The Cornell Daily Sun (https://cornellsun.com/author/arts/page/3/)
The first video, created for lead single “Anti-Hero,” is a delightful, self-referential video full of Swift’s trademark “Easter eggs.” It also offers an honest glimpse into her insecurities, which she has been vocal about sharing.
Taylor Swift is sick of reinventing herself. Her 10th studio album, Midnights, signifies her return to pop, but with a wine-stained, eleventh-hour clarity in both production and lyricism
For me, pacing is the main issue. Slow burn, exposition-driven elements are productive; it is rather that the writers seek a deeper narrative haste without taking much time to build the wheeling scale of epic. Númenor in particular falls victim to this, where we see only inklings of the all-consuming desire for eternal life that will eventually drown them. But where the Númenor storyline falters, it is rescued by the gravity of Elendil (Lloyd Owen) and Queen-regent Míriel (Cynthia Addai-Robinson), as well as their trials of faith.
There is so much indescribable depth, lyrically and compositionally, in the prolific works of the Beach Boys.
This movie appeals to me as a fan of both the source material and the genre of superhero films themselves.
From elegant metaphors to drastic tone shifts even within the same chapter, Gong’s prose is a delight to read and is sure to attract both new and returning readers.
If you’ve ever had the privilege of visiting Paris, I’d be willing to bet that you enjoyed a bite to eat — or at least stopped by — one of two quintessentially Parisian cafés: Les Deux Magots and Café de Flore.
Horror movies might be the first thing that come to mind when thinking about what to watch for Halloween, but if you’re anything like me and scary movies aren’t your thing, then there are plenty of non-scary movies on Disney+, Netflix and Amazon Prime Video that are perfect for those nights when you want more treats than tricks.
Through feministic critiques and reclaimings, mainstream mockeries, Reagan-era fear campaigns and Twitter reclamations, the slasher has weathered the storm of controversy and emerged as a recognizable premise that can even be endorsed when introduced in a popular culture saturated with intellectual property and so-called “elevated horror” (as was the case with this year’s X).
As a director, Wilde prioritizes looks over content. You may have seen the film’s trailer, a highlight reel of Stepford Wives visual gags: eggs breaking with nothing inside, Alice wrapping her head in saran, Alice getting pressed to death while cleaning a window. They’re visually satisfying and no doubt creative, but don’t end up being relevant to the plot besides the general messaging that the “separate sphere” ideology is damning. Maybe this would have been groundbreaking during the rise of Second-Wave feminism but at this point has just become shorthand for a very limited view of women’s liberation.