FILM "Better Man" is surprsingly good, but a little bit bananas, says Francis Rienzo (CAS ’27). B2
TV Season 2 expands " Silo" in a mystery that audiences can't miss, says Grace Ko (CAS ’27). B4
MUSIC From raves to rage, Nick Williams (CAS ’25) analyzes FKA Twig's latest musical experiment. B7
JANUARY 31, 2025
‘Mufasa: The Lion King’ fails to live up to the iconic legacy of its animated predecessor. B3
Isabelle
Cialone Guide Deputy Editor
Francis Rienzo
Guide Deputy Editor
Imagine that you were watching the new Bob Dylan biopic, but Bob Dylan was played by a monkey. Also, none of the other characters are monkeys, it is not ever addressed that Dylan is the only monkey and all of the musical numbers are sung by real-life Dylan, who is voice-acting as a monkey in a story about himself. What I just described is the film “Better Man,” but instead of Dylan, the film focuses on Robbie Williams, the British boy band member turned solo superstar.
In an era of biopics, from “Bohemian Rhapsody” and “Back to Black” to “A Complete Unknown,” Williams attempted to stand out among the crowd through this perhaps odd character choice of being represented by a monkey. What further helps “Better Man” is the human touch of the musician himself, as the film fea -
tures songs and narration by Williams. He begins the story by saying how he has always felt “less evolved than other people,” and the film takes note, following the singer as an anthropomorphic chimpanzee. What is most peculiar is that the movie works; in fact, it works better than many other biopics.
Williams’ human touch and the non-human presentation successfully merge to create a decent story regarding self-esteem and the impacts of fame. Williams crafts a story about his own struggles, being very candid about his issues with drugs and alcohol along with his ambitious lifestyle and personality. It is surprisingly emotionally impactful — a little bit scary at times, but a decently entertaining romp.
Director Michael Gracey — who previously directed “The Greatest Showman” — uses his musical movie knowledge to great effect. Every musical sequence is coordinated and dazzling. In particular, “She’s
the One,” which documents Williams’ relationship with Nicole Appleton (Raechelle Banno), stands out. Not only is the dancing phenomenal, performed by Banno and Jonno Davis (as Robbie in motion capture), but the camera work is fluid and satisfying.
Before seeing this film, I did not know that I already knew some of Williams’ songs, which was a nice surprise. The sequence of “Rock DJ,” one of his most popular hits, was excellent. As far as the story goes, nothing was out of the ordinary. We witness Williams’ rise and fall in the boyband Take That (which inspired me to theorize about an eventual Zayn Malik movie) and his complicated relationship with Appleton and his family. The story might be where the movie needed the biggest touch-up.
Another point of critique is the film’s length, coming in at 135 minutes. There are pointless sequences within the runtime that seemed to contribute very little to the plot. For example, there were
IMDB Monkeying around this week is Francis Rienzo (CAS ’27) and his review of the simian spectacle “A Better Man.”
multiple scenes focusing on Williams’ childhood friend, Nate, which seemed to serve no purpose other than documenting Williams’ erratic behaviors. The film attempts to juggle a lot of emotional characters and beats, including Appleton, Williams’ mom (Kate Mulvany), his grandma (Alison Steadman) and, most of all, his absent father (Steve Pemberton). The story feels unpolished, focusing too much on superfluous details. However, there are still some gems, such as guest appearances from the Gallagher brothers of Oasis.
Although the story is muddled, the musical sequences are by far the best part of the film. While Williams’ music is not necessarily overly catchy or good enough on its own to completely carry a film of this stature, it does a more than acceptable job of showing off his musical talents. He describes himself as “cheeky” but clearly has a self-esteem issue. What may keep people from seeing this (and what is keeping it as a box-office bomb, not even close to breaking even) is the initial premise. A biopic starring a monkey is just plain weird.
Throughout the film, Williams’ insecurities manifest as monkeys that stare back at him during musical numbers and appear on top of jarring, scary music. At one point, there is a big animated fight between all of Williams’ different monkeys. If this was a horror movie, the scene might have worked better, but rather, the film is a big clash of genres: biopic, musical, horror. Weird, right?
“Better Man” was a good movie to see once, but I am not sure it has a lot of rewatchability. In the end, there was nothing particularly bad about the ultimate product — if you look past the fact that the star is a monkey.
‘Mufasa:
Isabelle Cialone Guide Deputy Editor
Ever wondered how Pride Rock gained its iconic shape? Or how Rafiki acquired his famous cane? Probably not. Nonetheless, “Mufasa: The Lion King” seeks to provide answers to these and a number of other never-before-asked questions pertaining to Disney’s 1994 masterpiece “The Lion King.” This lack of necessity is one of several symptoms of the serious case of prequel-itis that this movie suffers from. The affliction also manifests in heedless attempts to reference every single well-known line, event and character from the original movie, despite this endless incorporation creating several continuity errors. With the severity of this malady, as well as many other issues, the movie ultimately fails to commit solely to its prescribed role of prequel.
Rafiki (John Kani) tells the story of Mufasa (Aaron Pierre) to regale the lion’s granddaughter, Kiara (Blue Ivy Carter). Despite being two of Disney’s most well-loved char-
acters, the movie’s fruitless attempts to use Timon (Billy Eichner) and Pumbaa (Seth Rogen) as comedic relief renders them aggravating and, frankly, unbearable. The constant interruptions of the plot with tragically unfunny jokes and distracting fourth wall breaks were clearly intended to engage and entertain younger audiences but ultimately detract from the movie’s quality as a whole. The only laughs the movie garnered were my pitiful chuckles at the fact that I wasted a Thursday night watching the trainwreck in front of me unfold on the big screen.
You might be asking yourself why I even endeavored to watch this, seeing as it’s widely agreed that Disney has lost its magic, only churning out increasingly disappointing and derivative content in recent years. If I’m being honest, I did not have high hopes walking into this movie, but the appeal of the cast — boasting the likes of Beyoncé as Nala and Donald Glover as Simba, as well as the original soundtrack by Lin-Manuel Miranda — was irresistible. Unfortunately, this was a grave mistake.
The soundtrack completely derailed after only the first two tracks, as the lyrics began to feel like the writers gave ChatGPT a list of rhyming words to weave into a litany of forgettable and frustrating songs performed without even the slightest revision. If an award is in sight for this movie, it’s to laud it for having the least intimidating and most infuriating villain song of all time, “Bye Bye.” Equally perturbing was “I Always Wanted a Brother,” with the exasperating repetition of the titular refrain sung by an incomprehensibly British lion.
The nonsensicality of the sole British lion, this singular vocal distinction between Taka (whose name, unbeknownst to me for the first half of the movie, is actually not Tucker) and Mufasa, was unfortunately a necessity. The photorealistic animation meant that not a single lion was distinguishable, rendering the story incredibly difficult to follow. But don’t worry — to compensate for the identical appearances of the characters, their names are tacked onto every line of poorly written dialogue.
IMDB
From upsetting visuals to disappointing songs, Isabelle Cialone (CAS ’27) is definitely not roaring about Disney’s latest live-action offering, “Mufasa: The Lion King.”
This way, you’ll have no trouble following the brazenly formulaic plot as it devolves into countless predictable showdowns, which should be high-stakes but simply serve to remind you that you are completely impartial to every character.
The voice acting might have been the best part of the movie, though it was still only satisfactory at best. Unfortunately, James Earl Jones’ original performance as Mufasa is an unsurpassable one, and the movie being dedicated to him felt like a rather cruel disgrace to his legacy. “Look at the stars. The great kings of the past look down on us from those stars.” This first line was certainly poignant and I was initially prepared to witness a beautiful homage to the late actor — but alas, this was naught but a ruse.
The skill required of the animators to produce such photorealistic imagery should not be overlooked, and the setting admittedly looked beautiful, even if the proximity of such a sheer number of vastly diverse biomes was somewhat illogical. However, this new wave of lifelike animation of animals is tragically discomfiting and bereft of the sentimentality Disney’s hand-drawn originals offer.
Given the number of fights depicted, there is a disproportionately minimal amount of blood, yet the movie still manages to trigger some queasiness for the faint of stomach as a result of some seriously weird positioning of the camera. At times, the audience takes on a GoPro-esque perspective, inducing a nauseating effect wherein the animal’s head is completely still while the background blurs. Other scenes situate the camera atop the lions’ backs so their shoulders sway sickeningly before your eyes.
Whatever low expectations you might already have for the current crop of prequels and sequels Disney is churning out, this movie is sure to disappoint you in ways beyond imagination. If you possess even an ounce of respect for the original movie, steer clear of “Mufasa: The Lion King.”
Grace Ko
Guide Deputy Editor
“Silo” is one of the best shows the science fiction genre currently has to offer with its incredibly immersive and addictive atmosphere. Slow and steady, its first season built a compelling mystery that ranged throughout the singular space of a massive underground silo. Expanding beyond the initial environment, the second season of “Silo” once again forms an intriguing mystery interwoven with a larger story of the strength of human connection in the face of the unknown.
Adapted from the novel “Wool” by Hugh Howey, the second season of “Silo” is a direct continuation of the first season’s finale, in which Juliette (Rebecca Ferguson) manages to make it over the hill and beyond the eyes of the people of her silo, a type of bunker where humanity is sequestered after an apparent disaster left the Earth’s surface uninhabitable. On the outside, Juliette discovers
that her silo is not the only one to exist and manages to enter Silo 17, a dead silo whose only survivor appears to be Solo (Steve Zahn). While Juliette in Silo 17 desperately attempts to return to her home, a rebellion brews in Silo 18 as the people begin to demand answers as to what is truly out there. Though the season’s central plotlines occur in two entirely different locations, the narrative manages to feel more or less balanced. Silo 17 is a fascinating setting with its entrance full of the skeletons of long-dead residents who had tried to leave, and Juliette spends much of her time exploring the eerie dark halls weathered with age. She completes one arduous task after another as she tries to work with Solo, a quite unreliable ally, to get back home. Yes, the pacing is quite slow at moments and plot developments are somewhat rare; however, such pacing proves to be eventually rewarding in developing both the history of Silo 17 as a whole and the
complex relationship betweenJuliette and Solo.
Both Ferguson’s and Zahn’s performances create a compelling central bond between Juliette and Solo. While Solo is a full-grown adult, he still has the mind of a child due to his upbringing during the rebellion. There are moments where he lashes out against Juliette in fear, but deep down, Solo has a loyal heart and a shy kindness. Zahn expertly conveys this dual nature with natural ease and care.
Ferguson’s Juliette is still the pillar of strength she was in the first season — a complete force of nature in her own right. There is a short yet incredible monologue that an impassioned Juliette delivers regarding unity in the final episode, “Into the Fire,” that perfectly showcases Ferguson’s ability to fully capture the screen. Juliette’s pure will to do what is right for the people she loves comes alive through this strong performance.
Back in Silo 18, the primary narrative focuses on a rebellion brewing in response to Juliette’s success
The subterranean world of science-fiction show “Silo” expands in an excellent second season, says Grace Ko (CAS ’27).
in moving beyond what the silo’s camera can capture of the outside. Within this storyline, the conflict creates an ideological divide between those in the lower levels and those in the higher levels of the silo.
The leadership that occupies these higher floors are quite complex and dynamic characters that truly intrigue the audience. Particularly, the early scenes between Bernard Holland (Tim Robbins), the silo’s mayor, and Judge Mary Meadows (Tanya Moodie) crackle with such detail that it creates a tender yet viscous action from the colliding natures between the two characters. Robbins’ and Moodie’s acting creates a strange sort of chemistry that elevates their scenes, which serves to embed their characters’ relationships in further ambiguity. Individually, both Robbins and Moodie deliver incredibly nuanced performances and it is an absolute thrill to see these manipulative figures fully come alive as they plot, scheme and calculate.
Although the people of Mechanical, who occupy the lower levels, drive the silo’s rebellion, it felt as if they were not given many chances to fully shine. Instead of a slower pace where the audience can really take in the characters and story, the narrative of the lower levels is defined by action. When paired with clunkier, less natural dialogue, the rebellion lacks a certain intrigue compared to the season’s other plots. While there are still compelling characters and story beats within this space, it feels as if this storyline did not get the chance to form to its full potential.
With an incredibly talented cast of actors, a strong sense of its larger universe and numerous well-crafted narratives, “Silo” has fully taken shape in its second season. As it approaches its final two seasons, I am confident that it will continue to create something special.
Anandita Agarwal Guide Columnist
Do you ever get so annoyed by your siblings that you wish you could grab a chunk of their nice, lustrous hair and bang them into the drywall? If your answer is no, you’re either an only child or a liar. And for those truthful ones, Nida Manzoor’s punchy (literally) and colorful debut, “Polite Society,” allows you a chance to live out that fantasy. Crafted with the love and care of a project ten years in the making, “Polite Society” is a film that manages to be much more than a Jackie Chan knockoff.
Following the complex and ever-evolving relationship between two spunky and free-spirited Pakistani British sisters, “Polite Society” sees elder sister Lena Khan (“Umbrella Academy”’s Ritu Arya) as the angsty twenty-something art school dropout going through an existential crisis that would put middle-aged men to shame. Despite her own growing pains, Lena always tries to be there for her imaginative and loving younger sister, Ria (played by the brilliantly talented newcomer Priya Kansara), who — in not-so-classic teenage girl fashion —
has big dreams of being Britain’s greatest stunt woman. This relationship is tested when Salim Shah (Akshay Khanna), a hotshot Pakistani doctor and London’s most eligible bachelor, becomes captivated by Lena and plans to woo her off to Singapore, with his doting, overbearing mother planning something even more sinister.
Complete with a high school bully, coming-ofage struggles and family melodrama, the film has all the hallmarks of a high school dramedy. Yet it is also a mishmash of a thousand other diaspora tropes: Bollywood-style cinematography and visuals, old-timey Western transitions, multiple horror sequences (Manzoor has said some inspirations were “Get Out” and “Kill Bill”), Jane Austen allusions and, of course, stunt action sequences reminiscent of James Bond (if Bond was a 15-year-old, lehenga-wearing Pakistani British girl). For a generation that grew up within the constraints of both British civility and immigrant societal expectations — the prim and proper “high tea” colonial idealizations and parents who extinguished any originality under the catch-all South Asian mantra of “log kya kahenge” (what will people say) — “Polite Society” is a breath of fresh air.
Monday, Jan. 27 was International Holocaust Remembrance Day. On the 80th anniversary of the liberation of Auschwitz-Birkenau, take a day this week to commemorate the victims of the Holocaust and honor the survivors. Watch the 2025 commemoration online, visit the United States Holocaust Memorial Museum downtown and visit the statue of Jan Karski — a Polish World War II hero, spy and diplomat who provided some of the earliest reports on Nazi atrocities to the Allies and taught “International Relations” at Georgetown for more than 40 years — in front of White-Gravenor Hall.
Just like its heady mix of genres, Manzoor’s film seamlessly weaves together the identities of British and South Asian to create a project that doubles as a touching story of sisterhood while also being both a critique and celebration of the South Asian diaspora. Like any British immigrant family, the Khans grow up eating chicken curry and wearing uniform ties and skirts to school. Arranged marriage and rishta culture are very much alive in the world of the film but are offset by dry wit and high satire unique to British comedy like “Fawlty Towers.”
With a storyline as absurd as its cinematography, “Polite Society” is a project practically co-written by Manzoor’s younger self. The scenes of violence are cathartic, representing the microcosmic violence of being a teenage girl, with the overarching plot centering around female bodily autonomy and the vaguely incestuous relationship between mother and son in South Asian households.
In a country where the Asian diaspora is the largest minority at a whopping 9.3%, South Asians are still the most underrepresented group on the British screen. Typical representations are grossly inauthentic, playing into racial caricatures and stereotypes such as the nerdy sidekick, the socially awkward scientist or, worst of all, the accented
By Caitlin McBride
If you’re looking to explore past the Georgetown bubble but still have a penchant for historic areas, try visiting a historic house! You can tour the Anderson House, a National Historic Landmark in Dupont Circle, the Decatur House just north of the White House, or the Old Stone House on M St. if you want to take a quick stroll. Learn about the historic significance of each house while appreciating the beautiful architectural components.
Recognized as a Washington, D.C. landmark by Mayor Muriel Bowser and as a Georgetown University landmark by students, the Exorcist Steps featured in the 1973 film “The Exorcist” are a good place to start. The Watergate Steps, between the Lincoln Memorial and the Potomac River, historically served as a ceremonial entrance to the city and orchestra seating for summertime concerts. The Spanish Steps in the Kalorama neighborhood are by far the most romantic of this trio, constructed as part of the “City Beautiful” movement in D.C. They are also a part of the Decatur Terrace Steps and Fountain, the only D.C. public park that occupies a street!
foreigner. In primetime TV, Ofcom’s 2018 report suggested that the BBC was even at a risk of losing viewers to diversity issues, namely a record low (3%) of South Asian actors on the network. In high cinema, a BAFTA 2018 analysis found that only 1.9% of best actor and 0% of best actress nominees were South Asian. In reality TV, Britain’s hit “Love Island,” has only had two South Asian contestants out of over 150 in the show’s history. According to British media, South Asians are one-dimensional. They are not rich. They are not sexy. Most of all, they don’t even exist outside of background token characters. In this landscape, Manzoor’s film finally concocts a woman who has been conspicuously absent from British media yet wholly needed. She is the kind of woman younger Manzoor, you and me have all wished to have seen on screen: a woman that exemplifies the victimhood of South Asian females yet refuses to be the traumatized, meek and exotic damsel in distress that requires saving, a woman that is unequivocally real and fantastical at the same time. “Polite Society” acts as a film that heralds a new age of South Asian diaspora cinema, carrying the torch of meaningful stories yet unweighted by this responsibility as others have been. It is a movie that is loud and proud and everything but polite.
From Jan. 31 to Feb. 9, 2025, immerse yourself in one of the “top auto shows in the United States” in Washington, D.C.! From seeing the newest cars on the market to innovations in electric vehicles and autonomous driving to historical vehicles to the live Art-Of-Motion visual and custom auto exhibition, it might be time to learn something new about cars that wasn’t covered in the Pixar movie!
Tanvi Gorripati Deputy Guide Editor
Mac Miller’s “Balloonerism” is his seventh studio album and second posthumous release following his death in 2018. The album, which features collaborations with Thundercat, SZA and Ashley All Day, was originally written in 2014 but remained unreleased while Miller’s estate released other albums, specifically “GO:OD AM” and subsequent albums. However, many fans have been listening to leaked versions of the tracks since the album’s production, ultimately leading to the official release of the album just days before what would have been Miller’s 33rd birthday. This release date serves as a testament to the late rapper’s influence and enduring place in the hearts and minds of fans.
The album is experimental in exactly the right way, opening with the aptly named “Tambourine Dream,” a brief 30-second track of predominantly tambourine. “Balloonerism” showcases Mill -
@MACMILLERDIVINE/ INSTAGRAM
Tanvi Gorripati (CAS ’27) reflects on Mac Miller’s work, legacy and life during her listen to his posthumous album “Balloonerism.”
er’s trademark style: juxtaposing upbeat melodies with hard-hitting melancholy lyrics. While the instrumentals wouldn’t sound out of place at a frat party, the lyrics remind you of Miller’s talent for weaving together metaphors. This skill secures his enduring place in hip-hop.
“Mrs. Deborah Downer,” the sixth track, is my personal favorite. Set to an upbeat melody, the song contrasts its lively tone with poignant and introspective lyrics like, “If pills can turn to powder / Then this world can turn to ash.” In the track, Miller candidly grapples with his struggles with substance abuse, creating a bittersweet reflection, especially given his tragic passing due to related issues. He longs for the fleeting highs of drugs, battles through the lows and acknowledges the need to stay clean for the sake of his loved ones — “Clean myself up, now would you be my friend?” — but ultimately finds himself trapped in the cycle of addiction once again.
The 10th track on the album, “Excelsior,” reflects on the relentless passage of time.
Miller raps about children playing in a jungle gym, mourning their eventual loss of childhood wonder and imagination to ultimately critique the overly serious nature of adult life. Throughout the song, the sound of children laughing in the background underscores this message, urging listeners to mourn their lost youth.
The album serves as a pivotal bridge between the carefree, “frat-boy” rap style that characterized Miller’s early career and the introspective, jazz-influenced, almost singer-songwriter approach that defined his later work. “Balloonerism” is a key link to understanding the evolution that ultimately resulted in “GO:OD AM” and Miller’s later work, as it blends a youthful spirit with deeper, more reflective themes that would later dominate his music and highlight his growth as a rapper and musician. While I liked the album as a whole, it falls victim to one of the challenges of a 14-track album: With so many songs, there are bound to be some noticeable duds, leading the project to not feel entirely cohesive.
There are some standouts on “Balloonerism,” but not every track hits as hard as its more poignant and musically interesting peaks. Perhaps if the tracklist had been shortened, those stronger, more impactful songs could have resonated all the more deeply, generating a better, long-lasting impact. Despite this shortfall, the album is a must-listen, especially for those who want to deep dive into Miller’s evolving sound and emotional depth.
A long-awaited release, “Balloonerism” serves as a poignant reminder of Miller’s talent, creativity and emotional vulnerability. It cements his legacy as an artist who pushed the boundaries within hiphop and across genres. This album is not just a collection of songs but a tribute to Miller’s enduring impact and his ability to resonate with his fans even years after his passing. For both longtime listeners and those just discovering him, “Balloonerism” is a testament to Miller’s timeless artistry and the undeniable mark he left on the world of music.
In 2022, English singer-songwriter Tahliah Debrett Barnett, known to fans as FKA Twigs, moved to Prague, Czechia, to act in Rupert Sanders’ “The Crow.” Between takes, she immersed herself in the city’s underground rave scene, the sound of which informed the singer’s third album. “Eusexua” marks Barnett’s first release in over three years since 2019’s exemplary concept record, “Magdalene,” and her 2022 mixtape, “Caprisongs.”
In terms of genre, “Eusexua” is tough to pin down. Critics broadly characterize it as techno — and I agree — but Barnett experiments with electronica, dance, downtempo, house and trip-hop. It’s more a feeling that Barnett wants to capture with this project. She grabs our hand for a night out, bringing the listener from a warehouse rave or sweaty club, jumping in and out of cabs, walking the streets of Berlin or Amsterdam, dancing until the sunrise drives us home.
But what does “Eusexua” mean? Barnett has offered several definitions for the newly coined term. “Eusexua is the pinnacle of human experience,” she wrote in an Instagram post. In conversation with British Vogue, Barnett defined it as the “sensation of being so euphoric” and a feeling that allows one to “transcend human form.”
The title track opens the album. The song is a sparse techno number framed by heavy 808 bass and ambient textures. The chorus repeats a kind of mission statement for the album: “Do you feel alone? / You’re not alone” (i.e., in the club, we’re all fam). The track picks up with the last chorus, bringing us to the dance floor.
On “Girl Feels Good,” Barnett pulls from the sonic palette of Madonna’s 1998 masterpiece “Ray of Light,” combining a shuffling beat with electric guitars, pitched-up synths that sound like bird calls and wonky, tape-delayed keyboards. The lyrics speak to the power of the feminine. Barnett asserts, “When a girl feels good, it makes the world go ‘round.”
“Perfect Stranger” is a pop-oriented moment on a record that otherwise eschews main-
stream sensibilities. Although the track boasts a great pre-chorus and sticky hooks, the lyrics are too literal for such an esoteric concept record. The production is noticeably less intriguing than the rest of “Eusexua.”
The LP redeems itself with “Drums of Death.” Barnett teased the track in the “Eusexua” music video, where, scantily clad, she writhes around a corporate office before performing an intricate chair dance, a moment which became viral on TikTok. “Drums of Death” opens with a long instrumental composed of sharp 808 beats, synchronized claps and chopped vocals. In the chorus, she urges the listener to reject the mundanity of life and embrace sexual liberation. The song ends with an iconic line: “Crash the system, diva doll!”
On “Room Of Fools,” we are back at the warehouse rave. Barnett delivers de-tuned vocals in a stylized manner reminiscent of Björk. On the more downtempo “Sticky,” Barnett laments an ill-fated situationship. The song ends with an explosion of sound, the grimy bass and chopped vocals contrasting Barnett’s intimate
@FKATWIGS/INSTAGRAM
Alternative artist FKA Twigs transports listeners to back alleys and dance bars, reports writer Nick Williams (CAS ’25).
declaration of, “My body aches to be known.”
“Keep It, Hold It” starts slow and sparse; “What have I got to do?” Barnett asks, as the backing vocals respond, “Just keep it walking … hold it close.” That technique brings to mind Kate Bush’s classic LP “Hounds of Love,” in which the lead and backing vocals represent a conversation between the narrator and her subconscious. The bridge ushers in a beat switch that moves the song uptempo before the song devolves into processed vocals and buzzing synths.
The eighth track is the befuddling “Childlike Things,” featuring North West, the 11-yearold daughter of Kim Kardashian and Kanye West. The song is undeniably fun, boasting a house beat and gospel piano akin to Beyoncé’s “BREAK MY SOUL.” Barnett sings about escapism before North West delivers a bizarre second verse in Japanese.
“Striptease” follows, recently serviced as the fourth single. The verses are intense, punctuated by a trap beat and processed snares, with Barnett’s vocals jumping octaves. The choruses juxtapose that feeling, dropping into an ethereal and airy space. The track explores vulnerability as she sings, “Opening me feels like a striptease.” In the ending section, a breakbeat jumps in, followed by strings and stylized ad-libs that sound to me like those of Dolores O’Riordan.
The album proceeds with “24hr Dog,” an electronica number about devotion to a stoic muse. “Eusexua” ends with the anti-climactic “Wanderlust.” The autotuned lyrics are vague and clunky, alluding to dissatisfaction with life and a desire for freedom. The beat picks up in the bridge but never delivers a final punch to close the album.
“Eusexua” is a fascinating and deeply nuanced project. Barnett’s lyricism is not as sharp or emotionally charged as “Magdalene,” but her soundscaping and production quality are undeniably incredible. Barnett braids together varied sounds from the rave scene of numerous cities to create a record that emulates the intoxicating energy of a great night out. So ask yourself: Have you experienced “Eusexua”?
Caroline Woodward Senior Guide Editor
You could feel it in the air. On the morning of Jan. 23, movie enthusiasts of all kinds — film buffs, Letterboxd users, media studies students and anyone with a passion for cinema — eagerly tuned in for what felt like the Super Bowl for AMC Stubs members: the announcement of the 2025 Academy Award nominations.
The Academy Awards, or Oscars, which will take place March 2, aims to recognize the best and brightest of cinema each year. The awards show will be celebrating its 97th anniversary this time around, and with this almost century-spanning history comes ups and downs, hits and misses, grand moments and even grander snubs. Iconic pop culture moments often unfold at the Oscars, from the infamous “La La Land” vs. “Moonlight” best picture mix-up in 2017 to the more recent Will Smith slap. After all, it’s only fitting that a ceremony celebrating cinema would deliver its own dose of drama.
This year’s ceremony is already looking to live up to its predecessors’ storied legacy, with some nominations causing surprise, shock and even outrage in certain social media circles. Of course, there’s still plenty to celebrate when it comes to the time, talent
and dedication that go into bringing these projects to life. This article will be a general breakdown, an overview of some of the biggest names, moments or misses from the 2025 nominations.
To begin, there were some expected, but notable, outcomes. “The Brutalist,” a 3 1/2-hour long biopic filled to the brim with wide-scoping cinematic imagery and starring former best actor Oscar winner Adrien Brody, was nominated for best picture, along with other major recent releases such as “A Complete Unknown” and “Conclave.” The leading men in each of these movies — Adrien Brody, Timothée Chalamet and Ralph Fiennes, respectively — were also nominated for best leading actor. The best actress category, however, was more of a toss-up and showcased a diverse range of performances, from Cynthia Erivo earning recognition for her powerhouse portrayal of Elphaba in “Wicked” to Mikey Madison — a rumored front-runner — receiving well-deserved praise for her role in Sean Baker’s “Anora.” Other expected nominations include “The Wild Robot” and “Flow” for best animated feature film and a diverse pool for best costume design, such as Victorian gowns from “Nosferatu,” Roman garb from “Gladiator II” and fantastical frocks from “Wicked.”
By Tanvi Gorripati
As for some pleasant surprises: Sebastian Stan was nominated for best actor for his performance as Donald Trump in “The Apprentice,” even after the film faced limited release due to Trump’s legal team issuing a cease and desist over the project. The independent Brazilian film “I’m Still Here,” which tells the moving story of a mother’s fight for justice under a dictatorship, was given a surprising, but well-deserved, nod with nominations in best picture, best leading actress and best international feature. Finally, the often overlooked genre of horror made its mark, with the gory, dark comedy “The Substance” garnering five nominations. Despite these unexpected nominations, the announcement featured major snubs. One of the major oversights was Luca Guadagnino’s “Challengers” and “Queer” being nominated for a total of zero Oscars. With the amount of buzz both these films generated, it seems almost unbelievable that they were overlooked. “Challengers” excelled at both score and editing and could have very likely been awarded for both. Denis Villeneuve’s “Dune: Part Two” seemed to suffer the curse of recency bias, as it didn’t receive any actor or actress nominees nor adapted screenplay nor score, despite receiving ma-
jor buzz when it was released much earlier in the year.
Now, for the elephant in the room: “Emilia Perez.” “Emilia Perez” is a French foreign film revolving around a Mexican cartel leader transitioning to be a woman. It received 13 nominations at this year’s Oscars, falling one short of the record for most nominations for a single film. “Emilia Perez,” in my opinion — and the opinion of many others, according to its Letterboxd ranking of 2.3 stars — is not a good movie. Is it an ambitious movie? Sure. The themes it deals with are bold, exciting and should absolutely be discussed on the big screen. However, these themes are not handled well, as the film has received backlash from both individuals in both the transgender and Mexican communities. Furthermore, the film fails on almost every level: As a story, the plot is not interesting or cohesive; as a musical, the songs are not groundbreaking, catchy or even melodic; and, as a film, it is poorly edited and directed. The acting is, admittedly, very well done, but it fails to live up to its 13 nominations.
Despite this “Emilia Perez” shaped setback, the awards season is shaping up to be an exciting time. For the full list of nominees, see the Academy Awards website. As the actual awards day gets closer, the Guide will be releasing our 2025 Oscar picks and predictions, so stay tuned!
1. Timothee Chalamet’s character in “A Complete Unknown”
6. Silly or stupid
7. A prominent stock market index, for short
8. It will be a __ to watch the (9-across)s for Guide writers if a certain film sweeps
9. Coveted golden statue and this crossword’s theme
1. Music genre with shiny attire and spinning ball
2. Your Name, abbr.
3. A plastic surgeon perhaps, for short
4. An Academy Award-nominated film starring Mikey Madison
5. Often only ___ movies are nominated for awards
1.What professors hope you’re using that computer for
6. Number of semesters left, for seniors
7. “How could u?”
8. Protuberance on an old oak, maybe
10. Unit of osmotic pressure
11. Like the face of an unamused professor
1. Nonstarters
2. Like clocks during a Newfoundland winter
3. Spanish “I love you”
4. “_!”: source of celeb news
5. “_____ week”: goofy designation for the first week of the semester
9. Jimmy’s successor, in the White House