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Applications for the Global Research Assistant Program open for students, faculty by Ria Agarwal
Contributing Writer
The Global Research Assistant Program gives Tufts students the opportunity to work with professors over the summer on international research projects. Recently, the application through which Tufts faculty members can submit research proposals opened for summer 2021. Generally, Tufts undergraduate students spend a minimum of three weeks in a field
Contributing Writer
Over the course of the semester, Tufts has worked to improve its supply chain for COVID-19related materials, and is confident in its ability to support its host communities moving forward. Paul Wagner, senior sourcing manager, said the university has enough resources to last through the spring. “Tufts has sufficient inventory of face masks, hand sanitizer and wipes to carry us
FEATURES
Professor Eitan Hersh invites grandparents of students to attend course virtually
site outside of the United States assisting faculty with research projects. According to Christine Hollenhorst, a program administrator in the Office of the Provost, students receive a weekly stipend for the duration of the program. Additionally, the program covers international travel costs, including airfare, local transportation, food and housing. Senior International Officer and Associate Provost Diana see RESEARCH, page 2
Sufficient supply of COVID-19 materials available through spring as Tufts continues to support host communities by Julian Levy
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Wednesday, December 9, 2020
MEDFORD/SOMERVILLE, MASS.
through the spring 2021 semester and beyond,” Wagner wrote in an email to the Daily. “We also have sufficient supply of test kits on hand for the remainder of the fall semester and put in place commitments to carry us through the spring of 2021.” Wagner added that the university has expanded its network of suppliers to meet the evolving needs of the community, and is not facing shortages of COVID19 materials. see SPRING, page 2
LYDIA RICHARDSON / THE TUFTS DAILY
A label maker and testing tubes are pictured at a Tufts University COVID19 testing site on Nov. 8.
ALONSO NICHOLS / TUFTS UNIVERSITY
Associate Professor of Political Science Eitan Hersh is pictured teaching class in Cohen Auditorium. Behind him is a section of the class attending via Zoom. by Madeleine Aitken Deputy News Editor
Professor Eitan Hersh, an associate professor in the political science and civic studies departments, has taken advantage of the pandemic to provide a unique opportunity for the students in his class on U.S. elections by offering their grandparents an invitation to join the class via Zoom. Hersh first got the idea to invite his own grandfather, who is 96 years old and lives alone, to class. He said he thought it would give his grandfather something to do, especially as he had never had the chance to see him teach before. The pandemic, and the ways academia has become more technology based as a result, changed this. “Once he was on, I just had the thought that the students should invite their grandparents too, if they like. Obviously, [COVID-19] has been especially tough on older folks, and I thought this was an easy way to honor our elders by inviting them into this academic space with us,” Hersh wrote in an email to the Daily. Alison Manca, a sophomore in the class, said she believes Hersh saw this as an opportunity to support older people, many of whom are having an especially difficult time in the pandemic. “I think this was his way of extending that care to the
elderly in our society. He understands that they have an entirely different set of difficulties, and wants to do anything in his power to make sure they feel valued,” Manca wrote in an email to the Daily. The class, which has 55 students, covers election law, voting rights, the Voting Rights Act, problems such as gerrymandering and money’s role in politics, as well as campaigning, party strategy and the 2020 election. Manca invited her grandmother, who she said has been alone for much of the last several months, to come to class on Zoom. “I have a grandmother who lives alone in an apartment outside of Detroit … She lives 15 minutes away from her sister, but she’s only able to safely see her sister outdoors, which is not always feasible in Michigan,” she said. Manca said attending Hersh’s class has been good for her grandmother. “I think this has been beneficial for her over the pandemic because she otherwise has very little to do. She’s unemployed and alone. This gives her not only something to look forward to but a way to stretch her mind,” she said. Sarah Kaplan, a sophomore in the U.S. elections class, also took advantage of Hersh’s idea and said her grandparents have
ARTS / page 4
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Princess Di’s iconic fashion reborn
Adapting art galleries to virtual spaces
come to almost every class. She said it has been great for them to have an opportunity for mental stimulation while they are physically isolated. “I was super excited, and immediately thought that my dad’s parents … would love it so much. My grandparents are avid CNN and MSNBC news watchers and pay attention to politics very closely and thought it’d be really awesome for them,” Kaplan said. Donald and Kathie Kaplan, her grandparents, have enjoyed their experience. “We are always having political conversations with our granddaughters so this class was one we would enjoy and be able to share thoughts about the class with them … we were a perfect fit for this class,” Donald Kaplan wrote in an email to the Daily. Kathie Kaplan said she has loved feeling like she’s back in college. “I was always a voracious notetaker in college and found myself in my old groove. I remembered symbols I used for abbreviations and took anywhere from 8-10 pages of notes per class,” she wrote in an email to the Daily. Hersh wanted to provide a space for his students’ grandparents to be engaged and learn something new, but he also thought it would be beneficial for see GRANDPARENTS, page 3 NEWS
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THE TUFTS DAILY | News | Wednesday, December 9, 2020
THE TUFTS DAILY Alex Viveros Editor in Chief
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Rebecca Barker Hannah Harris Managing Editors Jake Freudberg Associate Editors Jilly Rolnick Alejandra Carrillo Maddie Aitken Jessica Blough Tom Guan Liza Harris Alex Janoff Matt McGovern Sara Renkert Sarah Sandlow Anton Shenk Carolina Espinal Sam Klugherz Alexander Thompson Alicia Zou
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RESEARCH involvement, clear budgets and continued from page 1 supervision. Chigas explained that the Global “There needs to be a clear Research Assistant Program sense of what the sort of educastarted as a result of a donation tional outcome will be for the stufrom an anonymous donor to dents participating,” Anne Moore, the Office of the Provost. Other program specialist in the Office of sponsors include the Jonathan Scholar Development, said. M. Tisch College of Civic Life and Chigas underlined the importhe Career Center. tance of appropriate supervision. According to Hollenhorst and “We look for [faculty appliChigas, in the past, six to seven cants who have] thought through research proposals have been all the various other kinds of accepted each year, although support and safety and kind of the Office of the Provost hopes supervisory kinds of things so to increase that number in the that the student can also have future. The projects tend to vary a good experience there too,” in location and subject matter as Chigas said. faculty from all of Tufts’ schools This year, however, due to are invited to submit research the uncertainty surrounding the proposals. ongoing COVID-19 pandemic, In order to accept the pro- the Office of the Provost added posals, the Office of the Provost an additional requirement for requires that certain guide- summer 2021 applications. lines be met for the students’ Hollenhorst explained that well-being, including student applicants will be asked to pro-
vide two plans. Plan A would be the ideal project if students are allowed to travel, and Plan B would be a virtual version of the research project. Although the pandemic could limit the in summer 2021, past students who participated in it shared how their projects were engaging even without being abroad. Jessie Yang spoke about how her exposure to theoretical physics solidified her interest in physics research. She studied particle physics and dark matter. “A big thing that I got out of it was confidence in myself,” Yang, a junior, said. “I was able to give a presentation, and I was able to do a lot of these calculations … and I produced a paper.” Brenna Trollinger participated in a project about the impact of climate change on coffee production in Costa Rica. Due to the pan-
demic, the project participants could not collect data, so instead, they worked on interactive presentations and web design. Trollinger mentioned that she appreciated how the project applied her creative interests to her academic interests. “I ended up really liking [the virtual setting] because I do like graphic design sort of stuff, and it fit in well with my skill set,” Trollinger, a junior, said. Moore also spoke to the benefits of the Global Assistant Research Program, specifically in high-level research. “There’s sort of a quantum difference between undergraduate level research and graduate-level research,” Moore said. “You get a sense of [graduate-level research] earlier, which can then help you make decisions as you move forward about where you want to put your energy.”
University works to build connections with Medford, Somerville SPRING
continued from page 1 “Last summer, as we have all experienced, there were many disruptions within the supply chain. Those constraints have loosened as the semester has progressed and we are not seeing the shortages we did last spring and summer. We have taken advantage of this opportunity to build our inventory levels,” he said. However, Wagner said that with the rise of cases on campus, there may be disruptions to the supply chain. “I suspect there will be some supply chain disruptions as COVID cases increase,” he said. Wagner expressed that Tufts is in a strong position to meet the supply needs of students, faculty and staff. The university’s COVID-19related resources are also being
used to support surrounding communities. According to previous reporting from the Daily, Tufts is providing up to 300 tests every week to residents of Medford and Somerville, free of charge. Rocco DiRico, director of government and community relations at Tufts, said the university is working to build connections with local communities. “[Tufts is] also working with Medford and Somerville Public Schools and testing teachers and staff at local schools in both cities,” DiRico wrote in an email to the Daily. “Earlier this year, Tufts donated supplies of personal protective equipment that were collected from research, teaching labs and Tufts’ parents to local hospitals.” First-year Matthew Lohmann spoke on Tufts’ handling of COVID-19 cases on campus.
“I was impressed with the level of testing and the rapid response time to the spikes that have occurred on campus,” he wrote in an electronic message to the Daily. DiRico said that the university has provided 30 emergency response grants of $1,000 each to local nonprofit organizations in Medford, Somerville, Boston and Grafton. Some of the money has been used to purchase personal protective equipment, sanitation supplies and food supplies, according to DiRico. He explained Tufts’ efforts to prepare its host communities for the months ahead. “We look forward to working with Medford and Somerville on an innovative COVID19 testing program for PK-12 public schools in both cities,” DiRico said. “The pooled testing program, developed and
validated by Tufts, will enable the Medford and Somerville school districts to provide tests to students, faculty, and staff for approximately one-third the cost of a traditional individual testing program.” He said the relationship between Medford, Somerville and Tufts has strengthened over the course of the semester and that staff from the university and representatives of Medford and Somerville meet every week to address issues, share information and collaborate on new initiatives. DiRico noted that he is confident the university has sufficient resources available to combat the ongoing pandemic. “We are confident that the University has the staffing and resources to continue helping our host communities in the weeks and months ahead,” he said.
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Features
How to enjoy art during the pandemic by Sophia Costa
Contributing Writer
It wasn’t just restaurants and bars that were affected by the pandemic; art galleries, cinemas and fairs also took a hit. Numerous challenges — especially financial losses, staffing shortages and operating expenses — have caused multiple art-related organizations to shut down temporarily or permanently. But as with so many other businesses in the COVID-19 era, art has found a way to move online. Old and new galleries have adopted online viewing, sales transitioned to e-commerce and streaming services saw a surge in demand. Since March, demand for virtual art galleries has boomed. In light of these changes, it is worth examining how artists and art organizations have worked around the pandemic to deliver new options for art enjoyment, and why it might be worth pursuing during a pandemic in the first place. Eben Haines and Delaney Dameron kickstarted the Shelter in Place Gallery, which features small-scale works that appear larger when photographed. The Wisconsin Film Festival also transitioned online through virtual movie screenings. Other solutions include Drive-By-Art — an outdoor exhibition that viewers can observe in a socially distant manner from their cars — and even art museums on Animal Crossing. These new models have also made their way into the Tufts community. Through Tufts’ COVID Response Program, Ned Carlson, a third-year combined degree student, founded Boxed Art Gallery, a medium for the students, faculty, staff and alumni of Tufts to share their artwork remotely, since many in-person opportunities have closed with the pandemic. Featuring an open gallery, Boxed has also organized a contest for students to publicize their art and is preparing to expand this platform to Tufts’ host communities this winter. “It’s a project that’s currently ongoing and the goal is to bring people closer together,” Carlson said. He also plans to create an option for artists to sell their work on Boxed’s website, allowing them to support themselves during the pandemic and beyond.
In addition to creating an avenue for people to express themselves, initiatives like Boxed have the potential to make art enjoyment a possibility for those who wouldn’t have been able to engage with it outside of the internet. “[Boxed] takes away from the materiality that is often a barrier of entry,” Carlson said. It can be accessed for free from virtually any device with internet connection. Moreover, while art can be found on other websites, such as Instagram or Pinterest, platforms like Boxed deliver a curated experience. This works both to offer an environment similar to that of in-person art appreciation outlets and to make this curated experience available to people who might not otherwise have been able to afford it. Furthermore, digitally based media for art enjoyment can serve as a tool for community engagement, on which Carlson also commented. “It’s really interesting to see how artists are involving communities … to make them more involved and make them more conscious of the socioeconomic and cultural lens that they sit in,” Carlson said. Such a process is facilitated by online art galleries and social media mobilization. “But obviously there are places that are only accessible by actually going there, and those are the places that need that kind of face to face the most. So I think it’s a combination,” Carlson said. Beyond enabling community engagement, art enjoyment can fulfill one’s needs — including biological ones — that go neglected during strenuous times like the pandemic. In a recent New York Times op-ed, Dr. Lisa Feldman Barrett argues that our brains function like bank accounts. Every action draws from our bodies’ resources — energy, motivation and attention, to name a few. On the other hand, there are actions, such as eating and sleeping, which work as deposits. Given that our resources are limited, our brains work to budget them, as part of a process known as allostasis. Barrett encourages us to look at the fatigue and lack of motivation that often come with being stuck at home not as isolated or purely mental problems, but
as issues related to body budgeting that could be solved through more deposits. “When an unpleasant thought pops into your head, like ‘I can’t take this craziness anymore,’ ask yourself body-budgeting questions. ‘Did I get enough sleep last night? Am I dehydrated? Should I take a walk? Call a friend? Because I could use a deposit or two in my body budget,’” Barrett said. From this perspective, art enjoyment could function as one of many deposits that can help us live more pleasant lives. Carlson echoed Barrett’s statement. “Art really is a good way for people to … ground themselves during this pandemic,” Carlson said. The isolation imposed by COVID-19 prevention guidelines can be mitigated by the sense of connectedness to other people or to a particular cause that comes with appreciating art. A potentially telling sign of this accented need for art-based connectedness during the pandemic is Netflix’s Teleparty feature (formerly known as “Netflix party”), which was launched during the pandemic and enables users to watch content together remotely. Art can also be more than an escape from troubling times. “[It’s] a good … self-reflective and societal mirror for us to see … what’s going on [and] what’s important to people at this point in time because … those things have shifted radically,” Carlson said. In other words, art enjoyment might be a way to remain connected to others and to make up for the traditional social interaction that has been lost. As 2020 comes to an end and the pandemic remains unresolved, more artists and art venues will have to turn to or continue adopting digital appreciation models. As Carlson suggests, these might take many different forms. There may be works that are developed collectively, alongside entire communities, and works that are distributed globally thanks to the internet. Regardless of what art appreciation might look like in the near future, what’s most important is that we continue exercising it — and if you’d like a place to start, the Artists’ Theater of Boston launched its virtual gallery “The Masculinity Project” yesterday.
Professor Hersh makes the semester a ‘bring your grandparents to class’ day GRANDPARENTS
continued from page 1 increasing students’ relationships with their grandparents. “I also thought it might be a nice bonding opportunity between the students and their grandparents. Grandparentgrandchild relationships are so great … so I thought it’d be a nice thing for students to share with their grandparents,” Hersh said. Sarah Kaplan explained this has been true for her and her grandparents. “It’s been a way for us to connect and a way for them to be really stimulated because Professor Hersh’s lectures are really engaging and interesting and topical, and I know they’ve really enjoyed it,” she said. Kathie Kaplan echoed her sentiment. “Sarah and I became ‘study buddies.’ It was so much fun. I would go
over questions I had in my notes. I also gained an understanding of political science,” she said. Manca, who identifies on the opposite side of the political spectrum as her grandmother, who is conservative, said she appreciates Hersh’s class as an opportunity for her grandmother to hear another perspective. “I’m glad that she has some form of information that I know is trustworthy. She sometimes consumes news from outlets that I fear distort reality,” Manca said. And, Manca said, Hersh’s class might just be working to shift her grandmother’s political point of view. She said that after one class, when a Supreme Court case was discussed, her grandmother texted her that she agreed with the liberal perspective. “For the first time in my life, we agreed on something political,” Manca said.
Although Hersh was not trying to politicize his students’ grandparents, for Manca and her grandmother it was an opportunity for education and growth. Likewise, Hersh said he has been happy to see grandparents in his class, and hopes both generations — his students and their grandparents — have gained something from the experience. “I do love seeing the grandparents log into [Zoom] every [class] and knowing they’re there. Intergenerational contact is so important, and I love the chance to facilitate that,” Hersh said. Sarah Kaplan said she thinks it would be great for other courses to follow suit. “If other professors have the capacity to do it, they absolutely should,” she said. Her grandparents echoed the statement. “We hope that in the future other professors will consider including grandparents,” they said.
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Owen Bonk Since You Last Saw Me
When writers carry pitchforks
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eaders, I have to come clean about something: Over the past however many months we’ve been stuck in hellish isolation, I’ve become absolutely addicted to Pitchfork, an online publication whose tagline is “the most trusted voice in music.” Its writers cover anything and everything music related, from album release schedules to high profile disputes between artists and their managers to Travis Scott’s collaboration with McDonald’s. Most notorious (and most at fault for my addiction) are the publication’s music reviews, which comprise a rating on a 10-point scale and some of the sharpest, strangest and most informative music criticism I’ve read in my life. While some publications (e.g., The Guardian, New Musical Express, Rolling Stone) publish reviews on an album’s release day, I’ve anxiously awaited some albums’ Pitchfork reviews for up to 10 days. Yes, I really get anxious. What I like most about the reviews are their effusivity and almost parodic grandiosity. The way some of these critics dial up the dramatics, you’d think they were writing this generation’s version of Martin Luther’s “95 Theses” (1517). Take the review of Megan Thee Stallion’s debut album, “Good News” (2020): It begins with a long, clinical explanation of what happens to the bodies of gunshot victims. This, of course, alludes to the rapper’s altercation this summer, but why a music review should inform us that, after being shot, “you could have to poop into a bag through a hole in your stomach,” is beyond me. The site’s commitment to absolute seriousness in its criticism is endearing. In my opinion, it’s also noble — legitimizing the work of artists in genres like rap and hip-hop, whose public perception frequently labels them as categorically vacuous and trashy, is important. Nonetheless, the harshness, specificity or peculiarity of critiques can be laughable. Take this quote from the brutal review of Charlie Puth’s “Nine Track Mind” (2016), for example: “The album’s emotional range covers the spectrum from light longing to light infatuation, contributing to the overall sense that ‘Nine Track Mind’ is aimed exclusively at hairlessness: children, prepubescents, the discomfitingly waxed.” When negative critiques aren’t bizarre, they’re straightforward and biting: “On the embattled rapper’s latest EP, Iggy Azalea knows what a good rap song sounds like in the abstract but is simply incapable of making one” (from the review of Iggy Azalea’s 2018 album “Survive the Summer”). Positive critiques are often puzzlingly accurate. A review of Chicago rapper Noname’s 2012 mixtape “Telefone” comments, “If the Charlie Brown Christmas special—with its poignancy, melancholy and childlike, funereal score—were turned into a rap album, it might sound like ‘Telefone’.” When artists get it right, the last sentence of the review will invariably claim that they have “found the answers” to the album’s complex, philosophical questions. It’s one of their flourishes I’ve come to recognize with regular readership. I love Pitchfork because its writers are “poptimists” and rap enthusiasts; they take the things I enjoy seriously, but always leave room for melodrama and camp. For these reasons, I couldn’t give it a more glowing review. Owen Bonk is a sophomore who has not yet declared a major. Owen can be reached at owen.bonk@tufts.edu.
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Wednesday, December 9, 2020
Unpacking Lady Di’s wardrobe in ‘The Crown’ by Derin Savasan Contributing Writer
The latest season of “The Crown” (2016–) was eventful, to say the least. From the escalating political tension within the U.K. to the debut of Margaret Thatcher (Gillian Anderson), the fourth season of the show covered a lot of ground. Perhaps what most of us were looking
forward to the most was the long-awaited debut of Princess Diana (Emma Corrin), the British royal who stole all of our hearts with her fashion, intellect, kindness and beauty. Therefore, it feels right to unpack some of Lady Di’s looks on the show in detail and explore what they mean in terms of the show’s context. So, let’s dissect some of these iconic moments, shall we?e iconic moments, shall we?
3. Blue engagement suit (Episode 3) Perhaps one of the show’s most perfect recreations is this blue engagement outfit, also worn in real life by Diana at the announcement of her engagement to Charles in 1981. Allegedly, Diana bought the blue suit and white pussy-bow blouse herself from Harrods department store. She is also seen wearing the 12-carat sapphire engagement ring that was later passed down to Prince William, who gave it to Kate Middleton. This look is both timeless and budget friendly, making it one of the highlights of the show.
1. Pastel yellow overalls (Episode 1) This very first look is special because it is featured the first time Diana runs into Prince Charles (Josh O’Connor) since their brief encounter a few years back when Diana was just a child. Her youthful spirit shines through her pastel yellow overalls and floral cardigan, both staple pieces in Diana’s earlier wardrobe before she became “Versace Diana.” Here, we see her as a charming young girl who is still figuring herself out by experimenting with lively colors and clashing patterns, which grabs Charles’ attention and eventually leads him to pursue her. This outfit made an appearance in real life, too, at a 1981 polo match. 2. Solo trip to NYC (Episode 10) As her marriage neared its end, Diana embarked on a solo tour to New York City. Seen here wearing a gown and cropped jacket, she turns heads during her visit to the Brooklyn Academy of Music for a 1989 Royal Gala, looking as elegant and graceful as ever. She also seems to appear a lot more confident, perhaps due to the absence of Charles, who in the show usually resents her for stealing his spotlight.
4. Sky blue ballgown (Episode 6) The couple’s 1983 Australian tour was a big deal for both their rocky marriage and the Commonwealth. Diana and Charles were invited to a gala at the Wentworth Hotel in Sydney, where they famously danced. In the series, this dance was what brought the couple closer together after their massive fight in an earlier episode. Having to switch up her wardrobe after marrying a royal, we again see Diana’s growing love for monochrome looks, this time with a sky blue Bruce Oldfield gown. The cut of the gown is as ‘80s as it gets, and the waist-cinching belt exaggerates her features beautifully.
A&P
Wednesday, December 9, 2020 | ARTS & POP CULTURE | THE TUFTS DAILY 5. Black sheep sweater (Episode 3) When Diana wore this Muir & Osborne jumper in real life during a polo match in 1981 before her wedding, it made waves. It is quite reminiscent of the yellow-overalls look from Episode 1 but has a twist to it with the not-so-subtle black sheep analogy for her perceived status within the Windsor clan. This sweater went on to transcend decades, when Warm & Wonderful collaborated with U.S. designer Rowing Blazers to reproduce the original sweater’s design, making it available for purchase for the first time since 1994. Buy yours through Rowing Blazers for a whopping $295.
6. Pink plaid (Episode 3) Diana was seen wearing this pink plaid outfit around 1986 outside the Highgrove House, her residence with Charles and their two kids William and Harry, in Gloucestershire, England. Despite having settled for Charles and leaving her London days behind, we can still observe her signature love of bright colors, this time swapping the floral prints for monochromatic checkered ones. The show takes a spin on this magenta look by showing her roller-skating inside Buckingham Palace. What an absolute legend. DES WILLIE / NETFLIX
PHOTO CAPTIONS: TOP, 1, 2, 5, 6: Emma Corrin as Princess Diana is pictured in Season 4 of “The Crown” (2016–). 3, 4: Emma Corrin as Princess Diana and Josh O’Connor as Prince Charles are pictured in Season 4 of “The Crown” (2016–).
Eli Beutel wins COVID-eo Film Festival and Competition by Drew Weisberg Assistant Arts Editor
The conclusion of the Tufts COVIDeo Film Festival and Competition saw Eli Beutel, and his film “Hesh’s of the Afternoon,” take first prize. “It’s about a boy who’s maybe conflicted with who he is,” Beutel said in an interview. “There’s things about him, you know — what kind of clothes he wears, what he does for fun — and he thinks that those all make sense. And that is what makes him, but one day in a dream, this image of himself becomes very confused. And he kind of has an internal conflict where he’s not sure who he is anymore. And he skateboards.” Beutel took heavy inspiration from the 1943 experimental film classic of a similar name, “Meshes of the Afternoon” by Maya Deren. Beutel’s film uses small details to maintain the film’s aesthetic, such as soft lighting to help mimic the original film’s black and white color palette. Additionally, some scenes draw direct visual parallels to the original film, like a character’s face obstructed by digital static while the original featured a character with a mirror for a face. “[The film is] kind of a parody, I wouldn’t even call it that, really, it’s not making fun of anything … it’s a reference,” Beutel said. The film was a passion project of sorts, as Beutel is a film minor and an applied physics major, but one that kept him honest. “[The contest was] just kind of a good excuse,” he said. “It was a deadline, which I don’t usually have. It’s like, okay, they’re
COURTESY ELI BEUTEL
The title card from Eli Beutel’s film “Hesh’s of the Afternoon” is pictured. accepting films by this date. So I was like, I’ll make one.” The pressure of the contest is just one part of the greater force driving Beutel forward in filmmaking, though, as he elaborated, “If it’s an average weekend night, I’m not, you know, going out to a party or something. I’m just kind of with my close friends doing what I want to do. And so for me … I don’t have any kind of FOMO on nights when I am just sitting, on my laptop editing, or I’m sitting at my desk writing a script or writing a movie.” Be that as it may, Beutel was gracious when reflecting on his experiences filmmaking during the pandemic. “I’m kind of privileged enough that … I’ve been
safe. And I’ve been in good company. And nobody I really love has been affected negatively by [COVID-19].” Like any good artist, Beutel’s work remains unfinished, though his plans for future projects are somewhat fluid for the time being. “Over winter break, I’m gonna be going on a road trip with some friends from home,” Beutel said. “One of them said he’s gonna write a script. And we hope to kind of make like a road movie, you know, truly on the road. But that’s not a hard plan.” Whatever Beutel may have in store, his contest-winning work suggests that his next project will prove to be as interesting a mix as applied physics and film.
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Julian Levy Keep the Cameras Rolling
Another blow to theater chains
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hen I began this column back in September, the movie theater industry seemed to be at the beginning phase of its recovery. “Tenet” was just released, and more and more theaters across the country were opening up again. But that’s when the new wave of delays came. The release calendar thinned until there was no longer a reason to stay open. This, compounded with another deadly wave of cases, put the film industry back where it was when many theaters closed in March. This dire situation has necessitated creative solutions. It seems that WarnerMedia has jumped the proverbial shark. After confirming long-running speculation that “Wonder Woman 1984” (2020) would be released for free on HBO Max for subscribers (alongside a day-and-date release with theaters that are still open), the company has taken a huge step forward. The entirety of the Warner Bros. 2021 film lineup will be available on HBO Max after release. This includes major releases such as “The Suicide Squad,” “The Matrix 4,” “Dune,” “Space Jam: A New Legacy,” “Godzilla vs. Kong”and many more. Warner Bros. will miss out on billions of dollars of possible revenue typically earned in theaters. It seems as though this was done without the consent of the theaters as they have been vocal in their disapproval. The Washington Post reports that CEO of AMC Adam Aron said, “These coronavirus-impacted times are uncharted waters for all of us, which is why AMC signed on to an HBO Max exception to customary practices for one film only, ‘Wonder Woman 1984.’” This exception has been stretched far beyond the agreed-upon limit, upending the established practices of the film industry, to both the theaters’ and Warner Bros.’ detriment. Aron said that the decision to release all of Warner Bros.’ movies on HBO Max the same day as theaters was akin to “kicking theater owners when they’re down.” So why would Warner Bros. take such drastic action? It seems to be prioritizing the long-term success of their new streaming service over short-term profit at the box office. It remains to be seen how this will affect the viewing habits of the public. One thing that is true is that movie studios will face a very difficult time going forward. Warner Bros. has stressed that this is a temporary solution, because if it wants to survive financially, that has to be the case. The next year will be crucial to the survival of the theater industry, and the outcome might not be all positive. I know that it’s weird to root for a multinational corporation in a time when small businesses and minimum wage workers across the country are struggling to stay afloat, but that’s exactly why Regal, AMC and other large theater chains need to make it through. They employ countless individuals, and their existence supports the viability of independently-run theaters. The fate of the movie industry hangs in the balance, and there is really no way to know how this story will end. Julian Levy is a first-year who has not yet declared a major. Julian can be reached at Julian.Levy@tufts.edu.
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THE TUFTS DAILY | FUN & GAMES | Wednesday, December 9, 2020
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Opinion
7 Wednesday, December 9, 2020
Caroline DePalma Philosophy in Focus
All wrapped up
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n another attempt to avoid focusing on political news that is usually stressful, confusing or frightening, I have instead been thinking about our fascination with Spotify Wrapped and music as a form of social media. In “A Theory of Justice” (1971), John Rawls discusses societal progress through collective creativity and labor. Rawls is correct that we gain strength and innovation by participating in the collective, but I would rather think of this idea as relevant to our lives and relationships on a smaller scale. In case you missed it, Spotify 2020 Wrapped was released last week, presenting users with data on what music and podcasts they listened to and how much they listened since January 2020. The annual feature is widely anticipated and discussed on other social media platforms like Instagram and Twitter. For me, it was the perfect way to look back at this year as a whole without getting bogged down in all the things that have not gone the way we wanted. Instead, I was reminded of the songs I found on my friends’ playlists back in March and couldn’t stop listening to for a week, and of the new artists I found that helped me make sense of a mystifying year. A few years ago, I never listened to Taylor Swift but my best friend always did; ironically, Taylor Swift was my top artist this year and wrote my two most-played songs. It’s not groundbreaking to describe our music choices as a deeply personal reflection of who we are and what we’re going through, whether we’re making music, listening to it or both. It comes as no surprise, then, that the ability to share it with others is met with such enthusiasm. Rawls wrote that “It is a feature of human sociability that we are by ourselves but parts of what we might be.” If it weren’t for my best friend, I might never have given those songs a chance. Now they’re some of my favorites, and there were multiple times this semester when I started talking to someone new because they noticed my “folklore” (2020) sweatshirt. In a year as difficult as this one, in which many of us felt more isolated than ever before, music was a way to connect to the rest of the world and to the people we love. There’s a song for every situation and an artist who can sing what you’re feeling, even if you don’t quite understand it yourself. We are in constant search of ways to connect with other people, especially in today’s context. This month, by sharing the songs and artists that defined our 2020, music gave us a way to say, “This is how I view the world, and I want you to know about it.” I hope it can be a reminder for all of us that we were never going through this year on our own; as Rawls put it, we are almost always better off when we are connected to each other. Caroline DePalma is a first-year who has not yet declared a major. Caroline can be reached at caroline.depalma@tufts.edu. The Tufts Daily is a nonprofit, independent newspaper, published Monday through Friday during the academic year, and distributed free to the Tufts community. The content of letters, advertisements, signed columns, cartoons and graphics does not necessarily reflect the opinion of The Tufts Daily editorial board. EDITORIALS Editorials represent the position of The Tufts Daily. Individual editors are not necessarily responsible for, or in agreement with, the policies and editorials of The Tufts Daily. OP-EDS The Op-Ed section of The Tufts Daily, an open forum for campus editorial commentary, is printed Monday through Thursday. The Daily welcomes submissions from all members of the Tufts community; the opinions expressed in the Op-Ed section do not necessarily represent the opinions of the Daily itself. Opinion articles on campus, national and international issues should be 600 to 1,200 words in length and submitted to opinion@tuftsdaily.com. The editors reserve the right to edit letters for clarity, space and length. All material is subject to editorial discretion and is not guaranteed to appear in the Daily. Authors must submit their telephone numbers and day-of availability for editing questions. ADVERTISING All advertising copy is subject to the approval of the Editor in Chief, Executive Board and Business Director.
8 Wednesday, December 9, 2020
Nicole Setow Wonder Women
Naomi Osaka
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ennis holds a special place in the world of women’s sports — it’s one of the only programs today that offers equal pay and media coverage to women competing in major tournaments like Wimbledon. It wasn’t always like this, though. This year marks the 50th anniversary of the Original 9, when nine women’s tennis players, including the legendary Billie Jean King, left the U.S. tennis establishment over pay inequality and formed their own tour. In honor of this legacy, this week’s Wonder Woman is tennis superstar Naomi Osaka. Even if you barely follow tennis, chances are you may have come across the 23-year-old sensation at some point. Her victory over Serena Williams in the 2018 U.S. Open final thrust her into the national spotlight, and she’s only been adding to her titles since. Last year, Osaka held the No. 1 rank in the Women’s Tennis Association for 25 weeks, and set the record for the fastest rise to the No. 1 spot since breaking into the top 10. It took her just 20 weeks. Most recently, she bested Victoria Azarenka after three thrilling sets to claim her second U.S. Open title in September. Before she defeated fierce competitors in the Women’s Tennis Association, though, Osaka’s first challenger was her older sister, Mari. There’s nothing like sibling rivalry that can drive someone to the very best of their game — as someone with two competitive older sisters, I can certainly attest to that. What’s remarkable is that it took her 12 years to beat Mari — to put that into perspective, that’s more than half of Osaka’s life. How many people can say that they could lose the same game countless times over and still lace up and swing back harder? Osaka just exhibits a type of tenacity and grit only present in the greatest. Needless to say, it must have been through those competitive matches that she honed her powerful playing style and winning mentality. It would not be an exaggeration to say Osaka’s forehand is deadly. Her 100 mph shots even inspired a New York Times article to break down its physics. Yet, despite the great amount of force she must exert for each of her swings, the only sounds you’ll hear from her on the court are the squeak of her tennis shoes and the explosive echoes of the ball leaving her racket. Her silence during matches is almost misleading, considering that her returns are calculated, brilliantly placed and executed with finesse — as demonstrated by the multitude of times that she has launched a crosscourt shot while practically sliding into splits. She is not afraid of the hustle, and that’s what makes her one of the best athletes to root for. Now, currently ranked No. 3 in the world, all eyes are on Naomi Osaka as she continues to dominate the court with a newfound sense of calm that she has gained while away from the sport during quarantine. It’s only a matter of time before she’ll return to claim the No. 1 spot again. Nicole Setow is a sophomore studying biopsychology. Nicole can be reached at nicole.setow@tufts.edu
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