“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meanings and are written well, until you reach the point where “bad bitch” and “savage” are referenced, which feels outdated.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 

The event is hosted by the Q Center and Binghamton University Libraries, in conjunction with the women, gender and sexuality studies program and the theatre department. Attendees will view a reading by a drag queen and faculty lightning talks, followed by an interactive Q&A. Food and refreshments will be served.

The reading will be hosted by Samantha Vega, a Rochester-based drag queen. Last year, she read a chapter from “Ambientes: New Queer Latino Writing,” edited by Lázaro Lima and Felice Picano. Jillian Sandy, a subject librarian for the women, gender and sexuality studies department, said Vega will likely select another chapter that addresses how Latin and LGBTQ+ identities intersect.

“I had a blast last year when we hosted Sparkle & Scholars for the first time, and Samantha Vega was truly a highlight,” Sandy wrote in an email. “I’m looking forward to her presence again and excited to see what she chooses for her reading. And her outfit, of course!”

“I’m also really intrigued by the faculty lightning talks and the topics they will choose,” she continued. “I have a rough idea of the focus of their talks, but I don’t know the specifics. I expect I will learn something new!”

The faculty lightning talks will be about ten minutes each. Two faculty presentations have been confirmed so far: Bridget Whearty, an associate professor of English and the Center for Medieval and Renaissance Studies, and Sean Massey, an associate professor of women, gender and sexuality studies.

Sandy explained how the organizers approached selecting faculty speakers for this year’s Sparkle and Scholars event.

“We reached out to professors who we know are interested in topics related to LGBTQ+ history and/or activism,” Sandy wrote. “These are faculty members I have worked with before or know through other campus connections who are both extremely knowledgeable and excited to share their expertise in engaging ways.”

Next, there will be a 30-minute Q&A, where audience members can ask questions to the faculty and drag performer panel. Attendees are encouraged to bring thoughtful questions to share with the panel.

Along with audience questions, the panel will hear pre-selected questions from the moderator, touching on topics like the LGBTQ+ community’s underrepresentation throughout history, book bans and the relationship between queer scholarship and activism.

Sparkle and Scholars is an event that will continue to encourage dialogue about the LGBTQ+ community and inform students and community members on intersectional issues. Overall, it is an informative event that many different sectors of the campus have come together to produce.

The movie was highly anticipated thanks to the immense popularity of the game. Since the 2010s, Minecraft has been one of the most popular video games among children and adults alike, employing creative worldbuilding and easy-to-use formats. Many longtime, loyal fans have been anticipating this adaptation, preparing to judge whether or not it lives up to the game.

Although the film features a star-studded cast including Jack Black, Jason Momoa and Jennifer Coolidge, which has solicited viewers beyond players of the game, the original reception to the film’s trailer was largely negative. The previews appeared to feature an awkward mix of live action and CGI, cringy references to aspects of the game, and over-the-top, cheesy acting.

While it may not have a particularly cohesive or thought-provoking plot, the comedic strength of the actors and the blatant self-awareness of the film’s “cringe factor” works in a way many did not expect it to.

Black as Steve, the playable character in the video game, begins the film with an introduction to the Minecraft Overworld, a land made of cubes that can be reached through a portal. He discovers he can build whatever he likes, limited only by the bounds of his own creativity. To prevent the takeover of this world by the piglike creatures of the Nether, Steve instructs his pet wolf, Dennis, to hide the portal-making orb in the real world.

As the movie progresses, the rest of the cast comes together. Garrett (Momoa) is a washed-up gaming star who seeks money to save his failing shop. He meets Henry (Sebastian Hansen), a creative and nerdy kid who has just moved into town with his older sister and caretaker, Natalie (Emma Myers).

These three, along with Natalie and Henry’s real estate agent, Dawn (Danielle Brooks) come across the portal to the Overworld and get stuck with Steve. The group must find a way to return to the real world, while also keeping the Overworld safe from the Nether villains.

The film’s theme, the value of creativity, is overstated and delivered in obvious ways through the character of Henry, who thrives building tools in the Overworld. Henry and Natalie are characters that seem to serve no other purpose than to advance the plot of the story. However, Steve and Garrett have hilarious chemistry with one another, which incites constant laughter from the audience and serves as a greater bond than that between Henry and Natalie.

Black’s physical comedy cannot be overlooked and adds to the overall strength of the movie’s funnier scenes, especially when combined with Momoa for bromance-level interactions. Dawn also serves as a hilarious, likable addition to the crew.

The movie’s primary subplot is one in which Coolidge, as Henry’s vice principal, hits a villager who has wandered out of the Overworld with her car. The scenes featuring Coolidge, interspersed throughout the film, serve as a break from the main plot and are by far the funniest parts of the movie. Coolidge’s character appears to be just a manifestation of herself, leading to hilarious interactions between her larger-than-life character and the CGI villager.

Overall, while it may not be a cinematic, highbrow masterpiece, “A Minecraft Movie” is an enjoyable experience for all ages that provides a lovable, comedic adaptation of the video game. It is sure to make audiences laugh and enjoy their time in the theater. And what else, after all, can we ask of a comedy?

Rating: 3/5

The reality is that the best option, in all areas, is to not smoke at all. But most people already know that and choose to smoke anyway. So in that case, it’s best to know what one is getting themselves into when they pick up this habit. To make an informed decision on which habit to fund, including not at all, it’s necessary to weigh the pros and cons of each option against one another on a variety of different categories.

Health 

The obvious downside to either smoking or vaping is that both come with detrimental effects on one’s health, though both have a different impact to different degrees.

E-cigarettes, or vapes, contain large doses of nicotine, known to slow down brain development in children and teens. The liquid in the cartridges that create the vapor delivers toxins like cancer-causing chemicals and heavy metals. In the long term, researchers have found that vaping can cause a weakened immune system, lung damage and the release of free radicals into the body, which can cause cancer. They also may have more addictive properties than regular cigarettes.

It is important to note that since vaping is a relatively new phenomenon, especially due to its rise in popularity among the younger generation, there is not as much research into the long-term effects, and further data will come out in the future. In this way, the risks cannot be as well known as those of cigarettes.

Traditional cigarettes, in turn, have been studied pretty extensively and are known to be harmful. Smoking them has been known to cause nearly 90 percent of all lung cancer deaths and 480,000 deaths a year in the United States, according to the Centers for Disease Control and Prevention. In the long term, smoking combustion cigarettes can reduce sperm count, increase risks of cataracts, impair the immune system, cause cancer in any part of the body, trigger asthma attacks and increase the risk of stroke.

Cost

Smoking and vaping are both habits that cost money, but how much do they really cost?

On average, monthly vaping spending amounts to $82.22, and cigarette spending is about $118.77 per month, according to a study published in the journal Nicotine and Tobacco Research. This can be attributed to the higher frequency of cigarette use due to it being perceived as cheaper. It is also important to note that on top of these costs, medical fees should also be factored into the equation due to the high risk these habits could cause hospital visits in the future.

Convenience and cool factor

In terms of convenience, there is no denying that vapes are the clear winner. They can be shoved in one’s pocket, produce vapor instead of smoke, which makes them much more difficult to detect and can bypass many no-smoking zones in a way that traditional cigarettes cannot. They are easier to hide from parents, teachers or bosses, as many may not even recognize what they look like. They also come in many flavors, which can be helpful to those who don’t enjoy the taste of traditional cigarettes.

However, cigarettes have a certain aesthetic to them that cannot be replicated by brightly colored, plastic e-cigarettes. They have been shown in movies for decades — largely as a marketing tactic — on the lips of mafia bosses, gangsters and high school heartthrobs. One simply cannot imagine the same characters holding up a bubblegum pink e-cigarette cartridge for the same effect.

If one cannot be deterred from smoking, it is at least important to make an informed choice on what one is putting into their body, and what the effects of that choice will be. The decision between vapes and cigarettes may be different for everybody based on their lifestyle, health and purpose for smoking. Regardless, one must go into the habit with their eyes open.

Restaurants 

Located on 219 Washington St. in Downtown Binghamton, The Shop is a cute, hipster-style burger joint with large portions and consistently yummy food. The dim lighting and cute decorations set the mood for a romantic and fun evening.

Pho Nomenal, a Vietnamese restaurant, creates a lively and cheerful atmosphere with its open design and beautiful decorations. Stop by for some wonton soup or pho for a tasty lunch date. The restaurant is located at 20 Hawley St. and is easily accessible from campus by bus.

8-Bit Bites combines food and fun with an ’80s- and ’90s-themed decor and fried halal food, with video games that diners can play while eating. Located on 268 Main St. in Johnson City, this is the perfect choice if you want a more lively meal and atmosphere.

Ice skating 

If you choose to embrace rather than run away from the winter season, you can practice ice skating with your loved one. Although the ponds on campus aren’t safe to skate on, you can go to the indoor ice rink at SUNY Broome Community College. Fun for all skill levels, those more experienced can have fun skating side by side, and beginners can enjoy learning together and laughing over clumsy mistakes.

Crafting 

If you don’t want to leave your cozy living room, crafting is a fun and relaxing activity. You can make little figurines out of clay, paint on canvases or rocks, make bracelets or knit, all of which provide ample opportunities for conversation and can be done while watching TV or listening to music.

Movies

Another cute indoor date is cozying up on the couch and watching a nice romantic movie like “The Princess Bride,” “10 Things I Hate About You,” “How To Lose a Guy in 10 Days” and “Bridget Jones’s Diary.”

Bar-hopping

To those more prone to nightlife, bar-hopping provides a perfect opportunity to spend time together while also having fun and going out. Since Valentine’s Day falls on a Friday this year, there should be ample nightlife downtown. Some suggestions for bars to go to are Tom and Marty’s Town House, The Rathskeller Pub and Black Sheep Tavern.

Cooking and baking

An alternative to a restaurant date is to go shopping for ingredients and cook a meal and or dessert together. Cooking and baking can be a connecting activity and can lead to an inexpensive and delicious meal. Everyone’s skill level is different, so this activity can vary from an intricate recipe to box-made desserts. Some ideas for meals to make include heart-shaped pizzas, spaghetti and meatballs with garlic bread, or chicken parmesan. For those who prefer baking, classic chocolate chip cookies never fail, as well as brownies, red velvet cupcakes or chocolate-covered strawberries.

The story follows Jo March, an ambitious young woman living in Massachusetts who dreams of making it as a big-time writer. Along with Jo, we follow her three sisters and mother. Meg, the eldest sister, is a romantic, proper girl who serves as a role model for the household. Amy, the second youngest, is stubborn and yearns for a better, more splendid life, while Beth, the youngest, is known for her pure heart, passion for the piano and being content to spend time with her loved ones. The four grow together from girls to women and help one another navigate the world around them.

Zachary Powell, the director, the players’ technical director and a junior majoring in chemistry, described his inspiration for directing the play.

“‘Little Women’ is my favorite musical of all time, and one of the things that stood out to me when I applied to direct was how homey and cozy every scene felt,” Powell wrote in an email. “I grew up about 20 [minutes] away from where [Louisa] May Alcott’s book was originally written, and the story reminds me a lot of home. Personally, joining DCP has really helped me feel at home here in Binghamton, and I’ve made a lot of my closest friends through this club. Being able to bring this show to our stage felt like a perfect match.”

Laurie, a character who is a close family friend of the sisters, offers comedic relief in many parts of an otherwise serious production. His happy-go-lucky nature lightens the mood after more heartwarming or upsetting scenes.

These moments are often set to music, making them all the more emotionally poignant. The girls’ mother delivers a beautiful ballad about missing her husband, who is off at war, with a rich vibrato. A number in the second act, titled “The Most Amazing Thing,” highlights the emotional conflict that often occurs between Jo and Amy and features well-executed harmonies.

Lyd Wyble, the production’s music director, the organization’s president and a senior majoring in mathematics, elaborated on the importance of the play’s score.

“The score for this show is phenomenal,” Wyble wrote in an email. “There are several little moments that emphasize the love the characters have for each other — when Jo writes about her family, for example, you can hear each sister’s motif play underneath her. When Professor Bhaer sings about missing Jo, a melody from her earlier song echoes him. I feel like it ties the story together perfectly, and compliments the sort of wholesome vibe we’ve tried to depict.”

The cast and crew came together to create a musical and theatrical experience that tugged at heartstrings and impressed with strong vocals and acting. The tale of the March sisters stands the test of time and was well reflected on the stage this weekend.

“The Secret of Us,” Gracie Abrams’ sophomore album, was originally released on June 21. The album details a hard-hitting breakup and includes popular songs like “Close to You,” “I Love You, I’m Sorry” and “Risk.” This work properly established Abrams as a powerful vocalist and heartbreakingly poignant lyricist.

On Oct. 18, Abrams released the deluxe version of the album with four new songs and three live versions. The songs add emotional intensity to an already strong work.

The first of the new songs is “Cool.” The track adds an angry twist to the mostly sad album and details the aftermath of being love-bombed. Abrams’ exasperated tone and building backtrack create a strong new addition to the album, adding shade to ex Dylan O’Brien through direct references to his alleged former relationships with Sadie Sink and Sarah Ramos.

“That’s So True” is reminiscent of “deja vu” by Olivia Rodrigo and calls attention to her ex repeating old patterns and old activities the pair used to experience together with his new girlfriend. It’s a mix of anger and reflection over whether the experiences meant anything at all and whether her feelings are justified. The song does a good job of calling out her ex-boyfriend’s behavior without directing hate toward his new girlfriend, instead framing her as someone who is unfortunately caught up in a bad situation.

Following that is “I Told You Things.” This song is not as catchy of an addition to the album and is much more breathy. Despite this, the lyrics are well-written and do an excellent job of portraying the pain of building deep emotional intimacy with a person, which ultimately ends in betrayal and heartbreak. Had the backing track been stronger, the song would have been one of the best on the album.

The last of the new songs, “Packing It Up,” ends the additions on a positive note, with a cute song about new love which finds her when she isn’t looking for anything at all and in fact, is close to giving up on love altogether. The positive note leaves listeners going through a similar rough breakup with the promise of new love and uncomplicated mutual affection.

“I Love You I’m Sorry (Live From Vevo)” offers a stunning new twist on the best song of the album. Abrams’ vocals shine through the belting note changes, particularly on the ending chorus of “The way life goes / Joyriding down our road / Lay on the horn to prove that it haunts me / I love you I’m sorry.” It is clear through the addition of this track that Abrams has learned her vocal strengths and how to draw upon them to create a heart-wrenching melody.

“I Knew It, I Know You (Live from Vevo)” does not compare to the other live remake tracks on the album, but still does a good job of showcasing Abrams’ less processed vocals.

“Free Now (Live From Vevo)” is a fitting conclusion to the album, with the second half of the song featuring a power bass line and overwhelming vocals which do justice to the incredibly well-written lyrics, which detail the feeling of feeling free after finally letting go of a toxic connection.

Overall, the extra tracks add lyrical and vocal talent and are a welcome addition to an already well-produced album.

Final Rating: 4/5

The room was lit with dimmed fairy lights, illuminating the colorful artwork on the walls and the “take what you need” clothing rack. Wooden birdhouses and coasters were available on the table for audience members to paint while they watched the show. In addition, the Food Co-op, a student-run vegan cafe, served a variety of food and beverages at the event, including Earl Grey and double chocolate chunk cookies, chai blondies, espresso brownies, hot apple cider, hot toddies and apple and nectarine kombucha.

Ashley Dua, the Food Co-op’s general manager and a senior majoring in political science, described how the collaboration between the two organizations took place.

“We’ve done an open mic before, but WHRW and the Poetry Club reached out to us, because we hosted the space last year and they just wanted to do it again,” Dua said. “We love hosting as many events as we possibly can just because we like getting a good amount of people in here for the community.”

When it came time for the performances, there was a litany of media being presented, ranging from indie garage bands and solo artists to sentimental and comedic poems. The stage was littered with guitars, amps, basses, Moleskine notebooks and loose-leaf papers that participants were reading poems and lyrics from.

Roxanne Wells, a senior majoring in theatre, performed as the lead singer for her band Go Away Bird, the first act to perform. Wells explained how the band plays a mix of indie and pop songs. At the Co-op, they were set to perform a cover of a Strokes song as well as “There She Goes” by The La’s.

The musical acts which followed drew from a variety of different genres. Some songs played included “Good Luck, Babe!” by Chappell Roan, “Santeria” by Sublime and “Francis Forever” by Mitski.

The event had a homey feel which united audience members in their mutual viewing experience. Many poets, who had originally planned on just attending as audience members, were inspired to sign up during the event and performed spontaneously. Each poem was met with snaps of fingers from the audience members.

Holli Tasker, the Poetry Club’s marketing chair and a sophomore majoring in psychology, shared a piece called “When I grow up I will be my younger self,” which expressed the similarities between young children and old adults, especially ones who experience memory loss. She also shared her thoughts on the experience of performing poetry live.

“Performing poetry out loud is truly a unique way of expression that is rarely replicated in any other way,” Tasker wrote in an email. “Whether it be to people who know you and know your motivations or complete strangers that are being opened into your world from a special perspective, you are putting yourself out there, which is a vulnerable experience, it’s freeing, in a way.”

The long-awaited sequel to Todd Phillips’ “Joker,” “Joker: Folie à Deux” was released in theaters this Friday. Following its release, the film has been the object of ridicule for its bizarre plotline.

Surprisingly, the opening scene is not live-action but animated, featuring a mock Looney Tunes cartoon, in which Joker is haunted by his own evil shadow on a talk show. The sequence seems to imply that the Joker persona is not really Arthur Fleck’s personality, but a persona or split-personality that takes over him. The talk show setting mirrors the scene in the first film where Fleck kills the host, Murray.

The film stars the split personality of Fleck and Joker (Joaquin Phoenix) and begins with Fleck under state custody in a mental institution, awaiting trial. While he is there, he is entered into a music class and meets Harleen “Lee” Quinzel (Lady Gaga) a Harley Quinn-based woman who claims to be a fan and with whom he falls deeply in love. Following their romantic tryst, Fleck is to finally stand trial for the five murders he committed in the original film as Joker.

The movie is shot in a beautiful cinematic style mimicking the noir style of the 1940s and 50s. The scenes alternate between what is happening in real-time and song-led Joker fantasies occurring in Fleck’s imagination. These scenes are shot with great production value, though many of the songs featuring Quinzel do not make enough use of Gaga’s powerful voice, opting to give her lighter, falsetto tones. Though the songs are well-produced, they often feel out of place with the somber, serious tone of the movie.

Though the first film is incredibly difficult to replace, “Joker: Folie à Deux” does a great job of further developing the psychological profile of Joker. The plot delves further into how the persona developed within Fleck and brings life to both distinctive aspects of the persona, creating a Jekyll and Hyde-esque tragedy.

The introduction of Quinzel adds a new, romantic aspect to the storyline and offers a new portrayal of the iconic Quinn, one where she is not a psychologist turned evil by love but an already dark mental patient.

In addition, the first film ended with the Joker at large, with a band of followers and seen by the public in a positive, grandiose light. The sequel does a great job of critiquing the social service programs and general attitude toward those with mental health issues in the United States, while at the same time, condemning acts of violence.

The ending, the subject of much controversy, dismantles the harmful idea perpetuated in the first movie of the tragic, down-on-his-luck male character scaring the women around him and going on a revenge-killing spree to advance from loser to hero. It instead focuses on the devastating consequences of such actions.

Phoenix and Gaga do a phenomenal job acting their parts and ultimately save the movie. Phoenix’s iconic laugh, gut-wrenching monologues and manic outbursts are impossible to look away from, while Gaga’s soft yet demanding presence commands attention.

Ultimately, while the film doesn’t quite reach the iconic level of the original, it does a respectable job of following up the story and creates a deeper profile for the Fleck character and the franchise.

Rating: 3.5/5 

“The Tortured Poets Department,” Taylor Swift’s long-awaited 11th studio album, was released at midnight this past Friday. The album itself is inconsistent in its quality, something which is a new problem for the artist, whose albums are known for being cohesive. It is one which must be examined on a track by track basis.

Track 1: “Fortnight” (feat. Post Malone)

Rating: 1/5

This track was a weak start to the album, with vibes that are very derivative of “Snow On The Beach,” a title from “Midnights.” Post Malone provides backing vocals that feel somewhat out of place, as they contribute a techno vibe.

Track 2: “The Tortured Poets Department”

Rating: 2/5

This song is the one responsible for the markedly millennial title of the album. It appears to be a nod to her time with Matty Healy, lead singer of the 1975, with references to his friends and his typewriter. Although its concept — a love story between two tortured “poets” who happen to be obscenely famous record-charting celebrities — is rather ironic, the song itself is catchy with its repeated line of “who’s gonna hold you like me?”

Track 3: “My Boy Only Breaks His Favorite Toys”

Rating: 3/5

The third installment to the album had a markedly synth-pop tone, and, despite not being a stand-out track, it also appears to be the one in which Swift finds her footing with strong vocals and a powerful chorus that builds.

Track 4: “Down Bad”

Rating: 2/5

This song is undeniably repetitive and is indistinguishable from other generic breakup songs. Although her writing style is advanced due to her inherent talent, this song falls short of the lyrical prowess she exhibited in her last three studio albums, “folklore,” “evermore” and “Midnights.”

Track 5: “So Long, London”

Rating: 5/5

This track is a gut-wrenching breakup song about the dissolution of her six-year relationship with Joe Alwyn, a London native. The bridge builds in typical Swift fashion and she refers to Alwyn as a “moment of warm sun,” a notably devastating contradiction to her previous nods to him in “Lover” in which he is often compared to enduring daylight.

Track 6: “But Daddy I Love Him”

Rating: 5/5

This song has the feel of Swift’s earlier work and would not feel out of place on an album like, “Speak Now.” It has a nostalgic, fun feel of being in love and is executed well with a pure tone to Swift’s voice.

Track 7: “Fresh Out the Slammer”

Rating: 3.5/5

“Fresh Out the Slammer,” a powerful nod to her rekindled relationship with Healy, has a synth beat but with beautiful upper-register vocals and a chorus that builds in power throughout the song. Despite this, it has the same underlying beat that makes it hard to distinguish from other tracks on the album.

Track 8: “Florida!!!” (feat. Florence + the Machine)

Rating: 2.5/5

Florence Wench offers a nice variation in tone in this song with her rich and powerful tone. The song is one that is catchy, however, its overly-dramatic ode to the often-ridiculed American state is one which cannot help but invoke a grimace with its self-importance.

Track 9: “Guilty as Sin?”

Rating: 4.5/5

This track is both catchy and capable of capturing the pain behind the slow unraveling of a long-term relationship and the frightening entrance into a new one. It is one of sadness and hope, and of anger and lust.

Track 10: “Who’s Afraid of Little Old Me?”

Rating: 4.5/5

A bitter call for the public to reflect on their hyper-scrutiny of Swift’s life with the line “circus life made me mean,” this track is very “reputation”-era and is executed well. Swift invokes her lower register in an impressive and powerful fashion.

Track 11: “I Can Fix Him (No Really I Can)”

Rating: 2.5/5

This song is a nod to the common emotion many individuals feel of being convinced they can “fix” a damaged partner. The song has a compelling rhythm, but ultimately, its lyrical complicity doesn’t go much further than the title.

Track 12: “loml”

Rating: 4.5/5

The track seems to take a dig at Alwyn’s lack of commitment in their relationship and offers a play on “loml” to mean “loss” rather than “love” of one’s life. It is a beautiful ode to a painful breakup despite its repetitive melody.

Track 13: “I Can Do It With A Broken Heart”

Rating: 2.5/5

This song is catchy and explores the same themes as previous tracks on the album, but with a lesser degree of success. Its depressing lyrics with a happy tune was done better in Olivia Rodrigo’s “GUTS.”

Track 14: “The Smallest Man Who Ever Lived”

Rating: 5/5

A heart-wrenching deep-dive into her relationship with Healy with a commanding bridge and anger that bleeds throughout the verses, this song contains all the right amount of raw emotion and dark lyricism, such as “did you sleep with a gun underneath our bed?” and “it wasn’t sexy once it wasn’t forbidden.”

Track 15: “The Alchemy”

Rating: 1/5

An ode to Travis Kelce, “The Alchemy” is a love song that feels out of place in this album. It contains a play on “touch down” and jersey numbers, which feels forced.

Track 16: “Clara Bow”

Rating: 4/5

This track is named after a famous old-movie actress who invoked much controversy and is a beautiful and sad, rather than angry, reflection about her struggle in the limelight — which serves as a strong ending to the album.

The 2 a.m. edition to “The Tortured Poets Department” was a surprise to many loyal fans and contained 15 additional tracks. The highlights of this part of the album are undoubtedly “The Albatross,” a song with similar lyrical and musical complexity to what is seen on “evermore,” and “thanK you aIMee,” the thinly veiled yet amazingly catchy nod to Swift’s feud with Kim Kardashian. In addition, “Cassandra” and “Peter” are astoundingly “folklore”-esque with their use of a fictional character and their strong, soft musical background behind advanced lyrics.

Overall, despite its messiness and occasional disappointments, this album was a strong one whose highlights make up for its blunders.

Overall rating: 3/5

Many college students enjoy getting high, on life, of course, lounging in their dorms and most important of all — listening to music. Music can set the tone for any trip or high. It can be the difference between anxiety and relaxation or even just between boredom and fun. This means that it’s important to have a playlist queued just for the occasion. Everyone has different music tastes that will make their selection different, but here are some song suggestions for creating the ultimate experience and playlist.

1. A Nostalgic Tune

Everyone enjoys hearing a song that reminds them of their younger days and which brings back an influx of memories. This feeling can be especially powerful during an “experience,” so you’ll definitely want to include one of these.

A few suggestions are “Upside Down” by Jack Johnson (which was featured in the “Curious George” movie),“American Pie” by Don Mclean and “Somebody That I Used to Know” by Gotye and Kimbra. Depending on your age, you may want to tweak these to find one which really reminds you of your past.

2. An Upbeat Song

Especially early on in the night, you’ll want to have something that’s a pure fun feel-good song — one that you can bop your head to and get lost in.

Some songs that will definitely bring up the energy are “Blister in the Sun” by the Violent Femmes,“Harness Your Hopes” by Pavement, “Lovefool” by the Cardigans and “Gimme! Gimme! Gimme!” by ABBA.

3. A Groovy 60s and 70s Jam

No matter what your taste in music is, it’s important not to forget to include some songs that are associated with one of the most influential times in psychedelic, folk and disco.

Some classics from this era are “Strawberry Fields Forever” by the Beatles, “I’ll Be Your Mirror” and “Femme Fatale” by The Velvet Underground, “Althea” by The Grateful Dead and “The 59th Street Bridge Song” by Simon and Garfunkel.

4. A Grunge Legend

The 90s were associated with the grunge genre, a subgenre of alternative rock. With music that often features references to getting high as well as a garage-band feel, this is definitely a group of songs you’ll want to include.

Some of the most notable grunge songs are “Something in the Way” by Nirvana, “Angry Chair” by Alice In Chains, “Agüela” by Molotov, “Hey” by Pixies, and “Not Allowed” by TV Girl — though not from the 90s, it has a similar vibe.

5. An All Encompassing Song

There are some songs that make you feel a dozen emotions at once and which feel as though they are taking you on a journey. While great to listen to any time, these songs are best when listened to when an hour or more into your “experience.”

“Exit Music for a Film” by Radiohead, “The Great Gig in the Sky” by Pink Floyd and “A Running Start” by Sufjan Stevens are some suggestions that are sure to make you get lost in the moment.

6. A Mellow, Sad Track

Whether or not to add one of these depends entirely on whether or not you feel you’re in the mood for it. For some, a calm, downbeat song can ruin the vibe and put them in a bad mood. For others, though, it can enhance the experience and make emotions more intense. Tread with caution with these tracks, and only add them if you think they’ll add to a good time.

Some mellow suggestions are “Not Strong Enough” by Boygenius, “This Feeling” by the Alabama Shakes, “Waiting Room” and “Motion Sickness” by Phoebe Bridgers, “Vampire Empire” by Big Thief, “Hoax” by Taylor Swift and “I Bet on Losing Dogs” by Mitski.

These types of songs, when personalized and assembled together in a playlist, should make for a great time. Remember to be in a good environment with people you trust and have fun.

SHADES, an organization for LGBTQIA+ students of color on campus, hosted its eighth-annual Sex Carnival this past Sunday evening. This year’s theme was “boudoir” — a word that evokes images of burlesque fashion and mystery.

Upon arriving at the Binghamton University Mandela Room, attendees were able to participate in a variety of sex-themed games, including “pin the clit on the vulva,” sex pictionary, sex-education trivia and a race to put a condom onto a cucumber.

The activities were the result of collaboration between 23 student organizations — the Asian Student Union, Change of Tone, Latin American Student Union (LASU), the Q Center, the Bing Abortion Advocacy Coalition (BAAC), Pretty Girls Sweat, the Disabled Students Union (DSA), the Caribbean Student Association (CSA), Keshet, the Philippine American Union (PAU), Corazoncitos, the Henna Club, Sigma Gamma Rho Sorority Inc., OSTEM, Planned Parenthood, the Feminist Collective, 20:1, the Thurgood Marshall Pre-Law Society, the Juvenile Urban Multicultural Program (JUMP), the Charles Drew Minority Pre-Health Society, PULSE, DOVE and NYPIRG.

Arianna Alvatorre, secretary of LASU and a sophomore majoring in business administration, helped run the table for LASU. For their activity, participants had to team up to get a balloon from their feet to their heads without using their hands.

“We really wanted to express sex positivity, and it’s just a really fun event,” Alvatorre said. “I’m excited to see the performances. I’ve heard good stories from last year.”

Bottomless mocktails were given out to all attendants of the event. Tables also gave out prizes, such as candy, stickers and tickets that would give winners entries into the sex toy raffle. Tickets could be purchased or won through the games. Each prize had a corresponding bag that one could place their tickets in hopes of winning.

There were three tiers of sex prizes that were being raffled. Prizes included dildos, flesh-lights, vibrators, lubricants and self-care products of increasing prices. The tiers were raffled off at different points throughout the night. Each prize came with instructions for cleaning and safe use.

Janelle Mosquera, fundraising chair of SHADES and an undeclared freshman, detailed the work that went into organizing this aspect of the carnival.

“Our secretary, [Alivia Gadson, a junior majoring in business administration] … emailed over 100 companies for the sex toys, so that took a lot of time,” Mosquera said. “Obviously we had the help of all of our E-board members, so it wasn’t too bad, but it was a lot of work.”

At 7:15 p.m., the games were stopped so attendees could enjoy a special show from the Quimbamba Latin Dance team to songs such as “Under The Influence” by Chris Brown and “Earned It” by The Weeknd. Crimson dresses, dark stockings, strategically placed chairs and blindfolds wowed the audience in a fast-paced and risque performance.

Ayman Habib, a freshman majoring in computer science, performed a dance solo that featured a bright pink whip. Ayman detailed the inspiration behind his performance before it was time for him to go onstage.

“Being raunchy, being sexy, being out there,” Habib said. “Sex. Like dirty, nasty sex.”

Along with these performances, viewers enjoyed competitions between different attendees. Participants competed to be awarded the prize of best dressed by strutting across the room in on-theme burlesque outfits. There was also a twerking competition, in which contestants tied a tissue box filled with ping-pong balls around their waist and tried to shake out as many of them as possible. The night came to a close with a lap dance contest in which four dancers performed with four different volunteers. The winner was decided based on the audience’s enthusiasm and applause.

This year’s Sex Carnival was a representation of what can be accomplished when student-run organizations on campus come together for a common goal. SHADES and the 23 collaborating organizations created a sex-positive, educational and fun environment that was inclusive to all. The night was one that can only be described as a celebration of sex, love and expression.

“Lisa Frankenstein,” written by Diablo Cody, brings the 1980s back from the dead in a spoof of the quintessential Frankenstein story.

The movie stars Lisa Swallows (Kathryn Newton), a misunderstood teen girl whose mom was recently murdered and who has to start a new life in a new town with a new stepmother and sister. When Lisa accidentally raises a long-dead Creature (Cole Sprouse) from his grave, she must contend with the deadly aftermath and help him find some new body parts along the way.

The film opens with a credits montage entirely in black and white, which features silhouettes of classic Frankenstein moments while “The Promise” by When In Rome plays. Following this, the color scheme and mood switches up entirely. Viewers are plunged into a bright, stereotypical 80s home. Lisa and her stepsister, Taffy (Liza Soberano) prepare for a party by crimping their hair, applying electric blue eyeshadow and deep red lipstick.

One of the best parts about this movie is undoubtedly the fashion and visuals. Lisa shocks in black, lacy and beautifully crafted outfits that offer a stark contrast to the pepto-bismol pink house she resides in. The set itself is decorated with many 1980s pop-culture references present in Lisa’s room. The Creature is often seen alongside clothing and posters that reference the Violent Femmes and The Clash. In keeping with the Frankenstein theme, a tribute to “A Voyage to the Moon,” a 1902 silent film, can be seen adorning Lisa’s closet. The set and costume designing are tributes to both the 1980s and gothic style.

The humor in the film is also pleasantly cheesy and light-hearted. Along with sex jokes, puns and well-timed awkwardness, there are many quick-witted bits of dialogue that keep the movie fun.

About a quarter of the way into the film, Lisa describes the boy she has a crush on by calling him “cerebral.” Her stepsister’s only response is “he’s in a wheelchair?” Lines like these are maybe not what one would expect from a Frankenstein-inspired movie, but its contrast to the actual plot of the film keeps things from getting too bleak.

Viewers should be warned that although the movie itself is a comedy, it does deal with some dark subject matter, such as sexual assault and murder. Many of the murders present in the film mirror the plotline of “Heathers,” a defining film of the 80s. Similarly to J.D. and Veronica Sawyer, Lisa and the Creature embark on a comical killing spree that targets those who have wronged them.

Where the film falls flat is in its one-dimensional side characters. While this movie is intended to be a spoof, most of the characters lack any real substance. They could all be placed into a neat box of “evil stepmother,” “angsty teen” and “clueless father.” While characters like these are prevalent in many teen movies, they work best when the characters subvert stereotypes to become something more than a flat cut-and-paste. The only side character who does this well is Taffy. Though she is initially portrayed as a “ditzy cheerleader,” she later comes to be known as a strong-willed devoted sister and daughter. All other side characters fail to break free from the confinements of their tropes.

Despite this flaw, this movie is overall a very enjoyable film that does what it is meant to — entertain and invoke nostalgia for old stories and old times. “Lisa Frankenstein” is set to join “Juno” and “Jennifer’s Body” on Cody’s list of accomplishments. Lisa Frankenstein, beloved wife, is sure to be revered alongside other iconic “misunderstood” female characters for generations to come.