FILM “Cocaine Bear” takes itself too seriously yet provides hilariously gory thrills. B4
ALBUM Gracie Albums returns with “Good Riddance,” an emotional and introspective work.
BOOK “Tomorrow, and Tomorrow, and Tomorrow” creatively explores friendship and loss. B7
March 3, 2023
Madelyn Cline and Madison Bailey speak on cast, plot ahead of Season 3 release
Ariana Biondi-Copeland Guide Deputy Editor ILLUSTRATION BY: VARSHA RAMMOHAN/THE HOYA
Audrey Biles
Hoya
Staff Writer
Between mysterious flying objects and Rihanna’s pregnancy announcement, you might have missed last week’s biggest piece of Wisconsin Ave news: the arrival of Maman, a New York-based bakery that invites you — and your laptop — to its serene new space in Georgetown.
Maman is known for an enticing espresso bar, a perfect menu of breakfast and lunch entrées, and amazing nutty chocolate chip cookies — not my words, but Oprah’s. Since its founding in 2014, the cafe has expanded to locations throughout New York, New Jersey, Bethesda and most recently, Georgetown.
The Wisconsin area bustles with stu -
dents and families — the type of community where Maman fits right in. Rather than a grab-and-go experience, the cafe encourages patrons to stay a while, meet their neighbors and take solace in their South of France-inspired seating areas.
“Maman was founded with the goal of being a home away from home,” Yannik Encarnação, Maman’s marketing coordinator, told The Hoya . “There are so many coffee shops that feel sterile and unwelcoming… lacking a neighborhood feel that is essential for the customer. But at Maman, people can come and gather in the space, no matter where they are from. We are so excited to bring this to Georgetown.”
“Maman” is an endearing French term for mother, a nod to the source of many of the cafe’s recipes. Combining generations
of traditions passed down, founders Benjamin Sormonte and Elisa Marshall hone their French and Canadian roots to create a menu of quality ingredients and comfort cuisine. In addition to coffee and pastries, the cafe serves a complete breakfast and lunch menu.
“We found there to be a very clear distinction between restaurant and cafe in Georgetown,” Encarnação said. Maman distinguishes itself by blurring the line between the two: a cafe complete with a coffee bar and workspace, but also table settings to enjoy conversation over a leisurely meal.
Maman opened on Valentine’s Day, the same day that my first class was conveniently canceled. I might go as far as to call it fate! The first 100 guests received free tote bags and branded pins, their carriers
The recently opened French cafe Maman is the study sanctuary we have all been waiting for, right on Georgetown’s doorstop.
proudly spreading Maman’s love on the day of love. Although I arrived two hours after the official ribbon-cutting ceremony, my croissant was still warm from the oven: my ultimate love language.
I also ordered a cortado, smashed avocado tartine (the side of Maldon Sea Salt and chili flakes was especially appreciated) and a nutty cookie to-go, the perfect incentive to attend my afternoon economics lecture.
In addition to some seasonal specials, the menu outlines an impressive selection of dishes: a breakfast sandwich with bourbon bacon jam, Belgian waffles with blueberry pomegranate compote, farro salad with pumpkin seed pistou and the famed Crogel (croissant plus bagel) with smoked salmon.
The entire menu is available from 7:30 a.m. to 4:00 p.m. on weekdays and 8:00 a.m. to 4:00 p.m. on weekends, but the cafe remains open until 6:00 p.m. daily.
The space perfectly embodies Maman’s commitment to community; with multiple seating areas and a sprawling layout, it was designed with Georgetown students in mind. Complete with a designated work area and outdoor dining, Maman is perfect for Sunday brunch or Sunday study sessions, wherever the day might take you.
On opening day, “The Study” was full of people typing on laptops and sipping on lattes. All my love to Lauinger Library, but this might be a necessary upgrade. The cafe also has a space for private events that would be perfect for birthdays and club events. “We hope Georgetown students use our space like an extension of campus,” Encarnação said. Judging by Hoya turnout on opening day, I have no doubt that students will take full advantage of Maman’s peaceful work environment and outstanding study sustenance.
There are lots of dining options in Georgetown, but few combine a cafe and a kitchen into a setting perfect for every occasion. While only a 10-minute walk from the front gates, stepping into Maman feels like being transported out of the city and into the countryside. Whether it is the location of your next study session or study break, Maman is the relaxing, and delicious, off-campus sanctuary you have been looking for all this time.
How did you spend your Valentine’s Day? Maybe you were alone in your dorm watching “The Notebook” or hanging out with some friends discussing the limitless benefits of being single (seriously, I really needed this time to work on myself). Or perhaps you were one of the lucky few who was actually on a date! However you spent this often anticlimactic holiday, I can guarantee that my Valentine’s Day has yours beat: I spent it with Madelyn Cline and Madison Bailey.
Don’t get too jealous though, because you get something out of it too: an inside look into the upcoming third season of the hit Netflix show “Outer Banks,” (OBX) as well as both actresses’ personal thoughts regarding their characters and filming the show. How do the characters’ relationships evolve? Will the show build on the action-packed momentum of the second season? And most of all, what are Cline and Bailey like behind the camera?
While the actresses were understandably hesitant to disclose details regarding season three, they did divulge their hopes for the audience’s general reaction to the new episodes. Bailey emphasized the power of Kiara’s resilience to inspire change, stating that her main message is to “fight for what you want and fight to be seen.”
Cline spoke on her character’s arc contending
understand that you’re not exactly what people tell you you are is difficult, but it’s an important and empowering part of growing up.”
Despite taking months off between filming seasons, both Cline and Bailey said it has been easy to transition back into playing their characters, finding comfort in how much they personally relate to their characters:
“I feel like that was me fighting my parents when I was 16 and hanging out with my friends and fighting for what I wanted,” Bailey told The Hoya. “I relate a lot to being young with a strong voice.”
Cline said the writers on the show put a lot of trust in them to bring their characters to life, even asking for their opinions on what their characters are feeling and doing.
“I think they saw something in us that they wanted us to bring to the table,” Cline said. “There are parts of ourselves that we do infuse into the character.”
When asked which member of the cast is most like their own character, they both laughed and immediately agreed on Chase Stokes, the actor who plays John B.
They said most of the cast is fairly unlike their character, but agreed that Drew Starkey, who plays the role of Rafe Cameron, does a particularly impressive job at transforming his demeanor: “he’s obviously not a murderer, but he does a really great job at playing one,” Bailey said.
Both Cline and Bailey spoke at length about their relationships with the cast and how important the entire crew is in the making of the show. Cline said the set is a “very familial environment,” given how close they have all become in the creation of all three seasons.
Bailey added that they have even developed their own lingo and “sense of comfort” due to the first season airing during the pandemic, quickly launching the show and cast to an intense level of fame.
“The show and ‘Left Hand Free’ (the OBX theme song) brings a sense of nostalgia to the time,” Cline said. “It had such a big impact because it was a time when we all really valued friends and family and personal connection, and the entire show revolves around friends and family.”
with understanding herself.
“I think Sarah has a bit of a similar journey but doesn’t realize who she is just yet,” Cline stated. “She’s beginning this journey of selfrealization of what she wants and how to speak up for that, and I think that taking the time to invest in yourself and learn who you are and how to go inward and feel what’s right and
Bailey said the release date of the show allowed viewers to feel closer to the actors, as they were all in the same boat during lockdown.
“I feel grateful that our show came out when it did … we have a different relationship to our fans because of it, a kind of relatability,” she said.
The end of season two left us all on quite the cliffhanger, with the Pogues stuck on an abandoned island after a thrilling journey at sea. Out of all the scenes and locations they
filmed in for the first two seasons, both Cline and Bailey said “The Coastal Venture” was by far the most exciting episode to shoot.
Coastal Venture, the ship the characters were on, was completely real and unfathomably huge, and that the cast was actually filming in the middle of the ocean. Such unfamiliar conditions, including filming in tight spaces and being atop a moving ship, led to more camaraderie among the crew and some extreme stunts.
“We were really all in the trenches together on that one,” Cline said. “We ate together, we slept on the boat … it was everyone, the whole cast, whole crew and even the actual crew of the boat itself.”
Bailey said some aspects of this set felt almost too real — at one point, the lifeboat she was on actually broke during filming.
“I was waiting to hear ‘action’ in three-foot swells in the middle of the ocean, with Rudy on my shoulder,” Bailey said. She confessed that
having one of the most authentic Pogue stories,” Bailey said. “She lived the Pogue life the way we thought we were living the Pogue life.”
Cline said her favorite character often changes, but she always comes back to Pope (Jonathan Daviss).
“He’s reliable, he’s trustworthy, he’s smart, he’s a good friend and he’s so unintentionally
Stokes had to jump in and save her during all the commotion.
As extreme as this all sounds, Bailey confessed that “there’s even more to say about this next season … it’s full of insane stunts and scenes.”
In the final episode of season two, we are reintroduced to the newest member of the Pogues’ ensemble, Cleo (Carlacia Grant). While we initially met her earlier in the season, the trailer for season three indicates that she establishes a more permanent role.
Bailey said Cleo is her favorite character, and that her joining the team launched a new era on the show.
“She’s someone we knew we needed on the show to tell a different story … she brings a crucial perspective to the Pogue and Kook story,
funny!” Cline said.
They also agreed that Topper (Austin North) plays a hugely underrated role in the show and that knowing how much North brings to the character truly makes you root for him in the end.
By the end of the interview, I was pleasantly surprised that my biggest takeaway had nothing to do with season three spoilers or secret on-set romances. Instead, my ultimate revelation was much more significant: Cline and Bailey are just people. Yes, they are the incredibly talented, beautiful stars of one of the most popular Netflix original series ever, but like their characters, they’re just like the rest of us.
Sitting down and talking to them — away from cameras, special lighting, and everything else that makes them appear superhuman on screen — added a crucial depth to their humanity that people often forget exists. While their number of Instagram followers or impressive magazine covers may suggest some kind of innate inimitability, their goal is to inspire the opposite: if you fight to achieve what you want like Sarah and Kiara, no obstacle will be insurmountable.
So if Madelyn Cline can compliment my sweater on a random Tuesday afternoon, then you can ace that midterm. Making it on the cover of Vogue may take a little longer, but no such setback would stop a true Pogue.
“It had such a big impact because it was a time when we all really valued friends and family and personal connection, and the entire show revolves around friends and family.”
MADELYN CLINE
ACTRESS AND CO-STAR OF “OUTER BANKS”MADISON BAILEY/TWITTER
COCAINE BEAR/IMDB
‘Cocaine Bear’ leans into its ridiculous premise and produces gleefully violent thrills, but its story often takes itself too seriously.
Directed by: Elizabeth Banks
Starring: Keri Russell, O’Shea Jackson Jr.
James Pocchia Senior Guide Editor“Cocaine Bear” delivers exactly what one might expect from a film with that title: a bear, cocaine and aimless buckets of gore.
A deliciously grisly (no pun intended) actioncomedy featuring the titular drug-fueled creature’s man-eating rampage, “Cocaine Bear” leans into the absurdity of its premise and produces entertainingly campy thrills, though an often unnecessarily elaborate story threatens to tame the beast.
Directed by comedy queen Elizabeth Banks and loosely based on the bizarre true story of a bear that accidentally overdosed on cocaine in 1985, “Cocaine Bear” chronicles the bloody fallout of a drug trafficking operation gone wrong. When duffel bags filled with cocaine are deposited haphazardly into the forests of Georgia by an irresponsible trafficker, the drugs are discovered and consumed by a 500-pound black bear.
The narcotics prompt the bear to cut a blooddrenched path of violence through the wilderness, attacking an assortment of gangsters, teenagers, park rangers, hikers and others who have converged in the area.
“Cocaine Bear” is raucously entertaining when
it fully commits to a surreal tone that squeezes morbid comedy out of absurdly violent moments — the same quality perfected by Amazon Prime’s hit show “The Boys.”
In many scenes, the film achieves this gleefully unhinged tone. One particular sequence involving a park ranger with poor aim and a frantically swerving ambulance creates an unexpected level of tension without ever abandoning its commitment to silly, over-the-top gore. Any scene that involves the bear removing human limbs also helps to maintain an enjoyably cheesy atmosphere.
The film also uses the plausible unpredictability of a large, cocaine-crazed animal to skillfully subvert expectations. At one point, after consuming an entire pack of snow-colored powder, the bear drags itself along the forest floor on its back before engaging in a bizarre hugging dance with a confused and terrified man standing nearby.
The film includes these hilariously strange segments to prioritize effective comedy over simply displaying scene after scene of mindless kills — and this (slight) nuance is what separates “Cocaine Bear” from the irredeemably brainless “Sharknado” franchise.
So how could this glorious masterwork possibly falter? The answer might surprise you: Banks’ film
often takes itself too seriously.
A movie as absurd as “Cocaine Bear” can only succeed by displaying a healthy sense of self-awareness — that is, it should recognize its ridiculous nature and, when possible, poke fun at itself.
Inexplicably, however, the writers of the film chose to construct an unnecessarily intricate plot for a premise that does not warrant a complex story. For a B-movie about a rampaging black bear high on cocaine, Banks’ film displays a curious number of interwoven plotlines and attempts at emotional moments.
“Cocaine Bear,” simply put, did not require such depth. The writers should have settled for enjoyably ridiculous monster-movie violence instead of trying (and failing) to build a serious narrative.
A dizzying array of characters, each supplied with a unique backstory and agenda, also needlessly muddles the film’s narrative. Though some, such as Christian Convery’s traumatized 13-year-old, are endearing and memorable, the sheer quantity of main characters distracts from the manic violence that should have been the film’s focus.
A smaller cast of similarly motivated characters — akin to Alexandre Aja’s “Crawl” or Jaume ColletSerra’s “The Shallows” — simply trying to avoid the bear would have befit Banks’s ludicrous monster
flick much better.
In the midst of its futile attempts to construct an elaborate plot and develop its enormous compendium of characters, the movie affords frustratingly little screentime to its most valuable asset: the bear. When it does appear, the drug-fueled beast — brought to life by surprisingly seamless CGI — barrels across the screen, spilling blood and tearing out intestines in an appropriately chaotic fashion.
In a strange way, the bear’s indiscriminate path of destruction is almost enchanting to watch. By the film’s conclusion, the bear becomes a far more entertaining character than most of the humans featured in the film.
Whatever its faults, “Cocaine Bear” offers moviegoers a welcome reprieve from the lofty Oscar-bait films and bland, conveyor-belt-deposited superhero flicks that Hollywood usually churns out. Even when trying to generate a bizarrely intricate story, Banks’ film knows how to have fun and garner genuine laughs from its audience to an extent that few action-comedies are capable of.
Drugs dropped in the forest. A rampaging black bear thirsty for blood and blow. A group of hapless humans assembled in the woods. A cinematic masterpiece obviously destined for awards consideration. “Cocaine Bear.” Purchase your tickets now.
What do the CEO of Glossier, physics professor Patrick Johnson and Georgetown University’s funniest human have in common? They have all spoken in the Intercultural Center’s Auditorium! With a capacity of 349 velvet-lined navy chairs, the ICC Auditorium has hosted a number of events — including the Feb. 24 Funniest Human standup comedy show.
Hosted by Georgetown Program Board, the annual event features numerous undergraduate contestants and is free to attend on a first-come, first-serve basis. The line snaked out the door thirty minutes before the show started, and people in line anxiously counted those in front of them to see if they would be able to get a seat.
Once everyone was in the door, emcee Harrison Lee (SFS ’23), opened with a Pedro Pascal quote, a story about a failed attempt to spit out gum and a call for audience participation. The first comedian Lee introduced was Dane Tedder (CAS ’24). Tedder took the stage with a long sigh that ended in a tentative hello. He admitted that he
was nervous and explained that he has anxiety, which renders conversations harrowing. He then launched into an anecdote about an awkward encounter he had with a classmate, during which he ran away only to end up going in the same direction as the classmate. Tedder’s demeanor mirrored that of comedian John Mulaney (COL ’04), but with a wearier, yet still hilarious, edge.
Next up was Eli Blumenfeld (CAS ’25), who came out yelling “WASSUP GEORGETOWN!” Blumenfeld’s set, which alluded to his Oedipus complex and compared bread dough to touching a woman, yielded a few uncomfortable chuckles from the audience.
Following Blumenfeld was Daria FarmanFarmaian (SFS ’23), who also spoke about her stage fright, revealing that she hadn’t pooped in three days. Throughout her set, she opened up about her physical and mental health, inspiring the audience with her tale of perseverance and self-betterment.
Zan Haq (SFS ’24) followed Farman-Farmaian with a story about how he thought Obama was his uncle when he was younger. Upon discovering Obama is not an Arab, Haq joked that he landed on Osama bin Laden as his next role model because “no other Arab has broken more glass ceilings in this country.” Haq’s witty tone took the edge off his risque 9/11 jokes, earning many chuckles from the audience.
Next up was John Matuszewski (SFS ’25), who opened by sarcastically joking about “drowning
in women.” He then moved on to criticize University President John J. DeGioia (CAS ’79, GRD ’95) in response to the recent increase in tuition, comparing the price hike to the costs of students’ parents’ “country clubs and cocaine.” His self-deprecation and frustrations with the administration hit close to home for many in the audience.
Han Miller (CAS ’23) followed Matuszewski’s DeGioia smackdown by offering their services as a criminal to the audience, stating that because they do not use “she” or “he” pronouns, many U.S. laws do not apply to them. They finished their set by joking that GUPD was their missing father figure, shouting out the “GUPD officer that always rides his bike and has a little beard.”
Caroline Timoney (CAS ’23) then revealed that she was conceived through IVF, meaning her parents “could be virgins.” She adopted a valley girl persona at the beginning of her set, but slowly dropped the accent as she made her way through her set, allowing her to develop a connection with the audience through her vulnerability about her mental health and her struggles through puberty.
Next, Stephen Purdum (CAS ’26) centered his set around his childish brazenness. He told the audience about a time when he lied to the TSA, telling them that his name was “Bob,” and the time he dared his friend to jump off a roof. Purdhum’s silly set unlocked the audience’s nostalgia for their
By Varsha VenkatramGEORGETOWN LIBRARY FRIENDS BOOK SALE 2
Visit the Georgetown Neighborhood Library for a used book sale the weekend of March 4-5!
The D.C. Record Fair hosts over 40 vendors biannually in what is the largest record fair in the District. The event takes place March 19 at the Eaton D.C. hotel, boasting a mix of quality vinyl, a DJ and other entertainment. It’s totally free to attend but make sure to reserve tickets online! As an added bonus, the trip takes just 30 minutes on the D6 bus, which stops right outside Georgetown’s main campus.
The library is a hidden gem just a 15-minute walk from the main campus, located right next to the Safeway on Wisconsin Ave. This secondhand book sale includes everything from children’s books to graphic novels to nonfiction textbooks. Add some new books to your collection while supporting the D.C. library system and exploring a new part of Georgetown.
THE DEL RAY VINTAGE & FLEA MARKET 3
Getting back to D.C. early after spring break?
Take a trip across the river to Alexandria for the Del Ray Vintage & Flea Market! On the second Saturday of each month, from 9 a.m. to 2 p.m., community members gather to sell and shop for unique antique items. The market is based in the parking lot of 1900 Mt. Vernon Ave and is just a 20-minute drive away — the next one will take place March 11!
childish, long-lost lack of sensibility.
An energetic Miguel Mendoza (CAS ’23) then told the story of his experience with an unhelpful but flirtatious Italian police officer who called him “Yankee boy.” He then recounted a family vacation in the Dominican Republic where his sister tested “positivo” for COVID-19, building tension and excitement among audience members.
At the end of the night, the audience voted on who to crown as the funniest human. Despite some confusion about the voting system, Mendoza, Matuszewski, Farman-Farmaian and Tedder made it to the second round. Finally, all the votes were in, and with a dramatic drumroll, Lee announced, “the winner of Funniest Human 2023 is … Miguel Mendoza!” The crowd erupted in cheers as the plastic crown-clad comic took hold of the mic, dedicating his win to his friend Steven who couldn’t make it to the show. With that, “Yankee boy” took home the gold.
Full disclosure: Purdum previously served as a writer for The Guide, and Timoney served in the Multimedia section. Matuszewski currently serves in The Hoya’s Photo division, and Blumenfeld is a columnist for Sports.
Amber Cherry is a freshman in the College of Arts & Sciences. Funny Faces in Beautiful Places will appear online and in print every three weeks.
FONA NATIVE PLANT SALE 4
Spend a relaxing Saturday wandering a native plant sale hosted by the Friends of the National Arboretum on March 25 from 8:15 a.m. to 2:00 p.m. The sale includes vendors selling everything from “spring ephemerals” to “perennials and woody plants” ringing in the spring season. It’s held in conjunction with the National Arboretum’s 36th Annual Lahr Native Plants Symposium, so you’ll also get the chance to learn from professionals about cultivation. Get your free tickets online, then take the chance to explore Northeast D.C. while you’re there!
Hoya Staff Writer
After three long years, Gracie Abrams has said “Good Riddance” to an era of EPs, finally releasing her debut album, “Good Riddance.”
Her first EP, “minor,” was released in July 2020 and took her brand of “bedroom pop” to another level: she played what she coined as “bedroom shows” for fans over Zoom due to the pandemic. The fifth track on this EP, “I Miss You, I’m Sorry,” still resonates with fans years later, remaining her most popular song to date. It was this EP that inspired the musical style Olivia Rodigo’s hit song “drivers license.”
said she considers it an EP rather than an album because the songs “felt like they were fragments of different times over my mental health recovery.” Whatever the reason, fans are excited to officially have her album in their hands.
“Good Riddance” delves into the multifaceted versions of heartbreak, ranging from the pain of breaking someone else’s heart to that of growing up and moving on from childhood. The feelings conveyed in the album reflect what many people experience, but few are able to put them into words as well as Abrams does.
Another track from the album, “Where Do We Go Now?” reflects this, with Abrams admitting “when I kissed you back, I lied / You don’t know how hard I tried / Had to fake the longest time.” Sonically, it’s more upbeat than “Best” and opens with a quicker rhythm, but it’s not necessarily more cheerful. It is, after all, a song centered around a failed relationship.
Gracie Abrams reaches heightened emotional depths with her new album, “Good Riddance,” despite the sonic similarities of many of its songs.
growing up. In the second verse of the song, she emphasizes this, putting into words the fears of many college students and saying “I’ve been thinkin’ if I move out this year / I’ll feel my parents slipping / Away and also I’m just scared of that commitment.” For most people, moving out is simultaneously the most exciting and anxiety-inducing time of their lives.
The final track, “Right Now,” however, is where Abrams really dredges up the anxieties that come with leaving childhood behind. The song starts off slow, with bass slowly being added while she reminisces about her room and home. She sings, “Look at me, I feel homesick / Want my dog in the door / … / And the faint overhearing / Of my mom on the phone / Through the walls of my bedroom / Things that I shouldn’t know.”
It’s oddly specific and yet somehow universally relatable — almost every child remembers the feeling of eavesdropping on a conversation they shouldn’t have been listening to. Abrams grapples with this nostalgia alongside the guilt of enjoying her new life despite the fact that she’s no longer with her family — “Am I losin’ my family / Every minute I’m gone? / What if my little brother / Thinks my leavin’ was wrong?” While Abrams may be “more alive somehow,” the guilt that comes with believing that she’s abandoned her family and created a life separate from them is one that many young adults encounter, especially in their early 20s.
Despite the darker tones of these tracks, however, Abrams does include a more hopeful song in “The Blue.” In this song, she touches upon a new love that “came out of the blue like that,” but might be everything that she’s wanted. It’s a soothing lullaby of sorts, both lyrically and sonically, reminding listeners that there is more for them out there after a bad relationship — a refreshing perspective in an otherwise heartbreaking album.
Following the release of “minor,” Abrams released her sophomore EP “This
Like,” which, like her debut album, contains 12 tracks. In an interview with Teen Vogue, she
In her opening track “Best,” she laments over her treatment of her ex, claiming “I never was the best to you…You fell hard, I thought ‘good riddance.’” This one-sided love is a recurring theme in her songs, something she mentions in her previous EPs as well as on other tracks in the album.
Still, Abrams isn’t always completely removed from the relationship. In “I Know It Won’t Work,” she notes that “part of me wants you back, but / I know it won’t work like that, huh.” It’s a slight contrast from “Best,” which directly precedes it, noting the reluctance Abrams has in ending this relationship in the less peppy instrumental backings she chooses to use and giving the track a softer vibe.
The album’s lead single “Difficult” combines this self-awareness with Abrams’ struggle with
Occasionally, Abrams seems to rely on her characteristic vocals too much, creating several songs that are extremely similar. Abrams could benefit from expanding and experimenting with different ways of layering her voice or with new genres.
Regardless, Abrams is extraordinarily talented, and her ability to not only be self-aware of the role her own actions played in her relationship but also to accept responsibility for them is the unique trait that may propel her success in the future.
Sofia Wolinski
Hoya Staff Writer
Gabrielle Zevin’s novel “Tomorrow, and Tomorrow, and Tomorrow” is a captivating read that is sure to warm the hearts of readers.
The novel follows the lives of video game developers Sam and Sadie over the course of 30 years, exploring the meaning of love and dedication in the process. The novel delves into the nuances of their relationship and the themes of ambition, success and the sacrifices people make to achieve their dreams.
The story begins in Cambridge, Mass. as Sam, a Harvard University mathematics student, and Sadie, a Massachusetts Institute of Technology computer science student, bump into each other in a crowded train station. They haven’t seen each other since they first met as kids in a Los Angeles hospital, where Sam was recovering from a car accident and Sadie was visiting her sister, who was being treated for cancer.
Sam and Sadie reignite their friendship over their shared love of gaming after this chance reunion, and they start on a dream of creating a platformer gamethat will change the gaming industry. They spend countless hours working on a new game, which they call “Ichigo,” and eventually release it to great acclaim. Sam’s roommate, Marx, joins in the success of “Ichigo” as its producer.
Sadie and Marx’s relationship becomes strained, however, as the game gains popularity. They have different visions for the future of the game, and they struggle to reconcile their differences. The novel delves into their personal struggles as well as the challenges of navigating the gaming industry and dealing with the pressures of success.
Zevin’s writing is engaging and thoughtful, and she expertly explores themes of friendship, ambition and the blurred lines between reality and video game reality. The characters are well-developed and relatable, and their experiences will resonate with
GABRIELLE ZEVIN WEBSITE
Following two friends pursuing their dreams designing and distributing a video game, “Tomorrow, and Tomorrow, and Tomorrow” is a poignant, emotional depiction of friendship’s love.
anyone who has ever had a complex and long-lasting friendship.
A standout feature of the novel is the way Zevin depicts the world of video game development. Zevin clearly did her research, and the behind-the-scenes glimpses into the industry are both fascinating and eye-opening. Zevin includes just enough technical detail to give readers the necessary background to understand what a graphics engine does — but never ventures too far into the weeds. Zevin depicts the complexities of video game development with prose that is elegant and insightful, with moments of humor and poignancy throughout.
“Tomorrow, and Tomorrow, and Tomorrow” quotes one of the most famous soliloquies in William Shakespeare’s tragedy “Macbeth.” It comments on the restlessness of life as troops are approaching Macbeth’s castle to besiege it. When Gabrielle Zevin uses the same words, she speaks of the “possibility of infinite rebirth, infinite redemption” offered by video games. In video games,
death is merely a chance to restart with a clean slate — more a symbol of hope than despair.
Contrasting its dedication to detail, the novel’s pacing is uneven. While the first half is engaging, the second half drags on, causing its plot to lose momentum. The characters’ relationship becomes unnecessarily complicated, and the story loses some of its focus as it tries to cover too many themes and subplots.
Despite the pacing issues, the novel’s characters are well written and sympathetic. Sadie, Sam and Marx are flawed and complex individuals, and their ever-changing relationship with each other represents the often overlapping dynamics of friendship, love and business partnership.
“Tomorrow, and Tomorrow, and Tomorrow” is a poignant and profound exploration of the meaning of friendship and love. Zevin’s writing combines intelligence, humor and emotion, making this a must-read for everyone — even those who are not interested in gaming.
Eating is just one of those things that is more enjoyable in a group. A table for six can justify more dishes than a table for two; when the person to your right is boring, you can talk to the person on your left; and sometimes, a bigger party means smaller individual bills. Talk about a win!
I say all this while ignoring the challenges placed upon the planner. As the feral reservationist amongst my friends — just ask my roommate, who sees me grab my phone at midnight to book as soon as reservations are released — I am often tasked with finding the perfect venue for Friday night dinner. I have to balance preferences, price points and dietary restrictions, and by the time I find something that fits our criteria, I am most often left with two reservation options: 4 p.m. or 11 pm. As you can understand, there are many nights when our extravagant dining plans unfortunately lead us right back to Leo’s. That being said, I have more than a few successful
Saturday dinners under my belt. As a self-proclaimed reservation specialist, let this serve as your guide to group dinners. Securing a good reservation in Washington, D.C., is harder than getting into Georgetown University — just kidding (or maybe not). I still recite the words of my college counselor every time I open the Resy app: “apply early and cast a wide net.”
If you are searching for a night-of reservation, do not expect an 8 p.m. table at the hottest restaurant in town. You can definitely find something to eat, but you are much better off planning in advance. I don’t mean to say you need to book 30 days ahead (unless you are “reservation anxious” like me).
There are plenty of options a short walk from campus that will surely be able to squeeze you in, but if you really want to experience excellence, I’ve found three delicious restaurants with reasonable reservation protocols that will keep your friends begging for an invite.
Located in Adams Morgan, doi moi serves a fusion of French and Vietnamese food, and its street foodinspired menu, large servings and diverse offerings make it perfect for groups. They serve “Mon Khai Vi,” which translates to “street plates” and are similar to Spanish tapas. Customers can customize the quantity of these dishes and try bites of everything, from
flash-fried beef jerky with a honey glaze to crispy brussels sprouts with crushed crispy shallots. While you can select personal entrees, I think you should order everything to share. We decided on vegetarian drunken noodles, sài gòn fried rice and tofu bao buns in a fluffy dough wrapping.
With an expansive menu, generous portions and a fun neighborhood to explore post-dinner, doi moi is an excellent choice for your next night out. Plus, with $8 daiquiris until 8 p.m. every night of the week, there is definitely something for everyone.
I can’t say I’ve been to Spain, but I can say I’ve been to Barcelona (Wine Bar, that is). With 13 locations nationwide, you can be assured of the wine bar’s excellent offerings. The tapas are scrumptious, the wine selection is exciting and with some strategic ordering, you can leave without a mind-warping bill.
The menu boasts an impressive charcuterie and cheese selection, along with salads, large plates and of course, tapas. A few of my favorites include the patatas bravas with garlic aioli, the crispy sunchokes and the broccolini. I love going with a big group and ordering what feels like the entire menu.
The quiet ambience is perfect for intimate conversation, but hip enough to make it feel fun. There
are two locations in D.C. — one on 14th Street and another in Cathedral Heights — which means twice the reservation potential.
For my final recommendation, I present ala. Located in Dupont Circle, ala serves Levantine cuisine that celebrates bright colors and bold flavors. The menu is designed to be shared: guests begin with snacks and charcuterie, progress to mezzes (the Mediterranean version of appetizers), then large plates, and finally end on a sweeter note with desserts like halva mousse and sumac ice cream.
It’s perfect for everyone in your friend group: the allergy victim, the vegan and the picky eater. And for such an exciting culinary experience, the prices are reasonable and the portions are generous. On top of all that, ala’s selection of innovative mocktails and cocktails ensures that no one leaves dehydrated.
So, what are you waiting for? Make those reservations, receive endless praise for your choices and thank me later.
Audrey Biles is a first-year in the College of Arts & Sciences. The Hungry Hoya will appear online and in print every three weeks.
