Part of what makes film so compelling as an art form is the variety of media that it is capable of combining. Behind every film is a dedicated group of people who specialize in their specific portion of filmmaking. Those efforts are then combined to make a cohesive piece of art.

With all films, these portions are executed to a variety of success. Sometimes the sound editing or score is great, but the script is lacking. Sometimes the story is strong, but maybe the performances are lacking. Sometimes, however, you get a film like “Portrait of a Lady on Fire,” Something so close to cinematic perfection, it embeds itself deeply in your head and refuses to leave.

Since walking out of the theater, I have been unable to shake thoughts about this film. From its beautiful story to its gripping depiction of the throes of passion to its gorgeous visuals, “Portrait of a Lady on Fire” is impeccable.

The film tells the story of a painter named Marianne (Noemie Merlant) who is hired to paint a portrait of another woman, Heloise (Adele Haenel), who is about to be married off.

When she arrives, it is under the false pretenses that she is there solely to accompany Heloise on her walks, as her sister, who was meant to be married to the same man, has recently fallen over the cliffs of the island and died. When The Countess (Valeria Golina) leaves the house to the two women and Sophie (Luana Bajrami), the housemaid, for a few days, Marianne and Heloise find themselves falling into a deeply passionate romance with one another.

The plot of the movie is fairly straightforward and simple, but the little detours it takes while unraveling the relationship at its core and the little details that are buried in the script elevate it to something more. “Portrait of a Lady on Fire” could have been a rudimentary story about a secret affair between two women but it’s just so much more than that.

I don’t even know where to start praising this movie. Visually, it’s stunning. The scenery is beautiful and ornate in just the right ways to accentuate what’s happening to the characters on screen.

The brilliant cinematography by Claire Mathon — yay, lady cinematographers — even further captures the beauty of the landscape and of the relationship that unfolds between the two protagonists.

Merlant and Haenel are nothing short of brilliant. Their chemistry and the way they bring these characters to life is so tender and passionate and careful that I often forgot I was watching a movie. The way the relationship was written obviously plays a big part in what makes it all so moving, but without these two, it could have not been what it was.

Merlant portrays Marianne with a curiosity and sympathy that is encapsulating. Haenel, on the other hand, creates a mysterious and reserved figure in Heloise. The intrigue and hesitance they show for one another just further draws the audience in and believe in them.

The story unfolds slowly but with explosions of fervor and passion. There’s something very heartbreaking about even the heights of romance in “Portrait of a Lady on Fire,” though. In your heart, you know how this story will play out and you know that it can’t have a happy ending. That looming dread makes everything happening on screen feel so immediate and important.

One more thing to note is that there is almost no score in the film. Instead, there are select moments where music is prominent, specifically “Summer” from Vivaldi’s “Four Seasons.” The song is heavily featured in a thematic way, building to an emotional head at the end of the film that broke my heart.

There’s also thematic references to the tale of Orpheus and Eurydice throughout the film that tie the strong themes of love, loss and sacrifice together in the film. There is so much unsaid in this movie that it just begs to be rewatched and reanalyzed, and I can’t wait to experience it again.

Divorce is messy. I’m not a child of divorce myself, but it’s safe to say that the concept of losing someone you once held dear is painful and difficult for everyone involved. In Noah Baumbach’s new Netflix film “Marriage Story,” he attempts to focus on and bring that pain and transition from love to defeat to acceptance on screen. At the screening I attended, there was a bowl of “Marriage Story” brand tissues outside of the theater, which eerily set the expectations for what the audience was in for. What the film delivered was a poignant, brilliantly acted, brutally raw and honest look at love and what it means to lose it.

“Marriage Story” is Baumbach’s second directorial effort at Netflix, following up the critically acclaimed “The Meyerowitz Stories.” Baumbach is probably best known for his work on the film as well as directing “Frances Ha,” a film about a dancer in New York starring Greta Gerwig. What these films have in common is how remarkably human they are. Baumbach has a skill for bringing the mundane to the surface and making heartfelt, personal and intimate drama out of it.

The new film stars Adam Driver and Scarlett Johansson as an artist couple living in New York. Driver plays Charlie, a successful theatre director in New York City who has spent the past 10 years of his career putting on productions with his theater company and his wife, Nicole (Johansson). Nicole is a talented actress who gave up a life in Hollywood to work in theater with Charlie in New York. The film follows the couple as they go through a divorce, try to come to terms with their feelings for each other and fight for the affection of their son, Henry (Azhy Robertson).

The best place to start talking about this film is in its performances because they are phenomenal. Driver and Johansson are exceedingly gripping. It’s so easy to see the history and connection that their characters have in almost every line that they deliver. Though the whole tissue ordeal really set the expectation that this movie would just be devastating, it wasn’t really until the end. That being said, there were a few moments throughout where my heart sank or I felt pain in my gut due to these performances. They played so well on screen as a couple both in and out of love. Their moments of vulnerability are so sweet, and the dime upon which they switch from that vulnerability to pure rage is not only realistic but even more heartbreaking.

Robertson also did a great job playing Henry. Baumbach seemed determined to showcase how easily children can become pawns and weaponized in divorce. Henry does a good job of playing an innocent kid who accidentally says things he doesn’t realize are hurtful but cut the audience deeply. I bought his performance for the whole film and was overall impressed with the young actor. Laura Dern also appears as Nicole’s cutthroat lawyer, Nora Fanshaw. She plays the role extremely well and looks absolutely gorgeous as a juxtaposition with Nicole, who feels like she’s falling apart, while she seems to have it all figured out. Alan Alda and Ray Liotta also appear as polar opposite lawyers who represent Charlie in the divorce and do a great job in their respective sincerity and intensity with their time on screen.

The script, which was also penned by  Baumbach, is strong as well. It builds the history of these two central characters very well and unfolds in interesting ways. The film is mostly dialogue, so it’s important that that dialogue be good and effective, and it is. Charlie and Nicole feel like a real couple with a real history and real issues.

The framing of the story manages to make both characters sympathetic as it starts to feel more and more like their situation is slipping out of their control. Though it seemed that Baumbach was determined to show how slanted against fathers the system is, it sometimes played Charlie’s character too sympathetically and ignored or breezed over some of his flaws in favor of making Nicole seem worse. I would say the story is mostly told from Charlie’s perspective and the moments during the film where he struggles to connect with Henry, who doesn’t know any better than to just say he would rather be with his mom, are heartbreaking and real.

A film this character-focused needs a tight script and “Marriage Story” certainly succeeds in that department. It’s also a fairly pretty-looking movie. Robbie Ryan (“The Favourite,” “The Meyerowitz Stories”) serves as the cinematographer. For it to be gorgeous would feel out of place, but little visual touches and some symbolic camera work make for an enticing watch. A shot early on stands out where Charlie and Nicole are on the subway together and the camera is placed firmly in the center of the car, using the pole in the subway cart to create a physical barrier between the two.

Through its highs and lows, “Marriage Story” grabs the viewer and makes them care about both of these people the same way that they care about each other. When their hearts break, so does yours, and I think that is a feat. Though it’s not the easiest watch, I think it’s certainly worth a viewing.

On Oct. 25, in one of his few album releases not totally mired in public controversy, Kanye West dropped “Jesus Is King.” As his artistic career has twisted and turned, Kanye’s new musical directions have been generally unpredictable to awaiting fans. This time, however, Kanye was very forthright before his album’s release, declaring that this and all future albums would be gospel albums. Suddenly, expectations were born and memories of “Ultralight Beam” and “Jesus Walks” were evoked.

Whether or not “JIK” is truly and holistically “gospel” is up for debate, but the album does feature a unified lyrical theme and continuity of gospel/soul influences in its sound. At the very surface level, “JIK” is Kanye’s proclamation that he has found God, and his life and future are now determined by his faith. He wants to push forward the idea that God saves us and, of course, Jesus is king. Every track lyrically revolves around this idea in some capacity.

But diving deeper makes us question Kanye’s intentions and his depth as he layers his music in “faith.” It is difficult to accept the supposed credence of a man who made a song titled “I Am A God” just six years ago. It is difficult to resonate with spiritual praise followed by cheap punchlines — “closed on Sunday, you’re my Chick-fil-A.” Kanye pushes us to see depth in his new identity and musical convergence but still speaks of Forbes’ covers and complains about his taxation. As a listener, it is a battle between sincerity and insincerity, trying to decipher where “the real Kanye” is speaking and what he means to say.

It feels as though Kanye’s lyrics and vocals as a whole are the least engaging aspect of the record. As Kanye seems intent on overshadowing his own production and ingenuity with this layer of superficiality, he takes a powerful theme and removes the profundity for his audience. The mixing on this project is absolutely beautiful, and the implementation of the gospel choir in songs like “Every Hour,” “Selah” and “Water” give the tracks some musical and emotional depth where Kanye can’t.

“Follow God” feels like a quintessential Kanye track, using a chopped sample of an obscure soul song, this time Whole Truth’s “Can You Lose by Following God.” He has perfected this method of production, cutting up vocals, layering organs, basses and samples over a trap beat. This song is a lot of fun, and even ends with Kanye casually telling a story about his father.

Unfortunately, “JIK” seems to fall flat through the middle, and when we finally reach “God Is” — an emotional, raw vocal performance by Kanye that should feel like the catharsis the album really needs — any momentum from the powerful gospel openings has since faded.

Second to last on “JIK,” Kanye offers us his most dynamic and impressive song in “Use This Gospel.” This track really feels like it could’ve been taken straight from “My Beautiful Dark Twisted Fantasy,” and it brings back one of Kanye’s most powerful musical tools — his own voice as an instrument. The use of a vocoder sends us back to memories of “Monster” and “Runaway.” “Use this Gospel” finally delivers grand, meticulous, inspired sound. Pusha T and his brother No Malice reunite to form Clipse and give features on the track, both acknowledging past mistakes and encouraging the listener to look to faith for help. This is Kanye’s brightest moment, and it feels like a musical reemergence for the artist many feel is only trending downward, albeit 10 tracks into the 11-track album. Why does Kenny G have a saxophone solo? I don’t know.

“Jesus Is King” is convoluted and difficult to appreciate, especially when we attribute the same expectations we typically hold for an artist like Kanye West. From an artist as polarizing and self-righteous as Kanye, this album feels a few steps short of the grandiosity we desire. Kanye seems lost in a bit of hip hop purgatory at the moment, fighting off inclinations to write silly lyrics and non sequiturs and punchlines like the good ol’ days while attempting to steer himself totally into a new area of music and personal belief.

Looking toward the future, Kanye has announced another album, titled “Jesus is Born,” to be released Christmas Day. At that point, I expect him to fully transition into this gospel realm and bring with him the fanfare and emotion that “Jesus Is King” needed. But it’s Kanye West, and I never really know.

Martin Scorsese has done it again with “The Irishman.” It feels like after years of films like “Bright” and “Bird Box,” Netflix has finally done it. They’ve landed a movie that will go down in history as something that matters. “The Irishman” will stand on its own as a landmark in Scorsese’s filmography. Of that, I have very little doubt.

On the surface, the new Netflix film from the prolific crime and gangster film director is a standard affair. In a team of what feels like all of the greats of the genre, Robert De Niro stars alongside Al Pacino and Joe Pesci in the seedy world of the 1950s and 1960s Italian mob. De Niro plays Frank Sheeran, the titular “Irishman,” which is certainly an interesting casting choice. De Niro is an obviously Italian man, and slapping an Irish surname on him doesn’t really change that fact.

I only bring this up because it kind of makes the title of the movie … pointless? Sheeran is of Irish descent but learned Italian fighting in Italy in World War II, which is briefly addressed. Occasionally other characters refer to him as “Irish,” but his being Irish is not particularly relevant to the plot and does not feel like it warrants being the title of this film. I’m nitpicking because this is a great film, aside from a few minor gripes, so when something that feels this central is this wildly off-base it gets a spotlight.

But I’m getting off track. The story follows Sheeran as he meets Russell Bufalino (Joe Pesci), a prominent member of the Italian mob in the Philly/Jersey/New York area. Russell takes a liking to Sheeran and starts having him run some jobs for him. Frank declares, followed by a title screen repeating it, that he “paints houses.”

Sure would have been a cool name for the movie.

Russell then puts Sheeran in touch with Jimmy Hoffa (Al Pacino), the infamous president of the International Brotherhood of Teamsters during the 60s and 70s. As Sheeran begins to work for Hoffa, the two get close and he becomes a sort of number two for Hoffa’s less legal Union activities. The story then jumps between three general time periods as it unfolds, Sheeran meeting and joining with Bufalino, meeting and working with Hoffa, and then faux interview segments with an old haggard Sheeran in a nursing home, reflecting back on the story we are watching unfold.

With its three and a half-hour run-time, what this story turns into is a slow-burn, character-driven epic. Though it’s more “Goodfellas” than “Wolf of Wall Street,” “The Irishman” goes even further than “Goodfellas,” sacrificing scenes of action, violence, drug use and nudity to focus on building tension in its darker moments, establishing strong characters and allowing its emotional beats to take their time and sink in. And it’s not only a better film for it, but one that stands out among Scorsese’s other films. It has all of Scorsese’s personality and dark humor infused into the script and the dialogue, only it feels more mature.

Some part of these intricate relationships that you grow to really care about would have suffered and that’s where this movie shines the most. It also kept things light when it needed to. One little touch I appreciate a lot is as new characters or bit characters would be introduced, there would be a freeze frame and their name would come on screen with the date they died and how they died, which led to some gut-busting dark comedy.

It’s also a beautiful movie. Visually, the aesthetic and crisp visuals of the sets and cinematography are alluring. It’s easy to sink into the world that this movie has built and not realize you’re diving deep two hours in. The music is also a fun mix of 50s and 60s jazzy tracks as well as a tense and dynamic orchestral soundtrack. It’s an easy movie to sink into, though it may be worth a pause when you’re watching on Netflix for a snack and bathroom break.

I have very few negative things to say about this movie. It’s a masterclass in film making and though the runtime may dissuade some and it may not be for those who aren’t a fan of the genre, there is so much good here that it can’t be ignored. It would be unfair to do so.

Jay Som flooded The Foundry with dulcet tones of honesty and pure heart Oct. 29. The venue was incredibly intimate, allowing for perfect strangers to become intertwined over the empowering harmonics of the popular singer-songwriter and her opener, Boy Scouts.

The physical appeal of the show and the performers made the concert a tangible experience. Both acts graced the stage clad in casual clothing, an effect that made it hard to distinguish the artist from the audience. The sheer proximity of the audience to the stage also made for an air of enchantment, drawing them in and allowing them to catch a glimpse into the innermost thoughts of the songstresses and their accompaniments. The artists shared a casual energy that radiated throughout the venue, allowing a safe space for everyone to share a love for the raw and emotional music.

Boy Scouts graced the stage very humbly, almost asking permission from the audience before playing their set. As they played, it felt as though we were watching them coexist within their own space, and we had simply happened to stumble upon them. Their deeply personal relationships were made evident through the sense of community and support they gave each other, swaying in unison for some songs and lightly bobbing their heads as their feet danced on their pedal sets for others. Boy Scouts was able to revel in the same anticipation and excitement from the audience that they carried for Jay Som. Between songs, the band would take to the mic to express their joy and gratitude, each time being met with equally excited cheers from the audience that revealed that the feelings were mutual.

Jay Som offered a very personal show, reaching a level of intimacy with the audience that was palpable through the speakers. In a performance that appealed to the senses, the audience was met with a balance of sweet melodies and harsh sound effects that evoked the same feeling as driving full speed through a tunnel with the windows down. A handful of the songs on the set-list nearly finished with loose ends, the tones being overshadowed with intentional reverb that took the songs in unexpected directions.

It was clear the band wanted to make the concert experience an incredibly interactive one, even going so far as to consult the audience at the end. Jay Som nearly closed the show asking the audience if we preferred one more song or two, to which we responded with the latter, of course. Members of the crowd shouted song requests and were answered positively when Som revealed that yes, she planned to finish with the songs requested. Jay Som eloquently balanced an energy of control over artistry while also allowing for a personal connection with the audience.

The cast of Tuesday’s spectacle, “The Magical World of Disney’s The Little Mermaid,” featured Auli’i Cravalo as Ariel, and actor Graham Phillips as Prince Eric, who previously starred in “The Good Wife” and “Riverdale.” Other cast members include Queen Latifah as Ursula, “Full House” star John Stamos as Chef Louis,  and “It Wasn’t Me” singer Shaggy as Sebastian.

Taking on the role of Ariel, as well as Moana, Auli’i Cravalo has crossed Disney Princess paths, preceded only by Lea Salonga. Cravalo played the role of Moana in the 2016 title film, as well as Ariel in this modern adaptation. Lea Salonga, who stars both on stage in Miss Saigon and on-screen, provided the singing voices for both Jasmine in Aladdin and Mulan.

Shaggy’s portrayal of Sebastian seemed stiff compared to the other performers, who seemed to be embracing their roles, especially John Stamos. After “Les Poissons,” Stamos proudly exclaimed, “I knew I could have played Prince Albert! Er, Eric.”

The staging is practically identical to the original film, which helped the transitions from animation to stage. Seamless transitions were perfected for home viewers, all accompanied by choreography, aeriel (no pun intended) artists and the members of the audience to enhance parts of the set. During the opening song, they waved silk scarves to look like waves and later were fitted with crab pincers during “Les Poissons.”

Minor lyrical changes were added to this rendition, including a callback from Ariel during the full-cast song “Under the Sea,” which was heavily diluted with vibrant colors and action filling all areas of the stage completely. “Part of Your World Reprise” included an interpretation of Ariel’s daydream, with aerialist doubles portraying a world in which Ariel and Eric could swim together. Another small edit was having two dancers on the stage twirling as part of a larger-than-life music box in Ariel’s grotto.

Besides lyrical changes, the costumes were also updated for live-action performers. Shaggy was sporting a shiny pleather-looking jacket with 80s-inspired crab-like shoulder pads during “Kiss the Girl.” Queen Latifah as Ursula rocked the largest costume of the night, complete with moving tentacles maneuvered from above, perfect for an octopus sea witch.

Though some creatures like Scuttle and Sebastian were portrayed by actors in costume, fishy friend Flounder was a puppet. This differs from the Broadway adaptation in which everyone’s favorite fish sidekick was played by a young male actor. The Broadway adaptation chose to use skates instead of wires or aerialists to incorporate the underwater effects. However, Eric’s trusty sidekick Max was portrayed by a real sheepdog during the opening song, “Fathoms Below,” sung by Prince Eric and his sailing crew.

Disney loves to include its so-called “Easter Eggs,” which are small details in a film that reference other Disney films. Some with a careful eye may have spotted the framed paintings of Lady Tremaine and Captain Hook beside Ariel’s palace vanity.

The prince has no singing roles in the film adaptation, though the 2007 Broadway production contains multiple songs for the character of Eric, and the upcoming live-action film is rumored to contain original songs.

After awakening from his near-death experience, Eric sings about his mystery (mer)woman. Graham Phillips showed off his chops in “Her Voice.” America’s second–favorite flutist (second to Lizzo, of course) then sings a new duet, following Shaggy’s “Kiss the Girl,” combining “Her Voice” and “If Only” from the Broadway adaptation. These unexpected additions took a risk and the audience was pleasantly surprised by Phillips’ singing talent.

During commercial breaks, Disney featured some behind-the-scenes looks during the ads, following Auli’i as she moves from place to place in a wheelchair, holding the larger-than-life iconic tail. John Stamos also received focus before his song, “Les Poissons.” The only thing dampening the magic was the commercial breaks, which were more frequent than regular cable television and lasted multiple minutes.

If you missed the live performance, no worries! “The Magical World of Disney’s The Little Mermaid” is available online on ABC.com, free of charge. Disney will soon be splashing in with another adaptation of the classic tale starring Halle Bailey as Ariel.

I like Shakespeare. Many people don’t. Many college students especially don’t, and that’s understandable. The guy wrote his plays so that the language was impossible to follow and made the performances themselves last entire days. But I like him.

I’ve read many Shakespeare plays for a variety of classes but have managed to never touch the Henriad. I don’t know if I’ve ever read any of the “histories,” as they’re not the most popular of his works. But when I heard that Netflix was adapting “Henry V” for the screen and Timothee Chalamet (“Call Me By Your Name”) and Robert Pattinson (“Good Time,” “The Lighthouse”), two recent indie darlings, were set to star, I was intrigued. That adaptation is entitled “The King,” and it was released this past weekend.

As I haven’t read the play, I don’t know how much of it is lifted from the pages of the play and how much liberty was taken from that source material. The David Michod (“War Machine”) directed film certainly doesn’t take its dialogue from the source. Shakespeare’s indulgent flowery language and iambic pentameter is nowhere to be found in the two and a half-hour run time, and that was a welcome surprise for me. What “The King” did end up being was a fairly gripping story of a young man learning how to make difficult decisions, featuring just enough solid filmmaking added to elevate it from a good movie to a great one.

The story follows Prince (later King) Henry V (Chalamet) in 15th century England, as he assumes the throne following his father’s death despite not wanting the crown. Shortly after assuming the throne, he attempts to bring peace to England by ending conflicts with Scotland and Wales. With a board of self-interested advisors including William Gascoigne (Sean Harris) and his lifelong friend Falstaff (Joel Edgerton) by his side and a bitter brother rejecting him, Henry sets out to attain peace as king.

That is until an assassin from France makes an attempt on his life, and he feels forced to go to war with the country his father, Henry IV (Ben Mendelsohn), always dreamed of conquering. Henry sets out to France where his forces collide with those of The Dauphin (Pattinson), the son of King Charles VI of France (Thibault de Montalembert). The Dauphin is a sadistic, eccentric and border-line deranged violent prince who is furious that Henry has set foot in France. The two then battle it out, deciding the fate of Henry’s England and their newfound war with France.

In many ways, this movie reminded me of Justin Kurzel’s 2015 adaptation of “Macbeth,” starring Michael Fassbender. Both films take an eerie, violent and emotional look at these men who struggle to cope with the power that they assume.

Chalamet, Egerton and Pattinson all stood out for their fantastic performances. Chalamet may not be the type you would expect to play a king, but Henry V is meant to be seen as a boy rising to a position he isn’t yet ready for, and there was a vulnerability and sincerity that Chalamet brought to his performance that perfectly encapsulated that fear.

Egerton played his role as a loyal, gruff knight quite well and I’ve never seen him play that type of role before and thought he did it well. Pattinson doesn’t have a ton of screen time, but the time he does have he controls the scene. I’m not sure exactly how “good” his French accent is, but he brings a sinister, chaotic air onto the screen that is captivating. Plus his long hair is super hot.

Michod and Egerton wrote the script for the film and did a great job modernizing the narrative and dialogue for a current, more casual audience. There were multiple scenes that gave me chills, like Henry’s rousing speech before they head into battle.

The cinematography isn’t anything particularly special for most of the movie. The colors are largely desaturated to create a grim atmosphere, but near the end, during the big battle scene, the color pallet gets brighter and more vibrant.

Between some stellar fight choreography and excellent camera-work, “The King” manages to capture the chaos of war in a deeply disturbing way. Men covered in blood, screaming and flailing, fighting one enemy at a time while utter destruction and bloodshed unfold behind them. It was one of the most gripping scenes I’ve seen a movie this year, and I won’t forget it any time soon.

There was a “twist” near the end of the film that I won’t spoil in case it isn’t in the source material, but I liked it and the ramifications of it a lot. Henry is an undoubtedly different character at the end of this film than he is at the beginning, and in some ways, that’s good and in others it’s bad. The movie is trying to show that not just any man can be a king, and that being a king involves making the hardest choices and trusting what you think is best because you never know who around you is trying to use or deceive you.

For such a grim film, it ends on a relatively happy note and that didn’t upset me. I cared for Henry by then end of this journey and was hopeful that he would go on to be a great king. This is, at the very least, an excellent historical war film, but beyond that is a character study brought to life by excellent performances and a great script. Netflix has another hit on its hands.

I’m going to start this off strong by saying this: HBO’s “Succession” is one of the best shows on television. It is by far the best on HBO’s current slate and has quickly grown a rabid and intense fanbase online, especially on Twitter.

The pitch for the show does not do it justice. This dramedy series, produced by Will Farrell and Adam McKay, exists as one of the duo’s final collaborations. It follows the Roy family, specifically the children, Shiv (Sarah Snook), Roman (Kieran Culkin), Kendall (Jeremy Strong) and Connor (Alan Ruck), as they vie for power in their family company from their father, Logan (Brian Cox).

The company, Waystar Royco, is an entertainment conglomerate operating in news, theme parks and cruises, as well as a diverse array of other fields. The first season mostly followed Kendall as he prepared to assume his father’s position as CEO of the company, only to have it stripped away from him by his father deciding to stay at the helm. The second picks up right where the first left off as Waystar Royco attempts to deal with a litany of controversies headed its way.

Avoiding spoilers, the show’s plot has many twists and turns, some of which are obvious and others of which are wildly unexpected and clever. This trend persists into the show’s second season. Picking up immediately after the plot of the first season, the second chronicles a merger attempted by Waystar Royco and the fallout of a scandal that was unfolding during the first season. It’s hard to discuss this show without it coming across as a regurgitation of the  plot. This is in part because the plot is what the show centers upon, but luckily that’s a good thing.

In this regard, season two manages to surpass the heights of its predecessor. The performances are top notch from the entire cast. Part of what makes “Succession” so compelling is how successfully it rides the line between tension and comedy, and how it weaves them together to improve both. This wouldn’t be possible without the excellent dramatic acting and comedic timing of the cast, as well as the witty and compelling script. Almost every character has their moment to shine in this season and they all take advantage of the spotlight.

The only character that I find myself generally not interested in is Connor, but I think that’s somewhat intentional as his problems are unrelated to the majority of the conflict the other characters are enduring. The dynamic between Tom Wambsgams (Matthew Macfadyen), Shiv’s husband, and Cousin Greg (Nicholas Braun) is again some of the standout comedy in the season. Between Tom’s unnerving switches between verbal abuse and Greg’s meek demeanor in attempting to blackmail him, it became one of the most compelling narrative threads this season. Not to be outdone, Kendall also had his moment this season (which he largely spent in a dissociative, numb episode) when he attempted a rap for his dad that was extremely uncomfortable and hilarious.

The key ingredient to what makes “Succession” so compelling is the writing. Though the show features a wide variety of writers, Jesse Armstrong, who wrote the first and final two episodes of each season, has an influence that can be felt. Armstong is best known for his work on the film “In The Loop,” which is a biting satirical comedy from the mind of Armando Iannucci (“Veep,” “The Death of Stalin”), and that tone is definitely what “Succession” goes for. The writing in this season was interesting and intense when it needed to be and efficiently developed nuanced character dynamics and chemistries that are what make the show so special.

Visually, the show is usually quite pretty. The sets are often extravagant mansions, restaurants- or private jets as the characters travel the world to conduct business and create backdoor dealings to screw one another over. The show has a toned-down color palette and sleek aesthetic but occasionally indulges itself to show off the extravagant lifestyles of the sickeningly wealthy that make up the main cast.

Though this show does occasionally give in to this “wealth porn” that is evident in movies like “Crazy Rich Asians,” at its core it knows that all of its characters are bad people but they are still people. Though they have selfish intentions and have done a variety of heinous things, there is something utterly human about them that you find yourself occasionally rooting for them. If not, you can always just watch the chaos unfold and watch them repeatedly get taken down a peg.

I can’t recommend this show enough. Watching it has brought me back to the days before streaming services where I would talk with friends about each episode every week and we would discuss our favorite moments and theories of who was going to get screwed next. I can’t wait for the third season and recommend catching up before then. If for nothing else than to just listen to the fantastic theme song and score composed by Nicholas Britell, which I can never seem to get out of my head.

It’s finally starting to feel like fall, which means that it’s time for some spooky and fun fall activities and events! Here is a list of some off-campus upcoming events that will keep you entertained throughout the season.

Oct. 19 to 20 — Philadelphia Open Studios Tours

This upcoming Saturday and Sunday mark the second weekend of the yearly Philadelphia Open Studios Tours, a two-weekend long event where local artists welcome the general public into their studio space. Saturday, Oct. 19, will feature Northwest Philadelphia artists, and West Philadelphia artists will open their studios on Sunday, Oct. 20. There will also be a variety of workshops, demos and art exhibitions available to anyone interested. Studio maps and further information about open spaces can be found at https://www.philaopenstudios.org.

Oct. 4 to Nov. 4 — Waterfront Arts Ghost Ship Installation

On Race Street Pier, there is a new mysterious three-dimensional projection above the water. This is “Ghost Ship,” a 90-foot long light and water installation that is making its North American Debut. Visible between 7 p.m. and 10 p.m. every night until Nov. 4, the Ghost Ship serves to educate the public about the complex history of the Delaware River. Viewers can learn about Philadelphia’s connection to the Delaware River in the 1800s with the self-guided audio tour available at the site. This installation is free to view and open to the public, so if you want to take an evening trip to the Race Street Pier, this installation is worth the visit. More information can be found at https://www.delawareriverwaterfront.com.

Oct. 22 — Designs for Different Futures

Have you ever considered what the technology of the future will look like? Starting on Oct. 22, The Philadelphia Museum of Art will be showing “Designs for Different Futures,” a series of inventions for future that may never occur. This exhibition will have pieces from various artists that represent what they envision the future will hold. Some of these designs will be aspirational, others will be preparing for the worst, but all pieces will be an imaginative take on how humans will use technology to adapt to the changing world. This exhibition will be open until March 8, 2020, so you have plenty of time to check it out.

Oct 24 to 25 — Philly POPS Nightmare Before Christmas

If you enjoy stop-motion animation and want to get into the spooky spirit before Halloween, this is the event for you! The Nightmare Before Christmas follows the main character Jack Skellington as he tries to bring Christmas to Halloweentown. The Philly POPS will be playing live music accompanying the classic Tim Burton film this year at 7:30 p.m. on Oct. 24 and 25. Discounted tickets are available through Drexel’s Campus Activities Board for only $20, but full-price tickets can also be purchased through https://www.phillypops.org.

Nov 8. — Hobo Johnson and Mom Jeans. at The Fillmore

Any fans of emo or punk music will be excited to hear that these two notable artists will be performing in Philadelphia this November. Hobo Johnson & The LoveMakers are going on tour debuting their third studio album, “The Fall of Hobo Johnson.” Frontman Frank Lopes is from Sacramento, California, and his group gained notoriety after a video for NPR’s Tiny Desk Contest went viral. Mom Jeans. are also from California and released their second album “Puppy Love” in 2018. The group formed at UC Berkeley in 2014 and has gained popularity on Bandcamp for their emo sound. Both VIP and general admission tickets for the show are available online at https://www.thefillmorephilly.com.

Throughout the history of pop music, there has always been a strong push for the genre in Europe. This is equally true in pop’s most recent resurgence with gems like the Norwegian Sigrid or the Swedish Tove Lo and Tove Styrke. Enter bulow, a 19-year-old German-Canadian alt-pop singer/songwriter. Megan Bulow, known professionally as bulow, travelled all around Europe and the US growing up and is currently residing in the Netherlands. This widespread exposure to pop has obviously impacted her music, which is a unique blend of dark, raspy vocals and moody, trap production.

Bulow came onto the scene with a two-part EP series titled “Damaged Vol. 1” and “Damaged Vol. 2,” in 2017 and 2018, respectively. Each project was composed of three tracks. Her breakout single from these projects was “Not A Love Song,” a moody anthem about standing up for yourself in a relationship. Earlier this year, she dropped another, longer EP titled “Crystalline,” which features a mix of slower, softer songs like “Word Smith” and more active dancy tracks like “Get Stupid,” all while maintaining the darker tone of her lyrics and production.

Now she has returned with another shorter project titled “The Contender,” which features the single “Boys Will Be Boys.” The project, which consists of only five tracks, still manages to maintain bulow’s signature (darker) sensibilities but introduces newer, more polished and trappier beats.

The EP kicks off with “Own Me,” a rebellious song about asserting one’s freedom and desire to escape. I couldn’t help but compare the production and flow of bulow on this track to Lil Peep’s “Benz Truck.” The track’s sharp snares and heavy bass accompanied by a heavy strumming guitar create an engulfing melancholic atmosphere that the rest of the EP upholds.

Next up is “Boys Will Be Boys,” a shorter track mocking the saying passed out as an excuse to defend younger men’s problematic behavior. This is probably the bounciest track on the project, with a lighter guitar riff serving as the basis for the accompaniment as bulow bemoans the immature boys she’s had the displeasure of dealing with in a fairly fun and playful way.

“Puppy Love” is the track I have found myself returning to the most from “The Contender.” It’s another lighter, more pleasant track. The quick drum beat keeps the song moving and makes it a perfect to listen to while driving. The song features a verse from Jimi Somewhere, an up-and-coming indie rapper, who adds some variety to the song and elevates it to one of the best on the EP.

The album wraps up with “Upside Down” and “Sundress,” which are the longest and shortest songs on the project, respectively. “Upside Down” is the emotional low point of the album. The dark and wandering track finds bulow lost and contemplating the effects this boy has on her and how it’s confusing her and tearing her apart to deal with it all. “Sundress” follows quickly and brings the album even lower as bulow worries she’s made a grave mistake with her partner that she can’t come back from.

Overall, it’s not an upbeat project, but it is a solid piece of emo pop that I would recommend to any fan of the genre or of sad, slow hip-hop.