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TELEVISION The new ‘Silo’ season is uneven but ultimately incredible, says Grace Ko (CAS ’27). B2

TELEVISION Caroline Woodward (CAS ’27) finds ‘Adults’ season two relatable but low-stakes. B4

FILM ‘Mayday’ may be one of the year’s most horrendous films, says Isabelle Cialone (CAS ’27). B6

SEPTEMBER 11, 2026

‘Dancing With the Stars’ Promises Shining Cast The show’s latest season controversially features several established dancers as its stars. B3 Sophie Erlinger Hoya Staff Writer

ILLUSTRATION BY AVELYN BAILEY/THE HOYA

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The newest season of “Silo” shines in its world-building and character chemistry but falls flat with its pacing, writes Grace Ko (CAS ’27).

TELEVISION

‘Silo’ Season 3 Teeters on Edge Between Boredom, Brilliance 

Grace Ko

Deputy Guide Editor

If there’s one thing that’s true about “Silo,” it’s that watching it can often mimic the feeling of walking up a silo’s hundreds of thousands of steps. Adapted from the “Silo” science fiction novel series by Hugh Howey, “Silo” is set in a dystopian future where humanity is forced to live in underground silos. The show’s third season follows the return of Juliette Nichols (Rebecca Ferguson) from Silo 17. Suffering from amnesia, Nichols is forced to start from square one, rediscovering herself and the secrets of the silo. Despite pacing issues, “Silo” still manages to retain its signature intrigue with an incredible finale that makes the slow descent upwards worth the time. This season, the show has the arduous task of adapting “Shift,” the second book in the series, which explores the origins of the silo and features a whole new set of characters. The show adequately incorporates the new characters into its existing universe, with shifting dual storylines: one featuring the original characters in Silo 18 and the other focusing on the new characters in present-day Washington, D.C. These

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storylines are interwoven almost seamlessly, each story reflecting the other in a unique and well-crafted call and response. However, “Silo” is noticeably slow. The show has had pacing issues since its first season, often more concerned with merely having the audience spend time in its universe than unfolding and actualizing the story. This issue is more prevalent this season, with Nichols basically returning to her state of confusion from season one. A familiar, but not exactly compelling, back-andforth ensues where Nichols once again seeks the truth of the silos. However, unlike the first season, she now assumes the role of the mayor of the silo rather than its sheriff. Most of the storyline focused on Silo 18 suffers from a similar issue of pacing, killing much of the momentum that season two had built up with Nichols’ return. The storyline centered in present-day D.C. also suffers from a pacing problem, but its set of new characters saves the story’s intrigue. In D.C., Congressman Daniel Keene (Ashley Zukerman) conducts an investigation into his sister Charlotte Keene’s (Jessica Brown Findlay) mysterious accident with the ambitious journalist Helen Drew (Jessica Henwick). Mainly centered on Keene and Drew, the chemistry between the actors serves as

the basis for a simple yet effective government mystery with plenty of moments of connection in between. Episode 6, titled “The Drive,” is a great example of the quieter beats to their story as the pair are stuck in a self-driving car and converse deeply with one another. Like its uneven storytelling, the performances in “Silo” range from excellent to mediocre. Ferguson remains a standout as the main character of the series, bringing a soft charisma that makes you believe that people are willing to jump into a fire if it is for Nichols. Common gets more to work with now as Robert Sims becomes a desperate father, doing everything not for the Silo, but for the good of his son. Next to him, Alexandria Riley’s Camille Sims is absolutely dynamic as a compelling double agent throughout the season’s runtime, particularly in the season finale. Newcomers Zukerman and Henwick are immediate standouts as the anchors to the show’s storyline in D.C. In particular, Zukerman is heartbreaking in the season’s finale as he introduces a new side to Keene that’s far from the initially firm and kind congressman. For such inconsistent beginnings, “Silo” is still able to craft a jaw-dropping conclusion. Titled “Troy,” the episode re-introduces Keene as Troy

— a man with his memories wiped in Silo 1 who serves as a specialist in situations where the silos step out of line. In an incredibly harrowing 23-minute cold open, Troy is woken from cryosleep and then immediately leads the genocide of 9,835 residents of Silo 17 who had escaped from the underground to the outside world. At one point, he orders for the live feed to be switched to a thermal view as the pilots shoot down innocent civilians based on heat signatures rather than flesh and bone. The screams are then silenced and all that’s left is the horrifying, removed view of violence and a man who lost so much of his soul as a consequence. The finale captures everything that makes “Silo” such an interesting show. Beyond its mystery, there’s a class-stratified society where the people at the bottom are physically barred from reaching the benefits of living at the top, separated by thousands of stairs that take days to travel. Even in the deep underground, the truth is hidden, rebellions rise and fall and history repeats itself again and again. It’s a future that’s strange yet is a fitting allegory of what society has become today. “Silo” works with complex layers, and while it’s slow to get there, when it weaves all its pieces together, it’s truly a marvelous piece of science fiction.

THEHOYA.COM | FRIDAY, SEPTEMBER 11, 2026

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Sophie Erlinger (CAS ’29) believes the “Dancing With the Stars” cast announcement promises that the new season will be full of fun and flash.

Midnight” may not be enough to propel DWTS newbie Zaikman to the finale. Ciara Miller and Brandon Armstrong Miller was at the center of “Summer House” drama when it was revealed that her partner was allegedly cheating with her best friend. The internet rallied around Miller, who went on to host red carpets and “Love Island: Aftersun.” Hopefully she’ll be able to have a long, wholesome experience with partner Armstrong, who was shockingly eliminated in week three last season. Jackson Olson and Emma Slater Olson has previewed his moves as a player for the Savannah Bananas. Known for combining dance, baseball skills and stage presence, he’ll step up to the plate. It’s hard to predict what Slater will bring to the couple, as she’s usually paired with older celebrities and therefore lowers the intensity of her choreography. Let’s hope this duo won’t strike out too soon.

TELEVISION

Guillermo Rodriguez and Witney Carson As Jimmy Kimmel’s comedic sidekick on “Jimmy Kimmel Live!,” Rodriguez knows how to entertain a crowd. His star quality is sure to create some joyful dance routines. However, going from winning last season with Robert Irwin to being band Hanson with his brothers, and will poten- paired with the second-oldest contestant, Carson tially earn a surprising number of fan votes. Stew- will have to change her strategy. art’s virality from marrying former dance partner Harry Shum Jr. and Jenna Johnson Daniel Durant will play no small role either. Shum Jr. is known for his role on “Glee” as Mike Chang, who was the glee club’s star dancMaura Higgins and Mark Ballas Higgins knows about competition. From “Love er. Recently, he starred in the Oscar-winning Island” to “The Traitors,” Higgins has quite a follow- “Everything Everywhere All At Once” and Neting. What fans may not know is that she has dipped flix rom-com “Voicemails for Isabelle.” Being her toe in the dance reality TV subgenre, appearing paired with a professional dancer, Johnson will on “Dancing on Ice.” Ballas has three Mirrorball be sure to bring out all the stops. wins, including one with Charli D’Amelio just four Julia Stiles and Ezra Sosa years ago. Let’s hope ‘tings’ go well for this pair. Stiles mastered poetry as Kat Stratford in “10 Things I Hate About You,” but now she’s tackling Sarah Jane Nader and Hailey Bills Sarah is the second Nader to go on DWTS, fol- dance. While she has been out of the spotlight, lowing her sister Brooks’ ninth-place showing. her pairing with Sosa guarantees that she’ll have She’s an aspiring model, reality star and a proud some viral moments this season. Sosa has gained member of the LBGTQ+ community. Bills is mak- lots of attention on social media, but less so for ing her debut as a pro. It’s difficult to say what his choreography. these two will bring to this season, other than making history as DWTS’ third same-sex pairing. Connor Wood and Rylee Arnold Now stepping onto the dance floor, Wood initially gained popularity online as a podcaster and Conner Leavitt and Adele Zaikman Leavitt is most famous for being the husband comedian. This makes him a perfect pair for Arof “The Secret Lives of Mormon Wives” star Whit- nold, whose social media presence has launched ney Leavitt, and he’s proud! Following Whitney’s DWTS’ popularity nationwide. Despite this only shocking elimination during the semifinals last being Arnold’s fourth season, she and Wood’s season, it is now Conner’s turn. However, even combined three million TikTok followers will his performance in the off-Broadway show “11 to come through for fan voting.

This Season’s ‘Dancing With the Stars’ Lineup Sophie Erlinger Hoya Staff Writer

With fall comes the changing leaves and watching “Dancing with the Stars” (DWTS) every Tuesday at 8 p.m. Eastern on ABC and Disney+. Based on this season’s cast reveal, we have a lot to look forward to in the next couple of weeks. Tatyana Ali and Jan Ravnik Known best for her time on “The Fresh Prince of Bel-Air,” Ali has also released music and advocated for voter rights. Unfortunately, due to her lack of dance experience and pairing with second-season pro Ravnik, Ali is unlikely to make it far this year. Tyler Cameron and Sharna Burgess Since competing on “The Bachelorette,” Cameron has gotten engaged and established a real estate career. Burgess is a seasoned pro, with a Mirrorball already under her belt. The combination of Burgess’ expertise and the proven power of Bachelor Nation makes the duo one to watch.

Jenna Dewan and Val Chmerkovskiy Prior to trading her dancing shoes for a badge on “The Rookie,” Dewan has danced back up for Janet Jackson, Pink and Missy Elliot. Chmerkovskiy is sure to bring her up to speed, as he has placed on the podium nine times across his DWTS career. But conversation is buzzing about the fairness of including celebrities with dance experience. Ezra Frech and Daniella Karagach Frech is a Paralympic track and field star, winning two gold medals at just 21 years old. In addition to his athletic career, Frech founded Angel City Sports, a charity that provides sports equipment to people with disabilities. Karagach is known for her adaptability and will make Frech look his absolute best.

Amber Glenn and Pasha Pashkov Glenn is going for (another) gold. With an Olympic gold for figure skating and being the fifth woman to land a triple axel at the Games, Glenn is more than capable of winning the Mirrorball. But while this is Pashkov’s eighth season, he doesn’t have Giada DeLaurentiis and Alan Bersten much to show for it. Hopefully this pairing can lean 56-year-old DeLaurentiis is an Emmy-winning into their athleticism and end the season strong. chef and television personality with three restaurants and nearly a dozen cookbooks. Bersten has Taylor Hanson and Britt Stewart made the finale on five of his 10 DWTS appearancHanson is going to “MMMBop” all the way to es. This pair is sure to cook up something great. the top. Hanson was a member of the ’90s pop

FRIDAY, SEPTEMBER 11, 2026 | THEHOYA.COM

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FX/IMDB

For Caroline Woodward (CAS ’27), “Adults” brings realism and Gen Z humor in its newest season but misses out on any highstakes plotlines.

TELEVISION

‘Adults’ Season 2 Is Formulaic Sitcom Fun, But Must Raise Stakes, Prioritize Relationships 

Caroline Woodward

Senior Audience Engagement Editor

The second season of Gen Z comedy “Adults” proved that season one’s hilarity and charm were not a fluke. It lives up to the expectations set by its well-regarded predecessor, delivering quality television in just a few episodes. “Adults” follows a group of five 20-something roommates in Queens, N.Y., as they fumble their way through life, love, employment, unemployment, friendship and other trials and tribulations. The friend group is comprised of Samir (Malik Elassal), whose parents’ house the friends call home; Billie (Lucy Freyer), the definition of formerly gifted kid burnout; Issa (Amita Rao), a chaotic force of a sexually liberated, self-empowered woman; Paul Baker (Jack Innanen), Issa’s boyfriend and a genuine, stereotypical “nice guy” from Canada; and finally,

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Anton (Owen Thiele), the almost-too-friendly, deceivingly competent people pleaser who rounds out the group. The first season introduced the characters, exploring their eccentricities and quirks as they got up to hijinks common to young “adults” in the loosest sense of the word. These ranged from hosting a dinner party, to figuring out that they actually have to pay attention to mail, to accidentally inviting a stabber into their home. Connections are explored, dynamics are established and relationships are teased, especially Paul Baker and Anton’s dramatic, cliffhanger kiss in the final episode. The first season was hilarious and charming, carried equally by the series regulars and kept fresh by a rotating cast of special guests, including Charlie Cox, Julia Fox and Gaten Matarazzo. As a 20-something living in a semi-dysfunctional house with four other room-

mates, all of whom are incredibly charming and hilarious, I am the target audience for “Adults.” The show was most likely cooked in a lab to appeal to my sensibilities, being funny, relatable and incredibly culturally relevant. With these biases in mind, I am going to rave a little — I exceedingly enjoyed this second season. Besides an unfortunate second episode where the humor relied mostly on second-hand embarrassment akin to “The Office,” I was grinning through the entire eight-episode runtime. The jokes, which seem to come a mile a minute yet are well incorporated into the script, are laugh-out-loud funny. Despite being incredibly imperfect, the comedy is hard to hate. Highlights of the season include an episode about a raccoon breaking into the house right after the group takes acid — leading them to rush to solve the issue before

the drugs hit — and a campaign to get Paul Baker elected president of the local homeowner association. This is a good, fun and high-quality show that shines a light-hearted comedic light in today’s media landscape. However, season two does raise some issues. The show’s episodic format — where conflicts begin and end within single episodes — is incredibly reminiscent of early seasons of iconic television such as “Friends” or “How I Met Your Mother.” Unlike these shows, however, “Adults” has not fully committed to being anything more than a light-hearted episodic comedy. There are no stakes — the episodes seem entirely separated from each other and the characters’ interpersonal conflicts come across as transient and unrealistic. In the first season, this temporality could be brushed off as the insecurity of if the series was going to be renewed. Now, though, with a more established viewer base and the potential of more seasons, “Adults” needs impactful stakes. If “Adults” hopes to have longevity, especially in such a competitive market where other shows, like “Overcompensating,” follow a very similar premise, it must capitalize on its greatest asset: the characters and their relationships.

THEHOYA.COM | FRIDAY, SEPTEMBER 11, 2026

MUSIC

AKRIILA’s Latest Album Is a Beautiful Microcosm of Love  Juan Almanza

Deputy Guide Editor

This summer was chock-full of new music that transformed my daily listening rotation into a hodgepodge of songs spanning from new-wave reinventions to hazy, shredding guitars. During all of this, both AKRIILA’s latest singles and her 2024 album “epistolares” wedged themselves into my brain in a way very little music has done before. Until “epistolares,” which gripped me with its unique sonic proposition, I had never heard an album that explored deconstructed pop while simultaneously fusing neoperreo and a drum and bass that sounds like water droplets in the rain. It is explosive, in your face and even arrogant, but fully deserving to be all three. “lucy miró al mundo y notó que está girando” (“Lucy Looked at the World, and Noticed That It’s Spinning”), however, is none of those things. Now, the album is incredibly good, but for any listener familiar with AKRIILA, this is not “epistolares” 2. “lucy miró al mundo” is much more interested in exploring enchanting, mystical sounds, starting with the shy and

heavy steps of piano, twangy plucks of guitar and a dreamy flute melody featured in the opening track, “homogenic.” What intrigues me most about the song is that AKRIILA is seemingly absent from “homogenic” altogether. This is a stark contrast to the opener of “epistolares,” “debut,” which approaches the listener with a slick drum and bass beat alongside her autotuned vocals. It’s a change in attitude, one that seamlessly transitions into the next song, “moriría y moriría” (“I would die and I would die”). “moriría y moriría” continues directly where “homogenic” left off, adding a soft and crunchy drum layer as AKRIILA reintroduces herself, singing “Siempre me pregunto ‘Por qué duele?’ / Tu, cansada, pensando en si quieres o no quieres” (“I always ask myself, ‘Why does it hurt?’ / You, tired, thinking whether you want it or not”). The dreamlike sound feels like it could be the sister of “Vespertine,” the similarly entrancing Björk album. This single connection, however, is where the similarities end as AKRIILA achieves a sound that is entirely hers. Though somber and dreamy, these two opening tracks should not fool the listener into thinking that AKRIILA isn’t capable of bearing her teeth like she did on “epistolares.”

ON YOUR RADAR

“un <3 inestable” (“An Unstable Heart”) boots up in a computer-like fashion, beeping and booping as it whizzes and whirs to full fruition. It proceeds to barge in with these heavy, washed-out guitars and confrontational vocal stylings from AKRIILA. It’s fascinating that the track’s energy seems to be channeled not from anger or rage, but instead from her intense, burning love. She opens the song singing, “No quiero plata, menos dinero / Solo manda un mensaje que me diga ‘Te quiero’” (“I don’t want riches, much less cash / Just send me a message that tells me ‘I love you’”) with a wide-eyed passion only she could pull off. Love permeates this album in many forms. Alongside more dreamy reflections, AKRIILA shows that she isn’t afraid to be raw and real about love. “suave,” featuring electronic club sensation Jane Remover, pulses with the intensity of a fluttering heartbeat, as AKRIILA begs, “Cuando yo a ti te toque solo sienteme suave” (“When I touch you, just feel me softly”) and affirms “Yo no pienso en las dos, yo solo pienso en ti” (“I don’t think about the two of us, I only think of you”). “suave” oozes with a desire that Remover is no stranger to. Remover’s latest EP “❤” was unabashedly sensual, and Remover brings this same attitude to “suave,” lamenting that “Your scent’s on everything

By Eliza Doty

THIS WEEK’S THEME: Fall Into DC’s Festival Season

ART ALL NIGHT

BETHESDA ROW ARTS

Celebrate 15 years of Washington, D.C.’s all-night arts scene when Art All Night DC returns Sept. 11-12 from 7 p.m. to 3 a.m. With more than a thousand artists and performers, the event will host showcases of galleries, bookstores and storefronts featuring different mediums of art. The free festival also spotlights local restaurants through its collaboration with Dine All Night.

Hop on the Metro for the Bethesda Row Arts Festival, where nearly 200 artists will line five blocks of downtown Bethesda with paintings, ceramics, jewelry and more. The festival is free for attendees and runs Saturday, Sept. 12, from 10 a.m. to 6 p.m. and Sunday, Sept. 13, from 10 a.m. to 5 p.m. Wander between booths, sample food from local restaurants and browse art from across 16 mediums.

@DCARTALLNIGHT/INSTAGRAM

@BETHESDAROWARTS/INSTAGRAM

ADAMS MORGAN DAY

CAPITAL BOOK FEST

Wrap up the weekend at Adams Morgan Day, D.C.’s most enduring and longest-running neighborhood festival. This year marks the festival’s 48th anniversary and will highlight the event’s own local milestones alongside America’s 250-year history. The free celebration will take over the Adams Morgan neighborhood Sunday, Sept. 13, from 12 p.m. to 6 p.m. with live music, local vendors and food provided by small-business restaurants from nearby.

Stock up on new reads at the Capital Book Fest. The sale is held the third Thursday of each month at Woodrow Wilson Plaza. On Sept. 17 from 10 a.m. to 5 p.m., the book fest invites readers to browse thousands of secondhand books as well as CDs and vinyl records across every genre. All titles are donated by Carpe Librum, a nonprofit used bookstore in D.C., with the proceeds going to nonprofit organization Turning the Page. @ADAMSMORGANDAY/INSTAGRAM

FRIDAY, SEPTEMBER 11, 2026 | THEHOYA.COM

and I feel us getting closer / They throw themselves at you while you look me in the eye and say nothing.” The pair’s synergy makes Remover’s presence on the track feel less like a feature and more of a melding into the spirit of “lucy miró al mundo” itself. The album’s closer, simply titled “lucy,” managed to send chills down my body while stripping back the instrumental to only some overlaying synths. For an album otherwise lively with love, “lucy” is the slow walk to the coffin containing said love. On the track, AKRIILA compares her love to a snail — slow and safe in its shell and protected from the violent speed of the world outside. She sings, “Un caracol me miró a los ojos, está a punto de morir” (“A snail looked me in the eyes, right as it’s about to die”) as well as “¿Qué te ha matado? Dime al oído / Casi te puedo sentir” (“What killed you? Whisper it to me in my ear, I can still feel you”). A quick glance at the album cover shows AKRIILA, bathed in bright light, caressing this snail of love. As the song, and AKRIILA herself, descend into a growing cacophony of synths and electronics, she sings “El mundo en mis manos ya no gira más” (“The world in my hands no longer spins”), and the album, in all its love, dies beautifully into silence.

@TURNINGTHEPAGEDC/INSTAGRAM

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FILM

‘The End of Oak Street’ Brings Back the Summer Blockbuster  Eliana Kut

Deputy Guide Editor

I’m glad the film industry realized dinosaurs can exist outside the “Jurassic Park” franchise, because “The End of Oak Street” was a fun, much-needed and nostalgia-fueled summer blockbuster. A mix of action thriller and family adventure, the film explores domestic isolation and an unexpected time-travel situation with humor and originality. The film takes place in the 1980s and follows Denise Platt (Anne Hathaway), her husband Greg (Ewan McGregor) and their two children, played by Maisy Stella and Christian Convery, as they experience rifts in their family dynamics. When dinosaurs suddenly begin taking over their small town, the family must figure out why the prehistoric beasts are there and how to survive them. As a series of virtually impossible events unfolded, the film kept me on the edge of my seat, hoping the Platt family would make it to the end. The film’s premise immediately stood out to me. My first interaction with “The End of Oak Street” was while watching previews for other movies. I was shocked but curious that an upcoming movie would be centered around dinosaurs. While apprehensive about the film’s subject, “The End of Oak Street” proved that a movie about an extinct species could still feel real, relevant and exciting.

From the beginning, the actors’ performances were engaging. The 1980s setting, while slightly forced and stereotypical, felt necessary for the Spielberg-esque nostalgia the film relied on. Almost every role, though partially comedic, explored a wide range of emotions that gave the film a depth that would not have been possible if its focus had been merely a dinosaur takeover. This emphasis on family and connection is what brought the movie enough realism to feel believable amid a mostly unbelievable premise. The real action, however, is propelled by the terrifying dinosaur invasion of a small, suburban area. The dinosaurs spare no one, and the audience feels unfortunately included in this apocalyptic scenario. The plot’s twists and turns, along with the alarming presence of so many types of dinosaurs, made me feel hopeless for the Platts for nearly the entire movie. However, that is what kept me invested in their fate. Their realistic responses and the fast-paced, deadly nature of their attackers made me wonder more than once if I would have survived in the film’s universe. There were definitely moments that felt lacking in originality, whether because of the script or because a scene felt too long or out of place. I felt slightly frustrated by certain plot holes as well — so I’m surprised the film was able to work as well as it did. It’s not a film that takes itself too seriously, as it seems like it was made to pay homage to Steven Spielberg and various “creature features” of the 1970s and 1980s.

Despite some flaws, the film’s ability to captivate from beginning to end was impressive. A (mostly) family-friendly movie, “The End of Oak Street” is a rewatchable, engaging and underrated experience, bound to be appreciated in some way by even a pessimistic viewer. There is truly something to value about a movie that tries to revive a mostly extinct genre with originality while nurturing viewers’ yearning for nostalgia.

I have been asked multiple times whether “The End of Oak Street” is worth watching. My short answer has always been “yes.” Even if you think there could be no cinematic value in a modernday dinosaur takeover, I beg prospective viewers to reconsider and embrace a good time, if nothing else. “The End of Oak Street” is adventurous, delightful and a fantastic theater experience that no one should miss if given the chance to see it.

WARNER BROS. PICTURES/IMDB

“The End of Oak Street” is thrilling and nostalgic but cliched, says Eliana Kut (CAS ’29).

FILM

‘Mayday’: Hear My Cry for Help, Do Not Watch This Movie! 

Isabelle Cialone Senior Guide Editor

If it were not for my unwavering commitment to The Guide, I would never have watched this movie. A straight-to-streaming thriller about a U.S. Navy pilot trapped in the Soviet Union starring Ryan Reynolds, “Mayday” is a combination of everything I abhor the most in movies — excepting realistic animals that are given human voices, which might actually have redeemed this movie, if only by emphasizing its sheer absurdity. Unfortunately, I am dedicated to The Guide, and when the beginning of September shaped up as the worst week for new movies to date, I had no choice but to waste two precious hours of my life with this atrocious attempt at a feel-good buddy film. In 1987, after rescuing a wingman with what seems like an utterly impossible trick that only strokes his virile masculine ego, Lieutenant Troy “Assassin” Kelly (Reynolds) is recruited to Operation Big Bird, a top-secret mission to fly over and photograph secret bases in the Soviet Union. When his plane is shot down, killing his co-pilot and leaving him stranded behind enemy lines, Kelly must turn to his unexpected savior, ex-KGB agent Nikolai “Nick” Ustinov (Kenneth Branagh with a mediocre Russian accent), to deliver him home safely.

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Nick and Troy’s blossoming friendship might be considered wholesome and feel-good, if it weren’t for the fact that said friendship hinges entirely on an unreasonable infatuation with the United States as the bastion of the free world. Sure, Troy’s time in the USSR prompts the shocking realization that the U.S. government’s violently anti-Communist, anti-Soviet narrative is a propagandistic villainization of all Soviets. His main takeaway, however, remains only that, perhaps, the U.S. government should be minimally reformed. Yes, he ultimately advocates against the government’s systematic obfuscation of the dangers associated with building weapons, but Troy never questions the military Keynesianism that might necessitate the U.S. economy’s reliance on the militaryindustrial complex. He doesn’t even question the readiness that his “brothers in arms” leave him to fend for himself with and justify their negligence of this so-called “American hero” with heartless, hollow bureaucratic excuses. Though Reynolds and Branagh’s natural chemistry somewhat buoyed the film, Reynolds’ tragic attempts at comedy and an all-together awful script only made me feel increasingly enraged. Branagh’s ridiculous, jaw-dropping stunts are one of the few things that kept me from dozing off. The only other elements saving the movie from the dreaded zero-star review were a few rare, gorgeous landscape shots of the USSR, the title’s double-entendre and

Nick’s daughter, Anna (Maria Bakalova), whose revolutionary spirit was a welcome addition to an otherwise orthodox production. In a way, Anna and Kelly are foils: Both are dedicated to their countries and set on inspiring change from the inside out. However, Kelly’s criticism of his homeland feels painfully superficial and reactionary, while Anna’s seems more rooted in a peaceful, humanitarian ethos. Though most of the cinematography fell victim to the epidemic of action movies’ overly zoomed-in, highly focused shots, the few compilations of architecture, cities and towns in the Soviet Union were peaceful and pretty.

The montage of Nick and Troy driving through the USSR with Bruce Springsteen’s “I’m On Fire” playing in the background nearly made the first hour of the movie worth my suffering. The “Mayday” double-entendre, with Troy’s cries for help and the May Day celebration he ultimately drives a nuclear missile through, was an unsurprising but welcome comedic feature of the movie. But most fittingly, the title reflected my own need for saving from the draining, life-sucking experience of watching what is definitely my least favorite movie of the year and possibly even a contender for my least favorite of all time.

APPLE STUDIOS/IMDB

Isabelle Cialone (CAS ’27) deems “Mayday” one of the worst movies of the year.

THEHOYA.COM | FRIDAY, SEPTEMBER 11, 2026

FILM

‘The Rivals of Amziah King’ Unfortunately Loses Its Way

 Brad Derfner Guide Columnist

In the first half of the crime thriller “The Rivals of Amziah King,” I was convinced that writer and director Andrew Patterson had struck gold. Matthew McConaughey is one of my favorite actors, and he’s operating at the peak of his powers here, alongside newcomer Angelina LookingGlass, who provides a solid, if not unspectacular, performance working as the counterweight to McConaughey’s gregarious Amziah King. In the first act, the film wanders through rural Oklahoma following a gang of beekeepers, musicians and neighbors, which is — simply put — enjoyable, even when the plot stalls with extended bluegrass performances. However, just when the film hits its stride, Patterson makes the perplexing decision to overturn the script, killing its title character, and molding the movie into a conventional revenge thriller while deserting the humor and personality that made the opening so captivating. The film follows Kateri (LookingGlass), a young woman who fatefully reconnects with Amziah King (McConaughey), a local beekeeper and Kateri’s former foster father. Amziah is a personality, to say the least, living in a tight-knit small town where he seems to know everyone and everyone seems to know and love him. Kateri begins working alongside Amziah, quickly learning how to care for the bees while gradually learning what Amziah has been up to in their years apart. Meanwhile, the audience is introduced to a crime storyline surrounding stolen

FILM

honey and rival beekeepers as the cops seek Amziah’s help in their investigation. Aside from providing a few laughs, this thread is clearly secondary to the relationship between Amziah and Kateri. The opening works well because McConaughey is just that good. Amziah feels like a tailor-made character, allowing McConaughey to lean into the southern charm that defines so many of his best performances. More importantly, he’s just hilarious in the role. My favorite scene comes during a town potluck, where Amziah introduces Kateri to the members of the community through the dishes people have prepared, smoothly providing exposition and laughs while never losing momentum. At times, though, Patterson overindulges himself in this world, exemplified by the sheer number of bluegrass performances throughout the first half. Even so, the music is good enough that this complaint is easily dismissed. An issue that is harder to look away from is the film’s aforementioned “twist,” in which Amziah discovers that his bees have been stolen, suffers an unexplained heart attack and passes away. The death comes suddenly and lands surprisingly soft, but removes the character who has been the heart of the film so far, essentially turning “The Rivals of Amziah King” into an entirely different film. Unfortunately, the second portion of the film is much less interesting than the first. Kateri inherits most of Amziah’s property, including his honey business, but also his staggering debts. In her grief, Kateri dedicates herself to hunting down the culprit of the bee thefts. LookingGlass plays Kateri noticeably differently in this half,

giving a colder performance that matches the crime thriller plot well, but she never comes close to filling McConaughey’s shoes. However, it’s hard to blame the relatively inexperienced actress as this is her first feature film, which raises the question of why Patterson asked her to carry the weight of the production’s entire second half. As the film crescendos, the simple task of recovering Amziah’s bees snowballs into poisoning, police pursuits and multiple violent confrontations, but at no point does the Kateri of the ending feel like the woman from the first half. Instead of a natural evolution, Patterson’s jarring shift left me uninterested. With a runtime of 131 minutes, this split also creates a noticeable pacing issue. When focused on Amziah’s antics, the meandering plotline is part of the appeal, allowing the viewer to be immersed in Amziah’s world. However, once he is removed,

the same pace feels like a slog, and the more plot-driven section feels paradoxically slower. Even with all this, I can see why others enjoy the ride, and I can admit that there is something morbidly admirable about the sheer confidence necessary to make such a daring choice. Patterson easily could have developed the warm, father-daughter dynamic into a two-hour masterpiece, but instead makes the gamble of pivoting into a revenge thriller. In the end, “The Rivals of Amziah King” is difficult to evaluate as a single film because its two halves feel so emotionally separate. Its opening is funny, warm and refreshingly loose, anchored by one of McConaughey’s most naturally entertaining performances in years. Its second half is considerably more conventional. Ultimately, “The Rivals of Amziah King” would have been better off trusting the great movie it had already become rather than abruptly starting another one.

BLACK BEAR PICTURES/IMDB

Matthew McConaughey shines, but the film falls apart, says Brad Derfner (CAS ’27).

‘Onslaught’ Falls Short in Spite of its Attractive Visuals

 Eliana Kut

Deputy Guide Editor

The most recent American addition to the world of action-horror, “Onslaught” is an intriguingly violent film that follows the development and release of government supersoldiers. Though the film lacks substance in its plot, aspects such as its grueling special effects and colorful cinematography stood out and allowed for a greater appreciation of the film. The film begins with the secret government creation of three “unstoppable” super soldiers: The Butcher (Alex Pereira), The Cockroach (Dave Campbell) and The Crybaby (Tyler Hall). They are created by scientist Dr. Hans Kammler (Dan Stevens), who is quickly killed after being unable to contain his creations, alongside everyone else in the government facility where they were trained. As the super soldiers escape, they target and kill all civilians in their way. As they make their way to a trailer park

managed by former army sniper Celeste (Adria Arjona), it becomes her mission to survive and defend her daughter (Blake Kennedy) and her friends. While the premise is standard enough, director Adam Wingard goes out of his way to highlight the terrifying nature of the soldiers and their supposedly “unstoppable” bloodlust as killing machines. The soldiers are covered head to toe in gear, apart from their eyes, which maliciously glint and glow. They are silent combatants and will stop at nothing to kill everyone in their way. While the soldiers’ unexpected jump scares kept me on the edge of my seat, their John Carpenter-esque, looming presence felt more suited to a haunted house at Universal’s Halloween Horror Nights than any other fully fleshed-out scenario. Their actions are also often inconsistent. While they sometimes gunned down and sprinted towards their targets, more often they simply stood menacingly, letting others survive longer. Though I understand that this is most likely used to create an eerie and haunting atmosphere, many times it felt

FRIDAY, SEPTEMBER 11, 2026 | THEHOYA.COM

illogical and rather unproductive for these so-called “unstoppable” killing machines. I did, however, find the performances of the main actors compelling. Arjona is especially well-suited to play Celeste’s tough and unforgiving character. Similarly, Stevens’ portrayal of the demented, former Nazi scientist and Drew Starkey’s portrayal of special operative Cyrus were uncanny yet striking. The actual script, though, fell flat for me. Composed of more than a few one-liners and a number of pseudo-metaphorical phrases thrown in between, the script comes across as only trying to be quotable and easy to rearrange for previews and trailers. While this was not the only source of the film’s unnatural feel, it made for a difficult watch when combined with the more superficial and inconsistent characterization of the super soldiers. However, I do not want to dwell too much on the more negative aspects of “Onslaught.” Despite its narrative flaws, the film has some of the most visually pleasing lighting and cinematography I have seen in a while, and, in addition to the special effects, it was an absolute sensory feast. The blues and reds of

the government facility, vehicles and trailer park blended together stunningly whenever the film slowed down in its quieter moments. The practical and special effects utilized in “Onslaught” particularly deserve praise, and they admiringly paid homage to the slasher and Carpenter-directed horror films of the 1970s. Violent kills and spurting blood are present right and left, which, when combined with its violently militaristic themes, creates a unique, niche blend of horror and action. “Onslaught” seems made for a specific kind of audience, perhaps one simply looking for an intense, gory time, and I do think the film satisfies this target audience. However, others may feel surprised or disappointed by its content, possibly because it was marketed more as a pure action film or because of weaknesses in its narrative. A more natural, consistent approach across multiple areas would have made “Onslaught” feel less irregular and disorienting. Nevertheless, it is certainly not a “bad” film and is worth seeing if only for its visual value.

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CROSSWORD

By Luke Landegger

This Week’s Theme: Rare Earth 1

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39 41

51 53

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letter away from a Belgian beer brand) 9. Down to the last minutiae 10. “Results may ___” 11. Express discontent at 12. Piece of concert equipment 13. U.S. soldiers 19. Host of the 2002 Winter Games, initially 21. Night school subj. 23. Soak in a salt solution 24. Gives you money 25. NYC sports (and wedding, appar-

1. Do the dishes 2. Mini crossword-friendly smoothie berry 3. Emails 4. Model that simulates outcomes based on past data 5. Like twins from a single egg 6. Intentionally omit 7. “Star Trek: The Next Generation” actor Burton 8. Inscribed pillar (which is only one

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ently) venue 28. Refrained from any untoward behavior 29. News stands? 30. “___ Jacques” 32. “Gah!” 33. Dwight Schrute to Michael Scott (or Andrea Sachs to Miranda Priestly) 35. They might be courtside or in a box 36. Founder of the Society of Jesus and writer of “The Spiritual Exercises” 37. Angkor ___

ACROSS

1. Bee’s older brother, unscientifically 5. Woes 9. Where hospital patients get their drip? 14. Taiwanese laptop company founded as Multitech Electronics Inc. 15. Bug spray ingredient 16. Four-time tennis major winner Osaka 17. Levelheaded 18. Listens in 20. Condiment company that went viral during the 2026 World Cup 22. Comedy movie whose sequel was subtitled “Back in the Habit” 23. Racial justice movement, for short 26. Muse of history 27. Post-ski fun times 29. ___-quoted 31. Pool noodle? 33. Needing to see a doctor 34. Eddie Murphy and David Copperfield each own one in the Bahamas 37. Crop-destroying beetle that may also be found on the steeple among the people 38. Metric wts. 39. “Affirmative” 40. TV spot seller 41. It’s a river in Egypt 43. When doubled, an African fly 44. “Let me handle this” 49. Subject of a song with the lyric “Through the mountain!” 52. Rock-star-level excitement surrounding a certain 2008 presidential campaign 55. Hardly working, perhaps 56. Out of order 57. Flabbergast 58. Food ___ (feeling after a feast) 59. Downs milk in a milk-drinking contest, say 60. Where the sun rises 61. Furry creature from Endor 42. Gold medalist figure skater Alysa 45. Vintage film channel 46. Wipe out 47. Prefix before -gon or -meter 48. Donate to, as a university 49. Like the face of someone who’s gotten away with something 50. “Tickle me” doll 51. Homeowner’s bane, plumber’s boon 52. Thunder, on scoreboards 53. Cry of contempt 54. “The Simpsons” shopkeeper

THEHOYA.COM | FRIDAY, SEPTEMBER 11, 2026