This year has been a nightmare. At the start of the year we all knew that there would be a high-stakes presidential election, but none of us were prepared for the realities of 2020. An unprecedented global pandemic, a movement against racist structures and police brutality and nationwide protests for women’s rights, environmental protections and a million other things have made this year feel like a decade.

Each time yet another unprecedented catastrophic event took place, the 24-hour news cycle went crazy, and so did everyone’s social media feeds.

How many times this year have you scrolled through posts and stories with phrases like: “There’s no planet B” in front of a cute cartoon earth frowning; or “now that I have your attention go vote” beneath the photo of a carefully posed naked celebrity?

At some point activism became an aesthetic and social currency instead of a means of change.

There is not anything inherently wrong with posting infographics and informative PSAs on your feed. But really what’s the likelihood that someone following you on Instagram will change one of their fundamental opinions based on your repost of a cute infographic with the cursive words “Wear a mask!” surrounded by flowers? At what point are we all just virtue signaling?

It has been proven that people don’t even change their minds when presented with statistical facts, science and subject matter experts’ opinions.

The thing is, social media can be a great tool for organizers of protests and movements. Blackout Tuesday was a protest from within the music industry, organized by music executives Jamila Thomas and Brianna Agyemang.

“We will not continue to conduct business as usual without regard for Black lives,” Thomas and Agyemang wrote on their Instagram, “Tuesday, June 2 is meant to intentionally disrupt the work week.” The intention was to halt operations in their industry for a day to show their importance, and pay tribute to George Floyd.

But, as many noted on Jan. 2, 2020, when Blackout Tuesday occurred, the #BLM and #BlackLiversMatter hashtags, which have been used by the movement to spread information, were now full of random accounts posting black squares on their feed to make sure everyone knew they weren’t racist. Few who “blacked out” their Instagram knew the original purpose of the movement or thought about the real impact their action might have.

The real issue occurs with this social media virtue signaling takes the place of actual civic engagement. It is extraordinarily easy to post a black image on Instagram and tag it “#BLM” But how many people who participated in this movement showed up to the local protests in Atlanta against police brutality?

Another issue with social media activism is that it often takes place in echo chambers. There is no real dialogue, no real risk and no real outcome. Those who don’t agree with your story promoting Medicare for All will swipe through and forget about it, then move on to the next one of a cute puppy or an influencer’s selfie.

I just want to reiterate: there is nothing wrong with showing support for a cause, a movement, a charity, a politician or any of the above on your social media accounts. I definitely do it.

On Earth day this year, sitting at my home in quarantine, I made an Instagram post with aesthetic pictures I’d taken from all over the world — my caption said something about “treating her better.” Cool, I got some likes and felt like I showed the world I cared about the Earth, but did my actions reap any actual benefits? No. I could have joined in a climate protest, called my local representatives or donated to a sustainable non-profit. Instead I hit “post” from my couch and felt like I was doing my part.

As 2020 ends and 2021 begins, I hope that we can leave this social media activism and the façade of wokeness and social progress in the past and aspire to take part in real-world activism and to take real action.

Our Take: 4/5 Stars

Sofia Coppola (“The Virgin Suicides’’) is known for films that have a tenuous connection to reality. She is an expert at taking the world and twisting it into a saccharine and pastel vision — but, her latest film “On the Rocks” is different. The film received a limited theatrical release from A24 on Oct. 2 and became available on Apple TV+ on Oct. 23. “On the Rocks” is tightly tethered to reality, a seeming departure from Coppola’s usual work.

Just as Laura begins to suspect that her husband may be having an affair with his assistant, her estranged father, Felix, pops back into her life. Felix, portrayed by Bill Murray (“Rushmore”), is an art-dealing, larger-than-life playboy. What follows is a captivating father-daughter adventure through the streets of New York City filled with sleuthing, caviar and drinks on the rocks.

The film is marketed as a comedy, and though it has its shining moments of humor, it is much more a drama. Rashida Jones (“The Social Network”) stars as Laura, a novelist nearing middle-age and struggling with her home life. A mom of two young girls in New York City, Laura is constantly busy and receives little help from her travelling consultant of a husband, Dean (Marlan Wayans, “White Chicks”).

Ultimately, what makes this movie worth the watch is the chemistry between Murray and Jones. Coppola’s scripts are often scarce; she often relies on soundtrack, setting and glances to convey meaning. Here, Coppola has Murray spouting unwanted advice, lightning fast quips and hairbrained theories about the evolutionary basis of relationships. He literally never stops talking.

Still, he is effortlessly charmless; Felix is a role only Murray could do justice to.

Jones’ performance is also noteworthy — her banter with Murray feels incredibly real, as though it is built on a decades-long relationship only a father and daughter could have.

She is quietly funny and incredibly relatable. Jones conveys the uncertainty of a woman unsure where she stands with her partner so accurately it is impossible not to relate to her.

Coppola’s filmography has clearly documented the experience of being a young woman — whether it is Marie Antoinette, struggling within Paris’ 18th century court or sheltered high school girls in 1970s America struggling with their religiously conservative parents.

“On the Rocks” marks a new chapter for Coppola; the film interrogates the experience of an aging woman. Jones’ Laura must make sense of a world where she feels unwanted, used and old.

This more somber tone makes for a less exciting film. While it is still fun to watch, it does not have the same encompassing experience as the rest of Coppola’s filmography. Instead of transporting the viewer to another world where everything is beautiful, “On the Rocks” tries to find beauty in the gray reality of this world.

Often criticized for her aesthetic-heavy style and a lack of substance, Coppola rejects this in this film.

It is toned down, more mature in every way. Laura’s life lacks any romanticization. Felix, however, is larger than life with his red vintage sports car, little gentleman’s scarf and penchant for ballerinas; he is a caricature of a caricature of a classical gentleman.

“On the Rocks” is a fun, enjoyable and emotional movie. Still, the film feels unfinished. It ends abruptly, and without spoiling the ending, is entirely unfulfilling. The pressure building throughout the entire film is never released and as the credits roll, viewers are left wanting more. Unfortunately, not in a complementary way.

Our Take: 4/5 Stars

Oh to be sitting in a small outdoor cafe, drinking an espresso out of a comically tiny cup, eating a buttery croissant, clouded in the heavy smell of cigarettes. For many Americans, this dream is now farther away than ever, as entry to France is all but banned. Netflix’s latest original series “Emily in Paris” brings viewers a little closer to this Parisian dream.

“Emily In Paris” follows Emily (Lily Collins, “Love, Rosie”), a sweet midwestern girl working at a marketing firm in Chicago. When her boss can not transfer overseas to oversee a merger with a French firm due to unforeseen circumstances, Emily gets the promotion of a lifetime. She leaves the country for the first time to work and live in Paris, despite the fact that she does not know a word of French.

The ten episode series was released on Oct. 2nd, 2020 and quickly claimed (and remains at) the number one spot in Netflix’s Top Ten list. While critical reviews of the series have been a little harsh, audiences have been much more receptive.

The secret to “Emily in Paris”’ success likely lies with creator Darren Starr. Previous credits on his resume include writing credits for “Sex and the City” and “Beverly Hills, 90210.” One thing is for certain, Starr certainly has his hand on the pulse on the romanticization of being a young person in a big city.

It is this central idea that makes the series so captivating. A small town girl moving to the big city and experiencing life is a narrative tale as old as time. It is not realistic — Emily lives in a huge apartment by Parisian standards, effortlessly makes friends with a cranky haute couture designer and has gorgeous French boys falling at her feet — but that is what makes it fun. “Emily in Paris” is escapism at its best and right now a little escapism is what everyone needs.

While the premise is solid, there are still some hiccups. Upon arriving in Paris, Emily quickly learns that the French are rude, especially to Americans and especially to Americans who do not know French. She is clueless and cringey, something that makes the first two episodes a little hard to swallow. Collins has had no problem playing a bubbly twenty-something socialite in the past, and her performance here is no different.

One of the best parts of the series is its filming location — there is truly no place on earth like Paris. Emily has morning runs along the Seine, lunches in the Jardin du Luxembourg and has work meetings at Cafe de Flore. The show knows its Francophile audience and is not afraid to exploit that. B-roll of the Place du Trocadero, Arc de Triomphe and the Pantheon make even cut scenes pleasurable.

While work was Emily’s reason for coming to Paris, she seems to do precious little of it — a fact explained away by the well known French laid-back attitude. Emily’s new boss, Sylvie, a stone cold “Girl Boss” hates her, providing much of the series conflict. Portrayed by Philippine Leroy-Beaulieu (“Call My Agent!”), Sylvie is a woman who has worked hard to make her marketing firm successful and sees Emily as a younger, hotter usurper.

Alongside Collins and Leroy-Beaulieu is a supporting cast of characters that truly make this series worth the watch. Her first and best friend in Paris is Mindy Chen (Ashley Park, “Nightcap”), a billionaire heiress to a Chinese zipper empire who ran away from home to pursue a singing career. Mindy serves a great guide to expat life in Paris and often serves as some fun comedic relief.

Emily’s second friend is a quintessentially French it-girl, Camille (Camille Razat, “The 15:17 to Paris”). Camille’s parents own a Champagne chateau in Champagne and Camille owns an art gallery in Paris. She is effortlessly cool, and almost too nice. Razat’s accent is raspy and charming, making her character someone the viewers can not help but want to befriend.

Of course, in any female-focused dramedy there is an overwhelming amount of devastatingly attractive, charming eligible bachelors. The most notable is Gabriel, Emily’s downstairs neighbor. Played by Lucas Bravo (“Caprice”), Gabriel is a chef and aspiring restaurateur whose looks are that of a French Armie Hammer. His and Emily’s chemistry is so fun, and Bravo and Collins clearly enjoy one another’s company.

While “Emily in Paris” is not going to win any Emmys and certainly does not follow the current trend of ultra-stylized prestige television it is a thoroughly enjoyable experience.

Not everything needs to be ground breaking and have a series message. Some things can just be fun. And “Emily in Paris” and all of its glamour and shenanigans is certainly fun.

Check out “Emily in Paris” on Netflix now.

Our Take: 3.5/5 Stars

With theatres around the country closed it seemed inevitable that one of the best parts of the fall season —  an abundance of horror movies — would go unseen. Then Amazon Studios announced its collaboration with Blumhouse Productions and saved the day. Blumhouse is a pillar in the horror film industry, and set the modern horror movie standard with “Paranormal Activity.” 

Now, the studio is producing a four-part curated collection of horror films to be released this October, “Welcome to the Blumhouse.” The first film in the series is “Nocturne,” a supernatural thriller exploring a young musician’s faustian pact with an unknown power. “Nocturne,” which sets a strong precedent for the following films, is available on Amazon Prime Oct. 13.

The film is writer and director Zu Quike’s first feature length production. Quirke’s previous work is made up of several short horror films, including “Ghosting” and “Tiny Bible”.This portfolio shines through to “Nocturne” — though the film has a runtime of 90 minutes its fast tempoed and feels much shorter. 

Set presumably in southern California, the movie stars Sydney Sweeny (“Sharp Objects”) as Juliet, the less attractive, less talented and less outgoing twin to Madison Iseman’s (“Annabelle Comes Home”) Vivian. Juliet and Vivian both seniors at a fine arts boarding school where they play piano. Vivian has been accepted to Julliard and is revered by teachers and students alike for her talent. Juliet, who was passed over by the same school, lives in her shadow and grows to resent it. 

When Juliet finds a journal of mysterious but sinister origin, her luck begins to change. The pages of the journal are filled with detailed and unnerving pen sketches and handwritten sheet music. 

When Juliet performs one of the pieces her sister’s handsome instructor Henry (Ivan Shaw, “Insecure”) informs her is Guisseppe Tartini’s sonata “The Devil’s Trill.” Written after the composer supposedly saw the devil at the foot of his bed the song sets off a terrifying but intoxicating series of events that upturn Juliet’s life. 

Suddenly, she plays as well as her sister, she is invited to parties, her sister’s instructor takes an interest in tutoring her and she is in the running for the coveted senior solo at the end of the year. It all really is too good to be true.

“Nocturne” features many hallmarks of the genre, like small cast and limited setting, which allow for cheaper production and affords studios to take bigger risks. This only benefits the film. Its small world and remote setting allow the viewer to easily become engrossed in the simple plot. A remote elite school in the Calfiornian mountains gives the movie a cultish vibe, and no contact with the outside world lends a certain plausibility. 

Trading in gore and jump scares, “Nocturne” torments viewers with suspense. It is not hard to figure out what is going to happen, per say,  but the slow march towards the end of the film and the senior concert is almost physically painful to watch. Sweeny goes from timid to confident to overzealous effortlessly. By the inevitable end there is almost a sense of relief that it is over. 

Unsurprisingly, given the musical content, “Nocturne” pays special attention to score and sound editing. An important part of any scary flick, music plays a critical role in determining intent. “Nocturne” places out of tune, high pitched clips at poignant moments to add significance to seemingly ordinary moments and elevate already agonizing scenes. 

That being said, the film benefits from an at-home viewing. Its production seems a little rough around the edges, and on the big screen the cracks would likely shine through. Still, “Nocturne” is the perfect scary movie to kick off a season of Halloween flicks. 

Stream “Nocturne” on Amazon Prime starting Oct. 13. 

Our Take: 4 Stars

In a time where superhero movies are a dime a dozen and seem to be the only kind of movies getting made, there is certainly some genre fatigue. How many Marvel movies are there now — 20? 30? Who knows?

When Amazon Prime Video released their original series “The Boys” last summer, it seemed to be an attempt to capitalize on the current superhero craze. The series, however, surprised viewers and critics alike. Irreverent and shockingly coarse, “The Boys” uses power-hungry superheroes to explore corruption, capitalism and American culture. Season two premiered on Sept. 4th, picking right back up where the first left off.

Based on a series of comic books of the same name, “The Boys” was adapted for the small screen by Eric Kripke, the creator of the long-running cult television series “Supernatural.”

What makes “The Boys” such an enjoyable watch is not the witty writing, high quality production, riveting storylines or the impeccable soundtrack, but the unforgettable characters.

The titular “boys” are a rag-tag group of criminals and video store employees with a vengeance against the ultra-powerful “supes.”

Karl Urban (“Star Trek”) plays Butcher, the group’s leader and mastermind. Urban, who often dons a variety of accents for roles, gets to break out his true New Zealand accent; as a result, his Butcher is effortlessly charismatic and impossible not to like — even when he is committing heinous crimes.

Alongside Urban is Jack Quaid (“Logan Lucky”) as Hughie, the boys’ greenest recruit. Following the accidental manslaughter of his fiancee at the hands of a supe, Hughie is out for revenge. Season two sees Hughie as the impromptu leader of the Boys, giving Quaid the chance to play more than a wimpy newbie. The surprising character arc adds depth.

The last two additions to the boys are Frenchie (Tomer Kapon, “When Heroes Fly”) — a French expat with a penchant for big weapons — and Mother’s Milk (Laz Alonso, “Avatar”), a family man pulled back into the business to do some recon.

Opposite the boys are the “supes,” a team of superheroes owned by Vought, a billion dollar corporation whose goal is that of all billion dollar corporations: to make more billions. “The Boys” uses Vought to criticize the military industrial complex as the corporation lobbies congress to get a hefty defense contract in order to get their heroes in the military.

Vought’s premier superhero is Homelander, a blond-haired blue-eyed ultra-patriotic caricature of Captain America. If, that is, Captain America had laser eyes and cutthroat ambition. Homelander is portrayed by Antony Starr (“Banshee”), another New Zealander who knows how to slather on the charm. Starr’s performance is impressive as he switches effortlessly from America’s savior in front of the cameras to a ruthless terrorist-creating mastermind.

Contrasting Vought’s lead superhero is their newest recruit, Starlight. A wholesome midwestern 20-something, Starlight (Erin Moriarty “Blood Father”) provides a startling foil to Homelander. Starlight is bright eyed and bushy tailed — she has been training all her life to use her powers for good and to save the world. Unfortunately, there is no profit in saving civilians, something she soon must reconcile with.

The premiere of season two answered none of the questions that season one ended with, but hinted at answers to come.

Currently one of the best series on streaming right now, “The Boys” is a genre-bending show with heart and smarts. An action packed series specifically made for bingeing, it manages to be more by breaking out of genre norms, poking fun at modern political correctness and crafting lovable characters. “The Boys” is likely one of Amazon Prime’s first series that will run for several seasons.

Our Take: 3.5 Stars

What happens when an early 20th century factory worker trips into a vat of pickle brine and is unknowingly sealed in? Obviously, he is perfectly preserved for 100 years before emerging and stunning medical professionals and pickle briners alike.

This is what happens to Jewish immigrant Herschel Greenbaum (Seth Rogen, “Sausage Party”) in “An American Pickle.” After he emerges in 2019 Brooklyn, Herschel finds his great-great grandson Ben Greenbaum, also played by Rogen. What follows is a genuinely funny and surprisingly heartwarming satirical romp.

HBO Max was one of the many streaming services that launched in 2020 and “An American Pickle” is its original film. The movie is based on a 2013 serialized novella published in The New Yorker by Simon Rich, who also penned the screenplay. There is a sincerity to the script that gives the movie its heart and shows that Rich conceptualized the story himself.

Frequent Rogen collaborator Brandon Trost (“The Interview”) directed the film, and it’s his first solo directorial credit. Traditionally Rogen’s cinematographer, Trost does an exceptional job with “An American Pickle;” his eye for framing scenes gives the mid-budget, sometimes-silly film a visually appealing edge.

Obviously, the movie’s gimmick is Rogen. Like any film where an actor stars opposite himself, the novelty becomes impossible to tune out. Still, Rogen does a spectacular job with both roles. The ambiguous eastern European accent Rogen dons as Herschel is the true star of the film; literally everything he says incites a laugh. Ben, a burnout yuppie, is more reminiscent of traditional Rogen roles. Most notably, Rogen takes a welcome departure from his traditional stoner humor.

What could have been a classic fish out of water tale about a man out of time bumbling around 21st century New York City, turns out to be a poignant generational drama.

Hard-working manual laborer Herschel must reckon with his descendant, freelance app developer Ben. Herschel, who in 1919 made a nickel for every rat he killed, is in awe of Ben’s mediocre modern lifestyle. While it is billed as a Rogen comedy, the film is honestly more of a drama with comedic beats.

It would be remiss not to mention the film’s inherent Jewishness. Herschel is an othodox Jew who immigrated from his home country after religious persecution from Russians. His faith is extremely important to him. Ben is secular; though he had a bar mitzvah and grew up religious, tragedy and zeitgeist has pushed him away from his faith. This is of course a huge point of contention for the two; Herschel lost everything because of his religion and Ben willfully rejects it.

For a story that was conceptualized in 2013, the movie is surprisingly of the moment. It pokes fun at a post-2016 America in a way that is hilarious, yet sobering. The movie explores cancel culture, gentrification, Twitter, the tech industry in general and America’s current political moment with bits that do not take away from the plot, but add brief respites of humor.

As the film comes to a close, after some expected identity-switching shenanigans, Herschel and Ben find themselves both in the “old country.” After a cutthroat conflict, going back to their roots allows the two to reconcile and realize that despite the differences in their lives and struggles, they are more similar than they would like to believe.

“An American Pickle” is a delightful watch. It may not be a long term rewatchable film, but clocking in at just under 90 minutes, the movie is easy to watch. It is sure to pull viewers’ eyes away from their phone screens for a little bit. This is the perfect film to throw on with roommates or friends and have a socially distanced night in.

“An American Pickle” is available now to stream on HBO Max.

Our Take: 5/5 Stars

British psychedelic pop band Glass Animals has been a staple for every indie playlist for years. The release of their debut studio album “Zaba” in 2014 introduced them as a band who created music that refused to fit in one genre.

Their hit single from that album, “Gooey,” is sickly sweet and dripping in synth. Their follow up album, “How to Be a Human Being,” which came out two years later, ended up being wildly popular and made it clear they were not a one hit wonder. After a four year hiatus, Glass Animals returns in 2020 with “Dreamland.”

Released on August 7th, 2020, the album was pushed back from its original July debut. Unlike the band’s last two albums, “Dreamland” is based in reality; song concepts are pulled heavily from frontman Dave Bayley’s childhood in Texas in the 1990s and early 2000s. This much is immediately clear from the album art, a vaporwave scene that brings back memories of long-gone teal and purple Taco Bell interiors. 

The album is made up of a whopping sixteen tracks, but has a short runtime of just over 45 minutes. Quite a few of the tracks are quick vocal interludes with audio from scratchy VHS tapes and titles like “((home movie: 1994))” and “((home movie: shoes on)).” “((home movie: rockets))” features a little boy talking to his mother about a toy rocket as 1950s-esque film music plays in the background. There’s no doubt Glass Animals had an aesthetic vision for this record, and interludes like this help to fulfill the vibe they were going for.

 The quick songs allow Glass Animals to experiment with a lot of sounds and stories while still keeping true to their psychedelic rock synth sound. Bayley’s vocals are at this point synonymous with Glass Animals’ sound; his fast, whispered falsetto creates the conflicting sensations of both total relaxation and pulsing anxiety. 

The first single of the album is “Tokyo Drifting.” This gritty track has a beat punctuated by a sound reminiscent of a record skipping at the beginning but soon changes to a more siren-like sound. Bayley strays from his usual soft sound for a more rap-inspired delivery.

This switch makes sense, considering Denzel Curry features on the track. Curry’s verses are incredible and he compliments Bayley perfectly. This is definitely one of the first tracks to listen to on the album.

Another must-listen track is “Melon and Coconut.” The audio manipulation on this track is so fun, and Bayley once again reverts to a hip-hop inspired vocal sound. The backing music sounds like a swirling dream, lulling the listener to a trance-like nap.

A song that veteran Glass Animals fans are certain to enjoy is “Your Love (Deja Vu).” This song could be a softer remix of a “How to Be a Human Being” track. It is catchy and the music features their classic fast beat and quirky instrumentals. The lyrics are also quintessentially Glass Animals: provocative, fun and completely nonsensical. 

There is a completely different sound in the last standout track, “Hot Sugar.” This song is slow, soft and reminiscent of a John Legend track. It’s a departure from every other Glass Animals sound, but is grounded by Bayley’s whisper-singing. 

“Dreamland” may not live up to long-time fans’ high expectations for the band, and does not quite hit the same high-notes that “How to Be a Human Being” did. Still, barring comparison to past records, “Dreamland” is a highly listenable, highly enjoyable album to throw on.

Atlanta has one of the best restaurant scenes in the south, and boasts an impressive spread of diverse cuisines. While COVID-19 has made dining out a safety gamble, there are still plenty of ways to enjoy the city’s food culture. Here are seven of many restaurants you can get contact-free delivery or takeout from that represent the very best Atlanta bites.

Momonoki

Just off campus below the Modera Midtown apartment complex is a hip Japanese restaurant and cafe, Momonoki. While they are known for their ramen, they also serve delicious bowls and salads, katsu sandwiches and addictive small plates. Accompanying the restaurant is Momo Cafe.

In addition to cafe staples, Momo has an extensive menu of Japanese inspired lattes and pastries and a truly impressive tea menu. They also sell soft serve in two odd but delicious flavors: matcha and black sesame. 

Recommendations: Soy Milk Miso, Shiitake Nuggets, Matcha Ice Cream, Black Sesame Mochi

Nuevo Laredo Cantina

The best Mexican food in Atlanta is just a quick 10 minute drive northwest from campus. Nuevo Laredo Cantina is truly a gem and serves the best home-style Mexican food. 

The flavors are simple but comforting. Laredo has something for everyone — they offer mexican classics like mole alongside more americanized dishes like taco salad. Everything is extremely reasonably priced, and almost all entrees come with salad, rice and beans making Nuevo Laredo perfect for those on a college budget. 

Plus with all takeout orders over $10, they throw in free chips and truly addictive homemade salsa. 

Recommendations: Mole vegetable enchiladas, tamales, flan

Emerald City Bagels

In the heart of East Atlanta Village is a cute little bagel shop serving bagels that rival those of New York City. Emerald City Bagels has a small but perfected menu, offering seven types of bagel. 

Visitors can choose one of their sandwiches, build their own sandwich or just buy a few bagels to toast at home. As for spreads — they flavor their own cream cheese and offer a vegan option! Emerald City also offers a variety of toppings, from Scottish-style lox and gravlax to pickled beets. They also sell coffee from a local roastery, Three Heart, which pairs perfectly with any of their sandwiches. 

Currently, their storefront is closed but orders can be placed through their website. 

Recommendations: Everything bagel, rosemary and sea salt bagel

Villy’s

A less traditional restaurant that has thrived in the time of COVID is Villy’s, a Black-owned pop-up open Wednesday through Sunday. 

Villy’s is 100% plant based and is a vegan junk food heaven that specializes in “chicken sandwiches.” These sandwiches, which can be original, buffalo, BBQ or Korean BBQ, are absolutely giant, crispy and only $10. 

The pop-up features a rotating menu, customers can stay up to date with current specials by following Villy’s Instagram, @villysatl. 

On weekends they offer brunch specials, and dessert specials change throughout the week. Villy’s has no storefront, but delivers all around Atlanta and customers can order through their Instagram or by phone.

Recommendations: Buffalo chick’n sandwich, Chick’n and waffles, Chili cheese glizzys

Chai Pani

All the way in downtown Decatur is Chai Pani, an Indian restaurant that stands out among its many local competitors. 

While Chai Pani does offer typical Indian curries, its Indian street snacks, platters and lassis are what set it apart from the crowd. While they are currently offering only a limited menu, Chai Pani still has many scrumptious offerings. 

Like most street food, many of Chai Pani’s best dishes are fried and extremely delicious. Many of their chaat offerings are the perfect comfort food. They also serve sandwiches, something not often seen in Indian restaurants, which are to die for. 

Recommendations: Vada Pav sandwich, Bhel Puri, Amritsari Lassi

As one of the nation’s top tech schools, there is no denying the heavy emphasis the Institute places on STEM and the general disregard for anything remotely artsy. Georgia Tech Arts is aiming to combat that narrative. The organization has begun hosting a virtual conversation series, TECHnically Creative. The next chat will take place with visual artist and GT Alumna Megan Fetcher on July 13 via a Facebook live event. 

TECHnically Creative hopes to create a dialogue between alumni working in the arts and current students struggling to reconcile their creative side with their technical work. As Georgia Tech Arts puts it: “While many Yellow Jackets go into careers in line with what they studied at school, there are some who find themselves putting their degrees to use within creative industries. Learn how these Georgia Tech alumni intertwined their passions with their degrees to chart exciting career paths.”

Abstract and mixed-media artist Megan Fetcher is this conversation’s guest. Fetcher started painting while at Tech and graduated from the Institute in 2017 with a B.S. in Business Administration. After graduation she found a way to further her newfound love of painting with her technical knowledge from Tech. 

Fetcher’s artistic portfolio, Painted Parcels, features several collections in varying styles, subjects and mediums. She really does it all. Her “Sister” series features abstract women in soft colors, painted against blocky backgrounds. More abstract and loud is the “Serendipity” collection which is bright colors, broad brushstrokes and competing patterns. While Fletcher’s aesthetic seems to jump around quite a bit, no matter the style her work is eye catching and beautiful. 

Just two years after her graduation, in 2019, Fletcher opened an all female co-working studio, the Reverie. In the space, women of all artistic pursuits — painting, photography, fashion, woodworking, upholstery and more — come together to create on common ground. 

This is only the second installment of TECHnically Creative, so the Tech community should be sure to check it out. The inaugural conversation took place on June 22, 2020; Russ Todd, an Electrical Engineering alumnus, discussed his career running an acoustical engineering company. The recording can still be viewed on Georgia Tech Art’s Facebook page. 

Make sure to tune at 11 a.m. on Monday, July 13 at Georgia Tech Arts’ Facebook page for the livestream. There is also the option to register in advance for the event and submit your questions for Fetcher early, the form can be found at Georgia Tech Arts’ website. 

Our Take: 4.5/5 Stars

Rap supergroup Run the Jewels returned from a four-year hiatus with the release of their fourth album, “RTJ4,” on June 3. The surprise drop was early, the record was to be digitally released on June 5, with a physical release scheduled in September 2020. “F*** it, why wait,” the duo tweeted, “The world is infested with bulls*** so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there.” 

Formed in 2013 after the members toured together, Run the Jewels is made up of well-established rappers Killer Mike and El-P. Though their solo works feature very distinct sounds, it is easy to see what drew the artists to one another: biting, intelligent lyrics and nonconformist, dissident attitudes.

This similarity is a common thread throughout the Jewels’ discography. Their deep introspection and social commentary — and more often, criticism — has made them political rappers. “RTJ4,” their first album recorded in the Trump-era, reaches a new level of their trademark rage, dissatisfaction and defiance. 

Given the current unrest of the nation, the album could not be more relevant. “RTJ4” is not just a feat of rap and hip-hop, but is modern protest music at its finest. Despite the fact that this album was recorded over a year ago, its themes and lyrics are poignant. The appalling truth is that this album could have been released at any point in American history, and it would tell truths of not only racial but economic and social injustices. 

“yankee and the brave (ep. 4),” the first single, opens the album like a vintage cartoon, an unknown accouncer proclaims: “This week on Yankee and the brave.” Then Killer Mike takes over with an impossibly fast verse recalling his experience growing up black in the south. El-P counters with his own experience being a New York rapper. The song is an ode to the duo’s brotherhood, as they call it. Black and white, northern and southern, Braves fan and Yankees fan, the two have found a groove that they both thrive in. 

One of the most lyrically dense and intense songs is “walking in the snow.” The music, like most of the Jewels’ tracks, has an unrelenting beat. The chorus, sung by rapper Gangsta Boo, is repetitive and haunting. What truly brings the song home, however, are Killer Mike’s verses. While Killer Mike’s lines, “And you so numb you watch the cops choke out a man like me/And ’til my voice goes from a shriek to whisper, ‘I can’t breathe’/And you sit there in the house on couch and watch it on TV/The most you give’s a Twitter rant and call it a tragedy,” could be referencing the murder of George Floyd by a police officer on May 25, 2020, they are most likely recalling Eric Garner’s similar death from six years prior. 

While the album features many collaborations, “JU$T (Ft. Pharrel Williams & Zach de la Rocha)” is the holy grail. “JU$T” is a bouncy track that has a simpler and more laid back musical backbone than other song on the album. Shining a spotlight on a common RTJ theme, the track calls out the injustices perpetrated by the one percent, or modern “slave masters.” Pharrel sings the impossibly catchy pre-chorus that is sure to stick in the listener’s head. Rage Against the Machine’s de la Rocha not only helped to write the track but supports Mike and El-P’s lines before getting his own time to shine in a verse that proves that he still has it. 

By far, the best track on the album closes it out. The last track, “a few words for the firing squad (radiation),” is a seven-minute musical experience. In it, the duo reconciles their humble beginnings and their financial and commercial success with their unfavorable political views of the ruling economic class. The beat seems to build to an uncomfortable pressure for the first three minutes of the song, creating an intense anxiety before giving way to a cello-heavy orchestral crescendo, only to be shown up by an impressive saxophone solo. Then, the finale song ties the end to the intro track with a monologue straight out of a cheesy 1980’s TV show or a Quentin Tarantino movie, detailing the adventures of “small time hustlers” Yankee and the brave. 
With dissatisfaction in their hearts and socially conscious lyrics and incredible beats, Run the Jewels are truly a representation of today’s zeitgeist. While there honestly is not much variety between the tracks, there does not need to be. There is no better time for an album like this to be released. Its predecessor “Run The Jewels 3” was described by Pitchfork as “a soundtrack for the riots to come.” “RTJ4” is a soundtrack for the riots today.