’s reassertion of her agency and self-worth offers a resounding message of empowerment that redeems this flawed film.

BRON STUDIOS

In “Isn’t It Romantic,” Rebel Wilson, center, plays a comedic and cynical role as Natalie, an architect based in New York City who catches the eye of billionaire Blake, played by Liam Hemsworth. Through her character, Wilson asserts self-empowerment and body positivity while challenging social norms and idealistic expectations in romantic relationships.

FRIDAY, FEBRUARY 22, 2019

THE HOYA

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CONCERT REVIEW

EMPRESS OF/FACEBOOK

Kicking off her new tour at the Rock & Roll Hotel in Washington, D.C., Empress Of took the songs from her sophomore album and blended them into each other throughout the set. She mixed and modified her music with an air of coolness and flexibility that created an innovative experience in the packed concert venue.

Empress Of Experiments With Her Music at DC Show TIMOTHY MCNULTY Hoya Staff Writer

Electronic and alternative artist Empress Of launched her new tour at the Rock & Roll Hotel on H Street on Feb. 18 after the release of her new album “Us.” Wearing a dress she designed herself and her mother sewed, Empress Of, known off-stage as Lorely Rodriguez, seized control of the intimate venue and packed her short, hour-long set with memorable music.

Empress Of started her tour by pointing out her mom in the audience before asking the crowd, “Who here speaks Spanish?” The bilingual singer kicked off the set with “Trust Me Baby” and “In Dreams,” two songs that feature Empress Of effortlessly weaving English and Spanish lyrics throughout the songs.

Both songs unfold slowly, but the bass reverberated throughout the mediumsized room of the concert hall nestled under the bar up on the second floor. With antique lamps hanging from the ceilings and ornate mirrors lining the concert hall’s walls, the Rock & Roll Hotel offered an adventurous and authentic concert experience befitting of Empress Of. After the two Spanglish songs, Empress

Of launched into the first track off her latest album, “Everything to Me.” Featuring Blood Orange frontrunner Dev Hynes, Empress Of coolly sang over a simple yet persistent backing track that sparked life into the audience and got people moving.

Taking the momentum of the crowd and running with it, Empress Of finished her song “Everything to Me” and jumped into the soaring first notes of “Love For Me.” As she sang out the opening lyrics, “Disaster pretending / To hold it / Together,” the audience held its breath until the tempo picked back up and raced into the chorus.

After “Love For Me” ended, Empress Of immediately began “Just The Same,” a pleading love song with light percussion and deceptively upbeat vocals. When singing the songs live, Empress Of let more emotion seep into her usually cool and collected vocals, but this new tone simply added another level of depth and complexity to her artistic persona.

Empress Of bared her full vocal range for the first stop on her tour, but the powerful playing of her stellar electronic instrumentals sent energy into the small venue. With bass so loud it could be felt from the floor above the concert venue, songs like “All For Nothing” shook the en-

tire building and kept the energy high.

“Water Water,” the first song she played from her 2015 debut album “Me,” was introduced about halfway through the set, but its layered percussion and looped synth vocals bouncing off the Rock & Roll Hotel’s walls made for one of the most powerful moments of the night.

As if she were a DJ in addition to a songstress, Empress Of blended her songs into one another as the set progressed; the industrial yet fluid sounds that finishes “Water Water” oozed into the next track, “I Don’t Even Smoke Weed.” The latter song, hardly even finished, then quickly transitioned to Empress Of’s own interpretation of Ariana Grande’s “thank u, next.”

With each song melting into the next, Empress Of made the concert experience more than simply a run-through of her sophomore album. She crafted a special listening experience that only those concertgoers can claim, expanding upon her art rather than just recreating it in a new setting.

Nearing the end of her brief one-hour set, Empress Of slowed down the pacing of the concert and performed one of the three leading singles of the album, “When I’m With Him.” Still laced with an undeniable excitement for romance, the elec-

tronic production was replaced with more traditional instruments; Empress Of even played her own instruments throughout the night, smashing on the drums in time to the song’s beat.

For the penultimate song of her set, Empress Of unleashed the relentless “I’ve Got Love,” an ecstatic celebration that she indeed feels love “running through my fingers through my bones.” It is a simple declaration that Rodriguez transforms into an epiphany.

Empress Of finished her set with the second of only two songs from her debut “How Do You Do It.” Maintaining the energy she built in “I’ve Got Love,” Empress Of returned to her electronic roots at the end of the concert and infected the venue once more with the euphoric energy from her first album.

Despite a short set and a reluctance to play her earlier work, Empress Of delivered a distinct, iconic performance at the Rock & Roll Hotel that may not have been perfect but most importantly put a realtime experience over remaining true to the studio versions of the music. Empress Of is one of many rising voices in both electronic and alternative music, and her tour only proved that she is committed to her art and her fans.

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FRIDAY, FEBRUARY 22, 2019

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DIRECTOR’S CUT

Director Jackson Humanizes World War 1 Experiences Olivia Simon As I was browsing the AMC website the other day, I noticed that Peter Jackson’s “They Shall Not Grow Old” had returned to the theater on account of popular demand.

Given the endless critical praise and the film’s status as one of the highest grossing documentaries of 2018, I was intrigued to see how Jackson’s knack for detail and artistry would bring to life century-old footage of World War I. As part of a partnership between the Imperial War Museum and 14-18 Now, a cultural program marking the centennial of WWI, Jackson and his team were commissioned to create a film for the project.

The museum provided 100 hours of footage from its archives for Jackson to use for the documentary.

Jackson’s team digitally restored, trimmed, colorized and adjusted the frame rate of all 100 hours to convey an intimate portrayal of British soldiers’ experiences living in the trenches and fighting on the Western front.

Jackson paired the footage with BBC archive audio from the ’60s and ’70s, which essentially serves as the film’s narrator.

Jackson’s restoration of the footage constituted a lengthy and complex process that yields a historically accurate and artistically valuable result for viewers. The film opens in black and white, depicting the recruitment and training process that British soldiers went through before arriving on the Western Front.

Many veterans explain how they lied about their ages, reflecting their eagerness and excitement to be a part of the fighting. When the soldiers reach the Western Front, color suddenly emerges to the screen, signifying their entry into the devastating reality of war.

The immediacy of the transition feels like an assault on the viewer’s expectations, much like how the brutal effects of the war abruptly overturned the sol-

diers’ initial enthusiasm.

From here, the film seems to open up, inviting the viewer to experience the death and destruction that came to color the lives of these men.

The modernization of the footage also allows us to see the soldiers’ faces in clearer detail and subsequently allows us to identify with their expressions. This offers a more intimate view and understanding of the men who fought in the war.

For years, this understanding was lost in grainy, relatively incomprehensible footage, which, Jackson has noted, masked the humanity of the soldiers.

The film’s close-up shots and focus on these individual moments of expression or reaction reinforce the idea that we are witnessing the war from the soldiers’ perspectives — an angle that has been generally overlooked.

While the visual aspects of the film are highly impressive, the audio further humanizes the people on the screen. The details of the war are told through hundreds of different voices, which convene to establish a complete story.

This is a particularly poignant choice for the centennial project, as it allows

the voices of the soldiers to be heard without interruption or diversion.

Rather than using a more traditional way of recounting this history — such as through the use of a single narrator or by drawing on reflections of WWI historians or experts — Jackson uses the individual voices of the soldiers to augment the intimacy that we feel when confronted with the old footage, especially with close-up shots of the soldiers’ faces.

Jackson’s curiosity and passion for the subject matter stems from his grandfather’s experience as a soldier in the British Army. This personal connection is likely the driving force behind the major triumph of “They Shall Not Grow Old”: a commitment to showcasing the soldiers’ personal experiences.

Through his incorporation of the soldiers’ memories and feelings into almost all of the film, Jackson proves that a dedication to history and its manifestation through art can help humanize the past and the people who lived through it.

Olivia Simon is a senior in the School of Foreign Service. DIRECTOR’S CUT appears in print every other Friday.

NETFLIX AND NO CHILL

BBC Series ‘Bodyguard’ Authentically Thrills Rohit Mahtani “Bodyguard,” a gripping British series, bakes drama into intense action scenes and a scandalous romance, authentically portraying the realities of a taboo relationship. However, the viewer must endure the occasional cliche as many of the subplots seem to have predictable journeys.

The bingeable six-episode hit series was initially introduced to British television by BBC One in late August but has been available for streaming on Netflix since October. Since its release, Richard Madden has even won a Golden Globe for best performance by an actor in a drama television series for his role in “Bodyguard.”

The show was created and written by British television writer and producer Jed Mercurio. It stars Keeley Hawes as U.K. Home Secretary Julia Montague and Madden, most recognizable as Robb Stark in HBO’s “Game of Thrones,” who

plays Sergeant David Budd, Julia’s bodyguard.

The viewer is immediately thrown into an action scene as the first episode kicks off. David is on a train with his two children when his instincts lead him to pursue a possible threat aboard the train.

While he locates an attempted suicide bomber in the bathroom, his eagerness subsides when he notices a scared and kind face. David is duped into believing the bomber is weak because she is a woman.

This scene is crucial to solving the motives behind the subsequent attacks in the series. This sequence gives the viewer a hint of the kind of action and suspense they can expect.

The show has received some criticism, though, especially by comedian Hasan Minhaj, for portraying the bomber as Muslim. While the bomber should not have necessarily been Muslim, the fact that she was a woman says something about the typical roles of women in shows and cinema. The plot twist of revealing this atypical role for a woman stuns the viewers and keeps them on their toes.

As the series progresses, the plot’s subject matter deepens as well. David’s post-

traumatic stress disorder causes him to lash out — getting drunk almost every evening, seeking affection from his boss through an unprofessional sexual relationship and, eventually, having suicidal thoughts.

While this Netflix original might slip into a familiar and predictable tune common in television and cinema, the British drama series is still exceptionally well-crafted.

His budding romance with the home secretary is a byproduct of his trauma and the lack of affection he receives at home.

Indeed, their scandalous love affair is a bit cheesy, leaving the audience waiting for the inevitable — the end of the romance. Regardless, his PTSD and their resulting affair make for an all the more enthralling series.

We see another glimpse of the harsh realities of violence in just the second episode.

When bullets fly into Julia’s car and her driver is killed by a sniper, the scene is set to look like a warzone as blood is splattered everywhere.

More importantly, we see David and Julia make a genuine physical and emotional bond as they hold hands while multiple shots are fired at the car.

Almost immediately after, when David rushes to the shooter’s position to take him out, the theme of PTSD comes back into play as the shooter is his friend, a war veteran who is clearly suffering from a severe case.

While this Netflix original might slip into a familiar and predictable tune common in television and cinema, the British drama series is still exceptionally well-crafted and beautifully weaves real world problems into the personas of each main character.

No doubt the series will continue to be criticized, but viewers should not let the negative responses distract them from realizing that we finally have a compelling, real series that gets the job done in a succinct six episodes, leaving them wanting another season.

Rohit Mahtani is a junior in the McDonough School of Business. NETFLIX AND NO CHILL appears in print every other Friday.

FRIDAY, FEBRUARY 22, 2019

THE HOYA

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MOVIE REVIEW

BET FILMS

Ali Davis, played by Taraji P. Henson, above, embodies values of a hardworking, empowering and independent woman. After a shaman gives her a strong concotion to drink, Ali gains the ability to hear men’s thoughts, revealing their darkest secrets and true desires. “What Men Want” surpasses its predecessor by addressing gender and race.

‘What Men Want’ Highlights Humor, Diversity Directed by: Adam Shankman Starring: Taraji P. Henson, Aldis Hodge, Richard Roundtree ELFRIEDA NWABUNNIA Hoya Staff Writer

“What Men Want,” the 2019 adaption of the early 2000s Mel Gibson film “What Women Want,” is a sharper, funnier, more inclusive take on the original concept.

Directed by Hollywood veteran Adam Shankman, with a cast led by Taraji P. Henson, the film does the work its predecessor could not.

Ali Davis, played by Henson, is every bit a modern woman. A hard-working sports agent, her philosophy on life seems to be to take no nonsense, as well as no prisoners.

Suddenly gifted with the ability to hear men’s thoughts, Ali decides to use it as a way of getting the come-up she knows she deserves. Of course, achieving that goal will not be that easy.

The film hits beautiful comedic highs without feeling slapstick or over the top despite the premise. The cast is a captivatingly strong blend with every character managing to keep up the believable, funny delivery, which was important to Henson. In the classic way of

Shankman, known for films like “Hairspray” and “Rock of Ages,” audiences will enjoy the inclusion of heartfelt scenes with dynamic characters, like those showcasing the relationship between Ali and her father, played

by Richard Roundtree.

“I loved the heart that was in the movie.

All the romcoms and comedic films, all the ones that stick to me are the ones that have heart. The ones where you’ll be laughing and all of a sudden you’re on the verge of crying,” Henson said in an interview last week with The Hoya.

The film makes diversity a point without exploiting it, still a rare sight in Hollywood today. For a comedic film, Ali’s intersectionality as both a woman and a black person are dealt with in a critically smart way, making the viewer wonder whether we are entering an age of movies with black characters that are not explicitly about racial pain.

Josh Brener, co-starring as Brandon, Ali’s loyal assistant and an aspiring sports agent, seems to represent a new relationship forming between Hollywood and diverse communities.

Finally, directors seem to be acknowledging that LGBTQ people, as well as racial and ethnic minorities, are more than just singletoned archetypes. His character is witty and awkward and exudes a likeable energy that will have audience members rooting for him as much as they will Ali. Henson is as hilarious and three dimensional as Ali. Audiences familiar with Henson’s work will remain engaged with her particular brand of delivery, which feels spot on and largely unchanged for the purposes of the film.

Those viewers who have not watched Henson before will wonder why they have not before. She feels perfectly placed for this kind of comedic role, and her comfort with the character and the narrative feels tangible and also works to make the audiences similarly comfortable.

“What Men Want” is most definitely worth seeing. As the film progresses, it delves into issues far deeper than audiences will expect from it going in but in fantastic ways.

Henson related to the adversity that her character faces.

 “Yes, every deal I’m fighting for my money, or having to prove that I’m worth it. And it’s always a fight; it never ends,” Henson said.

“And I could never understand when I was a young aspiring actress and would see the greats before me go, ‘I’m still fighting’ and thought it couldn’t be true. When you’re on the outside looking in, when it looks like they have so much ... so, yeah, I’m still fighting.”

The film reminds viewers that Hollywood can tackle important, contentious topics with the same humor they do vapid ones. Though these issues do not feel completely developed, likely because of the comedic tone of the movie, this choice also seems to be a purposeful balancing of concepts within the work.

The film feels timely and, for the most part, honest among an ever-heightening climate in which the nature of gender relations is finally being talked about in the mainstream pedagogy.

Do not go looking for a political statement with this one, but certainly go looking for a comedy with heart, mind and modern sensibilities and come away knowing the search has been successful.

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FRIDAY, FEBRUARY 22, 2019

THE HOYA

What to Do in DC

MUSIC

NEW RELEASES

SARAH CAMMAROTA Hoya Staff Writer

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TIMOTHY MCNULTY Hoya Staff Writer

ATLAS INTERSECTIONS FESTIVAL

The Atlas Intersections Festival is an annual event hosted by the Atlas Performing Arts Center, a historic theater housed in a former art deco movie theater on H Street.

Beginning Thursday, Feb. 21, and lasting until March 2, the festival features a medley of different art forms including sculpture, painting, theater by some of D.C.’s brightest artists. Some events, such as the Washington Post Cafe Concert Series, are free while a full festival pass for all events costs $75.

JLO AND BAD BUNNY

SUFJAN STEVENS

LIZZO

DRAKE

LIZZO ‘CUZ I LOVE YOU’

DRAKE ‘HOUSTATLANTAVEGAS’

After announcing her upcoming album of the same name, Lizzo croons over a larger-than-life band that showcases her vocals like a song has never done before.

The triumphant band paired with her undeniable wit and charisma makes “Cuz I Love You” a promising single.

Drake recently re-released his 2009 mixtape “So Far Gone,” making it available on streaming services for the first time ever. “Houstatlantavegas” features Drake perfecting one of his iconic themes and styles: slowing down the tempo and getting deep into his feelings.

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GIANT PANDA HOUSEWARMING CELEBRATION

The National Zoo has long been known for its Giant Panda Exhibit, which will host the grand opening of its new interactive exhibit this Saturday, Feb. 23. The “housewarming” will allow guests to talk with panda keepers about their work and will feature appearances by the zoo’s most famous inhabitants, pandas Tian Tian and Bei Bei. There will also be free hot chocolate and dumplings courtesy of the Embassy of the People’s Republic of China. Admission is free.

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HELADO NEGRO

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CARDI B & BRUNO MARS ‘PLEASE ME’

HELADO NEGRO ‘RUNNING’

In their newest collaboration after last year’s “Finesse,” Cardi B & Bruno Mars rejoined forces on “Please Me.” Cardi B’s rapid-fire verses work excellently with Bruno Mars’s impassioned pleas, and each artist builds off the tone and energy established by the other.

The newest single off his latest project “This Is How You Smile,” Latinx electronic artist Helado Negro released the single “Running,” a slow-moving but striking track that feels intimate and vulnerable with its deliberate piano backing and Negro’s softly sung vocals.

SMITHSONIAN

‘EVERYTHING IN EXISTENCE’ AT ARTECHOUSE

“Everything in Existence,” ARTECHOUSE’s newest exhibition, explores infinity and eternity — arguably the concepts of everything in existence. The Italian artist studio fuse* is responsible for the existential exhibition, and it includes work from the past 10 years of the artists’ installations. The works explore the intersection between art, technology and science and are generated by computer software. Admission costs $15 for adults for a daytime pass.

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ATLAS INTERSECTIONS FESTIVAL

ARTECHOUSE

‘ORCHIDS: AMAZING ADAPTATIONS’ AT THE NATIONAL PORTRAIT GALLERY

Beginning on Feb. 16 and lasting through April, the Kogod Courtyard, which connects the National Portrait Gallery to the Smithsonian American Art Museum, will play host to a showcase of orchids. The courtyard will be filled with orchids of different colors and ranging from a host of environments, demonstrating how these orchids can adapt in any environment across six continents while exploring their pragmatic beauty. The Courtyard Café will also be offering orchidthemed treats. Admission is free.

SMITHSONIAN

FRIDAY, FEBRUARY 22, 2019

THE HOYA

B9

MOVIE REVIEW

DREAMWORKS ANIMATION

“How to Train Your Dragon: The Hidden World” brings to a close the relationship between Toothless and Hiccup that captivated audiences over the last nine years. With breathtakingly detailed animation, a focus on the difficulties of growing up and brief flashes of humor interwoven throughout, this final installment of the trilogy soars.

Beloved Animated Trilogy’s Finale Does Series Justice Directed by: Dean DeBlois Starring: Jay Baruchel, America Ferrera, Cate Blanchett CATRIONA KENDALL Hoya Staff Writer

“How to Train Your Dragon: The Hidden World” is a visually stunning exploration of what it means to grow up, complete with the fire-breathing companions that made the first two films in the series so compelling.

“Hidden World,” directed by Dean DeBlois, opens amid dark fog as protagonist Hiccup, voiced by Jay Baruchel, works to free dragons caged by captors with his ragtag band of friends and loyal pet dragon Toothless, the last night fury.

The raid quickly devolves into juvenile antics as one of the group members accidentally sets himself on fire and another brings a baby dragon to the fight because he could not find a sitter. This opening scene sets the tone for the rest of the film, weaving lightheartedness throughout an unexpectedly solemn tale, setting the final installment slightly apart from the rest of the “How to Train Your Dragon” series.

With Hiccup as their new chief, the human inhabitants of the Isle of Berk, who once disdained and feared dragons, now welcome them as beloved pets. As Hiccup brings more and more rescued dragons back to Berk, however, this chaotically colorful dragon paradise becomes a target for those who wish to exploit and kill these winged creatures.

When Grimmel, voiced by F. Murray

Abraham, a villain whose main source of pride is exterminating dragons, sets his sights on Toothless, Berk faces its greatest danger yet. Hiccup, still settling into his role as chief, decides to relocate his people to the mythical home of dragons, rumored to sit at the edge of the world. Only in this Hidden World, he insists, can dragons and Berkians coexist without human interference and violence.

Hiccup’s personal development has consistently been central to the trilogy as he navigates the thorny process of growing up — a journey even more complex for a Viking prone to pacifism. His mentor Gobber, voiced by Craig Ferguson, impresses upon him in “Hidden World” that the youth are supposed to lead Berk into the future, calling on a familiar generational habit of imposing the pressure of progress on the shoulders of young people that can be seen today.

Hiccup’s anxieties about leadership plague him as he tries to prove himself capable of protecting those he loves. He once again relies on his characteristic optimism rather than heeding the pragmatism offered by the people around him. Hiccup’s insistent pursuit of the Hidden World, a legend told to him as a child by his father, reveals the fundamental difficulties of growing into an adult and having to leave childhood behind.

The relationship between Hiccup and Toothless captures the heart of the movie,

providing the same emotional backbone it did for the previous films. Many pet owners will undoubtedly recognize the amorphous bond between the two that seems to fluctuate between that of close friends, siblings and often even a parent and child — it is a relationship that has endeared viewers to the franchise from the beginning and one that only grows more meaningful and heartwarming throughout this latest film.

The animation features significantly in developing their bond. In addition to the picturesque views and vibrant colors of the sky and landscapes, the careful artistry breathes life and nuance into Hiccup and Toothless with its precise rendering of facial expressions and other minute details.

“Hidden World” also explores the codependent tendencies that arise from this relationship: Hiccup cannot recognize his value without Toothless at his side, and Toothless cannot fly without Hiccup to aid him. The film expertly exposes the selfdoubt that simultaneously inhibits them and binds them together, forcing the characters to confront their fears.

Toothless even gets his own romantic arc in “Hidden World” when he meets a light fury, a dragon who looks exactly like him except for her pale coloring. His earnest attempts at courtship, including a bizarre mating dance he picked up from another species of dragon, prove to be among the film’s most entertaining scenes. For all the oddness of the dragon mating rituals,

 his awkward efforts to impress his crush — combined with Hiccup’s endeavor to be Toothless’ wingman — are as charming as they are painfully humanlike.

Unfortunately, the film sacrifices the development of the rest of the characters for that of Hiccup and Toothless. Though the supporting characters provide comic relief and occasionally voices of reason, they have little depth of their own. Most disappointingly, Hiccup’s girlfriend, Astrid, voiced by America Ferrera, who was characterized in the first film as a competitive, headstrong spitfire, is relegated to the role of adviser for Hiccup and never fleshed out much at all beyond her relationship with him.

The primary antagonist, Grimmel, similarly lacks character work, but his missing background in fact makes him a more effective villain. Unlike the antagonists of the previous films, who hunted dragons either out of fear or to exploit them, Grimmel hunts to kill — and takes great pleasure in it, making him all the more unsettling.

In many ways, “Hidden World” is a story about growing up and letting go. The film is darker than its predecessors, and even the brief moments of comedy interspersed are not enough to counteract its more somber nature. This final chapter of Hiccup and Toothless’ story is a deeply satisfying, emotionally resonant account of their personal growth and triumphs, unafraid to tackle the difficulty of change.

B10

FRIDAY, FEBRUARY 22, 2019

THE HOYA

ALBUM REVIEW

Flor Energizes With Relaxing, Peppy Indie Pop

COME OUT, YOU’RE HIDING

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flor

JULIANA ALBUQUERQUE Hoya Staff Writer

Though indie-pop band flor launched its debut album, “come out, you’re hiding,” in early 2018, the record has received new widespread attention from the public after a few tour appearances over the past months. Flor has opened shows for the contemporary darlings of the indie-electronic scene like Hayley Kiyoko and Halsey, and its members are currently on their first headlining tour, along with Andrew McMahon in the Wilderness and Grizfolk.

The Oregon-based group was formed in 2014 and is currently signed by Fueled by Ramen, the label that helped bands like Paramore and Panic! at the Disco skyrocket to fame. In general, “come out, you’re hiding” is a charming debut album that does not bring much to the table in terms of novelty or originality but still presents a solid, enjoyable inaugural effort to break into the industry.

Throughout the record, frontman Zach Grace’s vocals are dreamy and aloof, delivering the words indolently in a display of typical West Coast cool. The lyrics team up nicely with the clear, synth atmosphere created by the guitar, bass and drums. The result is a relaxed, almost beachy vibe, as if the album was made to listen to with toes buried in the sand.

The one downside to the ethereal, soft gracefulness of Grace’s voice and the more laid-back production is the way the songs blur together. While the cohesiveness of the

album is perfect — no song seems out of place or forced — there are few standout tracks, making it difficult to pinpoint stylistic differences between them, especially in the first quarter of the album.

Hidden in the record are also moments of lyrical brilliance, or at least indicators of promising songwriting potential. For example, in “guarded,” Grace sings “Shuffling your hold, crippling me / Silence in this room, the death of me / I’ll keep close to home what’s pulled from it.”

These interesting bits of writing, however, are too often buried under bland, self-deprecating lyrics shrouded in half-hearted angst.

In “where do you go,” for instance, listeners will find it hard not to roll their eyes at cheesy declarations like “Oh, will you show me what it is that makes you so extraordinarily beautiful?”

Other overzealous attempts at portraying the singer’s torment also fall flat, such as in the song “unsaid,” when Grace croons “Nothing hurts when you hide away / Let ‘em in and they’ll bring the pain / But something about you feels okay / Comfort can’t help me grow up anyways.”

Instead, flor is at its best when it allows more rock influences to creep into its songs: In the somewhat peppier tracks, with Grace picking up the pace on the guitar, the rhythm becomes more infectious and distinguished.

It is a clever strategy, then, to select “guarded” and “rely” as the opening and closing songs of the album, as they are among the record’s most polished tracks that create the easy charm of flor so readily accessible for a first-

time listener.

The muffled vocals on “guarded” are backed by a lively beat, making for an interesting contrast: The track is the type of song to sing along to in the car with an open stretch of road ahead. Lyrically, the song is among the darkest on the album, a fact easy to fly over the public’s heads on the first listen as the words are disguised beneath the stunning, upbeat instrumentals.

The song “rely,” then, while similar in production style and tempo, is the hopeful closing of the album, a direct response to the bleakness of “guarded.” Instead of bemoaning his loneliness and isolation, Grace seems to have found reasons to open up as he proudly proclaims: “What have I ever done / to get to rely on you?”

One of the band’s biggest hits, “hold on,” has a light, joyful atmosphere invoking almost childlike wonder, and its relaxed lyrics and production mirror the song’s creation.

“It was written over the course of a shower,” Grace said in an interview with Buzznet. “The best songs always seem to come that easily.”

Maybe because of its speedy creation, the lyrics to “hold on” do not offer much depth or substance. Born out of Grace’s passionate vocals and an infectious rhythm, though, it is guaranteed to make listeners smile.

With a music video amassing over 835,000 views on YouTube, the track propelled the band to take another step into the more mainstream music scene, being labelled a calmer version of the 1975.

As a whole, some listeners may find it impossible to ignore how flor resembles the sounds of bigger, more well-known bands like LANY or The Japanese House. Ultimately, “come out, you’re hiding” leaves some originality to be desired but is still an interesting record, solid enough to garner a strong cult following and definitively indicative of the band’s potential for bigger and better things.

LEFT: @FLOR/INSTAGRAM, RIGHT: FLOR

Zach Grace, the lead singer of flor, has a dreamy and aloof voice that echoes with soft gracefulness, relaxing listeners and suiting the beachy vibe of indie-pop music.

Despite similarities among songs, flor demonstrates great potential in the music industry with its peppy, joyous album, “come out, you’re hiding.”

THE HOYA

FRIDAY, FEBRUARY 22, 2019

B11

MOVIE REVIEW

Everything Remains Awesome With ‘The Lego Movie 2’ Directed by: Mike Mitchell Starring: Chris Pratt, Elizabeth Banks, Will Arnett RACHEL LINTON Hoya Staff Writer

“The Lego Movie 2: The Second Part” may not be as innovative in style as its 2014 predecessor but still captivates its audience in its own right thanks to its script, music and animation.

The original “Lego Movie” managed to draw audiences in with its original format, using an animation style that perfectly captures the toys while blurring the Lego world with the “real” human world in an all-encompassing plot.

The new story picks up right after the prequel’s ending, beginning with a conflict between two siblings — Finn, voiced

by Jadon Sand, and Bianca, voiced by Brooklyn Prince — that results in an alien invasion of the Lego city of Bricksburg.

In the aftermath, the city transforms

into a post-apocalyptic cityscape until the arrival of a new ship takes several of Bricksburg’s residents to the “Systar System.” Some of these charming characters include Lucy, voiced by Elizabeth Banks, and the compelling Emmet, voiced by Chris Pratt, who follow in hopes of rescuing her.

Even with the pressure of living up to the first, returning screenwriters Phil Lord and Christopher Miller may have provided an even stronger script the second time around. Like the first movie, the jokes play well with a younger audience.

Yet the film still throws out many jokes for older viewers to enjoy that may not land with the children in the audience.

But where “The Lego Movie 2,” directed by Mike Mitchell, shines the most is when it makes fun of itself and breaks the fourth wall. The new format of the

 first movie allowed the ending to be unexpected, but its sequel manages to be unpredictable, even when reusing a now-familiar format, for its viewers.

“The Lego Movie 2” is unafraid to lean into metafiction for humor by referencing the first movie a number of times as well as its style, other elements of pop culture and the cinematographic history of its voice actors.

While to some extent it maintains the upbeat tone of the first film, “The Lego Movie 2” is much more self-aware of the oblivious optimism of the first. One of the major themes of the script is the change that accompanies growing up, acknowledging that sometimes “everything’s not awesome.”

It is a challenging message to tackle in a children’s movie that made the motto “everything is awesome” the theme of the first. While the chaos of the end of the film makes some of the intentions unclear, it still manages to address this struggle in a reaffirming way.

The script is not the only aspect that makes the film shine. The first “Lego Movie” was known for its music, and “The Lego Movie 2” does not fail to carry

on that legacy. Mark Mothersbaugh composed both scores, and Jon Lajoie wrote several songs that try — and mostly succeed — to be as impossibly catchy as the first movie’s soundtrack like “Catchy Song” and “Everything’s Not Awesome.”

The voice acting is also strong, particularly that of Will Arnett’s Batman, who hits a remarkable range while not losing his trademark tone, and Pratt, who voices multiple characters but keeps their voices as distinct as they should be.

The masterful animation is a standout of the whole franchise. The moments when the computer animation blurs into the stop-motion of the Lego characters in the real world make for compelling visual storytelling, and the sequences in the toy world are smoothly animated without forgetting their source.

While “The Lego Movie 2” is not quite as original as the first, the magic of introducing a format that feels both nostalgic and brand-new is difficult to recreate.

But the sequel is still a powerful illustration of the beauty of Lego, as well as an ultimately meaningful story in its own right, and worth seeing for those reasons alone.

WARNER BROS

The original “Lego Movie” charmed audiences in 2014 with an unpredictable and heartwarming plot. “The Lego Movie 2: The Second Part” mostly lives up to the standard set by the first iteration, featuring a catchy soundtrack, jokes that land for audiences young and old, and lots of plot twists. This second installment in the franchise is a must-see for Lego fans.

ILLUSTRATION BY: ELOISE OWEN/THE HOYA