THE FORUM
The University of Arkanasas Little Rock’s Student Newspaper pg
JOIN THE CAMPUS GARDEN
REVIEW: RED QUEEN BY VICTORIA AVEYARD
WE ARE THE FORUM
Words: Rian Newman
We are a student-run and student-led newspaper here at the University of Arkansas at Little Rock. The Forum was first formed nearly 100 years ago, as long as UA Little Rock has been around. It is a special place where all stories are welcome. We speak for the student population; the hopes, dreams, and ideas of students are represented and shared. We invite you to read the thoughts and words of the writers of the Forum, and to enjoy the photography that captures the moments on campus. This is our little corner of the world, of the UA Little Rock campus, and we hope you enjoy it and share it with others.
Growing Together: UA Little Rock Campus Garden Cultivates Sustainability, Community and Giving
The UA Little Rock Campus Garden
is a place for education, research, and outreach about food production, sustainability, botany and ecology. The garden contains a variety of spaces, including inground vegetable gardens, Arkansas native plant gardens, an aerobic composting system and more! The campus garden only uses sustainable growing methods and techniques. They are committed to reusing, recycling, upcycling and sustainability including strategic water use and conservation.
Last semester, the garden successfully donated 500 pounds of fresh fruits and vegetables to a local homeless shelter,
Words: Eshaal Nadeem
offering nutritious food to those in need. This year, the goal is even bigger: 1,000 pounds. Achieving this target will require more hands in the dirt, and that’s where students, faculty, and community members come in.
I didn’t know much about gardening when I first started volunteering at the Campus Garden. I wasn’t sure how to plant, what is what, or what exactly needed to be done. But that didn’t matter because there was always something to do. Whether it’s pulling weeds, planting new crops or simply cleaning and organizing, every task plays a role in helping the garden thrive.
What I love most about being part of the garden is knowing that my efforts
go directly to people who need it—it is incredibly rewarding. Plus, it’s an excellent opportunity to get some fresh air and enjoy the outdoors. It’s peaceful, fulfilling and a great way to be part of a community that cares. Right now, the garden desperately needs more volunteers and engagement. Whether you have a green thumb or have never planted a seed in your life, there’s always meaningful work to be done. From planting and harvesting to general upkeep, every effort contributes to the success of this initiative. Without dedicated students and community members, this hidden gem on campus risks being neglected. Not only
does volunteering help provide food for those in need, but it also teaches students teamwork and a deeper connection to sustainability efforts.
The next big goal for the garden is to enhance its aesthetic appeal and make it a more welcoming space. Plans for beautification are in motion, but more support is needed to bring them to life. Imagine a space with beautiful scenery, shaded seating areas and a more inviting atmosphere. This would transform the garden into not only a food source but also a relaxing place for students and staff.
If you’re looking for a way to give back, gain volunteer hours or simply spend some time outdoors, the Campus Garden is the perfect place to do so. Come out and be part of something bigger!
For more information
on how to get involved or to learn about sustainable urban gardening, join the Campus Garden Alliance on Trojan Engage. Also, join our mailing list to learn about volunteer hours and everything else happening at the garden! Follow these instructions to be added to gardenalliance@ ualr.edu mailing list: Send an email (from the email account you wish to subscribe) to listserv@ualr.edu with the following text in the body (not the subject) of the message: subscribe GARDENALLIANCE <your first name> <your last name> Example: subscribe GARDENALLIANCE John Doe
The UA Little Rock Campus Garden is located at 3340 Fair Park Blvd. near Lot 12.
ENTERTAINMENT
DECODING KENDRICK LAMAR’S SUPERBOWL HALFTIME PERFORMANCE
Words: Angel Hovis
Kendrick Lamar’s Super Bowl halftime performance was the halftime performance that took the internet by a storm. Lamar performed several songs such as “HUMBLE.,” “Not Like Us,” “All the Stars,” and more. Many have criticized his performance as being one of the “worst Super Bowl halftime performances,” but there might be something that they are missing. While most people focused on the Lamar and Drake beef, there seemed to be something deeper. His performance seemed to have an underlying message that unfortunately went unnoticed to some. But here we will take a look at the many hidden
meanings and Easter eggs in the show.
To start off, let’s take a look at the appearance of Samuel L. Jackson as Uncle Sam (Tom). “Who was Uncle Tom?” you may ask. Uncle Tom is a character from Harriet Beecher Stowe’s 1852 novel “Uncle Tom’s Cabin.” The term “Uncle Tom” is an offensive phrase that refers to a Black person, usually a Black man, who is considered by people in the Black community to be a “sellout” or overly submissive to white people.
In the novel, despite the character being a subservient model slave and seen as fairly content with his life, he is killed by his master. In Lamar’s performance, Uncle Tom is depicted as the antagonist, advising Lamar on how to “play the game.” After the performance of “Squabble Up,” a high-
energy song, Uncle Sam warned Lamar that he is “too loud, too reckless, too ghetto,” as a means to try to stop Lamar from spreading his messages and even going as far as deducting “one life” from Lamar’s score. However, Lamar refused to conform and played his own game. Next, let’s move into the revolution. Lamar said, “The revolution’s about to be televised. You picked the right time but the wrong guy,” in his song “GNX” (a teaser track) before performing
“Squabble Up.” Now you may ask, “Why is this one line important?” This line refers to Gil Scott-Heron’s 1971 poem “The Revolution Will Not Be Televised,” which is about how individuals are responsible for the change that they want to see within the world because oftentimes the media will try to hide or
ignore the many problems within it. Lamar seemed to flip this notion, claiming that the revolution will be televised and he will show it through his performance.
Lamar then introduced SZA in a pivotal way. He began with songs that command attention and have high momentum. Then he teased “Not Like Us” before easing into “Luther.” Before SZA is introduced, the dancers formed a slithering “S” formation, symbolizing Kundalini, a dormant energy association with femininity. SZA’s choice to wear red was also important to the message. Red is a color symbolizing creation, strength and life force energy, and was an allegorical nod to themes of ancestry, revolution and resilience which go great with Lamar’s work.
constantly under attack from its perception, to how it’s policed.
As “Luther” came to an end, the dancers in white and red marched in a circular formation, with white symbolizing clarity, purity and protection, and red embodying passion, movement and raw energy. Together, the two colors combine signified harmony and balance through a visual language. The idea that both feminine and masculine energies are meant to complement each other and the circle itself symbolizes unity between the two.
cameo and the C-Walk, full name Crip Walk, were not just because of both celebrities being from Compton, Calif. Lamar referenced Williams in the lyrics of “Not Like Us,” rapping, “From Alondra down to Central, better not speak on Serena.” This line is in reference to the unofficial romantic history between Williams and Drake, which began in August 2015 when Drake was shown to be at many of Williams’ tennis matches.
has a deep historical context. Originating in the early 1970s in Compton, Calif., it was created by Robert “Sugar Bear” Jackson of the Crips gang. The dance was designed with intricate footwork that spells o=ut “Crip,” and originally served as a covert method for members of the gang to communicate their identity and mark their territory. Over time, it became embedded in hip-hop culture.
Cont. on pg. 6
SZA’s fluid movement placed with Lamar’s sharp delivery and her being placed in an inverted triangle formation bring on a great embodiment of the depth of femininity. It wasn’t just a performance, but a form of storytelling metaphorically and a cultural reflection. The performance reflected the complex dynamics between Black men and women, with an underlying message of unity, love and compassion rather than division. When Black femininity is
The dancer’s costumes and positions were also key in the performance. The dancers forming into an American flag during Lamar’s song “HUMBLE.” was significant. Many have interpreted this as a reference to how America was built on the backs of enslaved Black people.
Lamar rapped the line “40 acres and a mule, this is bigger than the music,” alluding to Union General William T. Sherman’s Special Field Order No. 15, which provided confiscated Confederate land to newly freed slaves in the South. This could serve as a commentary on the historical injustices that Black Americans have had to face.
Serena Williams’
Though the rumors of their relationship were never fully confirmed by both parties, it appears that the two did indeed have a flirtatious relationship.
Drake proceeded to reference Williams in the prior and after the unofficial romance. In his 2013 track “Worst Behavior,” he rapped, “I’m with my whole set tennis matches at the crib / I swear I could be Serena when she playin’ with her left.” Then in his 2016 song “Too Good,” released studio footage shows Drake stating that the song about his “love” for someone being taken “for granted” was written about Williams. Then, in his 2022 track “Middle of the Ocean” in his and 21 Savage’s collaborative album, “Her Loss,” he calls out Williams’ husband, Alexis Ohanian, as a “groupie.”
The C-Walk itself
Serena has previously C-Walked during the 2012 Wimbledon Championships, where she defended her actions as artistic expression rather than promoting violence. This not only brought the two celebrities together but also sent a powerful message of identity, history and self-expression.
To end off the performance, Lamar’s performance displayed “GAME OVER” using
lights in the crowd, and the stage was arranged to resemble the buttons on a PlayStation controller. Then, it went dark. Shelley Rodgers, the halftime show’s art director, worked closely with Lamar to bring his vision to life. Rodgers explained to WIRED, “I think the [video game theme] was symbolic, his way to reach young people. A lot of it is showing his journey, traveling through the American dream.”
Red Queen: Power, Privilege, and Poor Decisions
Words: Kaitlin Jackson
In a world where people are divided by blood and birthright, Red Queen by Victoria Aveyard tells a story of oppression, power and resistance in this dystopian young adult (YA) fantasy. Red Queen is the first novel in Aveyard’s four book series.
In this world, set in a kingdom called Norta, humanity is specifically divided by the color of their blood. Those born with silver blood (called “Silvers”) have innate superpowers—which could be anything from elemental manipulation to healing—and live lives of luxury and ease.
Those born with red blood, on the other hand, are doomed to live in poverty, inadequacy and illiteracy. The Reds’ lives suck, and their only solace is occasionally being forced to watch their oppressors beat each other up for fun.
Basically, their solace is entirely dependent on how they view that spectacle.
The story follows Mare Barrow, a Red living in the Stilts, a poor neighborhood. With no talents or education to her name, Mare helps her family survive by stealing from people just as poor as herself. After a series of unfortunate events, she is ordered to work as a servant for the crown prince, Cal, for an upcoming festival. Here, she discovers that, despite having red blood, she has the power to create and control electricity. Intimidated by the implications of Reds having power, the royal family forces Mare to take on a new identity and live with them as a Silver, where she has to navigate the politics and preening of Silver life, a Red terrorist group and an engagement to the second
prince that no one likes.
Mare is the stereotypical YA dystopian protagonist, which really just amounts to her being ‘tough’ and protective towards her friends and family. She deals with feelings of fear and jealousy, as all of her older
brothers have been sent to war and her younger sister, Gisa, is a skilled seamstress who supports the family. Mare, having no particular aptitudes, is resigned to being sent to war after her brothers. She is justifiably bitter, given that she’s broke and the job market
“She’s definitely not standing on business. She’s standing on a piece of paper, and a wet one at that.”
is also terrible. Her most notable trait is her inability to think and learn from her poor decision-making skills: Part of Red Queen involves Mare making an stupid decisions, saying she learned from it and then doing something to show that she did not learn
from it. She’s in a world of conniving and coldhearted Silvers, but she doesn’t do much to protect herself aside from them. She only relies on others to be saved and doesn’t keep her resolve for long. She’s definitely not standing on business. She’s standing
on a piece of paper, and a wet one at that. Overall, I think there’s a stark contrast between what you’re told her personality is and her actual behavior. She’s not the worst
character, but I do think the story became more interesting when other characters were around.
Because no YA novel would be complete without a love triangle, Mare also
“The only positive about Cal is that he feels bad about his privilege and that he’s nice to Mare— the only Red he knows— which amounts to absolutely nothing.”
finds herself with two love interests: Cal and Maven. Cal, also known as Tiberias Calore, is the crown prince and the first love interest you are introduced to. The two first meet after Mare attempts to pickpocket him and, seeing the poor conditions that the Reds live in, he sends guards to have her work in his family’s summer home as charity. He has a strong sense of duty and loyalty; he’s nice to the protagonist. Cal is also Silver with the ability to control fire and heat. The only issue is that Cal and Mare have a big wedge between them, that being his reaction to the oppression she faces. He thinks it’s terrible that, by birthright, she’s doomed to live a horrible life, but he doesn’t think it’s terrible enough to change. Without having much actual power, Cal feels like he can’t change life for Reds directly yet, so he upholds
someone who is constantly complaining about being hated and not having friends, and then finding out why they’re friendless.
Other, less present characters include Gisa, Kilorn, and Farley. Gisa is Mare’s younger sister, a skilled seamstress who supports her family by crafting for upper class Silvers; she is the favorite of the family.
the status quo and works to oppress Reds like Mare. The only positive about Cal is that he feels bad about his privilege and that he’s nice to Mare–the only Red he knows–which amounts to absolutely nothing.
Like Cal, Maven also has the ability to control heat and fire. He, however, is the second prince and not in line to inherit the throne. As a part of hiding Mare’s identity as a Red with powers, Maven and Mare are betrothed against both of their wills. Maven is, like Mare, somewhat jealous toward his brother as the firstborn. He feels that his brother is more skilled and more likable than he is, and this is a point of insecurity for Maven. He is generally unfriendly and cold aside from the occasional moment with Mare, who sees more of his kindness and diplomacy as the story continues. It’s akin to dating with
Kilorn is Mare’s best friend and yet another potential love interest. He lives in the Stilts, the same neighborhood as Mare; he works as a fisherman’s apprentice until his master dies, dooming him to conscription and military life.
Lastly, Farley is a Red woman not much older than Mare. She is the leader of the Scarlet
for their oppressive rule. Although Mare and Farley share the same goal of having equality, all of their interactions in Red Queen are combative. In fact, most of Mare’s interactions with other women in the novel are at least somewhat abrasive. Generally, if Aveyard wasn’t writing a character who was bitchy and abrasive, they were ‘nice,’ with some more interesting variations every now and then. The lack of characterization was a minor gripe for me.
Guard, a resistance group of Red soldiers seeking to overthrow the Silvers
Aveyard’s worldbuilding is a little sparse, but I don’t think this detracts from the novel. As noted before, people are born with silver blood (which gives them powers) or red blood. Amidst this, there is the aforementioned Scarlet Guard, who are sought out by Reds and seen as outlaws and terrorists by
the Silvers. The kingdom of Norta is also notably at war with a neighboring country, the Lakelands. Both countries dispute due to a lack of resources and a desire for more land. Because of the war, Reds who are unemployed or not apprenticed to someone are conscripted, which is why Reds are conscripted at fifteen if they aren’t already working. I found the worldbuilding to be fine and I believe the setting is easy to follow with what gets mentioned. The only thing I noticed was that the war is mostly used as a randomlymentioned plot point rather than something that affects everyone in the country. Many Silvers are mentioned to be training for war and commanding armies, but the one situation where this is applicable is only ever mentioned in an ‘And also, there’s a war I guess’ way.
The world seems to be in a modern period: The technology is the same as ours, and the characters mention watching television broadcasts when they go out. They also have surveillance cameras nearly everywhere. On the other hand, they still have palaces and castles, and the governmental system consists of nobility and royalty with absolute control over the country.
The fantasy element comes in with the Silvers and their powers. Silvers can have an assortment of abilities: Elemental manipulation (e.g. control over fire, wind, water, or
earth), light or darkness manipulation, the ability to heal others at the cost of not being able to heal oneself and vice versa, etc.
At its core, Red Queen is about fighting oppression in a world where it takes fantastical forms. Aveyard introduces and explores themes of power, resistance versus stability, and trust and betrayal through Mare’s life with the royal family and in court.
Aveyard wrote Red Queen in first-person and present tense, which I don’t prefer in novels. I don’t think it took away from the novel though. Because you follow the perspective of Mare, I found the narration to be okay at best. I feel like the best parts of Aveyard’s writing stemmed from the descriptions she would include throughout the novel. For example, in the very first chapter, Aveyard writes, “The air shimmers with heat and humidity, and even the puddles from yesterday’s storm are hot, swirling with rainbow streaks of oil and grease” (1). I think the author makes good use of imagery throughout the novel, and there are many good lines. Her use of images, metaphors, and general descriptions made for an enjoyable read.
The writing is slower paced, and the plot feels like a series of events. It’s similar to older, classic literature novels where things just happen until a turning point arises. The story follows Mare’s life in the Stilts before moving to her pretense as
a ‘lost’ Silver girl after her powers are discovered. In this new identity, she learns how to fit in with the Silvers to prevent further chaos amongst both demographics. There are many moments, often numerous times per chapter, where Mare will note that if she doesn’t succeed in passing as a Silver, she will be killed
and the protagonist, I really liked Red Queen, and I found it to be an interesting read. Although the romances lack chemistry and are gradually more ignored as the series continues, I do think this is a good read for those who like more political reads. It helps that the politics in this novel go beyond the trope of nobles
“It’s akin to dating someone who is constantly complaining about being hated and not having friends, and then finding out why they’re friendless.”
by the royal family. Here, I think Aveyard relies too much on telling us about the risks of Mare’s new life: It doesn’t help that the perceived risk is said so often. I think it would’ve been better if there were a few scenes where Mare did slip up and the reader got to see the consequences of said action. Without having a visual representation of the danger Mare is in–coupled with her lack of survivalism and her hesitance to not rely on people she knows to be manipulative–it makes the protagonist look incompetent and it makes her situation appear much less serious.
Despite some issues with characterization
assassinating each other. If you don’t mind a more wandering storyline and enjoy dystopian fantasies, I would definitely give Red Queen a try!
“Speak No Evil” (2022) vs. (2024): Which Nightmare Should You Choose?
Words: Skylar Boone
What’s more unsettling: a horror movie that lingers in your mind long after it ends, or one that delivers a suspenseful, thrilling ride with a satisfying ending? With Christian Tafdrup’s “Speak No Evil” (2022)
wrong after they arrive.
I won’t say any more about the plot because I think the best way to go into both movies is without significant spoilers. Here I’ll break down how the two versions differ in tone and atmosphere, scare factor, themes,
and its 2024 American remake, audiences have two different takes on the same chilling premise. Whether you’re looking for a deeply disturbing, realistic nightmare, or a tense thriller with a more digestible ending, choosing the right version can make all the difference.
So, which one should you watch? Both versions of “Speak No Evil” rely on a similar premise: an average family vacationing in Italy meet a seemingly perfect couple and their strange son. After spending the rest of their vacation together, the couple invites the family to stay at their secluded countryside home for a weekend. The family accepts, but they begin to notice something’s
narrative focus and overall experience to help you decide which suits your horror preferences best.
Tone and Atmosphere
The differing tones of the two movies were the first thing that came to mind when I began comparing the two. The 2022 version is a lot darker than the 2024 version.
From the long shots of the desolate countryside to the sweeping, eerie score, the viewer is constantly reminded that our protagonists are in danger and alone. The 2022 version is also much more realistic, both plot and performance wise.
In the 2024 version, it felt like everyone was playing a character, rather than a real person.
Compared to that, the characters in the 2022 version feel like real people despite their disconcerting actions. But this doesn’t mean that the 2024 version is bad, per se. I found the 2024 version much more fun to watch (especially with friends!). It’s a typical American thriller with plenty of suspenseful moments, but it also had a few that made my friends and I laugh. The 2022 version is much more somber, no laughs were to be had there. Scare Factor
Remember I said no laughs would be had while watching the 2022 version? Yeah. It’s disturbing. It’s a lot different than the 2024 version in that it does not shy away from showing the viewer its disturbing
version is still unsettling but relies more on tension rather than disturbing imagery and psychological horror. Whereas the 2024 version is scary, the 2022 version is truly dreadful. Themes and Narrative
Focus
Both movies have similar themes, but I found the differences between the Dutch (2022) version and the American (2024) version interesting. Both focus around themes of human nature and social discomfort. They discuss the consequences of social politeness when taken to an extreme. However, I found that the 2024 version also really emphasized gender dynamics within a family in an interesting and relatable way. Though the 2022 version is more
“That scene in the 2022 version is still burnt into my brain like a burn-in on a TV screen.”
subject matter front and center. That scene in the 2022 version is still burnt into my brain like a burn-in on a TV screen. Where things are hinted at in the 2024 version, they are explicitly played out in the 2022 version for better or worse. The 2024
realistic, the characters in the 2024 version are more fleshed out. The viewers get to know them and attach themselves to them. Both versions attempt to make the central family a kind of “everyman” family, but I think the characters in the 2024 version are a
(2024), Universal Pictures
bit more individualized and less relatable.
Ending and Overall Experience
Like I’ve said before, the 2022 version is relentless in its bleak and disturbing horror. Once the situation escalates, it doesn’t let up even after the movie ends. It’s a movie that will stay with you after you watch it because of its shocking scares and disturbing imagery. The 2024 version offers a lighter, more conventional resolution. It’s definitely more accessible because it’s not as distressing as the 2022 version.
Final Recommendations
Although I recommend watching both movies to appreciate their differences fully, not everyone wants to sit through two films with the same core premise. If you’re looking
for a horror experience that is deeply unsettling, psychologically disturbing and painfully realistic, the 2022 version is the way to go—it’s an unnerving film that slowly builds dread and leaves a lasting impact. However, if you
prefer a more conventional thriller with a structured narrative, a slightly lighter touch on disturbing imagery and a conclusion that doesn’t leave you emotionally drained, the 2024 version may be the better choice. Ultimately,
both films explore similar themes in very different ways, so the best version for you depends on what kind of horror experience you’re after.
(2022), Nordisk Films
CONTRIBUTORS
@skylarbooneart ExecutiveEditor
SKYLAR BOONE
@iamvastihernandez ExecutiveEditor
@valerissie4real ExecutiveEditor
@rian_willow Marketingmgr.
VAL BELL-O
VASTI HERNANDEZ
RIAN NEWMAN
DANIEL BREEN Advisor
ANGEL HOVIS Writer &CoverArtist
ESHAAL NADEEM Writer