To put it delicately, “Elden Ring” has a vice grip on anyone that’s dared touch it. The new phenom instantly joined the ranks of the most adored video games of all time. After almost no time at all, “Elden Ring” made a tangible cultural impact on the gaming community. The luminary work of art cut through a world of infinitely diverse media to become a unifying, moon-landing-esque experience for this generation of gamers.

Kindred Souls

According to earlier sales numbers, “Elden Ring” sold over 12 million copies, with likely a few million more well on the way. The game is a massive success by any metric, owed to the most unexpected creative pairing. Directed by legendary game-designer Hidetaka Miyazaki and co-written by Game of Thrones creator George R. R. Martin, the game was destined for greatness.

The beauty of the game comes from its eternal scope. There are voluminous troves of weaving narratives to delve into and seemingly unending lands to explore in the meticulously-crafted fantasy universe. “Elden Ring” borrows ideas from Norse and Greek mythology alike to build a fresh creation that allows players to effortlessly buy into the world.

Not a Mimic

What separates “Elden Ring” from the overly saturated pack of gigantic open-world games is that its expansiveness and diversity carry over into the gameplay. Looking at the statistics on my personal friends list, the average time spent playing “Elden Ring” is over 100 hours. Most of us played the game in completely different ways — we all found different dungeons, fought different bosses, used different weapons and conversed with different characters, yet we were all loving “Elden Ring.”

Becoming a Knight of the Roundtable

Despite the extremely varied experiences offered, there are two key aspects that make the game universally fantastic. First, “Elden Ring” offers an astounding amount of avenues to tackle its unrelenting beasts. The freedom of choice feels fantastic — it makes the reward of taking down a stubborn behemoth truly your accomplishment.

It also has the intended benefit of making the game insanely replayable. Firing up the beginning of the game for the eighth time with a new set of weapons, spells and armors will still feel fresh after hundreds of hours. 

Secondly, “Elden Ring” does not have a difficulty setting, the game is tough and will do nothing less than demand your best. However, by design it allows players to choose their difficulty on the fly, not with some trite option in the game settings, but through their actions and choices as a player. For example, if the game is too easy for a veteran of the series, they can simply use weapons that aren’t as strong as others. They could use riskier, possibly even more rewarding tactics. If the game is too difficult, players can use overpowered weapons, call in help from other online players, or try for extra level-ups.

The role-playing in “Elden Ring” doesn’t stop and start with the character creator, it morphs with every little decision players make throughout their journey.

l.welk@dailyutahchronicle.com

@funkopops

The post ‘Elden Ring’ Brings Players Together appeared first on The Daily Utah Chronicle.

In the world of stand-up, the days of “Women be shoppin” and “How about airline food?” are out, and curling up in a ball and sobbing are in. 

Many people claim comedy has lost its bite — that politically correct humor is destroying the genre. Nothing could be further from the truth.

Todd Phillips, well-known as the director of “Joker” (2019), claims “woke culture” has ruined comedy, which is why he made the brave decision to quit the genre, devastating everyone waiting for a fourth installment of “The Hangover.” Ricky Gervais can’t seem to stop sharing a similar sentiment, most recently deciding to insert himself in the Chris Rock-Will Smith dilemma by going after Jada Pinkett Smith. 

Despite such claims, anti-woke comedy is flourishing. Gervais’ entire new stand-up tour is dedicated to getting canceled, making it his duty to heroically fight against political correctness. Louis C.K. and Dave Chappelle are also both thriving in the face of the woke culture they claim is ruining comedy, with C.K. even recently winning a Grammy. 

Still, these same men continue to say new stand-up comedy is weak fluff, not at all similar to the hard-hitting and groundbreaking transphobia they built their careers on. 

Yet, the latest and greatest stand-ups are hitting the audience harder than ever before. That’s because the days of ranting about your wife to a crowd have been replaced with raw, devastating and dark confessions. 

In December 2020, James Acaster premiered his special, “Cold Lasagne Hate Myself 1999,” after the success of his 2017 Netflix original, “Repertoire.” The four-part special saw Acaster playing different characters, such as a man in witness protection, while slyly incorporating aspects of his real life. However, “Cold Lasagne Hate Myself 1999” was unabashedly personal.

Funnily enough, the very start of his two-act special is a monologue calling out Gervais for using transphobia as comedy. Acaster then segues into bits about his adolescence and Brexit. However, the stand-up takes a turn in the second act, where Acaster speaks bluntly about his struggle with mental health and suicidal ideations — a steep departure from his past work focused on football chants and gluten-free bread. If his name doesn’t ring a bell, you may know Acaster from the “Started making it. Had a breakdown. Bon Appetite” meme. While that meme has spread everywhere, Acaster divulges that the moment was his lowest mentally — an uncomfortable backstory for those who have laughed at the image set. 

The norm of stand-up comedy is to set up a story and end it at a punchline; there is no need to speak on the aftermath or include details. However, Acaster specifically starts at the punchline to transition into the aftermath that most traditional comedians would ignore to prioritize laughs. 

Acaster is nowhere near being the first comedian to subvert a previously used punchline into serious discussion.

Hannah Gadsby’s 2018 Netflix Special, “Nanette,” represented a new phase in her life, a time where she foregoes the self-deprecating humor that she built her career on to detail the traumatic experiences that brought her to the stage. She begins the show as normal but abruptly announced that she was “quitting comedy” before delving into the struggles she experienced as a lesbian woman. While some comedic moments remained, her comedy show was not so much about laughs as it was about telling her story. 

Gadsby specifically takes time to tell her coming out story, something she has done in other specials, but this time, she does not end with a punchline. This time, she talks about the aftermath of coming out, the part of coming out where her family did not accept her and the part where she was brutalized and assaulted, which she pushed to the sides for so many years to entertain audiences. 

This trend, of comedians sharing honest coming out stories, continues with Jerrod Carmichael’s HBO special, “Rothaniel,” which premiered earlier this month. During the special, Carmichael comes out as gay. While many past stand-ups use their coming out story as a bit, Carmichael is not doing that; he is simply coming out and sharing the pain that came with it. He details the strain his queerness placed on his relationship with his mother, the person he considered himself closest to who now tries to “pray the gay away.”  

The special, which lasts less than an hour, breaks the norms of stand-up. Whereas most comics try to fill up their time with as many jokes and bits as possible, “Rothaniel” thrives on extended, devastating moments of silence. Instead of the comedian talking to members in the audience, the audience calls out to Carmichael, and not just heckles, but asks deep questions about his self-identity and mother. It’s not so much a comedy show as it is a therapeutic experience. 

While punchlines are speckled throughout, “Rothaniel” is not an easy watch. Neither are “Cold Lasagne Hate Myself 1999” or “Nanette.” The movement of comedians no longer focusing on pure comedy is growing exponentially. The future of comedy is truth-telling, and the ugly, hard-to-hear truths are at the center. 

Kimberly Aguirre is a freshman dissecting the most off-base entertainment news. Her column, “Who Cares?” runs every other Wednesday.

The post The new age of stand-up comedy appeared first on Daily Trojan.

Sophomore Shaun Maswanganyi tied the third-best time in the nation for the men’s 100 meters as he clocked in at 10.10. | Joe Buvid/UH Athletics

The UH track and field team concluded and shined after four days of competition at the Mt. Sac Relays.

Graduate student Quivell Jordan highlighted all Cougars’ performances by taking home a first place finish in the men’s 400-meter hurdles while setting a new career-best time at 49.66.

In the men’s 4×100 meter relay, sophomore Shaun Maswanganyi tied the third-best time in the nation for the men’s 100 meters as he clocked in at 10.10.

This performance won him the 1-seed for the finals as senior Edward Sumler IV picked up a 6-seed time at 10.22.

Maswanganyi finished in third place in the finals while Sumler IV grabbed fifth place to finish the competition.

Graduate student Naomi Taylor managed to qualify for finals in the women’s 100-meter hurdles and finished with a time of 13:26 which happened to be third overall.

Senior Devin Vallejo ran his way to third place in the men’s 1500-meter race clocking in at 3:47:41. 

In the men’s 4×400 meter relay, graduate students Antonio Ruiz and Quivell Jordan partnered with senior Jordan Booker and junior Trey Johnson finished with a time of 3:06:31 which eliminated them from a podium spot. 

The Cougars will now return home to compete at the J. Fred Duckett Twilight on Saturday at Rice.

sports@thedailycougar.com

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“UH track and field completes four-day Mt. Sac Relays” was originally posted on The Cougar

This article contains spoilers.

Most movies about plane hijacking are action-packed, such as “Air Force One” (1997), “Non-stop” (2014) and “United 93” (2006). “All the Old Knives” takes a calmer, more dramatic approach that leaves audience members feeling the suspense throughout the entire film.

The movie, which was released on Amazon Prime Video April 8, follows CIA agent Henry Pelham (Chris Pine) as he tries to find the mole in the CIA team that responded to a 2012 hijacking event. Henry is sent to interview Celia Harrison (Thandiwe Newton), his former lover and co-worker at the time of the attack. The film eases the viewer into the plot with flashback scenes as the pair recount the events of Flight 127 in an almost empty restaurant.

A slow-burn drama, the film shows constant flashbacks revealing details of the attack and the connection between Celia and Henry. Despite their deep relationship, both have troubled pasts that impact their ability to cope while learning information about the hijacking. Their connection and Henry’s complicated past is what ultimately contributes to the dramatic plot twist at the end of the film. 

As they talk in the restaurant, Henry recounts his time working as an agent in Russia, during which he had a connection with an informant named Ilyas Shushani (Orli Shuka) who had later been radicalized. In an effort to protect Celia, Henry becomes the mole during the 2012 hijacking. 

Eight years later, Celia reveals her knowledge of Henry’s actions as the mole and is visibly devastated when Henry reveals he did it for her protection. In a display of dramatic irony, the audience members are aware that each character entered the restaurant with a plan to kill each other while they are unsuspecting of the other’s schemes. Henry had hired a hitman and Celia worked with the CIA on an assasination plot. The realization of Henry’s good intentions hurt Celia, as she concluded that the CIA’s plot to poison Henry’s wine and make his death look like a suicide was irreversable. As Celia cries while leaving Henry suffocating at the restaurant, the audience is left with a display of Celia’s previous love for Henry. In his dying breaths, Henry is unable to talk with the hitman, so Celia is the only one to return home alive.

Chris Pine as Henry Pelham. Courtesy of Amazon Prime Video.

The plot twist at the end was wonderfully conducted, as the majority of the runtime is spent leading audiences to be cautious of others. The twist of Henry being the mole was a big shock, but the biggest surprise was Celia’s cooperation with the CIA after she seemed to have left the agency. The multiple twists at the end were phenomenal, as they not only created more dimensionality within the characters but also because they were heart-wrenching. This couple that had so much history together had fallen apart, and when there was a glimmer of hope for their future once Henry explained his actions, it crumbled altogether when Celia confessed the wine was poisoned. 

Although the movie was an intentional slow burn, it did at times feel a bit too gradual of a build up. Some scenes appeared unnecessary and even went slightly unresolved. For example, there were so many questions remaining around the character of Bill Compton (Jonathan Pryce), Celia’s boss during the 2012 attack who had been loosely framed as the mole by Harry. However, his significance goes unanswered and the plotlines seem redundant. 

One particularly exciting aspect of the film was the limited main cast. The cast gave amazing performances that displayed the intensity of their desperation both in the scenes from 2012 and 2020. Newton offered a wide range of emotions, such as admiration, fear, disgust and curiosity, as she faced the horrors of her work and Henry’s betrayal. Vick Wallinger (Laurence Fishburne), the CIA task force leader, embodied false trustworthiness by tasking Henry with finding the mole, despite knowing that Henry was responsible for the information leak. 

While the entire cast was phenomenal, one of the most impressive performances was Pine. His intensity throughout the movie was truly convincing. Henry’s determination and commitment to finding the mole created the need to second-guess the motivations of every other character. Even after it is revealed that he was in fact the mole, Pine was able to shift his performance drastically back to convey that Henry’s main concern was Celia’s safety. Even in his dying breaths, Pine portrays a form of Henry so consumed by love that even if he could have spoken, it is unclear if he would have been able to command her death.

In addition to the excellent acting, this film was also visually gorgeous. It had three main settings: the chaotic and bustling CIA office, the dark and intense interviews surrounding the hijacking and the warm-toned restaurant. The contrast between Henry and Celia’s loving connection in the past and their intense conversation in the present exemplifies how much time had passed and the ways in which their lives had matured since 2012. Most noticeably, the warmer tones in the restaurant demonstrate a closeness and love that Henry had for Celia, compared to the cold-tone colors in the scenes when he interviewed informants. The minimal variation in settings was a beautiful choice that reflected both the characters’ connections and development.

I do not often find a drama film that truly leaves me surprised, but “All the Old Knives” not only left me guessing until the end but also had a heart-wrenching conclusion. With amazing character connections and plot development, “All the Old Knives” is a movie I recommend to anyone looking for a dramatically intense movie with a phenomenal ending.

The post ‘All the Old Knives’ is a slow burn with a heart-wrenching ending appeared first on The Emory Wheel.

The state legislature released many of their omnibus bills within the last month to determine how to use the state’s projected $9.25 billion surplus; but what are omnibus bills and how exactly do they work?

Omnibus bills are an important tool for legislators to use, but not everyone understands exactly what they are. The Minnesota Daily talked to three experts to help students understand.

What are omnibus bills and why do legislators use them?
Omnibus bills are a way for legislators to combine smaller bills into a large cohesive bill in order to pass them all at once, according to the Minnesota Legislative Reference Library. They are common for budgetary items.

There is usually one omnibus bill per committee in both chambers of the legislature. For example, the House and Senate Higher Education Committees have their own omnibus bills they introduce by the middle of each session.

Omnibus bills can include either policy or budget initiatives, depending on the year. Typically, the legislature passes their main funding items every odd-year and then focuses on policy each even-year. This year, the state is projected to receive a large surplus, meaning these bills focus on both policy and supplemental funding.

Legislators also use these bills because it takes less time on the floor by not voting on each item. Smaller pieces of legislation, like a proposed clean water plan and amendments to the regent selection process, were included in the House Higher Education omnibus bill to save voting time on the House floor.

The Higher Education omnibus bills in both chambers were released by mid-April and included anywhere from $2.5 million to $32.5 million, depending on the chamber. Both bills included funding for the Natural Resources Research Institute and various funding for public safety programs; the House version was the more generous of the two and included money for scholarship initiatives and other sustainability initiatives.

“[Omnibus bills] can be more efficient, because rather than having to track and pass multiple different bills, you can put everything together in an overall package and move forward with it that way,” said Nathan Hopkins, a non-partisan legislative analyst with the House Research Department.

Omnibus bills also help to keep all budget items in the same place.

“By grouping all the spending together in a single bill, it is easier for the committee to see how much that committee is spending and allocating money among various projects or proposals,” Hopkins said.

What is next for these bills now that they’ve passed their first committee?
Once omnibus bills pass their initial committee, most of them go to different committees to be evaluated by different legislators. After making it to their chambers’ floor for a vote, the legislature will likely appoint a conference committee to resolve the differences between the two bills.

“In order for a bill to become law, the House and the Senate have to pass a bill that’s exactly the same. [A conference committee will] try to hammer out the differences between the two bills, because the bills have to be identical,” said Dr. Michael Minta, a professor of political science at the University of Minnesota.

Once the differences are resolved in the conference committee, the final version of the bill is referred to Gov. Tim Walz, who will either sign or veto the bills.

How can students be involved in the process?
While most of the first hearings for bills are over, there are still many ways students can get involved to express their opinions about funding or policies in omnibus bills.

“They can reach out to their elected representatives,” Hopkins said. “Whether they’re a Minnesotan or they’re still voting back at home, reach out to their elected representative to express their views about whatever issues are of interest to them.”

Brandon Price, a state senate intern who started at the University in January, also pointed out how that the legislature is open to the public.

“One thing that a lot of people don’t know is that the Minnesota legislature is very public-oriented,” Price said. “You can go online and watch these committee hearings live on YouTube. Nothing’s closed off. You can go into the Capitol and go into the gallery and just watch things happen.”

Arkansas transfer forward Destinee Oberg announced that she will be coming home and committed to the Gophers Monday.

“You’ve watched me grow up. Supporting me even on my worst days. Yet the standard never changed, which is to give it my all. Representing you has always been an honor, doing that in my backyard only makes it that much more special. I’m coming home,” she said on Twitter Monday.

A Burnsville, Minnesota native and former Holy Angels Academy standout, recruiting service Prospects Nation rated Oberg as a 4.5-star prospect. She was the No. 6 post player and No. 38 overall recruit in the country coming out of high school in 2019

Oberg, a 6-foot-3 forward played in 39 career games for the Razorbacks in three seasons, averaging 1.1 points per game.

She is currently the only player with more than one season of college experience on the Gophers roster. She joins three returning players Katie Borowicz, Alanna Micheaux and Maggie Czinano along with four incoming freshmen and the No. 10 recruiting class in the country according to ESPN.

Head coach Lindsay Whalen and the Gophers will likely continue to be active in the transfer portal this offseason.

A student was robbed at gunpoint Monday afternoon in the courtyard of the Fine Arts Building, according to a University security alert.

The suspect asked to use the student’s phone before showing a a tan and black semi-automatic handgun and demanding for the student’s smartwatch and money.

The suspect is a Black male, approximately 25 years old with facial tattoos and a faded haircut, wearing a black pullover shirt, blue jeans and red Nike shoes, according to the alert. No injuries were found.

The suspect was seen heading westbound away from the building on a blue bicycle.

More information will be added as the case continues to develop.

news@thedailycougar.com

—
“Student robbed at gunpoint outside Fine Arts Building” was originally posted on The Cougar

Ocean Vuong promises poignancy, profundity in ‘Time is a Mother’

Penguin Random House/Courtesy

Grade: 4.5/5.0

An architect of words and practiced in perfervidity, Ocean Vuong deftly weaves together a vibrant canopy that is dizzyingly breathtaking in his newest poetry collection “Time is a Mother.” 

Prior to the book’s release, the Vietnamese-American writer had already garnered colossal praise for his 2019 debut novel “On Earth We’re Briefly Gorgeous,” an epistolary novel in correspondence to his illiterate immigrant mother. Yet, however high Vuong previously set the bar, it is more than surpassed in his most recent work, a poignant, earthshaking elegy once again for his mother, who is now deceased.

The book is cleaved into four chapters, each slice emitting its own tone: the first holds itself to a more conversational sound than Vuong has previously put out, but he masters the voice effortlessly. The second, however, returns to his familiar flowery cadence as the weaving pattern takes effect, slowly unraveling vivid themes of time, loneliness and love.

Within the second chapter, a spotlight shines brightest on the poem “Not Even.” Previously published as “Not Even This,” the already striking piece of work takes on new life with its two years maturation, a rumination on time and its endless agenda of progress. In a series of short, sardonic snippets, “Not Even” examines a journey through the caverns of time, traversing culture, queerness and identity. 

This poem is also where the novel’s title is derived: the thought-provoking, ripened line “Time is a mother” grows stronger by the refrain revisited later in the poem, immersed overwhelmingly in grief for his own late mother: “Time is a motherfucker.”

The third chapter stands out for its brevity; with only two poems, the theme seems to emulate the coexistence of a pair of lists: a backwards litany of pain, followed by a forwardly moving, progressive instruction manual for hope. 

The first poem is “Künstlerroman,” a German word for the “artist’s novel.” Spanning over ten pages, the poem is one of Vuong’s longest, its form a poignant passage of the narrator walking backwards through various scenes in his life. The poet’s journey astern carves through grief, sexuality, violence, addiction and the ever-present barbarity of war. Vuong stretches time taut until it eventually snaps back into place like a tweaked rubber band, its vibration reverberating across the pages of the novel. 

While “Künstlerroman” pulls time open, its counterpart “Reasons for Staying” creates room for more, chronicling all the reasons Vuong has deemed worthy to stay on this earth.

The final chapter, which opens with God in the process of human creation, is where Vuong’s social commentary ultimately prevails with the inclusion of poems like “Toy Boat.” Dedicated to Tamir Rice, “Toy Boat” is a desolate, lonely elegy for the twelve year old African-American boy who was murdered in 2014 by a white police officer. 

Vuong paints an intricate, haunting extended metaphor using the image of a toy boat floating on the sea to represent the figure of the young Black boy, who is “oarless,” completely unable to have a choice in his own destiny, moved only by his own “waiting” for society to catch up with him. This is not a poem of activism — it is a poem of mourning.

Mourning dawns most profoundly however, at the close of the final chapter, in Vuong’s stunning ten-page letter to his mother “Dear Rose.” Without pausing for breath between stanzas, Vuong enjambs instances of aching grief to sweeping memory, the stream of consciousness like a patchwork quilt sewn up haphazardly in sorrow. 

Equal parts memoir and artistic tapestry, “Time is a Mother” guarantees pathos from the dedication — “for Peter & for my mother, Lê Kim Hồng, called forward,” to the book’s final moments, grief-stricken and graceful. 

“The blood inside my hands is now inside the world,” Vuong laments in “American Legend.” It’s one of several allusions to the fraught fervency of putting pen to paper and watching the world react to his words. In this instance, blood is not just blood; it is also life, death and violence, kindling burning passion and clefting the empty shell of loss. These feelings spread through the veins of the book — intricate, impassioned and wholly invigorating.

Contact Vivian Stacy at vstacy@dailycal.org.

The Daily Californian

The University of Utah baseball team (20-14-1, 7-8 Pac-12) stayed at home this week as No. 20 Arizona came to town. This was a huge matchup for the Utes, and they proved why they might be one of the most underrated teams in college baseball.

Utah and Arizona played a three-game series, spanning from Thursday to Saturday. Utah started Thursday’s game off well after giving up two runs in the first. They quickly put up three runs in the first to gain the lead.

The team added another two runs in the third with TJ Clarkson and Jayden Kiernan reaching home. The tides quickly changed when Chase Davis got up to the plate in the fifth for Arizona. A grand slam quickly put Arizona up 6-5.

Both teams added another run later in the game, but Utah wasn’t able to mount a comeback after leading for the majority of the game. It was an unfortunate 6-7 loss for the Utes, but they showed just how powerful they can be against nationally-ranked opponents.

In the next game, Utah never let Arizona stand a chance. Utah gained a 3-0 lead in the second, and never let Arizona gain the lead. Arizona tightened Utah’s lead to 3-4 by the fifth, but Utah just kept going. The Utes recorded four runs in the fifth inning, spanning the lead to 8-3.

Arizona had a two-run homer in the seventh, and Utah tacked one of their own on to end the game 9-5 for Utah.

In the final game of the series, Utah dominated over Arizona. Although the Utes were only able to score in three innings, they tallied 11 runs.

Arizona hopped out to a quick 3-0 lead in the first, putting the Utes in a tough situation. Utah added two of their own to close the gap, and Arizona got one in the top of the third to gain a 4-2 lead.

But that was Arizona’s last run of the day, and Utah was committed to taking the lead. The third inning saw Utah record six runs to take an 8-4 lead.

There was little action during the rest of the game until Utah grabbed three more in the seventh to win the game 11-4.

Utah’s only loss in the series was a one-run loss off of a grand slam. They showed dominance in their wins, maintaining leads throughout the game.

Coming off of their hot games, Utah will remain home as they face BYU for their second and final matchup of the season. The team will then take a trip to Los Angeles where they will face USC in Pac-12 play.

s.overton@dailyutahchronicle.com

@SeanOverton3

The post Utah Baseball Takes Two Against No. 20 Arizona appeared first on The Daily Utah Chronicle.

USC women’s basketball commit Aaliyah Gayles was hospitalized Saturday night after being shot at a house party in North Las Vegas, USC Athletics confirmed Monday. 

Gayles sustained non-life-threatening injuries along with three other victims after shooting broke out at about 11:15 p.m., the North Las Vegas Police Department said in a statement to the Daily Trojan. 

Gayles had two emergency surgeries Sunday morning, the Las Vegas Review-Journal reported. 

Officers determined an argument at the party caused the shooting. The suspect is not in custody, according to the release. 

Gayles’ father, Dwight, took to Twitter Sunday afternoon to provide an update on his daughter’s status.

“I know there is some that will say it’s my fault and I take full responsibility for it but please please keep my baby girl in your prayers Las Vegas,” he wrote.

Gayles currently attends Spring Valley High School in Las Vegas, where she earned a five-star rating from ESPN. She is ranked as the No. 8 overall player in the 2022 class. 

After decommitting from USC following the retirement of former women’s basketball Head Coach Mark Trahk, Gayles recommitted to the Trojans following a visit with then-new Head Coach Gottlieb. 

Women’s basketball Head Coach Lindsay Gottlieb gave a statement on the situation Monday morning. 

“Aaliyah is one of the strongest, most resilient young people I have ever known,” Gottlieb said. “I have no doubt she will continue to face this unfathomable situation with courage and resolve. We will continue to support her and her parents in every way that we possibly can.”

This article will be updated as the story develops. 

The post Women’s basketball recruit hospitalized after shooting Saturday night appeared first on Daily Trojan.