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My former roommates refer to the December of my freshman year as the “Dark Ages of 2016.” My then-boyfriend and I had just broken up. I spent hours crying every day, and it was a struggle to leave my room. I didn’t eat much. I slept a lot. I listened to sad music on Spotify. The only time I left my room was to shower. It wasn’t a happy time.
Arthur C. Brooks, the 10-year president of the American Enterprise Institute, one of the world’s leading conservative think-tanks, is a frequent lecturer. On campus last spring, he talked about “The Art of Happiness.” Students, faculty, and members of the local community filled twice as many seats as expected. A recording can be found online, but sitting feet away from him was a truly empowering experience. Brooks exudes confidence in the state of America and is able to relate his personal stories to a vast population smoothly.
What’s Christmas without some good British telly?
Sign-in clubs are antithetical to the implicit, unstated goals of the University. In order to prepare students for the harsh, demanding social climbing that they will need to do to reach the pinnacle of their money-grubbing careers and donate vast sums to the University, it is essential that they experience isolating social behavior at an early stage.
A nontraditionally cast and smoothly executed production of “Legally Blonde” enjoyed a five-night run this November at McCarter’s Berlind Theatre. “Legally Blonde” has held audiences’ attention over the years through its smart combination of outrageous pettiness and superficiality with a feminist storyline: A young woman named Elle Woods learns to find identity within herself and through sisterhood, instead of seeking validation from men. But in casting a woman of color, Jasmeene Burton ’19, as the show’s blonde lead, director Tamia Goodman ’19 prompts the audience to think more broadly about journeys of self-discovery.
“She was an expert at sautéing slugs,” said director Debra Granik, describing the wilderness expert who trained actors Ben Foster and Thomasin McKenzie for their roles as father and daughter in her 2018 film “Leave No Trace.” Though only McKenzie agreed to try the slugs, Granik assured the audience at a talkback following the film’s screening as the latest installment in the VIS Fall Film Series, “they were both willing to get dirt under their nails. There’s nothing prissy about this.”
Thanksgiving break is an interesting time to want to watch something. There’s not always easy access to a movie theater, the TV may be occupied by Uncle Gerald — who absolutely must watch the Detroit Lions lose to the Chicago Bears — and that’s without even getting into the endless rigmarole of political “debate” fueled by red wine. So when all is said and done, if you want to watch something over Thanksgiving break, you might have to take matters into your own hands.
“I would be the first person that would tell a joke about gay Americans and, uh, the word fag rolled off my tongue very easily.”
It was the beginning of freshman year, and my next-door neighbor invited me to Princeton Faith and Action’s Friday Night Encounters. I’m not a Christian — I consider myself a secular humanist — but for the sake of hanging out with my neighbor, I decided to go. We ate some Caribbean food, sang hymns about Jesus Christ, and talked about Christian rap music afterwards. Not going to lie, Andy Mineo is my jam sometimes.
The stage of Frist Theatre bursts into a flood of pink fluorescent light. The audience immediately erupts into a deafening wave of cheers and screams. Onstage, the dancers of eXpressions Dance Company groove to “Vroom Vroom” by Charli XCX before the song switches to Billie Eilish’s “you should see me in a crown” and their undulating movements become sharp and staccato. Their bodies radiate energy and swagger, while their faces beam with confidence, fueled by the cheers of their peers. And as the show’s title “Transparent” suggests, the audience is quickly able to see through the dancing on stage to the passion and dedication of the dancers in eXpressions Dance Company that exist underneath all their movement.
This past weekend, Triangle Club’s fall show, “Night of the Laughing Dead,” transformed McCarter Theatre into the Doancomb Inn: a haunted hotel to satisfy the belated need for Halloween “spookitude” you didn’t know you had. Among the delightful clichés of cobwebs and Michael Jackson, the show does not shy away from the truly frightful. The thesis: “Journalism is Dead!” But as the world of journalism is overtaken by the undead, the real question becomes: are ghosts real?
With Labyrinth’s fall sale coming up this Thursday, Nov. 8 through Sunday, Nov. 11, here are some book recommendations that everybody can enjoy:
The highlight of my fall break, my crowning achievement, and perhaps the only tangible thing I have to show for this brief season of my life sits on the cold tile floor of my laundry room, stacked and folded neatly in a weathered plastic basket.
Last month, pop artist Ariana Grande and “Saturday Night Live” comedian Pete Davidson ended their engagement and, in turn, their dreamlike, potently loving relationship. Their breakup came on the heels of the death of Grande’s ex-boyfriend, rapper Mac Miller, who died of a drug overdose this past September. Grande and Davidson’s short-lived relationship is an exhibition of our unsustainable desperation for love that heals and saves us from our debilitating pain and longings.
Coming back to Princeton after break is always difficult. But these illustrations by Wendy Ho ’21 make us fall back in love with campus. Check out more of her work at @new.beans on Instagram.
This school is killing me. How many times have you thought this? Once? Twice? If you’re anything like me, you completely skipped the thinking stage and have resorted to passively muttering these words under your breath 3069 times … a day. Don’t get me wrong, I love this school: the academics are phenomenal, the professors are renowned, the opportunities are endless. But let’s be real here — Princeton be draggin’ it.