The University of Minnesota Department of Asian and Middle Eastern studies will open a multimedia virtual museum on South Asian migrant identity in January.

Assistant professor Dr. Nida Sajid, doctoral student Pawan Sharma and Berlin-based curator Rituparna Rana worked together to assemble the collaborative exhibition.

The virtual museum is an extension of “Memory, Movement, Montage,” a research collaborative focused on navigating and highlighting diverse perspectives on migration. Titled “The South-Asian Migrant Identity: Narratives, Spaces and Constructs,” the project marks the first on display for the ongoing project, which will aim to update exhibitions each quarter.

“Through this project, I want to create a space where these diversities and heterogeneities exist together in the form of a multimedia primary and secondary resource bank,” Sharma said. Sharma’s work focuses on the sheer amount of identities and bodies of work contained within and produced by people from South Asia.

South Asia, the heavily populated region that includes modern-day Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka, contains an expansive array of languages, religions and cultures.

Through the virtual museum, its curators hope to highlight the breadth and diversity of South Asian migrant identities. They plan to do so by incorporating multimedia from a variety of sources within the museum, including videos, scholarly articles, artist exhibitions and a scholarly lecture-focused podcast.

Their primary aim is to convey stories of migration narratives through the lens of migrant community members themselves, according to Rana and Sharma. They said they hope approaching the narrative collection from a grassroots perspective will assist in bridging the wide gap between researchers and the communities serving as their subjects.

According to Rana, the concept of migration is “much more than the mere physical phenomenon of moving from one place to another. It is a part of one’s identity, of how one describes oneself in relation to another, and how one is perceived by the other as well.”

Rana’s previous works have largely centered around themes of home, belonging, memory and nostalgia.

The virtual museum is officially set to launch on Jan. 15, 2023. It will be accessible at memorymovementmontage.com.

For those familiar with the Minneapolis dining scene, odds are high that chef Gavin Kaysen’s name rings a bell. He’s the man behind Spoon and Stable, Bellecour Bakery, Demi, Socca Cafe and Mara.

Beyond a handful of accolades (James Beard awards included), Kaysen’s culinary journey has seen him navigate everything from the intensity of the Bocuse d’Or cooking competition in France to handling operations for his catering companies, Spoon Thief Catering and KZ ProVisioning.

Kaysen has recently ventured into the publishing realm as well, with his self-published cookbook, “At Home,” released in October. “At Home” features recipes for chefs at all levels, combining the knowledge Kaysen’s gained from his own culinary endeavors with French cuisine and his own Midwestern roots.

A&E caught up with Kaysen via Q&A regarding his go-to pantry staples, the people who inspire him, how to make a french omelet and more.

Question: What was your go-to meal in your early twenties?

Answer: Usually anything that was heavy in protein, steak, roasted chicken, and I loved making braised lamb leg.

Q: What are the items you keep stocked in your pantry or fridge at all times?

A: My essentials are pickled onions, aioli and sherry vinaigrette. I added a section to the cookbook with recipes for pantry essentials, so you can start making them instead of buying them at the store.

Q: Tell me about where you find inspiration.

A: I gained a love for cooking through my grandmother, Dorothy, who made meals that brought our entire family together no matter how hectic the day was. For me, it’s all about creating special memories around the table. Restaurants are for restoration and that idea is at the heart of what we do for our guests every day.

Q: What are three words you’d use to describe your cooking style?

A: Seasonal, thoughtful and delicious.

Q: What is your best piece of advice for the aspiring home cook?

A: Practice, practice, practice. Once you’ve gained confidence in the basic skills like knife work, cooking becomes so much more enjoyable.

Classic French Omelet with Fines Herbs
Kaysen is widely-known for his French cuisine, rendering this French omelet recipe rather fitting.

Ingredients:
3 large eggs
1 teaspoon chopped chives
1 teaspoon chopped parsley
1 teaspoon chopped tarragon
1 tablespoon unsalted butter, plus
more (melted) for serving
Fleur de sel

For garnish:
1 tablespoon finely chopped parsley
and chives

Directions:

1. Crack the eggs into a small bowl and beat with a fork until frothy. Add the chopped herbs to the eggs and stir to combine. Warm a 10-inch nonstick skillet over medium heat. Add the butter to the pan and heat until it begins to foam. Add the eggs and stir with a silicone spatula constantly, as if scrambling the eggs. Once the eggs reach a soft scramble (about half-cooked), remove from the heat.
2. Using the silicone spatula, evenly distribute the eggs across the pan. Tap the pan a couple of times on your stovetop to ensure a smooth surface. Gently lift around the edges of the egg with the spatula to see if the eggs have set. Let it sit another 15 seconds if it’s not holding yet.
3. When ready, with the spatula, turn one-third of the egg over itself, as if starting a letter fold. Repeat this step from the other side of the egg to overlap the first fold.
4. Invert your serving plate on top of the skillet. Holding the pan and the plate at the same time, turn the skillet over to flip the omelet onto the plate.
5. Brush the omelet with a bit of melted butter and sprinkle with the fleur de sel and parsley/chive garnish. (This is the only salt you will have added, so a good pinch is recommended.) Serve right away.

Recipe from “At Home” by Gavin Kaysen and Nick Fauchald.

The University Opera Theatre will present “Suor Angelica & Il Tabarro” by Italian composer Giacomo Puccini this weekend. The opera will run at Ted Mann Concert Hall from Thursday, Nov. 17, to Sunday, Nov. 20. Tickets, only $10 for students, can be purchased here.

“Suor Angelica & Il Tabarro” are two separate operas by Puccini and make up part of a collection of early 20th century one-act operas known as “Il trittico.” Despite the collection’s relative obscurity, (“Il trittico” does not rank among Puccini’s most famous output) director David Walsh said Puccini himself swore “Suor Angelica” was his favorite work.

“Suor Angelica” (“Sister Angelica” in English), conducted by Jingqi Zhu, will be performed first. “Suor Angelica” features themes of loss and remorse, following the life of a woman sent to a convent after bearing an illegitimate child. This performance marks the third time Walsh has directed the opera.

“I love theater, and I love dance and all of that, but I think opera puts all of that together. That’s exactly what allows opera to express human desires, in all forms, in an incredibly compelling and convincing kind of way,” Walsh said. “It seems paradoxical because who goes around singing their story, right? But opera does this because of the power of the music.”

Following “Suor Angelica” is “Il Tabarro” (“The Cloak” in English), directed by Andrew Kim. “Il Tabarro” takes place on a river barge in the Seine and tells the story of a man who believes his wife has cheated on him.

“They’re having to take on really emotionally-charged characters,” Walsh said of the cast’s preparation for the performances. “I think in many ways, that’s been the biggest challenge of putting it on — just being able to deal with the huge emotionality of it.”

Beyond processing the heavy emotions associated with the operas, the cast and crew for each production have been hard at work for months. The production has brought together stage performers, costume designers and musicians in a dynamic joint effort.

“Opera is an art that brings all kinds of artistic collaboration to the fore,” Kim said, emphasizing the cooperative element of the production process.

If attending the opera seems unapproachable, consider Kim’s take on the art form.

Kim said emotions make opera a universal method of storytelling. When audiences consider the strong emotional aspect of the situation they watch unfold onstage, they should think about the times they’ve felt the same way. This method helps the audience look past a setting that seems out of reach (i.e. a barge on the Seine).
“I sincerely hope young people come to this because I think they will have a different view of opera,” Walsh said, referring to the stereotypical view of opera as an elitist art form. “It’s something anybody can connect to if you just come in for the experience.”

Taylor Swift released her tenth studio album, “Midnights,” on Oct. 21. Prior to its release, Swift offered no teasing for fans beyond track title reveals and a never-ending trail of easter eggs. Swift is no stranger to late nights, as her discography over the years can attest to.

As far as opening tracks go, “Lavender Haze” does the job well through its synthy intro and its parallel of “False God.” “Maroon” walks us through the grown-up complexities of an adult relationship, finding Swift navigating various shades of passion.

When I first heard Swift had employed Lana Del Rey for “Snow on the Beach,” the part of me that lived through Tumblr in 2014 and formed an intimate relationship with the tracks of “Born to Die” rejoiced. Taylor and Lana on the same track? Sounds like a fever dream. But the delivery could’ve been so much more than Lana’s breathy vocals and verseless appearance.

Swifties have theorized that she scrapped an album years ago by the name of “Karma.” While the “Karma” here might have offered some false hope to those who had idealized it for so long, the song is just fine. It’s catchy, but I can’t help but wonder — how did the same mind that gave us “Your Midas touch on the Chevy door / November flush and your flannel cure” also come up with “Sweet like honey, karma is a cat / Purring in my lap cause it loves me”? I do admire the likely allusion to Scooter Braun, though (“Spider Boy, king of thieves”).

“Vigilante Shit” is reminiscent of “Reputation” (“Draw the cat eye sharp enough to kill a man / You did some bad things, but I’m the worst of them”). Swift has done revenge, and she knows how she likes it. “Mastermind” finds Swift scheming again, this time orchestrating the ideal beginning of a relationship.

While Swift has touted “Anti-Hero,” the insecurity-driven tour of Swift’s self-struggles, as her most vulnerable track, I’d argue that “Sweet Nothing” offers an additional bit of personal insight. Co-written by Swift’s fiance Joe Alwyn (under the pen name William Bowery), it is a sweet ballad that serves to reinforce how unproblematic their mostly private relationship is. Wouldn’t we all be so lucky to hear “what a mind” from someone we love?

Swift has proven time and time again that she’s mastered the art of the understated surprise, hence the seven bonus tracks released at 3 a.m. Noteworthy is “Would’ve, Could’ve, Should’ve,” a collaboration with The National’s Aaron Dessner detailing the complexities of a relationship between a young Swift and an older man. Swifties speculate it’s a sequel to 2010’s “Dear John,” a track focused on her relationship with John Mayer.

“Midnights” is a far cry from the fictional narratives of “Folklore” and “Evermore.” It’s an album that more closely resembles a sound caught between the synthy-pop of “1989” and the romance-forward tracks of “Lover” (producer Jack Antonoff’s recurring hand is evident here). Is it Swift’s best work? I don’t think so, but it is not supposed to be. It’s a collection of stories that takes listeners through the worlds of her last nine albums, jumping from uptempo pop to lilting ballads. And while we’re walking through these worlds, one sentiment rings true — Swift’s just as much of a lover as she is a fighter.

The Minneapolis Institute of Art (Mia) debuted its latest exhibition on Oct. 16: “Botticelli and Renaissance Florence: Masterworks from the Uffizi.” The exhibition marks the first collaboration between Mia and the Uffizi Galleries.

“Following the extended period in which the pandemic limited the nature of international curatorial collaboration, the opportunity to bring wonderful works of art from the Uffizi to Minneapolis is nothing short of incredible,” Katie Luber, Nivin and Duncan MacMillan director and Mia president, said in a statement.

Florence, Italy, is considered the birthplace of the Italian Renaissance and has long remained a modern hub for art and culture. Sandro Botticelli’s works lie at the center of the city’s renaissance movement, representing life as it was during the Medici family’s rule through a variety of paintings and drawings.

From portraits of the Florentine elite to depictions of various religious experiences and mythological happenings, Botticelli’s works have retained significance since their creation. It is the significance of his work that renders Mia’s new exhibit noteworthy.

“Florence was the cradle of the renaissance, and we traced the renaissance through the life of Botticelli,” co-curator Rachel McGarry said. McGarry worked alongside co-curator and art historian Cecilia Frosinini to piece together the exhibition.

Five galleries make up the exhibition: “Art All’Antica: Virtue, Passion and Pleasure”; “The San Marco Sculpture Garden and Antiquities in Renaissance Florence”; “Sacred Beauty”; “The Renaissance Interior: A Setting of Virtue and Magnificence”; and “From Life: Florentine Faces and People.”

“When these works come back to Florence, we will know more about them than when they left,” Eike Schmidt, director of the Uffizi Galleries, said. According to Schmidt, the robust exhibition catalog (edited by McGarry and Frosinini and collaborated on by 18 other scholars) will offer new insight regarding the works on loan.

Beyond Botticelli, the exhibition highlights works from artists such as Botticelli’s teacher Fra Filippo Lippi as well as Domenico Ghirlandaio, Cosimo Rosselli and Pietro Perugino. Alongside these works are Roman sculptures from the second century BCE to the second century CE, which offer attendees an opportunity to observe the work that inspired Botticelli himself.

Schmidt emphasized the importance of these antiquities as they allow visitors to observe the way this “cultural collision” led to art that inspires us to this day. Additional standout pieces include Botticelli’s “Pallas and the Centaur,” a remarkably preserved renaissance wedding chest and rare drawings of the artist that had never left Italy before now.

“Botticelli and Renaissance Florence: Masterworks from the Uffizi” will run until Jan. 8, 2023. General admission is $20.

While Lizzo might have only spent seven years in the Twin Cities, those seven years were enough to land her a spot on the list of celebrities we claim as our own (think Prince, Winona Ryder, Bob Dylan etc). Rightfully so — from her chart-topping hits to her promotion of inclusion and individuality, who wouldn’t want to be associated with such a force?

Inspired by her recent homecoming show at Xcel Energy Center and correlated social media posts at various local joints across the city, this Twin Cities weekend itinerary includes last week’s stops as well as others that also fit the vibe. So turn up the music, turn down the lights and grab your tennis racket for a weekend in Minneapolis, Lizzo style.

Friday

4 p.m. Uptown Thai

Grab a late lunch/early dinner at Thai restaurant Roat Osha, located in Seven Points. Enjoy Tom Yum Soup, Green Papaya Salad or Cream Cheese Wontons. The latter is said to have originated right here in Minnesota, a la LeeAnn Chin.

6 p.m. Bowling & brews

Make your way to Bryant Lake Bowl. This neighborhood hangout is also home to a 90-seat cabaret theater, in addition to bowling lanes and a restaurant. Sip on a local beer like Pryes’ Miraculum or Bell’s Two Hearted while you bowl.

9 p.m. Arcade endeavors

Round the corner to LynLake’s hopping arcade bar, Up Down. Get lost in a game of Ms. Pac-Man, ski ball or pinball on the first floor. Head upstairs for bar games like Dance Dance Revolution or Jenga.

12 a.m. Late-night ‘za

You’ve been busy tonight — head to Pizza Luce for a late night slice (or two). The Minneapolis-based chain has been around since the early nineties when owner Joe Baier decided to open up his own pizzeria following the closure of the restaurant he’d been working at. Since then, nine additional locations have opened around the Twin Cities and Duluth.

Saturday

10 a.m. Breakfast at a no-frills diner

Open 24 hours a day, founders Sam and Dion Turner opened The Nicollet Diner, an Eat Street staple, in 2014 and have kept the coffee (and crowds) flowing since. Before housing the restaurant, the building was home to a car dealership and dollar store, among other things. Keep it simple with the Hangover Breakfast ($17.95) or a tall stack of Perfect Buttermilk Pancakes ($11.95).

1 p.m. Tennis time

Remember Lizzo’s nod to Serena Williams at the GLAAD Awards in 2019? Reminisce while you head to the University of Minnesota’s Baseline Tennis Court for an afternoon sweat session. Wander around campus for a bit after or head home to get ready for your evening out.

6 p.m. Italian eats in the North Loop

Make your way to the North Loop for dinner at Bar La Grassa, an Italian spot featuring a delightfully broad menu by James Beard Award-winning chef Isaac Becker. Snag a seat at the pasta bar, if you can, and watch the chefs expo the evening’s orders. Don’t skip the pillowy cauliflower and orange gnocchi or the bruschetta with soft eggs and lobster. With a decently priced wine menu, a mix of simple and elevated plates and an ambiance to match, you’ll leave dreaming of Italy.

8 p.m. Music at a Minneapolis staple

Catch a show at First Avenue, the longest-running music venue in the Twin Cities. Beyond its status as the place where “Purple Rain” was filmed, the venue has served as a starting point for a variety of Minneapolis-based musicians including Hippo Campus, The Replacements and Lizzo herself. She actually had her first solo performance here at the Entry in February 2013, as an opener for Aby Wolf.

11 p.m. Adult entertainment

End your night with a late night venture into Sex World. Nestled in the Warehouse District, the 24-hour establishment has served as a beacon for the Minneapolis kink community for nearly 30 years. While you’re there, let your hair down and take a ride, Lizzo-style.

Sunday

9 a.m. Juice that’s worth the squeeze

Wake up early and head to The Dripping Root for some juice. The spot opened in 2021, with a mission aimed at breaking down barriers between health, wellness and culture. Grab the Nipsey Drip, made with blue majik, guava, passion fruit, pineapple, apple and lemon ($12).

10 a.m. Mid-morning stroll around the lakes

Minneapolis, home to over 22 of the state’s 10,000-plus lakes, has plenty of options for exploration. Head to nearby Lake Nokomis for a wander around the water.

1 p.m. Back to Eat Street for Vietnamese

Grab lunch from Quang’s. Lung Tran, a Vietnamese immigrant, founded the restaurant in 1989 as a 4-table bakery. Tran purchased the building ten years later, and it’s remained a family business ever since — five of her children run the show today. Try the Thit Nguoi, a banh mi with red roasted pork, ham, pate and pork patty ($7), the Ribeye Pho ($17) or one of Quang’s Sunday specials.

“We Are Working All the Time!” marks the first time that work from the breadth of multimedia artist Piotr Szyhalski’s career has been displayed. The exhibition includes poster designs, web projects, mail art, paintings, installations and public performances. Additionally, Szyhalski will be present at WAM for in-person “office hours” on select Fridays throughout the exhibition’s run. During these sessions, which are a nod to his role as a professor of design and media at the Minneapolis College of Art and Design, Szyhalski may be found performing, working or simply conversing with guests.

Born and trained in Poland, Szyhalski’s career as a multimedia artist has spanned the last few decades. He’s produced a wide range of work that includes posters, digital art, large installations, sound art and public performances.
How does one condense thirty years’ worth of work across varied mediums into a singular, cohesive exhibit? For senior curator Diane Mullin and Szyhalski, it took a fair amount of time to piece together the works before arriving at what Mullin believes to be a “powerful selection.”

The exhibition has been carefully woven together based on proximity as opposed to a chronological timeline of Szyhalski’s work. He said he hopes that presenting the work in this manner will allow for the career-spanning themes to emerge more clearly. For example, Szyhalski’s work includes a multi-decade examination of the complexities of human agency and labor.

“I often try to be very mindful of how each new project relates to the previous work that I’ve done, and part of it is me thinking that all of it really is kind of one work anyway,” Szyhalski said. “I can point to something that I’ve done 15 years ago, and something that I’ve done last year, and there would be a very direct line that I can draw between certain aspects of those two projects, even if they’re executed in very different media.”

Noteworthy aspects of the exhibit include Szyhalski’s daily pandemic chronicles — the “COVID-19: Labor Camp Report” — which garnered attention from major outlets like the New York Times in 2020. Others include his performance videos, particularly with Minneapolis-based choreographer Pramila Vasudevan.

“As soon as you walk in, you can’t take your eyes off the walls,” said Jacqueline Zaviska, a student at Northland Community & Technical College. After visiting the exhibit with a friend, Zaviska described having felt a sense of validation from the works included — particularly when it came to Szyhalski’s depictions of the pandemic and labor.

“Logically, I know I’m not the only person in the United States that detests the idea of working till I die, but I rarely see people talking about it, so I felt very seen,” Zaviska said. “I think it’s absolutely something people should see.”
According to Mullin, the shared hope for what visitors may take away from “We Are Working All the Time!” is a renewned sense of attention to the world around them.

“In general, I think the idea of paying attention is a fundamental skill for the artist. And when I say paying attention, I mean to everything… that happens around you, to your immediate context, to a larger extended context of your family or your community, [to] the socio-political context, historical context..,” Szyhalski shared. “We have to understand where we are in relation to all of those things.”

“We Are Working All the Time” will run until Dec. 31.

Buckle in, everyone — we’re beyond the 21st night of September and slowly falling deeper into the season known as Christian Girl Autumn to some. Bear in mind that there’s more to the season than pumpkin spiced lattes and check out one of the following events in the Twin Cities this fall.

Minnesota Zoo Jack–O-Lantern Spectacular (Oct. 1-Nov. 5)

What screams fall louder than a display consisting of thousands of carved pumpkins? Wander through a glowing trail of meticulously carved squash at the Minnesota Zoo all month long. Tickets start at $18.

Twin Cities Oktoberfest (Oct. 7-8)

Celebrate Oktoberfest with local breweries and live music at the Historic Progress Center on the Minnesota State Fairgrounds. Wristbands start at $10.

The Bloody Mary Festival (Oct. 8)

A salty, vodka-tinted cup of tomato juice is not everyone’s first choice in the morning. But for those of you out there who can’t get enough of the beloved boozy brunch beverage, look no further than the Bloody Mary Festival. Tickets can be purchased here.

Crazy Broke Asians at the Cedar Cultural Center (Oct. 21)

Head to the Cedar Cultural Center for this celebration of Asian excellence in the Twin Cities presented by The Cedar, The Current and Theatre Mu. The evening’s musical lineup includes: Kiss the Tiger, Diane, Mayda, D’Lourdes, Vulgar Tongue and Tekk Nikk. General admission is $20 the day of the event and $15 in advance.

Preview Celebration Night at the Mia (Oct. 15)

Spend a night at the Mia enjoying early access to “Botticelli and the Italian Renaissance: Masterworks from the Uffizi.” Tickets are $125 and include a couple of drinks, entertainment and more.

“Cats” at the Orpheum Theater (Oct. 25-30)

If you’re one of the lucky ones and remain unphased following the 2019 film adaptation of the cult-classic musical, head to the Orpheum to see the show this October. Tickets start at $40.

Kyiv City Ballet at Northrop (Oct. 26)

Don’t miss Kyiv City Ballet’s first tour in the United States. The Ukrainian dancers aim to highlight the resilience of Ukraine through their performance. Tickets begin at $48 for undergraduate students at the University of Minnesota.

Lia Rodrigues Dance Workshop at the Walker (Oct. 27)

No experience is needed to participate in this free dance workshop courtesy of members of Lia Rodrigues Companhia de Danças. Show up as you are and practice your creativity through a variety of guided exercises at this all-ages event.

Twin Cities Con (Nov. 11-13)

Comic book aficionado? Cosplayer extraordinaire? Twin Cities Con might just be the place for you to spend a dream weekend. Tickets start at $25 and can be purchased here.

Fall Forward Festival at the Cowles Center Oct. 29-Nov. 19

The month-long event highlights a variety of performances, offering audiences a glimpse of the Twin Cities’ rich dance scene. Tickets are $30.

Haunted Disco at First Avenue (Oct. 31)

Just because the holiday falls on a Monday this year doesn’t mean you can’t get down and boo-gie at First Ave’s Halloween celebration. Participate in the costume contest if you’d like or join in on the dancing. Advance tickets begin at $5 and will continue to rise.

Dayglow at Palace Theater (Nov. 2)

Dayglow, aka Sloan Struble, will run through fan favorites like “Can I Call You Tonight?” and “Hot Rod” along with a runthrough of his upcoming album, “People in Motion.” Utah-based indie band Ritt Momney will open. Tickets begin at $29.50.

Flo Milli at Amsterdam Bar & Hall (Nov. 2)

TikTok users may be more familiar than the rest of us with American rapper Flo Milli, whose hits have gone viral multiple times on the platform. Flo Milli is set to perform along with opener Monaleo. Tickets start at $25.

Minneapolis Vintage Market (Nov. 13)

For the vintage lovers, don’t miss the Minneapolis Vintage Market at Machine Shop. Local coffee shop The Get Down Coffee Co. will be there, too. General admission is free, but an early-bird pass will only run you $10.

beabadobee at First Avenue (Nov. 28)

Head to First Avenue and get lost in beabadobee’s world through the sounds of her latest album, “Beatopia.” Advance tickets start at $28.

Director Olivia Wilde’s widely anticipated and much discussed sophomore film takes place in a remote desert community called Victory.

There, everyone is impeccably dressed; all swinging cocktail dresses and dapper suits. Like clockwork, the men take off in glimmering cars every morning as their loving wives bid them adieu. While the men spend their days participating in the top-secret “Victory Project,” the women embark upon days filled with domestic duties. They clean their houses to community leader Frank’s (Chris Pine) daily radio show, shop from displays that offer them everything free of charge and gossip about everyone else in Victory.

“Don’t Worry Darling” follows the young couple Alice (Florence Pugh) and Jack (Harry Styles), an impeccably pretty pair that can’t seem to take their hands off of one another. They live a seemingly happy life, hosting cocktail parties — with a drink never too far from reach — with next-door neighbors Bunny (Olivia Wilde) and Bill (Nick Kroll).

At the top of their idealistic community’s social ladder reigns the coolly charismatic Frank and his wife Shelley (Gemma Chan). Although we’re offered no explanation as to why this is, everyone bows to the pair. He leads the mysterious “Victory Project,” directing the men. She oversees daily ballet classes for the women, habitually uttering the mantra: “There is beauty in control; there is grace in symmetry.”

The whole thing is very ‘50s, and very “Stepford Wives.” Women act as they should, men take care of the rest. But what exactly are the men taking care of? And more importantly, what is everyone doing in Victory? These are the questions that drive the film, although their eventual answers remain just as vague.

From the sunshine-yellow yolks of the eggs Alice makes every morning to the megawatt smiles of every carefully-coiffed individual in Victory, everything is evidently too perfect. Something is clearly amiss in town, a realization Alice spends the majority of the film struggling to understand. Pugh can act, and Styles pales in comparison. Pugh delivers a full-bodied, compelling performance as Alice. Styles’ portrayal of Jack struggles to shine beyond a certain kitchen table cunnilingus scene.

Wilde drags things on for far too long. Some of the gratuitous shots of sizzling steaks could have been replaced by just a bit more action. The two-hour runtime contains no shortage of flourishing cinematography from the Oscar-nominated Matthew Libatique, from overhead shots of synchronized dance routines to a glitzy party scene involving American vedette Dita Von Teese. Yet, as “Don’t Worry Darling” themes argue, beauty can only go so far. Wilde might have sought further success in tightening the storyline and clearing up gaps left in the plot.

“Don’t Worry Darling” earned a $19 million opening weekend, despite — or maybe because of — its off-screen celebrity drama. Judging by the audible shrieks in the theater, and some audience data, it’s safe to assume a majority of viewers might also be avid fans of Styles. While you might be more entertained by the film’s seemingly never-ending swirl of rumors in the press, “Don’t Worry Darling” is still worth a watch. The movie does, in fact, feel like a movie; perhaps more so than it feels like a fully-fleshed out piece of feminist commentary.

This week’s Five Favorites features University of Minnesota Undergraduate Student Government (USG) President Flora Yang. Yang took office in July, leading with a mission focused on making the University more holistically accessible for students.

When she’s not working closely with USG, Yang enjoys grabbing a bowl of bibimbap in Dinkytown or listening to alt-pop ballads. Here are Yang’s five favorites:

Favorite song?

“‘Dandelions’ by Ruth B. There are so many reasons why I love this song. Dandelions are one of my favorite plants/flowers. This singer and I have a similar vocal range, which makes this song easier for me to sing. I also think that it just has a lot of imagery behind some of the lyrics.”

Favorite local restaurant?

“Kbop in Dinkytown. I love Korean food in general, especially the side dishes that are part of every order. I usually order the Bibimbap because that’s usually what distinguishes Korean restaurants from each other.”

Favorite movie?

“‘Avatar.’ This is one of the earliest movies that I remember seeing in theaters with my family. I loved the CGI in the movie, and I am excited for the next one to come out at the end of this year.”

Favorite social media account?

“@Usg.umn. This is the Undergraduate Student Government Instagram account. I think it provides students with a lot of good updates and information about some opportunities on campus or progress on certain advocacy initiatives.”

Favorite bathroom on campus?

“The Campus Club bathroom. This bathroom is just very well-maintained and has lots of mirrors. The walls are also painted so it makes the aesthetic more pleasant.”