When it comes to reality television, the programs we see are usually highly structured and dramatized for our viewing pleasure. In these shows, viewers have become accustomed to the dramatic elimination ceremony facilitated by a host and the behind the scenes gossip courtesy of talking head interviews. These elements have become a staple of the genre, the result being a program that offers entertainment that is far from reality. Netflix diverges from the norm offering a fresh take on the romance-related reality television show “Dating Around.”

The premise of the show is simple. Viewers follow along as someone goes on five blind dates; the ultimate decision at the end of the show being who they will choose to go on a second date with. Each episode is divided into three components of the evening: drinks, dinner and after-hours.

“Dating Around” takes common first date interaction and elevates it by utilizing snappy editing techniques. Each episode explores similar topics of conversation among all of the blind dates allowing for seamless transitions between partners, an editing technique that certainly can be polarizing. This is an admirable trait of the show as the common factors allow for a non-bias evaluation of the only changing factor, their date.

The first episode features Luke, a straight, white man going on his five blind dates with various women in New York City. While this is the first appearance of the show, it should not deter viewers as it is not an accurate representation of the episodes that follow. The premiere season displays a more diverse representation of New York City with the show focusing on singles who are people of color and members of the LGBTQ community. The show even features an elderly widower who is searching for love after the loss of his longtime partner.

The show is fresh as it captures the humanity of dating, something that the popular reality programs have failed to do. “Dating Around” provides viewers with an experience as if they were dropped directly into the date of these strangers. While there are no high stakes moments implemented in the show, there is certainly the tension and drama that comes with the average blind date. Although there is no “elimination” factor in the program, any given date can have its pitfalls and conclude at any point in the evening. Viewers experience all the awkward and cringe-worthy moments and feel all the associated secondhand embarrassment as the date unfolds.

The format differs greatly from the standard romance-reality program as viewers learn about each individual through the casual conversation throughout the evening. When first introduced to the person of interest of each episode, there is voiceover of their friends introducing them to the audience. This is where we find the only commonality among other reality shows as the remainder of the episode does not provide us with any straight-forward exposition. “Dating Around” is interesting in the sense that viewers never get a glimpse into the thoughts of the featured singles. As the events unfold throughout the evening, only the actions and mannerisms of those involved can indicate how they feel about one another.  

One aspect where the show lacks is the fact that there is no real hook at the end of each episode to keep viewers engaged. This is where it suffers by differentiating itself from other reality programs as the standard typically feature an episode to episode connection. “Dating Around” takes time to grow on you; it will make you cringe at the interactions at first. But soon, you will find yourself rooting for your favorite date to get picked. Despite the lack of a competitive draw, viewers will find themselves binge-watching “Dating Around” in standard Netflix fashion whether it is from pure enjoyment or the inability to exit within five seconds.

Hiccup and Toothless are back in Dreamworks Animation’s “How to Train Your Dragon: The Hidden World” for their third and what appears to be their final movie in this wonderful, colorful and well-conceptualized series.

The previous two movies were feats of Dreamworks, which succeeded in bringing audiences into a new world that featured vast oceans, breathtaking textures and majestic flying sequences. The visuals in this final movie do not disappoint. You can practically feel the brisk salt from the ocean breaking over other waves as you fly with Toothless just inches above the water.

The world-building in this movie is pretty great too, the locations designed show great care and emphasize natural textures. A texture that immediately comes to mind is all of the dragons’ skin. Whether it is the smooth and bright white skin of the light fury or the dark and patched scales on Toothless, an attention to detail tempted me to reach out and touch them.

The antagonist in this movie is a dragon hunter named Grimmel, who is determined to catch and kill all night furies. His character is a bit one-dimensional and does not allow the audience to connect or relate to him or his motives. More recent movies have done a much better job with building villains; “Spider-Man: Into the Spider-Verse” and “Avengers: Infinity War” both have great examples of villains which have been elevated to not only work as the main opposition to good but also have realistic and somewhat understandable motives.

While not the most relatable villain ever comprised, Grimmel’s intelligence and relaxed nature seem to add to his cunning and mischievous nature. He always seems to be one step ahead of the heroes and that intelligence should be noted. Some good I will say about Grimmel is that his animation was designed with great care. His small nuances and body language illustrate the improvements animation has made over the last decade.

Hiccup and Toothless —  the dream team we all know and love —  are back and their relationship is right where we left it. Hiccup is still a part of Toothless and must be there for them to fly as one. But when a counterpart to Toothless called a light fury is thrown into the mix, the dream team is faced with an unstoppable force, change.

Hiccup is voiced by Jay Baruchel (“This is the End,” “The Sorcerer’s Apprentice”) and to no surprise he does a phenomenal job voicing his character just as he did in the previous two movies. Baruchel adds a vulnerability and awkwardness to the character that has always made him more relatable and palatable for family audiences.

The action sequences in this movie are a rollercoaster of excitement. There are some instances of flying and chase scenes that work to build on the excitement because the animators were smart enough to emphasize the grandeur of the location. By this I mean that the drastic heights and never-ending ocean added to the harrowing experience instead of being an afterthought. The score was great as well and never overpowered the visuals, they only helped.

If you are a fan of the previous two movies, I would recommend “How to Train Your Dragon: The Hidden World.” While I would not say it is the best of the three movies, I would describe it as a great goodbye letter to fans while holding its own integrity and keeping its distance from unnecessary fanservice. It stands on its own legs and should be credited for being a great final chapter in such a beloved story.

Union Transfer was filled with fans of Houndmouth, eager to witness the alternative country-blues band’s live debut of their new album “Golden Age” Feb. 21

The Indiana-based band’s third album, “Golden Age,” comes three years after their critically acclaimed album “Little Neon Limelight.” This album included hits such as “Sedona,” which has over 78 million plays on Spotify. “Little Neon Limelight” can be categorized as an Americana album, following stylistic choices usually found in country or folk music, such as simple ballads and  guitar-led harmonies.

“Golden Age” expands upon the group’s previous Americana country sound and incorporates a more technological approach to alternative country music by utilizing synthesizers, heavy background bass and drum beats.

The concert had two opening acts before Houndmouth performed, the first of which was Modern Love Child. The artist, whose real name is Jonny Shane Jr., came out on stage wearing comical orange sunglasses and was followed by his drummer. As an alternative rock group vocalist, Modern Love Child’s voice is definitely an unexpected one. As he began singing, his high-range voice immediately stood out to the audience.

Besides his uniqueness as a vocalist, much of Modern Love Child’s performance was predictable. The music was not terribly original, and it relied on pre-recorded tracks as there were only two artists on stage, one of whom was barely playing guitar between vocals. Most of the songs performed mourned a loss of childhood and were paired with odd dance moves by the sunglass-clad performer. Overall, I believe that Modern Love Child is definitely an acquired taste and was not necessarily a good fit as a live opener considering Houndmouth’s particular music style. Modern Love Child finished the performance by promoting their album, which will be released next October.

After watching Modern Love Child, I did not have particularly high hopes for the second opener, Ben Kweller. Little did I know, Kweller is actually an indie rock and indie folk artist who was quite popular throughout the early 2000s. He promoted his newest 2019 album, “Circuit Boredom,” even giving out free CDs after the show.

Kweller’s performance was varied and showed off his many musical talents. His first song was “Mean to Me,” a rock song with a heavy electric guitar solo in the middle of it. During his performance, some fans threw a hat onto the stage, and Kweller proceeded to ask why they would throw a hat with “Oklahoma” knit into it. The fans responded that it was their home state, and they were happy to finally see him live. This interaction definitely highlighted the community aspect of shows like this, where the audience is all coming together in support of talented bands.

Later in his setlist, Kweller sat down at a piano and began his performance of “Thirteen,” a melancholy love song from his 2006 album that featured his playing of harmonica and piano at the same time. Overall, Kweller’s talents in several different genres of music with multiple instruments definitely made his performance a memorable one.

Finally, Houndmouth emerged to cheers from the crowd, who had waited through two openers for this moment. The band opened with “Ludlow,” a country blues song from their first album. The group continued through their setlist with little dialogue, going from one song into the next only speaking to introduce guest guitar or saxophone players. The songs played came from various Houndmouth albums; there was not a particular focus on the group’s newest album. In fact, more songs were played from “Little Neon Limelight” than “Golden Age.” This was not upsetting to the audience, as many were more familiar with the older albums and were able to loudly sing along to their favorite songs.

Throughout the middle of the setlist, newer songs like “Modern Love” and “Coast to Coast” were played to the enjoyment of more dedicated fans. The new songs paired well with older ones, making the setlist cohesive and greatly enjoyable to everyone. When “Sedona” started up, everyone in the audience was dancing and singing along, united by a love of this song. I personally found Houndmouth’s live performance to be better than the recorded versions, as hearing the combination of saxophone and guitar live was interesting and different from the recorded versions of the songs.

After returning for their encore, Houndmouth’s lead vocalist, Matt Myers, exclaimed “Alright, it’s time for us to begin the show now!” The encore consisted of three songs, all from “Little Neon Limelight.” The band then thanked the audience for being there to support them and ended the show with the song “My Cousin Greg,” an upbeat country song about the perils of fame.

Despite the concert’s rough start, it was an enjoyable experience overall. Kweller wowed the audience with his various musical talents, Houndmouth performed a great set of songs spanning between all three of their albums, and everyone in the audience seemed to really have a good time throughout the show. If Houndmouth were to go on tour again, I would definitely recommend that any alternative country or folk fans buy a ticket to see them live.

In honor of poet Walt Whitman’s 200th birthday, the Philadelphia Museum of Art is featuring an installation of “Whitman, Alabama,” a 52-part documentary by filmmaker Jennifer Crandall. The exhibition combines the film with a collection of quintessentially American photographs spanning from the 1800s to today. It’s a touching celebration of diversity in America that is needed in our deeply divided country.

The project began when Crandall visited Alabama and became fascinated with the people and culture of the deep south. She wanted to create a portrait series of ordinary people using Walt Whitman’s “Song of Myself” — a poem she believes captures the American spirit — as a uniting thread. Crandall approached strangers all throughout the state and asked if she could film them while they read a verse from Whitman’s poem. The result is a compelling collection of glimpses into the lives of Americans.

Why Whitman? Crandall answers this question on the project’s official website. According to her, Whitman was a pioneering poet. He chose to write about topics other poets in the 1800s considered trashy.

“It was about sex, race, religion, immigration, politics. Everything we’re wrestling with today,” Crandall said about her motive behind choosing this poem.

Not to mention, as Crandall notes, there’s something amusing about taking the words of a white Northerner living in the 1800s and using them to amplify the voices of the modern-day South.

While each section of the documentary is short, running about five minutes, I came away feeling like I had a sense of who each subject is as a person. Crandall has a knack for making people open up on camera, and the cinematography further brings out the essence of the subjects. The camera lingers on the subject’s faces, with close shots providing a sense of intimacy.

The set-up of the exhibition is sparse, with the film dominating the room. The documentary is projected on a white wall in the center of the room, with photographs lining the walls on either side. As the documentary played, I noticed how absorbed the viewers were. Most sat for the duration of a verse or two, seemingly mesmerized. A few times, I heard people laugh at the more humorous moments, and several commented that it was beautiful. I was surprised by the amount of audience interaction in a museum environment, but watching the documentary, it was easy to understand how people felt so invested.

When I visited the installation, I watched Verse 51, read by Donnie Goodwin. We are introduced to Donnie outside a grocery store selling candy and gum for a dollar apiece from his wheelchair. He gives his pitch in a computerized voice — “I sell candy and gum. Would you like to buy some?” — while the camera zooms in on the electronic device he uses to speak. We watch Donnie’s interactions with people who walk past. Almost the whole time, he is beaming, and I liked him from the start. He seems to be well known in his community, and as he jokes with his customers, his humor shines through.

The film is cleverly cut so that it transitions seamlessly between Donnie’s day-to-day interactions with customers and his reading of the poem. Whitman’s powerful words add a sense of gravity to Donnie’s everyday life. He is not just a man selling candy outside a grocery store. He exemplifies the face of the modern-day South and the face of America today.

The purpose of the documentary, as Crandall writes on the project’s website, is to find an answer to the question: “Who is America?” The exhibition provides many different answers. The subjects featured in the documentary come from a range of backgrounds, and experience life in America in different ways. Then there are the photographs, which represent America’s past and present. I saw some dated as early as 1887, while others were from the 21st century. They included a photograph of a man using public transport, a family standing outside their house, and a group of men standing in a breadline.

The best answer to the question is maybe given by Whitman himself — “I am large, I contain multitudes.”

While I would recommend visiting the installation at the Philadelphia Museum of Art for an immersive experience, clips from the documentary can be found on the “Whitman, Alabama” website. The installation will remain on display until June 9.

The 91st Annual Academy Awards Feb. 24 were a rollercoaster for many viewers. Despite chaotic beginnings with host Kevin Hart falling through and some award category changes that were then changed back, the broadcast managed to move quickly and remain entertaining throughout.

Some awards won were well-deserved like Olivia Colman’s win for Best Actress for her role as Queen Anne in “The Favourite” or Alfonso Cuaron’s win for Best Director for Netflix’s “Roma.” Others, however, were controversial. Topping that list of controversial wins was Peter Farrelly’s (“Dumb and Dumber,” “Movie 43”) period-piece “Green Book” taking home Best Picture.

The film is based on the true story of Don Shirley (Mahershala Ali) and Tony “Lip” Vallelonga (Viggo Mortensen). The unlikely duo travelled together in the ’60s through Jim Crow South for over a year while Shirley toured the country playing piano. Throughout the movie, this time period is condensed down to around two months.

Since its win at the Golden Globes earlier this year, the controversy around the film has been growing and growing. While the film was written by a descendant of Vallelonga, the Shirley family has gone on record to dispute the film’s accuracy. The film claims that Shirley was not in contact with his family, and they rarely knew where he was, however, this has been refuted by the family. His brother Maurice Shirley panned the film as a “symphony of lies.”

In his defense, writer Nick Vallelonga was told by Shirley not to reach out to the family when he approached him about making this film. He claims he was unaware they existed, and that Shirley did not want him to make the film until he was dead (Shirley passed away in 2013).

On top of this familial scuff, creators behind the film have been called out as well. Writer Nick Vallelonga has been accused of Islamophobia based on some old tweets (it should be noted that Mahershala Ali is a practicing Muslim). Director Peter Farrelly has also confirmed his past sexual misconducts, having repeatedly exposed himself in meetings.

The film has attracted most of its attention for the way it handled race throughout. The film wants you to believe it’s a story of racial harmony and a model for how we can reach out to each other and overcome our differences. Sadly, that story is hard to tell over the background of the Jim Crow Era.

Tony Vallelonga is portrayed as a racist, but a “mild” one. The film tries to show him slowly gaining respect for Shirley as he guards him from the more belligerent, rural racists they encounter. It’s a particularly strenuous watch and one that would not have been crafted the same way if more people of color were involved.

“Green Book” falls into the easy trappings of Hollywood’s white savior narrative. Vallelonga is put in the center of this film and is largely the voice talking about race within this film. He is constantly teaching Shirley things about his blackness and even goes as far to say that he, a white Italian man, is blacker than Shirley is.

It is obvious that this film was made by people who have not had to carry the burden of darker skin around in society. The conversations about race are like watching car crashes, horrifying but you can’t pull away for hope that somehow it might right itself before full impact.

Honestly, it is a film that could have succeeded in an earlier time. A time when black voices weren’t given an opportunity to be creative on this scale. But, that time has passed, and it is sad to see a whitewashed narrative of race prevail over the works of black artists who are having more nuanced and timely conversations about race.

In that spirit, here are some films released in 2018 that handle racial topics more deftly than “Green Book.” These are the works of art we should be giving our time and accolades to instead.

“Black Panther”  directed by Ryan Coogler

Marvel films have become the mainstay blockbusters in this day and age. We get about two most years, and the quality of these films can vary immensely. Best Picture nominee “Black Panther” struck a chord by being both good and the first Marvel movie to be helmed by a black director and feature a mostly black cast (Chadwick Boseman, Lupita Nyong’o).

“Black Panther” manages to be a fun movie featuring a character that black children can look up to and see themselves in — something that many of these children have missed out on. It also incorporates a beautiful score and soundtrack that take heavy inspirations from African music and hip-hop.

“BlacKkKlansman”  directed by Spike Lee

Spike Lee’s newest joint was nominated for Best Picture as well this year. It tells the story of two police officers, one black and one Jewish (John David Washington and Adam Driver respectively), who team up to infiltrate and take down the KKK.

The script and performances are both compelling and fun. Most importantly, it features strong, impactful messages about race and makes the case for a variety of different schools of black thought on what it takes to achieve equality. Though some critiqued its depiction of police as allies to African Americans, the film itself attempts to come to terms with this and there is still a lot of good in there.

“If Beale Street Could Talk” directed by Barry Jenkins

“If Beale Street Could Talk” is the film adaption of a work by novelist and playwright James Baldwin. Baldwin’s story dives into the intricacies of racial profiling and teenage pregnancy under the guise of a love story. It is part bliss, part living nightmare brought to life by Jenkin’s direction and screenplay.

Barry Jenkins’ last film, “Moonlight,” won Best Picture at the Oscars. But his follow up was largely ignored in the awards conversation this year, exempting the honors for Regina King’s performance as a supporting actress. It is a large oversight because this film is aching and transcendent. You feel for every character as they struggle to make it through the day in ways that many African Americans still do.

“Blindspotting”  directed by Carlos Lopez Estrada

“Blindspotting” is a film that unfortunately went under many people’s radars this year. Starring actor/rapper Daveed Diggs of “Hamilton” fame, the film follows Diggs’ character Collin and his friendship with Miles (Rafael Casal) as the two try to navigate the police brutality around them, their own issues at home and the racial dynamic between them.

It’s an excellent film with jaw-dropping performances and moments of intensity that stick with the viewer long after the credits roll. It’s also an example of how a non-African American director can still tell a great story about race when collaborating with people who know what they’re doing.

“The Hate U Give” directed by George Tillman Jr.

Based on the young adult novel of the same name, “The Hate U Give” is a story of how police brutality is affecting modern urban African American communities. Protagonist Starr Carter (Amandla Stenberg) witnesses the death of a friend by the hands of a policeman. The film follows her reconciliation of these events and the movement it sparks in the community.

This film features an amazing black cast, including  Stenberg, Issa Rae and Common, and promotes the work of black author Angie Thomas and the late, great rapper Tupac. It elegantly handles complex themes like codeswitching, and displays multiple perspectives on police brutality and the Black Lives Matter movement. It also bites back at the same microaggressions that run free in “Green Book.”

“Sorry to Bother You” directed by Boots Riley

Boots Riley impresses with this psychedelic, symbolism-stuffed film starring Lakeith Stanfield and Tessa Thompson. In what is by far one of the trippiest, wildest and most progressive films of the year, Boots tackles issues of race, class, economic inequality, animal cruelty and more in clever and unique ways.

The final product is a little rough around the edges and benefits from multiple viewings but what the film is trying to do is immensely impressive and where it succeeds it does so in unforgettable ways.

Avril Lavigne has returned from her six-year hiatus and released a new album “Head Above Water.” The pop-punk princess of the early 2000s is back, but not as we remember her. This album has gone in an entirely different direction from what I would’ve expected. The spunky girl of “Sk8er Boi” can be found in only one track on this album which has a much more serious and wise tone.

The main focuses of this album are Lavigne’s battle with Lyme disease and her love life. The highlight is Lavigne’s incredible vocals, which makes us remember why she was such a massive household name.

Lavigne was a symbol of confidence and girl power in the early 2000s. She dominated the Billboard Hot 100 Chart with her songs “Girlfriend,” “Complicated,” “I’m With You,” “My Happy Ending” and “Sk8r Boi,” all peaking in the top 10. “Complicated” peaked at No. two in 2002, and “Girlfriend” got her to No. one in 2007.

The title track, “Head Above Water,” is entirely different from the Lavigne of the past. It is a very emotional track, with a focus on her strong vocals. A lyric from the chorus of the song reads, “God, keep my head above water / I lose my breath at the bottom / Come rescue me, I’ll be waiting / I’m too young to fall asleep.” The song gives listeners an inside look at her battle with Lyme disease over the past few years.

“‘Head Above Water’ is a song that I wrote a night I felt like I was actually dying and had kind of accepted it,” Lavigne said in an interview with Billboard.

It is the most successful track on the album, with a music video that has reached over 69 million views on YouTube.

This album’s overall theme is divided. Half of the songs are intense and emotional with a strong focus on spirituality, such as “I Fell in Love With the Devil,” “Head Above Water” and “Warrior.” In contrast, there are also very light-hearted songs,  “Bigger Wow,” “Souvenir,” “Love Me Insane” and “Dumb Blonde.” This division in tone throughout the album is confusing. The songs feel like they do not belong on the same album and lacks cohesiveness.

“Birdie” is one of the better songs on the album. The instrumentals and lyrics are much more developed in this track compared to others. It is an underrated song, being one of my more favored tracks on the album.

“Crush” is simplistic with lyrics that don’t go beneath surface level. This track isn’t very different from what we have heard a million times before in pop music. However, it can still be appreciated for Lavigne’s vocals.

“Dumb Blonde” is the only song on the album that is reminiscent of Lavigne’s older pop sound. The nostalgia factor on this track is prominent and will bring you back to the early 2000s as soon as it starts to play. The song would have been a perfect fit for the movie soundtrack of “Legally Blonde.” This track may feel familiar as it samples Gwen Stefani’s “Hollaback Girl,” released in 2004. “Dumb Blonde” features Nicki Minaj, which is an unexpected duo. The song is a major outlier from the rest of the album.

While this album represents Lavigne’s return to music, it is not her best album. I wanted to appreciate this album much more than I did. A large portion of the songs are very generic and could’ve been released by any other pop artist.

It is strange to hear the once rebellious, energetic teen sound so defeated and beaten down. Lavigne seems to have lost her edge; she seems to be playing it safe with the commercial pop songs on her new album. She used to be a risk-taker that would hypnotize her audience with her powerful presence and now she is just blending in. However, I am glad that Lavigne is returning to music, since she was a major staple of my childhood.

It’s not very often that local Philadelphia theatre companies have the opportunity to produce Broadway shows while they are currently running on Broadway. However, the Drexel community is in luck, as Drexel University’s Co-op Theatre Company has secured the rights to the hit teen musical “Be More Chill” and will be producing the show this coming spring. I was lucky enough to have the opportunity see the show in one of its first preview performances on Broadway this past weekend. Based on that performance, I can confidently say that this is a show you will not want to miss.

With music and lyrics by Joe Iconis and book by Joe Tracz, the coming-of-age musical “Be More Chill” began in 2015 at the Two River Theater in Red Bank, New Jersey. After collecting a large fan following through the cast album on Spotify, this sci-fi musical skyrocketed to become a teen musical sensation across the globe. The company, with a few cast changes, moved Off-Broadway to the Irene Diamond Stage, and most recently began their Broadway run at the Lyceum Theater Feb. 13.

This high-anxiety musical follows high schooler Jeremy Heere (Will Roland) as he struggles with his self-esteem and high school social status. In a last resort, Jeremy learns from popular boy and bully Rich Goranski (Gerard Canonico) about a pill called The SQUIP (Jason Tam,) which seeps into Jeremy’s bloodstream and tells him what to say, how to dress and how to act in an attempt to  help him become “cooler.” However, through the shows events, Jeremy learns that being “cool” in high school is not as glamorous as it seems, and that in the end it’s better to just be yourself.

On the queue, fans were sporting merchandise, discussing the previous times they had seen the hit show and expressing their excitement that it had finally moved to Broadway. The show clearly already had a dedicated and passionate fanbase, and it was evident that their love for the show ran deep. If anything, this truly shows the power of Iconis’ and Tracz’s music and message, which come to vibrant life on stage.

While the entire cast was absolutely incredible, the most memorable performance of the night came from swing Troy Iwata’s exceptional rendition of the ballad “Michael in the Bathroom.” The role of Michael Mell — Jeremy’s best friend — is usually played by the outstanding George Salazar, however Salazar had been suffering from a cold the night of the performance and could not perform. Nevertheless, Iwata confidently stepped up to the plate after just making his Broadway debut the night before, and brought the role of Mell to life.

In addition to Roland, Canonico, Tam and Iwata, the rest of the cast included Stephanie Hsu as Christine, Katlyn Carlson as Chloe, Lauren Marcus as Brooke, Tiffany Mann as Jenna, Britton Smith as Jake and Jason Williams as Mr. Heere. Each of these lead roles was extremely vital to the entirety of the show, as each individual doubled as the ensemble. They took on the roles of the student body, mall shoppers and regular neighborhood kids. Each cast member was constantly moving, as this high-intensity show was jam packed with large dance numbers and elaborate costume changes. During the curtain call, each cast member was clearly exhausted, but each of their phenomenal efforts made for one outstanding show, and one I look forward to seeing again.

Drexel University’s production of “Be More Chill” will be running from May 9-12 in the Mandell Theater.

Drexel Players’ performance of “She Kills Monsters” opens this weekend at the Black Box Theater. As a whole, it is a very enjoyable show that has a lot of comedy with some great emotional themes. It isn’t flawless, but what little flaws it has are very forgivable.

The basic premise of the show is that a woman in her twenties, Agnes, tries to connect with her recently-deceased teenage sister, Tilly, by playing a Dungeons and Dragons game that Tilly had intended to be Dungeon Master for. There are a number of characters, both inside and outside the game, that join Agnes in her quest to posthumously understand her sister.

The show is based largely around the game Dungeons and Dragons. As someone who is only in the middle of playing my first DnD campaign, I was able to follow everything and understand nearly all of the game references. It is likely that those who are unfamiliar with the game will not get the full experience, but the show definitely caters to non-players by making its hero a “nube” who is trying the game for the first time and has no true interest in the game itself.

I think it is safe to say that the play is very true to the spirit of the game. It owns up to and embraces the nerdiness of the game, but also delves into its capacity for emotional catharsis and takes advantage of a few opportunities to draw parallels between the events of the game and the problems in both Agnes and Tilly’s lives.

The writing of the show is mostly good. There are a few scattered moments that don’t work well, and there are a couple of jokes that don’t land, but they do very little to detract from the experience. The show is set in 1995, which has its pros and cons in terms of pop culture references. There are several moments that make good use of 90’s music that most people are familiar with. However, there are a few references that don’t carry over that well, especially for an audience that is a little young to have 90’s nostalgia. There were a couple scenes and elements of high school life and culture that felt somewhat dated. However, none of these things are deal breakers in the slightest.

The production itself is pretty much spot on. The actors all draw laughs from the audience, but are also able to come across as fully fleshed out characters and give some very honest performances in the show’s more emotional moments. The scenes that take place within the game are done very well in terms of costuming and choreography. I never expect a lot from onstage action scenes, but I was pleasantly surprised at how good the scenes where the players had to fight monsters were.

Overall, I would highly recommend going to see this. If you are unashamed to call yourself a nerd of anything, you will love this, and if you enjoy playing DnD, I probably don’t even have to tell you to go see this. For non-nerds, it is still well worth seeing for a fun, exciting comedy with a lot of heart.

Near the intersection of Chestnut and 37th streets, located in the International House, is a hidden treasure — the Lightbox Film Center. While its focus is on showcasing indie films, the nonprofit theater is currently partnering with the Da Vinci Art Alliance to feature a photo gallery called “Lens on Latin America.” The gallery showcases innovative techniques in photography while taking inspiration from Latin American history.

Curated by David Acosta and featuring the work of 17 artists, the gallery is an eclectic look at beauty and strife in Latin America. A wide range of styles, subjects and mediums are featured, from black and white photographs to colorful digital collages.

The collection is showcased in a relatively small room not far from the entrance to the Lightbox Film Center. I have to admit that, at first glance, the space is a little underwhelming. But the closer I looked at the photographs on display, the more I came to appreciate the diverse and powerful work showcased. There is an extraordinary amount of local talent on display from both emerging and established artists, all with distinct artistic voices.

One of my favorite pieces in the gallery is “Estrellas.” The black and white portrait by Ada Luisa Trillo features a beaming woman with gleaming metal stars — called “estrellas” in Spanish  — on her teeth. It’s a striking image that captures a moment of pure joy; contrasting with her dark hair and dark shirt, the woman’s face almost seems to glow. There is a real sense of intimacy to the portrait, a testament to the photographer’s skill. Looking into her eyes, I felt a spark of human connection with this mysterious woman.

Many of the works on display capture ordinary individuals in a way that makes them appear extraordinary, such as the mesmerizing “Village of the Widows” by Harvey Finkle. A group of women of varying ages sit side-by-side in traditional clothing, their faces inscrutable. The title of the photograph only adds to the mystery. I was equally enchanted by “Benito” by Sonia Gonzales. In the photograph, an older man in muted clothing sits beside a vibrant mural. While the mural drew my eye first, I ultimately found myself captivated by the kindly expression on the man’s face.

While I can’t speak for the photographers, I did notice a thread of social commentary running through all the works. Many of them celebrate aspects of Latin American culture, from Dia de los Muertos to ancient Aztec dances. Others draw attention to the political situation in Latin American countries, such as “Cooperative Fruit Workers Housing” by Gary Grissom, which portrays the harsh conditions faced by agricultural workers. “Man with Saint Che” by Marvin Greenbaum features a man displaying his tattoo of Che Guevara, highlighting the legacy of the controversial revolutionary 50 years after his death.  

One of the more frustrating aspects of the gallery is that the photographs are presented without commentary. Only the name of the work, artist, year and medium are given. Many of the artists are hard to track down online, making it difficult to find the artists’ perspectives on their work.

I was, however, able to uncover the backstory behind one of these pieces — “O quarto do artista” by Celeste Mann, a professor of Spanish at Drexel, was taken in Ouro Preto, Brazil in 2013. The photograph, washed in rosy light, shows the interior of a room, a gauzy white curtain obscuring half of the composition. Behind the curtain is the silhouette of an enigmatic figure.

Here is the artist’s description:

“Locals claim that the father of sculptor, Aleijadinho, once lived in the house over 300 years ago. There is a mysterious figure in the window, perhaps the legendary Curupira wandering outside the forest? The billowy white fabric alludes to Brazil’s romantic spirit, tinged with saudade, a bittersweet nostalgia.”

It’s an alluring piece, capturing the romance of present-day Brazil as well as the echoes of its rich history. Like so many of the pieces in the gallery, it blends aspects of the past and present in a compelling look at Latin American culture today.

“Lens on Latin America” will remain on view at the International House until March 22.

Drake released his mixtape “So Far Gone” to streaming services in celebration of the 10th anniversary of the project Feb. 15. The mixtape served as the world’s introduction to the actor turned rapper, kicking off what would lead to an incredible career for the Canadian artist. The original release not only impacted Drake’s career but also lead to a shift in the style of mixtapes within the rap genre.

Drake displayed the versatility of his artistry on the project as he remixed, sampled and flipped songs from a variety of genres. While it certainly utilized other artists’ production, “So Far Gone” also served as an introduction to the sound listeners have grown accustomed to from Drake over the years. During the creation of “So Far Gone,” Drake first met longtime collaborator Noah “40” Shebib, who served as an executive producer on the mixtape. 40 produced a number of songs on the project helping to establish the slow and moody tone Drake has embraced throughout his career.

The mixtape embraced the traditional mixtape style as Drake raps over existing instrumentals and implemented samples throughout. The song “Ignant S—” borrows the instrumental from Jay Z’s track “Ignorant S—,” originally produced by Just Blaze, who creatively curated the track utilizing an Isley Brothers sample. A stand-out track comes with “November 18th,” which uses a beat from DJ Screw, an influential Houston-based artist. The song features Drake rapping about his love for Houston and a lavish lifestyle over the classic chopped-and-screwed production style. The title of the track represents the date Drake received a call from Lil Wayne who wanted to fly him out to Houston, which eventually led to him signing to the Young Money Entertainment label founded by Wayne.

Drake and 40 have been open about the fact that they have drawn inspiration from Kanye West. This is evident in the track “Say What’s Real” where Drake raps over West’s minimalistic instrumental for his song “Say You Will.” The future of the track appeared to be in jeopardy at the end of 2018 when Drake and West were in a feud. West had taken to Twitter to share the fact that there was a request to clear the sample for the track in anticipation of the reissue. He had publicly denied the request but when “So Far Gone” came to streaming services it appeared the track was still intact.

The Kanye West inspiration continues with Drake’s ability to appeal to pop audiences. He displays this on the mixtape with his creative remixes of tracks “Little Bit” and “Let’s Call It Off” from artists Lykke Li and Peter Bjorn and John, respectively. The songs both feature elements of the original tracks with Drake’s own spin. He creatively uses the original content to evoke a personal connection and adds new meaning with his own lyrics.

The mixtape also draws from a variety of genres of music when integrating samples into the production. The track “Unstoppable” features a sample of the Diplo produced song of the same title from the artist Santigold. Additionally, the song “Uptown” boasts a Billy Joel sample from his hit song “Uptown Girl,” presumably explaining the song’s title. Another stand-out sample comes with the bonus track “Congratulations” which creatively spins Coldplay’s “Viva La Vida” into the production.

The impact of “So Far Gone” was partly attributed to the commercial success of the singles that supported the release. The songs “Successful” and “Best I Ever Had” were released and both found success on the charts with “Best I Ever Had” peaking at number two on the Billboard Hot 100, which has since been certified quadruple platinum.

Drake was launched into worldwide recognition with the release of “So Far Gone,” ultimately allowing him to become one of biggest artists to this date. The mixtape displays the versatility of his artistry while boasting some of his most honest work. Regardless of your feelings towards Drake, the impact he has had on music is undeniable as he dominates in the industry with no signs of slowing down.