If you want to build a bridge to Mars or construct a car that runs solely on “Game of Thrones”-related good vibes, then Tech is probably the school for you. However, one part of this college that rarely gets the spotlight is its liberal arts programs; most people do not even know what CM and LMC stand for, and it is especially evident during events like the Career Fair that majors like these are less than ideally represented when it comes to job opportunities.

This is not to say that jobs and internships are not out there for these students; Atlanta has a bustling media industry to say the least. It just might take a little more effort and ingenuity on the student’s part to snatch these positions up.

I am a fourth-year Computational Media major with a focus on film, and have been on the search for an internship for a few years now. After applying to several of the more famous media-related companies around Atlanta and getting rejected across the board, I recently landed a small position at a video production company on the perimeter. It’s a pretty stellar gig, and today I’m going to offer my fellow man some hopefully helpful (and brief, because I only have so much space to work with here) advice.

First off, you have to remember that you can never start looking too early. Even if you have no qualifications or experience, starting your search during your first few semesters of college can at the very least familiarize yourself with the industry. Secondly, do not be afraid to reach out first. Companies might want to hire you, but they also might not know that you exist until you introduce yourself. An actual application might not always be available, but a simple email stating your interest can at the very least put you on a company’s radar. And that brings us to our third point: the informational interview.

This is when you, a student, reach out to a company or person in the industry of your choice solely for the purpose of learning more about the industry itself. You are not asking for a job, you just want to talk with someone who has been in your shoes and might have some advice. Know and love the informational interview, because it can be a surefire way to establish a relationship with an actual human being that could become your first stepping stone. Seriously kids, look it up.

And that’s it. That’s all you need to know to get a job. Congratulations.

Just kidding, but hopefully this little piece will help some students who might not know what options are available to them. And this is not saying anything bad about Career Fairs; I know several liberal arts people who have picked up jobs that way, and I know a ton of engineers who haven’t. But in the event that the job pool may look a little shallow here on campus, just know that there’s an entire city’s worth of potential out there just waiting for you to tap into it.

In the wide world of modern popular music, there are the quirky Lady Gagas who make us question our aesthetic choices, the sexually charged Shakiras whose hips simply refuse to do anything but tell the truth and the pleasant Lumineers who invite us to pack a picnic and climb and mountain. And these are just to name a few.

Then there are the musicians that blast their high-pitched voices through fake teeth while lying in a filthy pile of rats. Enter Die Antwoord, the South African rap duo that specializes in filthy expression of pure rave-style madness. You are not ready for this jelly.

Composed of vocalists Watkin Jones, a.k.a. Ninja, and Yolandi Visser, Die Antwoord formed in 2008 and subsequently rose to internet fame with the release of their debut album $O$, which featured the highly popular track “Enter the Ninja” and rocketed the duo toward fame on an international level.

Following the initial success of $O$, Die Antwoord released their sophomore effort, entitled Ten$sion, which features the now hugely popular hit song “I Fink You Freeky,” which has racked up almost 60 million views on YouTube since its initial release in early 2012.

As far as the style of the duo goes, listeners and viewers should prepare themselves for an experience that ranges from intriguing to downright terrifying. A combination of science fiction, dirt and sick beats help make the act one of the more fascinating ones in the music scene to date; no content is too raw or taboo for the duo, who fearlessly pave the road into pure insanity to the tune of some dirty lyrics and a fierce snarl.

With an appearance in the upcoming sci-fi film Chappie, the duo appears to be branching out into other realms of entertainment.

However, if one thing is certain, it is that wherever this act is going, thumping music and a little mischief is sure to follow.

The Walking Dead launched its fifth season on Oct. 12, and judging from the record-breaking 17 million viewers who tuned in for the premiere, there is a pretty good chance that you already know what this show is about. The epic zombie saga, which is based off a series of graphic novels and first launched on AMC in 2010, chronicles the lives of several individuals in the aftermath of an apocalyptic event that has transformed 99 percent of the human race into reanimated corpses. The show deals with themes of loss, survival and the definition of humanity, and has throughout its run become one of the most popular cable dramas of all time.

This season opens right where the fourth one closed; main protagonist Rick (Andrew Lincoln, Love Actually) and his team of survivors find themselves in the grips of a murderous band of strangers, yet again. However, it is (thankfully) not long until America’s favorite group of zombie killers escape danger and fully reunite with each other for the first time in what seems like years, at least from the audience’s viewpoint. Unfortunately, this welcome moment of peace and reunion is short lived as it soon becomes apparent that dark forces are closing in on Rick and company, posing a much greater threat than any undead walker ever could.

With enemies closing in on all sides, our heroes cling to the hope of sanctuary and a cure that may or may not lie hundreds of miles away; however, only two episodes have aired, and already a few main characters will not be making it out of this season in one piece.

So far, this season has amped up both the suspense and the brutality: the explosions are bigger, the undead decapitations are bloodier and the bad guys are creepier than ever. However, perhaps the strongest aspect of this season is the fact that the show has finally developed a strong core cast. After the first few Dead seasons were spent shaving off unnecessary (or decidedly unpopular) characters, the remaining survivors have become a familiar and weather-worn unit, capable of emotional depth and personal growth.

It is this sense of emotional maturity that resonates throughout the small portion of the fifth season that has aired. After building an infamous reputation for killing off main characters with hardly any warning, Dead seems to be focusing more on life and hope this season than it ever has in the past; our group of heroes has never been stronger, but the stakes have also never been higher. Only time will tell if the future holds security or even more danger for Rick and the gang, but as it now stands, the show has never had a stronger sense of purpose; television’s horror phenomenon is back with a vengeance.

Our Take: 4/5

Gentlemen, remove your hats, because this week marks the ten year anniversary of the premiere of ABC’s Lost, that epic sci-fi drama about those weird people on that one island that also happens to be my personal favorite television show of all time.

And all my haters can kindly step to the left, because, despite any mixed reactions that the show received in response to its more edgy plot choices, Lost remains one of the most critically acclaimed and talked about shows in recent history. It even managed to rack up 11 Primetime Emmy Award wins throughout its six-year run.

But rather than constructing a 100 page manifesto on why Sun and Jin are the power couple this world both needs and deserves, or on exactly how much physical and metaphorical ass Juliet kicks per episode, I figured I would give my readers a break and instead talk about what exactly makes a television drama show “good,” at least by the standards of popular opinion.

Readers, buckle your seatbelts, because you are in for some pretty general information that you probably already knew. Let’s just do it anyway.

First and foremost, great television shows have great writing. Writing is what creates the characters, whether they are brooding, funny, insane or annoying, and it is what establishes the situations and dynamics that they share.

Lost could have taken place in a dingy, cubicle-filled office in Pennsylvania rather than an mysterious tropical island, and I still would have tuned in every week to see if Jack had worked out his internal issues, or who Ben would betray next, because the show is a character-driven one above all else.

Furthermore, shows that try to please viewers every week with flimsily contrived storylines are rarely considered the best of the bunch; more often than not, great television does not give you what you want.

In fact, sometimes the best dramas just plain kick your heart where it hurts. Fan favorites like The Walking Dead and Game of Thrones kill off so many (sometimes) beloved characters every season that it’s a wonder there is anyone left alive to slice open zombie brains with katana swords or drink unhealthy amounts of wine while discussing medieval politics.

And yet, the fan bases for both shows grow by the millions with each passing year, because ultimately, viewers don’t want to be pampered.

They want to be shocked, and they want to experience heartbreak, because it just makes the show more real and therefore more relatable.

Overall, the formula for a great, gripping television drama is an evolving one, forever reacting to the trends and technologies of the time.

Shows like House of Cards and True Detective have certainly shown that success can be found through experimenting with new forms of television, and it’s anyone’s guess as to what type of shows viewers will be eagerly tuning in to in the coming decades.

But one thing remains certain: the best shows are not here to please. They are here to blaze trails into new territories of story, characterization and genre, and expand upon the overall quality and possibilities of television as a result.

Also, Lost is the best.

For anyone who has ever wondered what would happen if a hardcore metal band, a batch of kittens, and an enormous amount of sugar were combined into a modern musical act, Babymetal is the answer.

Ever since its formation in 2010, the Japanese singing-and-dancing troupe has taken its every stage by storm, cranking both the energy and the volume up to 1000 percent and blazing into musical territory that has yet to be seen in most of the Western world today. But if this killer-hyperactive girl group stays on its current course, that may not be the case for long.

Babymetal is fronted by lead singer Suzuka Nakamoto, a veteran of the J-Pop scene due to her years with the acts Karen Girl’s and Sakura Gakuin. When Babymetal started as a metal-inspired subset of the larger group Sakura Gakuin, Nakamoto was chosen as its leading voice despite having little previous experience with the metal genre.

Soon after, Nakamoto was joined by fellow vocalists Yui Mizuno and Moa Kikuchi, forming the trio that is now the rapidly beating heart of the hardcore musical phenomenon. After a few years of releasing singles and music videos that were met with varying levels of popularity and acclaim, the group created its first major album, titled Babymetal, in Feb. 2014.

A compilation of the band’s original and newer tracks, it includes such popular songs as “Megitsune,” “Gimme Chocolate!!” and “Doki Doki Morning.” Perhaps one of the more interesting aspects of Babymetal is the fact that, although a majority of its music falls into the metal category, its songs sometimes shift into the pop, screamo and rap genres.

Additionally, the most glaringly unique aspect of the band has to be the fact that these crazily energetic songs are being brought to life by a trio of petite teenage girls. Each music video contains the standard requirements for the metal genre: head-banging band members, seizure-inducing lights, insanely hyped up crowds and a background beat that would not be out of place at a Metallica concert. And yet, front and center are three tiny Japanese girls with voices and styles pulled straight from a bubbly anime about clouds and unicorns.

Despite any reservations listeners may have upon reading this description, the group’s passion wins out in the end. The combination of expertly choreographed dance moves and an electric stage presence allows the Babymetal trio to redefine the stereotypical image of a metal band, thereby paving the way for future female metal bands to come.

As it now stands, Babymetal is a huge hit in its native country of Japan. However, its popularity on the global scale stems mostly from such video streaming sites as YouTube, where they have racked up millions of views from around the world. Perhaps the Western entertainment industry is not yet ready for Babymetal’s particular brand of music, but with ensemble singing groups like One Direction at the head of the current popular-music lineup, it might not be long before Babymetal stretches beyond its borders in a more physical way.

Babymetal puts out vibes of  youth and energy, with enough musical talent and showmanship to back up its unique style. If this continues, the global stage may be in for a hardcore surprise.

Only a few short years ago, the idea of a human thief teaming up with a green-skinned assassin, a bad-tempered alien warrior with a murderous agenda, a walking tree with a small vocabulary and a talking raccoon who also happens to be a strategic genius to take down a villainous blue terrorist—in space—would not only be considered as preposterous as this sentence’s structure, but also laughably unfit for the big Hollywood screen. But today’s world is one of epic cinematic possibility, allowing films like Guardians of the Galaxy to light up screens around the world with dazzling visual effects and make millions along the way. Released on Aug. 1, the latest entry into Marvel Studio’s cinematic superhero world introduces audiences to an entirely new cast of otherworldly characters, not unlike the now-familiar Avengers but decidedly closer to the wrong side of the law. Comedy and adventure naturally ensues.

The film follows Peter “Starlord” Quill (Chris Pratt, Parks and Recreation), a human taken from Earth as a child and raised as a bandit amongst intergalactic alien mercenaries. After he inadvertently steals a potentially world-ending artifact, Quill finds himself in the middle of a conflict between Ronan (Lee Pace, the Hobbit trilogy), a powerful maniac intent on global genocide, and the peaceful citizens of the galaxy. After a series of events lands him in prison, Quill teams up with the mysterious Gamora (Zoe Saldana, Star Trek), a skilled fighter with connections to the enemy, and Drax (Dave Batista, Riddick), a violent and muscled alien with a personal vendetta against Ronan. Also joining them are Groot, a giant, walking, tree-like alien with a peaceful demeanor, and his bounty hunter partner Rocket, a raccoon who has been genetically manipulated to talk like a human and think like a battle tactician (voiced by Vin Diesel, the Fast and the Furious series, and Bradley Cooper, The Hangover, respectively). Together, this band of unlikely companions must move past their own differences, both in species and personality, in order to defeat the genocidal threat of Ronan and earn their place as the titular guardians of the galaxy.

At its heart, Guardians is undoubtedly Marvel’s most kid-friendly spectacle; complete with talking animals, shining spaceship battles and the best soundtrack on a Hollywood film since Space Jam’s dropped the beat on the world in 1996. Additionally, the visuals are, in a word, impressive; every scene in the film seems to contain the entire spectrum of visible color, without threatening to overwhelm the viewer with an explosion of blinding highlights. Guardians’ source material stems from the seemingly boundless world of comics, and the film’s creators take full advantage of this lack of reality-imposed boundaries; the film’s outer space landscape varies between the visual mastery of Gravity and the almost cheesy otherworld-ness of Thor, and constantly tops itself in terms of ingenuity and just plain wackiness.

However, despite its high-quality visual effects, the film could not have become the critical and financial success that it is without the chemistry evident among its cast members, both leading and supporting. Although Pratt has been known mostly for his supporting roles in the past, the actor’s introduction into the center of the blockbuster spotlight is a successful one. In a nutshell, Pratt’s Quill is Iron Man without the destructive health problems: a natural born leader and womanizer who can crack a joke as easily as he can pilot his ship through an oncoming barrage of galactic enemies. In accordance with the more lighthearted tone of the film, Pratt shines the brightest during his more comedic moments, of which there are many. At his side, Saldana and Batista do the same, albeit in a more reserved sense, while Diesel and Cooper need only their voices to make the pairing of Groot and Rocket one of the more memorable and hilarious in recent history. And that’s just the main cast. Veteran actors such as Glenn Close (Damages) and Benicio del Toro (Traffic) are counted among the film’s supporting lineup, resulting an array of performances, both dramatic and comedic, that manages to do the impossible in overshadowing the film’s stunning visuals.

Overall, Guardians has provided the Marvel Cinematic Universe with a brighter, funnier and slightly more innocent facade, made even more prominent in the wake of more brooding films like Captain America: The Winter Solder and Thor: The Dark World. This contrast between the lighthearted and the ominous poses some interesting questions for the future of the superhero franchise. Although Guardians did not contain direct connections to any of the other Marvel films aside from a few supporting characters and locations, the film itself takes place within the same cinematic world as 2012’s The Avengers, meaning that audiences may soon be paying to see Quill and the gang team up with Iron Man, the Hulk and the rest of Earth’s mightiest heroes.

Beginning with Avengers: Age of Ultron in May 2015, Marvel seems to be entering a brave new world of superhero cinema, one in which entire galaxies may come head to head and the characters that audiences have come to love will get to interact in ways only seen in the comics themselves until now. Already, Marvel has granted Guardians a sequel, along with a third installment in the Captain America franchise and a debut film for Ant-Man, a popular comic book star who has yet to be seen in any film installment to date. It remains to be seen if these bold new steps into previously uncharted superhero territory may prove to be too confusing or implausible to Marvel’s loyal fan base, but as it stands, with Guardians of the Galaxy currently dominating the global cinematic scene, the studio has never been stronger.

Beginning with 2004’s zombie romance Shaun of the Dead and continuing with 2007’s police comedy Hot Fuzz, British director Edgar Wright’s “Three Flavours Cornetto” film trilogy was concluded on Aug. 23 with the release of The World’s End, a tale about old friendships, rekindled loves and the pesky alien invasions that always seem to get in the way of it all.

Like its predecessors, the film boasts an ensemble cast with comedic duo Simon Pegg (Star Trek) and Nick Frost (Snow White and the Huntsman) in the lead. The story finds Gary King (Pegg), a washed-up and immature forty-something whose popularity and happiness peaked in his college years, trying to reunite his old group of friends for a bar-hopping adventure across the small English town where they all grew up. Frost stars as the ex-best friend who has grown out of his rebellious phase and found success in life, and subsequently wants nothing to do with King’s dreams of reliving adolescent adventures.

Nevertheless, through one method of persuasion or another, he and the other members of the former friend group end up joining King’s little reunion, and a night full of bars, beers and bad choices commences. However, dizziness and hangovers may not be the only things in store for the group when they find out that the residents of their hometown are not exactly human anymore. Martin Freeman (The Hobbit: An Unexpected Journey), Eddie Marsan (Sherlock Holmes) and Paddy Considine (The Bourne Ultimatum) costar in this wacked-out sci-fi comedy.

After the success of Shaun and Fuzz, director Wright’s films have become infamous for taking the picturesque image of small-town British countryside life and turning it on its head, resulting in utter and bizarre insanity. As far as this formula goes, The World’s End does not disappoint. The film turns from quaint to apocalyptic at the drop of a hat, and the audience never sees it coming. This mixing of intensity and normality is what has made Wright’s films so unique and popular, and while End is not as blatantly violent as its predecessors, it is the most “out there” as far as storylines go. And seeing how the film is meant to be the conclusion to Wright’s mad trilogy, more and more craziness seems the best way to go out with a bang.

Unfortunately for End, while it does pull off Wright’s signature manic style, its script fails where Shaun and Fuzz succeeded. Most of the cast of this latest film have been a part of the two previous installments, yet their characters all seem watered down and uninteresting compared to their past performances.

Pegg and Frost especially, whose memorably humorous bromance banter formed the center of the first two films, cannot seem to reach the same levels of comedy. They give it their all in the acting department, but with a screenplay that relies on action-filled intervals rather than clever, solid dialogue, there is only so much the duo can do. All in all, without the backing of good and memorable writing, the leads are left weaponless and the supporting characters all but fall by the wayside, ultimately robbing the film of its full potential.

The World’s End is not as good as it could have been in a perfect world, but it still far surpasses several of the supposed blockbuster comedies that have been released in past few months. The story manages to surprise audience members more than once, and makes them laugh a few more times, but those few moments are the only memorable ones. Most of the film unfortunately falls into that abyssal area in between laughs, and will likely be forgotten outside of the theater.

“Just imagine you’re weightless, in the middle of the ocean, surrounded by tiny little seahorses.” These words, spoken by Deb in the film Napoleon Dynamite, never hit home for me as much as when I discovered the Pacific Study Abroad Program here at Tech. Twelve weeks traveling between Fiji and Australia, seeing amazing sights and literally living on resorts along the way? You better believe I went to that information session. And then I realized that the cost of the trip would not so much break the bank as detonate a nuclear bomb at the center of said bank, making the surrounding area uninhabitable for the next 50 years. But I digress.

I had to choose a different program. Italy seemed pretty classy, and I was a film major. I did the math. The Bocconi Milano was within my price range, and it was in Europe, the hypnotic, irresistible bug zapper for college-aged wanderers. And so I went to my advisor, all innocent and full of hope, and then I found out that the Bocconi program catered almost exclusively to business majors, and that I would have to take about five unnecessary classes if I ever wanted to step foot on that sweet Italian soil.

My search continued.

Eventually I decided to give up and pick the cheapest program that accepted my major. The country in question ended up being Scotland, home of a thousand lakes and one annoyingly anti-social mythological creature. I was pretty dismissive at first (which was a pretty bad first-world problem, now that I think about it), but eventually I started looking at pros, and there were a lot of them. Ancient castles? The movie Brave? Nessie? You better believe I will be going to that session.

And so the moral of this strange, first-world problem story is a pretty specific one. Studying abroad is such a rare adventure that college students have the chance to participate in, and the location does not really matter as much as the choice we make to throw ourselves into a strange environment, if only to discover the type of people we will come out as on the other end.

If I get accepted into the program, I will be studying abroad in Scotland this spring. It was not my first choice, or even my second, but I would not change it now even if I had the chance. And it actually might end up costing less than a normal semester here at Tech, so bully for that. Plus, I’ll get to catch the fourth season premiere of Game of Thrones about five hours before you fools here in the States do, so there’s that.

But what really matters is that I am packing my bags and going, and I encourage my fellow students to try and do the same in their own time. Sure, worry some about the amount of credit hours you will be able to take, and worry more about the cost, but worry most about the choice not to go out and experience another part of this world while you can. Life is short, and it’s a pretty big planet.

Aiming straight for the awkward, shuffling teenager in all of us, the 2013 Sundance pick The Way, Way Back opened in select theaters across the country on July 5. Boasting a welcome cast of experienced comedic faces, along with a few newcomers, the dramedy tells a simple story of summertime, divorce, healing, friendship and waterslides.

Back introduces us to the slightly off-kilter world of Duncan (Liam James, The Killing), a teenage misfit who is forced to spend the entire summer at the beach house of his recently divorced mom’s (Toni Collette, United States of Tara) new boyfriend (Steve Carell, The Office), who is a bit of a jerk.

As if that situation were not awkward enough, Duncan must also deal with flamboyant yet good-natured neighbors (Allison Janney, The West Wing), girl-next-door crushes and, overall, a life that seems to work better with him out of the picture. Yearning for a way to make it through the summer, Duncan lands a job at a laid-back water park, run by an easy going and unconventional manager (Sam Rockwell, Iron Man 2). It is here Duncan finds the friendship and strength to confront his home life and set it on the right track.

As with most independent films, the greatness of Back is found not in a multi-million dollar special effects budget, but in its cast and screenplay. James, a relatively new addition to the big screen, pulls off that quintessential nerdy outcast persona, with the awkward gait and cracking voice, making his character’s eventual transition into a more self-assured and outgoing person all the more noticeable. Despite James’s capable lead, the strength of the supporting performances ultimately makes the success of the film a group effort.

Together again for the first time since their starring roles in the 2006 breakout indie hit Little Miss Sunshine, Collette and Carell breathe life into the initially carefree but eventually tension-filled relationship between Duncan’s parental figures. Janney and Rockwell round out the main cast, with the former embodying the figure of the overly-tan yet no-nonsense “cool mom” with martini in hand, and the latter inspiring many of the films best comedic moments with his happy-go-lucky attitude. Together, this cast interacts in a way that is simply enjoyable to watch, reaching both dramatic and comedic heights through the power of their performances.

As always, a performance is only as good as the script it stems from, and fortunately for viewers, the screenplay of Back does not take itself too seriously, but rather plays to the strengths of its cast members. The one-liners are snappy and unpredictable, with a pace that keeps the film on its feet, and the drama, when it comes, is powerful in its simplicity. And simplicity is the key here.

With so many films like The Avengers and Man of Steel struggling so hard to reach an acceptable sense of authenticity through special effects, it seems almost laughable that a film such as this one could be more relatable to its audience, and at a fraction of the budget. But that is the strength of The Way, Way Back. It is not a spectacle, and its story is not even that complex, but it does capture your attention with its refreshing simplicity.

Millions of fans’ prayers were answered this past Sunday, May 26 with the release of the long-anticipated new season of Arrested Development. After its infamous and shocking cancellation by FOX in 2006 after three short seasons, the show was tossed around in network limbo for years. Finally, in 2012, when most viewers had all but forgotten about the once-bright Emmy winner, the online video streaming site Netflix picked up Development for a 15-episode fourth season.

All 15 episodes are now available to Netflix subscribers, and early reviews of the season have been mixed to positive, but more important than critical reception, this revival begs several questions about the future of the television industry. Mainly, is this new method of online distribution more successful than regular broadcast television, and if so, what does the future hold for the broadcast stations that have kept such a firm grasp on the television industry for the last half century?

This Development rescue is not Netflix’s first attempt at television; the website currently airs several original shows and films, most notably the political drama series House of Cards, which has received critical praise and is expected to be a contender come Emmy season. Netflix is not alone on the online distribution platform; other popular sites such as Hulu and Amazon have begun to release their own original content, ranging from web-based miniseries to season-long shows.

So far, these sites have proven that they can handle any and every type of content that regular broadcast stations can. In competing with regularly broadcasted television shows, web-based series have several advantages. They are easy to access and the wait time for advertisements is relatively light. Additionally, these shows exist within the extremely portable realm of the Internet, making them accessible on a range of devices. Shows such as Arrested Development can be released several episodes at a time, eradicating that dreaded week-long wait between episodes and calling into question the very idea of what constitutes a television season.

On the whole, online-specific shows cater to “gaze vs. glance” theory of entertainment production; regular television requires viewers to sit in one spot and invest 30 to 60 minutes of their time to attain a weekly dose of the show in question, while webseries can be watched on the viewer’s own time and in as high or low a quantity as the viewer prefers.

However, the downside to online television is the price of subscription to the distribution sites, and in many cases this is not a problem as many of the shows are released for public viewing free of charge.

It seems that webseries are so different from their broadcasted counterparts that there may not be any competition; the Internet is simply the inevitable next step in the evolution of the television industry. As classic networks such as NBC see lower and lower ratings, the push toward online-only viewing has become stronger than ever. This generation may be at the cusp of a new era of entertainment distribution.

But would a show like Game of Thrones be able to support such a large cast and reach such a high level of visual effects if it had to operate within the low budget of a webseries? Are we sacrificing the quality of the content we watch in exchange for ease of access? The Internet has proven capable of bringing new heights of artistic integrity, but it is also home to quite a bit of hogwash.