(Photographer Isabella Mancini for the Triangle)

Many freshmen have recently come to campus, but with the current restrictions, they might not have gotten a good sense of the buildings around campus. I decided to give freshmen a quick guide to some buildings on campus the best way I know how: comparing each one to a movie.

Main Building — The Original Star Wars Trilogy. A classic that is just as cool every time that you re-visit it. But some of the things that have been added to it in more recent years lack the spirit and charm of the OG, and people debate what parts of it count as officially being part of the Main Building.

Papadakis Integrated Sciences Building — “Avatar” (the James Cameron one with the blue people). It looks really cool and modern, has vertical plants, and isn’t shy about its passion for the environment.

URBN Annex — “Blade Runner.” It has a cool open visual style that sort of blends retro and futuristic. It’s fun to walk around, but ends up making your head spin, and is ultimately something that pretty much just artsy people are into.
(Photographer Mollie Hamaday for the Triangle)

Academic Building — “It.” A name that could be given to just about anything and tells you absolutely nothing about what you’re in for. Also, the elevators are as scary as Pennywise the clown.

Daskalakis Athletic Center (aka the gym) — “300.” Featuring abs that can inspire you to work out more and/or make you feel out of shape.

Haggerty Library — “Arrival.” Quiet, erudite and all about written language.

Saxbys — The Marvel Cinematic Universe. It’s above average and a good crowd pleaser best enjoyed in the company of friends, but some people are low-key addicted to it and act like it’s way better than it is.

University Crossings — “Blazing Saddles.” The people in it think it’s just where they live, but when they get to the bottom of it, they realize people have been using the space to make movies right under their noses the whole time.

Korman Center — “Booksmart.” One part tutoring, one part hanging out with friends, one part putting in work.

(Photographer Isabella Mancini for the Triangle)

Lebow Engineering — “Interstellar.” Looks futuristic and is mad confusing to get around and easy to get lost in.

Northside Dining Terrace — “Scott Pilgrim vs. The World.” For some reason, a lot of people our age love it and keep going back to it all the time, but aren’t sure whether it’s healthy or not.

Disque — “Titanic.” Its eerie vibe rings of April 1912 and it creaks in a way that makes it feel like it’s sinking.

The Armory — “Miracle.” Wants to act like it exists because we have to have the most weapons, but after a while admits that it’s really all about sports.

Steinbright Career Development Center — “Good Will Hunting.” Requires you to think about your future, but in a way that can be therapeutic.

“GNF (OKOKOK)” by Polo G

New-gen rap superstar Polo G dropped his first solo track of 2021 on Feb. 5. “GNF (OKOKOK)” is Polo G’s second single released after his acclaimed 2020 album “THE GOAT,” and it can be assumed that another project is on the way by observing the cohesive artwork for his newest singles.

The acronym “GNF” stands for “give no f*cks,”, and this mindset is made obvious by the sound of the track. I haven’t been very attracted to this darker vein of modern rap, but “GNF” works for me because of its strong production and a memorable performance from Polo G. The drums are reminiscent of “Look Alive”-era Tay Keith; the hi-hat and snare combo sound great together. The soft, choir-esque pad underneath the piano is very ominous, and as Polo G’s aggressive shouting begins to stumble over the beat the intensity rises.

Each of his verses contain memorable lines ranging from gang violence to shouting out the late Pop Smoke. While many rappers lack the ability to execute vocals like these, Polo G has a way of delivering emotion in his voice that compliments this simple instrumental ideally.

“Exposure” by Shelley FKA DRAM

Back in 2016 and 2017, DRAM was unstoppable. His debut album, “Big Baby DRAM,” was outstanding and full of potential, character and hits. This effort was followed by one of the most incredible strings of singles I’ve ever witnessed. Now in 2021, the singer has returned under his real name Shelley to deliver a long-awaited sophomore album.

While most of Shelley’s “DRAM” discography was very modern hip-hop influenced, a few of his tracks exposed his talent as a soulful and powerful voice. His comeback single, “Exposure,” exemplifies a full dive into R&B. Shelley’s vocal performance comes off so earnestly as he pleads for his girl to trust his love. The instrumentals stay simple in order to highlight the many layers of harmonies, but sparse keys and synths help fill out the track, along with a bassline that shines especially bright on the first verse.

The tones of Shelley’s voice admittedly may not be for everyone, but his emotion and charisma are undeniable, specifically on the chorus. With ”Exposure,” Shelley has delivered on the hopes of long-awaiting fans, and with an album announced for April, all we can do now is wait.

“Rainforest” by Noname

By taking one look at Noname’s Twitter account, you can tell that this Chicago rapper has been at her most political recently (with good reason). Over the past few years, she has proved to be not only one of the most outspoken and educated artists on political matters but also one of the most skilled at blending these themes into her art. Earlier this year she stated, “I don’t even know how to promote myself as a rapper anymore,” and now at the end of February, we find ourselves with her new single “Rainforest.”

Noname flows over a jazzy instrumental that includes lots of very organic sounds like bongos and woodblocks. The drums are very crispy, and the syncopated guitar chords jump around. The chords are curious, and when Noname flexes her lyrical ability in her soft tone it feels wise, only to end her verse with the well-earned exclamation “man f–k a billionaire!” which drives home her main points. As a whole, the track feels smart, from the technical beat to Noname’s commentary on Black capitalism and suppression.

“Gasoline (feat. Taylor Swift)” by HAIM

I think that “Gasoline” is honestly my favorite song of February 2021. HAIM’s original “Gasoline” was released in June 2020, and now in 2021, a Taylor Swift assisted version was released as a “remix” (the only change is Swift’s vocals, all lyrics and instrumentals remain unchanged). Because of this, I feel reluctant to call this number one out of my five choices this month due to the minor differences from the 2020 original. Despite my nitpicks though, I can’t deny that this song has only gotten better.

The three Haim sisters showcase their underrated skills on all instruments throughout the track. The crunchy guitar groove is performed by Alana, which textures the verses over Este’s bass. The bassline is complex and varying; it’s fun to pay attention to while listening. The steady drums and catchy vocals are performed by Danielle. Swift’s appearance on the second verse is honestly more than just a star feature. Her vocal tones fit very well with a more filtered sound, it’s a flattering quality for her shouty delivery. The track delves into a phenomenal bridge and rides out the same drums, bass, and guitar it began with, circling through for a guaranteed alt-pop hit single.

“In Or In-Between” by Claud

With a trio of great tracks consisting of “Ana,” “Overnight,”, and “In Or In-Between,”, Claud’s debut album titled “Super Monster” was a pleasant surprise for me. Claud has recently risen in indie-popularity through 2020, and sports co-signatures by Spotify as well as friend and Shelly bandmate Clairo. Although I enjoy all three of the mentioned songs, “In Or In-Between” has grown to become my favorite.

Claud plays a confused character in a familiar situation on this track. Both people are obviously showing feelings for each other, but neither will make it clear to one another if they want these feelings to be addressed. The fast, skittery drums match the nervous feeling of the scenario, but before the chorus, these drums fade out as feelings intensify. Claud makes a move to pull their partner away into a more intimate spot and breaks the safe ignorance of the moment to ask for deeper feelings. It’s a very potent use of the instrumental, and the guitars, synths and bass form a great atmospheric sound. A pitched-down version of the chorus is tacked on for the last 40 seconds, which is a somewhat pointless but fun addition. Claud’s creation of the story through sound with “In Or In-Between” is impressive and relatable, which sets it apart from other songs on their debut project.

When “I Care a Lot” was released on Netflix, the psychological thriller spurred an interesting conversation. The film revolves around con-woman Marla Grayson (Rosamund Pike), who systematically takes advantage of the elderly in her area. Marla preys upon senior citizens by legally assuming guardianship over their person, allowing her the authority to sell and profit from remaining assets. With compliance from an equally corrupt retirement home and doctor, Marla’s operation has yet to be uncovered. However, when Marla attempts to exploit Jennifer Peterson (Diana Witt), who appears to be the perfect victim, the con-woman falls into a much larger conspiracy.

The film attempts to expose larger faults in the American system but ultimately fails. Although the acting in the film is undeniably brilliant, the plot is inconsistent. The main villain of the film, Roman Lunyov (Peter Dinklage), is a perplexing addition to the film. Roman’s characterization is intriguing, but as the film continues, he becomes increasingly outlandish. Once the Russian mafia, stolen jewels and kidnapping are introduced, the experience is cheapened. A poignant, dark beginning that reveals the cracks of a broken system amounts to nothing. The entire theme of elderly abuse is nearly abandoned — by the end, “I Care a Lot” resembles any one-note mafia movie. Phenomenal casting, witty dialogue, an interesting premise, and yet, “I Care a Lot” is largely unsatisfying.

The main issue with the film is that I didn’t care a lot, or even a little, about the ending. An excellent portrayal of a con-woman? Absolutely. Did I care about whether or not she succeeds? Not really. The ultimate downfall of the film is the anti-hero, Marla Grayon. Although anti-heroes can be fascinating, Marla’s ambitions are facile, boring and hollow. Despite having issues with the film, “I Care a Lot” is entertaining and innovative. The Hitchcockian film offers a gritty and interesting flavor to its genre. Definitely a worthwhile watch for thriller junkies, but otherwise, a so-so film.

Continuing our short series on Philly’s Obsidian Music Studios, I had the opportunity to sit down with audio engineer Joseph “Joe” Kuri and PR intern Park Sehgal to talk about how Obsidian has helped Joe make a career out of his passion for music.

How did you first get involved with Obsidian Studios?

Joe: I was actually interning/assistant engineering under Shep who is the owner [of Obsidian Studios] at the prior studio that we were both at and he was my go-to mentor. He was like my idol in a way. We aren’t too far apart in age, a couple of years apart, but I always looked up to him. I thought that if he is doing [anything], it’s probably the right thing to do. So when he started splitting off from the studio and stuff, I was like: “I’m gonna do that, follow his wave, whatever he says goes.” And he kinda says it as well, I do the right-hand-man thing for him, I was there to just take care of stuff.

You know, it’s pleasurable to do, he’s my boy. He got into a business he wanted to start, [and] it’s the same thing I wanted to do. He was one of the only people in the world that I trusted and the most talented person I knew in Philly at what he was doing, and he wanted to teach me so it was perfect. That’s how I got in. We opened [Obsidian] together; I was his head engineer, the senior engineer behind him. I learned as I went, went right into it from opening. I had to get as close as I could to his level as soon as possible to make sure all our clients were happy. So it was kind of like 24 hours a day, non-stop, no sleep, following what he’s doing, watching what he’s doing, which was already what I always did. And then I came to be his right hand with it. And that’s how Obsidian kinda came together. Piece by piece.

How long have you been an audio engineer and how did you know you wanted to pursue this career?

Joe: About two years now, two and a half years. I actually didn’t know I wanted to do

. I just knew I needed a way to make money while trying to learn to get better at music and catch up to the people who were so far ahead of me. I kinda look at it like: I’m 22-23 years old, there are people who have been doing this since they were 15-16 years old, so whatever I have to do to be able to get as good as possible at what I want, I’m just going to do. And then learning production kinda fell into engineering, [and hearing] “yo, you want to make a couple bucks…” and then “yo, you’re worth this much for an hour” and I was like “wow, I can make $20 an hour just doing this, while I’m an intern? Absolutely.” You can’t say no to that. And then when I found out the money gets more than that I was like: “career it is.” It fit right alongside what I wanted to do, I’m also a singer/songwriter, vocalist, producer, all that. Everything I do with engineering completely goes back and forth with it, they intertwine with each other. This is my day job, and it switches to night when I have my fun, same building, same place. It’s the perfect career for me.

What genre of music do you usually work on, and what is your favorite genre to work on?

Joe: The most popular genres, I’d say, are R&B, hip-hop and trap. My favorite genre to work on would be traditional-style reggae. It sounds a little weird but I’ve had two or three artists from Jamaica, for all three of them it was their first year, they were all in the States. I recorded them and there’s nothing better to me. I’m not too religious myself but I love how the music isn’t just music, it’s politics, it’s culture, it’s religion, all into the same genre. Anything you want could be said into it and it’s still the same kind of music, just with different meanings. I have an appreciation for that. It’s a real therapy kind of music, it holds a lot of cultural influence. I just appreciate that a lot, and that’s probably why it’s my favorite to work on. And it’s different, I don’t get too many opportunities to work with artists that have [Jamaican] accents, and [their music] is just what I resonate with the most. I really enjoy it, it’s a great genre as a whole.

For the more tech-savvy people out there: what is your favorite type of microphone?

Joe: The go-to microphone is just the U 87, anyone who’s a tech person will know that. You’re saving money, keeping good quality. I like Neumann a lot, it’s a great company. We have the Manley Reference, we have one upstairs. We just got a new plate for it, they have a gold model of it. It’s the same model we have upstairs, but it’s completely gold-plated. Apparently, gold is supposed to help with some vibrations and frequency response, all that stuff. I don’t know too much about metals, so I can’t necessarily agree, but I like that mic. It’s the same model, just one is gold and one is not. It’s Mali’s most professional mic for sure, for vocal recording at least.

Who have you recorded with in the past that you really liked working with?

Joe: I’ve worked with a lot of Philly artists. I personally like underground people who are right at the point of [becoming big]. They’re so talented, and they have a sick fan base, but they’re so small they just don’t have the outreach to get out. Those are my favorite people to record. Out of the heavy underground who have burst through Philly in the past year or two, I’d say my favorite three artists to record would be Son of July, Lil Zack, and D4MSloan. Lil Zack and Sloan, they’re pushing their way up to the millions with their tracks now. They’re definitely enjoyable to work with, we’re friends too so it’s nice building relationships with your clients after a while. Those two are my favorite that have dipped out of the underground and into the whole industry in the past year, they’re pretty notable in Philly.

Are you working on any big projects right now?

Joe: Lots of EDM has actually been coming through, we’ve been doing a lot of vocals and help for some of the newer EDM labels out there, like Excision that started a new label last year called Subsidia. I think the studios have five or six tracks that have popped out onto the label already. There’s always new label tracks coming in and out… This is very biased actually, but one of our projects is an in-house Obsidian project is called Interkon, I’m actually a part of it as well. Its a pop-punk infused hip-hop thing, think of Blackbear and Machine Gun Kelly meets Nirvana and Blink-182 with a more traditional sound. That’s probably my most exciting project that I’m involved in working on as well as the one for the studio that I’m most excited for. And that should be dropping the first week of April. It’s bringing back the pop-punk culture, which is part of why I’m so excited for it, I come from skater culture growing up. And I’m trying to get back into the scene a little bit.

What is your favorite part of your job? What part of your job do you look forward to every day?

Joe: People leaving with a smile. It sounds corny, but I’m really big with relationships and vibes and all that with my clientele. It’s not just let’s work, pay me, then get out. Sometimes people will come in like “Dude, I’ve been waiting all week to come in here and vent out in this mic to you.” People sometimes call me like their “music therapist” as a joke. They’re talking to me through the wall, I help them get their emotions out sometimes. Even if they’re not doing their job sometimes we’ll just sit down and talk, get stuff out. Them walking out happy and them saying “We can’t get this anywhere else,” “no one else treats us like this,” “we don’t vibe with anyone like this,” “we don’t have fun and make this music in the same place anywhere [else]” makes me feel like we’re doing something right. That’s definitely the responses I like and the positivity I like to hear. It just makes me want to do better and do my job more, pick up more clients, talk to more people, and get as many people as we can in here. That’s my favorite part about it, it lets me do what I love more. I enjoy doing it.

Is there anything you want to add or plug before we wrap things up? 

Park: There are opportunities for students. We do our interns on a semesterly basis because we have interns that are in school and we have interns that have a job and are not in school and are just doing this part-time. Applications are probably coming out at the end of April.

Joe: This isn’t just a knowledgeable/could be just fun internship. We have interns that just do this for fun, to do nothing, and just have fun around music. We have people that come here to literally do it as a career, we have people that come here just to put it on the resume. Any types of interns that would want to come in, I think that’s the coolest part about here is that you could go from coming in here just wanting to listen to music and clean up or watch people to leaving here making a career out of it in less than six months to a year… if you put everything into it. It would have been pretty cool if when I was interning, I did that. But I don’t know, I like where the young mentalities are lately and a lot of people have been enjoying coming through here for the internships and I’m seeing more and more people introducing other people to do it. So it’s cool, to get more people into it for sure. We’ve got like 9-10 [interns] for the semester. Last semester there were like 6-7, 7-8 [interns], Park made a nice little job out of it.

To learn more about Obsidian and possible interning opportunities, visit www.obsidianphilly.com

Nestled in East Passyunk down a snow-covered half-street lies Obsidian Studios, one of the newest additions to Philadelphia’s bustling music scene. CEO and head engineer Grayson “Shep” Cedrone created Obsidian Studio to bring opportunity to Philadelphia, and has succeeded so far in his journey.

Obsidian Studios and its team has been through its fair share of struggles, but members of the team are grateful to have each other. The opportunity to continue to work during a pandemic has become invaluable, attests Parkesh Sehgal, a Senior Public Relations intern.

“[Obsidian is] a protector stone; I like to think we all protect each other here and look out for each other,” Shep said.

Obsidian Studios has only been in its 1118 Sigel Street location since June 2020, having operated entirely in the pandemic, and has maintained full bookings since its opening. They expect an even busier time once things die down, but it is certainly encouraging to see the creative juices flowing during a time when it’s easy to feel stuck and uninspired. “Business can only go up at this point,” Shep attested. Obsidian hopes to host live shows after the pandemic ends.

The Obsidian team is constantly expanding; a secondary location will be opening in Orlando in the near future with a partnership from established musician Kultivate and his team to take it off the ground. The Obsidian family grows even larger with a connection to the Floridian night scene. However, Philadelphia will continue to remain Obsidian Studio’s home base, Shep assures. Although the music industry seemed “very closed” when he entered it, Shep is doing his best to open doors in a variety of ways, including gaining experience with a variant of styles of music. Shep has experience in hip-hop, and the studio has many different types of clients and has experience recording many different types of music, including EDM, and even gospel.

West Philadelphian-born CEO Shep has interned under industry professionals who assured him the learning process, especially in the music industry, is neverending: “I’m always trying to get faster or better at what we do in terms of recording vocals and making music and I like to think that everyone here is kind of under the same mindset,” he said.

Shep relies heavily on his team, but everyone constantly evolves their skills, crafting a highly operational team that seems to love coming to work as much as they love working on their craft.

“If it wasn’t for the people here, I don’t even know if I would still be creating. It’s all inspiring when you walk through these doors,” says in-house photographer and videographer Chase Epstein. “It’s very motivating and inspiring, being here.”

It is clear that each member of the Obsidian team brings their own style and passion for music to the studio every day by the way they carry themselves and their overall knowledge. The ever-expanding team looks to strengthen both their own industry knowledge, fine-tune skills and create a larger community presence.

“Anyone in Philadelphia that has an interest in the music industry, we want to make sure we are a name that is known,” Shep says. “I’ve noticed the difficult parts in the industry and I’m able to fill the gaps,” Shep says. “More pay, easier workflow, a learning environment, community support.”

Obsidian Studios’ Offerings for Drexel Students

One of the ways they look to communicate is through their social media channel that hosts bi-monthly giveaways. Winners receive free recording and photo sessions with their in-house photographer.

The Philadelphia location houses a variety of services and visitors are welcome to the LED-lit facility. With multiple studios and classic red undertones, the overall atmosphere welcomes a creative vibe and many opportunities for Drexel students, on a multitude of levels including internships and DJ classes.

“We wanted to make it not so much as kind of a gatekeeper kind of industry, more of a kind of welcome with open arms,” Shep says. “If you’re determined, and this is what you love, we should help each other, rather than make it more difficult, because it’s already difficult enough.”

In terms of more traditional recording, “Anyone here can work your session and give you a very similar result,” Shep says. “By learning each other’s crafts, most people are able to do each other’s things at a high level… we don’t have to stop, it’s 24/7 studio”

One of the benefits of having a versatile and skilled staff means that essentially any member can help clients record their music.

Obsidian offers affordable, flexible prices for college students, all-expenses-included depending on-the-hour sessions. With a photographer under the same roof, Shep and his team have truly built something accessible and unique, placing their focus not necessarily on profit, but on the music.

“That’s a major reason for our success, is that we’re fast and cheap,” Shep says.

It’s a relatively quick process, as you can record and mix and master at Obsidian and walk away with a finished product.

Interested persons of all ages can also visit Obsidian studios for classes, including DJ classes. Compact Disk Jockeys, the industry-standard DJ equipment, are typically quite expensive, but Obsidian setup allows visitors to learn this technique for just $25 an hour while the equipment itself normally rents one piece for $600 a day. Music can be a money pit, but Obsidian is working to make it more accessible. Even better, the DJ classes are taught by professionals who have played sold-out shows and festivals so pupils can learn from seasoned professionals.

The staff ensures a pleasant visit for all who walk up the narrow staircase; public relations intern and Temple University Public Relations student Isabel Chowdhury says, “the people are so welcoming; I feel so inspired by everything that goes on here”.

Obsidian Studios also has internships available in various fields, including Public Relations, office management or music industry production. Some of the benefits of interning include the ability to record your own work for free. Internships also have the ability to expand into something more.

“We’ve had one of our interns go from just interning to being a part-time engineer and getting  profit from his work,” Sehgal says.

From classes to internships to recording sessions, it is clear that Obsidian Studios offers a variety of opportunities for interested Drexel students.

Song: “Combat” — Hazel English

This song caught me by surprise at the beginning of February. I discovered “Combat” while listening to a shuffled suggested radio on Spotify, and I specifically remember the chorus sticking out to me. The vocal melody Hazel English sings caught my ear, and I still fall victim to it every time I hear it. Her voice could be compared to Lana Del Rey, but the song structure is a bit more pop and the guitars are slightly country. “Combat” is a beautiful song with infinite replay value if you savor each listen.

Album: The Moment — Atomic Tom

A lesser-known alt-rock band of the last decade, Atomic Tom is a band you’ll definitely want to check out if you are into alternative or punk bands like Green Day. “The Moment” is a short album, only 10 songs with a total runtime of less than 40 minutes, but what it lacks in quantity it makes up for in quality. For extra credit, check out their iconic subway performance of their hit “Take Me Out” on YouTube.

Song: “Treehouse” — (Sandy) Alex G

This unreleased song by local Philadelphia artist (Sandy) Alex G garnered major attention on social media apps like TikTok a few months ago. The song features singer Emily Yacina and is available on YouTube, where third parties have posted it prior to any official release.

TV Show: “This is Us”

NBC’s hit drama, available for streaming on Hulu, NBC and Peacock, highlights the life of the Pearson family from past to future. The show is currently in its fifth season and both cast and crew have won many awards. While dramas tend not to have a large youth following, the wide range of relevant cultural issues and human experiences keeps audiences returning.

TV Show: “Dead to Me”

The Emmy-nominated show “Dead to Me” is the perfect blend of comedy and drama. Thoughtful, dark and witty, the series ventures into the life of a recently widowed Jen Harding (Christina Applegate). Struggling to cope with her husband’s death, Jen meets the bright and ever-optimistic Judy (Linda Cardellini) at group therapy. As the two unlikely friends become closer, nothing is as it seems. If you are in dire need of a binge-worthy show, “Dead to Me” already has two incredible seasons streaming on Netflix.

Awards season is extending longer and later than usual this year, and “Judas and the Black Messiah” is looking to make a few appearances. The story of one of the Black Panther party’s most prominent leaders and his betrayal has already garnered two Golden Globe nominations, one for Daniel Kaluuya’s performance as Fred Hampton and one for its original song “Fight for You.” Oscar nominations have yet to be announced, but I am expecting and hoping for Kaluuya, Dominique Fishback, Jesse Plemons, and especially LaKeith Stanfield to get nominations for their performances and maybe nominations in the best picture and best director categories.

As the title suggests, the movie focuses on FBI informant Bill O’Neal’s (LaKeith Stanfield) betrayal of the head of the Chicago Black Panther chapter Fred Hampton (Daniel Kaluuya). This makes the film what can best be categorized as a two-hander biopic, splitting its attention evenly between the two men. The audience gets to see the struggle of O’Neal as he is caught between the pressure from the FBI and his growing allegiance to the Panthers, while also spending a lot of time with Hampton’s dedication to his movement and what his movement entails.

However, there is also a lot of attention given to Deborah Johnson (Dominique Fishback). Her relationship with Hampton gives voice to her historical counterpart and highlights an aspect of revolution that gets sidelined in nearly every other story, factual or fictional, about any kind of revolutionary movement.

The choice to make this movie a two-hander makes it much more compelling than most other biopics. Were this a biopic about just Fred Hampton, his ultimate betrayal and death likely would have been included in a seemingly random climax (as in something like “Selena”), with O’Neal being introduced near the end of the movie. Centering the story around both Hampton and O’Neal allows for the movie to really allow the audience to spend time with both of them as fully realized human beings rather than getting caught up in showing a highlight reel of the subject’s life like many biopics do. Most importantly, the dual-protagonist set-up allows the movie to give a more complete picture of the Black Panther movement and the full impact, both personal and political, of O’Neal’s ultimate betrayal of Hampton.

Both the film’s greatest strengths and weaknesses lie in how it uses its second act. Between the setup of O’Neal being recruited by the FBI and Hampton’s eventual death, most of the scenes are dedicated to the more general actions of the Panthers. While there is some connective tissue between these scenes, there is not a neat causal plot that runs through the middle of the film. Despite this, the film never drags and maintains a lot of tension throughout. These scenes also do an excellent job of showing the goals and actions of the Panthers, the obstacles they encounter, and some of the losses they sustain. One particularly notable scene features Hampton giving a personal visit to the mother of a Panther who is killed in a police shootout.

On the whole, I definitely recommend watching this. It shows an important piece of history with a lot of context while still being engaging to watch. As mentioned, the performances from the lead roles are outstanding. If you are not a fan of historical or biographical movies, I can’t promise that you’ll like it, but it avoids most of the common limitations and pitfalls unique to nonfictional stories. If you’re interested, catch it now while it’s still on HBO Max.

“Earwig and the Witch,” Studio Ghibli’s first 3D animated film, was released on HBO Max on Feb. 5. The film was directed by Goro Miyazaki, the son of Studio Ghibli’s co-founder, Hayao Miyazaki. This is Goro’s third film with the studio and the new 3D animation style sets the film apart from anything the studio has ever done before.

I’ve been a fan of Studio Ghibli’s unique storytelling and gorgeous animation since I was young. After watching the trailer for “Earwig and the Witch,” I was skeptical of the new animation style but held out hope that the change would be a good one. Perhaps I shouldn’t have gone into the film with such high hopes, as the animation was not as breathtaking and the plot not as interesting as the Ghibli movies that I grew up with.

When watching the film, the influence of Studio Ghibli’s traditional style cannot be ignored, especially in the settings and backgrounds of the movie. However, the animation style of humans within the film seems somewhat uncanny and reminiscent of Pixar’s early work. The designs just seemed too perfect and too smooth, contrasting the flatter anime-inspired eye shape all characters also had. One of the strengths of Studio Ghibli has always been their breathtaking watercolor designs of forests and cities, and to have that completely disappear was jarring.

In terms of story, I think that the film was also lacking. Most of Ghibli’s films are for any age range. Children can enjoy the simple plot of friendship in films like “Ponyo,” while adults can watch the same movie and recognize the references made to themes of environmental degradation and single motherhood. “Earwig and the Witch” does not have that same charm, and the film seems to pander to children as its main demographic. There is nothing wrong with Studio Ghibli making a film just for children, but I feel that it’s a shame that the studio didn’t use this film as an opportunity to make something that could also be enjoyed by all.

The plot of the film itself follows a spunky girl named Earwig (Taylor Paige) as she is adopted by the witch Bella Yaga (Vanessa Marshall) who plans to make her work as an assistant. Throughout the film, Earwig and Bella Yaga are at odds, as Earwig is used to getting everything done her way, and Bella Yaga refuses to cooperate. The film seems as though it could be the first one or two episodes of a series, as most of the back and forth between Earwig and the Witch have very little bearing on character relationships and instead have a “Tom and Jerry” feel to them.

Over time, we learn bits and pieces about Earwig’s mother and the rock band that is Earwig’s namesake. However, by the end of the film, I was left with more questions than answers when it comes to this band and the relationships between the main characters. The film seems to be building to a conclusion that never arrives, with Earwig’s annoying hijinks seeming to pay off without much conflict or satisfaction. I really wish that the band plotline had been explored further, as the music (featuring Kacey Musgraves) that appeared throughout the film was one of its few strong points.

Overall, I would not recommend “Earwig and the Witch” for fans of Ghibli films unless they have a kid in their life who really wants to watch it with them. Unlike other works from the Miyazaki family, this film is not made for our demographic. This film is a new style of Ghibli for a new audience, and to that end, I am not surprised that I, a college student looking for a movie with a deeper meaning, didn’t enjoy it. I really hope that this movie does not mark a new transition into 3D animation for Studio Ghibli. Based on the other negative reviews I have seen of both animation and plot; I don’t think this is going to mark a change in the studio forever. “Earwig and the Witch” is a disappointing addition to the Studio Ghibli portfolio. It is a film that took a risk, but the risk did not pay off.

For people anxious for their next Ghibli film, “How do You Live?” is intended to fall more in line with the studio’s traditional style. It does not yet have a release date but should be coming within the next year or two.

Pursuing a career writing TV comedy is a competitive, challenging, and oftentimes uncertain path for the college graduate. Unlike other industries, there is no clear approach to getting hired on a late-night TV show, and your efforts are stacked against hundreds of other funny, eager creatives. Although there may never be a direct strategy for television success, “Late Show with Stephen Colbert” writer Django Gold provides some useful insight and perspective for aspiring comedy writers:

Where did you go to college, and how heavily were you involved in comedy at your university?

I went to Boston College, but I actually didn’t do anything related to comedy during this period. BC has a sketch team that at one point was holding auditions for new members, but all I did was briefly fantasize about taking the sketch world by storm before getting distracted by something else.

Where did you work after graduation? What was your path from that job to the “Late Show?”

I worked as a caterer and as a server for a concert venue sporadically, also pursuing various unpaid internships and languishing in my squalid Allston apartment. At the time I was more into music, and I would go to open mic nights to play my acoustic ditties. Comics would frequently hit up the same open mics, and after seeing them a few times, I decided to give it a shot. So that was my start point when it comes to comedy. And then, when I was 25, I moved to New York, and the first thing I lined up there was an internship at “The Onion,” which I had always idolized. And after you do the internship, they let you apply to be a headline contributor, and I got in on that. So then I spent the next two years working at a legal news publication during the day and basically spending my creative energies doing the best job I could freelancing for “The Onion,” eventually getting more and more opportunities. Until I was selected for the fellowship program they offer, which led me to move to Chicago and start working there full time. And then when “The Colbert Report” ended, I applied to be a writer on the new show, and here I am.

What is writing for a late-night show like remotely compared to in a writer’s room?

More regimented. You can’t really riff around like you could in a physical room, otherwise people (and their Zoom boxes) get drowned out. So it’s much more like, “Okay, you go first, then I’ll go.” Also, I no longer have access to free cereal in the break room, which is a genuine bummer.

What makes a late-night TV writer successful at their job?

Writing original jokes that make the people listening to them laugh. Don’t just fall back on old saws about dumpster fires or whatever. You should try to be original, while still honoring the voice of the show. Also, listening to other people and riffing on their bits to take them to new places (and being receptive to the same). Also important is the ability to generate a lot of material quickly, and not be too precious about it, because most of it is getting thrown out.

What can a college student do in their four years to better prepare themselves for a career writing comedy?

Watch lots of comedy. Read a lot, have interests outside of comedy, go on walks and stuff. People who are obsessive about comedy as an art form tend not to be very funny, because they don’t have life experience to draw on. So focus on being a well-rounded person who does comedy, not just a comedian. Also, be aware that your comedy “career” will almost certainly not begin within the confines of the comedy industry. You’ll probably be a busboy who does open mics at night, etc. The goal is just to get your foot in the door, which means starting in the mailroom of a place you want to work for. And then prove that you’re a reliable mailroom employee, and gradually climb the ladder. But getting your foot in the door in the first place might be the hardest part.

What’s something you wish you knew when you were in college pursuing your career?

I’ll just transpose that question to my first four years in comedy, as I wasn’t doing it in college. I think it’s important to prioritize doing and making things. That “thing” can be a video, or a pilot, a weekly show you put on at a bar (eventually), etc. Something that requires you to commit to a challenging task and see it through to the end. Gain new skills, meet new people, end up with a tangible product you can point to — so that when someone asks you what you do, you can point to the thing, as opposed to just saying, “I’m funny, trust me.” And do whatever you can to stand out in what is an incredibly crowded field. Thousands and thousands of comedians roiling in a stormy sea, you’ve got to demonstrate that you offer something different. So, develop a unique voice, and, again, avoid the dumpster fire stuff.

February is Black History Month. During this time, the media puts a historical lens on the contributions of African Americans to the country and how these contributions have influenced the way we live today. Trailblazers such as Martin Luther King Jr. and Harriet Tubman often get their stories told in the entertainment industry. There are many films centered around the struggle of the Black community in this country. We see films around Black History Month that often make the pain of the Black community as a means to make great entertainment. While all of these stories and perspectives are essential to understanding Black history, it is also important to acknowledge the Black artists that are shedding light on their humanity first.

In honor of Black History Month, here is a small list of films that have been released within the past few years that celebrate Black culture. From sci-fi hits to heartwarming chick-flicks, this list is sure to give options for the whole family to enjoy while celebrating and amplifying Black voices.

“Black Panther” (2018) 

This groundbreaking Marvel film is obviously a given pick. The film’s creation is full of Black excellence, directed by Ryan Coogler and starring Hollywood favorites Chadwick Boseman and Michael B. Jordan. Not only does this film give voice to the beloved Marvel character Black Panther, but it also highlights the homeland which the African American people come from. Though Wakanda is a fictional country, the inspiration for the customs, practices, and costuming holds true in tribute of the African traditions that were lost over time. Costume designer Ruth E Carter is the first Black woman to win the Oscar for Best Costume Design. This film is currently streaming on Disney+.

“Uncorked” (2020)

Directed by Prentice Penny, this Netflix original highlights the story of a young man Elijah (Mamoudou Athie) who wants to become a sommelier in spite of his father’s (Courtney B Vance) plans for him to work in the family business. This film presents themes such as grief, chasing your dreams and fear in a light-hearted, warm way. This film is currently streaming on Netflix.

“Black is King” (2020)

Let’s admit, we were all obsessed with the Beychella performances when they appeared on Netflix! Well, Beyonce strikes again in the visual album that serves as the companion for “The Lion King: The Gift” album from 2019. Using the same storyline as the timeless tale “The Lion King,” the film serves as a celebration of the African roots as well as highlights the journey of the African diaspora. Beyonce served as the director, writer and executive producer of this work. “Black is King” is available for viewing on Disney+.

“The Photograph” (2020) 

A movie that parallels two love stories? Heck yes! Directed by Stella Meghie, this is the story of the daughter of a late photographer (Issa Rae) who soon falls in love with the journalist (LaKeith Stanfield) who is doing a story on her mother’s life. This movie gives us a taste of both modern and vintage aesthetics with consistent flashbacks and eclectic music selections. There is humor, light and good vibes throughout the entirety of the film. “The Photograph” is available for streaming on HBO Max.

Malcolm & Marie (2021)

In the mood for an emotional rollercoaster? That’s exactly what you get in this new Netflix Original starring John David Washington and Zendaya. This film depicts a lengthy argument between a filmmaker at the peak of his career (Washington) and his girlfriend (Zendaya), whose real-life events served as the muse for his film. The couple serve as the only characters in the movie, and the narrative only takes place during one evening. The film is also shot in black-and-white. The aesthetics of the cinematography allow the audience to solely focus on the issues at hand. After an exhausting back-and-forth between the two characters, the fate of their relationship is then left for the audience to decide. This film is streaming on Netflix.

Take the time to dive into these stories in honor of the importance of the Black community in the United States of America.