Elizabeth Cantwell hired as WSU president
By Malory Rau STATESMAN REPORTER
As of Feb. 6, it was announced that the 17th president of Utah State University Elizabeth R. Cantwell was hired as the new university president at Washington State University. She will start at WSU on April 1, exactly one month before commencement.
Cantwell has been at USU since August 2023, making her run one of the shortest of all USU presidents.
A press release from Utah State Today explained in further detail President Cantwell’s departure.
“While her time at USU was short, we are grateful for President Cantwell’s dedicated work in lifting up
Utah State University,” it states. “We are working closely with the Board of Higher Education on next steps, including the timing of a transition, the appointment of an Interim President, and the parameters of a presidential search,”
Student Advocate VP Sydney Lyman was informed after the news had broke via WSU Insider, and Student Body President Matt Richey was informed of Cantwell’s decision the morning of.
“USUSA is a subsystem within the larger system of the university, and it has a distinct culture and kind of this unique role as far as engaging the students in the way we all do, and even all of our positions engage students differently. It’s such an enduring culture at Utah State, and I would argue USUSA is a large part of
creating the feeling of belonging and engagement with students that we so value and that doesn’t change with administration,” Lyman said.
Why Cantwell has left USU is unclear as of Feb. 6. The Utah Statesman will provide updates as new information comes out.
—m.rau@usu.edu
PHOTO BY Jack Burton
President Elizabeth Cantwell speaking at the 2024 Luminary.
Leading change as the Logan VP
Editor’s Note: This column is one of three guest opinions that will appear in The Utah Statesman leading up to the 2025 USUSA elections results. All of the Executive Council was given the opportunity to write a guest column informing students of the work USUSA does in shaping USU’s campus community.
Three years ago, the USUSA Logan Vice President position did not exist, and even today, some students are unaware of it, let alone what the position actually does. I remember around this time last year, while campaigning for the role, some of the most common questions I was asked included, “What’s the difference between the Executive VP and the Logan VP?” or even, “Wait, so you’re running for Vice President of the City of Logan?”
Now, in its third year, the role has become a key part of USUSA leadership. The Logan VP and their committee focuses on campus safety and wellness, campus connection and campus facilities enhancement.
Some of these responsibilities include chairing the TSC Policy Board to push for improvements that align with what students actually need and working with the MyVoice system, led by the Student Advocate VP, where students can submit feedback, complaints and suggestions about campus issues.
Campus safety is another major area of focus. Each year, the Logan VP collaborates with the university’s Risk Management team to conduct the Logan Campus Safety Walk, an initiative that identifies areas to improve security or accessibility. Additionally, the position oversees Student Legal Services, which provides free legal advice to students who may need guidance on housing, contracts or other personal matters. Many students don’t realize this resource exists, so a key part of the job is ensuring they are aware of the services available to them.
One of the biggest, and one of my favorite, responsibilities of the Logan VP is organizing the Aggie Blue Leadership Conference, which is designed to help incoming students transition into college life while finding ways for them to get
involved and grow as leaders. The conference brings together new students, experienced student leaders and faculty members.
Aggie Blue is far more than just another leadership event. It is a chance for students to build confidence, step out of their comfort zones and discover all the incredible ways to get involved at USU. The conference includes workshops, team-building activities and networking opportunities that help students find their place on campus, or their “Aggie Family,” and year after year, the program continues to shape the next generation of Aggies.
One of the most rewarding parts of my role has been experiencing the conference from multiple perspectives. I started as a participant in my first year, became a facilitator in my sophomore year and now, as Logan VP, I had the privilege of putting on the conference my junior year. Seeing new students enter the program feeling unsure of themselves and leave feeling inspired
and ready to take on leadership roles made all the long hours of planning worth it. The energy, enthusiasm and sense of community created during Aggie Blue is something truly special, and I hope it only continues to grow.
Serving as Logan VP has been one of the most challenging, rewarding and eye-opening experiences of my time at USU. It has shown me firsthand how student voices can influence real change.
For anyone considering leadership: Go for it. The future of USU is shaped by students who step up and lead. If you have an idea, a concern or a vision for making campus better, speak up and take action. Your voice matters more than you think.
The Logan VP position may only be three years old, but its impact is already clear, and it will only continue to grow.
— loganvp.ususa@usu.edu
HB265 proposes $15M budget cut for USU
By Alici Archibald STATESMAN REPORTER
On Jan. 21, the first day of the Utah Legislative Session, House Bill 265 Higher Education Strategic Investment was proposed, a bill requiring a reinvestment plan for institutions under the Utah Board of Higher Education.
UBHE anticipates reducing $60 million in funding to public higher education institutions throughout Utah. In a statement addressing this bill on the university website on Jan. 24, President Elizabeth Cantwell shared Utah State University expects to lose funds of approximately $15 million.
The plan required by the bill must identify areas for reinvestment, reduction and elimination throughout public universities. This includes programs, courses, degrees, departments, colleges, operational efficiencies and other components of instruction and administrative functions, including administrative positions. If passed, UBHE will provide further guidance and standards for the institutions involved.
Each plan must be approved by June 30 and then by legislative committees the following August and September. The anticipated budget adjustments will take effect July 1.
The plan will be developed based on six criteria: enrollment data, completion and timeliness, professional outcomes, workforce demands, program costs and system alignment. Part of the stipulations
requires that institutions cannot backfill reductions with tuition increases or other state funds, with an exception for teach-out purposes.
HB265 would also require a credit hour cap of 120 credits per degree, accelerated three-year degree programs and program reviews to occur every five years rather than every seven.
The bill requires UBHE to develop both qualitative and quantitative program review standards. If a program is determined to be underperforming, UBHE may require an institution to develop a performance improvement plan. Action may include modifying,
consolidating or terminating the underperforming program.
In her statement, Cantwell shared USU has formed a committee dedicated to addressing the new bill should it pass. This committee is currently developing a comprehensive plan aimed to meet the criteria of the bill and ensure success. Part of this plan involves exploring options such as voluntary separation incentives, teach-out plans, reassignments and possibly a reduction in force.
Alici Archibald is a junior studying journalism who loves all things related to news. She can be found playing the trumpet in the Aggie Marching and Pep Bands, watching sports or listening to one of her many political podcasts.
— a.archibald@usu.edu
DESIGN BY Kaylee Robinson
Contestants bring heat at “Hot Takes”
By Emma Shelite STATESMAN REPORTER
The Utah State University School of Graduate Studies hosted an event that set taste buds ablaze while fundraising. The “2025 Hot Takes” event, inspired by the popular YouTube show “Hot Ones,” aimed to support the Graduate Student Emergency Hardship Fund, cultivating both community spirit and financial aid for students in need.
The goal was to raise $1,500, and the contests were able to raise around $500, with a lively and supportive audience cheering on the participants.
“Our goal is to create an engaging, fun-filled activity that would appeal to a broad audience and address the growing financial needs of graduate students facing unexpected hardships,” said Mike Morales, marketing director for graduate studies and one of the event’s organizers.
From conceptualization to execution, graduate studies played a pivotal role in ensuring the event’s success. The planning process involved coordination with Dining Services, who provided more than 60 different spicy wing sauces and wings, all of which attendees could sample, alongside meal deals and free popcorn to enhance the event’s festive atmosphere.
Participants braved escalating levels of heat, each bite testing their spice tolerance and determination. The contest was structured to progressively challenge the contestants while asking them questions, with wings increasing in spiciness per round, finishing with Da Bomb Hot Sauce, known for its intense heat with more than 1.5 million Scoville units.
Macy Gustavus, coordinator of aquatics and safety for Campus Recreation, was the first to wave the white flag, admitting defeat. This was followed by Logan Baker, USU Hurd Committee member and later Matt Richey, USUSA president.
Richey confidently declared, “I’m literally willing to die on the stage. I have asthma, so I probably will.” Despite the heat, contestants displayed remarkable resilience, embodying the spirit of friendly competition and mutual support.
“I’m scared. It’s making me sweaty just thinking about it,” said Jamie Parry, graduate studies senator, before the event.
The energy in the room was amplified by an entertaining twist: Every time someone donated money, a little jingle saying “Add a little bit of spice” would cue, prompting the contestants to take another bite dipped in that spice level.
Richard Cutler, senior vice provost of graduate studies, stood out for his impressive composure, seemingly unfazed by the intense spice levels. Meanwhile, Parry emerged as the overall winner, scoring the most points based on crowd approval, her answers to trivia questions, the number of wings and dips she consumed and her ability to eat the spiciest chocolate at the end.
The event also sparked lively debates among attendees, with takes including disagreeing with losing a past election and Gustavus saying “Aggie Ice Cream is overrated.” There was also trivia, such as knowing how many stairs are in Old Main.
“It’s really about building connections among grad students, undergrads and the local community,” Morales said.
The turnout had enthusiastic support from students, faculty and residents, all eager to cheer on the brave participants.
Attendees enjoyed not just the spectacle of the spicy challenge but also the opportunity to engage with peers, support a vital cause and experience the vibrant campus culture. As the last wings were devoured and the final flags waved, the contest stood as proof of the power of creativity, collaboration and a little bit of spice to make a significant impact.
Graduate studies and organizers shared hopes to make this an annual tradition, continuing to support students and strengthen the Aggie community within the school through innovative and engaging events.
Brinnley O’Brien hosts “The Daydream” Thursdays at 2 p.m. It’s all about whatever she’s feeling at the time, creating an eclectic mix of music that ranges from movie soundtracks to songs about time. Tune in, and let yourself daydream!
IG @Brinnley O’Brien
Thoroughfare
Emma Shelite is a junior pursuing journalism. Her writing is fueled by Dr Pepper and an extroverted personality. Outside of the newsroom, she is passionate about cooking, athletics and her love for dogs.
Sadness As A Gift Adrianne Lenker
Kinky Love Pale Saints
Ethel Cain
Olympus Blondshell
When You’re Gone The Cranberries
USUSA President Matt Richey covers his face after tasting Da Bomb Hot Sauce at “2025 Hot Takes” in the TSC Ballroom on Jan. 30.
PHOTOS BY Jack Burton Contestants drink after trying hot souce at “2025 Hot Takes” in the TSC Ballroom on Jan. 30.
Nick’s Vintage: Logan’s thrifting corner
By Lacey Cintron STATESMAN REPORTER
Demand for ‘70s, ‘80s, ‘90s and early 2000s fashion has exploded in recent years as shoppers of all ages scour the racks of Goodwill and Deseret Industries hoping to strike gold. The resurgence of vintage trends has introduced a growing market for second-hand goods, one which Nick’s Vintage Clothing hopes to corner in Logan.
Owners Nick Marz and Nick Roberts first opened the shop in July 2024. The two forged a friendship through their shared interest in thrifting.
“We had both been in the same industry for years, so we kind of ran in the same circles and became friends through that,” Roberts said in a phone interview with The Utah Statesman.
Marz and Roberts began their journey, as many modern-day vintage retailers do, online.
“We were both selling on eBay for four or five years, then we decided we wanted to open a vintage store alongside our eBay stores,” Marz said. “We looked for a good market where there weren’t really vintage stores, and the other Nick lived in Wellsville, so that’s how it got started.”
Located at 966 W 400 N — along UT-252 and across the street from Burton Lumber — lies Nick’s Vintage. Shoppers can find vintage Carhartt, Harley-Davidson, Nike, the North Face and more from 2-6 p.m. Monday through Saturday.
“We had been looking for a space for three or four months, and saving up money to try and find a brick and mortar,” Marz said. “The spot we’re currently at isn’t the best for foot traffic, but it was the cheapest and in our budget.”
Prospective customers can check @nicks_vtg on Instagram to browse new pieces and inventory hitting the shelves, with new posts popping up every couple days.
“We have a lot of buyers that are consistent and come weekly, so we are happy with how it’s going,” Roberts said. “So far, I think it’s been great,”
Since the store’s opening, @nicks_vtg has amassed over 37,000 followers.
Platforms such as TikTok, Instagram and Depop have played pivotal roles in popularizing vintage fashion. Trends
like “-core” styles have driven many to the clothing racks in search of the perfect “grandpa-core” sweater or Y2K aesthetic halter top amidst racks of damaged, stained or otherwise undesirable clothing.
Stores like Nick’s Vintage operate differently from traditional second-hand businesses like Goodwill or Deseret Industries by specially curating unique vintage pieces.
“Originally, we thought the biggest problem was going to be sourcing clothing, but then we found a way to buy it out of state,” Marz said. “The second hurdle now is getting people to the store, just because it is an odd location.”
Many major thrift and consignment stores sell a curated collection ship clothes from different states, amassing a stock of unique, hard-to-find pieces.
“We’re actually trying to find a place on Main Street, close to Main Street or close to USU,” Marz said. “That’s our goal for next year.”
For many, thrifting is a counter to fast fashion. It provides a sustainable and affordable way to build a wardrobe. According to earth.org, the fast fashion industry produces over one million metric tons of textile waste annually and is responsible for up 20% of the world’s wastewater.
Thrifting is important now more than ever, as the industry’s global emissions are predicted to double by 2030 if no action is taken.
“I think it’s cool to take an old piece of clothing that’s distressed and has been worn by who-knows-how-many people, repurpose it and pass that piece of clothing on,” Marz said. “That’s kind of where the fascination with vintage clothing came from for me.”
Quality is another draw for fans of thrifting. Vintage clothing is often more durable, as it’s made from fabrics like cotton, wool blends or silk instead of synthetic fibers such as polyester. The durability of a vintage piece also comes from its manufacturing process. For example, older clothing utilizes single stitch, which is less likely to snag or unravel than double stitch.
“I like vintage fashion for the quality,” Roberts said. “Something that could be 20 or 30 years old would last
longer than the fast fashion that’s made today. I like that it’s sustainable, and I like giving something new life.”
Thrifting offers unique, one-of-a-kind pieces that can’t be reproduced, making for a thrilling hunt for those who choose to partake.
“I also like to find new, interesting things I’ve never found before,” Roberts said. “That’s probably the biggest thing — is the hunt to find new things that I’ve never seen before.” Before social media, thrifting was a hobby kept among local circles who hunted down vintage pieces through word of mouth. However, as thrifting continues to grow in popularity, more and more people are looking to make a business out of thrifting via pop-up shops or e-commerce. Roberts urged those looking to enter the vintage market to jump right in and discover the ins and outs along the way.
“My tip to small businesses would be you learn a lot by just throwing yourself in and learning as you go,” Roberts said. “You’re not going to know everything before you start.” Far-reaching communities now form around their favorite local spots and hidden gems.
“I’d love to continue to grow the community,” Roberts said. “I think a big part of that is educating people on why vintage fashion is a great option. My favorite part is the people we’ve met and continuing to find really cool stuff to give a second life to.”
Marz and Roberts hope to imbue Logan with the same love of thrifting.
“My favorite part of running the store is seeing all the people around Logan wearing clothing that we sold to them,” Marz said. “I think that’s cool — that all these kids are wearing repurposed clothing.”
Lacey Cintron is majoring in psychology. She loves learning about the human mind, sharing stories and naps.
Nick’s Vintage Clothing sign lights up, as seen on the front of their store on Feb. 5
Sundance directors inspire young creatives
In the ever-evolving film industry, young filmmakers are crucial to pushing creative boundaries, amplifying diverse voices and redefining storytelling. These emerging artists bring new life to cinema, ensuring its relevance in a rapidly changing world.
At the 2025 Sundance Film Festival, seasoned and novice directors shared invaluable insights to guide emerging filmmakers on their creative journeys. The Utah Statesman had the opportunity to speak with and listen to award-winning filmmakers to get their advice to young creatives.
James Sweeney, director and star of the U.S. Dramatic Special Jury Award for Acting winning film “Twinless” spoke on the emerging generation.
“They’re the future,” Sweeney said. “It’s a tough time right now in the industry — post-pandemic, poststrikes — and I think we’re all trying to figure out a way to make this sustainable for our industry now and for the next generation.”
Young filmmakers’ commitment to diversity and inclusivity of people and circumstances is a major contribution to the industry currently. They are telling stories that have long been overlooked, giving a platform to underrepresented communities across the globe.
Hailey Gates, director of U.S. Grand Jury Prize winner “Atropia,” said diverse experiences are key to good storytelling.
“Having jobs outside of film is really helpful so you can experience the world in a different way,” Gates said.
Robert Redford, who founded the Sundance Institute in August 1978, has long championed the significance of life experience in filmmaking.
“I’m not sure that [film school is] the answer as much as experience — as much as getting out in the world and seeing what’s going on by firsthand experience,”
Redford said during a 2016 press conference. Many filmmakers emphasized the importance of creating work that resonates personally.
“Find something that you are just so deeply obsessed with that only you can tell the story of,” Gates said.
Katarina Zhu, director and star of “Bunnylovr,” shared a similar sentiment, underscoring the value of personal vision and intuition in the creative process.
“Make something that you would want to see,” Zhu
said. “Trust your instincts and your gut.”
According to Geeta Gandbhir, director of the Directing Award: U.S. Documentary winner “The Perfect Neighbor,” resilience and patience are pivotal to success as a young filmmaker.
“It is a tough industry, and you just have to keep trying to knock on doors,” Gandbhir said. “Sometimes, the thing that you love the most, or the vision that you think is best, may not be well received, while the thing that you might not care much about is.”
Resilience was key to the success of many Sundance films this year, including “Zodiac Killer Project,” directed by Charlie Shackleton. This film is the result of a failed documentary and ended up receiving the NEXT Innovator Award.
Shackleton urged aspiring creatives to pursue passion projects and overcome setbacks.
“Hold on to every little idea, however crap, because you might want to come back to it,” Shackleton said.
“My film was born of coming back to something that I felt had failed.”
Rohan Kanawade, director of the World Cinema Grand Jury Prize: Dramatic competition winner “Sabar Bonda (Cactus Pears),” recounted a director’s brunch at which Amy Redford, Robert Redford’s daughter, spoke.
“She said that, as filmmakers, we trade security for stories, and that really is what it is like,” Kanawade said. “This journey isn’t a secure path — it has its ups and downs — but you just got to ride it.”
Filmmakers are encouraged to continue learning and remain authentic and open to the lessons that come from both the successes and challenges of the filmmaking process.
“Take joy in what you can and always remain open to learning,” Gandbhir said.
Aubrey Holdaway is a senior who loves to dabble in all things arts and media. She spends most of her time listening to Slaughter Beach, Dog and daydreaming about the short films and music videos she wants to someday make.
— a.holdaway@gmail.com
By Aubrey Holdaway STATESMAN REPORTER
PHOTO BY Claire Ott
Rashad Frett, James Sweeney, Eva Victor, Hailey Gates and Carmen Emmi posing at the Sundance Awards press line on Jan. 31.
PHOTO BY Aubrey Holdaway
Charlie Shackleton being interviewed by The Utah Statesman at the Sundance Awards press line on Jan. 31.
2025 Sundance Festival
‘SALLY’
By Avery Truman STATESMAN REPORTER
Sally Ride was the first American woman to brave the final frontier and cement herself in the textbooks as an astronaut aboard NASA’s space shuttle. Premiering for the first time at the 2025 Sundance Film Festival, Cristina Costantini’s documentary “SALLY” encapsulates Ride’s life and bold personality so clearly the viewer is left with a sense that Ride herself had been in the room.
“SALLY” is a found-footage goldmine. The National Geographic film seamlessly mixes authentic audio clips of Ride telling her own story with videos taken in the 1980s to help the audience get an honest understanding of who this American hero was.
The film starts with an up-close video of the shuttle blasting off, and the producers spared no detail in making it feel as though the viewers themselves were there on launch day. Thundering visuals and beautiful music illustrated the valiant power and allure behind witnessing a launch.
Using music from the decade, the film captures the feeling of being young and new to NASA with striking clarity. The surreal and dreamlike nature of what Ride must have felt in those first few days was presented brazenly on screen.
While many space-race films focus on the fun, fast-paced innovations of space travel, “SALLY” does not diminish the struggles Ride persevered through during her training to become an astronaut.
Real interviews expressed how Ride was blatantly faced with sexism from the media time and time again. The film portrayed her frustration at the misogyny in a way that was blunt and raw — no exaggeration was necessary to see how exasperated the continuous disrespect from reporters and NASA coworkers alike made the women candidates feel.
Being the first American woman in space, the world wanted to get into the weeds of makeup, hair and motherhood instead of focusing on her inspiring tenacity. One scene reveals that when putting together her hygiene supplies for spaceflight, NASA engineers decided a makeup kit was what Ride would need most. The revelation was met with laughter from the audience at the sheer absurdity of it, but it was not a punchline. The reality was that some of the smartest men on Earth objectified Ride as the token woman used to help America forward in the space race.
At the same time, the film showcases just how quick-witted and confident Ride and her fellow candidates were in the face of adverse gender stereotyping. The film respected Ride’s legacy by portraying her true personality throughout.
When Ride finally accomplishes her life goal and makes it to space, she’s first shown eating colorful candies as they float in zero gravity, bringing us back to the innocence of her childhood dream. Satellite imagery paired with Ride’s voiceovers captures what I assume is the best way to describe what seeing Earth from space is like. She described noticing how the land lacked arbitrary human borders. As a viewer, the breathtaking scene led me to wonder: If everyone could witness Earth from this perspective, would the world be a more peaceful place?
‘Atropia’
By Malory Rau STATESMAN REPORTER
Among the many films at the 2025 Sundance Film Festival, there was one title on everyone’s lips: “Atropia.” Winner of the U.S. Grand Jury Prize in the dramatic competition, “Atropia” is a film whose synopsis alone piques a wide range of interests.
In this satirical war film set in the early to mid-2000s, viewers follow an actress named Fayruz working in fake country Atropia for the U.S. military that simulates an Iraqi war zone to train new troops. Fayruz falls in love with returned Iraq soldier Abu Dice playing an insurgent. Their romance threatens their aspirations and sparks a debate regarding military allegiance and Atropia.
The film opens with a quote by Ambrose Bierce: “War is God’s way of teaching Americans geography.” This immediately draws the viewers in and prepares them to look for the deeper meaning behind the satire. It prompted nervous laughter from the audience that only grew throughout the film’s runtime.
The structure of the film does not skip a beat — its ability to go from sensual and serious to having viewers laughing within a heartbeat was impressive. The witty remarks of the young American soldiers, paired with the heaviness of their lack of understanding of the Iraq War directly reflected the opening quote’s commentary on American ignorance.
A unique stand out of the film is Abu Dice’s war flashbacks. The film uses silenced soldiers’ body cam footage from Iraq to portray Abu Dice’s flashbacks, which is done in such a way so it truly feels like the viewers are experiencing the war flashback with him.
About one-third of the way through the film, viewers learn Fayruz is pregnant in a beautifully cinematic scene invoking biblical imagery. Having a pregnant lead is such an unsung narrative seen in films, and the added perspective of Fayruz becoming a mother only served to elevate her character.
As the two characters delve into what it means to be Iraqi and learn to grow from each other’s identities, it brings American viewers along on what becomes a love letter to a country many of us have been taught to hate.
A big part of the love for the country comes from the film’s well-done costuming.
The use of traditional Iraqi clothing starkly contrasting American military uniforms spoke volumes about what this film will mean to different and diverse audiences, especially as Abu Dice undergoes his role as an insurgent and then is made to put back on his military uniform. Seeing this change reminds viewers of the people behind the clothing we associate with war time.
There is never a dull moment in “Atropia.” The hilarious dialogue, stunning imagery and beyond-brilliant performances create a narrative that leaves viewers with a newfound perspective on war. The chaotic clashing of ideas and narratives about war from a returned white soldier and an Iraqi woman who has never been to her ancestral home is portrayed with grace and resolution.
Similar to its opening, the film closes by explaining there are many military towns throughout the country and the only difference between now and when “Atropia” takes place is the language now spoken is Russian.
Statesman film reviews
‘Zodiac Killer Project’
By Aubrey Holdaway STATESMAN REPORTER
Of all the films The Utah Statesman team saw during the 2025 Sundance Film Festival, there was one I walked out of with the type of manic energy that can only come from consuming something straight up your alley while receiving creative inspiration.
“Zodiac Killer Project” is a documentary directed by British filmmaker Charlie Shackleton that won the Sundance NEXT Innovator Award. Originally conceived as a traditional documentary based on Lyndon E. Lafferty’s book “The Zodiac Killer Cover-Up: The Silenced Badge,” the project faced an unexpected halt when the rights to the book were revoked.
Rather than abandoning the project, Shackleton pivoted and made a film about the documentary that never came to fruition, resulting in a meta-commentary that critiques and deconstructs true crime storytelling.
“Zodiac Killer Project” is characterized by an unconventional narrative structure. Much of the film comprises long, static shots of various Californian locales devoid of action or spectacle — think sunbaked parking lots, deserted courthouses and empty suburban homes. These visuals are accompanied by Shackleton’s voiceover as he discusses abandoned plans and examines documentary tropes.
I won’t lie — the film doesn’t have much to offer in terms of eye-catching visuals. I surprised myself by how locked in I was with how little there was to view. However, this minimalist approach allowed Shackleton to strip the genre to its bare essentials and force viewers to reflect on their consumption of the genre
By having no choice but to forego reenactments and sensationalism, Shackleton was able to emphasize gray ethical choices and manipulative techniques used to captivate audiences in so many popular true-crime documentaries.
This is, at its core, the biggest common thread in the documentary: What are the moral complexities of transforming real-life tragedies into entertainment? How do filmmakers in their quest for compelling narratives inadvertently exploit victims and sensationalize events? The line between ethical storytelling and voyeurism are constantly being blurred and redefined.
However, the biggest takeaway for me was the concept of failure and the creative process. The film is about how Shackleton failed to create something he worked hard to bring to fruition. By focusing on an uncompleted project, he offers insights into the challenges filmmakers often face.
As a documentary lover and aspiring creative, this meta-narrative felt like a conversation in which I’m being given permission to make something even if it doesn’t turn out the way I’d hoped. Shackleton’s ability to turn a creative setback into a profound exploration of a genre that has reached a saturation point is incredibly impressive.
This film won’t be for everyone. The visuals are bare-bones, and certain critics have noted the film’s central thesis becomes repetitive. Chad Collins of Dread Central commented that while the film starts with compelling insights, it “regresses — perhaps intentionally — into the same banal exploitation” it aims to critique.
‘Plainclothes’
By Claire Ott STATESMAN REPORTER
The U.S. Dramatic Special Jury Award Winner for Ensemble Cast “Plainclothes” follows Lucas, undercover cop in the ‘90s who specializes in the baiting and attainment of homosexual men.
This dynamic is shaken when Lucas falls for one of the targets: Andrew. Lucas explores, he engages, he discovers and he reaches a breaking point by which the door is opened and he can no longer close it. As soon as Lucas crosses the physical and emotional threshold, he can no longer avoid the feelings he’s been burying.
From the opening scene, Lucas’ anxiety presents itself primarily while he does his work. A Hi8 camera is used to embody this anxiety. It is not immediately apparent this represents Lucas’ anxiety, but it becomes clear later on.
Director Carmen Emmi said in a Q&A following the film the use of the Hi8 camera was specifically included to reflect the era in which the film takes place. They shot the opening scene a few times to explore different executions.
“Over time, it became what Lucas saw ... I wanted it to represent his anxiety because anxiety is like the rushing of unprocessed thoughts, and that’s how I wanted these memories to play in his mind,” Emmi said.
The era of analog cameras and bomber jackets is also the time of the AIDS epidemic. Tom Blyth, who plays Lucas, and Russell Tovey, who plays Andrew, deliver a raw performance of the at-times agonizing and always complex experience of being gay in that time period.
Blyth depicts the intense feelings that can accompany the rush of embracing yourself with authenticity for the first time so well — each moment felt so real to watch. He also did a phenomenal job acting without words.
The concept of surveillance inspired the cinematography.
“I wanted it to feel like ... something was crawling on you because I feel like that’s what it feels like to police your feelings,” Emmi said. The shots, the filtering and the sound design assisted in conveying this aspect of Lucas’ experience.
In reflecting on shots in this film, a shot in the scene where Lucas and Andrew first meet up comes to mind. They go to see a movie and stay for all of 30 seconds before leaving to poke around the theater closets. As they’re wandering, they pause and stand across from each other. A golden light silhouettes them as they chat playfully, which was a truly beautiful viewer experience.
Incredibly, the film was shot in 18 days. For a film so complex as this one, it is difficult to imagine the challenge this must have presented. The prep work needed to pull that off is unimaginable. Though after hearing from and observing the director, it is more clear that Emmi was a ray of passion and dedication to the actualization of this film.
It got confusing at times to follow the plot as it jumped around between different time periods, but in the end, they merged to make sense of each other. The whiplash of the plot contributed to the overall air of discomfort and helped build the tension into the final moment.
Plainclothes are the disguises undercover cops wear to hide their true identity, which inspired the title of the film.
Reporting from Sundance: Behind-thescenes account on 2025 film festival
By Avery Truman STATESMAN REPORTER
Park City sparkled with snow and illuminated “Sundance” signs while packs of film fanatics joined skiers looking to hit the powder. Sundance was something of a legendary event in my circles — from celebrity sightings to the mysterious air of “artsy” films, I was curious coming in as a first-time student reporter. The moment I was handed my bright green press pass and gift bag with a complimentary beanie, I knew it was going to be a lovely weekend. The beanie definitely helped me blend in among the swaths of fashionistas roaming Park City. I don’t often keep up with celebrities, so I was worried I might accidentally ask one where the bathrooms were without realizing who I was talking to.
My team and I threw ourselves straight into the chaos, interviewing directors in a press line moments after they learned their film had won an award. As names were being called from a monitor on the wall, the directors made their way down the line with cameras and microphones thrown at them like celebratory confetti.
Seeing the raw emotions, from absolute bliss and disbelief to bittersweet tears, highlighted the immense effort these individuals put in to reach that exact moment — one I got to participate in. Every director I spoke to was thrilled to speak to a student reporter about their successes and failures.
My interview with the director of “Zodiac Killer Project” Charlie Shackleton stood out after we finally got to see his film. It was surreal realizing his voiceovers would be heard by millions, and I got to ask him about his process mere moments after he won the NEXT Innovator Award.
Even with press passes, films were difficult to get into, but the anticipation gave it an air of competition and exhilaration. The four of us would huddle on the sidewalk, in our hotel or sitting in the car, our phones drawn like swords, each watching the clock with laser focus, waiting for the moment to strike. If we weren’t fast enough, waitlist tickets would disappear in seconds.
We ended up seeing five films in total, each with a different style of expression and approach to video I had never seen in mainstream media.
Each time, it was like trying to get a fast pass for a brandnew ride at an amusement park. The actual experience of the movie was no different. The lines rivaled those of Disneyland, but the room was filled with the scent of popcorn and snippets of strangers’ conversations that gave us inklings as to what we wanted to see next.
Most lines were organized into large white tents outside the theater and were filled to the brim with hope and suspense, each person wondering if they would be one of the first to see the hottest films of the year.
Sundance volunteers in bright green coats ushered us from various checkpoints with big smiles on their faces, as if they knew the secret of the magic we would soon witness.
Once the unease ended and we were officially let into the theater, every single seat was filled. I almost expected a safety restraint to go over my shoulders from the roller-coaster-like atmosphere of it.
It was what I always imagined the golden age of cinema to be like: people camping outside theaters, a room so packed with people the atmosphere was electric and the feeling that something incredible was about to happen. It was like being transported through the screen. This is the feeling my grandpa tried to convey when he retold his account of seeing the original “Star Wars” in theater. Attending Sundance was like time traveling back to a period when moving pictures still felt impossible yet evoked very genuine emotion.
The movie theater industry is dying, but this felt like something real and raw — worth driving through the snow, spending an hour in line and dealing with neck strain when we were placed in the very front row. This was not something to be casually put on in the background of a living room TV.
The thing that really convinced me Sundance films were something special was this: The entire audience applauded at the end of each one.
Avery Truman is pursuing environmental studies and geography. When she’s not working in her position as The Utah Statesman managing editor, she enjoys writing for NASA and reading science fiction. — avery.j.truman@usu.edu
PHOTO BY Aubrey Holdaway
Sundance attendees walking the streets of Park City, as seen on Jan. 31.
PHOTO BY Malory Rau
A Sundance Film Festival 2025 sign hanging from a lamppost in Park City, as seen on Jan. 31.
From Maverik Stadium to the NFL
By Mikey Bishop STATESMAN REPORTER
With the National Football League season officially in the rearview mirror, it is time to take a look at how former Utah State Aggies fared during the 2024-25 season.
Linebacker Bobby Wagner, Washington Commanders: Throughout his entire career, Bobby Wagner has embodied the word “consistent.” This year was no different as he added a 10th Pro Bowl appearance and was named an AP All-Pro for the 11th time in his 13-year career. Wagner inked a one-year deal, earning up to $8.5 million with the Commanders in March of 2024 Many teams overlooked Wagner, believing age would finally get the best of him. The Commanders took a gamble on him, and it paid off tenfold. Wagner started all 17 games and served as one of Washington’s captains. Per Pro Football Reference, he recorded 132 combined tackles, 10 tackles for a loss and sacked the quarterback twice. Wagner also forced one fumble and recovered two. During the 2023 season, the Commanders ranked as the worst scoring and yardage defense in the NFL. A year later, with the addition of Wagner and other players and personnel, the Commanders defense drastically improved, becoming the 13th-best yardage-based defense in the league, per Fox Sports. Wagner will attract many suitors in free agency this offseason as he looks to build off a superb year in Washington. Wagner played at Utah State from 2008-11. During his time in Logan, he was a four-year starter, earned first-team all-conference honors three times, and was named Western Athletic Conference Defensive Player of the Year in 2011.
Quarterback Jordan Love, Green Bay Packers:
Since entering the NFL in 2021, arguably no QB has had greater expectations than Jordan Love. Being the successor to Aaron Rodgers has placed immense pressure on Love to perform at the highest level possible. He experienced a down year statistics-wise from his 2023 campaign. However, the team improved to 10-7, which saw them make the playoffs for the second year under Love. Per Pro
Football Reference, Love threw for 3,389 yards and added 26 total touchdowns. Love had a forgettable performance against the Eagles in the playoffs by throwing for three interceptions. However, Love indeed showed flashes of being an elite QB in the league. As the Packers continue to build around him and Love becomes more comfortable as an NFL QB, the sky is truly the limit for Green Bay and Jordan Love.
Love played at Utah State from 2017-19. By the time Love left Logan, he had completely rewritten the USU record books. Love left as the leader in single-season touchdown passes, single-season passing yards and total offensive yards, to name a few.
Cornerback Jalen Davis, Cincinnati Bengals:
The 28-year-old Cornerback had an unorthodox year. Jalen Davis was a member of the Bengals practice squad at the beginning of the season and battled multiple injuries. However, when he got his chance, he did not disappoint. Davis registered three total tackles in just two games, per Pro Football Reference. Davis will look to continue to make his mark in the league this upcoming season, whether with the Bengals or somewhere else.
ry. By the end of his career, Davis had set the school record for pass breakups, 37, and passes defended, 48.
Cornerback Ja’Marcus Ingram, Buffalo Bills:
Ja’Marcus Ingram entered his third year in the NFL with hopes of helping the Bills win games. Whatever that required of him, he was up to the task. Solely a special teams guy during the 2023 season, Ingram made a huge step forward during the 2024 season. While still primarily being a special teams player, Ingram got opportunities to play in the secondary and made the most of them. Per Pro Football Reference, he registered 24 total tackles, two tackles for a loss, two interceptions and one sack. Ingram will enter the final year of his contract with the Bills as he looks to build off this stellar year.
Ingram played at Utah State from 2017-18. Although his time as an Aggie was short, Ingram did what he does best: seizing the moment. He totaled 66 tackles, one interception and recovered one fumble during his 19 games as a Utah State Aggie.
Davis played at Utah State from 2014-17. Upon arrival to Logan, Davis did not waste time making his presence felt. Against Idaho State, Davis recorded two interceptions, the most by a first-year player in a single game in school histo-
Mikey is a sophomore studying journalism. He is from Virginia but is an avid Boston sports fan.
STATESMAN FILE PHOTO
Linebacker Bobby Wagner sheds a block in pursuit of the ball-carrier during a game against Fresno State in 2010.
STATESMAN FILE PHOTO
Utah State’s quarterback Jordan Love at the USU Football game verses Brigham Young University on Oct. 5, 2018 at LaVell Edwards Stadium in Provo. Utah State won the game 45 to 20.
STATESMAN FILE PHOTO
PHOTO COURTESY OF USU Athletics
ROSES ARE RED ICE CREAM IS BLUE
USU Football signs players for 2025
By Mark Greenwood STATESMAN REPORTER
Utah State university Football and new head coach Bronco Mendenhall announced the 2025 signing class during a press conference on Feb. 5. The national letter-of-intent signing period began on Feb. 5 and will run through April 1 for football.
The signing period marked the beginning of the late signing period, after interim head coach Nate Dreiling announced the signing of 18 players during the early signing period in December.
“An exciting day for Utah State Football — exciting day for me in launching and being part of a new program,” Mendenhall said. “My staff has done a really nice job … in terms of framing our needs and then our staff executing against our needs.”
The Aggies signed a total of 36 players coming from a variety of sources with 12 high school athletes, seven junior college transfers and 17 transfers from four-year institutions.
“Ideally, my formula would be just the opposite, where the majority would be high school players with then the fouryear players supplementing that with junior college players about the same number. That would be the ideal with primarily high school players in-state being the core of everything that we do,” Mendenhall said. “These numbers and to this point, what you’re seeing here reflects our staff doing an excellent job addressing our needs both short term and long term with the emphasis that we think will be program-defining.”
Mendenhall’s in-state focus was reflected on signing day, with 11 signees coming from the state of Utah. California was second on the list with seven players, but the 2025 signing class includes players representing a total of 13 states and American Samoa.
Of the 36 signees, 19 are defensive players with four lineman, three outside backers, four inside backers, four cornerbacks and four safeties.
“In general, the needs were tilted slightly more defensively than offensively in terms of numbers needed and in terms of quality,” Mendenhall said. “We spent four days doing nothing other than — our staff morning to night — evaluating the current
On the offensive end, the Aggies signed seven wide receivers, three lineman, three running backs and one quarterback for a total of 14 offensive players.
Mark is a sophomore at USU studying economics and finance. He is an avid Los Angeles Dodgers fan and loves playing tennis and skiing.
Utah State roster when we arrived … that then helped us frame the needs for Utah State.”
PHOTO BY Kelly Winter
USU Football head coach Bronco Mendenall during a press conference on Feb. 5.
Sundance: Cinema is for students OPINION
By Malory Rau STATESMAN REPORTER
On the second-to-last day of the 2025 Sundance Film Festival on Jan. 31, four of us from The Utah Statesman stood in the awards press line as a 20, 21, 22 and 23-year-old surrounded by seasoned reporters, film directors and PR managers alike. It was in the hustle and bustle that it immediately became apparent we were the youngest team in the line that weekend by at least a decade.
As we arrived in the line, we were quickly swept up in the go-go-go energy of finding our place, getting out cameras, setting up mics and preparing for interviews. We were given a spot at the end of the press line to do interviews and accepted anyone who would stop to talk to us. The film directors and producers who did were happy to, despite our limited knowledge and generic questions.
The four of us ran into zero other student reporters the whole weekend we were at the festival and often discussed how lucky we were to be there on press passes. We concluded student reporters were a rare breed to be seen at Sundance.
There was a more diverse age range in the audiences of the films we saw, but much of the press had left the festival by then. We, as students and first-time at -
tenders of Sundance, were happy to get into any film we could.
Our group often discussed the limitations we felt by only being able to go for those two days. We were challenged by coordinating schedules with school and other jobs, a barrier other publications may not have had. We made the most of the two days we were there by seeing six projects in total: two documentaries, two dramas, one supernatural horror and an episodic series. We were left to our own devices to plan coverage as the availability of films rolled in.
For the four of us, this was one of — if not the — first real industry experience we had. It was intimidating, exhausting and borderline embarrassing at times. No one wants to feel like a young kid who doesn’t know what they’re doing, but we all have to start somewhere. All of us were wide-eyed throughout the entire experience. It was truly amazing to look up and down the press line and see the names of different publications we had the opportunity to stand next to.
With the potential for Sundance to leave Utah in the coming years, this could be one of the last times
the Statesman will have Sundance coverage. I felt it important to acknowledge the impact attending Sundance has on student journalists such as myself and vice versa. The Sundance Institute has the rare opportunity to learn from students as journalistic coverage advances in the ever-evolving industry.
If the festival does move and new universities apply to send their students, it will be a once-in-a-lifetime opportunity for them, and I implore the Sundance Institute to take that into account. To those who may feel student coverage at Sundance is unnecessary or unimportant, I would like to remind them the institute could be the first impression of the film and press industry on future generations, so I pray you do not let it be a bad one.
Malory Rau is a junior pursuing a film studies minor. When she isn’t cooking up breaking news, she can be found sipping on coffee and gushing about Sundance.
— m.rau@usu.edu
DESIGN
Aubrey Holdaway
PHOTO BY Claire Ott Sundance film awards, as seen on Jan. 31.
Backcountry Squatters
Claire Ott is a senior studying journalism and enviornmental sceince. She enjoys being a photographer because she gets to capture some cool things. — claire.ott@usu.edu
Scan the QR code to dedicate a Scan the QR code to dedicate a song during the Broadcast of Love song during the Broadcast of Love
