When people think of the Day of the Dead, they probably imagine skulls and tombstones — not necessarily the most festive images to associate with a holiday. The new Pixar animated masterpiece “Coco,” released November 22, seeks to reimagine this image. Directed by Lee Unkrich and Adrian Molina, “Coco” highlights the beauty of humanity and the strength of family that is hidden in this supposedly eerie Latin holiday.

With his family obstinately opposed to music of any kind, aspiring singer Miguel (Anthony Gonzalez, “Imagination of Young”) ventures into the Land of the Dead to uncover the mystery of this generations-old ban and find the freedom to pursue his dream.

The Technique had the opportunity to interview Susan Fong, a Georgia Tech alum, about her experience working on the movie. As rendering and optimization supervisor, she oversaw the part of the animation process called rendering, in which each graphic element is compiled to become the animated image viewers see on the silver screen.

Her work is laborious. To develop a single frame of the movie, it may take eighty hours. One frame is one-twenty-fourth of a second. “Coco” runs for an hour and 49 minutes. Do the math — it is a time-consuming process.

Not only that, but the graphics of “Coco” are unlike any previous Pixar film: “We’re pushing the boundary of what’s possible,” Ms. Fong said. In creating the Land of the Dead, there was a tremendous amount of geometric detail that had to be configured to convey the “sense of scale” associated with the “eons of history” contained in that single place. “It’s an unprecedented amount of data being put on the screen.”

The characters, too, were a challenge. Since most of them are skeletons, there was an unexpected issue concerning how clothing would fit them. “We’re used to seeing [cloth] on a filled-out human. Putting it on bones and making it appealing was a challenge.”

When watching the film, few of those technical difficulties are noticed. Rather, viewers are enchanted and dazzled by the stunning graphic design, the charisma within the songs and dialogue and the genuine cultural spirit of the film. Somehow, the dead characters come alive, and the audience is transported across physical and temporal boundaries into the captivating world of Miguel’s ancestry.

So, can a movie like this get political? Gael Garcia Bernal, who plays Héctor, dedicated the film to all children with Mexican and Latin American heritage who “are growing up with a lot of fear because the established narrative says that they come from families that come from rapists, murderers, and drug traffickers.” In that view, “Coco” is in direct contrast to Trump’s message of xenophobia and “America first.”

Ms. Fong does not see the film in a political light. “Coco” was thought of years ago, predating any recent political turmoil. She acknowledged that “we can’t expect how others will respond to a piece of art.” However a viewer specifically interprets it, the themes of familial love, acceptance and universality put forth in the film are a strong and noble statement, one that is hopefully embraced by everyone this holiday season.

When we think about what it means to be a Georgia Tech student, there are a few words that commonly come to mind: we’re often described as hard-working, creative, nerdy (but proudly so), and, of course, smart.

When I think back to the first time I felt that I had truly understood what it meant to be part of the Yellow Jacket family, I think back to my first finals week. I was cooped up in one of the most coveted study spaces on campus (referencing, of course, the booths on the 3rd floor of Clough). My friend and I were studying like hell to prepare for our first Tech final, but when we had paused to briefly rest our eyes, we both ended up falling fast asleep. We woke up around 5 in the morning the day of our exam, very dazed, but also pleasantly surprised. In front of us we saw two cups of hot Starbucks coffee and a line of colorful post-it notes, encouraging us to keep our strength and reminding us that it’s okay to rest and take of ourselves.

Stories like this aren’t as rare as you’d imagine here at Tech. Whether it be by lending a hand on complex problems or a listening ear during rough times in the semester, one of the best parts about being a Yellow Jacket is being part of a community that supports and uplifts one another. Yes, we’re hard working. Yes, we’re nerdy. And yes, we’re smart – but we’re also compassionate.

It’s the compassion that I saw from my first finals week with the two cups of coffee and a pile of post-it notes.

It’s the compassion that we in the Yellow Jacket community have seen as the hallmark of so many of our Tech traditions.

It’s when faculty and staff stay up at midnight to serve us breakfast before exams.

It’s when the band lights up campus with tunes from our fight song during Midnight Bud.

It’s when hundreds of families host international students during Thanksgiving to give them a home away from home.

We’re preparing to graduate from a school whose undergraduate engineering programs rank consistently in the top 10 across the nation, whose cutting-edge research helped discover how to detect Gravitational Waves and build the Ironman suit. But, beyond this, we are also a school that brings adorable puppies out to Tech Green during finals and has security guards and cafe baristas who remember our names and, embarrassingly, sometimes even our orders.

And as we walk across the stage this December, as we begin to venture into new communities and new experiences, I hope we can always remember these moments because they have taught us that our ability to share a deep sense of compassion and humanity is an invaluable part of our success both here and beyond.

Congratulations to the Class of 2017! See you at the finish line!

Verbal communication is often an underrated skill in industry and academia. So much so, that three professors came together to create a workshop that seeks to strengthen students’ communication skills, whether in a media interview, communication through website design and the development of a press kit or simply through the publication
of articles.

The course is called “Communicating Science to the Public: A Workshop of Engineering Researchers,” commonly abbreviated to “Sci-Com,” and is comprised of seven one-hour sessions over the course of the semester. This has been the second year that the course was taught and has been catered to graduate students and post-docs who want to make an impact through the press.

“The goal of this course is to prepare students for the inevitable and necessary communication skills that come with any job in science and engineering, whether it is industry or academic position, and to help these students achieve national recognition,” said David Hu, a professor in the School of Mechanical Engineering and one of the three co-founders of this course. “One of the most important skills for a scientist is explaining his or her work to the broader public. The problem is that this skill is not taught in any course.”

After intending to pursue creative writing after graduating from MIT, Hu earned a Ph.D in Mechanical Engineering instead. From there, he has been working in the fields of engineering, biology and robotics, earning world-wide recognition for his work from The New York Times to NPR to Discovery Channel. It has been a long-time goal for Hu to establish a science communication course at Tech.

From the School of Materials Science and Engineering, Amanda Gable is a second co-instructor for the Science Communication workshop, teaching technical communication within the undergraduate and graduate engineering curriculum.

“My background includes a Ph.D. from Emory focused on literature and feminist studies, teaching technical communication in several capacities at Georgia Tech over a number of years, teaching writing and literature at other universities and experience as a novelist,” Gable said.

Jeffrey Donnell, the Frank K. Webb Academic Professional Chair in Communication Skills is the third co-instructor of the Sci-Com workshop and holds a Ph.D. from Emory University.

“I’ve always thought scientific writing should be clear, direct and accessible; Georgia Tech has been a great place to teach that,” he said.

The class is comprised of a series of guest lecturers that are scheduled over the course of the semester, speaking on topics from mock interviews to photography.

“Experts from Georgia Tech generously lecture and review the work of the participants,” Donnell said.

“They will give short accelerated courses on their area of expertise,” Hu continued. “The idea is that the attendees would have a swiss army knife of communication at the end of the workshop.”

The experts include Eric Sembrandt, the maker of the COE webpage; Kim Cobb, an expert on social media for scientists; Jason Maderer on speaking to the media, making research results accessible and conducting mock interviews; Candler Hobbs, a science photographer and Stephen Norris on social media.

The team hopes to expand the program across the Institute’s departments and have it run as a regular offering with a wide participation of graduate students and post-docs, and possibly expand the program to undergraduate students in the future.

“This workshop series is one among many efforts of faculty and our colleagues in technical communication across the College of Engineering to help all students communicate clearly to other scientists and to the public,” Gable said.

“The ability to communicate effectively always makes a difference,” Gable said. “If
scientists and engineers clearly convey their results to colleagues, others can build on their work, which advances science. But if they also can explain the big picture of their research to the public, then science is advanced further by having more people excited about how research is done and what it can accomplish.”

Thanksgiving invokes thoughts of spending time with family and friends, sharing meals, watching football games and leaving Tech for just a few short days.

For some, however, leaving Tech just is not a possibility. With most people gone and so much free time, someone in this situation might be wondering what to do around Atlanta to have some fun and to relax during this time off school.

Fear not, the Technique has compiled a list of fun activities for you to do over the break that will help you fall in love with being at Tech for Thanksgiving.

One of the easiest things to do is to just get outside. The beautiful North Georgia fall weather means it is the perfect time to head outdoors. The changing leaves and cooler temperatures will make it worthwhile, and the extra time over break means you cannot use studying as an excuse.

Explore somewhere close to home by going to nearby Piedmont Park, only a few blocks away, or the Morningside Nature Preserve, a nearby park with plenty of fun trails to follow.

If you are looking for something more adventurous, head north to the Chattahoochee National Forest, west to nearby Sweetwater State Park or east to Stone Mountain, where a quick hike presents breathtaking views. Stop by the Wilderness Outpost at ORGT to rent gear, or look at maps and guidebooks for ideas.

While you are outside, it is a good idea to get moving. The semester might have thrown a wrench in your perfectly planned workout schedule, but now is the perfect time to get back on track.

The CRC will only be open on Wednesday and Sunday of break so be sure to check out some of the wonderful options here in Atlanta. If you are looking to stretch out, King of Pops hosts free yoga every Sunday in the Old Fourth Ward Skate Park at 7 p.m.

For those looking to be able to eat all the Thanksgiving food they want, the Atlanta Track Club will be hosting the annual Thanksgiving Day Half Marathon & 5K. Even if you do not want to race, you can cheer on runners as they speed right past campus on Thursday morning.

Maybe the outdoors and exercise are not your cup of tea and you would rather stay inside and help those less fortunate. The season of giving is the perfect time to give back to the community. Take some time out of your break to find a way to get involved and help spread some joy.

Nearby options include volunteering at the Clarkston or Grace community food pantries, working with seniors at A.G. Rhodes Health and Rehab or making or delivering meals with either Meals on Wheels or Kashi Atlanta.

If these do not quite fit what you are looking for, check out www.handsonatl.org to find ongoing projects in the area.

Sometimes you just need to do something fun to relax and get away from Tech for a little bit. If you are not familiar with the Atlanta area, Thanksgiving break is a great time to acquaint yourself.

While all the previously mentioned activities will get you out and about in Atlanta, there are plenty more which can serve as a day of fun all on their own.

It can be easy to dismiss all the typical Atlanta tourist spots, especially if you have never been, but many of them are worth visiting at least once.

Places like the World of Coke, the Georgia Aquarium or the College Football Hall of Fame are classics that will surely impress.

Additionally, the High Art Museum, the Atlanta History Center and the Atlanta Botanical Gardens are all close by attractions that will connect you to this great city.

If the sheer idea of planning these adventures stresses you out, or even thinking about leaving your room over break irks you, then have no shame in keeping activity to a minimum.

Head to nearby Atlantic Station to watch a movie or stay inside and finish your favorite television show. Take the time to make a home-cooked meal. You could always just catch up on sleep, too. You earned every second of it.

At this point, most moviegoers should be familiar with the term “Marvel fatigue.” Almost a decade since the first “Iron Man” movie, the Marvel cinematic universe (MCU) is steaming onwards, consistently raking in several hundreds of millions of dollars with each release.

Despite this success, most viewers would agree that though Marvel’s films are consistently passable, they are uncomfortably formulaic at this point.

The hero is established; he or she has some big bad villain to defeat; the hero struggles, gangs up with a couple of quirky sidekicks, cracks many jokes along the way and defeats the villain in a ballistic, CGI final act.

Everything is tied up in a neat little bow. Every character gets a tidy character arc. The villain is destroyed, and a seed is planted for the next film in the MCU. So it goes.

On top of the marked familiarity that viewers experience between films, most MCU films are bland, colorless and otherwise unmemorable. There is little directing style; the soundtracks are utterly forgettable and the conflicts blur into one another.

Marvel is starting to wisen up to the popular sentiment surrounding their films. Yes, Marvel films are still massively successful, but one must ask: for how much longer? So Marvel has been trying to diversify by employing more outlandish stories and characters and by recruiting notable indie directors to add spark to their films. To a limited extent, it has worked.

“Thor: Ragnarok” is the most recent attempt by Marvel to diversify their portfolio. Marvel tapped New Zealander director, Taika Waititi (“Hunt for the Wilderpeople” and “What We do in the Shadows”), to direct this film, and his influence is certainly welcome.

Waititi is known for his quirky, deadpan humor that brought him success with his first two films. His sense of humor makes “Thor: Ragnarok” one of the most fun films to come out of the MCU. The movie, which is the third
in the largely forgettable Thor series, is both a reinvention of Thor and an attempt to reinvent the Marvel movie.

Similar to James Gunn’s efforts on “Guardians of the Galaxy,” Waititi takes Thor, previously the blandest character in the Avengers, and sends him on a wild space adventure where his character can fill himself out.

The film follows Thor (Chris Hemsworth, “The Huntsman”) and Loki (Tom Hiddleston, “The Night Manager”) as they are cast out of Asgard after their imprisoned sister Hela (Cate Blanchett, “I’m Not There”) conquers Asgard
for herself. Thor and Loki find themselves lost on the planet of Sakaar, a trash planet ruled by the
Grandmaster (Jeff Goldblum, “Jurassic Park”).

After being enslaved by the Grandmaster, Thor is forced to fight in gladiator matches for the planet’s entertainment. There, Thor finds allies in the Hulk (Mark Ruffalo, “Shutter Island”) and an alcoholic former Valkyrie (Tessa Thompson, “Westworld”) as he works to escape and save Asgard from Hela.

Waititi works intensely to use comedy to subvert the tropes of the Marvel movies. Villainous monologues, epic sacrifices, heroic exits and entrances are all undercut by sharp quips and jokes as the film’s heroes literally fall flat on their faces several times.

But it feels like Waititi has made two movies: one generic Marvel movie where a hero must defeat a villain and the other, an immensely fun romp through space with Jeff Goldblum and
a Hulk.

Every scene on Sakaar is so incredibly fun. Chris Hemsworth has added pathos, vulnerability and wackiness to the blond-haired, blue-eyed Ken doll that used to be Thor. He plays off his costars superbly.

Each interaction reads like a scene out of buddy-cop comedy as he riffs with a childish Hulk, a cynical Valkyrie and a sensitive, whiny Bruce Banner. To add to the entertainment, Jeff Goldblum has a wonderfully humorous presence as a nonchalant, oblivious authoritarian who steals every scene he is in.

Sakaar has color and feels different from the other Marvel worlds because of it. The Sakaar scenes distract from the fact that there is yet another cheesy bad guy waiting in the Asgard plotline.

For all of his efforts to infuse humor, Waititi’s humor simply cannot work in a Marvel movie if it must also integrate with the generic Marvel “Big Bad” plotline that dominates the scenes with Hela and Asgard.

The humor feels immensely out of place every time the audience returns to Asgard; it is hard for viewers to take the main conflict with Hela seriously. Blanchett does her best with the character, but Hela is still little more than another Marvel villain who decided that she wanted to simply be evil when she grew up.

Ultimately, Waititi’s film falls flat not because of his humor but because Marvel still refuses to relinquish its formula and let the humor, style and vision of directors like Waititi breathe.

In March, the Moth returned to its Georgia roots by spreading its popular StorySLAMs to Atlanta. True stories, performed without notes in front of live audiences, are the focus of the Moth, which now includes a podcast, radio hour, two books and education programs.

St. Simons Island native George Dawes Green, a novelist and poet, began the Moth in 1997 after moving to New York City. He missed swapping stories on the back porch with his friends, who called themselves “The Moths” after the insects that shared the porch with them.

The main events of the Moth today are Mainstage and StorySLAMs. The slams are open mic nights of five-minute stories on a certain theme. A host keeps the unpredictable night flowing, and the audience votes on the winner. Mainstage events feature five curated speakers who have been coached by Moth staff to shape their stories.

Senior Director Jenifer Hixson is one of the people who helps storytellers prepare to share during the Mainstage shows. She often finds people to coach at StorySLAMs. Hixson also is one of the hosts of the radio hour, which is aired on over 450 stations.Stories for the podcast and the radio hour are chosen from the StorySLAMs.

Hixson and her team came to Georgia less than a year ago to meet with Meredith Williams, who produces the Atlanta StorySLAMs, and auditioned hosts. They found John Good to guide the monthly events, held at Dad’s Garage.

With the theme of “First,” the inaugural StorySLAM included stories of a man on a waterski who was terrified of the aquatic animals around him, which turned out to be dolphins not sharks; a kid who shared his spelling bee failure with the word “garage” and a woman’s experience of death in the family and coming out. The last story, shared by Theresa Davis, won the night.

“You have a great talent pool in Atlanta,” said Hixson. She attended the first Atlanta slam and left impressed by the heartfelt, funny and sad stories. She became involved with the Moth 18 years ago as a volunteer at a Moth Mainstage show. In these early days, only a few people were on staff, and the slam events had not yet begun.

An overwhelming number of stories were being pitched for the Mainstage event, so they began StorySLAMs, involving the audience in the decisions. While the Moth staff will listen to stories that do not win, there is a beauty in seeing people’s different favorites, according to Hixson.

Transferring the live, spoken stories to print for the two Moth books was an “interesting process.”  “Some stories work better on the page than they do live, and some we love live — it’s so much the person’s personality carrying the story. Without their inflection and their vibrancy, it didn’t translate well,” Hixson said.

“The ideal way to see a Moth story is to hear it live in a room, if you can. If you can’t, then I think you should hear it [on the podcast or radio hour]. Because a person’s voice brings so much extra to a story,” Hixson added. The medium of live storytelling has a documentary quality, and the lack of notes removes a potential filter.

“Of course, someone could read a story to you, but it really feels different when they don’t have the piece of paper there. Even if they’re stumbling through it, it feels more like a conversation. Though the audience isn’t saying much back, they are with their presence, with their laughter, with their silence,” Hixson explained.

Hixson, herself, has experienced storytelling on a Moth stage. Telling a deeply personal story was scary, but “it felt good to share the story.” She felt “so much love from the audience,” appreciating their silence. She stayed in the character she was at the time of the story’s events, hoping that “someone will recognize their forgiving feeling towards someone who was wronging them.”

In today’s troubled times, stories play an important role in building empathy. “Stories help us connect the dots between each other. I feel like we’re at a rift right now; the country doesn’t understand each other,” Hixson said.

“Hearing a story coming from someone else, you can think something about a group — this group is like that — but then when you hear a story directly from that person, it’s a gamechanger. I’ve had my mind changed a lot by stories,” Hixson added.

To participate in the magic of live storytelling, on stage or in the audience, attend the next Moth StorySLAM at Dad’s Garage on Monday, Nov. 27. at 7:30 p.m. Tickets for the event go on sale a week before at 3 p.m. and typically sell out quickly.

The slam’s theme is control. For aspiring storytellers, Hixson suggested considering “why the story is important for you to get out into the world.” More than just an anecdote, most stories include a realization or catharsis, without being formulaic.

“Squidbillies,” which airs on Sundays at midnight on Adult Swim, entered its eleventh season earlier this year and has released four episodes of nine planned so far. Both the success of the show and its improvement over the course of time is mainly due to the devotion of the writers, Dave Willis (“Aqua Teen Hunger Force”) and Jim Fortier (“The Brak Show”).

Technique: This next season of Squidbillies is the eleventh season, and I saw online that Squidbillies is the fourth longest running show on Adult Swim.

Willis: Well, I know we are the longest running show for animated squids. But, we also just broke through to being the third longest running show on Adult Swim.

Technique: How did your previous experience on other shows lead to the creation of Squidbillies, and how is this work different from your past work?

Willis: Well before this, Jim and I were writing “Space Ghost Coast to Coast” and through the show we learned how to produce good content with a very small staff. Because “Space Ghost Coast to Coast” was funded so little, us writers had to learn how to wear different hats. You know, we’re editing, we’re writing,
we’re producing.

“Squidbillies” is a little different because when we wrote “Space Ghost Coast to Coast,” we had no money. Now, we have a little money.

Technique: How long have you guys known each other, and how did you know you wanted to work together?

Willis: We went to the same high school, Heritage High. We weren’t buddy-buddy then or anything. We had a few of the same classes, but we didn’t know that we were going to be writing together. Everyone changes out of high school. Once we both found out that writing was an interest we shared, we teamed up.

Technique: A lot of the cast is very tight knit, and Squidbillies has brought on new actors that you both knew from high school. Is this the case for the majority of the cast?

Willis: I don’t think so. Some of our cast just happens to be friends of ours like Daniel McDevitt, the voice of Rusty. When we were choosing voices for the show, we really just wanted actors that could pull off an authentic Southern accent, not like Forrest Gump. For example, the star of the show, Unknown Hinson [who plays Earlie Cuyler] was just some random guy.

Jim Fortier: In some sort of the word, Daniel [McDevitt] was a last resort. I remember when we were going through the auditions for the role [of Rusty Cuyler], and at one point Dave was just like, “you remember that voice that Daniel used to do? I’m going to get some voiceovers from him and let’s see what happens.”

Technique: Do you have a favorite character on the show?

Willis: I don’t necessarily have a favorite, but Rusty was a character that we ended up changing to have a stronger role in the show. Initially, he was just this BMX madman to the voice of reason because our show needed one at that point.

Technique: One big plus is that this show is vertically integrated all within Atlanta. The writing, the filming and the producing all happens here. What does Atlanta provide that other hotspots like New York and LA do not?

Willis: Well, primarily, we haven’t gone to New York or LA because we haven’t been invited there yet.

Fortier: LA and New York are mainstream and uninvolved!

Willis: I think the main thing is that we only had a few dollars in our pocket when we first started, and when we began producing content locally, we decided to just stay that way. And really, we’re here for the same reason everyone else is — the sweet tax break [for film and TV in Georgia].

Technique: How did you get the idea for the name of the show, and what is the significance behind squids?

Willis: I remember it as Mike Blazo walking down the hall, and he said “squidbillies,” and we laughed. Blazo told us to make a show out of it, so we did.

Fortier: Not only that, I remember we got the inspiration from “Squiddly Diddly,” an animated squid created by Hanna-Barbera a long time ago.

Willis: That’s how a lot of shows get made here. Someone says a title and it happens. I remember after we finished working on “Space Ghost,” one night we went to a bar, and I found this redneck soap opera. That was something like ten years ago.

Fortier: Then Blazo said “Squidbillies,” and the show
was born.

Willis: When we created this show, we made it authentic. We are all from the South; the actors are from the South. So we aren’t just making fun of the South. The show is only 85 percent mocking and 13 percent reference.

Technique: Which is 98 percent.

Willis: I know. You guys over at Tech will like that formula
right there.

Technique: What episodes can we look forward to seeing on the new season?

Willis: The Christmas special, premiering on Dec. 10, ignites the “War on Christmas.” As part of the War, everyone must say “Merry Christmas,” and “Happy Holidays” is no longer allowed.

Fortier: It launches an insurgency on the holiday.

Willis: Our finale episode will also be one to watch and premieres the week after on Dec. 17.

As the Alliance Theatre’s location in the Woodruff Arts Center on Peachtree St. is being renovated, venues across Atlanta have hosted the company’s performances this season. Tucked away on a quiet residential street, Dad’s Garage occupies a renovated church. The setting was fitting for the Alliance Theatre’s latest production, “Hand to God.”

The dark puppet comedy nearly defies explanation but certainly exceeds expectations. A recently widowed mom, Margery (Wendy Melkonian) leads the puppet ministry “Christcateers” at a Lutheran church in a Texas town.

Her students include the troubled bully Timothy (Patrick Wade), the girl-next-door Jessica (Alexandra Ficken)  and her own son Jason (Ben Thorpe). Jason struggles to overcome his father’s death as he struggles with his puppet Tyrone, who begins to take on a life of his own. The small, talented cast is rounded out by Pastor Greg (Allan Edwards).

From the introduction of the performance by Allan Edwards to the set’s bulletin board of “Jesus washes our sins away!” above colorful paper shirts, the show mocked saccharine Christian culture with cutting accuracy.

Before the play began, audience members were invited to join the “mission crusade” and asked to turn to their neighbors and hold hands. Pastor Greg faithfully used fake curse words like “darn” in contrast to the vulgarity spewed by the puppet and others. “Hallelujahs” were dotted throughout the performance, most hilariously during a sex scene.

Like many self-aware commentaries on Christianity, the show opened with the line “In the beginning … ”.  The puppet Tyrone delivered a hilarious reconstruction of human history, prepping the audience for a night of laugh-out-loud vulgarity and absurdity rooted in a deeper message.

As puppet practices progress, it becomes clear that Tyrone is not under Jason’s control. The puppet speaks without a filter, revealing quiet, well-behaved Jason’s repressed thoughts — that he wants to sleep with Jessica, that he feels unloved by his mother who has been focusing on her own loss. While representing that darker side all people have, the puppet also proves a positive force in Jason’s life at times: his assertive actions defend Jason from Timothy’s bullying.

Insightful commentary on family dynamics and loss is tucked below the surface of the sassy puppet’s rants and the humans who interact with him. As Margery processes her grief in an unconventional, shocking way, Wendy Melkonian makes her character’s pain relatable.

Ben Thorpe executed both mental and physical gymnastics in his dual performance, which made Tyrone’s independence seem believable. Dripping in sweat, he impressively navigated even fight scenes with his second self.

The climax of the first act was so powerful that the audience would not have been disappointed if the play had ended right then. However, as the audience returned to the Cypress, Texas church for the second act, the set had been hilariously ravaged by the potentially possessed puppet.

From defaced Barbies and stuffed animals to the rearrangement of the Scrabble letters “Welcome Hello” to “We come to Hell,” the drastic and detailed change fit the production’s ability to keep surpassing expectations.

Just when one thought the show could not get any weirder, any more passionate, any more vulgar, the bar was raised yet again. The increasingly emotionally charged performance was nearly stressful during the second act, but the payoff was all worth it. The blend of physical comedy — whether bloody injuries or the moves of Margery’s suitors — with the verbal humor kept the show from becoming too heavy.

The change of transition music from Veggie Tales and Christian “rock” in the first act to punky tunes in the second complemented the heightened mood. Special effects, especially in the car scene, punctuated the acting well.

The larger-than-life ending came full circle. Even if the audience  was not moved by the examination of internal demons or the puppeteering of society at large, they left with a few new catchy phrases: “You’re so in the closet, you’re in Narnia,” “balls deep in love,” “extracurricular f*******.”

There’s this old, maybe apocryphal story about men sentenced to die by combat in Roman times. In the center of the arena, they would look up to the emperor, who was watching the proceedings, and they would say, “Ave Imperator, morituri te salutant.”

Hail, Emperor. Those about to die salute you.

We are surely not the first to compare American football to the sport of gladiator fighting, and we will not be the last, but the comparison is still striking. Both are (or were) violent, brutish sports, captivating a national audience, with the competitors putting their bodies and lives on the line to earn fame and fortune.

In the wake of evidence that football is inextricably linked to Chronic Traumatic Encephalopathy (CTE), a degenerative brain disease, one must question the ethics of allowing athletes to put themselves in such harm.

In today’s day and age, we consider the practices of the Romans — using slaves and prisoners to stage mock battles to the death for entertainment — as nothing short of barbaric. But given football’s brutal history, perhaps assuming such a stance makes us nothing but hypocrites.

In spite of advancements of technology in safety equipment for football players since the sport began, football is still deadly to those who play it. Players don’t die a brutal, gory death on the battlefield, as in Roman times; instead, they succumb quietly to neurological trauma years afterward.

So, we are confronted with the dilemma: what can we do with the sport that so many enjoy so much? Fall Saturdays in the South are based almost ritualistically around football. The Super Bowl is the most watched sporting event in the United States every single year, without fail. Entire television networks have round the clock coverage of nothing but football. But we cannot, try as we might, have football without the traumas that players must incur.

But football differs greatly from the gladiatorial sports of the past in that the players willingly participate in this activity. They are rewarded handsomely, and they can walk away at any time — indeed, many have. Ravens lineman John Urschel once said that, despite the dangers football poses to him, that he played “because [he] loves the game” in an op-ed at ThePlayersTribune.com.

“There’s a rush you get when you go out on the field, lay everything on the line, and physically dominate the player across from you,” Urschel wrote. That is why many still play today (though Urschel retired earlier this year after another CTE report emerged).

It’s a risk that players assume, and they must ask themselves whether or not the payouts, the fame and the fortune are worth the long-term risks.

When bowl season rolls around this year, we’ll be watching. From the GOBUYMEFLOWERS.com Pink Carnation Bowl (we’re only slightly kidding) to the national championship, we will witness every moment.

We will cheer for the insane catches, we will groan as we watch safeties lay crushing hits on receivers who have the temerity to cross the field, we will laugh as red-faced coaches sputter out arguments with nonplussed referees.

But maybe we will watch it all with a heightened sense of appreciation for the sacrifice these players are making ­— not just of time and opportunity cost but of their bodies. Maybe we will remember that the athletes we chide for dropping passes (or lambast for missing a key block) are doing us a great service.

After all, no one is forcing you to turn the channel to ESPN or spend hours watching highlights. In the case of college football, the 22 men on the field at any given point are earning a combined zero dollars for their play. The least we can offer them is some gratitude, isn’t it?

Morituri te salutant. Those about to die salute you.

No, football players are not gladiators, no matter how many are knocked unconscious on the field of play, how many suffer from brain injuries or how many give up their physical primes for their dreams of being great and for our entertainment. It’s a voluntary pursuit in which these young men so boldly partake.

But in the ways that matter, how big is the difference, really?

On the evening of Nov. 2, the Georgia Tech Athletic Association admitted in a press release that two players from the men’s basketball program had accepted a combined maximum of $1,275 in impermissible benefits, a violation of NCAA regulations. The players, sophomore guard Josh Okogie and senior guard Tadric Jackson, were both projected as starters before Okogie dislocated a finger in an exhibition versus Georgia State two weeks ago. Both will be suspended indefinitely until the NCAA reaches a disciplinary decision.

In the past week, the story has broadened to include Ron Bell, a former friend of Pastner and the individual who allegedly administered these benefits. In an interview with CBS Sports, Bell claimed that Pastner was “100 percent” aware of these violations as they happened and that the Athletic Association underreported the gifts that Okogie and Jackson received when self-reporting its violations to the NCAA.

Bizarre and rapidly developing as this story has been so far, there are a number of questions that must be answered in order to understand the scope of Tech Athletics’ involvement, the seriousness of the underlying violations and the consequences the Jackets might face.

Did Tech give us the full story or is there more to it?

The advantage of self-reporting violations, rather than others finding them, is more lenient treatment, at least in theory. Programs hope that being forthcoming will ease the brunt of the NCAA when its evaluation is complete. If Tech was forthcoming in its report to the NCAA and the players in fact only received around $1,200 in benefits combined, the organization would likely recommend a maximum suspension of 30 percent of the season, according to myAJC.com.

That would be painful but ultimately bearable for the Jackets; Okogie and Jackson would be able to play most, if not all, of the conference schedule.

But the more evidence that comes to light, the less likely it seems that Tech reported the full extent to which the players received benefits from Bell. A WSB-TV report from this past week, which included an interview with Bell, claimed that the benefits could range as high as $2,500, double that original figure.

Bell provided receipts of plane tickets for Okogie and Jackson, not included in Tech’s report. If authentic, these receipts throw a wrench into Tech athletics’ story and will rightly draw the question of whether Tech was forthright or not in its report.

How trustworthy is Ron Bell?

The perspective on Bell’s claims likely depends on whether one believes the narrator. Bell has certainly been unequivocal in his statements, and none of the allegations he makes are directly disputed by evidence that has been released (although many, such as his statement that Pastner was complicit, are yet to be affirmatively supported).

Bell also clearly has a close relationship with Pastner, which reportedly stretches back to Pastner’s time as a player at the University of Arizona. His support remained unwavering as Pastner headed thousands of miles east to Memphis. In an unlisted YouTube video posted by Bell, Pastner calls Bell and his girlfriend “part of our family.” “All the Tigers, we love you both,” he adds. Other videos show Bell watching the handshake line from nearby after a game and attending Pastner’s practices.

In terms of access, Bell is virtually unimpeachable. But he was clearly emotionally turbulent enough to be angered by Pastner neglecting to call him on his birthday. There is a credibility issue at stake, and it will color the way that fans and investigators view the scandal.

What did the administration know? When did they know it?

The answer to this question is perhaps the most important determinant of how severely Tech is hit by sanctions. If Pastner and the Tech administration had no idea that Bell was providing benefits to Okogie and Stephens, the situation looks more like negligence on the Jackets’ behalf than active noncompliance. It would certainly play better to the NCAA.

But Bell claims not only that Pastner was aware but also that he explicitly asked Bell to compensate players, according to CBSSports.com. In fact, one of his primary grievances with Pastner is that he felt that he should have been compensated for his work.

Logically, the recent report that Bell also paid for plane tickets for Okogie and Jackson makes it difficult to believe that the Jackets were fully aware of the extent of Bell’s work. After all, the most strategic move (assuming that they had all necessary information) would have been to admit to all payments in the original self-report, those tickets included.

But if these claims are actually true, and if Pastner and his team worked to recruit players or keep players happy once they were at Tech, the complexion of the last week changes altogether. Bell goes from a difficult-to-believe former friend of Tech’s head coach with a grudge to a whistleblower. Pastner’s reputation would be devastated if he is a compliant coach.

What are the reverberations?

For obvious reasons, Pastner and his staff will be at the center of the upcoming investigation. Since Bell claims that his relationship with Pastner long outlives Pastner’s time at Tech (and given that he claims that he performed similar acts for players at Memphis), the Tigers may also find their past under increased scrutiny.

Bell himself may not go unscathed. In 2015, the Georgia state legislature passed House Bill 3. The bill, which passed with broad bipartisan support, says that “no person shall give, offer, promise, or attempt to give any money or other thing of value to a student-athlete … to induce, encourage, or reward the student-athlete’s participation in an intercollegiate sporting event.”

The law makes such a violation punishable by up to one year in prison and offers academic institutions recourse to recover any lost revenue from sanctions imposed as a result of such conduct. It is unlikely that Bell will face jail time — that would be a bad look if the claims he made in fact turn out to be substantial — but he will likely face some sort of consequence for inducing Okogie and Jackson to skirt the rules.

Friday night’s basketball game in China will pit a Tech team without Okogie and Jackson against a UCLA team missing three of its top players, who were arrested for shoplifting in a Louis Vuitton store in Shanghai. Both stories will certainly outlast the game. Tech’s will define the direction of the basketball program in the Pastner era.