FILM Tanvi Gorripati (CAS ’27) argues that “Snow White” is a case study in unnecessary remakes. B2
FILM Unique premise, lackluster execution: Caroline Woodward (CAS ’27) pans “Death of a Unicorn.” B4
FILM Francis Rienzo (CAS ’27) claims the newest iteration of “Looney Tunes” may save the franchise. B7
MARCH 28, 2025
In its new season, “Severance” elevates itself from dystopic sci-fi and explores life and love. B3
Grace Ko Deputy Guide Editor
Tanvi Gorripati
Deputy Guide Editor
Disney’s latest live-action remake, “Snow White,” attempts to reimagine the 1937 animated classic, albeit with some major plot and musical changes. The story’s core plot remains the same: A young princess, envied by her stepmother, the Evil Queen, is forced into hiding, where she befriends seven dwarfs and ultimately finds true love after a harrowing escape from death. However, this version makes significant alterations, which include a new love interest, changing Snow White’s motivations and adding modernized musical numbers. Some of these updates feel like logical adjustments for a contemporary audience, while others clash with the timelessness of the original.
Plot-wise, “Snow White” leans heavily into modern themes, often to the film’s detriment. Some changes do make sense, such as allowing Snow White (Rachel Zegler) and
her love interest, Jonathan (Andrew Burnap), to actually fall in love before she bites the poison apple, making the “true love’s kiss” moment feel all the more powerful. However, other scenes feel forced. Instead of a prince, Jonathan is now a bandit, which shifts the tone of the film in a mediocre, unnecessary way. While attempting to give Snow White more autonomy is an admirable goal, the movie handles it in a way that makes some of her decisions more frustrating than empowering. For example, when the dwarfs and others try to protect her from danger, she often goes against their wishes, only to end up in danger anyway. This conflict of communication undermines the sense of empowerment the film is trying to convey. The shift, along with the expanded focus on Jonathan’s character, also leads to the seven dwarfs having far less screen time. Their role in the story is so reduced that we can tell why Disney dropped them from the title entirely: The movie is not really about them anymore.
The film’s saving grace is Rachel Zegler, who delivers a genuinely captivating performance as Snow White. Her voice is stunning, and her ability to infuse emotion into her singing makes the new song “Waiting On A Wish” a strong addition to the film’s soundtrack. The song follows the classic Disney “I Want” song format, and Zegler’s performance makes it feel natural. “A Hand Meets A Hand,” the duet between Snow White and Jonathan, is another great addition to the soundtrack, bringing warmth and chemistry to their relationship. Despite the odd decision to make Jonathan a bandit, the romance is one of the more engaging parts of the film. The chemistry between Burnap and Zegler is palpable. However, not all of the new music is as successful; “Princess Problems” is downright cringeworthy, with lyrics and a tone that feel very modern and jarringly out of place in a story that is centuries old. Instead of capturing the timelessness of “Snow White,” it dates the film as being distinctly from the
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Another live-action remake, another disappointment: Tanvi Gorripati (CAS ’27) breaks down the disappointments, diamonds and dwarfs of Disney’s remake of its most classic film, “Snow White.”
2020s, making it feel like a product of the time rather than a classic.
Unfortunately, Gal Gadot’s performance as the Evil Queen is as underwhelming as expected. Her singing is simply not strong enough to carry the Queen’s musical number, “All Is Fair,” which was already poorly written. The costume design is another letdown, with her outfits often appearing cheap and overly theatrical rather than regal and menacing. For a story that places such importance on diamonds and wealth, the film’s depiction of the Queen’s jewels is laughable, looking more like the plastic gemstones you would find in a craft store than riches that are propping up a kingdom.
Perhaps the most ironic aspect of “Snow White” is its heavy-handed anti-capitalist messaging, especially when the film is produced by Disney, one of the most capitalist movie studios. The Evil Queen, while undoubtedly villainous, is framed as being evil largely because she runs an exploitative, capitalist kingdom. Before the attempted murder of her stepdaughter, her worst offenses seem to be making people pay for their food and enforcing a working economy. On the other hand, Snow White’s big revolutionary stance is essentially advocating for everyone to share everything. Even in the climax, as she turns the Queen’s guards against her, her vision of the kingdom’s past prosperity is focused on unviable business models, like the baker just giving away his bread for free. The whole message feels more like clumsy communist propaganda, which is especially jarring considering Disney’s status as a mega-corporation and that their films more often include a more coherent moral standpoint.
And yet, despite all of these flaws, “Snow White” does accomplish one thing: It makes kids happy. While it may have been frustrating for me to sit through, I could not ignore the fact that I was surrounded by young girls and boys who were completely enamored by Rachel Zegler and swept away in the story unfolding before their eyes. They fully bought into the magic Disney is trying to create. At the end of the day, is that not the whole point? If the film is for children and the children love it, then perhaps it did its job.
Grace Ko Deputy Guide Editor
The following review contains spoilers for Season 2 of “Severance.”
At first, the premise of “Severance” sounds like a playout office joke. The printer broke again. My boss is on my back. What if I didn’t have to remember the boring, torturous eight hours of work?
Well then, you’d be under the oppressive regime of Lumon Industries, a cult corporation presided over by the all-powerful CEO Kier Eagan.
One of the most objectively unique shows currently on television, “Severance” is an intriguing exploration of the consequences of splitting the self. In its second season, “Severance” expands beyond the walls of Lumon, further exploring the lives of our favorite four office workers and the cold, bitter town of Kier, the setting for the show.
“Severance” centers around Mark Scout (Adam Scott), a former professor drowning in grief from the loss of his wife, Gemma (Dichen Lachman). In order to escape his pain, he decides to become a severed worker at the biotech company Lumon. By undergoing severance,
Mark’s mind has split so that his “innie” experiences work in the office, while outside the company, he continues to exist as an “outie.”
The second season begins with the aftereffects of “innie” Mark and his coworkers’ plan to activate their inner selves in the outside world. While Lumon deals with the ensuing fallout, Mark faces the revelation that his wife is actually alive, trapped within Lumon’s office building.
Like its first season, “Severance” continues to be absolutely gorgeous. There is a cruel beauty in its corporate setting, shaped by the masterful set design of the Lumon offices. The spaces appear almost too pristine and organized, with seemingly endless white hallways that emulate a sense of cold sophistication. The surrounding town of Kier is dull in comparison to the fluorescent “paradise” of Lumon, yet there is a muted allure in the bland scenery trapped in an eternal winter purgatory, reflecting the despondent characters. Cinematographer Jessica Lee Gagné captures these settings stunningly, especially through her use of wide shots that capture the settings’ silent beauty.
“Chikhai Bardo,” one of the season’s best episodes, is directed by Gagné herself and, not sur-
prisingly, is full of the show’s most breathtaking visuals. The episode contextualizes Mark and Gemma’s past together, a quick slice of heartbreaking memories that unite the presently separated couple and answer many of the audience’s questions about the two.
Gagné bathes their memories in a warm sunlight that gradually fades as they encounter pregnancy challenges. Gorgeous montages consist of grainy home footage that flash by in rapid succession, detailing their sweet romance and happy marriage. Gagné manages to capture the feeling of directly looking into someone’s memories –– intimate, precious and fleeting.
Additionally, “Severance” continues to develop its already incredible cast of characters. Paired with skillful and nuanced performances from its ensemble cast, these characters come completely alive this season.
A particular standout is Tramell Tillman’s Seth Milchick. As the newly appointed floor manager, Milchick carries the burden of Lumon’s constant scrutiny, bending backward to become someone that Lumon values. Tillman brings an eerie energy to Milchick; a single smile of his is enough to
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Perhaps the best show currently airing, the second season of “Severance” elevates the story from a science-fiction flick focusing on corporate hellscape to a story of love, passion and identity, says Grace Ko (CAS ’27).
send shivers down anyone’s spine. However, he also adds a softer dimension to the manager, portraying someone who is constantly being pushed to his limits yet never complains. Yet, Milchick’s signature determination begins to shift toward frustration with his superiors, resulting in quite a few unexpectedly comedic moments, most notably the particularly delightful “devour feculence” remark directed at his supervisor Mr. Drummond (Ólafur Darri Ólafsson).
While “Severance” is clearly a thriller, a major theme that ties this season together is a complex romance. Romance is used as an interesting conflict of identity, serving as a point of contention between Mark’s innie and outie. This comes to a head in an incredibly well-done conversation between the two sides in the final episode, “Cold Harbor,” where they communicate through video recordings. Scott’s performance is a major highlight this season, and the small details he puts into differentiating the characters of Mark’s innie and outie work to bring this moment to life.
At one end of Mark’s life is Helly, played by the skilled Britt Lower, whose strength lies in the nuances she adds to differentiate Helena from her innie, Helly, particularly in their physical demeanors and speech.
At the other end is Mark’s wife, Gemma, a tragic character brought alive by Lachman. The season’s final moment physically manifests this split, with Gemma at one end beyond the confines of the severed floor and Helly at the other.
While it raises questions of romance, the final moment serves as an interesting exploration into the identity of a split soul, where choosing whose love to value means determining who gets to exist. The conflict between the innie and outie is fully realized in an exceptionally compelling moment where all foreseeable roads end in tragedy.
There are definite growing pains as the “Severance” universe begins to expand, but the second season of the show is a wonderfully crafted narrative. With the immense love that “Severance” gives its characters and story, it is undeniable that it will forever intrigue television audiences, as it is a wholly singular and utterly peculiar exploration of identity.
Caroline Woodward Senior Guide Editor
Imagine a unicorn — what comes to mind?
Perhaps a pure white beast of medieval legend or a shiny pink pony-like creature one might see on a child’s lunchbox. A less obvious interpretation of the typically-fantastical creature is a night-stalking, fanged, snarling beast that viciously rips apart innocent people limb from limb. “Death of a Unicorn” is a new dark comedy that reimagines the stereotypically cuddly creature into a horror movie monster. While the film is quite funny, certainly entertaining and positively gory, its outlandish premise comes with many pitfalls that the movie fails to avoid.
The story follows Elliot Kintner (Paul Rudd) and his art major daughter, Ridley (Jenna Ortega), as they travel up to the house of Elliot’s boss, the Leopold family, located in a secluded Cana-
dian nature preserve. Odell Leopold (Richard E. Grant), the wealthy CEO of a major pharmaceutical company, is on his deathbed, and the family, comprised of Odell, wife Belinda (Téa Leoni) and son Shepard (Will Poulter) want to get to know Elliot and his daughter before naming Elliot the arbiter of the will.
On the way, the Kintners crash into a mysterious creature that turns out to be, you guessed it, a unicorn. Fearful of leaving the creature behind, they take its body to the Leopold residence and subsequently find out that its blood and horn have the power to cure basically any malady, including Odell’s cancer. The newfound discovery leads to a frenzy as the family attempts to study, capitalize and hoard the miraculous power. However, by researching unicorn tales of old, Ridley begins to suspect that a great evil is coming for them. Ultimately, she is proven right, as nightmarish cryptids emerg-
es from the woods to hunt, punish and kill the humans for their greed.
“Death of a Unicorn” contains many highlights. The premise itself is incredibly inventive, and the plot succeeds in capturing the excitement, dread and tension of the concept. I gasped, cringed and looked away in horror throughout, as the film truly does not pull punches with its depictions of gore, making for a satisfying movie-going experience. I also laughed out loud multiple times: The script nails the “comedy” aspect of a dark comedy.
This ability to balance both horror and humor comes in large part from the cast. Ortega and Rudd provide passable performances as the daughter-father duo, serving as the emotional core for the film. Ortega brings some real heart to the role, particularly toward the end of the runtime; however, both felt stilted in certain sections.
The real star of the show was Poulter as Shepard, the obnoxiously douchey son of the Leopold
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What’s scarier: pharmaceutical exploitation of the common man or a night-stalking murderous unicorn? “Death of a Unicorn” combines both terrors in a movie that Caroline Woodward (CAS ’27) calls “delightfully dumb.”
family. Poulter undoubtedly offers one of the most memorable performances, with incredible line reads and ridiculous facial expressions despite his side character status. He, along with the rest of the Leopold family, captures the ridiculous lives of the ultra-rich as they scheme their way into control despite being utterly incompetent.
“Death of a Unicorn” struggles, however, because of its ambition. If done right, ambition can be a movie’s greatest strength. In some ways, I would say the chances the film takes do pay off, as it offers a fresh take on the all-too-typical “rich-people-are-bad” storyline. Still, the film as a whole could’ve been much tighter by cutting a few superfluous plotlines.
Along with the creature-feature story, the film attempts to deal with themes of grief and death, psychedelic trips through unicorn-induced connection and the horrors of the American health care system. This all proves to be too much and takes away from some of the movie’s staying power, as I found myself forgetting the plot even a few minutes after the credits rolled.
The film is notably weak in the latter half, as the hunt to kill the unicorns (or, more accurately, the unicorn’s hunt to kill the humans) seems to drag a little past its welcome, lost in the rest of the plotlines. At a certain point, only so many dramatic shots with shadows of the creatures projected on the wall can be shown before the visual loses its tension.
Beyond the plot, I wish Ridley and Elliot could’ve been fleshed out more, as their dynamic is meant to be the central aspect of the story. However, both are played as rather one-note — Ridley as an art student in the midst of rebellion and Elliot as a workaholic, somewhat neglectful father are somewhat played-out, tired tropes. Overall, “Death of a Unicorn” is good — the film is a bit stupid at parts, but it maintains a solid equilibrium between the scary and the silly that allows for a fun, albeit wild, ride.
Nick Willliams Hoya Staff Writer
On Nov. 11, 2019, Lady Gaga tweeted, “i don’t remember ARTPOP,” and it felt as if a mother had publicly disowned her child. Lady Gaga’s relationship with her third studio album, “Artpop,” continues to evolve due to the negative reception that plagued it upon release in 2013. But given the sonic references to “Artpop” in Gaga’s most recent album, “Mayhem,” it’s clear her most controversial record is far from forgotten.
Gaga’s sophomore album, “Born This Way,” with its massive sales numbers, anthemic singles, fresh electronic sound and unabashed affinity for queer identity, would have been a tough act to follow for any artist. Gaga explained before the release of “Artpop” that she sought to pull a “reverse of Warhol,” infusing the fine arts in popular culture. For example, instead of painting Campbell’s soup cans, she dresses like Botticelli’s “The Birth of Venus” and sings about Jeff Koons: “One second I’m a Koons, then suddenly the Koons is me.” As Gaga sings in “Applause,” “Pop culture was in art, now art’s in pop culture in me.”
While the visuals for “Artpop” certainly follow this trend, it is difficult to see where that inspiration fits into the music. The Guardian concurred in a three-star review, citing a disconnect between the grandiose manner in which Gaga explained the record and the straightforward pop music she presented. I often wonder, if Gaga had disposed of the high-concept aesthetics, would “Artpop” be hailed as the EDM masterclass it is?
“Artpop” debuted at No. 1 on the Billboard Hot 200 with 258,000 sales in its first week. But those numbers are dwarfed by “Born This Way,” with its million albums moved in its first week and the title track’s six-week run atop the Hot 100. “Artpop” failed to produce a No. 1 hit, with lead single “Applause” reaching No. 4 and “Do What U Want” peaking at No. 13. Her two later singles, “G.U.Y.” and “Venus,” failed to chart longer than one week. Critics and audiences took notice of this precipitous decline in commercial performance.
The record experiments with EDM, synth-pop and techno. The lyrics can be a nebulous tapestry of artistic reference points, such as with “Venus” or “Applause.”
The Mask and Bauble Dramatic Society is performing “Sweeney Todd: The Demon Barber of Fleet Street” April 3-6, 8 and 10-11. The infamous tale involves an unjustly exiled barber, Sweeney Todd, returning to 19th-century London and seeking vengeance against the lecherous judge who framed him for heinous crimes and ravaged his young wife. Sweeney Todd opens up a barber practice above a pie shop, and the carnage begins. Buy student tickets for $5 on CampusGroups, and go see the show at Poulton Hall (Stage III).
On other tracks like “Dope” and “Swine,” the writing dives deep into Gaga’s trauma and anxiety. We also get tongue-in-cheek sexy numbers like “G.U.Y.” and “Sexxx Dreams,” critiques of commercialism on “Donatella” and an ode to marijuana with “Mary Jane Holland.”
The inclusion of R. Kelly on the album’s second single, “Do What U Want,” drew criticism. In 2023, Kelly was convicted and sentenced to over 20 years in prison for child sex crimes. Following the release of “Surviving R. Kelly,” a 2019 documentary detailing Kelly’s abuse allegations, Lady Gaga took the duet off streaming services and issued a public apology.
Recently, fans have resurrected “Artpop.”
Part of fandom lore involves a sequel album, discussed during promotion for the record but never released. On SoundCloud, there are dozens of album outtakes and demos from the “Artpop” recording sessions.
Fans created a change.org petition for the LP’s release, which garnered over 50,000 signatures (mine included), and sent the album to No. 2 on the iTunes album charts. Gaga responded
By Caitlin McBride
Nomadic Theatre’s spring play, “Ghosts: A Family Tragedy,” is showing the last week of March and the first week of April! Centered around a widow and her son, “Ghosts” explores family, lies, reputation, morals, freedom and, above all, love. Grab student tickets on CampusGroups for $5 to see the show at the Village C Theater before they sell out. This week, shows are March 27 (8 p.m.), 28 (8 p.m.), 29 (2 p.m., 8 p.m.) and 30 (2 p.m.). Next week, they will be April 4 (8 p.m.) and 5 (2 p.m., 8 p.m.).
later that month, thanking the fans for their continued love and revealing her negative mental state while creating the music. In promotion for “Mayhem,” Gaga confirmed Act II would most likely never see the light of day.
Critics have also come around to the album, with a retrospective review from Pitchfork calling it her most ambitious project to date. “Artpop” is truly a cult classic, an “if you know you know” pop odyssey for the most devoted fans. Today, it barely ranks below “Joanne” and “Chromatica” on Spotify and has sold 2.3 million units worldwide.
The impact of “Artpop” continues to reverberate throughout pop music. Without Gaga’s ambitious EDM flair, would audiences have opened their arms to the dark electronic pop of Taylor Swift’s “Reputation” or the camp of Charli XCX’s “Brat”? Gaga sings on the title track, “My ARTPOP could mean anything,” a line I think encapsulates the record. Trying to understand “Artpop” is a fruitless effort because conceptually, it’s about everything and nothing simultaneously. You don’t understand “Artpop” — you just live it.
It’s time! The National Park Service has estimated the peak bloom for the Washington, D.C. cherry blossoms to be Friday, March 28, to Monday, March 31. The Park Service projects 70% of the Yoshino Cherry blossoms to be open on these days. Keep an eye out for any rainy or windy days, as they will shorten this period. This year, green buds popped out March 11, florets were visible March 16 and the trees’ blossoms reached a “puffy white” stage March 23. Walk, bike or take the Metro to the Tidal Basin to avoid traffic and enjoy the almost-magical blooms.
Join kite enthusiasts, families and friends to soar high above D.C. at the 2025 Blossom Kite Festival! There will be kite demonstrations, competitions and crafts this Saturday, March 29, on the Washington Monument Grounds in two different locations: the competition and demonstration field and the family field stage. Welcome remarks, the national anthem and a patriotic kite fly kick off at 10 a.m., and festivities will run until about 4 p.m. The rain date for this event is March 30.
‘Novocaine’ Lacks Both Action and Thrills
Ethan Hill
Guide Staff Writer
“Novocaine”? More like Novo-can’t. While not painful to get through, Dan Berk and Robert Olsen’s latest movie left a lot to be desired.
“Novocaine” follows Nate Caine (Jack Quaid), who was born with a genetic condition that prevents him from feeling pain. Throughout his life, Nate has been relentlessly mocked and bullied for this condition, earning the nickname “Novocaine” in middle school. Due to the embarrassment surrounding his condition, he isolates himself socially.
However, by chance, he meets Sherry (Amber Midthunder), a fellow work colleague, and eventually falls in love with her. Everything takes a turn for the worse when bank robbers storm the branch where Nate and Sherry work. The robbers kill the bank manager and kidnap Sherry, pushing Nate into a desperate mission to save her — one that spirals into a violent spree.
The strongest aspect of this movie is its character work. In films where a protagonist must rescue a damsel in distress or a close friend, character development is often sidelined. This leads to a low-stakes, hollow experience because the audience hasn’t been given enough time to connect with the characters and, thus, feel the weight of their potential failure. This, luckily, isn’t the case in “Novocaine.”
My favorite part of the movie is that it takes the time to develop Nate as a character. It explores what life might be like for someone with his condition and the emotional toll it takes. Similarly, the relationship between Nate and Sherry doesn’t feel rushed — he doesn’t simply fall in love with her after just one date. The film takes the time to show the progression of their relationship, making their bond more believable and providing an emotional anchor for the audience before the action begins.
The movie attempts to stay grounded in realism rather than embracing absurdity, opting for a “John Wick”-style approach to action rather
than using supernatural or exaggerated tropes. Nate’s condition is real, and the film genuinely explores the isolation that can come with it. However, this commitment to realism ultimately weakens the action sequences. Since Nate isn’t a trained fighter — his only advantage being his inability to feel pain — most of the action consists of him clumsily fighting highly skilled bank robbers and criminals. In these moments, the film leans into absurdity, clashing with its otherwise realistic tone. As a result, the action scenes feel neither polished nor compelling.
A simple fix in Nate’s background could have dramatically improved the movie: If he had been a military veteran who developed his condition after his service, rather than an assistant bank manager, he would have at least known how to fight. This would have allowed for better-choreographed action sequences. Simply put, if you’re making an action movie and the action isn’t good, you have a serious problem.
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Ethan Hill (SCS ’25) is unimpressed by “Novocaine,” an action thriller-comedy centering on a man who can’t feel pain.
Because this is an action film, a lot of time is spent on spectacle. While I appreciate that the film has heart and takes time to flesh out its characters, its character work could have been even stronger if less time had been spent on these unfulfilling sequences. Normally, I wouldn’t mind this in an action film, but when the spectacle itself is underwhelming, it becomes a glaring issue.
The villain, bank robber Simon Greenly (Ray Nicholson), is one of the weakest aspects of the movie — the character is generic, bland and uninteresting. We know nothing about his motivations, his backstory or what drives him to rob the bank. He’s just an evil character for the sake of being evil, which is a stark contrast to Nate, who is well-developed. It would have been nice to see the villain receive more attention and depth in the writing.
On the positive side, the movie is funny. It delivers a decent number of laughs and cleverly plays with Nate’s inability to feel pain for some effective comedic moments. Additionally, the film has a clear and consistent message: Sometimes you have to take risks and appreciate the small moments in life. This thematic throughline is one of the film’s strengths. Overall, “Novocaine” is a mediocre film. It has charm, some appeal for fans of the genre, and a decent emotional core. However, the subpar action, underdeveloped plot and weak villain prevent it from being great. If you’re heading to the theater, I wouldn’t recommend this one, but if it pops up on a streaming service and you’ve got nothing better to do, it might be worth a watch.
‘The Day the Earth Blew Up’ Is a Welcome Reintroduction to
‘Looney Tunes’
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The classic cartoon is back –– now with a modern twist! Francis Rienzo (CAS ’27) reviews ‘The Day the Earth Blew Up,’ the newest offering from the beloved and nostalgic “Looney Tunes” franchise.
Francis Rienzo Deputy Guide Editor
Growing up, I constantly watched “Looney Tunes.” From Bugs Bunny’s sassy remarks to Daffy Duck’s zaniness, the show was an indelible force in shaping my humor. As the years have gone on, though, these cartoons have generally decreased in popularity. Warner Bros. CEO David Zaslav has faced backlash for mishandling popular characters after removing more than 255 cartoons from streaming and refusing to release the film “Coyote vs. Acme” even after it was completed in 2022. Nevertheless, “The Day the Earth Blew Up: A Looney Tunes Movie” survived the animation purge and is the first fully 2D animated film starring the “Looney Tunes” cast. Despite great adversity, the film succeeds in being entertaining and funny, reminding us of the joys of these characters, even if the writing is occasionally questionable and some jokes fall flat. The film stars voice actor Eric Bauza as both Daffy and Porky Pig. Bauza previous-
ly voiced Bugs, Daffy and Tweety in HBO Max’s cartoon revival series “Looney Tunes Cartoons.” The movie also features Candi Milo as Petunia Pig — a welcome addition as Porky’s love interest — and Peter MacNicol and Fred Tatasciore in supporting roles.
Peter Browngardt, the director, succeeds in making this film both a science fiction adventure and a buddy cop comedy. Through a succinct and clever chain of events, Daffy and Porky end up at the center of an alien scheme to take over the world while also trying to save their house from being condemned.
For longtime “Looney” fans, the project ultimately delivers. There are meta references galore, including a scene where the word “foreshadowing…” directly appears on the screen in classic “Looney Tunes” fashion. The conductor then appears on screen as well, gets upset with the plot and walks out. These scenes harken back to the original cartoons, where Bugs, Daffy and Porky would frequently deliver their lines straight to the audience and break the fourth wall. Even if you aren’t a diehard
fan, it’s still a funny and enjoyable watch. The story, involving an alien, a gum factory and a home inspector, is comical despite its ridiculous, off-the-wall and somewhat confusing nature. The absurdity perfectly fits these characters as they goof their way through the film, trying to figure out the scheme to win their house back.
At the core of the movie is an emotional bond between Porky and Daffy. Daffy, being “loony,” is always messing things up for Porky, which is understandably tiring for the pig. They fight as they both mess up, consistently getting themselves into more trouble. The buddy-cop aspect of the film reminds me of another famous animated duo: SpongeBob and Patrick’s dynamic, with Porky as SpongeBob and Daffy as Patrick. Though more comedically clever than SpongeBob and Patrick, Porky and Daffy’s friendship and the absurdity of their situations are similar to the underwater pair.
The appearance of modern humor is welcome to the film and surprisingly enjoyable, as the film doesn’t rely on nostalgia-based comedy. For example, Daffy
works as a barista and a customer orders a 13-word coffee order. However, at certain times, it falls flat and feels downright cringey, like a 30-second vignette in which Porky and Daffy work as “influencers,” featuring a twerking montage. It doesn’t ruin the film, but it feels disjointed from the “Looney” adventures.
Overall, it was a bit too childish for my taste; I preferred the more adult and less zany takes of Cartoon Network’s “The Looney Tunes Show” or the 2003 film “Looney Tunes: Back in Action.” But there is still a place and an audience for these classic cartoons — though whether this audience is an entirely new generation or the nostalgic fans of the past, I’m unsure, and it seems the studio is seeking to answer that question as well.
Still, people can have many different takes on these characters, and this is just one. While it might not be my favorite, it still owns up to the classic elements of the franchise. Perhaps “The Day the Earth Blew Up” can welcome a new generation to the joys of these iconic characters.
Isabelle Cialone Deputy Guide Editor
A guinea fowl’s cry serves as nature’s warning of an imminent predatory threat — but what happens when that blaring alarm is ignored? What if it is ignored for the sake of the very tradition that enables this predation?
Rungano Nyoni’s Bemba-language “On Becoming a Guinea Fowl” is a moving and heartbreaking tapestry of the complexities of the female experience in a family poisoned by strict patriarchal values. The film examines the suffocating weight of traditional gender roles as Shula (Susan Chardy) and her female relatives bear the brunt of her uncle’s funeral responsibilities. As Uncle Fred’s (Roy Chisha) sins come to light, Shula must grapple with the familial duties expected of her by the societal structure that enabled his cycle of abuse and the perpetual silencing of his victims.
The film excels in its multifaceted representation of Zambian Bemba customs. On one hand, it shows a family’s commitment to maintaining community through tradition in a way that does not overexplain or staunchly criticize their beliefs. Rather, it lays out the culture’s nu-
merous funeral rites factually. It is only through Shula’s complex emotional reactions that the film examines the customs’ deeply-woven misogyny, which ultimately fractures the family.
As the interspersed flashbacks and television program montages develop the titular metaphor, “On Becoming a Guinea Fowl” establishes its bold and shameless feminism. While the editing feels somewhat disjointed at first, as initial flashbacks to Shula’s childhood come almost out of nowhere, the gradual reveal of the film’s central metaphor and the links between the film’s end and beginning are truly moving. The final scene, in which the brutal misogyny of reality clashes with the climactic surrealism of the central metaphor, will certainly leave you deeply moved.
Alongside the slow-burn reveal of the metaphor, the complexities of the plot unravel with a distinct intentionality. Nyoni’s direction makes the film perfectly strange, from the first uncomfortably comedic scene in which Shula inexplicably dons a Missy Elliott costume to the moving final scene imbued with just enough surrealism to hammer in the film’s message. The images introduced without context are given meaning after the fact, demanding multiple rewatches to truly grasp the film’s genius.
By Tanvi Gorripati
This staying power is made equally evident through David Gallego’s cinematography. The imagery of particular shots is striking — flooded dorms and homes, women huddled sleeping in an empty pool and aunties piled atop each other in the pantry fighting the cousins’ vocal protest.
The film’s anger toward the absurdity of such performative grief is taut and pulsing in each display of the disparaging treatment faced by these women. A harrowing sequence where several uncles demand Shula’s attention while ignoring the severity of the situation at hand exemplifies the film’s boiling tension.
Furthermore, the characters are cleverly written, with every main and side character alike possessing such depth and multidimensionality.
For example, Nsansa (Elizabeth Chisela) appears at first as a crutch for comedic relief, and Shula’s distaste for her cousin is evident. However, as the film progresses, their solidarity flourishes, and Nsansa’s many layers are peeled back. The cousins’ relationship showcases the beauty and necessity of solidarity in survivorship, which develops in sharp contrast to the stifling matriarchal complicity of the older generation of aunties.
Though the writing of the characters is incredible, the performances are undeniably what anchor the
film’s success. The hardness of Shula’s expressions at first comes across as stoic and even careless, but as the film progresses, Chardy’s subtle and nuanced brilliance reveals itself. In her debut performance, Chardy establishes herself as a truly phenomenal actress and a force to be reckoned with.
Chisela’s obnoxious exuberance perfectly offsets Chardy’s quiet rage, and though her persistent intoxication is at first frustrating, her character’s gradual development reveals itself as heartbreaking.
Esther Singini’s incredible portrayal of Bupe, the third and youngest of the uncle’s victims, rounds out the heartbreaking display of the various coping mechanisms with trauma in a family that seeks to silence survivors.
“On Becoming a Guinea Fowl” was tragically under-advertised by A24 and greatly underappreciated at the Festival de Cannes, but it is a modern masterpiece that deserves far more attention. Its exploration of traumatizing abuse, though never visually represented, is heavy. While steeped in Bemba traditions, the film’s message transcends nationality; it invites viewers to examine the patriarchal underpinnings of their own cultures and to recognize how they may be complicit in silence.
1. Another word for “let’s go!” (abbrev.)
5. Alcohol, in slang 6. Timothée Chalamet’s job 7. “___ , it all must ___ , eventually” 8. Legends and fables
1. Powder in a brownie recipe 2. A budget-friendly road trip stay 3. Atmospheric layer with a hole problem
4. Candy with a brainy name
5. Ancient Egyptian goddess depicted with a cat’s head
1. To express gratitude
6. The spinning part of a mechanical device
7. A text message asking for confirmation
8. Not women
9. Samsung’s line of foldable phones
10. Hungarian software company known for its presentation technology
1. The current leader of the United States
2. A foolish or uncultivated person, or slang for a Canadian
3. To adjust or something that may get stuck in your head
4. Neither
5. An electronic dance-pop band with the song “Back in Time”