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It’s award show season! Red carpets, outfits, and (in theory) the celebration of the art of the past year. The Grammys, like most award shows, have a diversity problem. Critics have hailed this years’ nominees as changing the dynamic of the award show, but frankly; I’ll believe it when I see the winners. It is really important, though, that some really incredible artists and bodies of work were nominated and I (as always) have many opinions. Here is my comprehensive(ish) review of the General Field Grammy nominees (because I simply do not have the energy to go through 84 categories) and who I personally would like to see win. 1. Record Of The Year HEY, MA Bon Iver BAD GUY Billie Eilish 7 RINGS Ariana Grande HARD PLACE H.E.R. TALK Khalid OLD TOWN ROAD Lil Nas X Featuring Billy Ray Cyrus TRUTH HURTS Lizzo SUNFLOWER Post Malone & Swae Lee I guess this one really depends on how you define record of the year. Old Town Road broke records of longest charting song in Billboard history, spending nearly 20 weeks at #1. So it is, indeed, the Song of the Year based on charts alone. My runners up are Bad Guy and Sunflower, which I also truly enjoyed and are, arguably, better quality songs. 2. Album Of The Year I,I Bon Iver NORMAN F***ING ROCKWELL! Lana Del Rey WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? Billie Eilish THANK U, NEXT Ariana Grande I USED TO KNOW HER H.E.R. 7 Lil Nas X Montero Lamar Hill, songwriter; Eric Lagg, mastering engineer CUZ I LOVE YOU (DELUXE) Lizzo FATHER OF THE BRIDE Vampire Weekend While I (truly!) thoroughly enjoyed every single album on this list, I have to give it Lizzo. As a diehard Lana fan who thought NFR was incredibly well done, and her best album since Ultraviolence; I must admit that Lizzo absolutely blew up this year, and Cuz I Love You was a tour de force. The way that Lizzo makes people, especially women and people of color, feel is what makes her such a powerful artist. Not only is she talented and empowering, but the album is well crafted and dynamic- certainly album of the year. 3. Song Of The Year ALWAYS REMEMBER US THIS WAY Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, songwriters (Lady Gaga) BAD GUY Billie Eilish O'Connell & Finneas O'Connell, songwriters (Billie Eilish) BRING MY FLOWERS NOW Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters (Tanya Tucker) HARD PLACE Ruby Amanfu, Sam Ashworth, D. Arcelious Harris, H.E.R. & Rodney Jerkins, songwriters (H.E.R.) LOVER Taylor Swift, songwriter (Taylor Swift) NORMAN F***ING ROCKWELL Jack Antonoff & Lana Del Rey, songwriters (Lana Del Rey) SOMEONE YOU LOVED Tom Barnes, Lewis Capaldi, Pete Kelleher, Benjamin Kohn & Sam Roman, songwriters (Lewis Capaldi) TRUTH HURTS Steven Cheung, Eric Frederic, Melissa Jefferson & Jesse Saint John, songwriters (Lizzo) Truth Hurts was released in 2017, so why it’s on this list is beyond me. But Emily, you say, it rose to prominence/ “public awareness” (via the Grammy rules) in 2019. To which I would argue that it didn’t, I and many others were jamming out to Truth Hurts in 2018, for which reason I say that the song of the year is Lover. I feel the need to qualify this in a couple of ways. I loved NFR and its titular track, as stated in my album of the year shpiel, I just don’t think that song specifically got big enough to be song of the year. “Doin’ Time”? Maybe. But NFR? No. Lover (the album) deserved to be nominated for album of the year, but since it isn’t, I’ll settle for Lover (the song) as song of the year. It’s an instant classic, it’s romantic, it’s sweet, and it’s a new era for Taylor. It’s nice to see the girl happy, okay? 4. Best New Artist BLACK PUMAS BILLIE EILISH LIL NAS X LIZZO MAGGIE ROGERS ROSALÍA TANK AND THE BANGAS YOLA Even though Maggie Rogers has been out here since the famous Alaska/Pharell incident and the video came out, her debut album “Heard it in a Past Life” came out this year. She has really been getting the recognition she deserves for her solid indie pop discography in 2019 and I really can’t wait to see where she goes next. Honorable mention goes to Rosalía who really did break into the mainstream this year. “Barefoot in the Park” with James Blake was one of my favorite collaborations of 2019. I also think it’s interesting that Lizzo is in this category, when she’s been working in the industry for over 10 years now- something to think about. All in all, this should be a really interesting year for the Grammys. I’m excited to see who wins! If you want to watch the show, it’s airing on January 26th on CBS at 8pm ET.

Mia Saidel | Dec. 6, 2014 There’s always room for artistic expression, so the saying goes. In the context of the Czech Republic, such freedom that was leant to the creative minds of the Film and TV School of the Academy of Performing Arts in Prague (FAMU) during the waning of the Stalinist regime helped lead the state to democratization in 1989. The cinema in the 1960s was an arena for Czechoslovakian political dissent, where film directors enjoyed a state-supported film industry and increased creative license. Among these visionaries was Vaclav Havel, a gifted playwright who later became the first president of the democratic Czech Republic. The 25th anniversary of the Velvet Revolution and Havel’s presidency coincides with this year’s Czech film series titled The Play’s the Thing, brought to the Malsi Doyle Theatre by the Embassy of the Czech Republic, the National Gallery of Art, and the AU School of Communication. Prior to the Velvet Revolution, the dismal implications of Communism clouded the lives of Czechoslovakian citizens. Disgruntled filmmakers took to the cinema and brought political satire, dark, absurd humor, and unscripted dialogue to shape the Czech New Wave, a period in the early 1960s of cultural declaration and relatively eased film censorship where statements against the government as a Soviet satellite state could be made for the first time. However, the liberalization of the Czech cinema tradition did not come without repercussions; Havel was imprisoned for five and a half years starting in 1979 for the political dissidence of his plays and writings. The first film out of the two that were screened at the premiere of the film series certainly contained many political implications. The Uninvited Guest, directed in 1969 by Vlastimil Venclik, satirized the house searches that were imposed on Czechoslovakian citizens who were accused of resisting socialism. The film opens with a young married couple getting ready for bed and preparing to share intimacy when several loud, demanding knocks on the door of their flat forces them to open the door. A large, imposing man ambles into the flat with a cigar and suitcase and tells the couple with a grudging voice, “They sent me here, so I have to stay here.” The man offers no explanation for his stay thereafter. Such abrupt, vague language characteristic of the film was reminiscent of the enigmatical nature of the communist regime, where purges and searches of the people in the 1950s were swift, anonymous and unexplained. The small amount of time in which the couple obliges to the strange man’s presence in their home not only adds to the absurdity that is indicative of this particular film era, but also speaks to the helplessness of the common man in the face of Communism. The man’s brutish interruption into the couple’s lives, depicted through the subsequent scenes wherein he dumps the contents of his suitcase onto the floor, plays the harmonica at the dead of night, and eventually makes himself at home on the couple’s bed reinstates the notion of almost despotic governance. The black and white of the film further enforces the strict dichotomy between Marxism-Leninism and the people. Though the couple and the domineering man are given the central focus, there is a poignant scene in which the husband steps out of his flat in his striped pajamas into the corridor and sees his neighbors in identical pinstriped nightwear with similarly large, imposing men towering over them. The message was clear: every home had its own private intruder under the rule of the proletariat. The power of the film was met with an equally powerful response; after it was released, the government forbade Venclik from making films for the next 20 years The last film, titled Every Young Man, directed by Pavel Juracek in 1966, highlights the more banal realities of socialism. The storyline about the mundane and slow-paced lives of two Czechoslovakian soldiers is muddled and unclear, an intentional motif. Most of the story follows the two soldiers involved in idle activity, wandering about during their free time in a vacant city most likely alluding to Stalinist Prague, sitting on a train, or even waiting outside a doctor’s office. Staying true to New Wave film technique, there is minimal dialogue and music; on the occasions when there is dialogue, it is between two people at most and involves one soldier asking another an existential question that is not answered directly. The questions are about marriage, love, and the meaning of life. Such ponderance on the part of soldiers, free of their menacing war artillery and left only with their thoughts, alludes to the questions that were unanswered by the regime with regards to the enforcement of Stalinist ideals in Czech society. The theme is cemented when the two approach a window with a noose hanging from the ceiling, and the younger soldier asks the older major: “Have you seen any men who hanged themselves?” The major walked away silently without looking at the inquisitor, as if the depression and loss of identity representative of the period spoke for itself. The two then proceeded to tend to their military rounds in the countryside in silence; the silent eyes of the government were always watching. The selection of the films shown at the premiere of the film festival not only highlights Havel as a great cinematic force, but also speaks to the authenticity of the arts as a vehicle for political change. Though Vencliv and Juracek were not as famed as their fellow New Wave counterparts, they contributed to giving a face to Communism in ways that surely resonated with audiences that lived during the regime as well as those who did not. These films were empowering and compelling, and demonstrate to the fullest degree that there’s always room for artistic expression.

The White Rabbit “You ever have the feeling that you’re not sure if you’re awake or still dreaming?” – Neo After a high-paced chase scene, the Wachowskis’ introduce us to their protagonist Neo found sleeping by a computer. Suddenly, the screen starts flashing messages, one of the most iconic being “Follow the White Rabbit,” after which Neo hears a knock on the door. This scene reminds me of my closeted or “egg” days. This is where I would relentlessly search and try to figure out whether I was indeed transgender. As described by a Vox article, being an egg (closeted) describes a time when “everything is muffled, and the world is hazy and translucent” and that “there is always some barrier between you and reality.” The world, muffled by dissociation and the unknown, remains incomplete. Therefore, we go searching for the “white rabbit” – a sign, group, or person that will guide us. Neo does eventually find his “white rabbit” in the form of Trinity at the club, who ends up introducing him to the world beyond the Matrix. Part of a Whole “One of these lives has a future. One of them does not.” – Agent Smith Once given the opportunity to find his true self, Neo meets some trouble the next morning in the form of Agent Smith & his cronies. These men, at least to me, represent the doubt and fear in coming to terms with your identity. Whether that be via societal, cultural, or familial pressure, you end up interrogated and feeling alone, like Neo in the interrogation scene. In this scene, Neo is “deadnamed” as Mr. Thomas Anderson, and told he is to comply with the rules of society, or else. When Neo refuses, he is physically silenced as the script notes, “[Neo] feels his lips grow soft and sticky as they slowly seal shut, melding into each other until all traces of his mouth are gone.” In a terrifying scene, Neo is bugged and tossed home, physically shaken and traumatized as he is unable to tell if anything happened or not. This entire set of scenes shook me to a point where I had to pause the movie to collect myself before continuing. The interrogation scene is so reminiscent of many coming out stories, including my own. Questioned, and not really listened to much at all. Down the Chute NEO: “I can’t go back, can I?” Morpheus is sitting like a shadow on a chair in the far corner. MORPHEUS: “No. But if you could, would you really want to?” The Matrix After a few scenes, Neo finally meets the fated Morpheus. Morpheus offers Neo the red or blue pill. He takes the red and his “egg” is literally cracked open – physically and mentally. He emerges from the “red rubber cocoon” and is suddenly sent down a chute. After this, he meets the crew again, who helps nurse him back to health as his muscles atrophied while in stasis. Once healed, Morpheus takes him on a tour of what the Matrix is, and the current reality he lives in. Neo finds it difficult to believe and once out of the simulation proceeds to vomit, and emotionally break, as he too, has a hard time wrapping his head around it. This is reminiscent of the egg cracking and coming out period. Both processes are physically, emotionally and even spiritually painful, but do become easier over time with the help of others, and eventual self-acceptance via therapy. Guides “Then you will see that it is not the spoon that bends. It is only yourself.” – Spoon Boy Once training begins, and Neo gets to know the crew, Morpheus takes him to the Oracle within the Matrix. There he meets other “Potentials” who are either in various meditative states or levitating objects around the room. The Oracle calls him in and discusses his fate. This scene reminds me of therapy that a transgender person may have to go through to gain access to surgery and hormones. However, it also contradicts this sequence with the quote, “Know Thyself” in the sense that no one else can determine your transness aside from you. But to know oneself, therapy is always helpful. Finally, to reference the quote above, as you begin to build yourself and your chosen family, the world begins to change in both positive and negative means around you. The Ugly “Human beings are a disease, a cancer of this planet. You are a plague. And we are… the cure.” – Agent Smith Alongside the guides, there are those who discriminate and systematically work against us. The more one embraces trans identity, thus breaking the Matrix, the more people who may come after you. This “ugly” side of humanity shows through Switch’s death and Morpheus’ torture. Switch’s death, and last lines, “not like this” are reminiscent of those we lost too soon. People who the trans community mourns, people who couldn’t live out their lives as who they wanted to be. Further, Morpheus’ torture relates to conversion therapy. As the agents try to break his mind and spirit, Agent Smith revels in homophobic and transphobic rhetoric, citing humans as a disease, and them to be the “cure.” This side of the movie shows the hurt and suffering one experiences as an LGBTQIA individual. It is painful to watch these scenes, especially in these times when so many trans and LGBTQIA people are hunted and lynched for being who they are. The End “…you’re going to realize just like I did the difference between knowing a path and walking a path.” – Morpheus Though there are some sad moments, the movie reminds us that we can still live and breathe despite the bondage we were born into. As Morpheus escapes, Neo realizes his true power as “The One” and manages to not only fight but defeat Agent Smith. Through these last few minutes, the movie shows the power we do have in numbers as trans individuals, if we are to accept our true selves and embrace identity. At the end of the film, Neo leaves a message for the machines, that they do not have to fight, even though Neo will do his best to defeat them. To me, this ending is symbolic to the times we are experiencing right now. We lost people. People we loved and care for. And now, it is time to fight back. The choice is only ours.

Nikolai Razumov December 3, 2020 | 2:34pm EST Sometimes art can be forgotten and left to fall into ruin over time without the admiration of onlookers. I love to find that forgotten art. I am interested in urban exploration, which is the act of exploring manmade structures such as abandoned buildings. Most of these places are illegal to explore because they’re either property of the government or they’re privately owned. Urban exploration is very popular in photography and film and I have seen these types of places used as settings especially in the horror genre. From an artist’s perspective, I love to see how creative people have made their mark in these places. Sometimes artists leave their names or pictures on the crumbling stones but whatever they put there has a story to it. A little less than an hour drive away from Washington DC is a place called Patapsco Valley State Park. It’s located near Ellicott City, Maryland, which in itself is beautiful and historic. Patapsco is home to some of the coolest forgotten art and legal urban exploration opportunities that I’ve found so far in the DMV area. I’ve been here a couple of times and wanted to share some of my favorite spots that I’ve found with everyone at AU. Urban exploration can be dangerous but Patapsco is a good place to check out because it’s fairly accessible with ramps and trails. I personally made my friends hike up the hidden staircases and through the overgrowth but that isn’t required. It just added to the adventurous experience. My friends didn’t know about the abandoned buildings in Patapsco so I was excited to show them around. There is a designated spray painting wall, an abandoned decorated silo, a railway tunnel, several old structures, and hidden staircases all dispersed throughout the park. The place I was most excited to show them was the hidden chapel at the top of the mountain above the train tracks. It used to be a place called St. Mary’s College but was abandoned and fell into decay. When I found this place the first time years ago, there was an enormous metal cross in the chapel, which has since been removed and I wasn’t able to locate it anywhere during my trip back. When we went up to the chapel, I was amazed to see that someone had painted the entire structure for a wedding. I have no idea what the markings or dragons mean and I haven’t found much information about it online. I know nothing about the artist or the backstory other than from what I was able to decipher on the painted altar. It felt like I had stepped into a world where H.P. Lovecraft and The Elder Scrolls had crossed over. The mystery of this place was awe inspiring. I love romance and I can’t imagine how much time, energy, and love went into painting all of this for someone else. It was so special to walk around the chapel and observe all of the small details that someone took hours of devotion to create. Old places can lead to new inspiration. I love how the ruins of Patapsco have served as canvases for so many incredible artists. As far as I know, the St. Mary’s College chapel structure is still standing in Patapsco along with some incredible other places in the park. As long as you stay respectful and safe, Patapsco is an awesome place to go on an adventure with friends. It is a fun hike with inspiring places to photograph and explore. Who knows what other forgotten art you might come across!

Gracie Donovan December 4, 2020 | 2:46pm EST Thanksgiving is over so that means the Christmas season has officially begun. And now, finally, we can once again binge watch the Rankin-Bass Holiday specials on Freeform. What are the Rankin-Bass Holidays specials, you ask? I think you know. They’re the incredibly weird, claymation movies that come around every holiday season only to be hidden away the minute your last Christmas present has been unwrapped. Some of my favorites include: Santa Claus is Coming to Town, A Year Without a Santa Claus, Rudolph the Red Nosed Reindeer, and much more. So here’s a list of all of those incredibly odd Christmas specials (only the important ones, of course) rated. Rudolph’s Shiny New Year (5/10) First is the absolute oddest one. Because I really can’t talk about these Christmas specials without starting with this one first. It’s Rudolph’s Shiny New Year. This movie follows Rudolph, a reindeer we know well, as he saves the new year (who is in the form of a big eared baby). Santa receives a letter from Father Time telling him that they must find Baby New Year before the new year. And, naturally, Santa sends Rudolph to do his bidding. The weirdest part about this movie is that there’s a gigantic vulture named Eon who will turn to ice and snow when the new year begins. He wants to kidnap Baby New Year so the year will never begin. This movie has burned itself into my brain in a way I will never truly forget, mostly because of Ben Franklin’s surprise cameo. I give it a 5/10 just because it’s so disturbing. Santa Claus is Comin' to Town (9/10) This is probably one most people know. But despite that it’s still pretty weird. In Santa Claus is Comin' to Town we get the backstory for Santa Claus, also known as Kris Kringle. Kris is an orphan baby left on the steps of Somebertown’s city hall. The mayor, Burgermesiter Mesiterburger, tells his guards to get rid of the baby right away. A strong wind carries the baby to the mountain of the Whispering Winds where animals hide the baby from the Winter Warlock before taking young Kris to the Kringle family. The Kringles happen to be toymakers, and they teach Kris their craft. When Kris grows up he decides to finally cross the mountain of the Whispering Winds so he can bring their toys to Sombertown. When he arrives, he is surprised to find that toys are outlawed in the town. What follows is a thrilling tale involving the arrest and rescue of Kris, the befriending of the Winter Warlock, a song by Kris’ love The most important thing about this movie is the soundtrack. I sing Jessica’s 70s power ballad not only on Christmas, but all year round. This one gets a 9/10. Points taken off for the annoying noise the penguin makes. Rudolph the Red-Nosed Reindeer (7/10) I know that you know this one. This Christmas special tells the story of Rudolph. A reindeer who somehow has a glowing, red orb instead of a nose. It’s never explained why that is. Rudolph’s parents attempt to hide his abnormality but when his secret is revealed, he decides to set off on his own. But not before igniting the flames of a romance between him and a reindeer named Clarice. But don’t worry, she wears a red bow and mascara so that we’ll know she’s a girl. Rudolph leaves the north pole with an elf named Hermey who, very weirdly, wants to be a dentist. They also run into Yukon Cornelius, a miner, who joins them on their journey. The three try to find solace on The Island of Misfit toys but are rejected, after an absolute banger of a song, because they aren’t toys. Rudolph eventually ditches the two because he believes his red nose puts them all in too much danger (it attracts the attention of a snow monster). Some time later after Rudolph has grown up, he returns home to find that Clarice and his parents have been looking for him ever since he left. There is a final battle with the snow monster where Yukon (allegedly) dies. By the end of the movie Hermey is allowed to open a dentist's office, Yukon has returned with the now tame snow monster, and Rudolph is given the job of guiding Santa’s Sleigh through the snowstorm on Christmas Eve. All in all, it feels like the real story of the song we all know and love is not told in this movie, at all. It really feels like a lot of backstory that we don’t really need. Plus there's the blatant reindeer sexism. I’ll give it a 7/10. The Year Without a Santa Claus (10/10) Here it is! The one you’ve all been waiting for. This is, without a doubt, the best Rankin-Bass Christmas special. It tells the story of the year Santa decides to cancel Christmas due to lack of Christmas spirit and a nasty cold. Mrs. Claus, the clear protagonist of the story, is determined to change his mind. She does this by sending two elves (Jingle and Jangle) to find an example of Christmas spirit. After a confrontation with twin brothers, Heat Miser and Snow Miser, they eventually achieve this by getting the people of Southtown to designate a national holiday for Santa. Why does the mayor of Southtown have this much influence over the entire earth? I can’t say. But what I can say is that the songs in this special are without a doubt the best. We start off with the theme song, a true classic, where tone deaf children and Mrs. Claus sing of “that terrible year” when “Santa Claus took a holiday.” Yes, I do know all the words to this song. Other notable mentions are Mrs. Claus’ solo “I Could be Santa Claus,” “The Snow Miser/ Heat Miser Song,” and, of course, the absolutely tone-deaf cover of “Blue Christmas.” The best part about this movie is when Santa awakes from his nap after being told of the national holiday and begins to make a series of grunting noises that are truly horrific. I give this one a 10/10, it's just that good. Well, there you have it. My personal ranking of the most important Rankin-Bass Christmas Specials. Happy Holidays everyone!

Lindsey McCormack December 7, 2020 | 4:11pm EST Good sapphic representation seems few and far between in media. Despite a steady increase in the number of sapphic characters we’ve seen on TV or in movies in recent years, much of the representation that is given is short-lived, just plain bad, or repetitive. Sapphic characters are often heavily sexualized, underdeveloped, or part of a period piece. Some networks have attempted to create characters that actually feel human in recent years and some of those attempts ended in great results. People were seeing themselves in characters perhaps for the first time ever. Take Netflix for example, they’ve created a variety of shows in recent years that feature strong sapphic leads and have made audiences very excited. Here’s the thing though, most of that progress ends up losing meaning. Because although Netflix can produce a show with good sapphic representation, they can’t seem to renew any of them. Most of the shows that Netflix has created in recent years that feature sapphic characters have been canceled. Netflix draws in queer audiences with the promise of representation, then betrays them. It’s time we talk about that. An example of this phenomenon happened earlier this year when Netflix decided to cancel two shows with sapphic leads within a week of each other. ‘I’m Not Okay With This’ (2020) and ‘Atypical’ (2017). ‘Atypical’ was lucky enough to last 3 seasons before it was canceled, however, it should be noted that Casey (one of the starring characters) didn’t even realize she was into girls until partway through the second season and didn’t start dating her love interest, Izzie, until the beginning of season three. So, the actual total time of queer rep in the show was more like one and half seasons before getting canceled. A fourth season may also be in the works before the show’s official end, but COVID has made those exact plans unclear. ‘I’m Not Okay With This’ unfortunately only got one season before being canceled. Sydney, the main character, is a teenage lesbian who is discovering she has superpowers, dealing with the after-effects of her dad’s death, and falling in love with her friend all at the same time. The story was intriguing and an interesting mix of an authentic gay youth experience and sci-fi. Sydney’s deeply layered character is a rarity in lesbian media and that excited many young sapphics, especially lesbians, who tuned into the show. It is even revealed that Sydney’s friend Dina likes her back. Dina is deeply layered as well, but has a very different experience with her sexuality. The show was canceled in the name of COVID, Netflix claiming that it was canceled due the financial and timing effects it had. This would be fair if the second season hadn't already been green-lit, written, and budgeted before the show was canceled. A situation I find highly frustrating. ‘I’m Not Okay With This’ is not the first example we’ve seen of Netflix canceling a show with a teenage lesbian lead after the first season. In 2018 they did the same thing to ‘Everything Sucks’. ‘Everything Sucks’ was a show that was made by Netflix in 2018. One of the main characters, Kate, is another example of a sapphic character with depth. Kate was a sophomore in high school, the principle's daughter, who was coming to terms with the fact that she was gay. Many people watching the show identified with her struggles and the experiences that lead her to know and accept that she was gay. It felt real and raw. Unfortunately due to the show being canceled audiences never got to see much of what happens after Kate came to terms with her sexuality, the show is even left on a cliff hanger about whether or not she will tell her dad. I am not going to sit here and act like ‘Everything Sucks’ was perfect. It wasn’t. Kates love interest in the show, although a year older than her in the script, was played by an actor much older than the actress who played Kate and that made the dynamic very uncomfortable to watch. However, that is something else that is 100% Netflix’s fault. Netflix should’ve originally casted two age appropriate actors, but they don’t care enough about sapphic stories so they didn’t. Instead they ruined a storyline that could’ve been wonderful by making it uncomfortable to watch, then canceling the show. There are many more examples of Netflix not caring enough about about sapphic characters or storylines to keep them running. For example ‘Sense 8’ featured multiple sapphic characters and was canceled after just two seasons in 2018. ‘One Day At a Time’ featured a young lesbian and her non-binary lesbian partner and was canceled in 2019 after 3 seasons despite great ratings. ODAT, however, was picked up for a season by POP. ‘Trinkets’ featured multiple sapphic characters and was canceled around the same time as ‘I’m Not Okay With This’ after only two seasons. Some of these shows were cancelled for seemingly no good reason. There was no worthwhile explanation for why they couldn’t go on. Others were given reasons like low views or poor casting. But here’s the thing, all of the above reasons are the fault of Netflix. Obviously the shows they gave no explanation for canceling are Netflix’s fault, but so are the shows they did provide with reasons. Poor or uncomfortable casting? Netflix is the one doing the casting, they have access to some of best casting directors in the field and they can do better. Lack of views? Netflix can promote these shows better. Many of them end up getting not even a tenth of the promo some of the trashier, straight, rom-coms or dramas get, and then Netflix acts surprised when people don’t view them as much.They then conclude that means people don’t want to see sapphic content. Netflix must do better when it comes to creating Netflix originals with sapphic characters that do the community justice because, as of now, they’re failing.

Editors in Chief December 23, 2020 | 7:19pm EST This semester, AmLit decided to steer away from recent tradition and replace “Best in Show” with a new feature, “Editor’s Choice.” In past semesters, we have reached out to professors to select what was, in their opinion, the best piece in a genre. This semester, each member of our E-Board chose a piece to highlight in the magazine instead. Rather than four Best in Show pieces, this volume of AmLit has sixteen Editor’s Choice pieces — chosen with love, care, and appreciation by AmLit’s E-Board members. Accompanying the “Editor’s Choice” labels you will see in our Fall 2020 issue, this blog post contains an explanation from each editor, giving you a glimpse into the reasons behind their choice. This allows us to connect with the AmLit community in a way we haven’t done before; as each editor spent hours flipping through the pieces you will see in the pages to come, this new feature gives us a chance to let artists know how much their work impacts those that read it. “a gracious stranger’s home” by Stephanie Mirah (p. 4) I was initially drawn to the color scheme of the piece. What made it truly my favorite was the composition and character. — Piper Hamm (Photo Editor) “pristine” by Lia Patentas (p. 8) The work is a beautiful mix of both nature and the familiar, everyday in the form of the mail-box. It creates a domestic, cozy atmosphere that I feel like can appeal to everyone's nostalgia and homesickness. — Shelby Rose (Blog Editor) “Summer of ‘07” by Sofia Dean (p. 9) Some pieces have the ability to make you feel as though you are reading about a lived experience of your own — a memory tucked away that isn’t yours but brought to life so beautifully that it feels like it is, and this piece does exactly that. It is filled with child-like wonder and beauty that transports you to the exact moment it describes. The lines “My caramel skin growing darker as my friends’ cheeks are painted pink.” are my favorite. They showcase how wonderfully the artist highlights the innocence of youth and how our perceptions of the world and ourselves change with time. — Riddhi Setty (Editor in Chief) “8 & 4” by Stephanie Mirah (p. 15) I really enjoy the soft contrast of pastel palettes in this series. It’s comforting to imagine the artist spent the day at the same place, from 8 to 4, doing whatever they please but having a solid day. The perspective and landscape is both serene and ominous in a beautiful way. — Rachel Burger (Art Editor) “nomads” by Maxwell Laro (p. 16) This work was so visually stunning to me when I first saw it — both the clarity that was able to be captured and the composition of the work are absolutely gorgeous. As an avid animal lover and conservationist, it's incredibly exciting to see a photo of these noble creatures in their true element and seemingly roaming free. To that point, the title "Nomads" is the cherry on top of this gorgeous work that encapsulates its essence. — Katie Meyerson (Creative Director) “First I have to learn in English” by Alexa Barnes (p. 18-19) I am choosing this piece because I think it is such a beautiful depiction of both language and love and the intersection between the two. The writing style of this piece was like nothing I had read ever before and I really enjoyed the detailed descriptions of ASL. — Katt McCann (Prose Editor) “La Tierra Devastada” by Emma Southern (p. 26) This piece is beautiful and a perfect representation of art's ability to transcend cultural and linguistic boundaries. The Spanish and English translation of this piece show a skilled use of technique and devices, as well as packing an emotional punch with its relevant and important theme. — Sofia Dean (Poetry Editor) “erika” by Olivia Schwalm (p. 40) Something about this portrait feels acutely powerful. From the glow off their skin to the highlights of their jacket, this single frame truly captures a beautiful moment in time. The dark background sharply outlines the figure pointing beyond the frame and their face is filled with a wonder that fills the photograph. As with many creative works, I find myself wanting to know more; but even without answers, I admire this piece greatly. — Sheer Figman (Editor in Chief) “Stacked in Color” by Shea Neary (p. 60) I chose this piece because the subjects themselves are beautiful people but also because the composition is so well done. The top and bottom of the frame with balanced gray space and the mirror effect of the subjects first has my mind going "huh?" and then going "wow." If it wasn't for Covid, I would definitely be asking the artist to take my graduation photos!! — Stephanie Mirah (Copy Editor) “Thoughts from Late Summer” by Emma Lovato (p. 62) I love this piece in it’s entirety and the way it has me longing for something that I haven’t even experienced. But most of all I love it for it’s ending lines. — Gracie Donovan (Blog Editor) “To Jean, Best of Luck — The Girls” by Annie Przypyszny (p. 67) The emotional depth of this piece's subtle narrative is captivating and intense. It spares no humanity; every observation is full with reverent humanity — and with clarity and understanding. — Shannon Sakosits (Poetry Editor) “Blue Sunrise II” by James Kwon (p. 95) The deep blues of this photo evoke so much emotion, and transport me to the rare times that I wake up with the sun, allowing all of the colors to seep over me. I love the warped perspective the artist takes in this photo; the more I look at this photo the more surreal it feels. — Kait Caffrey (Photo Editor) “Missed Messages” by Shelby Rose (p. 104-105) I really love the structure of this piece. Having it broken up really puts you into the shoes of the narrator, and lets you feel the heartbreak of what went unspoken in this relationship for so long — a feeling made all the more heartbreaking with the final line of the piece. Overall, an amazing piece of prose with a great message and excellent execution of the concept! — Henri Brink (Prose Editor) “and soon” by Riddhi Setty (p. 106) What struck out to me so clearly after reading "and soon" was how much I wished that I wrote it. In my eyes, it's a perfect poem that leaves a lasting impression on whoever reads it. I felt this poem on every level. Loving someone so much through the winter and the hard times. Being selfish enough to take up space, and being selfless enough to curl up in comparison. This poem is the perfect encapsulation of what it means to endure the ebb and flow of love, and the hope that "and soon" it will work out. — Emma Lovato (Creative Director) “Love Poem” by Annie Przypyszny (p. 113) The passage of time is terrifying, but knowing we have someone there we will share it with makes it sweeter. This poem captures the feeling of knowing you will love someone forever, that they will always be in your life, "I'll love you madly, as always" just gets me every time. It's so tender and loving. — Emily Coneybeare (Event Coordinator) “flowers i gave my mom” by Grace Collins (p. 120) This piece gives me warm, happy feelings. There’s love in the colors. And I’m a slut for flowers. — Annie Przypyszny (Art Editor) Editors in Chief The current EICs are Sheer Figman and Rachel Burger.

Emily Hanlon April 15, 2022 | 3:00pm EDT Music is really important to me— I use it to study, to help me write, I turn it up while I clean or do laundry, or listen to it when I want to destress. I know this feeling is not unique to just me, as I have met many other people who also have a passion for music, earbuds in for long periods of time, with some people’s Spotify Wrapped minutes climbing into the tens of thousands. After making (and receiving) playlists from friends and family, I realized that sharing music in this way was a really important way to connect with others; there is something special about being sent a playlist of songs knowing that someone had you in mind. Sharing playlists can also act as a way to stay in touch with people when you can’t physically see them, for instance, when my high school friend, Ally, and I exchanged playlists back in October. Despite being in two different states and having not seen each other since the summer, it still almost felt like I was having a musical conversation with my friend, and we also texted about the music, having a real digital conversation about our playlists. Ally’s playlist not only introduced me to great new music, but it also helped assuage some of my homesickness and stress during my first semester of college— I remember listening to her playlist one difficult week when I was intensely studying for a midterm late into the night and working on a research assignment. Overall, sharing playlists with others can be a really great way to improve your mood in a stressful or difficult time and can also just be a really fun thing to do! Of course, there might be the initial feeling of worry that someone will absolutely hate whatever music you send them, but try to push past that fear and self-consciousness, because exchanging playlists with a friend or relative is an extremely rewarding experience. Since I’m always looking to discover new music, I thought I would conclude this post with a list of my favorite songs from the playlist Ally sent me (in no specific order). This list is broken up between songs that I had heard before (because I love rediscovering a song I’ve listened to previously) and songs that were completely new to me. My Favorite Songs From the Playlist that I had Heard Before: “Vienna” by Billy Joel “I Will Follow You into the Dark” by Death Cab for Cutie “Iris” by The Goo Goo Dolls “Cigarette Daydreams” by Cage the Elephant “Pierre” by Ryn Weaver “Holy Ground” by Taylor Swift My Favorite Songs From the Playlist that Were New to Me: “Ship to Wreck” by Florence + The Machine “Patience” by The Lumineers “Casanova” by Blake Rose “CHICKEN TENDIES” by Clinton Kane “Movie” by Blake Rose

Genesis Magpayo March 27, 2022 | 3:38pm EDT My healing journey hasn’t been the most linear one. In fact, it’s been quite the opposite. But, the one thing that always helped me refocus was my past. As I learned how to reevaluate the things that I love about myself, the thing that I kept referring to was what had happened in my childhood that led to how I am today. And as I was walking down this path, it spiraled me down a rabbit hole of continuous questions. Why do I get overwhelmed after every minor inconvenience? Why do I get exhausted from social interaction so easily? What led me down this path? After weeks and weeks of journaling, I think I’m starting to figure out what my inner child really wants. The inner child is a part of our personality that still has childlike wonder but is often hidden due to circumstances from childhood that brought up resentment, anger, hurt, fear, and sadness. Most of the time, we try to forget about our inner child and move on from that past but that’s the thing, you can’t escape it. The way you react to adult situations is with pent-up feelings resurfacing from childhood that haven’t been unleashed yet. Looking to my inner child and seeing what she needed at the time has helped me refocus my healing journey and replenish myself. Yet I needed some help. Here are some of the top journal prompts I used over the weeks of journaling that have really helped me realign and learn more about myself. Part A: As a child, what is something you lacked that you wish you had? Depending on your living situation and the way you were raised, were there any things that you wish you had? It could be more attention from a family member, lack of validation, lack of physical affection, lack of personal space. It could be anything. Focusing on the things that you lacked as a child will help you understand the needs that you want in a partner, friendship, and even your parents now. For example: When I was a kid I was never really heard from my parents and when I would try and talk about it, they would tell me to stop. Now, as a result, my inner child yearns to be heard in every conversation and wants to speak up if someone is hurting me. So if someone tries to silence me, my reaction is to be submissive because it’s the natural response I learned as a child. Through discovering what we lack, we understand why we act a certain way and react a certain way. Part B: What are some ways that we can help our inner child? After answering part A, part b will take what we lacked as a child and refocus on our attention to how we can combat it. For me, one way that I can help my inner child is to be assertive if someone is treating me poorly or to attract the type of people that won’t exclude me from a conversation. And while there are some things that are very much out of our control, this prompt will help us distinguish the things that are in our control and what aren’t in our control. Question 3: How can we bring love to our inner child? This question is a little bit more lighthearted but nonetheless very important. Let's go back to our childhood (without cellphones) and focus on the things that we used to love as a kid. Was it singing? Was it dancing? Was it coloring? As we grew into adults and entered the real world, we started the lose the characteristics and things that we did that gave us real joy. Why did we let that go? And yes it might be silly but sometimes it just takes one childhood action to spark joy in our life. Question 4: What is the one thing that your inner child is afraid of? This question is very similar to part A and part B but it focuses on the things that we feared as a child or one of the first encounters of fear. This will help circle back and see whether or not it is still affecting you today. Question 5: If you can tell one thing to your inner child right now, what would it be? Last but not least, this is a question that serves as a letter to the past self! After retrospecting on the past and learning what you can do to support your inner child, write a letter to them. Express that it’s okay and that you’re still learning and growing! It takes a lot of courage and a lot of time to look into our past and resurface the things that have brought us pain. Our inner child has been through a lot of pain and a lot of trauma. Our inner child is always there, we just need to listen to it.

Matt Colucci April 8, 2022 | 3:53pm EDT Queerness. Though this particular amalgamation of letters is a rather modern invention, the written expression of love outside the heteronormative binary has existed as long as humans have been capable of feeling this emotion altogether. From before the time of Sappho to current orators like girl in red, queer affection has been the muse of an unknowable number of poets. Walt Whitman was born in a small town on Long Island, New York in 1819. During his prolific life as a poet, he managed to earn the title of one of America’s landmark writers. In fact, many literary scholars mark the genesis of the American poetic voice with Whitman himself. Unlike poets of antiquated British persuasions, Whitman broke free of the societally expected and accepted conventions of poetry of the time. The bulk of his work discusses Nature, a word he consistently capitalized. He continued with this personification, writing what can be most accurately summarized as love letters to the natural world around him. One of my favorite examples of this romantic affection for Nature is the following excerpt from a poem entitled I Saw in Louisiana a Live-Oak Growing: I saw in Louisiana a live-oak growing, All alone stood it, and the moss hung down from the branches, Without any companion it grew there, glistening out joyous leaves of dark green, And it looked rude, unbending, lusty, made me think of myself; Clearly, there’s a lot to unpack here. Whitman speaks about this tree with so much unadulterated affection that it borders on desire. I would never dream to argue that Whitman did not possess a unique, even otherworldly, love for Nature. However, this flowery language had a purpose aside from simply explicating his passions for the earth: it was an avenue for him to express his love and sexual attraction for other men. Walt Whitman featured with his longtime friend, and “possible” lover, Peter Doyle (Washington, D.C., 1865) While Whitman undeniably used his poetry as a vehicle to express his queerness, it was not an insulating barrier. Whitman spoke freely of his same-sex attraction and love, seemingly unconcerned, yet strikingly aware of the societal taboos surrounding male homosexuality at the time. In his first addition to his work Calamus, Whitman writes: That the Soul of the man I speak for, feeds, rejoices only in comrades; Here, by myself, away from the clank of the world, Tallying and talked to here by tongues aromatic, No longer abashed – for in this secluded spot I can respond as I would not dare elsewhere Strong upon me the life that does not exhibit itself, yet contains all the rest, Resolved to sing no songs to-day but those of manly attachment Projecting them along that substantial life, Whitman was not ignorant to the inherent perceived deviance of his heart and body, though his poetry may imply otherwise. The necessity to relegate his affection to the closed doors of his home or the private expanse of Nature. It was in this magnificent literary world that Whitman was able to build his egalitarian utopia. Through his pen, he was able to satiate his inherent hunger for male tenderness. Whitman’s writing defines passion. His words paint a world where lust and love coalesce to become a singular and indiscernible reality. Despite the social progress that our society has made since the time of Whitman’s life, male homosexuality is still viewed by many as being sexually devious, even perverse. Due in part because of these connotations, there is a cultural idea, nebulous as it may be, that male same-sex love lacks depth. Ignorant observers of queer people often make the assumption that this form of interpersonal affection is solely physical, merely a depraved way to satisfy one’s most animalistic instincts. Whitman eloquently, even magically, dispels these ideas. His love for men is intrinsic, an inseparable part of his humanity. And when I thought how my friend, my lover, was coming, then O I was happy; Each breath I tasted sweeter – and all that day my food nourished me more – And the beautiful day passed well, And the next came with equal joy – And with the next at evening, came my friend, And that night, while all was still, I heard the waters roll slowly continually up the shores I heard the hissing rustle of the liquid and sands, as directed to me, whispering, to congratulate me, – For the friend I love lay sleeping by my side, In the stillness his face was in clineded towards me, while the moon’s clear beams shone, And his arm lay lightly over my breast – And that night I was happy An excerpt from “Live Oak, With Moss, III” Whitman gave his fellow men who love men emotional legitimacy. He put into writing the ubiquitously felt emotions of affection, yearning, and pleasure that we experience. We are not deviants. We are lovers.

Alexis Frorup November 30, 2022 | 6:50pm EST Black female artists have a lot to bring to the table when it comes to music. Black women have been breaking out of the stereotypical genres and have been entering into new genres like alt-r&b and indie. If you’re looking for some new artists to listen to, I have some recommendations. Little Simz Known for her song “Venom” which blew up on TikTok, Little Simz is a London-based hip hop/ rap artist. The song’s popularity led to her remix of the piece being featured in Marvel’s “Venom: Let There Be Carnage”. But Little Simz has other listen-worthy pieces in her repertoire, her 2021 album “Sometimes I Might Be Introvert” has a relaxed feel featuring samples of older songs and soundbites that add unique touches to the album. Recommendations: “Woman”, “Two Worlds Apart”, “Point and Kill” Syd Tha Kyd/ The Internet Lead singer of the band “The Internet” and solo artist under the name “Syd Tha Kyd”, Syd is a singer, songwriter, and music video director whose songs often are about her relationships with other women. She often collaborates with other R&B/ alt-R&B artists such as Tyler the Creator, KAYTRANADA, and even co-wrote “Plastic off the Sofa” by Beyoncé. Like the previous artist, Syd’s music is very relaxed, the kind of music you need to listen to with good headphones to truly experience. Recommendations: “YOU’RE THE ONE”, “Come Over”, “Palace/Curse” (the second half of the song is better in my opinion) Arlo Parks Arlo Parks is an indie-pop musician whose music holds themes of mental health and sexuality. Parks’s music is inspired by poetry, something that is very evident in her lyrics as they flow together to make her easy-listening songs sound meaningful. Arlo Parks is an artist whose music benefits from a second initial listen, one to pay attention to the music and another for the lyrics. Recommendations: “Black Dog”, “Green Eyes”, “Cola”

Abby St. Jean November 30, 2022 | 5:54pm EST Art has historically been dominated by wealthy white men of Western European countries. When someone is asked to name famous artists, the first names off their lips almost always fit this description: van Gogh, da Vinci, Monet, Matisse. Sometimes the names of Georgia O’Keeffe and Frida Kahlo enter this conversation, but often only when speaking to someone who knows enough about art history. I believe that every artist is trying to tell a story. Perhaps an experience of theirs, a moment they remember, a dream they had, a color they relate to. In some way or another, abstract to realist, all art has some narrative or connotation. By this I mean that when looking at a piece of art, there is always a reaction, an assumed meaning by the audience. This reaction may be good or bad, one of adoration or disgust, but regardless, viewers look at the piece and feel something. That feeling is the story being told by the piece. What happens when these stories only come from one place? Only come from one group of people? Only demonstrate one type of experience? What about the viewers who don’t come from that place, group, or experience? Should people be expected to relate to pieces that never describe their situation? Artists from historically marginalized groups are not often represented in the curation of galleries, this means that viewers from historically marginalized groups are not represented either. Making artists of color a centerpiece in art history and curation is not only important, but necessary. It is also clear that of the American artists highlighted in galleries across the country, a preference is held for wealthy artists from the North — those that have access to more materials, time, and privilege to be artists. Acknowledging that art comes from every walk of life is a key part of viewing art in a more mindful and productive way. It can’t be expected that every visitor to a gallery or museum comes from one background, so why should the artists? The National Gallery of Art is working to highlight the works of Black artists from the South specifically through their current exhibition: Called to Create: Black Artists of the American South. This exhibition works directly with the Souls Grown Deep Foundation, a group that advocates for Black artists from the South being highlighted and centered in artist spaces. Pieces range from quilt work, to paintings, to sculpture and assemblage; a group of wonderfully colorful works of art. See this exhibition for yourself. Now on view at the National Gallery of Art until March 26, 2023 in the East Building.