“The Fate of Ophelia”

Right from the opening, it is clear that this album is in the hands of different producers than her last few albums. It’s reminiscent of Swift’s older content, with influences drawing from “Speak Now” and “Midnights.”

However, much like other songs on the album, such as “Elizabeth Taylor,” this song doesn’t delve deep enough into the intricacies of Ophelia’s fate to be worthy of its Shakespearean title. It does provide callbacks to her with lines like, “Late one night / You dug me out of my grave / And saved my heart from the fate of / Ophelia,” but they lack depth.

“Opalite”

Reminiscent of Swift’s earlier work, the song speaks to the idea of letting go of past relationships and insecurities to move forward in current ones. In the song, Swift sings to a “you,” which fans online have presumed is her current fiancé, Travis Kelce, indicating a tonal shift from Swift’s previous albums, which are associated with breakups and the messiness of relationships. With an upbeat pop sound, “Opalite” can easily be danced to and enjoyed casually.

“Father Figure” 

This track is one of Taylor’s storytelling pieces about a predatory older male who displays manipulative behaviors and language. The song is sung from the perspective of the older male, with one of the lines reading, “This love is pure profit, just step into my office.” The song is largely bright in terms of the instrumentals, which seems to be strategically deceptive given the subject matter.

“Eldest Daughter” 

At its beginning, the fifth song on the album is a letdown in lyricism due to its overly modern references to “trolling and memes,” appearing to be a futile attempt to be in touch with internet culture. Overall, it’s an emotional commentary on social media that falls flat because of its use of cringey internet vernacular.

The serious tone is maintained with a slow tempo, which highlights Swift’s rich voice. At the chorus and bridge, the song picks up and ultimately redeems itself with a powerful, hopeful tune. However, the lyrics seem to have deeper meanings and are written well, until you reach the point where “bad bitch” and “savage” are referenced, which feels outdated.

“Ruin The Friendship” 

This track is a richly toned tale of a friends-to-lovers romance, imbued with the familiar and wistful yearning of Taylor’s earlier works, full of reflective references to her high school days and growing up in the suburbs of Tennessee. It’s a slower, romantic addition that suddenly morphs into a sadder, regretful tune with its sudden twist ending, ultimately advising listeners to take a chance rather than spending their lives wondering what could have been.

“Actually Romantic” 

Sabrina Carpenter’s influence is clear in this fun, revenge tune about a particular person, allegedly Charli xcx, who puts in so much time and effort into hating Swift that she views it as “actually romantic.” Swift reiterated how she finds their obsession and attention quite flattering as she makes fun of this person, claiming that “it’s actually sweet / All the time you’ve spent on me” and “No man has ever loved me like you do.”

“CANCELLED!” 

Track ten leans into a dark, moody style with an eerie edge, very reminiscent of Billie Eilish’s early sound on “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” However, despite its catchy tune, it ultimately falls flat due to Swift’s cringy references to “girlboss[ing] too close to the sun.”

While the song does a good job at pointing out how female celebrities are often held to a higher standard than men, the topic of cancellation comes off as tone-deaf from Swift, a billionaire who has come under fire recently by fans for a lack of political activism.

“The Life of a Showgirl (ft. Sabrina Carpenter)”

The final, titular track is another one rooted in storytelling, following a dancer named Kitty with a musical theatre-inspired bridge and an echoing, spoken outro clipped from Swift closing out a performance on the Eras Tour. With conversational lyrics channeling the disillusionment of fame, glitz and glamour, Carpenter and Swift’s vocals blend cohesively for an on-theme ending to the album.

This album gains traction as it progresses and almost makes up for blunders in its earlier tracks. Swift’s album is a reflection on her life of fame and offers insight into her love life with Kelce, which was not as heavily touched upon in other albums. However, “The Life of a Showgirl” is undoubtedly Taylor’s weakest album lyrically.

Overall rating: 2.5/5 

Yung Kai’s popularity all started with his viral hit “blue,” which accumulated over 658 million streams and earned him more than 13.1 million monthly listeners on Spotify. While “blue” introduced audiences to his soft and gentle voice, this album demonstrates why he is such a popular artist.

This album has many standout songs, with three in particular being “i hope my cat loves me,” “beach song” and “how do you dance?” As much as listeners love the song “blue” — it has been a national headline for a while now — it is refreshing to see Yung Kai put out more beautifully written songs that touch the listener.

The track “i hope my cat loves me” is about longing for a gentle, nonjudgmental love. Throughout the song, Yung Kai emphasizes that even if a romantic interest doesn’t love him, his cat always will. The song expresses a yearning for a love that is simple, constant and safe, just like a cat’s affection.

The duet, “beach song,” a collaboration between Yung Kai and up-and-coming artist asumuh, explores memory and distance. The beach imagery emphasizes a symbolic space between the past and present, where all memories are to be found. The setting portrayed harkens to possible emotional distance from a partner and a longing to remember past happiness and memories. It becomes a space associated with the past and missing somebody deeply.

Overall, this song evokes memories of a group of friends on the beach, playing games and watching the waves together, and hoping to experience those times again.

The last standout and fan favorite out of the three is “how do you dance?” Many interpret the title metaphorically, as if it asks how one moves through life, love or loss. It’s a very intimate song asking about not just what someone does, but how they exist. With lyrics like “Felt your lips when I close my eyes / I know we’re out of time,” Yung Kai expresses the meaning of this song and the idea that even though a relationship is long gone, he still wants to love them.

This song is relatable not just because of its meaning, but because of its reflective tone. The beat makes it both heartbreaking and danceable, helping it become a trending song on social media platforms like Instagram and TikTok.

As a whole, “stay with the ocean, i’ll find you” is a message from Yung Kai to his audience about the emotions of love and yearning for somebody else in your life. He’s a rising star and will continue to gain traction as more people get the chance to enjoy his music. The album reminds listeners that love, even though it may be uncertain, can still feel infinite.

Rating: 5/5

After finding a wheel clamp on his car before leaving solo for a wedding, David Langley (Farrell) sees a conveniently placed ad for “The Car Rental Agency” and is forced to rent a car at the very last minute. Sarah Myers (Robbie), who happens to be heading to the same wedding, is sold a rental by the agency’s quirky workers, played by Phoebe Waller-Bridge and Kevin Kline. The pair meet briefly at the wedding, and their connection, though limited, is instantly intimate.

On the way back from the wedding, the seemingly magical GPS guide probes the pair to go on a “big bold beautiful journey.” The two are then reunited at a rest stop, and when Sarah’s car breaks down, the GPS guides them toward each other again, marking the beginning of this journey.

The journey — literally — opens doors to their pasts as Sarah and David are given the chance to relive wholesome memories from their childhoods, which bring the pair closer. However, they are also forced to face shameful yet pivotal moments that have molded each of their lives.

The film’s inception came from the personal experience of screenwriter Seth Reiss, most known for writing “The Menu.” After going through a bad breakup and driving himself back from a wedding, his GPS rerouted itself, and Reiss began to imagine what would happen if it instead took him on a mysterious journey. This inspired him to imbue personal desires of what he wished could happen into a film.

While Sarah and David experience the journey together, they must also focus on personal growth. They tackle the experiences they had buried down and were forced to learn and grow in the moment. The film combines a fantastical approach that we all can yearn for, while also keeping the plot grounded in truth and our lived realities.

While the quirky approach to the rom-com had an incredible cast, the general public was not thrilled. The movie has received less popularity than other new releases at the box office, along with mixed reviews from critics. Some questioned the truth behind the characters’ inner lives and their relationships to one another, while others were left dissatisfied by the film’s script and visuals.

However, even with its mixed reviews, the artistry remains undeniable and romantic.

The script was witty and simple, and the performances by Farrell and Robbie intertwined comedy and drama perfectly into a heartfelt on-screen chemistry. This was the actors’ first time working with each other, and highlighted the incredible talents of each acclaimed actor to bring a truly emotional connection to the film.

Overall, the film highlighted themes of regrets that influence our lives and gave audiences a chance to reflect on their personal journeys. “A Big Bold Beautiful Journey” was mostly lighthearted, and strongly rooted in recognizing the fluctuating human experience, touching on themes of identity, growth and sharing love. It also proposed an interesting thought — what would someone do if they were given the option to redo the past?

RATING: 4/5 

The film follows Cameron Cade, played by Tyriq Withers, a rising star quarterback who has dedicated his whole life to football. After suffering a career-altering brain injury, Cam’s dream seems to be withering away until he gains the opportunity to train with his hero and quarterback of the San Antonio Saviors, Isaiah White, played by Marlon Wayans. From there, the story focuses on what it takes to truly become the greatest of all time.

Directed by Justin Tipping, the cinematography and lavishly abstract scenery truly made “HIM” a standout film visually. While it may be easy to lose the plot of the story as sudden scenery takes over the film, it definitely doesn’t mean this film is boring — in fact, it might just be a work of art. While only 96 minutes long, the film is sectioned to mimic Cam’s days at Isaiah’s training camp, with each day focusing on a specific theme.

The use of defining day one as fun and day two as poised outlined certain aspects of the movie that drew the audience’s attention, ultimately coming together to reveal the question Isaiah consistently asked Cam throughout the film — what are you willing to sacrifice to be great?

This question, woven in each scene, tied the viewer back to the plot of Cam learning how to be the best from Isaiah, who was the most recent “GOAT.” But his peculiar ways of teaching exemplify the lengths one must go to be the greatest.

This movie raised an interesting question about the parallels of life we currently face. The obsession people have with not caring too much and being nonchalant about things they should care about creates a loss of passion.

By not caring deeply about the things that once mattered, do we lose all sense of the passion that once existed? And if all passion is lost, then what should people care about?

The thing about feelings is that while they can be intense, they can also create inspiration from within. Anger can be turned into art, and sadness can create a beautiful song. This intensity characterizes our generation, who will do whatever it takes and care more than anyone else to be one of the greats. “HIM” exemplifies that feeling through hallucinations and psychological scenes to portray Cam’s mindset.

Isaiah’s insane training methods, like hitting a player in the face with a football to help Cam deal with distractions on the field, are just the beginning of increasingly strange and horrific actions during training. Blood becomes a recurring image within the movie to portray the chaos that Isaiah exudes.

Additionally, mascots of the San Antonio Saviors repeatedly appear throughout the film, representing how haunting football becomes to Cam. These motifs underscore a question he must grapple with — if it took becoming so insanely obsessed to the point of putting football above everything else to become the greatest, would he do it? This obsession is encouraged by the film’s characters, as Isaiah only tells Cam he is proud when he becomes so intense on the field that he injures another player.

The ending, while seemingly out of place, touches on the cost of fame in American culture. “HIM” portrays the aspects of power, obsession and sacrifice, depicting a reality many athletes face on their path to fame, like sacrificing everything, even yourself, and pushing beyond normal limits to reach that level of greatness.

But if you’re not actively considering these themes throughout the film, it can be easy to lose sight of what the plot is actually about. As scenes become progressively more chaotic and shift away from the football aspect of the movie, you’re essentially watching beautifully choreographed scenery of Cam hallucinating and partying.

Regardless of what you may see, the soundtrack makes up for what you hear. Artists like Denzel Curry, Tierra Whack and Gucci Mane contributed to the music that made this film so captivating. The alternating sounds of adrenaline-pumping rap music during Cam’s training montages and the quietness that mirrors his hallucinations draw you inside his mind, giving the film an added layer of complexity.

Justin Tipping’s creativity throughout “HIM” is unmatched, and while the film might not click with everyone, that is exactly what makes it so interesting. It’s weird, bold and might leave you walking out of the theatre with more questions than you walked in with, but it will definitely get you thinking, and that’s the whole point.

RATING: 4/5

The artist took a different approach to creating this album, drawing inspiration from other cultures and instilling the music with an explorative and colorful vibe. To promote the album, Sheeran performed pop-up concerts from Mexico to India.

“We would pop up anywhere and play, and it would be chaos and creative,” Sheeran said in an interview with CBS News.

The first single, “Azizam,” a Persian title translating to “my dear” or “beloved,” encapsulates the cultural appreciation Sheeran conveys through this album. Sheeran co-wrote “Azizam” with Iranian-born Swedish producer ILYA, who used his Persian culture to help Sheeran create the single.

“I love learning about music and different cultures the more I travel and connect with people,” Sheeran wrote in an Instagram post. “It was like opening a door to a completely new and exciting world.”

The music video also features a Persian-themed wedding starring Googoosh, an Iranian singer and former actress, and Omid Djalili, a British-Iranian comedian and actor. The single peaked at No. 28 on the U.S. Billboard Hot 100.

Sheeran collaborated with numerous international artists for several tracks, capturing elements of different cultural music genres.

“Sapphire,” a track featuring background vocals by artist Arijit Singh, draws inspiration from South Asian percussion and includes Sheeran singing in Punjabi. The music video pays homage to its South Asian influences, featuring Bollywood backlots, local markets and riverbanks reminiscent of the region.

“Sapphire was the first song I finished for ‘Play’ that made me know where the album was heading,” Sheeran said in a press release. “It’s why I finished the recording process in Goa surrounded by some of the best musicians in India. It was an incredible creative process. I shot the music video with Liam and Nic across my India tour earlier this year, we wanted to showcase the beauty and breadth of the country and its culture.”

“Sapphire” was a worldwide hit, reaching the top 10 on iTunes’ Global Digital Artist Rank and No. 8 on the Billboard Global 200.

Besides the cultural scope of this album, some tracks signify Sheeran’s typical songwriting and lyricism, incorporating themes of love and relationships. “Old Phone,” the second single released, embraces themes of nostalgia after Sheeran discovers his old cell phone, which contains pictures and messages from friends with whom he no longer keeps in touch or who have since passed.

“Camera,” one of the more romantic songs on the album, discusses being so infatuated with one’s partner and the need to capture every moment with them. The music video features “Bridgerton” actress Phoebe Dynevor, who portrays Cherry Seaborn, recreating moments from her and Sheeran’s relationship and celebrating their love while maintaining her privacy.

“In Other Words,” “The Vow” and “A Little More” also relate to Sheeran’s wife, all serving as a declaration of love. Each song encapsulates how Sheeran embraces all aspects of his wife, even the difficult parts. These love songs sound reminiscent of Sheeran’s previous work “+,” “x”, “÷,” “=” and “-.”

On Sheeran’s 2023 album “-,” the artist wrote about difficult moments of his life. These hardships continued to inspire him for “Play.” The leading track, “Opening,” deals with the passing of Sheeran’s best friend, Jamal Edwards, and Sheeran’s wife’s cancer diagnosis. Although this album was partly inspired by the dark periods of Sheeran’s life, it clearly expresses the overwhelming love Sheeran has for his family.

In addition to Sheeran’s romantic tunes, he also includes songs about fatherhood. The song “For Always” serves as a heartwarming dedication to his daughters: “From your first breath till my last day / Whether I’m by your side / Or a thousand miles away / I’m forever, I’m for always.”

Additionally, a deluxe vinyl track on “Play,” “Regrets,” deals with the emotional burden Sheeran experiences being away from his children. The songs provide emotional insight into Sheeran’s experience as a father, a significant part of the artist’s life that he typically keeps private.

As a whole, this album represents the evolution of Sheeran as an artist through his individual experiences. He embraces cultural appreciation across music genres, incorporating Persian and South Asian musical influences. Sheeran reflects on his romantic and familial relationships, giving listeners a consistent experience that coincides with his previous album releases while also providing something new.

This unique album is worth a listen, allowing you to travel the world on an emotional journey of loss and love.

Rating: 5/5 

Primarily set in the ’70s, “The Conjuring” franchise frames the narrative around a particular family experiencing a haunting, to which the Warrens, a paranormal investigation duo, are called to release the family from the entity. “The Conjuring: Last Rites” challenged the framework of the typical “The Conjuring” plot, as the family that is typically at the center of conflict fades into the backdrop of the Warrens’ personal experience with the central demonic entity.

With the use of interesting lighting, sound and a centralized focus on the Warren family, the film stands apart from the rest of the franchise.

Many of these stylistic choices were shown through the repeated transition into visions had by Lorraine Warren (Vera Farmiga) and her daughter Judy Warren (Mia Tomlinson). These transitions were depicted by a change in lighting, quickly engulfing the character in darkness and transforming an otherwise pleasant or neutral scene into something much more sinister.

Darkness is also used to obscure and distort faces, hinting at the influence of the demonic entity over the individual’s life. Conversely, great instances of light were used to highlight moments of joy — most notably the ending scene in which Judy marries her fiancé, who was introduced at the beginning of the movie and remained a central character throughout the film.

The film’s emphasis on lighting and darkness ties into the prominent overtone of Christian values, which are mostly displayed through the almost redundant calls to God in moments of despair and helplessness, alongside the central themes of familial bonds and Christian imagery.

Sound, or lack thereof, separated the movie from its predecessors, as most moments of tension and horror occurred in silence or unintelligible whispering. In previous “The Conjuring” movies, these scenes would involve screaming and loud crashes, at times disrupting the tension and breaking from the gravity of the scene. The choice to allow horror to occur in quiet spaces built tension throughout the movie and carried it into the following scenes.

A drawback to using prolonged scenes of silence was that it affected the pacing of the already extended run time. The two-hour-and-15-minute-long movie dragged, as much of the first hour was uneventful and could have been cut to fix pacing.

Additionally, the Warren’s characteristic investigative work was essentially cut. At the beginning of the movie, the audience was directly told of the connection between the Warrens and the other family, ultimately reducing viewer engagement in the plot.

Newer characters like Judy Warren, her fiancé and the family experiencing paranormal activity were all underdeveloped and were simply used to further the plot rather than exploring how they fit into the narrative. Many of these characters felt replaceable, which came at a huge disadvantage to the film, as Judy Warren coming into adulthood and earning a place in the family’s work was a central plot point.

On the other end, Farmiga particularly stood out from the cast, as her facial expressions often cued visions or acute perceptions of information and spiritual connections. Seeing Lorraine step into a standalone role — outside of her identity as half of the Warren family couple — in the franchise was entertaining as Farmiga’s acting range came through.

Although the film wasn’t particularly exceptional, it served to give the series a positive ending and was an overall entertaining watch.

Rate: 3/5 

“The album is not for any pearl clutchers,” Carpenter claimed in an interview on CBS Mornings. “Man’s Best Friend” did spark significant controversy, particular surrounding the album cover, depicting Carpenter on her knees at the feet of a man, said to be pandering to the male gaze with a destructive and triggering effect on women. Others disagreed, asserting it would read satirically when the album came out, challenging the expectations of women’s sexuality as per her previous aesthetic in her sixth album “Short n’ Sweet.”

The album opens with its first single, “Manchild,” released on June 5, less than a year after the release of “Short n’ Sweet” and only four months after she released its deluxe edition. Down to the imagery of a bird riding a turtle, “Manchild” visually and lyrically portrays Carpenter’s hypocritical dynamic with men — she feels the need to jump between childish men despite calling them out for their ineptitudes in life and romance.

“Manchild,” like “Please Please Please” last year, spent a week at number one on the Billboard Hot 100. It also charted number one in the United States, the United Kingdom and Ireland. Both this song and the second single on the album feature extended fun dance breaks replicated online.

Released alongside the album’s release, Carpenter dropped that second single, “Tears,” with a music video starring American actor Colman Domingo in drag. The music video subverts expectations in multiple ways. First, the initial eerie landscape and 1950s-inspired horror cinematography quickly change to a fantastically sexy, disco-horror house, evoking imagery of the horror musical “The Rocky Horror Picture Show” Second, the title indicates a sad tone for the song, but, like the house she stumbles into, the song features some of her boldest lyrics yet — “I get wet at the thought of you” and “Tears run down my thighs.”

In response to critics of her daring lyrics, she said in the CBS Morning interview, “It’s like it’s almost too TMI. But I think about being at a concert with, you know, however many young women I see in the front row that are screaming at the top of their lungs with their best friends, and you can go like, ‘Oh, we can all sigh [in] relief like, ‘This is just fun.’ And that’s all it has to be.”

As for the rest of the album, the songs fit into a few distinct moods and genres.

First, the groovy and spicy songs — “When Did You Get Hot?” and “House Tour.” The two songs take opposite approaches to flirting with a man — the former using direct and sexual language and the latter using cheeky figurative language, which Carpenter assures is to be taken at face value — “And I promise none of this is a metaphor.”

Alongside “Tears,” these songs’ lyrics dance atop distinctive, funky beats. Despite the songs’ meanings, ironically, these are the only tracks on the album that are not labeled explicit.

Second, the songs somberly lamenting a faulty relationship she refuses to give up — “Sugar Talking,” “We Almost Broke Up Again Last Night” and “Don’t Worry I’ll Make You Worry.” These songs all take on a slower, more vulnerable mood.

“Sugar Talking” and “We Almost Broke Up Again Last Night” reflect Carpenter’s attempts to carry on a relationship that does not serve either her or her partner. In “Don’t Worry I’ll Make You Worry,” she confesses that her own mindset toward romance is partially to blame for her relationship failures.

Third, the cheerful songs disguising dissatisfaction in a relationship coming to an end — “My Man on Willpower,” “Never Getting Laid” and “Goodbye.” Returning to the use of hypocrisy in her songs, Carpenter employs witty and self-empowering catchphrases to disconnect herself from the pain of the final straw before the breakup. With their joyful tone, these songs adorn the album with the catchiest chorus melodies — “Goodbye” sounding reminiscent of ABBA’s classic hits.

Finally, the heartbroken songs concealed by coping lyrics — “Go Go Juice” and “Nobody’s Son.” Succeeding the flirting, lamenting and the break up, these songs similarly utilize a cheery tone to conceal the heartbreaking feeling of loneliness by “drinking to call” or “third wheeling.”

As a whole, these songs piece together a masterclass in subverting expectations, pushing the boundaries of feminine sexuality and satirical reflections on doomed relationships to romance. If you are one for cheeky lyrics and heartache, this album is worth a listen.

Rating: 4/5

Since the arrival of her second album, “Bewitched,” Laufey has been inseparable from soft jazz ballads and string ensembles. Her albums were once like entering a dream, a calming and wistful retreat from the everyday for her listeners.

“A Matter of Time,” however, is different. Rather than leaning into that warm sound, Laufey allows herself to get lost in the unknown, interweaving moments of rage, heartbreak and confusion into the sweetness that has long been a hallmark of hers. The contrast makes this album more complex and, in many respects, more accurate in its depiction of romance.

The theme running beneath the album is sewn into its title — time and its inexorability to change. Laufey explores how time marks relationships, personas and emotions. Far from merely imagining love as a fantasy, she presses on into the fleeting high, the bitterness and the feeling of loss that lingers.

The album glides effortlessly, with songs like “Cuckoo Ballet (Interlude)” serving as wicked but haunting segues. The brief bits add a theatrical quality to the record, much like a stage performance with different acts. On earlier records, interludes disrupted the flow, but here they are turning points, easing the progression from sunny optimism to darker, more somber territories. It’s an elegant but compelling transition that shows Laufey’s growth as a storyteller.

“Silver Lining” is the album’s emotional highlight. It gets the contrast of love, weakness and gentleness perfectly without ever feeling forced. The lyric “When you go to hell, I’ll go there with you too” distills Laufey’s knack for developing a line that’s real, stinging and instantly memorable.

At the other end of the spectrum, “Tough Luck” is an introduction to a new side of her art. It’s snappy, snarky and arguably her most honest breakup song yet. That eagerness to go outside of her comfort zone makes the album courageous and prevents it from being too formulaic.

The album reaches an emotional head with “Sabotage,” the closing track. It’s a showy, orchestral number that accelerates in intensity. The brutality of the song’s words about self-ruination and uncertainty is painful and liberating. To conclude the album in this manner makes the argument better that Laufey is diving into genuine emotion.

Where the experimentation in “A Matter of Time” makes it a thrilling leap forward, it may not resonate with every listener. Some longtime fans who have been with her from the start may miss the cozy jazz atmosphere of “Bewitched,” where every track was a string-beautiful lullaby. But here, the emotions are less delicate and sometimes jarring, showing Laufey’s evolution rather than repeating the same formula.

Ultimately, “A Matter of Time” is an album about growing. It acknowledges that love is complicated, heartbreak is inevitable and time changes everything, regardless of whether we like it or not. Laufey’s willingness to make her music honest about these truths makes the album very relatable.

“A Matter of Time” embraces vulnerability and confidence. It has the same dreamy comfort as her earlier work, but it offers a sense that change, though difficult, can be equally beautiful.

Rating: 4/5

The co-op updates its specialty menu twice per semester. For the new season, it unveiled a Spring latte menu, featuring delicious flavors like brown sugar cardamom, rose, lavender, ube and pistachio vanilla.

“The inspiration for this latte menu is spring flavors, with a mix of unique flavors of lattes,” wrote Ashley Dua, the co-op’s general manager and a senior majoring in political science. “For example, we have lavender and rose matcha lattes, based on floral flavors. We also created an ube syrup for a nutty flavor, and a brown sugar cardamom flavor that is sweet and spicy.”

“Our pistachio vanilla syrup was for St. Patrick’s Day, and we had lots leftover,” she continued. “Next we will be reimplementing our campfire cold brew — a crowd favorite!”

The brown sugar cardamom cold brew is a sweet and spicy take on a regular cold brew. With a coffee base and potent brown sugar and cardamom flavors, the drink can be enjoyed by everyone, not just coffee lovers. Meanwhile, the vanilla pistachio cold brew blends vanilla syrup and pistachio milk. Both are decadently sweet and robust in flavor.

The matcha rose latte, the co-op’s most visually appealing drink, is rich and sweet. The thick and frothy matcha is topped with rose cold foam and decorated with decadent rose petals — making it a unique take on the classic matcha latte. The combination of the rose and matcha flavors blends earthy and floral notes, making this drink the perfect spring beverage.

Ariana Gilligan, the cafe’s volunteer coordinator and a senior majoring in integrative neuroscience, said she hopes students enjoy the variety of flavors on the Spring Latte Menu.

“I hope our Spring Menu brings people joy — whether they are sipping one in class, studying, or taking a break from the school day,” she wrote. “I think there is something special about treating yourself to a good drink, and I hope our menu helps brighten people’s days.”

Arguably the best drink on the new menu is the ube iced chai latte. Made with pistachio milk that adds a nutty undertone, the chai’s spice and the ube’s mild sweetness create a lovely, layered drink. Overall, the menu offers a range of decadent spring-themed drinks, with options that can be enjoyed by coffee fans, students looking to experiment and anyone who enjoys a latte.

“The Food Co-op is one of those hidden gems on campus that everyone should experience at least once,” Gilligan wrote. “It’s a safe, welcoming space where you can find good food, a place to study, and the chance to meet amazing people. I am so glad that I have been a part of the Food Co-op for the last 4 years and it is one of the things I’ll miss most when I graduate in May.”

Alex Moon, the co-op’s treasurer and a junior majoring in environmental science, said she wants students to enjoy all that the cafe has to offer.

“I hope that people feel excited about our rotating drink menu and want to come back to try all of our offerings,” she wrote.

Track 14: “The Great War”

“The Great War” is a song that defines what it means for love to prevail. With the combination of battle-like imagery, a heavy emphasis on synth-pop and a killer drum beat, Swift makes this 3 a.m. track an unforgettable one. The tension that’s felt throughout the lyrics ultimately comes to a hopeful ending as the two lovers make it through their conflict.

Track 15: “Bigger Than The Whole Sky”

“Bigger Than The Whole Sky” is one of the most beautiful and chillingly sad songs Swift has ever written. It does not appear to be about a lover, or really anyone specifically, but rather is centered on a deep and debilitating grief. “I’m never gonna meet / What could’ve been, would’ve been / What should’ve been you,” Swift mourns, although whether that “who” is a friend, a family member or a partner is never specified. The production is sparse but gorgeous, and Swift’s vocals are haunting and soft.

Track 16: “Paris”

This upbeat and happy song about being in love and disconnected from everything but these emotions was an incredible addition to the 3 a.m. tracks. Swift perfectly captures the feeling of new love and the need to hold onto this feeling. She states, “I’m so in love that I might stop breathing,” showing the intensity of love and the fear of losing the special sensation. The light and dreamy track is the perfect base for the simple but magical lyrics.

Track 17: “High Infidelity”

There was a time when Swift believed cheating was the ultimate sin for any partner to commit — unforgivable and unjustifiable. But newer songs have illustrated a shift in that mindset in favor of a more nuanced perspective, and none more so than “High Infidelity.” The track sees Swift feeling trapped in a relationship, resulting in her seeking relief in another man until finally she’s caught in her lie — “I bent the truth too far tonight,” she admits. All but confessing to her unfaithfulness, Swift asks, “Do you really want to know where I was April 29th? / Do I really have to chart the constellations in his eyes?” While she sounds sorry for hurting her partner, she does not seem to regret her choice. Unlike some of the other “Midnights” tracks which cover familiar territory, “High Infidelity” describes a fallout Swift has never written about before, perhaps because she has taken such a strong moral stance on cheating in past songs. Production-wise and melodically, the song sounds similar to “Renegade,” a track by Aaron Dessner and Justin Vernon’s band, Big Red Machine, which Swift collaborated on. Given that Dessner produced both songs, the sonic similarities make sense, and “High Infidelity,” like many of the 3 a.m. tracks, feels like a return to the lyricism and sound of her Dessner collaborations, particularly “evermore.”

Track 18: “Glitch”

“Glitch” is one of the most experimental tracks on the record. The same producers that worked with Swift on “Lavender Haze” and “Karma” are credited on this track, and, here again, they have unlocked a new but intriguing pop sound that one would never have thought would suit Swift so well. With garbled background vocals, electric sounds and a groovy bass, “Glitch” is about a casual relationship unexpectedly morphing into something much more serious — a turn of events so unpredictable that Swift admits “I think there’s been a glitch.” Swift’s sultry falsetto delivery perfectly complements the more mature, provocative subject matter she is still singing about. “Glitch” is a delightfully weird and sexy song that could have easily fit right in on the standard edition of “Midnights.”

Track 19: “Would’ve, Could’ve, Should’ve”

Arguably the most gut-wrenching and raw track, “Would’ve, Could’ve, Should’ve” explores falling in love with someone who ultimately takes advantage of your naivety while destroying you from the inside out. Swift reflects on her relationship when she was 19 and her partner was 32, a relationship that emotionally damaged her so much that she’s only sung about it once before on Speak Now’s “Dear John.” While the former song was written in the recent aftermath of her breakup, “Would’ve, Could’ve, Should’ve” is sung from the perspective of an older Swift who is desperately trying to heal, but is still hurt and grieving over the ways she now realizes she was taken advantage of by an older man. She admits how she deeply regrets pursuing the relationship as long as she did, lamenting, “I regret you all the time.” The references to death such as, “And now that I’m grown, I’m scared of ghosts / Memories feel like weapons,” and “the tomb won’t close” illustrates the trauma that’s never left Swift despite the amount of time passed. The song is filled with some of the best lyrics Swift has ever penned, but the true emotional gut punch is delivered in the bridge when Swift belts “Give me back my girlhood / It was mine first.” Her voice is filled with so much emotion it’s difficult to hear. The anger and pain are that visceral. It’s one of the best songs she’s ever written.

Track 20: “Dear Reader”

“Dear Reader,” the closing track to Swift’s 3 a.m. edition of “Midnights,” starts off with a slow melody on the piano, which echoes throughout the song as elements of synth-pop become the foreground of the track. The repeated lyric “never take advice from someone who’s falling apart,” emphasizes the weariness Swift feels when it comes to people taking advice from her music, as she herself doesn’t necessarily know what she is doing. The overarching concept within this song of questioning your identity while feeling isolated speaks to the rest of “Midnights” — an album with prevailing themes of pain and insecurity.

Overall, the addition of the 3 a.m. tracks gives the album a heightened sense of vulnerability and balance. Dessner’s contributions are refreshing amid an album produced entirely by Jack Antonoff, whose production can sometimes be a bit heavy-handed. Dessner brings back the penmanship and sound of “folklore” and “evermore.” “Midnights” standard edition is a great pop album with some career highlights, but the addition of the 3 a.m. tracks, which include one of the best songs of her entire career, makes it an even better one.

Rating: 4.5 out of 5 stars

After the success of “Everything I Never Told You” and “Little Fires Everywhere,” the #1 New York Times bestselling author has created a chillingly accurate American dystopia in “Our Missing Hearts: A Novel.” Her near-future version of the United States offers searing parallels to the COVID-19 pandemic, racial tensions and the rise of anti-Asian hate.

Despite opening with a seemingly simplistic portrayal of injustice and indoctrination, “Our Missing Hearts: A Novel” refuses to stay one-note. In true Ng fashion, the novel slowly builds into a complex, subtly powerful exploration of family dynamics, the beauty of words and, above all, a multifaceted criticism of America today.

The novel opens with Noah “Bird” Gardner. Twelve-year-old Bird lives with his father, a former linguistics professor, in a hellish version of Cambridge, Massachusetts. This America, recovering from an economic disaster known as “the Crisis,” is authoritarian and xenophobic. At school, Bird is indoctrinated with propaganda about PACT — the Preserving American Culture and Traditions Act. His friend, Sadie, a displaced child of dissident parents, has disappeared.

His Chinese American mother disappeared too, three years ago. His only connection to her is a line from her famous poem, now used as a symbol of resistance. Then, he receives a letter from her, containing only drawings of cats.

In his search for his mother, Bird weaves through underground resistance networks. He discovers secrets in a Japanese folktale. He explores the etymology of Chinese characters and follows the trail of a poem that might lead to his mother. All these disparate parts intertwine, creating a very humane portrait of injustice.

However, “Our Missing Hearts: A Novel” isn’t only about Bird’s quest. First and foremost, Ng’s dystopia offers chilling parallels to the rise of anti-Asian hate. Elderly Asian people being kicked, shoved and spat on — none of these hate crimes in the novel are fiction. Blaming economic disaster on China hardly seems like fiction, either. It calls most strongly to former President Donald Trump’s anti-Chinese rhetoric, which labeled COVID-19 as the “Chinese virus.”

In addition to hate crimes, the Crisis is marked by the separation of children and families. The government targets dissident parents and then relocates their children, placing them into foster homes. This narrative carries echoes of the Japanese American incarceration during WWII and, more recently, the separation of families at the U.S. border.

The protests for the missing children also resemble the Black Lives Matter (BLM) movement. Just like BLM supporters, protestors in the novel repeat victims’ names so that they are not forgotten.

Moreover, the dystopia parallels COVID-19 in America. Ng deftly ties together the threads that make up our pandemic experience — loneliness, grief, racial tension and economic struggle, among others. “The Crisis,” like COVID-19, is a universal crisis that isn’t so universal at all. It exacerbates economic disparity, heightens racial strife and sparks violent protests. It tests the morality of our government and the morality of ourselves. It is tiring. When people hear enough news stories about injustice, they stop caring. They want to move on.

“Our Missing Hearts: A Novel” wraps up all these experiences into one, though not initially. The beginning of the novel reads simplistically. References to PACT are frequent, as are descriptions of violent protests and Bird’s homework espousing PACT rhetoric. However, the themes become more complicated as the novel develops.

The second half of the novel further explores the complexity of familial relationships. Like her previous novels, this is where Ng truly excels. As Bird conducts an investigation through Cambridge libraries, Ng reveals Bird’s complex relationship with his father — a white man who will punch a stranger for calling his son a racial slur, yet pretends that his missing wife no longer exists. Then there is his mother. Radical, violent, dangerous — this is what the media thinks of her. But Bird only remembers a gentle woman who used to tell him Chinese folk tales.

Though thematically simplistic at first, “Our Missing Hearts: A Novel” develops into a complex novel that opens up questions about America today. The novel portrays contrasting perspectives of resistance ranging from aggressive to nonviolent, but does not endorse either.

Could “Our Missing Hearts: A Novel” have taken a firmer stance? Possibly. The novel is complex enough, however, to make us scrutinize the state of our country. It makes us look more critically at our relationships with each other, within families and across racial lines. It begs us to remember past injustices, to do better, and above all, to speak out — in any way that we can.

Rating: 4.5/5 stars

The show is approximately two and a half hours and is split into two acts with an intermission in between. After being unsure of what to expect and not knowing much about Buddy Holly, the lights hit the stage, and the first glimpse into Buddy Holly as a person was the start of an unforgettable show.

One of the best parts of the show was how interactive it was. Unexpectedly, the actors and actresses engaged with the audience, and having this aspect included in the experience made the show much better. Everyone was singing, dancing and overall having a great time. This also put many things into perspective, as it really showed how music has the ability to bring people together.

The first act of the show started off with Buddy Holly getting a record deal with Decca Records and then, as time progressed into the second act, the show portrayed the growth of his music, his relationship with his band members and the personal relationships that he formed. While looking for record deals, as well as making music, he ended up falling in love with María Elena Santiago, eventually proposing to her five hours after meeting her. This scene was important because of Buddy Holly’s conversation with his mother after proposing to María. At one point during the conversation, after he told his mother María’s name, Buddy replied to his mother defensively.

“Yeah she is, and that doesn’t change the fact that I love her,” Holly said.

Based on the reaction that Holly had to his mother’s comments, it was implied that his mother did not approve of María because her name did not sound white. This scene was significant because, during this time, racial subjugation and discrimination were rampant, and Buddy’s ability to accept someone regardless of their identity showed much about his character. Regardless of Buddy’s mother’s inability to accept María for her son, he loved her effortlessly, dedicating a lot of his music to her as well as their future child.

In one key scene of the show, Buddy and his band, The Crickets, perform at the Apollo Theater in Harlem. The scene showed a lot about the impact that Buddy had on all of his listeners. Performing at a predominantly Black theater, Buddy was unsure as to how his music would be viewed. Despite this, once he got on stage and began performing, people fell in love with both him and his music. This scene was also of importance as it gave exposure to both a Black female performer and a Black male performer.

As Buddy’s life went on, he continued to perform while making music that changed people’s lives. Unfortunately, at the age of 22, Buddy Holly died in a tragic plane crash which left everyone devastated. “Buddy: The Buddy Holly Story” depicts Buddy Holly’s life beautifully and effortlessly, showing how his music makes such an impact on so many people’s lives even today. Hopefully, you all also get the opportunity to experience the life of Buddy Holly through this show — because the performances will definitely leave you wanting an encore!

The show follows the usual 22-minute format of sitcoms, similar to iconic shows like “Brooklyn Nine-Nine” and “Community,” although “Abbott Elementary’s” most similar senior precedent is “The Office.” The show is a mockumentary and workplace comedy, with many moments where characters would look into the camera in exasperation, “The Office”-style. The in-universe explanation for the film crew is that “they’re documenting the underfunded and poorly run schools in America,” truly setting up our expectations of the school.

The show’s strongest facet, to me, lies in its characters. Brunson plays the main character Janine Teagues, an awkward, rookie second-grade teacher whose endlessly positive attitude brings annoyance and change to her senior co-workers. Her relationship with her boyfriend Tariq, a genuine yet useless guy, and her budding mutual romance with substitute teacher Gregory Eddie seems to be set up for a tiring love triangle, but it is handled delicately as the season progresses. This could be said for all other characters as well, which is a feat for a show that just aired its first season. The ensemble cast includes Teagues’ peer Jacob Hill, who struggles to get his students to respect him, a teacher of 20 years. The show also features the witty and shady Barbara Howard, who feels like she’s being left behind, Melissa Schemmenti with her own budding romance and the outwardly outrageous Principal Ava Coleman with a hidden heart.

Despite its ”monster-of-the-week,” or rather “problem-of-the-week” format, it is the subtle character moments that bind the show together and make it more than your average sitcom. It takes obvious pride in its Philadelphia roots, despite the school’s problems that all came from having no money. The show doesn’t shy away from the real problems their school district faces, being a majority Black and brown student district in North Philadelphia, from the discrimination of gifted programs to the school-to-prison pipeline, also portraying the low-quality lunches provided to students. The problems are faced head-on, yet the show is still able to keep its lighthearted tone through the characters’ even more ridiculous reactions. The show’s bright color scheme reflects this optimism, with brightly lit classrooms and bright colors everywhere.

It’s important to point out that Brunson named the show after her sixth-grade teacher Ms. Joyce Abbott, inspired by her dedication to all of her students. This inspiration really shines in the show — it fundamentally lacks mean-spirited energy. Even characters that are the worst, like Coleman, who spent school money on herself, they still aren’t portrayed as a one-dimensional vile person or despised by others. The show’s philosophy centered on kindness and sacrifices for the students.

For audiences that haven’t known the works of Brunson, this is a surprisingly strong debut. But for those that had followed her career at one point or another, we are happy to see her finally get her own show, after years of short YouTube series either for Buzzfeed or on her independent channel and comedy skits. It’s like welcoming an old friend back, excited to see what she has accomplished.

Rating: 4.25/5