'Seeking Mavis Beacon': The Silent Faces of Innovation
Who is Mavis Beacon?
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Who is Mavis Beacon?
How many actresses need their own Cinderella story before the narrative becomes overdone? At this point, everyone and their mother has seen a Cinderella adaptation; and as clever as some of these filmmakers think they are, their homages to Grimm’s fable are never really all that subtle (although many aren’t trying to be, and that’s okay, too). Cinderella’s plight represents the all but futile idea that you can achieve the American dream entirely separately from the system that makes it so difficult; a golden individual who maintains a fiercely humble set of morals yet still in the end attains all of the benefits enjoyed by the top percentile of a capitalist society. Throw a storybook romance in there too and how could it not be alluring?
The familiar old Cinemark seats and nachos with Diet Coke, backtracked by endless trailers for movies we’ll probably forget about by the time they release in a year or two. But, we’ve been waiting for the Joker sequel ever since the first whispers about it emerged back in 2019. Surely, you remember the debates on social media about who would make a better Harley Quinn: Margot Robbie or Lady Gaga.
Buying a ticket to see a new release is also a pass to the experience of the movie theater—where the smell of freshly popped popcorn fills the air; displays of candy, nachos, and slushies surround cashiers; enthusiastic audience members talk about what they enjoyed and disliked about the movie; vibrant and colorful posters hang throughout the building; and claw machines play music similar to an ice–cream truck. Before you sit in the leather seats with a bucket of buttered popcorn and start the screening, you don’t know whether you will love the movie or if you’ll hate it. Regardless of how we view films after watching them, it’s always true that when you enter a movie theater, you set foot into a new world, if only for two hours. And sometimes, a new world means a new wardrobe.
There are clear skies in a lovely little Northern Ireland town, and John Paul “The Prick” Williams is dead.
Before I first watched Devilman Crybaby, I had been warned: “Isn’t that the gross pervy one?”
Since its inception in 1994, HGTV has made a name for itself by popularizing a genre of shows that mix reality TV and home renovation. Successful programs like Fixer Upper and Love It or List It—which follow charismatic duos on their journey to renovate dilapidated houses—have garnered loyal, almost cult followings. The channel has mastered a formula for viewership which blends aspirational, farmhouse–chic design with just the right amount of witty banter and practical advice. This combination has allowed HGTV to become a cultural hallmark, influencing everything from real estate to home decor.
Dinner in America has had a resurgence of popularity long past its fifteen minutes of online fame, warranting theatrical rereleases two years after its initial release. It’s a deservedly–praised movie with chaotic energy and an unorthodox love story, and though the romanticized clips going viral on TikTok might lure you in, they’re not reflective of the full story.
Who else has spent post–midnight hours watching old Saturday Night Live clips instead of studying for that midterm you have in the morning? I bet you’ve watched “Wells for Boys” or “Papyrus”—two of the most viewed SNL sketches of all times. What if I told you they were both written by Julio Torres? Would you even know who that is?
How does a horror film that doesn’t deliver its scares until the last 30 minutes succeed?
Fall brings brick–red foliage, an influx of new University City residents, and a lot of good movies to Philadelphia. The Philly Film Festival, running from Oct. 17 to Oct. 27, is an inexpensive and easily accessible way to watch some new and emerging films before their wide release. Overwhelmed by all that PFF has to offer? Never fear—those of us who got a chance to see some of these films over the summer at Cannes and in the early fall at New York Film Festival are here to help you decide what to skip class and spend $12 on seeing.
The young women file in one by one, a girlishly organized succession of hair–bumps, lace blouses and miniskirts; pale blue tights, kitten heels with bows and, of course, eyeliner. Thick, dark wings for watery marbles of gray or green and honey—a shock of young eyes in the black of the theater. Descending down the row, the young women exit off into seats, otherwise too far to see and lost in the blackout. Slowly but surely, the room is engulfed in a fog of girldom; a soft darkness abuzz with chatter, hushed giggles, and reverent utterances of "Coppola." Sofia Coppola.
Jackson: Francis Ford Coppola, are you okay?
Last week, Brigitte Bardot celebrated her ninetieth birthday. In celebration, let’s talk about the icon who didn’t just make the world fall in love with her—she made the world obsessed with her.
Sept. 19 was a really important day for me. That’s right, the trailer for Den of Thieves 2: Pantera, the sequel to 2018’s wonderfully trashy Den of Thieves, was finally released. Upon pulling up the trailer on the biggest screen I could find—my laptop—I had a series of strong, visceral, bone–deep reactions.
Before coming to Penn, I would take a trip to the movie theater nearly every week. My sister, who worked for our local theater, always got me free tickets, so I spent every second I could staring at the silver screen. I felt like Nicole Kidman! Experiencing movies on a massive screen with a medium popcorn (extra butter) and some cookie dough bites is truly an “indescribable feeling.”
Everyone hates movie musicals, right?
Welcome to another season of The Bachelorette, where race politics are served alongside champagne and Chopard engagement rings. This time, however, we’re treading on historic ground.
I went into Beetlejuice Beetlejuice with my expectations firmly in check. While I love the original, Tim Burton hasn’t made a film I’ve liked since the Clinton administration. Couple this streak with the fact that Burton and co. have been trying to get a Beetlejuice sequel off the ground since the late ‘80s, and this all seemed like a recipe for disaster.
The Emmys, barring a select few moments, were unbelievably milquetoast. The Levys were cute. Shōgun, The Bear, and Baby Reindeer won big. Only Murders got screwed in unforgivable ways. But there were a couple things that made me slightly less cynical about the whole awards show business. I’d be remiss to not point out some historic firsts, like Liza Colón–Zayas becoming the first Latina woman to win in her category (Best Supporting Actress in a Comedy Series). The big surprise of the night was Hacks, an actual comedy, beating out The Bear for the Outstanding Comedy Series win. And, in an upset much more personal to me (I still have not seen Hacks, I’m sorry!), Lamorne Morris took home a long–overdue Emmy. It may be for his work in Fargo, but it’s built on the back of years of giving one of the best comedic performances on TV at the time in New Girl.
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