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TV More Gilmore? Too much

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tars Hollow is back. Except now, Luke’s Diner has wifi, Paris is divorced with two children and the pop culture references are no longer 10 years outdated, now ranging from Game of Thrones to Amy Schumer. The endearing charisma and wit of the beloved Gilmore mother and daughter duo remains, but it no longer flows off of Lauren Graham and Alexis Bledel’s tongues effortlessly. Instead, in “Gilmore Girls: A year in the Life,” the fast-paced banter between the characters seems forced and unnatural, while the plot struggles to maintain the viewer’s unfaltering attention like the show used to. Maybe an hour and a half is just too long for each episode, or maybe it’s impossible for a show to take a nine year break and bounce back with the same charm it left behind. Even so, this didn’t stop devoted viewers from binge watching the entire season within three days of the release. Rory’s storyline felt refreshingly honest,

unlike the unrealistic perfection she exuded in the original series as a Yale graduate off to a successful career in journalism. Now she struggles with anxiety and faces an uncertain career path and future, making her character much more relatable than before. The death of Richard Gilmore (Lorelai’s father, Emily Gilmore’s husband and a significant recurring character in the series) and the emotions that came with it also felt genuine and raw, maybe partially due to the real life passing of the actor who played him, Edward Herrmann. Lorelai, Rory and Emily’s struggle to come to terms with his death didn’t seem diminished or melodramatic; it felt real. The highly anticipated last four words certainly didn’t provide the heartwarming resolution expected, but instead opened up endless possibilities for the future of the Gilmores. “Gilmore Girls: A Year in the Life” resurrected television’s most lovable mother and

daughter while bringing to life a fantasy Gilmore Girl fans have fostered for nine years, but it doesn’t quite capture the same inarguable charm and authenticity of the original show. – Chaney Wynne

MUSIC Punk rebooted

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or those who wish that the good ol’ days of punk rock were back, you’re in luck. Australian artist Courtney Barnett has brought back the sounds of the 70s American punk scene. Mixing the unabashedly moronic lyrics of Modern Lovers with the cryptic feminism of the Patti Smith Group, Barnett uses simple arrangements of guitars, bass and drums to create a textured sound refreshingly different from other contemporary artists. Barnett’s album “Sometimes I Sit and Think, and Sometimes I Just Sit” ranges from aggressive guitar and drum-driven rockers to gentle ballads. Each song on the album is remarkable in its own right, but one favorite is “Pedestrian at Best” because of its catchy tune and it’s relevant lyrics. In the chorus, Barnett sings, “Put me on a pedestal and I’ll only disappoint you,” protesting a culture where women are put on “pedestals”

and judged by others. She follows, “I think you’re a joke but I don’t find you very funny.” Another great song on the album is “Nobody Really Cares If You Don’t Go to the Party.” This song features a basic three-chord riff, while the chorus consists of one line that she repeats, “I wanna go out but I wanna stay home.” This is an upbeat and lively song that alternates between an almost spoken-word verse and a melodic chorus that you can’t help but sing along to. This album reinvents punk rock and revives a fiercely independent attitude in popular music that has nearly been forgotten by today’s artists. With both the catchy upbeat songs and bittersweet melodies of Courtney Barnett’s debut album, she’ll get anyone laughing, crying, thinking or sometimes just sitting. – Kheyal Roy-Meighoo

CARPE DIEM • December 2016

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December 2016 Carpe Diem  

The student magazine of Decatur High School's convergence media program

December 2016 Carpe Diem  

The student magazine of Decatur High School's convergence media program

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