25 minute read
The Batman
Robert Pattinson is the Batman for the 21st century
Cont. from Pg. 1 playboy version we’ve seen, Reeves leans into another vision of the character—one who has “gone through a great tragedy and become a recluse.” The ultimate result is a tantalizingly elusive man whose trauma and anger have overtaken him to the point of hibernation and salvation through vengeance. He’s an outcast, more than ever before, feared by the Gotham underworld and distrusted by the Gotham elite—including his usual police partner Jim Gordon, played by the relentless Jeffrey Wright. Like his character in Robert Eggers’ The Lighthouse—Pattinson turns Batman into an enigmatic Byron: a deeper voice, pale complexion, flowing black locks, and a 90’s grunge aesthetic that makes us ask, what have we been watching? As Batman, Pattinson delivers a perfect balance of rage, tragedy, and sophistication. The trials of his life match the character more, as the emotional depth of this Batman is one we’ve been craving to see. The lack of a playboy nature and
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supplemental disturbed bad boy is an interesting twist that is long overdue. After the failure that was Affleck’s portrayal of the Batman, Pattinson’s take is a refreshing sigh Illustration Lucia Thorne
of relief despite the actor’s concern over his performance. Pattinson’s tour-de-force performance does not overshadow the rest of the cast. Zoë Kravitz embraces her inner femme fatale for Catwoman. Colin Farrell is unrecognizable in his Penguin prosthetics, though his uproarious Robert De Niro impression manages to toe the line between cartoon and menace. And John Turturro quietly steals the show as a slimy mob boss that ends up being much more important than the audience initially suspects. It would be a disservice, though, to reduce the film to the sum of its performances. The score by Michael Giacchino, award-winning composer of “Spider-Man: No Way Home” and the Planet of the Apes series (where he also collaborated with Reeves), is the perfect accompaniment to the dismal mood of the picture. The choir vocalizations and echoing instrumentals build alongside a tip-toeing bass—especially in a central track in the film, “A Flood of Terrors.” And “Something in the Way,” slow and yearning, is the perfect song to be dubbed as “The Batman’s Song.” Greig Fraser’s cinematography oozes with neon hues of orange and blue, with an apocalyptic grain that the filmmakers achieved by running the digital image through film and scanning it again. The color scheme and grading makes the tragic and vengeful reality of
the city all-encompassing. The audience is forced to experience the characters enough to glue them in their seats for three hours. The film, more than any other, transforms Gotham City into a truly lived-in character. Previous adaptations ranged from Christopher Nolan’s no-frills Chicago and Tim Burton’s Gothic extravaganza, this Gotham seamlessly blends the decaying monuments of New York, Glasgow, and Liverpool into a single gruesome and fantastical city. Leaping from the Gotham Police headquarters— Liverpool’s famed Royal Liver Building—an immaculate shot follows the caped crusader soaring across the city in his wingsuit. For someone from Liverpool, it became almost a running joke to see the Liver Building serving as GCPD or St. George’s Hall serving as Gotham City Hall—the best cinematic display of Liverpool ever put to screen (perhaps better if Anfield Stadium had been in it, but beggars can’t be choosers). Reeves’ Batman actively grapples with the notions of class, inequality, and corruption—all tied, implicitly and explicitly, to the paradoxical concept of a billionaire fighting on behalf of the poor and marginalized. Bruce Wayne relies on his parents’ optimistic vision of Gotham as justification for his own brand of vigilante justice, not realizing the negative effects of his campaign of terror.
Central to the film is the realization that Batman’s corrupt world is too much for him to change alone—despite all the flowery notions of “progress” and “renewal,” the rot in Gotham goes to the city’s very core. And though this Batman works closer with the police than ever before—literally invited onto murder scenes as a consultant—it is clear that this film is anything but the “copaganda” that other popular movies fall into. In the course of the film, Batman realizes that he is surrounded by a horrible system rife with abuse, crafted by his heroes just as much as his enemies. The movie, of course, is not perfect. Paul Dano’s talent as the Riddler is criminally underutilized and Catwoman’s story arc becomes unnecessarily convoluted, with a significant twist falling short due to the surface level representations of her relationships. And the third act, in general, is short on set-up and long on runtime. That said, the film is the freshest take on Batman we have seen in years. Reeves’ vision for Gotham is generational, and it can only get better from here.
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The far right is being manipulated by Vladimir Putin to spread false information
Justin Chen
Beacon Staff
As the Russian military advances deeper into Ukrainian territory, Russian propaganda has been referring to the invasion as a “special military operation.” However, here in the United States, many within the right-wing political sphere have been firm apologists for Vladimir Putin. Take North Carolina Congressman, Madison Cawthorn, as an example. Since the beginning of the Russian aggression towards Ukraine, Cawthron has given several controversial statements on Ukrainian President Volodymyr Zelenskyy. In a video that was taken by the local TV station, Cawthorn called Zelenskyy a “thug” and the Ukrainian Government, “incredibly evil.” It is downright laughable to hear Cawthorn call the President of Ukraine a “thug.” Zelenskyy is arguably one of the bravest men in the world at this point in history. While Russian troopers have been coming after him, he has remained present in Kiev aiding the fight against Russian onslaught. This is something that Cawthorn would never have the courage to do. The only association Cawthorn has with military action is the public lie he told on his rejection to the U.S. Naval Academy. He claimed that he could not attend the military academy due to an injury resulting from a car crash when in fact, the car crash happened after he got rejected by the naval academy. Cawthorn’s comment have received criticism from his own party. South Carolina Senator Lindsey Graham called Cawthorn an “outlier” while Iowa senator Joni Ernst told to her colleague in the House that it’s not Ukraine that is invading Russia, but it is Russia invading Ukraine. What an insightful thing to say. Longtime conservative political commentator Carl Roves also joined the force of criticism against Cawthorn. Meanwhile on Fox News, the chief Russian propagandist Tucker Carlson and former Hawaiian Congresswoman Tulsi Gubbard have also taken on Putin’s side, blaming the U.S. stating it had directly prompted the Russian invasion. In a monologue, Carlson asked, “Has Putin ever called me a racist? Has he threatened to get me fired for disagreeing with him? Has he shipped every middle-class job in my town to Russia?” It is funny to see Carlson calling himself “not-racist” when he has been criticized on his racist point of view since the beginning of his career at Fox News. Moreover, Carlson’s Pro-Russian comment made Russian national television and a Pro-Putin political commentator praised Carlson’s comment as good analysis. Meanwhile, former Hawaiian Congresswoman Tulsi Gubbard has also been promoting misinformation stating that the Ukrainian government has been making chemical weapons. Criticism is mounting regarding their position on the conflict. CNN political commentator Ana Navarro suggested that they should be investigated by the Department of Justice. A lot of this rhetoric comes from former President Donald Trump. During his presidency, Trump was known for praising and shielding Putin from U.S. intelligence. One prominent example is the events that took place at the Helsinki summit. During the joint press conference between Putin, a reporter asked Trump whether he believed his own intelligence assessment or Putin regarding the 2016 election. Trump declared that “President Putin says it’s not Russia. I don’t see any reason why it would be.” The former President’s comments are not only some of the most scandalous moments in U.S. politics, but it is also making Moscow complacent. Due to their complacency and lack of defense from the former administration, Moscow attacked the 2020 election by posting false information of the media. Sadly, the former administration and the far right has been ignoring it. Cawthorn, Carlson, and Gubbard’s language is an act of treason and anti-democratic. Their behavior is an attempt to defend Putin—a war criminal with blood on his hands. The Republican Party needs to suppress the absurd apologist language coming from these forces.
Courtesy Creative Commons
Living Arts Living Arts
Sophomore Jacob Warman launched brand KNUCKLEHEAD in 2021
Courtesy Jacob Warman
Hannah Nguyen
Beacon Staff
In high school, Jacob Warman found himself hanging out with the wrong crowd and needed to escape it. He turned to his childhood hobby of drawing. Later, his doodles became a part of his clothing brand.
“I’ve just been dreaming of it for so long,” Warman, a sophomore visual media arts major, said.
As a kid, he’d meet with his mom on Fridays to go to Barnes and Noble, and once he got older, it became a safe space where he would go and study anatomy books and draw.
“I would just be there until they kicked me out,” Warman said.
Drawing became an outlet he could always rely on. During a train ride one day, he made a doodle based on the word “knucklehead,” a name his mom used to call him.
“It’s an insult, but it’s endearing, and that’s why I love it so much,” he said.
He then started drawing characters based on the style of his knucklehead drawing. His “No
Monkey Business” t-shirt design was based on a drawing he did at Chipotle. When his friends brought him to Zumiez and introduced him to streetwear and skater designs, he based many of his drawings on them. He was also
Courtesy Jacob Warman inspired by traditional Japanese tattoo art.
Warman decided to start his own clothing brand called KNUCKLEHEAD when he saw that he could incorporate his art with his clothing. At the time, however, he was still a sophomore in high school and couldn’t afford it, putting the project on hold. In summer 2021, he saved up money from his film internships and brought it back.
“It’s always been my goal to fuse high fashion and skate streetwear,” Warman said. “I knew that every single part of the garment needed to be really thought through for the highest quality.”
He found a manufacturer in Los Angeles that was ethical and sustainable, which he wanted to prioritize for his brand. Garments are made with 100 percent cotton by sewers paid at least $18 per hour. They are silkscreen-printed with eco-friendly water-based ink made in New York City.
“I just really wanted to make sure that when people put on a knucklehead shirt, they would say, ‘Wow, this is the best shirt that I’ve ever had,’” Warman said.
The designs on the clothes are characters—some that he started drawing in high school—who each have their own stories and meanings. He said each character’s meaning is a reflection of himself and who he was.
“For me, a knucklehead is someone that is able to display resilience in hard times,” Warman said. “[It is] someone who doesn’t shy away from doing things that they may love, even if it’s against the grain. It’s not a very popular term, so that’s also exciting for me that I can almost reinvent it.”
KNUCKLEHEAD has also had pop-ups at an Afterlife Presents LLC concert at Middle East Restaurant and Nightclub and Emerson’s Double Exposure Event.
“I made good sales, but just the fact that people were genuinely interested in the store, it was pretty emotional,” Warman said. “It’s a really terrifying thing putting yourself completely out there to the world where the designs that you’ve been sitting on for like five years are just there for people to look at and can say they don’t like it.”
The people who bought his clothes were mainly his friends. The first stranger who bought a hoodie was an Emerson student who attended the first pop-up he went to.
“I was just having a bad day, and I was going in the dining hall just to grab something to eat,” Warman said. “I [saw] her sitting with the hoodie on, and I have no idea who this person is, don’t know her name. And I was just like, ‘Wow.’”
In the future, Warman hopes to create animation skits to tell the backstories of the characters on his clothing. He is also passion-
-Jacob Warman
ate about mixed martial arts and hopes to donate proceeds or fighting gear to a nonprofit organization, which his cousin introduced him to in Rio de Janeiro that helps formerly incarcerated people learn self-discipline through martial arts. Warman also hopes he could potentially sell his clothing at consignment stores.
KNUCKLEHEAD has been five years in the making with Warman constantly dealing with trial and error, but he said he is proud of how far his brand has come.
“Those moments of just getting so close to failure, I’m just really appreciative of how far I’ve come and that people are wearing it,” Warman said. “That’s the craziest part.”
hannah_nguyen@emerson.edu
Soundtracks to your ‘Slainte’
Payton Cavanaugh
Beacon Staff
St. Patrick’s Day in the City of Boston is in full swing, and what better way to kick off the festivities than listening to some authentic Irish music—and no, I’m not just talking about the Dropkick Murphys “I’m Shipping up To Boston,” (I know, it’s so underground).
Starting off strong with a personal favorite, this St. Patrick’s Day listen to, “Love You Till The End” by the Pogues. Yes, it’s sweet and sappy, but you have to balance out the extremity of the Dropkick Murphys and The Dubliners.
To follow the same vibes, “If I Ever Leave This World Alive” by Flogging Molly is sure to give you all the bittersweet feels but as the song says, “don’t shed a tear.”
To celebrate St. Patrick’s Day with those you love is something to hold dear, but to commemorate those you can’t hold near, “Rose Tattoo” by the Dropkick Murphys.
To kick things up a notch, “Johnny Tarr” by Gaelic Storm is the best pick for you and all your caras.
If you’re searching for that main character mood, a song that can be your perfect match is “Dreams” by The Cranberries. Perfect for strolling through the city amidst the chaotic celebration.
Of course, it wouldn’t be St. Patrick’s Day in Boston without “I’m Shipping Up to Boston” by the Dropkick Murphys. Whether or not you’ve heard it a million times over, singing the chorus in a crowd of Bostonians always hits.
And for lucky number seven, “Galway Girl” by Steve Earle. Whether you’re serenading the love of your life in a local pub in epic P.S. I Love You fashion, singing in a crowd of all the best people, or a hopeless romantic with a soft spot for love at first sight, it’s your perfect tune.
Hoping this St. Patrick’s Day is filled with lots of love and luck, and these soundtracks to your slainte bring the sweetest serotonin fix. Lá Fhéile Pádraig sona duit!
Tyler, The Creator performing opening song on his “Call Me If You Get Lost” Tour. / Karissa Schaefer Beacon Staff
Tyler, The Creator sure knows how to create a memorable performance
Karissa Schaefer
Beacon Staff
Tyler, The Creator hit Worcester’s DCU Center on Mar. 3 with his “Call Me If You Get Lost” tour—well Tyler, what’s your number because five Bostonians got lost.
A nearly two-hour rail ride from Emerson to the mid-sized city of Worcester, where fans flooded the late afternoon commuter trains. During the walk from the station to DCU, it would’ve been easy to get lost if it weren’t for the flocks of people all headed to the same place. Doors were already open upon arrival, and for anyone in general admission, the first stop is always the bathroom.
Though not one of the biggest arenas, the crowd filled the floor, getting progressively larger as each opening act came on. There were three openers, making for a fairly long concert. First up was Teezo Touchdown, a largely unknown name. Starting a mini mosh pit way before Tyler even set foot on stage, Touchdown was full of high energy. The booming bass, however, made it hard to hear anything he said. He’s the embodiment of a Soundcloud rapper. At one point, he signed a prop hard hat and threw it into the audience, one where multiple people weren’t totally sure who he was, but were having a good hyped time regardless.
Vince Staples was next, a recognizable name yet unfamiliar as an artist. He was the hardest to see from the sea of people, as more crept in. Set on the secondary stage at the opposite end, the room’s lighting was dark, with changing cool-tone colors. Though a very talented rapper, Staples’ overall performance wasn’t all that thrilling. But then again, it’s hard to be sandwiched between two jaw-dropping performers.
Knowing she was up next, the crowd chanted Kali Uchis’ name with excitement. She started with one of her classic singles “Dead to Me,” the audience roaring after those first three words. She came fit in a bright red outfit with four backup dancers, who wore revealing clothes themselves in sheer, full-body bodysuits—certainly the hottest performance of the night. With the start of every new song, restlessness grew for her to perform her popular song “Telepatía,” which was her final one of the night, truly leaving the best for last.
Everyone’s eyes were on Uchis and her dancers, who weren’t the typical high-energy hip hop, jazzy dancers people usually see commercially with concerts. It added an extra layer to the singing, providing a whole show that someone wants to watch instead of just listening to. In a more contemporary type of performance, with the occasional joining in from Uchis, the audience was mesmerized.
Something about female artists is just so captivating to watch. With two raised platforms, Uchis and the dancers utilized their space well, constantly moving in a visually appealing way, while a big screen projected pretty moving images of purples and pinks. She sang numerous notable songs from her discography, switching between English and Spanish lyrics just as she does quite effortlessly.
What was disappointing were the collabs that never came to be. Tyler has various songs with Uchis—great ones, one may add—as well as a feature of Touchdown on Call Me If You Get Lost’s “RUNITUP.”
Though Uchis sang “After The Storm,” a popular song that features Tyler, he never came out to sing with her. If there was ever a missed opportunity, it’s this one. The pair has created numerous top singles together through the years, including “See You Again” and “FUCKING YOUNG / PERFECT.” A common theme is how Tyler works with the same handful of people every so often. It’s no surprise how frequent their collaborations are because they work really well.
Tyler is rightfully named “The Creator” because when he puts his mind to a project, he sticks and fully commits to it. His 2017 album Flower Boy debuted on U.S. Billboard 200 at number two, and it was all the rave on social media. Tyler trended again with his first number one album Igor in 2019. Some songs from that album, like “I THINK,” were included in his concert setlist, and it was definitely one of the best songs he performed.
Ever since he started creating music in 2009 when he began with his mixtape Bastard, he’s been on a roll.
Opener Kali Uchis performing with her dancers. / Karissa Schaefer
Seriously, does this man take a break? Though there are no complaints from over here. If he’s not on a hit featured song, it’s evident he’s always got a plan for new music of his own.
Though the musical beats and rhythms of his songs are a big part of what he does, there’s a lot of rapping that goes on, in terms of him hitting bars for a straight four to eight minutes.
For instance, “WILSHIRE,” a track off his newest album, has Tyler rapping for eight minutes straight. Though it’s hard to learn and remember all the words, the song is great. It’s like listening to someone tell a story playing in the background while you’re doing something else. There are no pauses andno misses as he speaks every word clearly. The music paired with the lyrics makes the listener feel like it’s a laid-back, rainy day. It’s a long song, but it doesn’t feel like it. Nevertheless, it’s not the most concert-worthy song, so it wasn’t performed and has so far yet to be.
His talent also oozes with his “double songs,” something he’s done a few times where he has one giant extended song that combines two different ones. He carefully crafts this style of songs, melding two sounds that could probably be separated into one. For lovers of lengthy songs, it’s genius. Call Me If You Get Lost’s two-part song is “SWEET / I THOUGHT YOU WANTED TO DANCE,” a song he did perform that had the audience singing along to the lyrics: “They should call you sugar, you’re so sweet.” Definitely one of his recent best.
His creativity flowed onto the stage’s set. Though simple, it worked really well and there were constant minimal changes throughout the performance. The time between when Uchis’ stepped off the stage and Tyler arrived on stage had fans growing with both impatience and anticipation, as the set could be seen being put together behind the curtain.
He entered by rising up through his mint green Rolls Royce car, wrapping while having his head out through the overhead window. During one of his breaks he took to speak to the crowd, he asked if they liked his car, getting a roar of cheers in return. The backdrop was a house with a changing screen in the background showcasing different settings, going from bright and sunny to snow, from day to night. Something unique to go with every song.
There was also a boat he went in at one point, docked at the edge of the stage. As he used it to travel across the gym basketball court floor, he was brought to the stage on the other side. Though not visible because of how far away it was, the big TV screens at the main stage projected Tyler and everything else clearly for all to see from no matter what vantage point. There laid a flowerbed, emulating a call back to his Flower Boy era and album cover. That’s when his name first caught attention, making this specific stage setting feel full circle.
While taking another break to address his fans, Tyler asked how many Bostonians were there, following up with who lives in Worcester. A notable moment because of the hilarity of him proceeding to pronounce the Massachusetts town wrong multiple times— so relatable Tyler.
The GA mosh pit experience of a Tyler concert is quite literally insane. It’s not for everyone, especially those that get even the slightest bit claustrophobic. Beware, separation from your friends is highly likely with low hopes of actually being able to control your movement in the crowd, which you will get lost in. For those people, perhaps a seated spot not too far, but just high enough to see the entire stage would be worthwhile. Also, remember to drink water—a MUST—before getting to the floor, or at least take it with you, because is a six-dollar water worth it? If you’re desperate enough, yes, yes it is.
After Tyler addressed the audience once again and sang a few more songs, departing at 11 p.m. just before the conclusion of the concert was the smart move. Though getting home should’ve probably been planned better, considering the distance between Boston and Worcester, on top of the fact that every public mode of transportation stops running early.
Finally, after being stranded in the train station for about an hour with three dead phones and two on the verge, then taking two Ubers to and from a halfway point at Framingham High School, five Bostonians were able to make it back home in one piece. The concert was a blur, definitely one to remember, and maybe a little too hyped for this house.
Cirque du Solheyy
Shannon Garrido
Beacon Staff
Cirque du Soleil welcomed its audience back after temporarily pausing its operations with clownery, camp, and circus magic in Punta Cana, Dominican Republic over spring break. When the production was forced to a stop in the height of the COVID-19 pandemic in Mar. 2020, according to MIX, it gave the cast and crew time to truly amp up their show, and they did just that.
Although they had other productions planned, their show KOOZA in Las Vegas, London, or Punta Cana really went all out. For those who share no acrobatic or acting talent, KOOZA is almost like watching a magic show. It’s difficult for our little brains to grasp the impossibilities of each performance.
KOOZA revolves around a blue and yellow sky where the art of clownery is used to move the story along, as acrobats create impossible gravity-defying stunts in fab-
ulous costumes and makeup. For a show so extravagant, the plot was quite simple. KOOZA refers to a box or ‘treasure chest’ that is opened by a curious little boy. Inside is a cast of about 50 acrobats, actors, and musicians that create a world of funky jazz and old Bollywood that truly makes for a great experience.
The amazing live vocals, along with an enthralling array of instruments, did wonders to build up the hype around each performance. Some of the music was made to keep the audience on its toes, making them wonder if they’ll pull it off. Other times, a soft and supple hum kept my eyes and ears glued to the acrobat, appreciating the delicacy and detail in each movement.
The story follows a little boy who is submerged in a magical, Peter Pan-esque alternate reality filled with kings, pirates, comical adventures, and more. The childishness of the story and ridiculousness of every actor on stage made for the perfect chaser to the intensity of the tumbling, taunting gravity suggestive gymnastics on stage.
One performance that truly stood out was the tightrope walkers, consisting of four acrobats walking, biking, and balancing on large poles 15 to 25 feet in the air, across a thin rope. It was astonishing to watch all four walkers work together to quite literally balance each other out while simultaneously keeping the audience entertained by pretending to fall or literally enticing the audience to scream louder.
Another ferocious performance was the aerialist who soared to incredible acrobatic feats while spinning and swinging her body every which way. Unlike the other performances, this one felt innately feminine—there was something delicate, subtle, and powerful about how she moved while sustaining her weight high up in the air. Sometimes she spun her body in a perfect motion with just her neck keeping her up.
The ‘Wheel of Death’ duo forced several gasps from the audience, as two performers ran above and within two giant spinning wheels that are simultaneously rotated by a bar connecting them. The music for this performance consisted of loud drums in a thematic, almost ritualistic tone. Each drum grew louder and more intense as the speed of the wheels turned faster.
This set contradicts the aerialist performance because although it is powerful to watch the performers beat gravity through sheer force, it feels much more masculine. The display involved boasting strength and an unflinching attitude as a giant wheel comes their way. There were moments they stood feet
away from the wheel hurtling towards them and their heads would avoid it for half a second, almost to brag.
The acrobat was one with her rope, as if she herself was gravity and not defying it. This duo, however, were battling the ‘Wheel of Death,’ boasting that gravity can’t keep up with them. Both were incredible and it was exciting to be able to scream at their successes, with the audience left to bite their nails in fear after realizing that it was a human being suspended midair.
No other performance disappointed either. There was a trio of acrobats that looked like they had no bones, as they bent their bodies in every angle and made beautiful sculptures of visual art together. Another young performer, recently reincarnated from Ancient Greece, stacked and balanced his chiseled body on chairs. They ended up creating a 23-foot tower where he balanced his body upside down with nothing other than the will of God to prevent him from falling and breaking his perfect physique.
From swinging their bodies from a single cord in the ceiling to walking and jumping in between a moving wheel mid-air, Cirque du Soleil does a great job in keeping the audience on its toes. There were one too many moments where it seemed the audience was inches away from witnessing a brutal accident or a wire would appear from behind them unveiling the truth that this isn’t possible.
Cirque du Soleil contortionists performing. / Shannon Garrido Beacon Staff
