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For the past few weeks, one multiverse movie, where the fate of all universes is actually at stake, has been receiving more hype and acclaim than anything else out there. Led by an internationally recognized star, it’s flashy, making big bucks, and includes a fair amount of CGI. I’m talking, of course, about Everything Everywhere All at Once, although I did hear about some small, obscure Marvel multiverse film coming out soon, too.
Beautiful homes. Epic Hans Zimmer scores. White women in all–white outfits. Lots of white wine. Divorce. Diane Keaton.
The Academy Awards, aka the Oscars, is an annual awards ceremony that honors the greatest achievements in cinema from the past year, voted by just under 10,000 Academy members. Or at least it’s supposed to be about that. We all know that the 2022 Oscars will be remembered for many other reasons.
On a Friday afternoon before closing for Friday prayers, Saad’s Halal Restaurant is packed with hungry customers. Located at 45th and Walnut streets, Saad’s Halal Restaurant is a little far from Penn’s central campus, but the food is certainly worth the longer walk.
An hour before Penn’s Crazy Determined Asians: Jon M. Chu and the Power of Representation event began, the emerald–tiled Harrison Auditorium was silent with its green velvet seats entirely empty. Then suddenly, as if the great and powerful Oz himself had appeared, murmurs and conversations immediately rose with the arrival of a certain individual. At that moment, Jon M. Chu entered the room and began to admire the space’s grandeur and beauty.
Season two of Euphoria, Sam Levinson’s American teen drama series that follows modern–day high schoolers navigating adolescence, has it all. There’s Zendaya, fancy costumes, stunning makeup, drugs, sex scenes, long takes, lots of music, choreographed dances, and incredible acting. Yet Euphoria still lacks the most fundamental aspect of a compelling show: a thoughtful storyline. In many cases, this season of Euphoria felt more like a compilation of music videos stacked onto each other rather than hour–long episodes.
When you think of Reese Witherspoon, chances are you think of her performance as the lovable Elle Woods, the Harvard Law student from the 2001 classic Legally Blonde. In many respects, Witherspoon is nothing like Woods; she never went to Harvard University (she dropped out of Stanford instead), attended law school, or chased a boyfriend across the country to get back together. But Witherspoon shares Woods’ ambition and drive to succeed and make change. For Witherspoon, this change has been found in the entertainment industry with her production company, Hello Sunshine, which sold for about $900 million in August 2021.
Nearly a decade ago, Lupita Nyong’o was awarded an Academy Award for her first feature film role as Patsey in 12 Years a Slave. Overnight, Nyong’o went from just another talented actress to a bonafide Hollywood star. Winning an Oscar is a massive achievement in Hollywood, something that boosts someone’s career to new heights. Yet when comparing Nyong’o to her fellow Best Supporting Actress winners from the past decade like Regina King or Laura Dern, who have experienced career highs directing or starring in coveted roles, Nyong’o’s filmography seems minor and empty. Why has Hollywood not given Nyong’o the same opportunities?
Superhero movies have been around for decades, with the first superhero movie arguably being a 1916 French film called Judex. Judex centers on a dark–cloaked vigilante named Jacques de Tremeuse who possesses no powers and relies on high–tech gadgets. Sound familiar? Yes, twenty–three years before writer Bill Finger and artist Bob Kane created Batman in May 1939, a Batman–esque hero had already been introduced to the world.
It’s likely that, on an average stroll down Locust Walk, a Penn student might be walking alongside future billionaires, government leaders, or technology geniuses. But what most Penn students might not know about their campus is that they are also walking around a film set every day.
The 2021 movie lineup featured a plethora of well–reviewed theater–only movies such as West Side Story, The Last Duel, and Nightmare Alley. But while all of these films might have superb visuals, immersive production, and gripping musical scores, they also share one major similarity: they're all box office bombs.
I walk towards Houston Hall on a windy, brisk fall day in November. College senior Eli Ricanati calmly waits for me on a bench, in a confident manner. His confidence is warranted, given the success of his first short film released in October: The Frontiers Are My Prison.
Princess Diana, née Spencer, is one of the most beloved and adored figures of the last century. Commonly referred to as the “People’s Princess,” Diana lived a tragic yet iconic life where every decision of hers was scrutinized.
Of any filmmaker working today, there are few whose films are as easily recognizable as Wes Anderson’s. His unique style of using vibrant sets, costumes, and color palettes creates inventive and surreal worlds that could only come from Anderson’s mind. Every shot in his movies, from the production to the angles to the stage directions, is meticulously planned out and detailed.
Every fall, the TV awards season comes to a close with its biggest night: the Primetime Emmy Awards. Despite CBS airing this year’s Emmys, the network won nothing. In fact, the Big Four broadcast networks (CBS, NBC, ABC, and Fox), collectively only won one award: best variety sketch series for NBC’s Saturday Night Live. A decade ago, not a single streaming service was represented at the Emmys. Yet in 2021, the top awards were only awarded to Netflix, HBO (HBO Max), Apple TV+, and Disney+. One can only imagine what network executives, particularly CBS, were thinking during this telecast, in which they lost to every streaming service. In essence, CBS was airing its own funeral.