SHOW 'Mr. Georgetown' delivered an unforgettable performance, says Grace Ko (CAS '27). B2
FILM Eliana Kut (CAS '29) argues the the anticipated 'Anemone' fails to live up to expectations. B4
MUSIC Lorde returns to D.C. with an emotional performance of 'Virgin,' says Rosie Garner (MSB '29) . B6
OCTOBER 24, 2025
Taylor Swift's 12th studio album falters in its lyricism but delivers danceable pop pleasers. B3
Maren Fagan Editor in Chief
Grace Ko
Senior Guide Editor
On the night before the Homecoming football game, 15 men came together to dance, juggle and flaunt everything they had for one of the most sacred titles on campus: Mr. Georgetown. In front of a packed audience in Gaston Hall, Mr. Georgetown marked another year in the books as the Homecoming tradition that students simply cannot miss. Mr. Georgetown is a satirical pageant show the Georgetown Program Board hosts annually to flip the script on pageantry expectations. Clubs on campus are invited to nominate a male-identifying senior to represent them at the show for a chance to win the coveted crown. With its first show in 2005, Mr. Georgetown has remained a mainstay of Homecoming events, delivering a hilarious and fun show full of laughs every year. For this year’s opening number, Mr. Georgetown transported the audience to a beachy paradise. Decked out in aloha shirts, the contestants burst out in a lively performance full of beach-ready songs that fit right into the show’s tropical theme inspired by Disney’s “Teen Beach Movie.” The contestants flew through dizzying formations to songs from Katy Perry’s “California Girls” to K-pop group TWICE’s “This is For.” It was a dynamic introduction to a vibrantly colorful night.
After the opening number, the show’s hosts, Sophie Maretz (CAS ’26) and Anna Dewey (CAS ’26), introduced the rest of the night’s proceedings. The show featured four distinct competitions: spiritwear, talent, trivia and interviews. Eliminations would occur after the spiritwear and talent portions, while the trivia and interviews would be used to determine the final winner.
As the contestants were hustled off the stage to prepare for the show’s spiritwear competition, a cappella group The Phantoms and hip-hop dance crew Groove Theory took the stage. The Phantoms, led by Mr. Phantoms Wyatt Nako (CAS ’26), sang a witty ode to Mr. Georgetown, their voices ringing beautifully throughout the hall, without losing their teasing smiles. Afterward, Groove Theory delivered an undeniably sharp performance, each dancer’s step aligning in perfect unison. These additional performances were nice intermissions, an engaging pause as the contestants got ready for the rest of the show. The following spiritwear portion marked the creativity and commitment to comedy that is common to the contestants of Mr. Georgetown. While some were decked out completely with club garb, such as the well-known greens of Mr. Escape Raghav Chutani (SFS ’26), others went for a more do-it-yourself approach. Notably, Mr. Hoyas for Recovery Cameron Daly (CAS ’26) flew
in on fairy wings as Narcan, a nasal spray, while Mr. Phantoms returned on stage as a purple Teletubby with fascinating floorwork. However, nothing was as entertaining as the show’s talent portion. Ranging from rap to voice impressions to a shirtless saxophone performance, the talent was diverse, and possibly too much in certain cases. Again, contestants displayed their creativity with their talent choices. Mr. Nomadic Theatre Henry Ren (CAS ’26) aimed to set a new world record as he ate three whole oranges, including peels, to the cheers of the other contestants. With a singular ad for Mask and Bauble Dramatic Society that paid homage to Nicole Kidman’s iconic AMC Theaters commercial, Mr. Mask and Bauble Grady McDonough (MSB ’26) walked out as Kidman, taking the applause before simply exiting the stage. Other performances ran purely on heart and passion, such as Mr. Pep Band David Yang (CAS ’26) and Mr. Outdoor Education Peter Sukstorf’s (SFS ’26) musical performances, with Yang performing a rock version of Taylor Swift’s “Love Story” and Sukstorf performing an original song based on his experience in Alaska. Following the performances, Maretz and Dewey announced the competition’s top five: Mr. GWOW Tomo Nozaki (CAS ’26); Mr. Jawani Saatvik Kaul (SFS ’26); Yang, Sukstorf and Ren. The five faced off in the trivia round, where the hosts’ chemistry and
charm shone through as they traded banter with the contestants. These interactions continued into the interview round where the contestants had the chance to get personal with the audience.
In a heartfelt session, many of the contestants reminisced on their time at Georgetown, emphasizing the community they found in their respective club spaces. Ren talked about how his time in Nomadic Theatre brought him out of his shell, encouraging him to move outside his comfort zone. Kaul also talked of how he found community at Georgetown. As a member of Jawani, Kaul shared a memorable image of his feet that had stepped into the many spaces on campus, representing the many memories and work he had put in over the years with the team. For his hard work, Kaul took the crown for Mr. Georgetown at the end of the show, with the other contestants lifting him up on their shoulders.
The nostalgic sentiments of these final five are why Mr. Georgetown is so special. All throughout the night, the contestants let loose on stage, full-on committed to entertaining on this one night of performance. From that freedom comes the fun and hilarity that is a staple of Mr. Georgetown. Indeed, the best moments were when the audience and contestants let loose, laughed and came together — with Gaston Hall becoming as loud as it could ever be.
Maren Fagan Editor in Chief
Taylor Swift has done it again.
A dance-pop album. Yet this time with some cringey lyrics — we’ll all probably still listen.
Swift’s 12th album, “The Life of a Showgirl,” sparkles — though some repetitive and renowned — in fun synths, yet darkens with mediocre songwriting. While the album is an energetic hit, any wins it has unfortunately do not defeat its drawbacks.
Made with producers Max Martin and Shellback, whom she collaborated with on pop-bible “1989,” Swift’s newest album explores what happened off-stage during her 152-stop Eras Tour. With multiple life developments to cover, including breakups with Joe Alwyn and The 1975 lead singer Matty Healy, as well as her current relationship with fiance Travis Kelce, the album sheds light on Swift’s experiences behind the scenes. Its recycled sound, however, fails to illuminate her life as a forever showgirl.
To start with its strengths, several songs stand out. The first track, “The Fate of Ophelia,”
is a dynamic song that tackles her relationship with Kelce. Lines “I heard you calling / On the megaphone / You wanna see me all alone” explicitly reference her relationship with Kelce and his choice to ask her out on his podcast “New Heights.” This nod is fun for fans to follow as an explicit connection to their relationship. Coupled with the football in her music video, the song is clearly an expression of her romance — for long-time Swifties, it’s exciting to see her so loudly in love with someone. “The Fate of Ophelia” is also a dance hit — something Swift clearly had in mind when publicizing her vertical social media-style dance tutorials.
Another hit is the second track “Elizabeth Taylor,” which draws parallels between the famed Oscar-winning actress and Swift herself, each having experienced perilous, tumultuous relationships with public life. This sentiment is clear in the song’s chorus, with the lyrics “I’d cry my eyes violet, Elizabeth Taylor / Tell me for real, do you think it’s forever?” and “Be my N.Y. when Hollywood hates me / You’re only as hot as your last hit, baby.” Swift’s lyricism outlines the per-
sonal heartache that can come with being ousted from Hollywood, film and music, something that both stars experienced in their careers.
“Elizabeth Taylor” takes on a personal fear reminiscent of her sixth album, “Reputation,” that emerged from Swift’s drama with the music industry. The choice to focus on her experiences at the margins of stardom makes this song more emotional than others on the album, and the emotion is only improved in the post-album release acoustic version.
Historically, the most vulnerable songs on Swift’s albums have been track five — those that have nodded to her troubles with love include lyrical masterpieces “All Too Well,” “Dear John” and “So Long, London.”
So, when track five, “Eldest Daughter,” began, my expectation was a passionate, raw song exploring the immense responsibility Swift bore behind the scenes on the Eras Tour. This expectation went unmet.
“Eldest Daughter” is lyrically lacking. Overall, the song seems to reference what it feels like to be an outsider. The sentiment is relatable, but the lyrics aren’t. The chorus
opens with unoriginal lyrics: “But I’m not a bad bitch / And this isn’t savage / But I’m never gonna let you down / I’m never gonna leave you out.” Where previous track fives were intimate, “Eldest Daughter” feels mainstream and meant for social media.
“Eldest Daughter” is not the only track with lyrics that sound like they were written for the wrong era. “CANCELLED!” also uses cringey, transient language instead of the timeless lyrics other songs employ. Specifically, “Did you girl-boss too close to the sun?” feels unoriginal and disconnected from her typical songwriting skill. More Swift-typical lyrics in the song include “Can’t you see my infamy loves company? / Now they’ve broken you like they’ve broken me / But a shattered glass is a lot more sharp.” But, even with these more poetic lyrics, I can’t get behind calling the album “poetry” when it relies so heavily on social media slang, like “girlboss” and “bad bitch.”
“Actually Romantic” feels like a failed diss track about Charli XCX’s comments in “Sympathy is a Knife,” which seems to reference Swift and their relationships with members of The 1975 — Charli XCX’s husband George Daniel and Swift’s Healy. If Swift intended this to be a lyrical comeback, she failed by shallowly excluding the vulnerability that Charli XCX displayed in “Sympathy is a Knife.”
The album also features elements of various well-known songs that don’t represent Swift’s own style or history. “Father Figure” is a clear nod to George Michael’s 1987 song “Father Figure.” Though Swift credits him on the song — a respectful acknowledgement of Michael’s failed attempt to own his music — it does not feel like the original music fans were promised.
The soundtrack of “CANCELLED!” resembles that of Lorde’s “Yellow Flicker Beat” — an interesting choice if Swift’s “Actually Romantic” is a diss toward Charli XCX. In “Wood,” the opening beats also sound like the Jackson 5’s 1969 hit “I Want You Back.” While all of these songs have strong beats, Swift’s echoing of hit songs contributes to the unoriginal feel of the entire album. All of this to say, I’ll still listen and enjoy and even dance. Yet following her sensitive and heartache-inducing 11th album “The Tortured Poets Department,” “The Life of a Showgirl” lacks in lyricism, even if it does help Swift shine. @TAYLORSWIFT/INSTAGRAM
Eliana Kut
Entering the theater for “Anemone,” I had high expectations both because of its gorgeously cinematic trailer and actor Daniel Day-Lewis’ superb record.
The film, directed by Ronan Day-Lewis in his feature debut, delivers on a haunting performance by Daniel Day-Lewis and Ben Fordesman’s breathtaking cinematography. However, the film’s lackluster writing and one-sided dialogue ultimately produces an underwhelming experience.
“Anemone” follows the story of Ray (Daniel Day-Lewis) as he struggles with guilt and isolation in present-day Northern England.
The film opens with Jem (Sean Bean), leaving his wife, Nessa (Samantha Morton), and their son, Brian (Samuel Bottomley), to confront his
brother Ray about his past. He finds Ray living in self-imposed exile in the woods reluctant to offer any information, as he struggles with guilt and isolation. The set up for their story is aptly created — the scenery reflects the churning and intense contemplation of Ray’s experiences, and the vivid darkness of the sky stands in stark contrast to the intense green of the grass surrounding Ray’s home.
These elements contribute to the overall strength of the cinematography as one of the most striking components of the film. However, these strengths also represent a struggle. The film’s many panoramic scenes of the English coast and slow-motion shots of the film’s characters interrupt the pacing of its action, causing long stretches of time between actual character interactions. In important parts of the plot — such as when Jem attempts to convince Ray to come home and
connect with Brian, who has been struggling with his mental health — the script falters. However, the film’s actors have several standout moments. Daniel Day-Lewis’ time on screen mostly consists of long and emotionally intense monologues in which Ray shares the particularly poignant, traumatic points of his life. His magnetic speeches, which had me constantly on the edge of my seat, are Oscar-worthy. However, it seems as if the entire film only builds around Daniel Day-Lewis’s haunting monologues, creating an experience with less substance than one would hope. Bean as Jem, while making the most of his comparatively few lines, often solely reacts to Daniel Day-Lewis’ performances rather than building a performance of his own.
Beyond Ray, other characters have changing developments, resulting in an intriguing plot. Brian struggles with controlling
his anger, a result of the incessant bullying he faces from his peers regarding his father’s past. As Brian confronts Nessa about his father’s past and involvement in their family, she reveals that she also does not know why Ray, a successful lieutenant in the army, left his position and, eventually, them. While the story itself is straightforward, the film interjects random moments of supernatural imagery. Ray has never met Brian, and these moments could very well represent their spiritual connection, though a real one was never formed. While these moments added some confusion to the film, they did not take away from its breathtaking cinematography. Though it occasionally feels more like a music video, the film’s visual composition is stunning, with gorgeous landscape panoramas accented by composer Bobby Krlic’s dramatic score.
The final scene seems to tie these points together. In a final haunting monologue, Ray explains to Jem what happened: While stationed, Ray had to witness a botched bombing, leading him to shoot one of the injured men. Ray’s superiors deemed his actions a war crime and dismissed him from the army, and Ray’s inability to cope with his trauma and hurt pride ultimately resulted in his seclusion. After Jem successfully convinces Ray to return, the final scene depicts Ray seeing Brian for the first time, as he had left Nessa during her pregnancy and had not seen either of them since.
Even with these strengths, unfortunately, it seems as if “Anemone” was made purely to remind audiences of Daniel Day-Lewis’ talent after his eight-year hiatus since the 2017 film “Phantom Thread.” It’s a testament to Daniel Day-Lewis that he’s able to piece together his wonderful performance as Ray with the minimal plot and numerous scenic shots.
While “Anemone” may not be one of the most riveting or cohesive films to come out this year, it is still a worthy watch for anyone with an admiration for superb acting or an eye for beauty. As a feature-length debut, however, “Anemone” ultimately displays director Ronan Day-Lewis’ potential, and I believe that any future projects will only develop his obvious, budding talent.
Riya Sundaram Hoya Staff Writer
Netflix’s “The Woman in Cabin 10” is the new Netflix murder mystery thriller starring Keira Knightley, which, unfortunately, is the only thing interesting about it. If you’ve seen any other murder mystery — like the Hulu television series “Murder at the Edge of the World,” “Death and Other Details” or the Netflix movie “Glass Onion: A Knives Out Mystery” — you’ve already seen this movie. Relying heavily on tropes of the genre for its storyline, the film creates an entirely predictable experience. While the final twist and the overall setup might seem fresh, the movie’s lack of depth and originality will leave viewers as unsatisfied as I was upon rewatching.
The plot of “The Woman in Cabin 10” is quite unoriginal. A rich man gathers his friends on a cruise to raise awareness for cancer, as his wife battles cancer herself. He invites a journalist — our main character, played by Knightley — to come on his cruise and write about their cause. She witnesses a murder, but no one believes her. Her insistence that it really happened is what makes her a target for the murderer. The cruise guests are all bland character tropes: the drunk, the powerful
businesswoman and the tech-savvy billionaire. Although a lot happens throughout the movie, none of it ends up being significant, and the movie’s end is ultimately identical to the initial setup.
Upon reflection, I found myself questioning if the movie was as bad as I first thought since, in the end, it had all the elements of a good murder mystery: rich billionaires, witty side characters and plot twists. I thought it might be the movie’s predictability that made it so terrible. However, I’m one of those rare people who love rewatching murder mysteries even after the twist has been spoiled. So, if this is the kind of movie where I can already guess the twist, what makes it different from any other murder mysteries I rewatch? Then it hit me: There’s no substance beyond the mystery. With no substance, there’s no comedy, no character development and not even any side characters we really get to know.
Additionally, the movie has no flair of its own. That’s not for lack of trying; the movie does introduce interesting topics, like the main character’s previous experience as a murder witness and her struggles with writer’s block. The movie also tries to incorporate humor with throwaway lines about the shadiness of various cruise guests. But none of these threads actually
Celebrate and learn about Diwali, the Hindu festival of lights, at the Smithsonian National Museum of Asian Art on Oct. 24. Enjoy a selection of Indian food from various vendors, participate in crafts and activities, learn about the holiday and its art and watch dance and DJ performances. Registration and more information is available online.
lead anywhere. It already feels hollow during the first watch, so much so that a rewatch, in which you already know the upcoming twist, just reveals how little effort was put into the movie. There is none of the love and passion that abounds in other mystery media, such as “Murder at the Edge of the World” or “Glass Onion,” stories with very similar premises, but so much more care put into them. The characters of these stories have reason and personality behind their actions, but “The
Woman in Cabin 10” fails to give personality to its characters or its story in general. Overall, this movie isn’t offensive, but there’s nothing that makes it stand out. Ultimately, it’s a great background movie, and if you’re looking for something to have on when you can’t pay attention, you’d be happy with the movie. Someone who doesn’t know the genre might even like it on a first watch. But, in the end, I can’t recommend this movie to anyone looking for a good murder mystery.
By Isabelle Cialone
Join Georgetown University Rangila for their first ever Bazaar Saturday on Oct. 25 from 1:30 p.m. to 3:30 p.m. in Red Square. Featuring various foods and crafts from Rangila dancers and Georgetown community members alike, proceeds from this market will support The HOPE Foundation for Women and Children in Bangladesh. More information is available on Georgetown Rangila’s Instagram page.
Whether you’re Team Edward or Team Jacob, you have the opportunity to enjoy an evening of live music accompanying a screening of the 2008 cult classic “Twilight.” The National Theatre will host only two showings — Oct. 24 and Oct. 25. Purchase tickets online to attend.
What’s better than watching one ballet? Watching four ballets in one, of course! Featuring four distinctly choreographed ballets, The Washington Ballet’s Moving Forces performance at the Kennedy Center will delve into human emotion and divinity in a moving celebration of artistic excellence from Oct. 24 to Oct. 26. Tickets are available online.
Rosie Garner
Publishing Junior Associate
Ella Marija Lani Yelich-O’Connor, more popularly known as Lorde, returned to Washington, D.C.’s The Anthem after a three-year hiatus for a night of intimate and passionate connection performing her newest project, “Virgin.” The evening began with a half-hour set by indie band Chanel Beads, followed by a performance by Amber Bain of The Japanese House and, finally, Lorde. Each artist contributed a vastly different energy than their showmates, forming the perfect unreplicable storm that is classic to the halls of The Anthem and mesmerizing the young fans showcasing bright duct tape on their bodies.
In June 2025, Lorde released “Virgin,” her fourth studio album, which explores themes of intimacy, body image and gender identity. With “Virgin,” Lorde ventures away from the pop-folk style of her preceding album, “Solar Power,” and plays with electronic pop and bold textures, the project’s experimentalism shining through its piercing lyrics and varying timbres.
Opening the evening, Chanel Beads’ Maya McGrory lit up the venue with a soft-grun-
ge harmony, refreshed by breathy lyrics that soon transitioned to a rich, projected voice filling the room with intense vibrations. The set’s ferocity increased with each song and the vehemence of McGrory’s performance overtook frontman Shane Lavers as he slowly but repeatedly bashed his head against the microphone, adding another layer to the band’s experimental set. Chanel Beads had limited crowd work, only occasionally acknowledging it by repeating the city’s name and expressing gratitude for being a part of the tour. The brief set introduced the variety of tones present throughout the night, but didn’t quite warm up the crowd, which remained stiff behind the barricade.
Almost a perfect opposite to Chanel Beads’ soft grunge and dimly backlit set, The Japanese House seemed to float onstage with their welcoming energy, their visuals illuminated by a projection of a sky that blended with ever-shifting colored light. Between songs, Bain’s endearing tone radiated toward the crowd, and the pit’s stiffness slowly dissipated as more hands waved in the air along with The Japanese House’s uplifting and soft synthetic-pop har-
monies. “I want to tell you that I love you,” Bain said to the crowd. Before playing “Boyhood,” Bain addressed the band’s transgender fanbase in the audience, offering welcoming words to the community. The crowd now had no semblance of discomfort in the packed pit and was prepared to fully receive the vulnerability Lorde would bring in the next twenty or so minutes.
Piercing the now dark atmosphere, a bright strobe light focused on the center stage, adjusting its direction to make way for Lorde’s strut to the center stage. She immediately captivated her patient fans. Cloaked by the flashing lights, Lorde’s smooth voice comfortably clashed and soon blended with the synth-pop track of the opening song, “Hammer.”
The night was laced with pure intentionality; from Lorde’s every hand movement to the intimate sway of her background dancers from the left stage, she commanded the mesmerized room. The crowd was entranced by her charismatic transitions, her soft rasp adding a magnificent texture to her sound, as if all 6,000 of us were in the studio with her that evening.
Lorde introduced intimacy to the performance when she carefully unbuckled her belt
ROSIE GARNER/THE HOYA
At D.C.’s The Anthem, Lorde performed with her heart on her sleeve, says Rosie
during “Current Affairs,” stepping out of her ripped jeans to reveal a pair of deep red boxers. “My whole life... I thought being a woman is — it’s this smallness, it’s this containment of the self… I always felt I was too much,” Lorde said to the crowd. The musician’s passion was apparent in the way each word of her meaningful dedication was stressed.
“If there’s anything that you feel you grip tight to, and you’re like, I don’t even know why I do this… let it go, because my life has gotten so much richer the more layers I peel away,” Lorde added. “Here I am in all my, I don’t know, gore? Glory? But it’s really me.” These moments of personal reflection broke the barrier between the artist and her fans.
After an extended version of “Clearblue,” Lorde turned away from the crowd and stripped her T-shirt, carefully placing strips of bright silver tape on her exposed chest before climbing onto the speaker platform to perform her next track. This fierce defiance of the ideals of masculinity reinforced her message in “Man of The Year,” as its opening soon entered the restless air.
Lorde’s dedication to abandoning social ideals of body image and femininity throughout her first night at The Anthem made the crowd one harmonious entity. Eventually, the pit stopped swaying and fans stopped wrestling for a perfect view, instead becoming enamored by the message Lorde was asserting. Her raw performance was rounded out by classics such as “Green Light” and her teenage anthem “Ribs,” but ultimately it was Lorde’s willingness to redefine her identity so openly that pulled the crowd together. That Saturday, the intentionality and intimacy that Lorde brought allowed for personal expression to thrive, creating a shared camaraderie among strangers as they belted the last few lyrics of the cherished “Ribs” to end the night.
Brad Derfner Guide Columnist
Oscar-winning director Kathryn Bigelow returns to feature filmmaking after nearly a decade out of the spotlight with “A House of Dynamite,” a powerful yet restrained political thriller examining the actions of the U.S. government in the moments after a rogue nuclear missile is launched at Chicago. The story unfolds in Rashomon-style, written in three parts, with each presenting different perspectives of the same crisis. Unfortunately, this fragmentation causes the tension to slowly dissipate, making the ending feel surprisingly soft and leading to a mixed viewing experience despite some powerful editing.
Each third of the film covers a different angle of the response. It starts with the initial discovery of the missile, as calculations determine that it is inbound for Chicago and will strike in only 18 minutes. The action then shifts to the White House, following Captain Olivia Walker (Rebecca Ferguson), managing calls from various foreign countries and facilitating the evacuation of essential personnel. With the missile about to make impact in Chicago and the president preparing to announce his retaliatory plan, the screen cuts to black, transporting the viewer 18 minutes back in time.
Now, the viewer watches General Anthony Brady (Tracy Letts) and Deputy National Security Advisor Jake Baerington (Gabriel Basso) spar over the correct course of action. In this section, we are treated to one of the more dramatic moments of the film as Baerington, who is covering for his
boss, attempts to de-escalate with a Russian foreign minister who is threatening to retaliate against the United States if they take any action against Russia. Yet again, we cut to black as the missile makes contact.
Finally, the third perspective focuses on the President (Idris Elba) and Secretary of Defense Reid Baker (Jared Harris). This is where the substance of “A House of Dynamite” truly lies, as the president tries to make sense of the earlier argumentation alongside Strategic Advisor Robert Reeves (Jonah-Hauer King). At the same time, Baker offers a glimpse into the personal turmoil brought on by the crisis. The president is a nuanced character, faltering and struggling to make a decision while also attempting to consider what this incident says about the modern world.
While I have several qualms with various aspects of the film, none of them lie with the ending. Although there were reports of audible laughter during a screening at the New York Film Festival, for me, the film’s finale succeeds in its effort to invite discussion rather than simply offer resolution. This sentiment echoes throughout the almost two-hour runtime, especially through the deliberate choice not to assign blame to a single foreign country, which further separates “A House of Dynamite” from your average Netflix thriller. Sadly, outside of these successes, many other aspects of the film feel underwhelming. I understand the decision to show different perspectives — a tactic allowing Bigelow to analyze the interaction of every cog of the United States’ nuclear response. Yet, the cyclical rise and fall of tension tires, losing momentum during both the second and third acts. By the time we witness the plot for a third time, it’s hard to feel much anxiety
over which defense systems might fail, and the suspenseful impact of the ticking clock falls short. Proponents of this structure might argue that Bigelow offsets the predictable nature of the latter acts by increasing personal stakes, but these moments feel unevenly executed, especially for Baker, whose storyline ends rather jarringly.
In terms of performances, even though Ferguson is front and center in much of the marketing, she is much more forgettable than I anticipated, mostly due to the lack of her character’s reappearance during either of the later chapters. On the other hand, Basso was an absolute standout and a completesurprisetome.Astheyoungdeputythrust into the chaos of the disaster, he perfectly portrayed the middle ground between the nervousness of
an unprecedented situation and the confidence demanded of the role. Of course, as expected, Elba is excellent, but, like Ferguson, I expected to see a bit more of him. Until the final third of the film, Elba is only heard in voiceovers, relegating him to about 30 minutes of actual screentime.
In the end, “A House of Dynamite” is a noble, if ultimately uneven, effort from a director who generally thrives through her control of tension and momentum. Bigelow’s directorial and editing work shines through, and the piece is admirable in both scope and messaging. However, the film falters in its fragmented structure. I’d definitely recommend that you catch it on streaming to form your own opinion, but I’m not sure I’d run to the theaters for this release.
Kathryn Bigelow returns with “A House of Dynamite,” an intense film that may be too repetitive for its own good, says Brad Derfner
(CAS ’27)
Juan P. Almanza Hoya Staff Writer
Kevin Parker, the mind and main voice behind music project Tame Impala, made waves in the psychedelic scene with his 2015 project “Currents,” a lush and fresh take on the genre. Now, 10 years later, “Deadbeat” sees Parker dipping into the styles of house and EDM, with tracks like “Dracula” feeling like the perfect blend of the classic Tame Impala sound and the bumping bass of house music. Unfortunately, other cuts, like “Ethereal Connection,” feel directionless and too derivative of other artists, like Aphex Twin.
The rollout for this project had me excited for the music to come, as the album’s leading singles displayed a new, ambitious sound for Parker. “End Of Summer,” the closing track of the album, was the first single, and what a reintroduction it was! At seven minutes long, the song was a mesmerizing cacophony of raspy drum loops, dreamy synths and mostimportantly,athumpingbassthatprovidesits groove. Despite the long runtime, the song doesn’t drag; it flows with glitchy vocal chops and electrotones carrying it through its second half.
Another leading single, “Loser,” is a moody guitar track with an infectious melody that struts with a pleasing swagger. The choruses share some of the same dreamy sound heard in “End Of Summer” but with a mellower take.
The last single released, the aptly named “Dracula,”isbyfarthehighlightofthealbum.Taking a page out of Michael Jackson’s “Thriller” playbook, this song is unabashedly made for Halloween and is such an earworm. Delicately layered vocals give the song an otherworldly feel, as Parker sings “Run from the sun like Dracula” in such a lovely melodic hook. It’s reminiscent of his work on “Currents,” with, again, some Jackson in the mix.
Past the singles, though, my good graces for this album begin to wane. The first song, “My Old Ways,” starts out as a fun piano-centered track, and the transition from lo-fi piano music to a house beat is surprisingly enjoyable. However, the piano motifs drag through the song and get a little grating toward the end, but the track makes up for it by presenting a funky guitar solo as a closer. It’s not as good as any of the singles, but still a decent song.
“No Reply” is where the project’s cracks start to really show. The drums are duller than any of the
singles, and the vocals are lackluster. The whole song is very mellow, but with neither the swagger of “Loser” nor any of the guitars that helped it. It feels hollow and the ending reuses the piano sounds heard in “My Old Ways” to help it conclude in what is admittedly a very pretty manner.
This trend of an underwhelming sound continues with “Oblivion,” marked by its washedout vocals and a simplistic synth melody that permeates the choruses. The song is completely aimless. It has a bridge-like section toward the end with a funky solo that seems like it might offset the dullness, only for the song to drop back down into a moment of quiet nothingness, followed by a return to that same boring chorus! It feels directionless, another trait that continues throughout the album.
The worst offender is “Ethereal Connection.” A fast-paced drum loop starts off the song, melting into a very low-toned bass and snare beat, which are classic house sounds. It throws in some glitchy electronics that have Aphex Twin written all over them and then drags this derivative sound on for nearly three minutes without any meaningful progression. When Parker’s vocals make their entrance, they’re muddied by the instrumental and
don’t feel substantial in any real way — at least, not enough to break up the monotony. The song then gets stripped back only to its bass line, a key mistake considering that it’s not a very interesting one, and then introduces weird, high-pitched drums. It’s all very odd and incredibly inconsistent. The song feels directionless and confused, and the ending is seriously unsatisfying, as the song doesn’t feel cohesive enough to leave any real impact.
All the worst qualities in “Ethereal Connection” make up what I feel to be the biggest flaw with this album: its complete lack of direction. It seems as though Parker doesn’t seem to know what he wants to create — on some tracks, it’s this very laid back house vibe and on other tracks, it’s synth pop with Michael Jackson stylings. In trying to explore more genres, he ends up underperforming in all of them; the best of this album barely meets the standards set by “Currents,” and the worst puts me straight to sleep.
All in all, “Deadbeat” has some high highs and some very boring lows. Hopefully, in five more years, Parker will pick a lane and stick to it, producing more sounds like “Dracula” with less “we have Aphex Twin at home” energy.
Isabelle Cialone Deputy Guide Editor
After the explosive success of their inaugural album “Prelude to Ecstasy,” it would have been easy for alternative indie British rock band The Last Dinner Party’s follow-up to feel like an opportunistic and rushed release. But “From The Pyre” completely evades this trap — in fact, the new album showcases the group’s growth while still adhering to the themes and theatricality established by its predecessor.
As both the album title and cover art suggest, “From The Pyre” fuses religious and medieval imagery with pop culture references and a thematic throughline exploring the violent and destructive power of love. The album marks a shift from the earworm indie pop sound of their debut toward a more arthouse and somewhat less coherent variety of sounds that unites upbeat, twangy guitar with the haunting intensity of choral vocals.
The album opens with the upbeat and percussive “Agnus Dei,” which explores the violent interplay of eroticism and fame. The lyrics of each verse cleverly build up to an emotional inflection point before being decimated by a curt ironic letdown, which is reflected in the periodic instrumental lulls. The song is the perfect opening
to the album, simultaneously emphasizing the band’s theatrical playfulness and the emotional intimacy of their lyrics.
“Count The Ways” builds on this thematic exploration of the self-destruction that comes with a twisted relationship. Though the chorus recalls the first song’s buoyancy, the sound is overarchingly darker and more languid, hinting at the album’s overall musical inconsistency. This is reinforced by the third song, “Second Best,” which opens with a dramatic choral ensemble singing and quickly transitions to a brooding and repetitive rock, which then devolves into eerie crooning and increasingly intense overlapping voices.
This vast array of sounds does not detract from the album’s overall quality, though — it is a difcult feat, but The Last Dinner Party masterfully weaves together these warring auditory aesthetics, producing a dramatically diverse and exciting listening experience.
“Second Best” is a well-known track among fans because it was part of their tour setlist and one of the album’s leading singles alongside “This is the Killer Speaking.” This exciting, catchy song dramatically recounts the palpably rageful story of a crime of passionate revenge.
My favorite song, “Rifle,” starts with a sad, eerie opening that quickly explodes into repetitive, rage-
ful belting and choral howling. This song also introduces the album’s secondary thematic focus: the position of women in society as mothers and caregivers. Its lyrics lament the godliness and violence of a mortal mother’s son, while allusions to biblical imagery amplify the solemn message. The haunting bridge, sung in French, establishes the all-powerful destruction of the figure of the son. With the contextualization of the following song, “Woman is a Tree,” the son’s destruction of nature seems to represent all men’s violence toward women.
“Woman is a Tree” opens with eerily reverberating cries and forges ahead with this mystical and macabre vibe, exploring man’s exploitation of women and nature. As established in the preceding song, women must support men: “Woman is the tree / Man a clinging vine on the branch.”
This theme continues into the next song, “I Hold Your Anger.” As women and as mothers, there is endless pressure to support men, especially one’s son. The narrator questions how this expectation came to be — “Nobody asked me to / But that is what I’m meant to do.” The anger she feels is palpable as the song intensifies, and she ultimately establishes that she was not made for this, but she does it nonetheless out of a place of care for her son.
Having realized the place of women in this world, the album returns to its initial exploration of love. Through a beautiful, soft acoustic piano accompaniment and saccharine vocals, “Sail Away” embodies the nostalgia of its narrator’s longing to return to her youth or to spend life endlessly with her former lover. The song builds to an angelic and repetitive choral outro, which hammers in the tragedy of a young love that is lost and cannot be regained.
The penultimate song, “The Scythe,” was the last of the album’s three leading singles.
A striking image of the simultaneous transcendence and impermanence of love, “The Scythe” is less experimental in its composition but no less beautiful. The last song, “Inferno,” is slightly less straightforward and upbeat in a way that recalls “Agnus Dei,” closing out the album with a satisfyingly circular evocation of the brutality of love.
Overall, “From The Pyre” is an intense emotional experience and a beautifully melodramatic exhibition of artistic and storytelling excellence. The Last Dinner Party solidifies their place as an endlessly skillful and creative musical group with a clear artistic and thematic vision that they flawlessly execute throughout their discography.
By Eliza Doty and Penelope Snoep
1. Over grill, burns
6. Downstairs station at Leo’s 7. French farewell
8. Group, like in “The Godfather” 9. To get ready, extensively DOWN
1. Winner!
2. The first lord of Dor-lómin in “The Lord of the Rings”
3. What were you doing at the time of the crime?
4. Diet Pepsi singer Addison
5. With ee, a frozen drink
