The Wesleyan Argus

Author: Kalee Kennedy

  • “Stranger Things” Returns with Wider Lens but Less Focus

    “Stranger Things” Returns with Wider Lens but Less Focus

    Warning: This review contains spoiler alerts for the second season of “Stranger Things”

    c/o tribune.com
    c/o tribune.com

    At the end of last month, Netflix released the highly anticipated second season of “Stranger Things,” just in time for Halloween. The show chronicles the supernatural-tinged adventures of a group of kids in the 1980s. Following the critically and commercially successful first season, creators Matt and Ross Duffer (affectionately referred to by fans as the Duffer Brothers) faced the task of living up to a lot of viewer’s expectations. For the most part, they succeeded, but not without a few missteps. Techniques and storylines felt cheapened by the nostalgic reinvention that had worked so well for the creators in the first season. It ceased to be a show that gave younger audiences the sense that they were watching a fresh twist on something vintage and older viewers the impression that their childhoods were accurately being represented. Instead, the fun homage to ’80s pop culture became cliché and contrived.

    The show’s creators, brothers Matt and Ross Duffer, implemented a formula similar to that of the first season to guide its sequel, upping the stakes by adding a number of additional storylines that further complicated the plot. This move missed the mark for a sizable portion of fans who expected a continuation of the series they so loved, as opposed to a repeat performance. As in the first season, the second season saw Will Byers under the hold of the Upside Down, Joyce Byers (Winona Ryder) yelling at people to help her son, Hopper (David Harbour) engaging in independent investigations that incapacitate him, a mysterious supernatural antagonist, and, finally, Eleven saving the world.

    Despite these missteps by the writers, the actors—both newcomers and beloved veterans from season one—brought their very best. The standout performance of the season comes from Noah Schnapp’s performance as Will Beyer. At the start of the season, we see Will affected with what is perceived by the doctors as post-traumatic stress disorder caused by his initial disappearance into the Upside Down. Throughout the season, Schnapp puts his body through the wringer in a compelling performance rivaled only by the complexity and rawness felt from Millie Bobby Brown as Eleven in the first season.

    The character that experienced the most development this season is Steve Harrington, who, in addition to fully participating in the action of the last two climactic episodes, also suffers an internal conflict in the first episode that haunts him throughout the season, as we watch him lose his love interest and social dominance at school. By the end of the season, Steve dedicates himself to caring for the kids and protecting them to the best of his ability when all of the adults are otherwise engaged. The selfishness and inattentiveness to other’s feelings, which characterized him in the first season, are long gone by the finale, and his character shines as a fan favorite of the season.

    I have to tip my hat off to the Duffers for finally fleshing out Dustin (Gaten Matarazzo), Mike (Finn Wolfhard), and Lucas (Caleb McLaughlin) as characters independent of Will. We learn that Lucas, the only central Black character, has a sister, mother, and father. The sister makes several comedic appearances that plays well with distinguishing Mike as a person independent of his friends. Dustin earns his own storyline rich with comedy, cursing, and emotional weight. We learn about his relationship with his single mother and how that influences his actions. While the linking of the storylines suffers from these additions, they’re important expansions that add to the complexity of this many-layered show.

    New additions to the cast also enriched the second series, particular that of Sadie Sink’s Max Mayfield, who arrives in Hawkins, skateboard in tow, with her stepbrother, Billy (Dacre Montgomery). As Eleven is absent from the boys’ group for most of the season, Max becomes the token female friend, although her storyline gets somewhat constricted when she’s relegated to a love triangle between Lucas and Dustin. Mike and Eleven seem acutely aware of Max’s status as a replacement, so they treat her with malice. In an unfortunate perpetuation of the “there can only be one” cliché, Eleven and Max are pitted against each other to a certain extent until the very end of the season. Sink, however, does the best with what she is delivered and packs an edgy punch as the ultimate cool-girl, her bright red hair and tough exterior (coupled with a hopeful desire for connection with the boys) adding thorny texture to the usually harmonious group.

    Max’s racist, abusive stepbrother, Billy Mayfield, is the direct adversary of Steve Harrington. He instigates the bulk of the conflict for the characters and is relentless in his abuse. At times, he provides comedic relief, as his chainsmoking douchebag persona taken to its ultimate extremes, but ultimately, he reinforces the tired bully trope to ignite development in Steve. While we’re eventually given a brief background that explains his behavior and suggests the smallest bit of sympathy for him, he ends the season a definite bad guy.

    Another short-lived character, Bob Newby (Sean Astin), helped infuse Joyce Byer’s character with more complexity. Bob’s “nice guy” persona is never complicated or challenged, and his sticky fate, although beautifully portrayed, felt far too predictable.

    Eleven’s storyline left her separated from the entire cast early on, causing the show to suffer. The convenient discovery of her mother and her birth name allows Eleven’s character to develop in a way that moves too slowly and lacks real emotional weight. More often than not, Brown’s acting performance suffered and her scenes slowed the momentum of the show. The extent of Eleven’s growth is physical through her attire and idioms, but otherwise, Eleven is virtually the same, which is a disservice given that she was deliberately kept in the season against the original plans of the Duffer Brothers, who never envisioned Eleven in potential sequels for the show. Perhaps this is why her presence feels shoehorned into the plot, only fitting well when she interacts with Hopper in the safe house. 

    This season brought deliverance in the form of fan service for character Barb Holland, who disappeared into the Upside Down last season and died with little acknowledgment or mourning, especially compared to the massive endeavor devoted to saving Will from that same fate. Thus, the writers devoted Nancy Wheeler’s and Jonathan Byers’ storylines to one focused on enacting said justice by exposing the government entity that unleashed the beast that took Barb’s life. Although closure surrounding Barb’s death was somewhat satisfying, focusing on a death that occurred early in the first season felt like a disservice to the storytelling possibilities for these characters. On the brighter side, these two characters’ isolation from the group gave their romantic subplot ample time to emerge with well-intentioned sweetness and humor for the audience.

    The most satisfying scene comes in the very last episode, which concludes with the Snow Ball, Hawkins Middle School’s winter dance. Connecting a line from the last season uttered by Mike, the show peaks emotionally here, with all the main players of the season in attendance, each dealing with their own social and romantic endeavors, to varying levels of success. Though I could have done without the excessive kissing from the child characters, the scene felt neatly wrapped in a bow, with even Nancy’s character experiencing a moment of growth when she dances with Dustin. Even though it didn’t fall into any previously established logic, it was sweet to see and I’m sure not an eye was dry while watching the sequence.

    Despite its frayed storylines and lack of focus, “Stranger Things 2” aptly quenched my thirst for a thrilling sequel. Unfortunately, the essence of the show floundered in its formulaic approach and mismanagement of certain characters. My only hope for the next season is that the Duffer Brothers reclaim the magic of the first and deliver both the supernatural and reality without such a stark imbalance.

     

    Kalee Kennedy can be reached at kgkennedy@wesleyan.edu. 

  • Goodbye to the Great Comet

    Goodbye to the Great Comet

    c/o vulture.com
    c/o vulture.com

    Before the show started, ensemble members ran out to different sections of the house, packaged pierogis in hand, ready to relay the rules of the space. They warned audiences that the show would be chaotic, assuring them it was acceptable to turn in different directions, but reminding them to mind the actors’ space. Subsequently, a loud storm siren sounded off, forcing everyone to take their positions for the Prologue. The grand doors opened at the top of the stage and Pierre appeared with his accordion, marking the beginning of the show.

    Under the direction of Rachel Chavkin, “The Great Comet” boasts intimacy, wit, and marvelous enchantment. Audiences are encouraged to sing along with the ensemble members during musical numbers. They also provided viewers with shakers, props, and handwritten letters, which made for an elevated interactive theatrical experience.

    The musical is an operatic adaptation of a few chapters from Leo Tolstoy’s “War and Peace,” with its book and lyrics written by three-time Tony nominee Dave Malloy. Malloy starred in the titular role of Pierre for a considerable amount of time during the show’s run.

    But on Sunday, Sept. 3rd, 2017, “Natasha, Pierre, and the Great Comet of 1812” ended its ten-month run and said Goodbye to Its Gypsy Lovers. Ever since its appearance in 2012, critics and viewers have praised the musical for its originality and commitment to diversity. This past Tony Awards ceremony, the musical was awarded a total of 12 nominations (the most nominations of any production this year) and left the night with two trophies.

    During the musical’s Broadway run at the Imperial Theatre, which has hosted the show since October, walking through the doors meant entering a world sequestered from New York City’s bustling streets. The gray walls of the lobby were plastered with posters of Pussy Riot, a nod to the show’s Moscow setting. Inside the theater, set and lighting designer Mimi Lien transformed the space to depict the city during the War of 1812, stylizing the space so that it harkened back to the expensive vodka dens of Russia.

    Another aspect of “The Great Comet” that distinguished it from other shows was its layout. The show followed traditional seating with a mezzanine and an orchestra, in addition to stage seating, orchestra level cocktail tables, onstage tables, banquette stadium seating, and sunken tavern sets. The banquette seating allowed viewers to experience the show on stage without as much intervention from the actors, while the sunken taverns and onstage tables kept their occupants on their toes, and enabled swift transitions to the audience tables. Pieces of costumes wrapped around audience members or grazed their shoulders as the actors carried out each scene with unabashed confidence.

    Regardless of where one sat, audience members were dispersed among folds of velvet red curtain decorated with portraits of Russian intellectuals and potential props. Golden starburst chandeliers hung from the rafters, illuminating the scene, and in the mezzanine and orchestra seating, tables with small candles interrupted clusters of seats, furthering the show’s intimate feeling. Lien’s Tony-winning set and lighting design transported viewers to a space where anything can happen in this unconventional 19th-century Russian world.

    Each actor’s precision and gusto renders the performance as an operatic tour de force. Malloy’s musical range is nothing short of genius, and the music’s Slavic foundation slowly morphs into more traditional balladry, interspersed with contemporary electronica and rave music.

    In terms of the book itself, Malloy took one of the most challenging Russian novels and made it an engaging comedic experience for every person involved. Every actor danced, acted, sang, and played instruments usually reserved for an orchestral pit. The music traveled and swelled throughout the house. The show’s choreography was at times athletic and at others, somehow poetic. The show isn’t for the faint of heart, and that’s what made it so explosive for Broadway. 

    Unfortunately, backlash from a poorly handled casting controversy, which, surprisingly, came from within the Broadway community, meant that Malloy’s masterpiece was forced to end its run early. For a show hailed for its advancement in diversity—which some argue was far greater than that of “Hamilton”—it closed its doors because of the accusation that it did not in fact respect diversity on the stage.

    The closure of “Great Comet” is a testament to the problems with Broadway. For the most part, shows that last for years and years are not necessarily the best-received shows by critics or even the public, but those that remain funded by producers for one reason or the other. Shows have been forced to sacrifice certain creative decisions in order to keep running, allowing the logistics of the business to trump various essential decisions that should have been made freely. 

    It’s a shame that not everyone could experience the magic of Malloy’s outstanding show, but I’m sure that this will not be the last time in which a piece like “The Great Comet” will appear. It was not the first of its kind and it will surely not be its last. I wait eagerly for a show that will follow in its footsteps and hope that Broadway will not slide back in terms of diversity as it seems to be doing. 

    Kalee Kennedy can be reached at kkennedy@wesleyan.edu

  • “Chewing Gum” Pops Social Norms

    When you’re scrolling Netflix’s endless selection of movies and television programs, it often seems like you’ve seen everything, and everything you haven’t seen isn’t any good. Whenever you find yourself in this predicament, take a chance on the show “Chewing Gum.” Originally released on the British network E4 in October 2015, the show has received critical success across the pond. Creator and writer Michaela Coel plays the main character, Tracey Gordon. The show follows 24-year-old Gordon as she breaks the confinement of her religion and overbearing family in her attempt to navigate the world and lose her virginity. 

    Inspired by her one-woman play, “Chewing Gum Dreams,” “Chewing Gum” serves as a breakout sensation for Coel. She has received a British Academy Television Award for Best Female Comedy Performance and for Breakthrough Talent for writing the show.

    The character of  Tracey Gordon is a filthy, ignorant, and confused young woman. Like Coel herself was during her late teens, Tracey is an evangelical Christian. (While parallels exist between the lives of Coel and her character, most of Tracey’s journey differs from that of her creator.) Frequently breaking the fourth wall, Coel manages to steer the show away from gimmick by conveying each and every emotion of Gordon’s character with a minuscule facial tic. 

    Although Coel followed a dissimilar path to Gordon’s, parallels can be placed. She credits her conversion to her creative flowering as a writer and performer. After attending drama school, she ended her relationship with religion, and in a broad sense, the world of her show portrays this rejection.

    Before diving into Coel’s beautifully crafted “Chewing Gum” world, you need to be prepared for dialogue that is both outrageous and thoroughly believable. No issue is off limit in this show. Tracey discusses her menstruation period as casually as the weather. Beware of the expulsion of bodily fluids, random shots of penises, and a suicide sex kink. Having said this, Coel incorporates these elements to make the program both filthy and realistic.

    “Chewing Gum” is also fearless in its discussion of race. Gordon’s best friend is a mixed race young woman with a white mother and white sisters, who is dating a Black man. Her love interest shifts from the mom-approved Black man to the unmotivated white man. Gordon has an optimistic naivety about her which allows the viewer to root for her while eagerly awaiting her to stumble into the next punchline.

    With the issue of race acting subtly rather than overtly, Coel is able to focus on the issues of class in British society. Coel’s show has the breadth to create more jokes that appeal to the masses while catering to a specific class of people. This power allows her to appeal to audiences worldwide. Her material does not feel strictly British, but it acknowledges its culture and society in a satirical way.

    As a former evangelical Christian, Coel is not afraid to broach the topic of religion, honoring its positives while simultaneously criticizing its restrictive qualities. By acting as caricatures of members of organized religion, Gordon’s immediate family engages in protesting against society’s sexually liberated qualities through things like using a megaphone to shame passersby and Gordon’s mom imposing antiquated gender roles on her daughters.

    At the start of the show, Gordon’s relationship to sex was quite limited. The bulk of her interactions is inspired by fantasy and raw desire. Instead of focusing on these passionate emotions, the crux of the comedy comes from its sex scenes. The scenes are awkward and absurd, yet relating to the fact that sex can, in fact, be just that: absurd and awkward. Especially when Gordon addresses the camera in these instances, the audience receives an inside look into her mind processing. Is she supposed to wear clothes when she sits on her partner’s face? You’re left to wrestle with the absurdity of the statement and the context with which it’s used.

    What’s so enticing about “Chewing Gum” is Coel’s ability to be extremely personable without taking herself too seriously. So, the next time you want to see a 24-year-old black British woman, who has an unhealthy obsession for Beyoncé, simultaneously fail and succeed at discovering sex, look no further than to Netflix’s “Chewing Gum.”

    Currently broadcasting its second season on E4, Netflix is expected to release the current season on the streaming service at its close.

  • Moana: The Anti-Princess We All Need

    When you combine the directors responsible for “The Little Mermaid,” “The Princess and The Frog,” and “Aladdin” with original songs by Lin-Manuel Miranda ’02, the likeliest result is the creation of a Disney film worthy of being called a classic.

    This past Thanksgiving, Walt Disney Animation Studios released their second feature of the year, “Moana,” to the public. As the weekend wrapped up, the film surged to the top, earning over $93 million worldwide. “Moana” currently holds the record for the second-biggest box office opening, behind fellow Disney film “Frozen” which came out in 2013. Currently, “Moana” has earned $177.4 million worldwide and is expected to continue its box-office success into the new year.

    The film focuses on Moana, the daughter of the chief of a Polynesian tribe, and Maui, a trickster demigod. Moana is chosen by the ocean to guide Maui to reunite an ancient relic back to its resting place and, in doing so, save the lives of her people and the islands. The film draws upon the vocal talents of Dwayne “The Rock” Johnson, newcomer Auli’i Cravalho Jermaine Clement, Rachel House, Temuera Morrison, Nicole Scherzinger, and Alan Tudyk. The expertise of the voices of the main cast carries the film a great deal. Most importantly, Johnson’s comedic timing and Cravalho’s singing are able to elevate the standing of the film even further. Without this carefully chosen cast, the film could easily have faded into the background of mediocre Disney films.

    Not unlike other Disney princess films, “Moana” operates as a coming-of-age tale, but the biggest difference from other princess films comes from the absence of a romantic lead for the protagonist. Instead, the film’s thematic focus is on duty, loyalty, and familial ties. With this distinction, both the film and the titular character appeal to a broader audience. Moana also disputes the title of “princess” because she is actually the daughter of the chief. Maui responds that, “If you wear a dress and you have an animal sidekick, you’re a princess.” Instead of using her words to denounce his aside, Moana navigates the ocean and outwits monsters, all with that same dimwitted animal sidekick. Moana joins the ranks of Belle and Ariel, but she is a heroine more along the lines of Mulan. Directors Ron Clements and John Musker rectify their mistakes with Tiana of “The Princess and the Frog” by displaying a heroine that physically and mentally embodies strength and tenacity, instead of just marketing her as such. Their ability to showcase Moana as a heroine promotes her as the anti-princess without broaching cynicism.

    Clements and Musker initially sought to create a movie based on the Polynesian legend of Maui. Before they could do anything further with production, the two were tasked by the head of Disney Animation Studios John Lasseter with researching Polynesian culture. This commitment to research and traveling to Polynesia singled the film as Disney’s most culturally authentic film to date. Although not a huge feat for the studio, their efforts link to the overall acceptance and appreciation for the movie by the Polynesian and non-Polynesian people. The directors’ trip to Polynesia led to the creation of an organization called the Oceanic Trust. It consists of anthropologists, cultural practitioners, historians, linguists, and choreographers hailing from Samoa, Tahiti, Mo’orea, and Fiji. This group was integral to many details of the film, from story development and song lyrics to character design. The trust suggested implementations to the cast and production to base the film on Polynesian culture. Ultimately, the work done by the trust manifested in a movie that Polynesians can be proud to call their own, including a main vocal cast with roots in Polynesia (excepting Tudyk), an initial script penned by New Zealand screenwriter Taika Waititi (“Hunt for the Wilderpeople”), and the inclusion of Samoan musician Opetaia Foa’i.

    The film’s merits do not come from the plot’s complexity, but rather from its soundtrack, sense of place, and characterization. The movie hinges on the formulaic hero’s journey and does a great job adhering to that formula. However, there is no surprise to its narrative, and it borders on predictable. Contrarily, the film is refreshingly predictable. The original music from Miranda ’02 and Mark Machina give color to this narrative. The weaving between the two languages—English and Tokelauan—makes the songs not only Disney-appropriate but appropriate on a global scale. Also, the non-English lyrics contribute to the sense of place created by the directors. The Oceanic Trust made sure that the story and the design of the film felt unique to the Polynesian triangle. The animators pulled out all the chops for their animation itself; the characterization of the wave and the attention to character details, particularly in Moana’s hair, makes the audience feel that great care has been put into the film.

    The reason “Moana” is the Disney movie to beat comes largely from its attention to detail and cultural sensitivity. “Moana” can fit into several genres, including both comedy and drama, and is littered with cinematic references to past Disney films. Clements and Musker have given the world a Disney movie to attend to the new age, and it has not gone unappreciated.

  • Idiot Box: “Luke Cage”

    Marvel’s “Luke Cage” is a proud, didactic showing of black male identity.

    It looks like Marvel struck gold with the induction of this television sensation, but not for the reasons many initially thought. Cheo Hodari Coker’s “Luke Cage” launched on Netflix’s web platform on Sept. 30. The heavy traffic of users watching the show over its premiere weekend actually crashed the website’s streaming servers. If that doesn’t demonstrate the grip the show has on its viewers, I don’t know what else would.

    Luke Cage is a fictional superhero created by Archie Goodwin, John Romita, Sr. and George Tuska and published by Marvel Comics in the 1970s. The character was created during the height of Blaxploitation, a term coined at the time to refer to films featuring black actors and anti-establishment subject matter aimed at black audiences. The genre, Blaxploitation, has a sordid history for its stereotypical characterization and glorification of violence. Many in the black community viewed these films as a means to perpetuate a false narrative, while others appreciated the merits of the genre; it provided the black audience with opportunities to grace the screen, and these cinematic heroes provided a portrayal of urban life typically unseen in most Hollywood pictures at that time.

    Given this history, Coker manages to emphasize the positive elements of the genre and modernizes its exploitation in a way that it appeals to varied audiences while paying homage to the original conception of the character. The show uses music to celebrate blackness, frequently showcasing black musicians each episode, and utilizes metaphors of historical figures essential to African-American history. The music in the show serves as another pillar on which the show holds itself. It takes the brassiness of the ’70s Blaxploitation attitude and pairs it with modern rap, creating a collision of time and identities of blackness. Harlem Paradise is the center of music’s permeation; it features live music from Faith Evans, Raphael Saadiq, Charles Bradley, and Jidenna.

    The show combines its comic book elements with the Harlem Renaissance. Coker and Mike Colter (the actor who portrays Luke Cage) worked in tandem to transition the supporting character of Luke Cage from a flatter “Jessica Jones”-type character to a fully developed main character capable of spearheading his own show.

    Coker drives the characterization of Cage away from a “hero for hire” and gives him a tremendous amount of emotional depth, which is a breath of fresh air.

    “As a black man in today’s culture, what he represents and what he’s dealing with in his own life—being a fugitive on the run but being innocent, but at the same time not feeling sorry for himself—he’s always thinking about the community, and thinking about things in a larger sense in his life,” Colter remarked in a Variety interview. “He’s very thoughtful about his actions. He has no agenda with his powers. He’s seen what helping out leads to; he doesn’t see the point. It never ends well. He doesn’t have a costume, he doesn’t have a mask, everybody knows who he is. So I think he brings a certain gravitas that says, ‘I don’t want to rush to judgment about anyone. I don’t want to do anything until we just talk about this, because everything has a consequence.’”

    Given the current racial climate, Colter’s understanding of his character and his potential impact is essential to the show’s prominence.

    Like “Daredevil” and “Jessica Jones,” the show takes an R-rated approach to the Marvel Cinematic Universe and provides a gritty, realistic expression of a setting around fantastic superheroes while not compromising the street appeal of these heroes. Luke Cage makes his stand in Harlem after fleeing Jones’ stronghold of New York City. The show doesn’t treat Harlem as just its setting, but incorporates the musicality and swagger of the neighborhood to the narrative and tone.

    With respect to narrative and tone, the show seems to have two distinct sections: Part One could be categorized as the first seven episodes, while the later six sum up Part Two. Part One establishes Cage as the reluctant hero, as an avenging vigilante; he doesn’t want to draw attention to himself, but he reluctantly takes up the call to action. Cornwall “Cottonmouth” Stokes (Mahershala Ali) serves as the “Big Bad” for the first half of the series. Rather than focusing on the supernatural abilities and one-dimensional characterization from the comics, Coker has the character assume the attitude of Biggie Smalls harboring a Godfather-like stance. Alongside Cottonmouth in his greed-driven rise to the top is his cousin, “Black” Maria Dillard. She is a politician whose platform boasts of bringing Harlem back to its prior greatness of culture and community. Part One explores Cage’s battle with Cottonmouth for eminence in the neighborhood and his responsibilities as the reluctant hero. The show establishes a sharp contrast between the capitalist establishment of Dillard and Cottonmouth’s Harlem, and Cage’s proletarian Harlem.

    Part Two features William Stokes “Diamondback” as the proverbial “Big Bad” and a distinct shift in tone. Ideally, the season could have ended with the seventh episode and the second season could have explored Part Two extensively. Part One is much lighter in movement and Colter’s charismatic portrayal of Cage serves the narrative. The later episodes surround a narrative concerning a storyline that frankly seems out of the blue. The drastic shift needs time to be accepted by the viewer; the rush and chaos of the second part rivals the smooth ease of the first.

    A huge flaw of the show is its lack of subtlety. Not unlike its sister shows on the platform, “Luke Cage” has over-exaggerated thematic tropes and on-the-nose visual-to-metaphor pairings. Of course, having Cage walk around in a hoodie with bullet holes in it is an act of defiance, as is his reading of Ralph Ellison’s “Invisible Man” and in his penetration of Stokes’ stronghold, aptly named Crispus Attucks. Yet, the writers are extremely smart with certain implementations of references, which  teaches its viewers in a way.

    Although Netflix’s latest drama isn’t considered a conventional superhero series, it is relevant and proud in its practices. There is something incredible about a bulletproof black man gracing the screen and using his abilities to do good without the intention to do so. There is a poetry to the dialogue and the urban promise attributed to the show outshines its penchant for repetition and monotony at times.  

  • New Season of “American Horror Story” Continues to Rely on Suspense

    New Season of “American Horror Story” Continues to Rely on Suspense

    c/o hulu.com
    c/o hulu.com

    “What’s this season’s theme?”

    That’s been the biggest question posed by fans and critics of the anthology series show “American Horror Story.” Producer and creator Ryan Murphy admitted that the newest season will illuminate how characters relate to one another across its previous five seasons.

    Long-term fans were excited to learn any information prior to the show’s premiere on Sept. 14, yet the marketing team for the show chose a different route. The network opted to create misleading promotional videos that had no relation to the season’s theme and real promotional videos vaguely associated with the disclosed theme. By implementing this marketing tactic, the network was able to keep the theme for the season a secret.

    Most of the ads featured a variety of horror tropes and visuals that paralleled classic horror movies. The most popular promotional video, entitled “The Mist,” features a four-legged figure scurrying toward the camera surrounded by mist, which clearly alludes to the film “The Mist” based on Stephen King’s novella. Each promotional video features a separate theme. For example, the second-most popular video features a seated baby doll; once the camera zooms in, the face is disfigured and moves on its own, similar to the titular doll in a recent horror flick “Annabelle.”

    All that said, every person interested in the show was eager to know the theme. There was a huge budget involved in the promotional videos, with every aspect carefully tailored to the show’s inclination toward horror. It wasn’t until last Wednesday night that the theme for the season was revealed: Roanoke.

    Roanoke. So what is it? The Roanoke Colony, also referred to as the Lost Colony, was established on Roanoke Island in present-day North Carolina. It was a late 16th century attempt to establish a permanent English settlement. The colony’s nickname came from the fact that the colonists disappeared without a trace during the Anglo-Spanish War. To this day, there is no conclusive evidence as to what happened to the 116 settled colonists.

    There are many theories surrounding the disappearance of the settlers, providing wonderful source material for Murphy to use to connect previous seasons and create a sound foundation for all previous and future seasons to stand on. When the show began, viewers were either disappointed or intrigued by what they saw.

    Viewers were introduced to scenes of characters recounting their stories with documentary-style talking heads, which were cross cut with live action reenactments of their testimonies. This format is a complete reversal of the established format of past seasons. Though the show lacked steady viewership throughout the season, the format change may keep viewers coming back every week to experience this fresh take on the series.

    The inherent problem with a drastic change in a series so late in its run is the viewers’ refusal to adhere to and appreciate the changes. The documentary “My Roanoke Nightmare” features the characters Shelby (Lily Rabe, Sarah Paulson) and Matt (André Holland, Cuba Gooding Jr.) Miller explaining their “nightmare” in a North Carolina countryside after leaving Los Angeles. Later, the documentary includes Matt’s sister, Lee (Adina Porter, Angela Bassett), as she joins the Millers in the Carolina countryside. Although inviting, the format change has its drawbacks. Most notably, the tension and horror elements are lost in some respect; the viewer knows that any character that is recounting the story does not die, so whenever these characters are in any state of peril, tension is minimal.

    Along with the documentary style, the use of narration is annoying and downright amateurish. When the narration overlays the dramatic reenactment, it cheapens the experience and the show feels low-budget as opposed to the powerhouse that it is. At these times, the format change overpowers the authenticity of the theme.

    Another critique of the show concerns the characters’ psychology and makeup. The three main characters lack believability and relatability. They seem to be portrayed as either exaggerated versions of classic horror tropes or ignorant individuals placed in supernatural situations. Because the characters fall into these gray areas, it’s hard for the viewer to sympathize with their plights and the dangers they encounter.

    The true highlight of the show came when the dramatic reenactments served as the focal point (and a personal highlight) of the scenes. These parts of the show are similar to the previous seasons’ format and are what put the show on the map. When the actors are given free range to act and portray their characters truly, the show prevails despite its content.

    Overall, the premiere episode for the sixth season kept people on the edge of their seats, whether through confusion or genuine excitement. Murphy is keeping the overarching story close to his chest, and this tactic will prove beneficial in bringing viewers back every week to understand the entire series.

  • OscArgus: Best Original Score

    OscArgus: Best Original Score

    c/o artcreationforever.com
    c/o artcreationforever.com

    With the Academy Awards rolling around, The Argus Arts writers took a look at the nominees. Read on to hear our thoughts about who might win, which underdogs we’re holding out for, and which of the absent films should have made it into the Academy’s bracket. In the process, we examined how categories are organized, judged, and evaluated, and we revisited the films that moved us over the course of 2015.

    Best Original Sore

    The competition for Best Original Score seems to be a battle of the veterans. Neither Ennio Morricone nor John Williams is a stranger to the Academy Awards: Morricone has one Oscar, and Williams has five. However, Morricone’s sole Oscar is an honorary award, and the Academy will most likely remedy his situation by presenting him with a golden statue come Sunday night. Nonetheless, Williams is still in the running for the Oscar, as both composers’ scores are iconic in their own regards.

    In “The Hateful Eight,” Morricone channels Western works such as “The Good, The Bad, and The Ugly,” “The Thing,” and “C’era Una Volta Il West” (Once Upon a Time in the West). He plays to the viewer’s expectations with the sounds of galloping horses and the exhilarating use of string instruments while elevating these tropes to correspond to the particular narrative.

    Because “The Hateful Eight” blends mystery and thriller, Morricone must be able to suspend the audience’s disbelief and cause them to shake in anticipation of the next cue. He does so with the disharmony of the high and low woodwinds and the low brass in the main title, which begins with the vamping of strings and a whimsical oboe riff of half steps and whole steps. This instrumentation destabilizes the viewers and makes them aware that this is not their average Western.

    Morricone’s use of xylophone is also quite important throughout the score and narrative. The instrument conveys that a character is deep in thought or piecing together pieces in the jigsaw puzzle of the plot. The xylophone’s shrillness provides lightness, order, and the promise of clarity; Morricone’s incorporation of its tones is highly effective and underscores his genius.

    The vocals in the main theme recall the stereotype of the “native” or “savage” as well as previous classical masters, particularly of Carl Orff’s “O Fortuna.” The combination of these contrasting styles echoes the nature of the violence in the film and hints at the absence of religion. The viewer is left wondering, “Are we in a godless country?”

    Morricone’s score for “The Hateful Eight” also pulls in popular music such as The White Stripes, David Hess, and Roy Orbison. The inclusion of these songs opposes the Reconstruction-era setting of the film and bridges to the contemporary, revitalizing Morricone’s Western sensibilities by drawing on the reservoir of talent he has developed during his decades in Italian cinema.

    Likewise, Williams’ score for “Star Wars: The Force Awakens” is simultaneously a nod to the past and a vehicle for the future. His 50th nomination for the Academy’s Best Original Score category is nothing short of spectacular. Moreover, for this particular score, Williams conducted a ninety-piece orchestra and composed 175 minutes of music between June and November, which was later reduced to 115 minutes.

    Williams plays on nostalgia with his use of iconic themes specific to the “Star Wars” franchise. Additionally, he created five themes to accompany new characters that have already become staples. The presence of the “Imperial March” promotes continuity throughout the films and allows older viewers to reminisce about their first time hearing the song. 

    The action music interspersed throughout the score is energetic and contributes to the film’s successful storytelling. Overall, the soundtrack is swashbuckling in nature and capitalizes on the movie’s identity as a sci-fi western. Ultimately, the score’s complexity suggests that it will become as much a part of cinematic history as Williams’ past works.

    In “Bridge of Spies,” Thomas Newman combines flavors of both Russian and American music and builds on the conflict at the heart of the film. Newman’s use of a Russian Orthodox male choir produces an ominous atmosphere and highlights his ingenuity as a composer. He is able to discern between the two countries’ musical traditions, yet blends them when the narrative calls for it.

    Carter Burwell’s “Carol” is intimate and minimalistic, unlike the rest of this year’s nominees. Burwell conveys the repression and restraint of the protagonists and promotes romanticism, while also demonstrating its complications. “Carol” is a film about feelings, and when words fail the characters, the score elevates and continues the conversation.

    Johann Johannsson’s work in “Sicario” is gritty and textural, and aptly communicates the intricacies of the plot, characters, and social issues in the film. Johannsson aims to discomfort the viewer with his use of low instrumentation.

    “It’s like the throbbing heart of a beast charging at you: this very intense, insistent, relentless quality – also a brutality,” Johannsson said of his thematic choices in an interview with Variety.

    Johannsson is able to wordlessly convey the central theme of the film, the savagery at the center of the human soul. Only music could articulate such a notion without approaching the realm of cliché.

    All of the competitors for Best Original Score are musical geniuses, and thus this year’s win will most likely be a matter of either honoring a prominent classical composer or of recognizing another’s triumphant return to American cinema.

     

    BEST MUSIC (ORIGINAL SCORE)

    Will Win: Ennio Morricone, “The Hateful Eight”

    Should Win: Ennio Morricone, “The Hateful Eight”, John Williams, “Star Wars: The Force Awakens”

    Snubbed: Junkie XL, “Mad Max: Fury Road”

  • Chilean Playwright Guillermo Calderón on Chilean Theatre

    Chilean Playwright Guillermo Calderón on Chilean Theatre

    Lex Spirtes, Photo Editor
    Lex Spirtes, Photo Editor

    On Tuesday, Feb. 9, Guillermo Calderón visited the University as part of the Outside the Box Theater Series. Calderón spoke in the Memorial Chapel to students and public alike about his new play and his creative process.

    A Chilean-born playwright and director who specializes in political theater, Calderón expressed that he intends for his politically centered plays to start conversations about society and to have the public finish the conversation. He feels that the genre of documentary is more striking than any possible form in which he could ever write and believes that truth and facts are more powerful than works of fiction.

    Calderón explained his creative process to the audience, expressing that he relies heavily on the research to the point of overloading himself with knowledge on the subject. Then, he proceeded to decide on a dramatic situation to frame his piece. Calderón’s actual writing process involves countless drafts as well as the contribution of his actors to flesh out his ideas and expand the possibilities for his artwork.

    “I’m interested in their minds and intellect,” Calderón cited as the reason for his actors’ prominent role in the process.

    Alongside explaining his creative process, Calderón explained the entangling ethical lines that fuel his upcoming play, which is set to be finished in early October and serves as a response and continuation of his current touring play, “Escuela.” In “Escuela,” he manages to highlight the erased history of a subculture and uprising against the government during 1980s Chile. The play explores the complicated relationship of violence as he tells the story of the “secret schools” that were established for young people to learn about political theory and ways to handle the regime with violent means.

    “The subject matter was unavoidable,” he recounted, referencing the violence and strife that occurred during this subset of history. Calderón felt the need to tell the truth of the individuals who were part of this erased history.

    In a video clip of the play that Calderón screened, the actors are masked with t-shirts in the form of ski masks to keep members of these groups anonymous to each other. This brand of secrecy still holds today when these schools are observed in Chile. The denial of facial expression onstage warrants the full attention of the viewer to rely on the voice of the actors to perceive emotion.

    Calderón’s research for “Escuela” involved meeting members of these schools to incorporate their stories and experiences into the play. Among the people that Calderón and his actors met was a man named Jorge Mateluna, who currently resides in a Chilean prison and is believed to be wrongfully detained for a bank robbery from a few years ago. The evidence that supports this claim consists of a security video from his holdings; during a line up, the eyewitness does not choose Mateluna, although the police paperwork indicates otherwise. The blatant disregard of due process and justice has disgusted Calderón because Mateluna sits in a prison for a crime that he did not commit and the damning proof was dismissed from the court proceedings.

    After this, the video was uploaded to YouTube, and has accumulated fewer than 100 views even though it serves as evidence to a great scandal in Chile. Before his recent incarceration, Mateluna was found guilty of a previous bank robbery that resulted to the death of a police officer. Calderón believes that the police serve to punish Mateluna for his past actions and fabricated evidence to do such.

    Sadly, Calderón has developed a strong distaste for his country through his research for “Escuela” and the Jorge Mateluna case. He refers himself as anti-nationalistic and refers to the country as a failed project. In his opinion, the dissolution of his native country would benefit its people more than remaining intact. Using his animosity and ability to start conversations with his art, Calderón strives to explore the ethics and morality of Mateluna’s experience.

    Despite the fact that they are attempting to defend him, Calderón and his actors possess a healthy distrust of Mateluna because they do not have the whole truth. Instead, they only have sides of stories that do not culminate into a coherent explanation of the situation.

    Calderón’s vision for this upcoming play involves the weaving and construction of falsehoods that pose as truth. His hope is for the YouTube video to conclude the play and thereby emphasize the truths and lies within the government system, relationships, and society.

    “We’re going to present the dirt and let people elaborate,” Calderón explains.

    Calderón’s talk addressed controversial topics and expressed acute hostility. He strove to explain to the audience that he reveres his profession and the art he makes. In concluding the talk, Calderón stressed his passion for both his country and his profession.

  • Despite a Great Year in Film and TV, Award Ceremonies Lack Diversity and Well-Timed Jokes

    This past calendar year, Hollywood released an impressive number of films. Some proved exemplary while others missed the mark, and per tradition, the film community hosted award shows for the cinematic cream of the crop.

    This award season kicked off with the 67th Primetime Emmy Awards. The Emmys honor the best of primetime programming in the United States, as chosen by the Academy of Television Arts & Sciences. This year’s Emmys were hosted by Andy Samberg and aired on the Fox Network on Sept. 20th. By the end of the night, HBO’s “Game Of Thrones” had received a record-breaking 12 awards, the most for any show in a single year. In fact, HBO was the network with the most wins, with 14 overall. Viola Davis became the first black actress to win a Primetime Emmy for a lead actress role in a drama series, awarded for her role as Annalise Keating on “How To Get Away With Murder.” Uzo Aduba became the first actress to win an Emmy for the same role—Suzanne “Crazy Eyes” Warren from Netflix’s “Orange Is The New Black”—in both Comedy and Drama categories. No stranger to the Emmys, Jon Hamm was awarded one for his lead role in AMC’s drama series “Mad Men.” Hamm bid farewell to his character, Don Draper, with the series finale last May.

    The next major award show was the 73rd Golden Globe Awards. The Golden Globes honor the best in film and American television, as selected by the Hollywood Foreign Press Association. Before the show aired, the nominations were released, and many were met with perplexity. For example, critics and the public reacted with confusion to the placement of the dramatic film “The Martian” in the Comedy or Musical category. Many viewed the odd placement as a snub to the other movies nominated within the category.

    The Golden Globes aired on NBC on Jan. 10th of this year. Leonardo DiCaprio picked up his first award of the season, receiving Best Actor in a Motion Picture Drama for his portrayal of Hugh Glass in Alejandro G. Iñárritu’s “The Revenant.” The win ignited buzz about DiCaprio’s chances of taking home the Academy Award for Best Actor. Brie Larson was awarded her first ever Golden Globe for playing Joy “Ma” Newsome in Lenny Abrahamson’s “Room,” while Sylvester Stallone received his for reviving Rocky Balboa in “Creed.” Stallone was nominated for the same character in 1977 but lost the award to Peter Finch; this year’s win brought him a standing ovation. Meanwhile, Kate Winslet took home her fourth Golden Globe for her supporting role in “Steve Jobs,” and Jennifer Lawrence was awarded her third for her lead actress role in the comedy “Joy.”

    The Golden Globes recognized excellence in television as well. Taraji P. Henson took home her first Golden Globe for her performance as Cookie Lyon on Fox’s “Empire.” As she walked to the podium, Henson handed out cookies to surrounding individuals as a nod to her character’s name. Repeating last year’s trend, TV network the CW secured Best Actress in a Television Series—Musical or Comedy with Rachel Bloom’s performance on “Crazy Ex-Girlfriend.” Jon Hamm picked up his second ever Golden Globe, again for“Mad Men”; however, he seemed surprised by the win and expressed his disdain for Don Draper in his acceptance speech. Critics were also taken aback when Rami Malek appeared poised to win for his work on USA’s “Mr. Robot,” which later earned the award for TV Series – Drama; Christian Slater was also recognized for his supporting role on the show. Last but not least, Denzel Washington was announced as the recipient of the Cecil B. DeMille Lifetime Achievement Award. Washington’s family joined him on stage for an unconventional and casual acceptance speech.

    Overall, the Golden Globes was filled with its share of snubs and surprises. For one, Lady Gaga was awarded Best Actress in a Miniseries or Television Film for her role as The Countess on “American Horror Story: Hotel.” The biggest upset of the night came from Amazon’s “Mozart in the Jungle,” a show that generated minimal press but took home Best Musical or Comedy Series and Best Actor in a Television Series—Musical or Comedy. It also stole the punchline from Aziz Ansari’s thoughtful joke: when the nominees were announced, Ansari was shown reading a book entitled “How To Lose To Jeffrey Tambor”; Tambor was nominated in the category for his role on Amazon’s “Transparent.”

    Unlike the Primetime Emmys, the Golden Globes were lackluster and hard to watch. Ricky Gervais returned to host for the fourth time and gave a disappointing performance. Although he lived up to expectations by being crass and unapologetic, the majority of his jokes missed the mark. Those that were successful poked fun at staples of the industry, most notably Mel Gibson and Sean Penn. The other presenters were similarly underwhelming, opting for trite satirical commentary on Hollywood. Jonah Hill and Channing Tatum tried to provide a comedic introduction, but their poorly executed skit lost its momentum and gave the show a rocky start. Jamie Foxx attempted to “pull a Steve Harvey” by announcing the wrong name (“Straight Outta Compton”) for the winner of Best Original Score, in hopes of adding levity to the show. During their presentation of Best Actor in a Drama Series, American Ferrara and Eva Longoria proceeded to remind the public who they are by listing all of the other Latina celebrities they are not, a joke that stemmed from The Golden Globes’ Twitter account having mistakenly tagged American Ferrara in a picture of Gina Rodriguez. Fortunately, Jim Carrey injected a moment of real humor after a broken teleprompter forced him to ad-lib his presentation of Best Motion Picture–Comedy. Jennifer Lawrence and Amy Schumer, meanwhile, proved they were best friends and exemplified their chemistry as they presented clips from their respective films “Joy” and “Trainwreck.”

    The following weekend, A&E aired the 21st Critics’ Choice Awards, honoring achievements in film and television programming as determined by the Broadcast Television Journalists Association. Host T.J. Miller’s performance was cringeworthy: he delivered poorly timed jokes and drawn out skits that repeatedly fell short. The highlight of the night was nine-year-old, Jacob Tremblay, who won Best Young Actor for his performance in “Room.” Tremblay gave an adorable speech thanking his fellow nominees, “Team ‘Room,’” and his parents. George Miller’s “Mad Max: Fury Road” swept the awards, winning nine and demonstrating the power the action movie had on critics. Tom McCarthy’s “Spotlight” took Best Picture and Best Acting ensemble, suggesting Oscar-winning potential. Swedish actress Alicia Vikander received her first two awards of the season, Best Supporting Actress for “The Danish Girl” and Best Sci-Fi/Horror Film for “Ex Machina.” Amy Schumer beat out best friend Jennifer Lawrence for Best Actress in a Comedy for playing the protagonist of “Trainwreck.” Schumer was also honored for her work over the past year with the MVP award. In television, “Mr. Robot” earned its second win for Best Drama Series, while Rami Malek took home his first and only award. Other firsts included Idris Elba for Best Actor in BBC’s “Luther” miniseries and Mayim Bialik for Supporting Actress on “Big Bang Theory.” Netflix’s “Master of None” caused a stir by receiving the Best Comedy Series award. (Although the Critics’ Choice Awards is well-respected, it is important to note that its nominations had no notable bearing to the outcome of the Oscars.)

    On Jan. 30th, the 22nd Screen Actors Guild Awards (SAG) aired simultaneously on TNT and TBS. The SAG Awards honor acting achievements in film and television, as decided by the Screen Actors Guild-American Federation of Television and Radio Artists. Each winner is awarded a statuette referred to as “The Actor.” Reacting to the whiteness of the Academy Awards’ nominees, the Screen Actors Guild seemed to celebrate diversity with its choice of winners. Idris Elba received his first SAG for his supporting role in Netflix’s “Beasts of No Nation” and his second award for his lead television role in “Luther,” while Queen Latifah won for her performance in “Bessie,” a HBO television movie. Additionally, Viola Davis and Kevin Spacey took home awards for their dramatic performances in “How To Get Away With Murder” and “House of Cards,” respectively. Jeffrey Tambor and Uzo Aduba received the Actor for their disparate comedic performances. Later, the cast of “Orange Is The New Black” won for Outstanding Ensemble in a Comedy Series, their second award in the category, and “Spotlight” won for Outstanding Cast, nudging them closer to Best Picture at the Oscars. Leonardo DiCaprio and Brie Larson secured SAGs for “The Revenant” and “Room,” respectively and remain frontrunners for the Best Actor and Actress Academy Awards. Alicia Vikander won for her performance in “The Danish Girl,” making the race for the Best Supporting Actress Oscar tighter for Kate Winslet. The Screen Actors Guild honored Carol Burnett with the Life Achievement Award, which was presented by Amy Poehler and Tina Fey. Ultimately, the SAG Awards aired without a hitch and set a precedent for minorities involved in the industry.

    The Producers Guild Awards, which aired on Jan. 23, are regarded as the most reliable predictor of Oscar success: over the 27 years of its tenure, 19 of its winners have also taken home the Academy Award for Best Picture. This year, the Producers Guild established “The Big Short” as the potential winner of an Academy Award. Likewise, the 68th Directors Guild of America Awards on Feb. 6th will hint at the winner of the Academy Award for Best Director, and the 68th Writers Guild of America Awards on February 13th for the two Best Screenplay awards. Perhaps most critical to Oscars success, however, are the British Academy of Film and Television Arts (BAFTA) Awards. The February 14th ceremony will help Academy voters determine winners. If Leonardo DiCaprio wins the BAFTA for best actor, he will become the forerunner and the guaranteed winner of the Oscar for Best Actor, as will Brie Larson for Best Actress.

    The 88th Academy Awards will air Feb. 28th on ABC and will be hosted by Chris Rock. Commonly referred to as the Oscars, the Academy Awards are viewed as the zenith of film awards. In the wake of the controversy over the Oscars’ lack of diversity, it will be interesting to see how the ceremony brings an end to this great year in film.