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On May 30, comedian Bo Burnham released his Netflix special “Inside,” a one-man performance written, filmed and edited entirely by himself. Created throughout the pandemic, Burnham addressed the boredom and loneliness of quarantine routines, such as facetiming your mom every day or feeling as if you spent the whole day in a cycle of standing and sitting and crying.
Most fans of online quizzes are familiar with the Pooh Pathology Test: each character of the classic Disney franchise embodies a different psychiatric diagnosis, and users can answer a series of questions to see which character they relate to the most. I was never a huge fan of the Hundred Acre crew, but I was still fascinated by the use of children’s cartoon characters to describe mental health conditions. Recently, I realized that this trend was not exclusive to Pooh and his friends — it could also be attributed to the characters in my favorite Pixar movie: “Finding Nemo.”
Mainstream teen pop culture of the 2000s was ruled by blonde, skinny white girls taking center stage in hot pink like Regina George, Elle Woods, Cher Horowitz, Sharpay Evans and Hannah Montana, to name a few. It has been 15 years since the latter show premiered, and Miley Cyrus posted a letter to Hannah that made me reflect on my Disney Channel-obsessed childhood. Like many elementary-age girls of the time, I was fixated: I watched every episode, belted every song and saw Miley in concert in 2009. As a kid, teenagers are the epitome of coolness: they ditch school and go out with their friends, they wear and say what they want and in many movies and shows, they spontaneously break into song. So, as a girl growing up in the 2000s, I idolized the sassy teen queens on every screen.
Wake up. Shower. Make coffee. Go to work. Take out the trash moments before the garbage truck arrives. It’s a monotony we know all too well, and one that often calls for an escape. In his recent film “Nobody,” Bob Odenkirk shows how breaking free from a routine life may involve violence, bus fights and a break-in.
I have always enjoyed films about women doing and taking what is rightfully theirs. Be it work, a title or respect, it is empowering to see female characters unafraid to take a stand. Many of these films, however, are dependent on the expectation that women need to put other women down: “Mean Girls,” for example, villianizes typically feminine traits, and even Sharpay of “High School Musical” felt like she couldn’t succeed in her theatre career without sabotaging Gabriella. Yet, in Colin Higgins’ “9 to 5,” the women in the film stand by and with each other, not out of convenience or pleasantries, but necessity.
Close your eyes and tell me about your dream from last night. Don’t think about it yet — just picture it. What do you see? How do you feel?
Duke’s Coffeehouse is a place that strikes a balance between relaxation and excitement, a place to unwind throughout the week, learn what hypnagogic pop means and dance through the weekend.
CW: Sexual violence
He went into digital marketing. She’s getting her master’s in psych. Could I make it any more obvious? Like many young couples, Sol and Jen must navigate the dynamics of being recently engaged, switching careers and living together. Unlike most couples, however, they have a limited amount of time to do so.
Meet 17-year-old Millie, Blissfield High’s school mascot and, consequently, a victim of bullying. Her soft blond curls insinuate a kind introversion, further underscored by her floral wallpaper and Panic! At the Disco poster. Her best friends, flamboyant Josh and artsy Nyla, have always encouraged her to be herself.
Contrary to popular opinion, traveling is not that great. Airports are slow and crowded; hotels are stiff and plastic; museums, even for a history nerd, tend to be boring; souvenirs are overpriced and easily lost; and the pictures never turn out quite how you expect.
I find myself preaching about empathy until it comes to celebrities. I’ve always accepted the screen as a barrier that protects stars from the public’s criticisms, and in turn, protects the public from any guilt.
This time last year, I entered my freshman dorm and met the initially intimidating group of girls living on my hall. I felt like everyone was smarter and more accomplished than me, richer than me and definitely prettier than me. I went from the familiar solitude of my house to being in a hall of smart, accomplished, rich and pretty girls. Duke girls.
On June 19, Blumhouse Productions and writer-director David Koepp released their latest psychological thriller, “You Should Have Left.” Based on German author Daniel Kehlmann’s 2017 novella of the same name, the film explores how duplicity and paranoia can destroy a family. The story revolves around an infamous banker, Theo Conroy (Kevin Bacon), his young actress wife Susanna (Amanda Seyfriend) and their six year-old bubbly and intuitive daughter Ella (Avery Essex). The family vacations in the Welsh countryside in a house that warps time, space and reality. In an attempt to escape the distorting house, Theo is forced to confront his dark past. As part of a virtual roundtable with Bacon, The Chronicle had the opportunity to interview the actor about his latest movie.
In his latest film, “The King of Staten Island,” director Judd Apatow collaborates with Pete Davidson to deliver a brutally honest portrayal of every burnout’s most dreaded question: “What are you going to do with your life?”
Friday the 13th is consistently anticipated to be an eventful day among horror film fanatics and the subtly superstitious, but it is also a significant day in tattoo shops across the country. Sailors believed that tattooing the traditionally unlucky number 13 on their bodies would deter bad luck from following them, which encouraged others to flaunt the symbol with simple, spooky designs. Dallas tattoo artist Oliver Peck turned this trend into an event in the ‘90s and tattoo shops have been celebrating the mystic day with special events and mysteriously low prices — typically, $13 mysterious — since.
Social media can be a toxic competition masquerading as harmless entertainment. Not only do users compete for likes and followers, they use those numbers to determine the prettiest face, the most successful artist, the happiest family and the most powerful activist. Yet, with most college students in quarantine, this is one of the only methods we have to interact with other students. Now that quarantine has forced most of our social interactions online, some Duke students have found unique ways of strengthening connections during this period of isolation.
When I started searching for comforting albums, I immediately turned to nostalgia; I wanted to find the familiar soundtracks of “simpler times” and cherished memories. What I discovered, however, is that comfort is not necessarily tied to childhood or a certain era, but to empathy.
I didn’t grow up particularly religious. My parents rejected most political and corporate institutions with a persistent Gen X apathy. We did, however, have our own set of unplanned rituals. As the Carolina thunderstorms rolled through summer afternoons, our home became a place of earthly worship.
On Thursday, Feb. 20, the Center for Documentary Studies held a book launch for photographer Jessica Ingram’s “Road Through Midnight: A Civil Rights Memorial.” Despite the numbing February snow, dedicated friends and colleagues kept warm with wine, cheese and camaraderie.