Schoenbrun makes films with the urgency and eagerness of an early-career filmmaker—which, technically, they are—but with the confidence and eloquence of someone on their tenth project.

They can’t help but rejoice in being together again. The songs have never sounded better. Nothing has ever felt like this.

What del Toro understands about love is something few others do; something I can't even claim to.

At its best, [theatre is] a vessel for family therapy: not an autonomous force, but a venue in which the characters can drive the repair of their own relationships.

…And then, before you even have the chance to wonder what “it” is, you’re given the only form of answer you’ll ever get: “IT’S DARE!”

This, more than any other Saw flick, walks and talks like a movie. You could show this to someone as a normal horror movie with zero caveats, and they would understand it! Hell, they might even enjoy it!

The one truly great thing about Presence is its use of the camera.

Here, in front of my eyes, the older kids baby me thought were so cool are preserved in amber—and they are the dumbest fucking people on Earth. It’s so, so awesome.

And what I love about a heist, above all else, is that you can’t do it alone. You have to get together and plan outfits and backstories with all your funny little theater kid friends.

It’s a tale as old as student theatre: two unsuspecting cast members are sent to a corner to figure out how to kiss each other and come back when they’re ready to do it onstage. Or worse, one of the students is told to kiss the unsuspecting other the next time they do the scene.

It can be easy to forget Whitman’s love for nature while everyone’s trapped inside during the cold winter months, but as the weather warms, it’s almost impossible to ignore.

Whether at a party, in town or at R&R, SL Goldmine represents an important part of Whitman’s small music scene and offers a much-needed break by and for students.

Reprinted in the Walla Walla Union-Bulletin.

What can German literature tell us about the human brain?

What do a thrumming neon club scene, a poetic and ritualistic transformation and a heartfelt exploration of personal desire have in common? The answer — at least at Whitman — is “MMMM,” this year’s annual dance concert.

Depending on who you ask, “Joker” (2019, dir. Todd Phillips) either marks the rebirth of the comic book movie or the death of art.