Taking place in a not-so-distant future New York City ravaged by climate change, Gabrielle Korn’s recently-released debut novel “Yours for the Taking,” has been called “[a]t once a mesmerizing story of queer love, betrayal, and chosen family, and an unflinching indictment of white, corporate feminism,” by its publisher, Macmillan.
This past weekend, attendees of the Department of Film Media Theater’s “Night of Scenes” were treated to not one but four distinct narratives. Students put on four scenes from Dominican writer Juliany Taveras’ 2016 play “the anatomy of light,” one from Theresa Rebeck’s “Mauritius,” Jonathan Yukich’s “A Brief History of Weather” and David Ives’ “Sure Thing.”
Today, many on campus know Chmba Ellen Chilemba ’17, better known by her stage name CHMBA, as the DJ who performed at President Danielle R. Holley’s 90s-themed inauguration party. The talented musician has opened for musicians like American pop star Madonna and Benenise singer-songwriter Angelique Kidjo. Her second EP, “Okongola Caucus,” came out earlier this year.
Pop-punk is back.
In the past two years, Paramore, Simple Plan and Taking Back Sunday have all released full-length albums. Say Anything, Green Day, Busted and Hawthorne Heights are coming out with new songs. Amidst the revival of a genre they helped pioneer, it only makes sense that Blink-182 would come back as well — though, to be fair, they’ve been consistently releasing since 1994.
A small desert town in the midst of the Cold War, a science competition for kid geniuses and an alien landing: these are all part of the play at the center of “Asteroid City,” Wes Anderson’s newest film. The film frames itself as an anthology television series retelling the history of a play called “Asteroid City.” We meet the playwright and the actors and gain a description of the setting.
The story kicks off when the play itself begins. By putting these different narratives on top of each other, “Asteroid City” positions itself as a discussion of grief and self-realization. Anderson’s ability to dive deep into the fragility and beauty of the human experience, even within the strangeness of his own style, is what makes him an enduring modern filmmaker.
Mitksi’s music manages to encapsulate universal emotions in two or three minutes. She uses simple metaphors and beautiful music to represent things that can’t quite be captured in words, which is likely what inspires the undying devotion of her fans. Arguably, there’s not a person alive who can listen to a Mitski song and not relate in some way. Beyond simply inspiring empathy in her listeners, Mitski makes pain feel precious, longing feel divine, and happiness feel infinite.
Amid the rainy weather of friends and family weekend, members of the Mount Holyoke College community gathered in Rooke Theatre for a sold-out performance that marked the first theatrical production of the 2023-24 school year. Soccer balls were kicked — not into the audience, as Melanie Cosdon ‘26 mentioned to the Mount Holyoke News with pride — whistles were blown and the audience was moved to tears.
An innovator in the architectural world, Julia Gamolina is a New York City-based architect, writer and educator best known for her digital magazine Madame Architect, which both highlights the stories of and builds community for women architects.
Gamolina was invited to speak in Gamble Auditorium on Wednesday, Sept. 27, for the event “Towards Madame Architect: Dialogues for a Different Future,” where she talked about her startup and offered career advice to students.
“Renfield” is a ridiculous, campy and excessively gory new adaptation of the story of Dracula — it is fantastic, provided that those adjectives appeal to you. The film pays its dues to the Draculas that came before it, even making direct cinematic references to the 1931 “Dracula” starring Bela Lugosi. The backstory comes in a “flashback” montage that recreates moments from that film, including the iconic lighting that illuminates just his eyes. Set in present-day New Orleans, Robert Montague Renfield (Nicholas Hoult), Dracula’s familiar, finds himself hoping to escape Dracula’s control. He has been serving Dracula (Nicolas Cage) for 90 years, bringing him victims and defending him from his enemies. In exchange, he receives agelessness and a fraction of Dracula’s powers, which he activates by eating insects.
Amazon Prime Video’s Emmy-winning comedy “The Marvelous Mrs. Maisel” has returned to the streaming service for its fifth and final season. In an attempt to stir up some hype for the show after a disappointing fourth season, only three episodes of the last season have been released. The remaining episodes will be released one at a time in the coming weeks. Hopefully, the upcoming episodes will be just as exciting and fresh as their serialized method of release because so far, season five is carrying on just like season four — redundant and forgettable.
“The Moors” begins slowly. It is evident early on that this play is a “Waiting for Godot” situation, and Master Branwell, whom Emilie is waiting to meet, will not be making an appearance and perhaps doesn’t even exist. The repetitiveness of the scenery leaves the audience feeling stuck in the moors, just as the characters are. We find the characters moving from room to identical room.
Nobody ever wants to pay taxes. The sentiment is in the air — April 18 is Tax Day! — as well as the arts. “Funmilayo,” the fourth production in the African opera series at Mount Holyoke, explores just one moment in the rich life of Funmilayo Ransome-Kuti: when she fought British colonial rule in what is now present-day Nigeria through protests against a special tax imposed on women in the 1940s.
