MUSIC Get a mop! “Chromakopia” gets even more sticky on tour, says Evan Bournazian (CAS ’25). B2
FILM Ethan Hill (SCS ’25) says spy thriller “Black Bag” is engaging, if a bit derivative. B4
THEATER Grace Ko (CAS ’27) says Mask & Bauble's production of “Sweeney Todd” cuts deep. B5
APRIL 11, 2025
Sex, scandal and satire hit screens once more as the hit show returns for its third season. B3
Caroline Woodward Senior Guide Editor
Evan Bournazian
Hoya Staff Writer
From an array of all-green suits to blonde bowl-cut wigs, crowds of brightly adorned young adults showed out in droves outside of Capital One Arena on April 1. As hundreds gathered in these decked-out costumes, a shared sense of coordination, camaraderie and anticipation filled the streets of Penn Quarter-Chinatown as they waited for none other than Tyler, the Creator’s “Chromakopia: The World Tour.”
Last year, Tyler Okonma — known as Tyler, the Creator — broke through to new commercial and personal heights on his eighth studio album, “CHROMAKOPIA,” which remained atop the Billboard 200 chart for three weeks straight. Amid the successes of “CHROMAKOPIA,” Tyler initiated a series of pop-up shows in cities across the country, such as Boston, where he performed on the roof of a Converse store for thirty minutes. During a celebration of Tyler’s 2024 run in his annual Los Angeles music festi-
val, Camp Flog Gnaw, he showed off a high-energy performance of his latest LP in the kickoff to 2025’s “Chromakopia: The World Tour.”
In an October announcement, Tyler launched his worldwide tour, which was set to hit cities across the United States, Europe and Oceania. Months after this initial launch, the show in Washington, D.C., concluded the first leg of the tour. It was Tyler’s first appearance in the District since 2022’s Something in the Water Festival performance, marking a moment of cultural significance for the “Chromakopia” tour and D.C. as a whole.
The D.C. stop opened with electrifying performances from Los Angeles-based rap duo Paris Texas and Atlanta-based rapper Lil Yachty. Paris Texas’s incorporation of audience participation into their set ignited cheers throughout the crowd. Lil Yachty’s subsequent set saw him running through his entire catalogue, spanning such classic records from the mid2010s as “Broccoli” with D.R.A.M. and “One Night” to more melodic performances such as
“WE SAW THE SUN!” from 2023’s “Let’s Start Here.” In one key part of Yachty’s set, he held a moment of silence for the late Chicago rapper Juice Wrld before playing 2018’s “Yacht Club.” However, during this moment, a fan called on the artist to play “drive ME Crazy.” Yachty, and his fairly funny reaction that has now amassed many views on Instagram, singled the heckler out as the entire arena booed.
After the two openers, Tyler’s sudden appearance atop a series of green cargo containers with a full green and black suit and an accompanying mask, marching in place to “CHROMAKOPIA” opening track “St. Chroma,” drew a cacophony of cheers. Tyler’s performance saw him rapping along to nearly every word of the lyrically challenging song, while a backdrop of fireworks launched in tandem with the booming synths of the track’s second half. The following “Rah Tah Tah” also showcased a visceral performance, with the general admission pit crowd bouncing around to the beat of the lyrics and a series of blinding green lights.
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Tyler, the Creator’s chart-topping album “CHROMAKOPIA” took the stage April 1, and Evan Bournazian (CAS ’25) says it lived up to the hype.
As Tyler continued his set, “CHROMAKOPIA” single “Noid” transitioned into “Sticky,” which Tyler sang from an overhead bridge connecting the main stage to a more intimate b-stage. Explosions of green fireworks on the main stage framed Tyler as he threw dollar bills into the crowd and later removed his mask — aptly so — during “Take Your Mask Off,” sending the audience into a frenzy.
After approaching the b-stage, which provided a more up-close-and-personal setting, Tyler changed out of his “CHROMAKOPIA” persona and outfit and proceeded to examine a series of vinyls, of which he first removed 2019’s “IGOR.” In this segment of the concert, Tyler ran through such songs as “I THINK” and “EARFQUAKE” before pulling out other vinyls ranging from 2011’s “Goblin” and 2013’s “Wolf.” As Tyler segued into different eras of his career, the visual representation of his nuanced musical talent showed off his range and development.
As 2017’s “Who Dat Boy” catapulted Tyler back on the bridge and the general admission audience into mosh pits, the concert concluded with a run of classic hit “See You Again,” and a well-known favorite of Tyler’s, “NEW MAGIC WAND” — highlights of the performance as a whole. After the crowd reached its peak energy with a bombastic moment from the “IGOR” track, Tyler concluded with “Balloon” and “I Hope You Find Your Way Home” in a moment that celebrated his accomplishments from the past year and the conclusion of the first leg of this tour.
Overall, from the early openers to Tyler’s performance itself, the “Chromakopia” tour proves to be an early contender for one of the best live concerts of the year and cements Tyler as one of the best live performers of our age.
Caroline Woodward Senior Guide Editor
In a television landscape oversaturated with content and dominated by consistently competing networks, Mike White’s “The White Lotus” stands out from the crowd due to its unique format. Each season follows an almost entirely new cast of characters as they explore a distinct and exotic location of the White Lotus resort, a luxury vacation chain that spans all corners of the globe. The opulent setting is offset at the beginning of each season by a flash forward to the murder of a yet-unknown character, leaving audiences to speculate about who will be killed through the entire runtime.
The new locales, ever-changing cast and concept of suspense lay the groundwork for not only a continuously fresh and exciting story –– usually paired with gorgeous aesthetic shots of enviable destinations ––but lend themself to the show’s deeper attempts at thematic exploration and class commentary.
However, this third season had a challenge to face –– the question of whether this recurring for-
mat has become too stale. How much media can audiences possibly consume of rich people doing rich people things before the conceit itself becomes tired? Still, Season 3, which takes audiences on a tropical trip to Thailand, cemented my confidence in the show, as the sex, drugs, financial crimes, gossip and murder-imbued plot fully delivers on skyhigh expectations, with only a few notes.
Season 3 contained the reappearance of fan favorites from Season 1, Belinda (Natasha Rothwell), a spa worker who ventures to the White Lotus in Thailand to improve her skills, as well as her always-entertaining, somewhat comic relief son, Zion (Nicholas Duvernay). Belinda goes through an incredibly well-contained and emblematic arc this season, as she abandons her morals in the pursuit of wealth. Her singular character not only ties together what can sometimes feel like disparate seasons, but the show’s themes in general. While somewhat straightforward, the grounded performance of Rothwell brings some much-needed relatability to the sometimes larger-than-life characters of the show, and, along with the charisma
of Duvernay, gives audiences someone to root for –– before the rug is pulled from our expectations and her very ethical core shifts. The message is as clear as always: Money corrupts.
Speaking of wealth and evil, the story of the Ratliff family, an upper-class family from North Carolina made up of the father Timothy (Jason Issacs), housewife Victoria (Parker Posey), eldest son Saxon (Patrick Schwarzenegger), daughter Piper (Sarah Catherine Hook) and youngest son Lochlan (Sam Nivola), takes up most screen time of the season, as each member grapples with individual struggles. Timothy, who has been caught for financial crimes, acts as the story’s throughline as he contemplates extreme measures to hide the life-altering truth from his family, while his children each struggle to find themselves, with issues ranging from the sexual to the spiritual. All the while, Posey acts in an entirely different show, as an outof-touch but deeply hilarious southern belle. The family’s dynamic was the most entertaining aspect of the season, leading to the twists, turns and even compelling moments of character growth.
IMDB
Caroline Woodward (CAS ’27) says “The White Lotus” Season 3 meets viewers’ sky-high expectations.
Longtime friends Jaclyn (Michelle Monaghan), a famous and wealthy actress; Kate (Leslie Bibb); an Austin socialite and wife; and Laurie (Carrie Coon), a down-on-her-luck lawyer, fascinate as well. The dialogue and mannerisms of these ladies so perfectly capture the complex dynamics of certain female friendships. The mix of backstabbing gossip contrasted with unending loyalty makes one feel like they are witnessing a middle school cafeteria, a tense workplace or are out to brunch with the girls.
It would be all too easy to write the group off as purely vapid; however, the show does not pass judgment. In fact, as Coon’s character’s show-stopping and genuinely tear-inducing monologue at the end perfectly summarizes, there is true good to be found in this sort of misunderstood, female-focused relationship.
Finally, there is Walton Goggins portraying Rick, a stony and mysterious man out for revenge, contrasted by his sunshine-incarnate, much younger girlfriend, Chelsea (Aimee Lou Wood). While Wood’s performance as Chelsea was absolutely endearing, her dynamic with Rick was never fully convincing, as Goggins’ stoic portrayal of the character led to a certain lack of chemistry. While I do believe Chelsea truly loves Rick and is not just in it for the money, I was just never sure why, especially after the couple’s tragic fate in the end.
In a season of so many characters, some are bound to be underutilized. Usually, a core theme of the show is to explore the effects of tourism through the lens of a character native to the area. This season’s attempt, Gaitok (Tayme Thapthimthong), the resort’s security guard, fell flat in almost every way, as his character was both uninteresting and frustratingly unclear in his decision-making. The show even managed to underutilize Lalisa Manobal, better known as Lisa of Blackpink fame, in pursuit of this overly boring narrative.
On the note of poor plot management, the runtime could have been cut down and used more intentionally, even though it was still a truly entertaining season.
Overall, though, Season 3 has cemented “The White Lotus” as a hallmark of the modern television canon, with record-breaking audience numbers, a hyper-engaging storyline and mostly memorable, you-love-to-hate-them type characters.
Ethan Hill Guide Staff Writer
From spies and sex to secrets, “Black Bag” has something for everyone.
Set in modern-day Britain, “Black Bag” follows George Woodhouse (Michael Fassbender), a British spy known for his mastery of the polygraph who has been tipped off to a potential traitor within the agency. One of the suspects is his wife, Kathryn Jean (Cate Blanchett), a fellow spy. The movie follows Woodhouse as he must unravel the conspiracy in order to discover whether or not his wife is the traitor.
Starting with the positives, “Black Bag” is, overall, a very well-done film. The plot is engaging, filled with twists and turns that keep the audience on their toes, questioning who the real traitor is. The introduction of the six
main characters is also clever. They are introduced to us at a dinner party at the beginning of the movie, during which various characters’ relationships and specific character quirks are clearly established. One mild criticism of the plot is that although it is exceptionally well done and thought-out, it can get overly technical at times, leaving the audience a bit confused. The somewhat large main cast of characters and their competing storylines contribute to this issue.
From a visual perspective, the movie is well directed, in typical Steven Soderbergh style. There is loads of interesting camera work — whether it be wide shots of two characters talking on a boat or minutes-long point-ofview shots to give the audience a sense of what the character is feeling.
While on a technical level, the film is extremely proficient, and the plot truly deliv-
ers a concise and consistently exciting spy thriller, I never felt fully invested in the story. Yes, the film is an entertaining watch with a well-thought-out structure, yet I could not help but feel that it was hollow, as if something was missing that reduced the movie’s replay value and my active enjoyment. This is because the film does not succeed in making you emotionally invested in its characters. There are a few reasons for this glaring issue. Some of the characters are outright bad people who you do not want to root for, while others are decent people, but the performances from their respective actors are stale. The most notable example of this is Fassbender as Woodhouse, whose performance is surprisingly lackluster. This is most likely not the fault of the actors and actresses, but rather the directorial direction, as Fassbender has proven to be a great actor with wonderful
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Ethan Hill (SCS ’25) says spy flick “Black Bag” is not quite “James Bond.”
performances, such as his lead role in “Steve Jobs” (2015).
The film attempts to lean into the typical nonchalant British spy stereotype with Woodhouse, but does so without giving a more in-depth background or even a reason to care about the character at all. Much of the case suffers from this issue, and combined with the monotonous performances, it does not give the audience much reason to care about anyone, a necessary component in a high-stakes spy thriller. This key component, I feel, is what makes the film fall short.
From a visual standpoint, I also have a few nitpicks. Something in the post-production makes the film look too glossy. This is not to say the movie looked downright bad — there were certainly aesthetically pleasing decisions made. It opted for the usual luxurious appeal most British spy films have, with mansions and sleek-looking technology. However, something about the finishing of the movie made the lens flares much more noticeable and the lighting weird. While this is a small complaint, it still broke my immersion in the story from time to time, an immersion that was already tenuous at best.
While “Black Bag” is a fun movie, it is one I will not revisit anytime soon. If you are looking for a well-done film with a tight and consistent plot that keeps you guessing, this is an excellent choice to watch when it comes out on streaming services. It is a solid spy flick, but I would really only recommend it to someone who likes the genre.
Grace Ko Guide Deputy Editor
CW: This article references fictitious sexual assault and violence. Please refer to the end of the article for on- and off-campus resources. If anything can make you laugh in the face of death and cannibalism, it is Mask & Bauble Dramatic Society’s latest production, “Sweeney Todd: The Demon Barber of Fleet Street.”
Written by Hugh Wheeler and composed by Stephen Sondheim, the show tells the tale of Sweeney Todd (Massimo D’Onofrio, CAS ’28), a wrongfully accused man who has returned to London with the young sailor Anthony Hope (Nate Findlay, CAS ’27). Years ago, Judge Turpin (Jack Kealey, CAS ’25) wrongfully imprisoned Todd and sexually assaulted his wife, driving her to her apparent death. Eyes set on revenge, Todd makes his way back to his old barber shop, where he meets Mrs. Nellie Lovett (Daisy Casemore, University of Edinburgh), a baker who runs a dilapidated pie shop on the first floor. With his razor in hand, Todd rapidly descends into madness with Mrs. Lovett at his side, cutting down anyone blocking his path to Judge Turpin’s throat.
By the nature of its complex story steeped in years of literal and theatrical history, “Sweeney Todd” is an inherently massive project. Yet Mask and Bauble effectively captures the musical’s wild energy within
its black box theater. The production smartly simplifies the sets into three main areas: Mrs. Lovett’s meat pie shop, Todd’s barber shop and Judge Turpin’s home, where Johanna Barker (Hannah Beil, CAS ’28), Todd’s daughter, is trapped. In a clever twist, the set of Judge Turpin’s home changes in the second act to reveal the bakehouse where Mrs. Lovett turns Todd’s victims into meat pies. These minimalistic sets leave a lot of open space, which the cast uses to its full advantage as its frantic energy fills every corner of the stage during full ensemble scenes.
The show also adeptly translates the grand technical aspects of the original production into its smaller space. Each time Todd kills a customer, he pulls a lever that causes a section of the wall to separate, sending the chair backstage. A crew member quickly throws a curtain as the actor moves out of the chair before pushing the chair back into the set. It is a smart system that does not take away at all from the action of the scene, but rather acts as a surprising technical delight that further adds to the show.
However, there are moments between scenes where an awkward silence slightly breaks the production’s atmosphere. Some of the transitions are accompanied by music from the live band, but others, particularly in the first act, are noticeably and strangely silent. The inconsistency of the music makes
The South Asian Society Board is presenting an evening of cultural tradition by hosting its Mock Shaadi (wedding) Celebration. This is an opportunity to dive into South Asian culture, music and cuisine, and it is open to all members of the Georgetown community. The South Asian Society Board is hosting the event at Fisher Colloquium on Saturday, April 12. Register online on CampusGroups.
these transitions feel a bit abrupt, slowing some of the show’s momentum.
Despite this slight irregularity, “Sweeney Todd” shines as a whole, primarily due to its dedicated performances. D’Onofrio and Casemore play off each other extremely well, creating a charmingly odd couple dynamic defined by a sweet insanity. D’Onofrio pulls off the stoicism that is needed for Todd without ever losing the emotional core that drives the barber’s thirst for revenge.
On the other end, Casemore is a charming mess as the bumbling, quirky Mrs. Lovett, a clear audience favorite due to her effortless, rapid-fire line delivery and excellent comedic timing.
Findlay’s Anthony and Beil’s Johanna are also standouts. The pair’s vocal chemistry shines particularly in the charm of “Kiss Me,” one of Sondheim’s outrageously fun but challenging patter songs. Beil’s voice literally soars, notes falling and rising effortlessly, much like the birds Johanna dreams of becoming in “Green Finch and Linnet Bird.” Findlay has an equally strong voice driving home Anthony’s sweet innocence, especially with Anthony’s declaration of love in “Johanna.” Both performers perfectly portray a sweetness and naivety that contrasts with the carnage of Mrs. Lovett and Sweeney Todd.
Additionally, the comedic forces of “Sweeney Todd” shine, thanks in part to
By Caitlin McBride
See your friends and peers sing to ring in the new season at the Spring Sing, hosted by groups the Saxatones and Superfood. The show will present a cappella performances from the Chimes, the Gracenotes, the Phantoms and the Capitol G’s. Register on CampusGroups for this Saturday, April 12, in Gaston Hall at 5 p.m.
Jack Markowitz’s (CAS ’27) flamboyant Adolfo Pirelli and Stratton Rebish’s (CAS ’28) endearing Tobias Ragg. The audience roared with laughter at their introduction in “Pirelli’s Miracle Elixir,” with Rebish’s innocent eagerness playing perfectly against Markowitz’s exaggerated Italian accent.
The show’s ensemble also plays an important part in bringing Fleet Street to life, whether it be becoming the sinister chorus that haunts the show or the babbling, hilarious London crowd that adds to the liveliness of musical sequences like “God, That’s Good!” The ensemble vividly brings choreographer Kayla Jones’s (CAS ’25) work alive, as their haunting movements elevate the eerie atmosphere of the various reprises of “The Ballad of Sweeney Todd.”
Darkly comedic and strangely sweet, Mask and Bauble’s production of “Sweeney Todd: The Demon Barber of Fleet Street” is a beautiful, bloody tragedy. It effectively balances the chaotic murder, aching grief and everlasting love of the musical tale, bringing Sweeney Todd to life in another triumphant run of his age-old story.
Resources: On-campus resources include Health Education Services (202-687-8949) and Counseling and Psychiatric Service (202-6876985); additional off-campus resources include the D.C. Rape Crisis Center (202-333-7273) and the D.C. Forensic Nurse Examiner Washington Hospital Center (844-443-5732).
THIS WEEK’S THEME: Spring Celebrations
The Georgetown University Orchestra’s 2025 spring concert will be on April 13 from 5 to 6:30 p.m. in Gaston Hall. The concert will feature the university’s concert choir and concerto competition winners Sarah Wang (CAS ’26) and Olivia Booth (CAS ’26), who will perform a duet of Carl Orff’s cantata “Carmina Burana.”
Diamanté, the annual talent and fashion showcase centering the voices and stories of Black and Brown queer creatives, is happening this Sunday, April 13, at 6 p.m. in the Leavey Center Ballroom. Hosted by Georgetown Queer People of Color, the show will display diverse and authentic ranges of student experiences through the lens of fashion, music and dance. To attend, register online on Campus Groups for $15, and dress to impress.
Paulina Inglima
Senior Features Editor
If the devil is truly in the details — as Lucy Dacus proclaims in her song “For Keeps” from her new album “Forever Is a Feeling,” — then her lyrical genius is going to hell. The 13-track album reflects on the push and pull of conflict that all too often drives couples apart until the relationship is no longer salvageable. “Forever Is a Feeling” explores many key questions of the complexities of romantic connection: when to call it quits, when to hold on and how to know if it is worth fighting for someone. At the center of the album, Dacus maintains a sense of tension by reflecting on the feeling of constant longing and the fear of impermanence.
Although the gentle tone of many tracks may not strike the same umph of rage and sorrow as her last studio album, “Historian,” “Forever Is a Feeling” itches the brain in a way only Dacus’s lulling voice can. Her detailed lyrical tableaus sway the listener between delight and devastation, keeping them in a constant and engaging place of musical limbo.
The tracklist kicks off with “Calliope Prelude,” a reference to the Ancient Greek muse of epic poetry who was said to inspire the work of the great writers of the era. The song transports the listener to a dream-like state with the ethereal-sounding violin taking the spotlight. Right as the violin winds down, the song seamlessly transitions into the steady drums and guitar of “Big Deal,” an exploration of romantic longing for the love of a friend while being aware that they need to be happy with someone else. Dacus expresses the bittersweetness of this fruitless yearning by describing the figure of affection as someone she could be with in another life: “I’ll be watching in a pinstripe suit / Not even wishing it was me and you.”
However, “Forever Is a Feeling” is also distinguished by its pure love songs, which primarily focus on the desire for a good relationship to last forever. These sweet, hopeful melodies are new territory for the usually mournful Dacus, but she handles them with the same delicate care and illuminating descriptive power of her usual work. “Ankles” details the small, sacred, everyday aspects
of a relationship that make it special, from filling out the crossword puzzle together to asking how you slept. Dacus perfectly expresses the sentiment in the bridge, saying, “How lucky are we to have so much to lose.”
However, some of these forays into newer and happier territory, such as “Most Wanted Man,” “Modigliani,” “Best Guess” and others, risk being a bit blasé in their simplicity, especially in comparison with the more complex but sad songs on the album.
“Bullseye,” a collab with Irish singer Hozier, represents the album’s love song potential at its best, as the song strums at the listener’s heartstrings via the harmonies of Hozier’s smoky, soulful voice mixed with Dacus’s light but strong airs. Lyrics like “Holding each other so tight we got stuck” illustrate a realistic and grounded tale of love: A couple becomes codependent over time and finds themselves still longing for each other even once broken up.
“Limerence” is the most interesting and stylistically non-conforming song on the album, stripping Dacus’s sound down to its bare bones with a slow piano melody
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Paulina Inglima (CAS ’27) praises indie darling Lucy Dacus’s album “Forever is a Feeling” for its lyricism and emotion.
accompanying her lulling voice on the more bluesy tune. The singer laments the pain of having to end a relationship while still knowing the act will break both her heart and theirs. Dacus begs the question, “Is there a difference between lying to you / If it feels just as bad telling the truth?”
“Limerence,” named for a psychological phenomenon of unwilling infatuation that removes all potential flaws of the person from one’s vision, causes an unavoidable ache in a listener’s chest and is undeniably one of the strongest and most visceral songs on the album.
A glimmer of angry Dacus returns from her “Historian” era for “Talk,” an internal dialogue of a relationship losing its last spark of passion. Dacus’s desperation comes through in anthemic drums, bass and electric guitar, as she expresses frustration and wonders aloud, “Did I drink you to the last drop?” During the bridge, she reflects on the previous passion they felt for each other in the most constrained circumstances, now replaced with a sense of casual boredom in the everyday. “Why was our best sex in hotels / And our worst fights in their stairwells?” Dacus ends the album on a note of hope with “Lost Time,” expressing the desperation of wanting to be with someone for the rest of their lives, while fearing all the time you’ve wasted apart. “Lost Time’s” bittersweet bridge seems to sum up the album’s themes to a tee and reminds the listener to hold on while they have something good. In the end, Dacus doesn’t seem to have all the answers to love, lust or life, but her musings make for a genuinely-moving musical experience.
‘Forever Howlong’ Is a Successful Step in a New Direction for Black Country, New Road
Isabelle Cialone Deputy Guide Editor
After lead singer Isaac Wood departed from English rock group Black Country, New Road in 2022, many wondered where the band would go musically. Their third studio album, “Forever Howlong,” embraces Wood’s departure and highlights the band’s feminine side through the combined vocals of Tyler Hyde, Georgia Ellery and May Kershaw.
With lyrics written by three of the band’s six members, the album risked a hypothetical lack of cohesion, but, in actuality, it triumphs as a collage of the three women’s styles. Their voices build off each other and each song’s narrative showcases the complexities of womanhood and relationships through the exploration of both medieval and contemporary settings.
The album demonstrates the band’s experimental style, seamlessly integrating soothing tenderness and explosive instrumentation while also venturing into some new sounds. Primary examples include the fifth track,
“Two Horses,” which features a mandolin and a banjo, and the title track, reminiscent of an elementary school music class with its prominent use of recorders.
The eighth track, “For the Cold Country,” is by far my favorite. An emotional ballad about a lonely knight in a harsh medieval world, the song opens with hymnal vocals and Kershaw’s tender voice over muted strings. As the knight learns to accept himself, the song crescendos, taking on a brighter tone and going through a total sonic shift.
Ellery’s “Two Horses” is another fictional ballad, following a solo traveling woman and her two horses as she ventures through a hostile medieval landscape. The song’s acoustic sound and the folksy influence highlight the narrative’s adventurous themes. “Mary,” the only track featuring all three vocalists together, elicits a similar sylvan sentiment, though it is much more stripped back than other songs.
The darkest song is Hyde’s “Nancy Tries to Take the Night,” which strays from a medieval setting to Victorian-era London, as Nancy, of
“Oliver Twist” fame, bears some of the most painful experiences of womanhood. As Nancy navigates her decision to abort her child, the song builds and hints at a grandiose ending, only for the melody to drop abruptly in a musical representation of Nancy’s tragedy. While similar tragic themes anchor the rest of the album, a handful of songs differ drastically — the opening track and first pre-released single, “Besties,” appears upon first listen to be an upbeat tale of intimate female friendships. However, a second listen reveals that the song is lyrically deeper, conveying the suppression of true feelings and the need to comply with platonic expectations. Despite these underlying subtleties, the song’s groove differs starkly from the more emotional tracks, and I did not enjoy it as much. Ellery’s voice also does not shine as much there as it does in either “Two Horses” or the last track, “Goodbye (Don’t Tell Me),” another raw, emotional exploration of love and loneliness with an acoustic guitar.
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Isabelle Cialone (CAS ’27) says rock group Black Country, New Road redefines its style in new album “Forever Howlong.”
Kershaw’s “The Big Spin,” the album’s second track, is another mostly upbeat tune, its groovy moments similar to those of “Besties,” though its calmer moments mirror the album’s quieter songs. The next track, “Socks,” follows the band’s traditional structure insofar as its buildup from slower and calmer croons to an explosive crescendo boasts an impressive arsenal of instruments behind Hyde’s singing about self-love and relationships while time passes.
“Salem Sisters” has a similar skeleton, though it is contained in a shorter track. An exploration of social anxiety through a metaphor of the Salem witch trials, the song adheres well thematically to the rest of the album. Its message is what ties together the otherwise stylistically disjointed songs — for example, Hyde’s “Happy Birthday,” a rockier, almost show tunelike song, picks up on the themes of robbed innocence and loneliness that she discusses in “Nancy Tries to Take the Night” and that Kershaw narrates in the title track.
In fact, Black Country, New Road’s trademark skill of weaving together coherent songs and albums from seemingly disjointed fragments is what renders this album such a success. A necessary step toward a new direction for the band after losing its lead singer, “Forever Howlong” reinvents the band without compromising the experimental and poignant intensity that defined their first two albums. Their experimental prowess is evident as they venture into new territory, with the album’s beauty rooted in the conversations between the three singers. Instead of suffering from the loss of their lead singer, Black Country, New Road benefits from this pivot, highlighting the endless skill and creativity of the whole group.
James Pocchia Hoya Staff Writer
For those of us who are facing the potent amalgam of sorrow, dread and excitement that accompanies the looming reality of college graduation, it should be nearly impossible not to relate, on some level, to Jason Hochberg. Who is Jason Hochberg, you ask? Unfortunately, even the other characters in the movie in which Jason appears always seem to forget about him.
When Jason (Fred Hechinger), sporting the evocative first name of the hockey mask-donning “Friday the 13th” villain, first appears on screen, he is gleefully poking his head out of a car window, feeling the wind whistle past his scruffy beard. Jason’s mother, sitting in the driver’s seat, abruptly closes his window, ending his idyllic moment.
So begins the slasher comedy “Hell of a Summer,” the directorial debut of Finn Wolfhard (Mike Wheeler of “Stranger Things”) and Billy Bryk. The film, released April 4, follows an eclectic assortment of teenagers and 20-somethings gathered at the tranquil, forest-girdled Camp Pineway for counselor weekend. The assembled counselors soon find that the camp’s draconian iPhone confiscation policy
is the least of their concerns when a masked, knife-wielding killer begins to pick them off one by one.
This frightening development renders the characters — from the stereotypical film bro, Ari (Daniel Gravelle), to the theatrically inclined Ezra (Matthew Finlan) — helpless as they succumb to infighting, leaving it to the awkward yet earnest self-appointed camp leader, Jason, to save the day.
In truth, very little separates Wolfhard and Bryk’s film from typical slashers. Beyond a pair of creatively-executed opening kills, the slaughters unfold in fairly unstylish fashion, with several of them occurring — oddly enough for an R-rated slasher — offscreen.
The twist that reveals the killer’s identity is fairly predictable, relying heavily on the formula perfected by “Scream.” The motive behind the murders comes across as shallow and underdeveloped, though one could argue that, given who is responsible for the killings, shallowness may be the most appropriate quality imaginable. It helps that, when its horror seems withholding, “Hell of a Summer” leans into its comedy, with often hilarious results. The jokes land far more often than not, with characters’ melodramatic reactions to vegan burgers, nut allergies and minor injuries serving as the highlights.
By Tanvi Gorripati
Another factor that ultimately saves “Hell of a Summer” from sliding into forgettable territory is the committed work of a talented cast. Bryk and Hechinger emerged as the clear standouts, breathing humorous life into Bobby and Jason, respectively. Bobby’s fixation on an imagined insult and concerns regarding the potential presence of bears make for entertaining running jokes. Hechinger, meanwhile, skillfully depicts the well-intentioned awkwardness of his character through goofy grins and the occasional stammer.
Jason also provides the emotional core that grounds this silly slasher. His desire to delay the onset of adulthood — despite already being 24 years old — by spending another summer at Camp Pineway instead of finding an internship should feel achingly relatable to anyone who has endured the bittersweet experience of bidding farewell to a beloved summer camp. Jason’s selfless protection of his fellow counselors despite their tendencies to overlook and mistreat him, as well as his endearing chemistry with the jaded Claire (Abby Quinn), make him a lovable character who, along with the scene-stealing Bobby, carries the film.
Ironically, Wolfhard and Bryk’s best writing and directorial decision was to give Wolfhard a fairly minor part in the film’s story. Much to the relief of
those among us who grew to detest Mike Wheeler by the fourth season of “Stranger Things,” Wolfhard, who often comes across as simultaneously annoying and bland in the show, takes up a small role in which he pines for another uninteresting character, Shannon (Krista Nazaire).
Admittedly, the decision to place the entertaining Hechinger at the story’s center rather than attempt to balance both actors equally suggests that Wolfhard and Bryk have strong filmmaking instincts. The film’s successful evocation of 1980s slasher vibes, along with some strong camerawork (including a shockingly breathtaking closing shot), suggests bright behind-the-camera futures for the pair.
If I am giving “Hell of a Summer” an undue surplus of credit, it may be the result of the connection I felt to Jason as he navigates the end of his time at Pineway and inevitable assimilation into the adult world. As I stand on the precipice of major life change, a mere month from graduation and still frantically scouring employment sites for a gap year job, I feel an unexpected kinship with Jason, who seemed eager to postpone his adult life by just a few more months.
As I type these words, my final ones as a writer for The Guide, I, like Jason, feel certain about only one thing: It is going to be one “Hell of a Summer.”
1. A device that emits a focused beam of light energy
6. Most recent Best Picture winner
7. A Norwegian hydrogen energy company
8. Method to extract underground fossil fuel reserves
10. Lively and bold
1. Touches down after a flight
2. “Speak Now” or “Reputation,” to Taylor Swift
3. Of the sun, in Latin
4. Where an ambulance takes you, abbr.
5. To come together and fight even after defeat (or something you say to your friends when they are tired on a night out)
9. Shorthand used in computing for a list or dictionary
1. Store something secretly in a specific place
5. Affectionate term to refer to your mum’s sister
6. What flowers do in spring
7. Cloth made from woven flax, springtime attire
8. Musical recordings containing up to eight tracks
1. Small omnivorous mammals that inhabit dense forests
2. Flower common to the Netherlands, seen all over campus
3. Nameless contributors in slang, collectively
4. Statistical Theory of Everything, abbr.
5. Holy verses that are sung in unison