Miyazaki’s Ma in Sound
In a Miyazaki film, time is granted to allow the characters to live.
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In a Miyazaki film, time is granted to allow the characters to live.
To say “food is a love language” has become a one–liner spoken ad nauseam, but it cannot be denied that some foods truly do create feelings of warmth, comfort, and love. Filmmakers clearly understand food’s connection to love, specifically the correlation between eating noodles and falling in love. Captured countless times in some of cinema’s great love stories, these scenes showcase that the power of pasta and the power of love are not mutually exclusive phenomena.
Few things define Brazilian cuisine as distinctly as a love for steakhouses. But for me, a born–and–raised Brazilian, a “churrasco” is much more than a meal—it’s a culinary spectacle. In it, an array of meats is expertly skewered or placed on a spit, resembling a delicious rosary of flavors charbroiled to perfection. It's an art form unto itself. Over the years, I've enjoyed numerous churrasco meals with loved ones, whether indoors or outdoors, and it has always been a joyful celebration.
It’s a feeling every young person is familiar with. You just need to print that one resume copy before dashing out the door, or maybe get the crumbs off of your floor before your parents visit, or even just steam your shirt before logging onto a Zoom interview. Then you remember: You never splurged on a printer, forgot to ask that guy down the hall for a vacuum, or didn’t get that steamer your mom insisted you would need for college. And even if you had purchased these items, your cramped apartment barely has room for them.
In the basement bar of a theater in SoHo, Manhattan, on the third Saturday this September, sits an audience of 20. Or just about that many. In the dim purple glow of kitschy wall sconces and dying track lights, they sip vodka tonics and beer.
It's another day. The same day you've lived countless times over. You wake up at the same time, eat the same breakfast, talk to the same people, and finally collapse in the same bed to start the cycle all over again. The next day is, well, the same. It almost feels like you're living life in third person, a voyeur to the "real world," one of adventure, excitement, and newness. It's a world you're not sure even exists and you're definitely not sure where to find. But amidst the isolation and mundanity of our corporatized twenty–first century lives, you'd give anything just to see something truly brand new.
What does it mean to be kosher? How can our family recipes enter mainstream culinary canon? How much is a yahrzeit glass? Heck, what does it mean to be a Jew today?
The term “cult classic” can very easily be understood by breaking it up into its two constituent words: Cult and classic. Cult means that a given piece of culture only appeals to a certain group, and that these devotees rarely make up more than a small subset of the overall population. But classic means that for these dedicated few, the piece of culture occupies a very special place.
It only took Disney ten years to kill Star Wars—Star Wars, one of the most legendary franchises of all time. Imagine telling your eight–year–old self that one day, a new Star Wars TV show would be released every couple of months, and not only would no one care, but the shows would be mocked and reviled. This summer’s release of Ahsoka, the latest Star Wars TV show, demonstrates just how far the once–great franchise has fallen.
The past two years have seen the prolific rise of new female rap stars. From GloRilla’s “F.N.F.” to Ice Spice’s “Munch (Feelin’ You),” rising female rap stars have been at the forefront of pop culture. Indeed, these young stars’ rises have been marked by high–profile collabs like Ice Spice's verse on "Karma" by Taylor Swift, and cosigns by established veterans like Cardi B and Nicki Minaj. But St. Louis’ own Sexyy Red seems to be running ahead of her peers in terms of grassroots support. Her raw authenticity and infectious nature set her apart—and in comparison, the pull of her originality makes her contemporaries feel manufactured. Sexyy Red, currently best known for her “Pound Town 2” remix with Nicki Minaj and her solo single “SkeeYee” off of the album Hood Hottest Princess produced by Tay Keith, brings a genuine charm to a polished and even plasticky music industry.
This summer, starting June 5th, just as in eight summers before, the U.K. reality TV show, Love Island, sent numerous single guys and girls to Mallorca, Spain where they would live with each other and work to form romantic connections. As in previous summers, different versions of the show premiered in other countries such as the U.S., France, and Australia. At almost any point during this summer, you could go online and find pages upon pages of discourse surrounding the show, its characters, and its various international spin–offs. And yet, despite Love Island's attempt at recreating its original hype from its first run, the show did not achieve nearly the same results this time around.
Unlike its predecessor, the latest cinematic fight club features no pink soap, no toxic masculinity, and certainly no rules banning the discussion of fight club. In fact, leaders PJ and Josie are begging you to talk about their fight club, and please, bring all your hot cheerleader friends.
Dwayne "The Rock" Johnson: "I have the traps of a wrestler, like a man wrestler."
Senior year is canonical. You have the senior slide, the cataclysmic breakdown of some friend groups, and the forging of new bonds that feel like they could last forever. A deluge of camaraderie and legally purchased liquor can melt some (but not all) of the grudges powered by the treacherous climb of student leadership and, of course, the toxic gossip train. But for me, senior year mostly means one thing: I’m not the young talent anymore.
Workplace dramas are no newcomers to our television screens. From medical series like Grey’s Anatomy, to police comedies like Brooklyn 99, it would seem that general audiences like to spend their time after a 9–to–5 watching other people in their own 9–to–5s. It’s no real surprise that a legal drama like Suits, starring Gabriel Macht and Patrick J. Adams, would rack up numbers—but if the show premiered in 2011, why is it suddenly blowing up in 2023?
I learned to drive in my mom’s minivan. It might have been the same old white Toyota my mom had long driven me to school in, but when I was behind the wheel, that minivan became an entirely different vehicle (and safety risk). But no matter who was driving, we would always turn the volume dial all the way to the right as soon as we heard the first note of the guitar riff that would inevitably lead to us screaming, “You’ve got a fast car…”
There used to be a standard method of viewing television. You’d pick up the remote, turn on the TV, pick a channel, and voila! You’re watching television. It was simple and nice and required minimal thinking. Today, the formula is not so simple. There is watching the show, looking at what people on the Internet are saying about the show, and then, listening to a podcast about it.
Mitski is nothing if not a viscerally enigmatic American poet. On stage, her venereal movements evoke a character that is unlike Mitski herself: soft–spoken and impenetrable. Slated to retire after Be the Cowboy, she surprised fans with her 2022 album Laurel Hell, as well as several songs for soundtracks. But her new record could be the first time she’s been making music for her own sake in a while: “I renegotiated my contract with my label, and decided to keep making records. Thank you so much for your patience and support while I found my way here. I love you!” she wrote to fans in a newsletter.
In the realm of cinema history, it has become rare to be surprised by the superhero genre, especially by origin stories. Unfortunately, “Blue Beetle” adheres to a generic formula as it introduces Jaime Reyes, his family, and the alien scarab that grants him superhuman abilities. From initial reluctance to acceptance of the “call to adventure,” to personal tragedies, Jamie goes through all the commonplaces in his first live–action contact with the public. Still, the film based on DC Comics manages to stand out and disappoint at the same time, thanks to the “Latinidade” brought by director Ángel Manuel Soto.
By now, Greta Gerwig’s Barbie requires no preamble. The film has not only grossed over $1.4 billion at the worldwide box office but has become a cultural phenomenon of proportions not seen by a major studio film in years. “Hi, Barbie!” and “I am Kenough” have already entered the mainstream lexicon, and the film’s soundtrack has been successful, with Dua Lipa’s “Dance the Night,” Nicki Minaj and Ice Spice’s “Barbie World,” and Billie Eilish’s “What Was I Made For?” all charting on the Billboard Hot 100. Along with Christopher Nolan’s Oppenheimer, Barbie has been hailed as a saving grace for the film industry: an original story backed by a big–budget studio that features two movie stars and has delivered both critically and commercially.