A special mural unveiling took place on May 3 at the Kenduskeag Pump Station on Washington Street in Bangor. Running from 2 p.m. to 4 p.m., the Penobscot River Ecology Mural was the result of collaborative efforts between students at the University of Maine, Bangor and Brewer high schools and Bangor Beautiful, a local nonprofit organization. It was created to breathe new life into the downtown Bangor scenery, and provide information regarding local Penobscot wildlife.

Jill Fedarick, a PhD candidate at the UMaine Department for Wildlife, Fisheries and Conservation Biology, was one of the leading forces behind the mural project. This past semester, Fedarick taught an Ecology course titled “Art in the Ecologies” to over 20 undergraduate students.

As part of her doctoral dissertation, Federick pitched the idea of a mural to Bangor Beautiful as a means to bring attention to Penobscot wildlife. With the approval of Intermedia Program Director Susan Smith, the project required further collaboration between Fedarick’s course and students in the Intermedia course, “Social Practices,” who helped in the mural’s design process.

Freshwater mussels were a primary focus in Fedarick’s dissertation, being featured prominently across the mural. Designs of mussels, such as the eastern elliptio and floater, in addition to a life cycle chart of the yellow lampmussel, were created with the extended help of students from Bangor and Brewer high schools.

On top of educating people on important Penobscot species, of which also included migratory fish, flies and various top predators, the mural also acknowledges the Abanaki names of Penobscot wildlife. Furthermore, it pays tribute to culturally important landmarks in the Penobscot region.

“This is probably one of the biggest collaborations between art and science at the University of Maine. It’s been a huge success, and ideally it would be great if we could repeat it in the future,” said Fedarick.

Bangor Beautiful President Annette Dodd has been involved in several projects that range from public art to planting trees and creating public trails in downtown Bangor. Having previously created ecology-centered murals spanning from Bangor to Rockland, Dodd was eager to work with UMaine students.

“I literally had an email drafted already to go to the art students. I was really trying to find a class that could work with me, and when Jill came to me and said ‘Let’s do this!’ We both agreed that getting Susan Smith on board was the way to go” said Dodd.

Alongside the unveiling included many conservation organizations in the Greater Bangor area. Dodd gave a special thanks to the many sponsors of the mural. Future projects are already in progress with Bangor Beautiful and Fields Pond Audubon Center partnering to create murals along the Family Dollar Retaining Wall on Broadway Street. The project will bring attention to native Maine birds and is scheduled for completion this fall.

With Fedarick and Dodd’s shared idea, UMaine’s collaboration with Bangor Beautiful helps to educate Mainers, spread awareness of Penobscot’s freshwater population and beautify downtown architecture. The collaborative efforts of the Penobscot River Ecology Mural marks another step in meaningful and informative mural designs that will be continued into the future.

“Worlds,” the debut album by American electronic producer Porter Robinson, first released in August 2014, and has since garnered a strong cult following. This album not only encompasses Robinson’s escape from the more conventional sounds of electronic dance, but creates an unforgettable landscape across its near-hour length. It serves as an emotional rollercoaster that appears robotic while sounding so human, painted by sounds of a nostalgic past that will seemingly never be recaptured.

Growing up in Durham, North Carolina, Robinson began his music career at a young age while performing as a DJ, getting opportunities to collaborate with notable electronic artists of the early 2010s such as Skrillex and Zedd, as well as getting to release his first EP, “Spitfire,” in 2011. 

Over time, Robinson became jaded and alienated due to his changing views of the EDM scene. He believed it sounded soulless. Wanting to produce more electronic music with an element of emotion, Robinson dropped the single, “Language,” in 2012 and would continue to evolve his sound going forward. 

Even if fans of Robinson are used to the constant change and evolution of his electronic style nowadays, it was rather shocking back then, as most listeners knew him just for the more conventional sounds of “Spitfire” and his DJ work. This would become most apparent when Robinson released his first single for “Worlds,” the track “Sea of Voices,” in March of 2014. This melodic and ethereal electropop track further strayed from tracks such as “Language,” and would serve as the vision for Robinson’s highly influential debut album.

The opening track “Divinity” starts the album off with a distorted, repeating vocal loop that is somewhat reminiscent of vocals you’d hear off of M83’s “Midnight City,” but much less clean and more glitchy in nature. The repeated vocal loop and heavy bass drums lead up to soft kalimba notes with vocals by Amy Millian, before a soul-grabbing drop, officially opening up the vast landscape of the album’s world.

The sheer weight behind the sounds “Worlds” paints scenes of gargantuan monuments in a far off distant future, and the sounds of artificial beings gaining sentience, recognizing the gripping emotions of the human experience. In a way, Robinson’s album visualizes the evolution of EDM music away from its stereotypes as nothing more than entertainment to be played at a midnight club, but as an avenue and medium within itself to explore ideas of nostalgia, escapism and human morality in the wake of world ending scenarios.

Further encapsulating the themes of nostalgia, Robinson takes heavy influence from the sounds of childhood movies, anime and video games that he grew up with, namely “Dance Dance Revolution” and “The Legend of Zelda” series. 

One of Robinson’s most beloved tracks “Sad Machine” paints the story of an individual who uncovers a robotic machine in a post-apocalyptic landscape, with the melodic buildup accompanied by a voice reminiscent of the music software Vocaloid. Followed up by the track “Years of War” which depicts a far gone future that was doomed by its leaders, leading to an electro pop, synth heavy breakdown.

The track “Flicker” combines elements of electronic and hip hop with its cut up samples of Japanese vocals, prominent during the heavy synths and bass drops that give the weight of the song an encapsulating, human element. The crushing synths grow even heavier, on the track “Fresh Static Snow” which is the perfect visual accompaniment to the desolate remains of a far off future, but also gives off similar vibes to “Aerodynamic” by Daft Punk, but with the aesthetic of a late 90s arcade game ported to the Nintendo 64. “Polygon Dust” feels like the blend of a more conventional pop chorus, but with the sounds that help it blend into the rest of the album.

Getting closer to the end is the track, “Fellow Feeling”, which starts with a harmonious violin lead in, but plays more with experimentation. This includes crushing breakdowns and chops between a female narration ultimately culminating in an incredible finish. The closer “Goodbye to a World” builds up one more escalating melody: the countdown to the end of an era, with a returning robotic voice to accompany the listener between two different crushing breakdowns. A synthy eight-bit tune also plays as the machines begin to fade from memory. 

For a debut album, Robinson’s “Worlds” breathes a new life into the EDM genre, symbolizing the beginning of something new. Even a full decade later, the album sounds like nothing out of the genre, fully representing a state of mind where the artist wanted to encapsulate something personal and wholly himself. As Robinson continued to evolve and elevate his distinct sounds over the years, the music of “Worlds” has never aged a day. 

The University of Maine’s Whitewater Club held its first meeting at Nutting Hall on April 14 as the first club of its kind on campus. Hosted by club president Caleb Thibodeau and vice president Emily Kidd, the main goal of the club will involve fostering a closely-knit community of rafters built on the principles of leadership and environmental stewardship, as well as being open to rafters of all skill levels. 

The club’s very first meeting focused primarily on laying the groundwork for future events and opportunities, followed soon after with a quick icebreaker game. Primarily, the club will use its meetings to educate beginners on different gear and crafts, as well as topics such as proper canoes and kayaks and the Z-drag pulley system. The club will also plan for upcoming whitewater activities, including pool sessions and potential trip ideas to paddle on local streams, such as the Kenduskeag, Souadabscook and Kennebec streams.

Kidd has been rafting since she was 16 years old, while Thibeadou was inspired by his father and surrounding friends when he took trips to the West Branch in Penobscot at a young age. The two had taken a trip to the Grand Canyon during winter break, paddling for 225 miles down the Colorado River. 

“Our launch date was Christmas Day. We got back on January 14, and then as soon as we were back, we were kind of inspired to start the club,” said Thibodeau. “It can change your life. It’s unbelievable, such a musical experience. There’s nothing else like it.”

The two have also previously worked together on the Kennebec River as tour guides and have been interested in bringing the whitewater experience to UMaine students. Joined alongside club treasurer Will Morris, Thibodeau and Kidd proposed the club idea at the start of the spring semester.

There have been previous attempts to kickstart a whitewater club at UMaine. According to Kidd, the angle for UMaine’s whitewater club will provide both a fun avenue for experienced rafters to meet up as well as being educational for newcomers.

“One of our main goals through our trips is to really instill a passion for the river in a way that makes people want to be stewards of the river and really care for it,” said Kidd. 

The UMaine Whitewater Club is also looking to collaborate with other outdoor student organizations in the near future. This includes but is not limited to, UMaine’s outing club, backcountry squatters and even the skiing club. In particular, Thibodeau hopes to translate his previous experience as a Kennebec river guide and also as a coach at Sugarloaf to help others out on the water. 

“Just seeing the look on peoples’ faces when you when you give them that experience, or when they finally figure out how to complete a turn on their skis, and they turn back and look at you, and they’re so excited, because you’ve just unlocked this whole new world for them,” said Thibodeau.

UMaine’s whitewater rafting aims to not only educate and teach people in a fun and engaging way, but to also let members share their passion for outdoor whitewater activities while also instilling lifelong experiences for those who participate. 

The UMaine Whitewater Club meets every Monday from 6 p.m. to 7 p.m. at Nutting Hall 100. 

The Orono community gathered together to watch Canadian rock musician Steven Page play live at the University of Maine’s Collins Center for the Arts on April 17. This is the Steven Page Trio’s sixth live performance for their Spring 2025 tour, as well serving as the Collins Center’s last performance of the 2024-25 Maine Stage season, capping it off with a bang. 

As a multi-instrumentalist, singer and songwriter whose career has spanned over three decades, Page co-founded the Ontario rock band, “Barenaked Ladies,” in 1988, iconic for their infectiously fun vocals and catchy lyrics. After leaving the band in 2009, Page pursued a full solo career, having released five albums including, “Page One” in 2010, “Heal Thyself: Pt. 1: Instinct” in 2016 and his newest album, “Excelsior,” in 2022.

The show also served as Page’s return to Orono for the first time since November 2015, as Page performed “Art of Time Ensemble: Sgt. Pepper’s Lonely Hearts Club Band” for the Collins Center, a performance which saw the reimagining of the iconic Beatles album.

On stage, Page was accompanied by Kevin Fox on the cello as well as the co-founder of Vancouver based rock band, “Odds,” Craig Northey, on electric guitar. Northey is a long time collaborator with Page, as the two musicians met back in 1992 when the Barenaked Ladies and the Odds were touring at the same time, as well as the two having previously played at the Collins Center’s Sgt. Pepper performance from over a decade prior. 

The show played an extensive backlog of catchy and high-energy pop rock, folk rock and alt rock, both from the Barenaked Ladies and Page’s solo work, as the lead musician switched between acoustic guitar and piano for each specific song. The show was also interspersed with comedic banter between the trio.

Starting off the show was Page’s rendition of the Barenaked Ladies track “It’s All Been Done” off the 1998 album “Stunt,” starting things off smoothly with its mix of acoustic beats and pop chorus, followed up by Steven Page’s “A New Shore” which was given a sweeping electric guitar leadup for its live performance, followed by a rendition of Barenaked Ladies’ “Jane.” 

In between songs in their setlist, the trio would occasionally make tongue-in-cheek remarks about contemporary or relatable topics, of which included Page’s making a joke about his hazy memory during the COVID-19 pandemic, or how Page was planning to send Northey and Fox to the moon to meet with Katy Perry, all of which got great reactions from the audience.

One of tracks on the setlist included “The Golden Age of Doubling Down” off of “Excelsior” which is a song that commentates on the pessimistic state of social media in a post-pandemic world, and how Page jokingly reminisces about how both online and offline discourse was more “civilized” years prior. It’s a rather decent folk song featuring a harmonica lead instrumental and upbeat chorus, coupled with lyrics such as “We′re in crazy town / Run by circus clowns.”

Other noteworthy tracks include the live rendition of Page’s “Where Do You Stand?” as well as the Barenaked Ladies’ slow and melodic “What a Good Boy” and the nostalgic and catchy “Alternative Girlfriend.” One especially memorable moment came at the end of the song “Tonight Is the Night I Fell Asleep at the Wheel” where Page playfully parodied the actions of an orchestral conductor as the song seemingly halted, only to belt out one last opera high note as the audience soon erupted in applause. 

Clocking in at two hours, the show had plenty of variety in song choices, coupled with bits of comedic banter that never felt too stale or played out. All in all, Steven Page’s return to the Collins Center was an incredibly solid send off to the Maine Stage season, showcasing a mix of catchy folk rock tunes and showstopping melodies from both Page’s solo career and the Barenaked Ladies catalog.

The latest production from Cartoon Network’s adult programming block, Adult Swim, “Common Side Effects” presents a 10-episode animated series that prescribes a complex moral dilemma within its fast-paced and suspenseful storyline. The production also features quirky characters and that simple, occasionally trippy animation style that Adult Swim is best known for. 

The show was originally created by screenwriters Steve Hely and Joseph Bennet. After initial screenings during San Diego Comic Con, the show officially premiered this past February to critical acclaim. “Common Side Effects” presents a surprisingly gripping story relating to the practices of powerful pharmaceutical companies that also balances unique character dynamics and humor. With the confirmation of a second season, there is no better time than now to catch up. 

While traveling in Peru, fungi expert and conspiracy theorist Marshall Cuso finds an extremely rare type of mushroom growing in a valley. Nicknamed the “Blue Angel Mushroom,” it has extraordinary properties when consumed, curing any and all types of ailment, including disease, physical injury and even being on the brink of death. 

Soon after reuniting with his high school friend Frances Applewhite, an assistant who works at the Reuitcal Pharmaceuticals company, Cuso, becomes the suspect of the drug enforcement agency, with agent duo Capono and Harrington on his tail. On top of this, the FBI and other government agencies work in tandem with pharmaceutical companies to catch Cuso and suppress all knowledge of the mushroom.

Throughout the series, the show brings up the ethical dilemma of the mushroom and the effects it could have on pharmaceutical companies that choose to withhold cures from people to instead make profits by selling mere treatments. The simple repackaging of illegally-made drugs like methamphetamine, altered in a lab to become adderall, and the many other immoral practices carried out by pharmaceuticals are rightfully called into question throughout the show.

 In the early episodes, the focus is on Cuso trying to find ways to effectively grow his mushroom as he constantly evades the law, as well as highlighting side characters who become involved in his cause. It is later revealed in episode nine, however, that the miracle mushroom may have unique side effects of its own, causing people to seep into an extraterrestrial mirror of reality as the individuals begin to see otherworldly creatures. The deeper mystery behind the mushroom is further assisted by the show’s distinctly bizarre but charming animation style, which is very simple in shape but still heavily grounded in reality.

Tying the experience together is its eccentric cast of characters. Cuso is not only a very likeable, thrifty and highly intelligent individual who seeks to do the right thing, but is also seemingly one step ahead of law enforcement at all times. Toward the end of the season, he briefly operates the mushroom business with other shady individuals so that he can give out the cure to as many sick people as possible. Through this process, he briefly evolves into the same pharmaceutical companies he openly despises, albeit with the hindsight that growing enough mushrooms is a long and tumultuous process. 

Alongside the protagonist is Applewhite, who finds ways to help Cuso in order to treat her mother who has dementia. Ultimately, she is tied back to her role in Reuitcal alongside her incompetent boss Rick Kruger. The show doesn’t skip out on its peculiar, relatable humor. Kruger is portrayed as someone who believes they are prioritizing the greater good, but is so morbidly out of touch and needy that it becomes weirdly funny to observe. Each character in the show, whether it be the detective duo Capono and Harrington, or Cuso’s old unhinged mentor Hildy, have their own little quirky attributes that make the show entertaining from both a comedic and dramatic storytelling point.

With the conclusion of the first season left on a cliffhanger, there is so much more that the show can touch on going forward by exploring new storylines and characters or further expanding on the mysterious background of blue mushroom. “Common Side Effects” remains another unique little gem from Adult Swim. 

The latest film from critically-acclaimed film director Bong Joon Ho, the comedic sci-fi American film “Mickey 17,” premiered in South Korea back in February and in the United States on March 7. Featuring many noteworthy actors, including Robert Pattinson in the leading role as well as Naomi Ackie, Mark Ruffalo and Steven Yuen the movie tackles themes of classism, capitalism and Manifest Destiny throughout its two-hour runtime, albeit not as effectively as Bong’s previous works. 

Over the last couple years, Bong has become somewhat of a household name in the film industry. While his previous films have always been highly regarded by critics, it was his 2019 South Korean film, “Parasite,” that catapulted him to mainstream attention, becoming the first foreign film to receive a Best Picture win at the Oscars. The film is considered a masterpiece in social class commentary. 

His newest film, “Mickey 17,” not only falls in line with previous American productions such as “Snowpiercer,” but is also loosely adapted from the 2007 book “Mickey7” by American author Edward Nashton. The adaptation itself contains a lot of Bong’s signature marks, including light elements of black comedy, quirky characterization and contemporary critiques of capitalism. 

Set in the mid-21st century, Mickey Barnes and his sleazy friend Timo find refuge on a government-funded spaceship after failing to pay off a loan shark. Led by an influential politician named Kenneth Marshall, the ship travels several years in order to colonize the seemingly deserted planet of Niflheim.

 In order to have boarded the expedition, Mickey Barnes signs a contract with the government to work as an “Expendable”— an all-in-one worker that dies frequently for research purposes, while being seamlessly resurrected by a human printer that keeps all of his memories intact. During a scientific assignment on Niflheim, the 17th copy of Mickey is thought to have been eaten by an alien race nicknamed “The Creepers.” The events following this cause a domino effect that results in the governmental uprising.

As described previously, the plot is all over the place, constantly changing its tone as well as the themes tackled throughout its runtime. For the most part, the film places its focus on the struggles of expendable workers in the wake of an extremely corporate, capitalist society, which the film does a commendable job portraying visually with its unique science fiction worldbuilding. However, the story’s unique setup ultimately builds up to a third act that isn’t entirely disappointing, but rather wholly unremarkable.

What helps to remedy the story’s ups and downs is the film’s acting performances. Robert Pattinson does an excellent job of portraying both Mickey number 17 as well as Mickey number 18: a Mickey clone who is accidentally printed in the wake of Mickey 17’s presumed death. Pattinson’s acting on both spectrums, portraying 17 as more timid and scared of being replaced, and 18 as more angsty and frightened by the ethical dilemma of confronting his past clone, provides engaging and interesting interactions.

Naomi Ackie does a fantastic job as Mickey’s girlfriend Nasha, an agent he meets aboard the spaceship, albeit their romance could have used a tad more development. While Steven Yuen’s performance as Timo was fine enough, his character could have had more connections to the larger story. While it does spark Mickey and Timo to travel off Earth in the first place, the conclusion of the storyline doesn’t add much to the film’s larger narrative, ultimately straining the film’s plot with a disappointing storyline.

One of the film’s more interesting performances comes from Mark Ruffalo as Kenneth Marshall, who seeks to wipe out the population of Creepers and threatens the lives of their alien kin. When watching the film, it is quite obvious that Ruffalo portrays Marshall as a political figure directly inspired by multiple contemporary politicians, including Donald Trump. While Bong denies the direct comparison of Marshall to the U.S. President, the humorous imitations that Ruffalo gives off, combined with the actor’s previous social media statements on politics, makes it hard to unsee the comparison. While Ruffalo’s performance does help to elevate the film’s dark comedic tone, further showcasing its commentary on capitalist culture, it could have been more powerful if Marshall were portrayed as less over-the-top.  

There are important takeaways from “Mickey 17”. While it does a great job of establishing its world and themes, helped in part with some memorable performances, it feels like a little more focus could have made this film more impactful. Bong has proven capable of producing groundbreaking films such as “Parasite,” and while it comes nowhere close to reaching that height, “Mickey 17” is still worth checking out. 

The University of Maine Student Government held the Local Bands Fest at the Innovative Media Research and Commercialization Center on March 7, with the goal of giving a variety of local bands a spotlight in the Orono area. One band in particular, “Isaac Raven,” served as the opening act for the concert. 

Abby Hall, the assistant vice president of Student Entertainment, organized the event. The three local bands showcased included the indie band, “Isaac Raven,” the pop-fusion band, “The Accountability” and the jazz-fusion band, “Free Parking.” The latter two bands involve students who currently attend UMaine. The Local Bands Fest is not only Hall’s first solo-planned event for Student Entertainment, but the event also helped give independent musicians a chance to shine.

 “Student government does have a big platform and big following, and we’ve been promoting them, and I’m hoping that it does lead into their musical careers,” said Hall.

Among the three bands, “Isaac Raven” remains unique, as the Local Band’s Fest marked its first on-stage performance at UMaine. The band members are Isaac Raven Mercier on guitar and lead vocals, Drayven Cloutier on drums, Ethan Jonathan Harrington on guitar and Natty Harrington on bass and vocals. 

The band’s origins tie back to Harrington and Cloutier having played in the same band in high school, although under a separate project name. When Raven and Harrington started playing together, the group formed naturally as both Cloutier and Harrington’s wife, Natty, joined the group to form “Isaac Raven.” The band had its first official performance in October 2024 at the Band/Saw venue in Portland.

The band’s setlist at the Local Bands Fest is composed entirely of original songs. Some of the members’ favorite tracks include “Everybody Loves Jack,” which was described as a Latin hard rock instrumental piece, with the namesake of the song being tied to a personal figure in Mercier’s life. 

“It’s the first song that me and Drayven wrote together, and my sister’s boyfriend’s name is Jack,” said Mercier. “Jack’s a hard guy not to love.”

Many of the sounds created by the band originate from various jam sessions that Mercier and Cloutier partake in, with the lyricism coming naturally to Mercier as he writes about a variety of subjects involving past events or even fleeting emotions. The lyrics in particular on the track “Getting Over You” draws inspiration from a near accident that Mercier experienced while driving.

Each member of “Isaac Raven” takes inspiration from a wide variety of distinct sounds and artists, namely the indie influence of Julia Casablanca and Odie Leigh, with genre inspirations such as math rock, shoegaze and blends of hardcore as well.

Having toured previously in cities such as Boston and Montreal, “Isaac Raven” remains grateful for the opportunity to play for an audience in the Greater Bangor Area.

“Getting to write these songs and then perform them for people feels rewarding,” said Mercier. “When some random person comes up to me at the end of the show alone and says ‘Hey, that was really cool,’ that alone is the best feeling.”

The University of Maine Student Government held the Local Bands Fest at the Innovative Media Research and Commercialization Center on March 7, with the goal of giving a variety of local bands a spotlight in the Orono area. One band in particular, “Isaac Raven,” served as the opening act for the concert. 

Abby Hall, the assistant vice president of Student Entertainment, organized the event. The three local bands showcased included the indie band, “Isaac Raven,” the pop-fusion band, “The Accountability” and the jazz-fusion band, “Free Parking.” The latter two bands involve students who currently attend UMaine. The Local Bands Fest is not only Hall’s first solo-planned event for Student Entertainment, but the event also helped give independent musicians a chance to shine.

 “Student government does have a big platform and big following, and we’ve been promoting them, and I’m hoping that it does lead into their musical careers,” said Hall.

Among the three bands, “Isaac Raven” remains unique, as the Local Band’s Fest marked its first on-stage performance at UMaine. The band members are Isaac Raven Mercier on guitar and lead vocals, Drayven Cloutier on drums, Ethan Jonathan Harrington on guitar and Natty Harrington on bass and vocals. 

The band’s origins tie back to Harrington and Cloutier having played in the same band in high school, although under a separate project name. When Raven and Harrington started playing together, the group formed naturally as both Cloutier and Harrington’s wife, Natty, joined the group to form “Isaac Raven.” The band had its first official performance in October 2024 at the Band/Saw venue in Portland.

The band’s setlist at the Local Bands Fest is composed entirely of original songs. Some of the members’ favorite tracks include “Everybody Loves Jack,” which was described as a Latin hard rock instrumental piece, with the namesake of the song being tied to a personal figure in Mercier’s life. 

“It’s the first song that me and Drayven wrote together, and my sister’s boyfriend’s name is Jack,” said Mercier. “Jack’s a hard guy not to love.”

Many of the sounds created by the band originate from various jam sessions that Mercier and Cloutier partake in, with the lyricism coming naturally to Mercier as he writes about a variety of subjects involving past events or even fleeting emotions. The lyrics in particular on the track “Getting Over You” draws inspiration from a near accident that Mercier experienced while driving.

Each member of “Isaac Raven” takes inspiration from a wide variety of distinct sounds and artists, namely the indie influence of Julia Casablanca and Odie Leigh, with genre inspirations such as math rock, shoegaze and blends of hardcore as well.

Having toured previously in cities such as Boston and Montreal, “Isaac Raven” remains grateful for the opportunity to play for an audience in the Greater Bangor Area.

“Getting to write these songs and then perform them for people feels rewarding,” said Mercier. “When some random person comes up to me at the end of the show alone and says ‘Hey, that was really cool,’ that alone is the best feeling.”

Created by Lauren LeFranc, the eight-episode mini series, “The Penguin,” first premiered on HBO in September 2024. The show stars Colin Ferrell in the titular role, as well as Cristin Milioti, Rhenzy Feliz, Deidre O’Connell and others. The gloomy and deranged realm of Gotham is expanded upon by an excellently rich cast of characters, further exemplified by standout performances across the cast, elevating a classic villain into something that is both distinct and chilling.

Serving as a spinoff series to the 2022 superhero noir film, “The Batman,” the development of a spinoff series was announced soon after the film’s box office success. HBO is no stranger to crime dramas, as seen with the likes of the critically-acclaimed “The Sopranos,” as well as having already delved into DC Comics spin offs with the 2022 series “Peacemaker.” Regardless, “The Penguin” is able to stand on its own two feet, serving as both an expansion of the Gotham universe built by “The Batman” as well as being a self-contained, morbid character study.

The series immediately follows the events of “The Batman” as Gotham is left in disarray after the destruction of the seawall, coordinated by a serial killer and terrorist known as the Riddler, who is also responsible for the assassination of Crime Boss Carmine Falcone. As Carmine’s son, Alberto, is next in line to continue the family business, Ozwald Cobb, a high end associate of the Falcone family, gets involved in a confrontation gone awry. What follows is Cobb’s vicious climb to take control of the family’s drug trade, with goals to not only control the entirety of the Gotham crime world, but also as a means to satisfy his impossibly deranged dream of proving his self worth.

Being the centerpiece of the show, the characterization of Cobb is something truly to behold. A common trend in modern media is to make villains more sympathetic, somehow redeemable. “The Penguin” plays with this expectation, showing Cobb in moments of being thrifty, opportunistic and charismatic. But as the series progresses, Cobb’s colors truly show as a completely irredeemable, narcissistic sociopath who tricks every gangster he meets to become Gotham’s next kingpin. 

Across the series, Cobb jumps between transparent sympathy and taking advantage of the people around him. This includes Carmine’s daughter, Sofia, played by Cristin Milioti, who was recently released from the Arkham Asylum. He emotionally manipulated her into believing he had nothing to do with various past incidents involving the family. Additionally, he willingly recruits Vic Aguliar, played by Rhenzy Feliz, a stuttering street kid who lost everything after the seawall collapse, almost drawing twisted parallels of the Batman and Jason Todd stories from DC Comics. 

Attention is also given to Cobb’s relationship with his mother Francis, played by Deidre O’Connell, who he pines for attention and reaffirmation. Cobb believes that his goals of lifting them into Gotham’s riches will make him worthy of affection. Deep down, however, those years of nurturing were the result of Francis being trapped against her will, further deluding Cobb into pursuing his selfish goals through horrific means. 

The character of Cobb is helped exemplified by Ferrell’s incredible performance, being almost completely unrecognizable under some outstanding make-up work by makeup designer Mike Marino, who returns from his work done on “The Batman.” Ferrell’s insane vocal range and use of method acting evokes classic crime dramas and gangster films, such as “The Godfather,” and it really sells the character of Cobb as being both bizarrely charming but horribly evil.

With such a heavy hitting performance from Ferrell, the show also succeeds at giving other characters the much-needed spotlight as well. Milioti’s performance of Sofia Falcone Gigante is fantastic, initially characterized as a psychopath by her family and the general public, as news is spread about her murdering a series of women. In reality, her backstory showcases a broken, tragic character who only fights for control of the Falcone family due to generational trauma. This tragic daughter born into the Gotham elite provides a fascinating foil to Oz’s ego and his poorer upbringing. 

The larger themes of the story unfold toward the end of the series, showcasing how Cobb uses his disfigurement and upbringing to justify his fight for influence in Gotham, ultimately becoming what he claims to hate. Themes of class divide and power dynamics are present throughout the show, but Cobb only spouts this rhetoric to shield himself, leaving people he gains trust to be discarded and forgotten.

HBO’s “The Penguin” not only adds on to the new Gotham mythos that was set in stone by “The Batman” but also breathes new life into a classic Batman villain. In a way, the show’s characterization of Cobb as a ruthless gangster climbing the ladder is fitting, as some general audience members have sometimes overlooked the character of the Penguin in favor of other classic Batman villains. Nevertheless, “The Penguin” is a must watch for both fans of Batman and enjoyers of classic crime dramas.

“What you look like is the least interesting thing about you. Your scars prove that whatever tried to beat you lost, so own that.”

On Feb. 12, 2025 the University of Maine Collins Center for the Arts hosted a speaker presentation with Sarah Callazo, relating her personal journey of body image and overcoming eating disorders to members of UMaine’s Greek Life sororities and fraternities. The presentation also included free signed copies of her new book, “Unknown Warrior: Battling the Mirror,” which was published in September of 2024. 

An alumnus of the University of Rhode Island (URI), Callazo is currently working toward a masters degree in social work, with the ultimate desire to help other individuals start their journey in recovering from eating disorders. During her time at URI, Callazo was the president of Zeta Tau Alpha’s Lambda Beta chapter, as well as an active member of the University’s dance club. 

Throughout her time spent interviewing college students from across the country, Callazo recognized the most common topics that provoke an individual’s concern with body image, ranging from sports team practices and personal mental health, to bullying and social media websites. She went on to explain that the portrayal of eating disorders in movies, social media and advertisements will often show only the most extreme cases of anorexia and bulimia. In reality, many individuals who struggle with body image may not recognize it.

Callazo explains from experience that eating disorders will often “trick” your brain into hating your body shape, reinforcing narratives as well as making constant comparisons to everyday people around you, to the point where the eating disorders become a defining part of your identity. 

“It became everything that I knew, and I couldn’t imagine a day in life without one. It wasn’t until I took that first step that I realized I wasn’t scared of gaining weight, I was scared of what a life without this eating disorder would be,” said Callazo,“My worst day in recovery is still better than any day I had an eating disorder.”

Each section of Callazo’s book is dedicated to particular moments in her life and her eating disorder recovery. The earlier parts of the book specifically touch on recovery, with the latter end of the novel referring to her hardest days while in recovery. The journey for Callazo, as well as the journey for thousands of other individuals, was filled with days of hardship.

In order to lessen negative thoughts about body image and societal preconceptions Callazo details a four-step process, describing the body as a vessel that deserves endearment. The step by step begins with respecting your body, to fuel your body and let it rest, followed up by accepting your body, recognizing its unique proportions and genes. The next step will result in you liking your body, which Callazo refers to as an individual’s unique smile or hip shape, which ultimately ends with the individual loving their body and having higher regard for themselves.

Having an extensive background in Greek Life at URI, Callazo is very grateful for the support given by the sisters in her chapter. She also believes that Greek Life at UMaine has all the necessary resources to not only help facilitate an encompassing environment for individuals of all body shapes, but to bring Greek Life at UMaine under one single umbrella.

“I personally think it’s just a really good message in women empowerment and body empowerment,” said Nora Rouillard, a member at Alpha Omicron Pi. “Especially with social media right now and modern culture. It seems very toxic.” 

Callazo then opened up to the audience to allow for any specific questions about body image, some of which had been anonymously sent in earlier. Some questions that were asked included the idea of wanting to simply lose weight by going to the gym, or if there is a line between loving yourself and glorifying obesity. Callazo states that finding the right intention behind losing weight is extremely important, and that the intent of losing weight should be a meaningful goal, rather than the intent of losing weight as only a means to gain acceptance from others or to meet an impossibly-high standard set by society.

“Don’t hate yourself into a body you love, but do it as an intent for love” Callazo said. “The thing with body image and body dysmorphia is that your body is never the problem.”

The journey that Callazo took to regain love for herself is a battle that millions of individuals, especially in younger adults, fight silently on a daily basis. She hopes her messages of self love and acceptance reaches college students involved in sports, Greek Life and other student organizations across the country.