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F RI DAY, JA NUA RY 2 4, 2020

STREAMING IN THE SPOTLIGHT

ILLUSTRATION BY: ROSY LIN AND TARIKA KUMAR/THE HOYA

THE HOYA

FRIDAY, JANUARY 24, 2020

Netflix Grapples With Issues of Diversity, Innovation in Film MICHELLE BROWN Hoya Staff Writer

A bicoastal couple, the husband a director and the wife an actress, find themselves embroiled in a painful divorce and custody battle in the Netflix-distributed film “Marriage Story,” praised for its depiction of family and intimacy. Director of “Marriage Story” Noah Baumbach reflected on Netflix’s extensive original film efforts and attributed its success to Vice President of film Scott Stuber in an interview with Business Insider. “Scott has found, and continues to find, a balance between the traditional Hollywood model and Netflix’s innovations,” Baumbach said. As Netflix’s role expands from a service offering access to films and television to a creator and distributor of original content, it shares traditional Hollywood studios’ struggles of considering issues of diversity and privilege. Netflix’s ability to offer something other big studios do not, however, is affected by its pursuit of awards and its operations as a streaming service, complicating its status as an innovator.

CRAVING AWARD VALIDATION

“Marriage Story” and “The Irishman,” with their A-list casts, take most of the credit for Netflix’s Oscar nods, as Netflix leads the pack of long-dominating studios and distributors like Disney and Sony with 24 total nominations. “The Irishman” is a crime film centered on a man’s career as a trucker-turned-hitman rubbing elbows with powerful mafiosos. In reality, the extent to which “innovation” has bolstered Netflix’s popularity as a studio is debatable, according to Georgetown University associate professor of English and film and media studies Caetlin Benson-Allott. “If we’re talking about Netflix’s Oscar bait, then I would say it hosts no innovations. They are extremely traditional,” Benson-Allott said in an interview with The Hoya. “They’re not coming from genres that we see in theaters very much at present, but if you look back to the 1970s through the 1990s, which a lot of people would consider the heyday of American indie cinema, these are incredibly traditional films. They’re very much of a genre.” Not only do these films belong to an established genre, but Benson-Allott also identifies Netflix’s heavily promoted films this year as conforming to traditional Hollywood best picture contenders in terms of treatment of diversity. The Oscars have drawn criticism year after year for their failure to recognize filmmakers of color and female filmmakers, prompting the persistence of the social media hashtag #OscarsSoWhite, which originated in 2016. This year’s lack of female director nominations snubbed Greta Gerwig, director of “Little Women”; Lulu Wang, director of “The Farewell”; and Marielle Heller, director of “A Beautiful Day in the Neighborhood.” “I’m being a little dismissive because — of

course, there are really good films involved here — because I do think that the movies that Netflix is promoting among its original productions tend to be really white, really high production value, focused on the emotional experiences of pretty affluent individuals,” Benson-Allott said. Netflix functions as both a distributor and a production studio. While “The Irishman” and “Marriage Story” were both distributed but not produced by Netflix last year, Netflix also produced films including “The Two Popes,” which details the relationship between Pope Benedict XVI and the soon-to-be Pope Francis, and “Dolemite Is My Name,” which tells the story of Black comedian Rudy Ray Moore, who shaped the blaxploitation genre of the 1970s. Blaxploitation films, primarily aimed at Black audiences, were simultaneously praised for representing Black empowerment and criticized for portraying white stereotypes against Black people. In terms of its most expensive and highly publicized productions, Netflix is playing into the Oscars’ white, male standard in order to achieve award recognition, according to Benson-Allott. “These aren’t the only kinds of original productions that Netflix is making, of course, but they didn’t exactly put the campaign behind ‘My Name is Dolemite’ that they did for ‘Marriage Story,’” Benson-Allott said. While Oscar bait does not constitute the entirety of Netflix’s original content, the studio has invested millions into promoting potential best picture nominees. The Oscars campaign process has traditionally seen production companies competing to outspend each other in wooing awards voters with private meetings and dinners. Forbes speculates that Netflix spent at least $50 million on promoting “The Irishman” alone. “Dolemite Is My Name,” on the other hand, was well-received by critics but received no Oscar nominations. Unlike theaters, VHS and DVD, platforms like Netflix do not discriminate by original language and instead expose English-speaking audiences to foreign language films, according to Benson-Allott. “With a movie like ‘Roma’ — that was really amazing to me that Netflix put so much money behind a Spanish-language film as its best Oscar contender,” Benson-Allott said. “‘The TOP: HEYDAY FILMS, BOTTOM: TRIBECA PRODUCTIONS Irishman’ feels a little Netflix has the most Oscar nominations of any studio this year, including six for “Marriage Story,” bit more like business as top, and 11 for “The Irishman,” bottom, which were both distributed by the streaming giant. usual, but I do want to

FRIDAY, JANUARY 24, 2019 praise Netflix for helping Americans realize it doesn’t have to be in English to be good.” Netflix’s sorting by genre facilitates viewership of foreign language films, according to Benson-Allott. “If you go in there looking for a horror movie, it’s going to give you horror movies that are in English, and French, and Arabic and Spanish,” Benson-Allott said.

MOVING TOWARD DIVERSITY

While Netflix’s campaigns for award recognition place limits on the diversity of its storytelling, the streaming giant has been able to spotlight topical and consequential issues in some of its other work, according to Melissa Jones, film and media studies librarian at Lauinger Library. “In some ways, because of how they host up their films, and they’re not looking to show in theaters, they have the opportunity to be more creative,” Jones said in an interview with The Hoya. “They seem to have, just from out of the gate, been able to start with more latitude and flexibility, where the others might be working their way towards pushing the envelope.” Filmmakers like Ava DuVernay have worked with Netflix to produce critical works like the Netflix miniseries “When They See Us” based on the Central Park Five, who were five young men of color wrongly convicted of charges relating to sexual assault in 1990. DuVernay also created and directed the 2016 documentary “13th” on mass incarceration of people of color and the legacy of slavery.

THE HOYA Both are candid explorations of racism, oppression and politics. Delving into sensitive content, as Netflix original documentaries or semihistorical series often do, is an area in which traditional Hollywood studios are lagging, according to Adam Spector, who writes a column titled “Adam’s Rib” for the D.C. Film Society and moderates its film discussion group, Cinema Lounge. “Studios have become very risk averse and really want to go with films that are going to have a huge opening weekend, that are part of some established franchise — and not all of them, but that’s become the new model,” Spector said in an interview with The Hoya. “So the people who are looking for avenues to tell personal stories and need a certain budget to do it right — they’re more and more turning toward places like Netflix.” One instance of Netflix giving well-deserved attention to a talented director and thoughtful storyline is the 2017 film “Mudbound,” directed by Dee Rees, according to both Jones and Spector. “Mudbound,” distributed by Netflix, tells a tale of two families, one Black and one white, in the Jim Crow South. Netflix outpaces other studios in its hiring female directors. Women directed only 10.6% of the 100 highest-grossing films in the United States in 2019, whereas 20% of Netflix’s 53 original films produced in the United States in 2019 were directed by women, according to the Annenberg Inclusion Initiative at the University of South California. Netflix distinguishes itself from its competitors not only by paying more attention

ESPERANTO FILMOJ

Netflix distributed best picture nominee “Roma” in 2018, a Spanish-language blackand-white film about a housekeeper and the family she lives with in Mexico City.

to the racial and gender composition of its teams, but also by allowing diverse filmmakers to tell stories relevant to and important to them, according to Spector. “Especially when you look at something like a more diverse array of filmmakers, and filmmakers of color and women filmmakers — a studio may do that once in a while, but Netflix is able to do it more consistently,” Spector said. “And for Netflix, a point of emphasis, you have people like Ava DuVernay talking about how Netflix would completely back her and support what she wanted to do. It gave her support that she didn’t necessarily get when she made studio films.” Advancing diversity entails not only having those filmmakers on board, but also supporting their vision, according to Spector. “I think what Netflix is doing differently than the studios now is giving unquestioned support to to certain filmmakers — to both up-and-coming filmmakers and established filmmakers — that they may not, unfortunately, be getting from major studios,” Spector said.

SOMETHING TO BE DESIRED

Consumers’ shift toward streaming brings with it questions of film ownership and accessibility. Licensing and preserving content is challenging when it is only available via streaming services, creating potential longterm implications for film and media studies as a whole. While tangible media like VHS, DVD and Blu-ray Disc have made collecting films and making them accessible easy for libraries, streaming services do not license to libraries. Libraries can rent streaming-only content but cannot own it, meaning they have access only so long as the service that owns the content allows it, Jones said. “If you were to buy a film say on iTunes or on Amazon Prime, you don’t actually own the film. You’ve paid for rights, but they could actually take that back. And there’s a lot of impermanence with stuff that’s streaming

only,” Jones said. Although the streaming-only business model offers affordable deals for as low as $9 per month, the dollar expense is much greater for organizations like libraries. Libraries might be paying hundreds of dollars just to rent a single film for one year, making reliable preservation difficult, according to Jones. “In twenty years, is there a doctoral student or an undergrad who wants to do research on, you know, the rise of Asian American acting, and some of these major things only came out on streaming platforms? Can we get it? Is it available somewhere? Is it only on a server that’s proprietarily owned that scholars and students don’t have access to?” Jones said. Movie studios’ adoption of their own proprietary streaming services is an assertive, long-term power grab, as the consumption of film and television content has become increasingly centered on who it is that is producing and releasing that content, according to Benson-Allott. “Whatever movie you loved in middle school or high school, you probably don’t know what studio made it,” Benson-Allott said. “But when all the studios have their own proprietary streaming services, you’re going to absolutely know which franchises belong to Disney, which director made most of his movies for Paramount, because you’re going to have to subscribe to those services in order to get that content.” With the role of big studios shifting to assume more control over distribution and licensing in addition to production, the way people interact with that content will inevitably be different and unpredictable, according to Benson-Allott. “There just hasn’t been anything like this ‘studio as brand,’ ‘studio as gatekeeper,’ model before,” Benson-Allott said. “It’s really hard for any of us to predict how that’s going to change consumers’ relationship to film and television over the next five to ten years.”

DAVIS ENTERTAINMENT

“Dolemite Is My Name,” a movie about the life of Black performer and comedian Rudy Ray Moore (Eddie Murphy) was another Netflix original released in 2019.

FRIDAY, JANUARY 24, 2020

THE HOYA

MOVIE REVIEW

Director Sam Mendes Reimagines Wartime Epics With ‘1917’ Directed by: Sam Mendes Starring: George MacKay, Dean-Charles Chapman, Mark Strong SEAN FULMER Hoya Staff Writer

Opening on a picturesque French meadow and descending into the depths of human depravity, “1917” is a masterful technical production that is only overshadowed by a visceral emotional performance by its leading man. The film transcends the war genre to provide a thrilling and challenging rumination on the horrors of war and the people who cause them. Director Sam Mendes filmed the movie to appear as if it is one continuous take. Viewers follow British soldiers Schofield (George MacKay), and Blake (Dean-Charles Chapman), as they attempt to save Blake’s brother and his company from a German ambush. Although it could be dismissed as a gimmick, the continuous shot immerses the viewer completely into the fog of war. Other war movies have attempted to demonstrate the inhumanity of extreme violence, but none succeed as well as “1917” because of this directorial choice. Simply following these soldiers without pause illuminates how the horrors of war can be broken down into powerful minutiae, like mud-caked boots and pure exhaustion. Oscar-winning cinematographer Roger Deakins helms the camera and fashions his opus in “1917.” To maintain the appearance of real-time footage, Deakins filmed seven- to eight-minute takes, which required extreme

preparation by the cast and crew. Certain scenes transfer between cameras mounted on drones, cranes and cars all within the same take. These transformations allow the film to exist not solely in the head of the characters as the camera only occasionally drifts away or zooms out to demonstrate the loneliness of battle. All of these technical achievements would mean nothing if “1917” allowed them to unmoor the narrative from human emotion. Luckily, MacKay wields an unusual amount of charisma towards the audience, leveraging his puppy dog eyes to create an emotional bond despite the near lack of dialogue in the film. The entire range of human emotions is present in his face at points during the film, and it is nearly impossible to ignore the raw pain in his expressions. The narrative of the film is intentionally simple as a result of the choice to present the film as a continuous take, an arduous technical decision that draws out production. Because of the limitations of the technology, the actors themselves provide characterization and emotional depth in their characters, which MacKay creates perfectly. These decisions create the interesting contradiction between a continuously moving story and the paralysis that war causes. In particular, a scene focuses on Schofield in the back of a truck, surrounded by fellow soldiers that do not know the struggles he endured to make it to that point. The camera

stays trained on him, and the viewer fully feels the weight of his emotional journey despite a dialogue making the emotions explicit. In the background, however, several soldiers, who hardly look 18, nervously tell jokes and brag about how brave they will be in battle. The juxtaposition of these soldiers highlights Schofield’s post-traumatic stress symptoms with the need of men to appear unfazed despite facing an irrational situation. “1917” contains somewhat surprising cameos from well-known actors, which almost threatens the artistic, indie credibility of the film. Andrew Scott, of “Fleabag” fame, steals the show with a darkly comedic performance as an existential lieutenant on the front lines. Richard Madden, who played Robb Stark on “Game of Thrones,” manages to create a deeply emotional moment despite little screen time. Less successful are Benedict Cumberbatch and Colin Firth, who mainly function as exposition devices, which questions the need to incorporate such well-known actors. “1917” solely focuses on the journey of Schofield and Blake, however, so these instances are merely blips in the narrative. Although not wholly focused on investigating the role of men in war, “1917,” none-

 theless, does feature interesting thoughts on masculinity. At one point, a character warns Schofield that “some men just want the fight.” Although this quote can easily be seen as a depiction of toxic masculinity pushing for violence, it can instead be seen to represent the inevitability of violence and defeatism by those soldiers on the front lines. If the attack is called off, they will just be sent into another battle within a week, which can cause one to lose hope. In a film with so little dialogue, the score is integral in constructing the environment in which the characters exist. Thankfully, Thomas Newman gracefully underscores emotional moments and summons swelling orchestral music for larger action scenes. His work never intrudes on the legitimately shocking moments and adds emotionality to the film. Sam Mendes’ “1917” has rightfully been one of the major focuses of the awards season, being nominated for 10 Oscars and winning the Golden Globe for Best Motion Picture - Drama. The film’s shocking depictions of war, combined with groundbreaking cinematographic choices for the genre and powerful performances, culminate in one of the best movies of 2019.

AMBLIN PARTNERS

Known for his work with the “James Bond” franchise, director Sam Mendes uses “1917” as his debut film in the war genre. By incorporating little dialogue and innovative cinematographic techniques that made the film seem like a single shot, Mendes cultivates an immersive cinematic experience, powered by expressive performances.

FRIDAY, JANUARY 24, 2020

THE HOYA

FILM REVIEW

‘Little Women’ Stuns With Engaging Rendition of Classic Novel Directed by: Greta Gerwig Starring: Saoirse Ronan, Emma Watson, Florence Pugh ANNAH OTIS

Hoya Staff Writer

Louisa May Alcott’s landmark novel “Little Women” has been adapted into six movies and at least two television miniseries since its publication in 1868. The latest iteration from Sony Pictures was released Dec. 25 amid great anticipation and positive critical reviews, especially from those who grew up idolizing Alcott’s fiercely independent sister-protagonists. This version’s talented actresses, well-executed movement from present to past and engaging narrative make it a film for the ages whose brilliant execution transcends all attempts before it. Among the film’s star-studded cast are Meryl Streep as Aunt March, Emma Watson as Meg March and Laura Dern as Marmee. These big names are overshadowed by Saoirse Ronan in her heartfelt portrayal of Jo March, the story’s main character, who reflects on a childhood enlivened by three sisters and dreams of the famous writer she will become. The narrative moves between memories and in-the-moment action to seam-

lessly integrate the past and the present, creating a captivating movie experience that leaves the audience cheering for Jo and her sisters, as an extension of the feminist message of the initial novel. Ronan and Watson are joined by Florence Pugh as Amy March and Eliza Scanlen as Beth March in a convincing rendition of sisterhood. Revenge, hair pulling and jealousy each take a turn as little girls transform into little women. The frank portrayal of family life, within and outside the March household, saves the film from seeming too utopic, adding a layer of relatability to the grounded narrative. Equal bouts of sadness and happiness make for a deeply moving storyline that most viewers will find relatable. Perhaps fittingly, the movie’s weakest point is its male actors. Timothe Chalamet struggles to fit into the role of Theodore Laurence, Jo’s best friend and Amy’s eventual husband. He comes across as far less expressive and powerful than Ronan, though these deficits may also be a function of the character. James Norton, who starred as Sidney Chambers in PBS’ Mas-

terpiece series “Grantchester” to great acclaim, is not quite as successful in the role of John Brooke. Louis Garrel’s performance as Jo’s love interest, Friedrich Bhaer, is made awkward by a heavy-handed German accent. Fortunately, the film spends much more time on the March sisters than on their male counterparts. Director Greta Gerwig, known for her 2017 work on award-winning film “Lady Bird,” orchestrates her tribute to Alcott’s greatest work by following the book’s lead while adding a distinctive flair. First-person narration, endearing female leads and vacillation between sorrow and euphoria appear in the movie as they do in the novel. Yet Gerwig manages to make her version feel much more like a triumphant love story with dramatic turns than Alcott’s somewhat sorrowful account of women with aspirations for life beyond the domestic sphere. This change does not make the film any less feminist, but it does emphasize the joys of marriage while clearly enumerating the effects of remaining unmarried in a professional context.

 In this feminist vein, Gerwig’s decision to alternate scenes of the March sisters as younger and older versions of themselves could have created a confusing narrative with disjointed plot lines. Fortunately, each transition is carefully planned to incorporate themes or characters from one scene to the next. The result is a flowing, albeit temporal, sequence that can be easily understood and agreeably enjoyed. These time shifts keep the mind engaged in ways that many two-hour movies fail to by juxtaposing frequent movement against the audience’s prolonged stillness. Although “Little Women” has been exhaustively produced for the screen, Gerwig demonstrates how strategic production and a good cast can imbue new life into an old story. The four March sisters prove to be as relatable today as they were more than a century ago; complicated family dynamics and big dreams are highly relatable subjects in any era. Few were left with dry eyes by the closing credits, and even if you are not prone to tears, “Little Women” will leave a lasting impression.

COLUMBIA PICTURES

Greta Gerwig, who rose to prominence after directing 2017’s “Lady Bird,” presents her adaption of the classic 1868 Louisa May Alcott novel, “Little Women.” By featuring a star-studded cast and creating a more engaging rendition of the novel, the film brilliantly bring its message and storytelling into the modern age of filmmaking.

FRIDAY, JANUARY 24, 2020

THE HOYA

THE REEL DEAL

‘Uncut Gems’ Thoughtfully Depicts Chaos, Realism Tucker Oberting Howard Ratner, portrayed by Adam Sandler, peers through a magnifying lens at a shimmering opal with a semblance of almost lustful excitement. His greed drowns out the indiscernible commotion and boisterous havoc of the cramped 47th Street New York City jewelry store. Ratner is unwaveringly entranced by the treasure. This manic atmosphere continues unrelentingly throughout the entire duration of “Uncut Gems,” the latest release directed by Josh and Benny Safdie in the duo’s follow-up to 2017’s “Good Time.” Events unfold with a momentum that leaves hardly a moment to breathe until the final credits begin to roll. In his latest appearance on the big screen, Sandler embraces the role of Ratner, the contemptible New York City jeweler for whom nothing seems to go right. Ratner is an intriguing character who is essentially defined by his vices. Incessant adultery, company debt and

a gambling addiction render him difficult to sympathize with as he endures a string of disasters, largely of his own creation. Viewer responses to the film have unsurprisingly been largely polarized. Serving as a surrogate for the audience, Idina Menzel is compelling as Dinah, Ratner’s unfortunate spouse. “You are the most annoying person I have ever met!” she exclaims to her struggling husband during one particular scene. Sandler’s suitability for the serious role of Ratner is intriguing, considering his tenured career as a comedy actor. The goofy “Grown Ups 2” and “Jack and Jill” come to mind as films that exemplify the outlandishness personified by the traditional Sandler character. It is refreshing, then, to witness Sandler exhibit the earnest acting talents he has proven to possess in past work such as Paul Thomas Anderson’s “Punch-Drunk Love” and Noah Baumbach’s “The Meyerowitz Stories.” The fictional story of “Uncut Gems” is intertwined with actual events from 2012, the year in which the film takes place. Ratner makes a series of bets on the Boston Celtics during the NBA Eastern Conference Semifinals in a desperate effort to dig himself out of his precarious financial situation. Now-retired NBA star Kevin Garnett, who played for the Celtics from 2007 to 2013, is convincing as a fictional version of himself, an

occasional customer at Ratner’s store. Garnett, however, was not the Safdie brothers’ first choice for the role. Former New York Knicks forward Amar’e Stoudemire was originally intended for the role written by the Sadfies. The Sadfies were forced to rewrite the part though, after Stoudemire refused to cut his hair in accordance with its style in 2012. Diverse themes of religion and sports betting are connected throughout the film by their shared association with superstition and the unexplained. Howard and the miners who originally quarried the gems are alike in their shared Jewish faith, despite their otherwise vastly different ethnic and cultural backgrounds. While the gem is implied to possibly hold special powers, Ratner ultimately values the stone only for its price tag, which he estimates to be in the seven figure range. The theme is accentuated during a scene in which Garnett asks Ratner how much he paid for the stone. Ratner replies that, despite his exploitative schemes, the question is misleading. What matters is that everybody gets what they want, just as long as he is taken care of first. One could argue, though, that the true star of the film is the dizzying pace by which the 135 minute runtime flies by. The film is unrelenting, draining and exhausting, a thoughtful reflection of the chaotic and self-destructive lifestyle that Ratner embodies. Nothing turns

out well for the high-strung jeweler despite intense effort, making the film’s abrupt ending all the more unexpected. In consideration of the circumstances, though, a sudden conclusion is the only way a story like “Uncut Gems” can truly end, fictional or not. “Uncut Gems” is a cautionary tale that offers the unique experience of a lifestyle that has spiraled completely out of control. The end result is tragic and emotionally exhilarating. Recent comments by renowned filmmakers including Martin Scorsese and Francis Ford Coppola in regard to the current state of cinema are in direct defense of films such as this latest project by the Safdie brothers. Movies like “Uncut Gems” in contrast to big-budget, predictable blockbusters like The Marvel Cinematic Universe films,where the good guys may reliably be expected to team up and defeat the contrived alien army. According to Scorsese, however, “cinema” is a term for films like “Uncut Gems,” the stories that are meant to be internalized. They reflect actual experience and offer a meaningful lens for making sense of the diverse shared struggles of the real world, no matter how onerous or unfortunate to the characters or the viewer. Tucker Oberting is a junior in the College. THE REEL DEAL runs online and in print every other week.

EXPLORING EATERIES

Dupont Circle Restaurant Anju Masters Asian Fusion Hal Rogers There is no better area to witness the melting pot of modern Washington, D.C., than Dupont Circle with its historic embassies and powerful think tanks alongside bubble tea shops and an underground arts scene. Just three blocks from the Dupont Circle fountain sits Anju, an inconspicuous and stylistically understated Korean restaurant. Since its opening, Anju has captivated D.C. food critics with its exciting fusion of modern and traditional Korean flavors. It is an ideal spot for a group of friends looking for an eatery that caters to each of their diverse tastes, and its proximity to Dupont attractions will complete the evening. Being from the D.C. area, this column will explore D.C. food from a local guide perspective. Each neighborhood in the District offers something distinct from the others, and the density of attractions in any given spot means a dinner out can easily become an opportunity for scenic

exploration. With an eye to Dupont Circle this week, a trip to Anju with its loud and animated atmosphere is complemented by nearby opportunities for more serene art and architectural appreciation. At Anju, chefs Danny Lee and Scott Drewno have combined their decades of expertise to provide Washingtonians with a traditional Korean experience in an intimate Dupont circle space. The restaurant offers a wide variety of dishes aimed to satiate even the pickiest eater. For appetizers, long-time lovers of Korean food will find classics like kimchi pancakes and pork dumplings, as well as creative Americanized dishes. Those distinct dishes include Korean fried chicken with Alabama-style white BBQ sauce and the tornado potato, a Korean street food consisting of a spiral cut, deep-fried whole potato served on a skewer, each of which offers its own special culinary experience. Entrees at Anju are moderately priced and especially filling. Favorites include the Ssam Board, a large plate of seared galbi, or Korean style short ribs, served with rice and kimchi, Dolsot Bibim Bap, a classic Korean dish served in a hot stone bowl with rice and either bulgogi beef or tofu and Kimchi Jjigae, a Korean stew served with tender pork belly or tofu and kimchi. Among the desserts, guests will find a Korean-influenced Bananas Foster, a waffle with chocolate sauce and

peanut butter mousse, and various sorbets embracing Asian and American flavors. I would suggest Anju to those who are entirely unfamiliar with Korean food or to individuals who generally wouldn’t consider eating at a Korean restaurant. For those unfamiliar with Korean food, Anju’s menu is a great way to experience Korean cuisine without a complete untethering from familiar American flavors and preferences. Likewise, meat lovers and vegetarians are sure to find something that suits their interests on Anju’s moderately sized yet exceptionally diverse menu. I recommend going in a group of at least four to try a wider variety of dishes and mitigate the costs associated with dining out in the city. Larger groups will likely be given a circular table complete with a rotating turntable, adding to the Korean restaurant experience and making sharing dishes fun and easy. After a sumptuous experience at Anju, nearby exploration of a few scenic spots in Dupont will complete the evening before returning to the seclusion of the Hilltop. The Dupont Underground is a fun and free experience that captures both the historical and contemporary culture of the neighborhood. This free art exhibit can be found in the heart of Dupont Circle and is housed inside an abandoned trolley car

tunnel. Inside, the curved walls are covered with contemporary art, captivating light shows, and perplexing sculptures and the venue even features occasional live music. The Dupont Underground provides viewers with a host of postable moments and will surely intrigue followers with its artistic aesthetic. For those looking for a more calming and tranquil scenic experience after their meal, a stroll along the Spanish Steps does just the trick. This shaded area, just one block from the bustling chaos of Connecticut Avenue, possesses an ambiance and serenity that rivals the cobblestone streets of Georgetown. One of the few true hidden gems of the District, the Spanish Steps are enjoyed almost exclusively by locals. Visitors will find the Spanish Steps to be a peaceful and picturesque respite from the orchestra of sounds and sights that pervade Dupont Circle. Amid the architectural beauty and rich history of Dupont, a trip to Anju is a complete sensory experience of good food and aesthetic appreciation, combining the excitement of a tasty evening out with opportunities for thoughtful reflection. Hal Rogers is a sophomore in the College. EXPLORING EATERIES runs online and in print every other week.

FRIDAY, JANUARY 24, 2020

THE HOYA

RESTAURANT REVIEW

Butter Chicken Company Pairs Rich Flavor, Affordability ABIGAIL CORRAO Hoya Staff Writer

Washington, D.C. restaurateur Asad Sheikh turns traditional Indian cuisine fast and casual with the Butter Chicken Company, which opened last October. Sheikh is well-known for his collection of distinct Indian restaurants throughout Virginia and the District, including Bombay Street Food with locations in both Columbia Heights and Capitol Hill. His newest venture, located at 818 18th St. NW, opens at 11:30 a.m. Monday through Saturday. Butter Chicken Company boasts a slogan of “300 and we’re done,” closing daily after serving its 300th tray of its namesake dish. The restaurant also offers plates of main items chicken tikka masala, saag paneer, chana masala and vegetable biryani. Each $11 dish also includes two smaller portioned sides, which can be any of the five menu items, a piece of plain or garlic naan, and unlimited chutney and raita. Though the menu is limited in its dishes, it is refreshingly affordable and surprisingly comprehensive, offering vegetarian

options and many spice levels. Orange lighting and loud, colorful wall art greet patrons upon entry. Guests line up to make their selection from several huge, steaming copper pots, each of which contains one of the five menu options. After crafting their meal, they are quickly handed their reusable plastic container with generous portions on a cafeteria-style lunch tray in true fast casual style. At peak meal times, the line can form out the door of the 40-seat establishment, but Butter Chicken Company’s employees are speedy and efficient, preventing a long wait for any customer. The nature of the establishment as an informal dining spot centered on convenience means that the wait is never too long. The interior mirrors the vibrant red and orange color of the dishes while incorporating a mural wall, which includes photos of celebrity chef Anthony Bourdain and Gandhi. The restaurant also pays homage to the inventor of butter chicken, Kundan Lal Gujral, on one of the walls. The interior highlights the cuisine’s authenticity and history while also presenting a modern and energetic eatery.

Every dish highlights a different flavor profile, as recognizable spices are combined harmoniously to create plates that were sensorily complex. The namesake dish is a rich and velvety curry with slight hints of cardamom to complicate the flavor. The smoothness and richness of the sauce is true to its name. Though the tomato flavor of the sauce could be overwhelming, when paired with the robust vegetable biryani, the two dishes create a culinary masterpiece by balancing sweet and spicy flavors, preventing any one ingredient from dominating the plate. The second most popular dish, the chicken tikka masala, also consists of tender chicken in a warm, well-seasoned and vibrant curry sauce. Both chicken dishes present different flavor profiles — the butter chicken sweeter and richer and the tikka masala spicier and tangier — while still being bold and succulent dining options catering to different preferences. As a less meaty option, the saag paneer offers a bite of fresh cheese and flavorful spinach that provides the ideal balance between garlic and slight acidity. Eaten all together,

each of the dishes contributes to a complex and delightful combination of textures and flavors by juggling the velvety and thick sauce of the butter chicken, the bold seasoning of the tikka masala and the vegetables of the saag paneer to create a robust Indian cuisine experience. The dining experience would be incomplete without sampling the creamy, tangy and zesty mango lassi for dessert, which complements the meal’s strong spices and hearty texture with its sweetness and refreshing cold temperature in contrast to the spicy warmth of the entrees. Sheikh’s restaurant concept — combining traditional Indian foods with speedy and convenient service — has proven to be such a success that Butter Chicken Company-2 is expected to open soon in H Street Corridor. Despite the limited five-dish menu, the restaurant excels in flavor and execution as well as affordability. A trip to Butter Chicken Company is a quality and flavorful dining experience, but one that also exemplifies the creativity and dedication of its owner, who has expertly made a sampling of Indian cuisine quick and accessible.

BUTTER CHICKEN COMPANY/FACEBOOK

Butter Chicken Company, located at 818 18th St. NW, possesses a lively atmosphere and vivid aesthetics that complement the bold spice of its dishes. Though limited in its options, the restaurant still manages to offer a diverse range of flavors and spices at comfortable price points, combining authentic Indian cuisine with convenience.

FRIDAY, JANUARY 24, 2020

THE HOYA

What to Do in DC

MUSIC

New Releases

KIRA POMERANZ Hoya Staff Writer

YU YOUNG LEE Hoya Staff Writer

GRAMMYS WATCH PARTY SONGBYRD MUSIC HOUSE AND RECORD CAFE JAN. 26, 8 P.M. – 11 P.M.

The 62nd Annual Grammy Awards are this weekend. For any students without a TV, Songbyrd Music House and Record Cafe in Adams Morgan will be hosting a live watch party of the award show, featuring a Grammy pick pool with prizes and food and drink specials!

@BOMBAYINSTA/INSTAGRAM

@REALESTATEBAND/INSTAGRAM

BOMBAY BICYCLE CLUB

REAL ESTATE FT. SYLVAN ESSO

‘EAT, SLEEP, WAKE (NOTHING BUT YOU)’

‘PAPER CUP’

After a six year interlude, British indie rock band Bombay Bicycle Club triumphantly returns to the scene with “Everything Else Has Gone Wrong.” Initially released earlier for promotion, their single,“Eat, Sleep, Wake (Nothing But You)” unapologetically and perfectly encapsulates the band’s telltale style of unadorned, wistful lyrics layered by simultaneously groovy and plaintive tones. Despite not straying far off from familiar territory, the album is sure not to disappoint avid listeners.

Indie rock band Real Estate released the lead single “Paper Cup,” featuring Amelia Meath of Sylvan Esso, for the February release of their new album “The Main Thing”. Although just a flavor of what’s to come, the band disappoints and strays from their magical, breezy songs featuring bland, familiar lyrics of “come up gold” and “searching for something real” cliches. The presence of Sylvan Esso, unfortunately, is barely, if at all, felt. Real Estate fails to generate excitement for the rest of the tracks.

@IAMHALSEY/INSTAGRAM

@WHETHAN/INSTAGRAM

HALSEY

WHETHAN FT. STRFKR

‘929’

‘STAY FOREVER’

An intimate reflection of Halsey’s life thus far, “929” glimpses into some of the most significant moments in her life. The track title not only marks the time and date she was born (seemingly 9:29 a.m. on Sept. 29), but also comes to represent her coming to terms with all the “soft and slow” minutes she “watches go.” The mellow song, accompanied by the pop artist’s sultry voice, makes for a personal but impactful ending for “Manic.”

With “Stay Forever (feat. STRFKR)”, producer Whethan convincingly displays his impressive ability to bring out the best in each artist he works with. Portland indie trio STRFKR joins his diverse discography with featuring guests such as Dua Lipa, Oliver Tree, Ugly God and HONNE, and their distinctive colors and techno roots shine through, especially with lead singer Joshua Hodges’ unmistakable drawl. Like many of his other songs, “Stay Forever” is an electrifying experiment that goes right.

FILE PHOTO: SHEEL PATEL/THE HOYA

LUNAR NEW YEAR FESTIVAL SMITHSONIAN’S NATIONAL MUSEUM OF ASIAN ART JAN. 26, 11 A.M. - 5 P.M.

For the past five years, the Freer and Sackler Galleries and the John F. Kennedy Center for the Performing Arts have partnered to host a Lunar New Year Festival at the Smithsonian’s National Museum of Asian Art. This year, the festival entails interactive art demonstrations, live magic and music, and tasty Chinese food for sale Sunday afternoon. SMITHSONIAN’S MUSEUM OF ASIAN ART/FACEBOOK

FAHIM ANWAR DC IMPROV COMEDY CLUB JAN. 24, 7:45 P.M. AND 9:45 P.M. JAN. 25, 7:00 P.M. AND 9:30 P.M. JAN. 26, 7 P.M.

Seattle-based comic Fahim Anwar left the world of aerospace engineering to pursue comedy in the 2010s. He’s already been on the “Goatface” special with Hasan Minhaj on Comedy Central and appeared on “Conan” and “Late Night.” The shows at DC Improv Comedy Club in Downtown Washington, D.C. will run throughout the weekend and feature Anwar’s distinctive comedic style. DC IMPROV COMEDY CLUB/FACEBOOK

COLOR NOTES: PINK THE HIRSHHORN MUSEUM JAN. 24, 12:30 P.M. - 1:30 P.M.

The Hirshhorn Museum and Sculpture Garden is hosting a series of interactive color-based presentations and this week the focus is the color pink. The exhibition will begin with a series of paintings by Pat Steir from her project “Pat Steir: Color Wheel,” followed by other paintings in the Hirshorn that utilize the color pink to tell their story. HIRSHHORN/FACEBOOK

FRIDAY, JANUARY 24, 2020

THE HOYA

ALBUM REVIEW

‘Circles’ Serves as Fitting Culmination to Mac Miller’s Career ‘CIRCLES’

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Mac Miller KELTON MILLER Hoya Staff Writer

Pittsburgh artist Mac Miller’s posthumous album, “Circles,” dropped last Friday to an outpouring of acclaim from critics, fans and fellow artists. The album, an extension of 2018’s “Swimming,” was being worked on by Miller before his untimely death and offers a fitting culmination to his eclectic and transformative career. Miller gained prominence with a pair of mixtapes in the early part of the decade, “K.I.D.S.” in 2010 and “Best Day Ever” in 2011. His debut album, “Blue Slide Park,” found remarkable success as it topped the Billboard Top 200 as an independent release, facilitating Miller’s rise as a star in the rap ecosystem for years to come. However, Miller passed away from an accidental drug overdose in September of 2018. “Circles” was originally intended to be a direct accompaniment to Miller’s 2018 album, “Swimming,” the most sonically complex and critically successful release of his career. The album netted Miller a posthumous Grammy nomination for

Best Rap Album. However, Miller passed away just a month after its release, leaving much of “Circles” unfinished. Across “Swimming,” Miller worked closely with producer and friend, Jon Brion, who had a hand in several of the most popular and emblematic tracks on the album. When Miller died, his family reached out to Brion and asked that he finish what he and Miller had done with “Circles.” On “Circles,” Miller moves further away from his origins within frat rap and leans more into the R&B singer/ songwriter aesthetic he began exploring on his 2016 album, “The Divine Feminine,” and fully embraced on “Swimming.” This new sound has pushed him into a more avant-garde setting within the hip-hop world and encouraged his growth as an artist. As a whole, “Circles” offers an honest and sweetly optimistic look inside Miller’s head. The context of hearing him sing about his mental health improvements in the wake of his overdose adds a great deal of emotional gravity. Lyrics like “Yeah, well I’m just being honest / My conscience ain’t doin’ bad / Because I

try to minus the problems that I attract” on “Hand Me Downs” sound eerie in the wake of his untimely death. The album still contains moments of easygoing listening that Miller fans have become used to across songs like “Dang” off “The Divine Feminine,” with the tracks “Blue World” and “Good News,” the album’s lead single. “Blue World” presents a much different sound than the rest of the album. Miller samples the 1955 song “It’s A Blue World,” by the group The Four Freshmen. The soothing vocal sample plays uninterrupted for 25 seconds at the beginning of the song before being dissected as its different sounds are taken apart and reassembled into a hypnotic beat, which Miller effortlessly drops in on and begins rapping with his signature charisma. “Good News” is both smooth and plucky as it expertly juggles both soft and rough strings along with Miller’s crooning voice. He tactfully combines sadness with optimistic imagery with lyrics like “Wake up to the moon / Haven’t seen the sun in a while / But I heard that the sky’s still blue.” These melancholic lyrics and soft instrumental foster an environment for contemplation that few Miller songs have ever created. These uncanny lyrics and new musical styles Miller has explored push him

away from classic slow tempo rap songs like “Jet Fuel” or “The Mourning After,” with this album offering little beyond “Hands.” However, the song does a great job of bringing a touch of nostalgia for longtime fans of Miller. He raps about his sexual prowess, reminiscent of his early work, saying “Call me what you want / She call me “daddy” / Got a knack for gettin’ nasty / Every day we keepin’ tally, yeah.” Yet the song also features more introspective bars as well, like “Don’t know why I’m always talkin’ if I’m not makin’ sense / I’ve spent my life livin’ with a lot of regrets / You throw me off my high horse, I’d probably fall to my death.” This line, in particular, about the dangers of his ego, ring eerily in light of his death, like many of the lyrics on the album. The album as a whole is a fitting sendoff for Miller. It functions as a capstone to his career of artistic exploration, from what began as a teenager rapping about girls, drugs and clothes on “Blue Slide Park,” to his growth achieving mainstream success as a singersongwriter who attracted high level collaborators and different styles. “Circles” captures tastes of Miller’s past and brings them together with his contemporary work, featuring his life and work coming full circle.

MACMILLERSWEBSITE

Pittsburgh artist Mac Miller’s final album presents a capstone to his career for fans and new listeners alike. Featuring the assistance of frequent collaborator Jon Brion after Miller’s untimely passing in 2018, “Circles” is an extension of the themes on Miller’s previous album, “Swimming,” and brings about a beautiful if eerie final project that speaks volumes to his evolution as an artist.

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FRIDAY, JANUARY 24, 2020

THE HOYA

DIAMANTE FASHION SHOW/FACEBOOK

The fourth iteration of the Diamante Fashion Show amazed spectators at McDonough Arena last Thursday. Although the show experienced technical difficulties that limited its true scope, under the direction of Kevin Martinez (COL ’20) and with choreography from a variety of students, the show fulfilled its mission of showcasing the newest trends in fashion.

Diamante Fashion Show Highlights Self-Expression, Creativity ALLAN NAVARRO Hoya Staff Writer

After hours of waiting in line outside McDonough Arena, the Diamante Fashion Show stunned attendees Jan. 16. The show, now in its fourth year, aimed to celebrate the diversity and power of fashion across its two-hour showcase, which merged dance and more traditional runway modeling. The student-run show was founded by Kevin Martinez (COL ’20) three years ago and has since served as a powerful look at the future of representation in the fashion industry. Martinez continues to serve as director of the show in his final year at Georgetown University. Students across campus and fashion designers from the Washington, D.C. area collaborate to showcase the evolution of fashion, power of self-expression and creativity through performance in the show. The show opened shortly after 9 p.m. with a stunning duet dance performance from Kiara Finlay (COL ’22) and Mike Lazarre (COL ’22). The pair entered the stage clad in black garments and combined their expressive dance with watching one

another dance to create an ethereal experience over an acoustic version of Kanye West’s “All of the Lights.” After a brief appearance from Martinez and the rest of the logistics board to introduce the show and explain some technical difficulties, the show roared on. The first scene, featuring the Nonpareil and Eric x Kash collection, was one of the show’s highlights. Ranging from multicolored, fluffy dresses to flashy red sequined suits, the collection never failed to shock with its distinctive fashion choices, offering another showcase for the models and designers to express their creativity. Other pieces highlighted on the runway included shimmering blouses, neonglowing light straps over otherwise typical T-shirts and one model using a basketball as a purse. These distinct attire choices formed the backbone of the showcase and each model’s outfits reflected their own outfit preferences. The show then turned to another dance scene, this time featuring the Hoya Blue Diamonds Dance Team. The dancers came dressed in animal print skirts and armand headbands, performing a variety of group dances over Tierra Whack’s “MY

POWER” from “The Lion King: The Gift,” released in 2019. Other fashion highlights from the show included outfits that incorporated helmets as part of a tennis player’s outfit and with a more traditional fashionable dress. These styles provided something distinct to the showcase and made sure each outfit did not blend into the others. Designers and stores like Hoodlvm, Rent the Runway and KINETIC STYLES each contributed to their own scenes and made the entire show come alive. The evocative dance performances awoke the crowd that sometimes grew weary during the long pauses in between portions of the show. The final dance performance, choreographed by Syed Chapman (COL ‘22)and Francis Shad (COL ‘21), featured nearly 20 dancers on the small stage. The dance opened with the orange jumpsuit-clad dancers forming a circle around one solitary dancer who stood still until the music hit its climax. Lines of dancers came out from the sides of the stage and joined the main circle, creating the group performance that would define this segment. This powerful dance high-

lighted the group nature of the show, with no individual performer standing out. However, the show was partially affected by the technical difficulties announced at its opening. At various points of the show, a screen behind the dancers meant to display graphics did not turn on properly. The screen only started functioning properly at the very tail end of the show for the final dance performance. Additionally, one of the more notable moments of the show came immediately after Martinez’s introduction, when a keyboard and amp were brought onto the stage, seemingly for a performance. However, after several minutes of tinkering with the amp and angle of the keyboard, the entire setup was taken offstage and the show continued with no mention of the gaffe. Nevertheless, the show itself, in spite of its technical difficulties, achieved its purpose of showcasing the evolving fashion world with innovative designs and distinct identities. The dance performances functioned as fantastic bridges between the fashion performances and created an engaging experience for this iteration of Diamante.

FRIDAY, JANUARY 24, 2020

THE HOYA

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CONCERT REVIEW

Faye Webster, slowthai Shine at WGTB’s Winter Concert MEGAN WEE

Hoya Staff Writer

Bulldog Alley played host to Atlanta folk sensation Faye Webster and British grime rapper slowthai for Georgetown University Radio’s winter concert last Saturday night, accompanied by Georgetown student band BOGUS! Previously, WGTB hosted Lindsey Jordan’s solo indie rock project Snail Mail in the fall of 2018 as part of their concert series. As the student radio station has continued to put on concerts, they increasingly aim to put their pulse on the campus listener base and what acts are currently popular across campus. Bulldog Alley is certainly more intimate and personal than acts like slowthai and Webster are accustomed to playing. The venue, which serves as the location for boxing practices and comedy shows in Georgetown’s Leavey Center, only fits roughly 100 people but was filled to the brim for this performance. The concert began shortly after 8 p.m. with a performance by BOGUS!, a Georgetown student band composed of Kian Blewett (SFS ’22), Jabari Butler (MSB ’22) and Seamus Masterson (COL ’22). (Full Disclosure: Masterson serves as a staff writer for The Guide.)

With Butler absent from the performance, Blewett and Masterson graced the stage alone, playing a mix of songs from Blewett’s solo work and from the BOGUS! discography. The upbeat hip-hop based instrumentals graced by the artists were highlighted by live instrumentation from Masterson’s violin, as well as two guest performers who played the saxophone and trombone. Folk singer Webster came onto the stage next, accompanied by her DJ and her guitar. The artist has seen her stardom rise throughout 2019 as her melancholic lyrics paired with beautiful guitar strums give her a distinct sound from much of the rest of the indie folk ecosystem. The crowd, which was clearly geared towards a more energetic show with the following act slowthai, was showcasing almost too much energy for Webster. She commented multiple times about how much more powerful the crowd was than she was used to and how different of an environment Bulldog Alley was for her as a performer. Nevertheless, Webster played several of her hit songs including “Right Side of My Neck,” “Room Temperature” and “Flowers” featuring Atlanta rapper Father. Her slower musical pace lulled the crowd into a sense of calm and peace rarely seen

throughout the rest of the concert. Following Webster’s eloquently, subdued set, slowthai brought the crowd’s energy up shortly after 10 p.m. beginning with a performance of his hit song “T N Biscuits.” Faye Webster’s calm, singersongwriter musical style stood in stark contrast to slowthai’s immense energy, a juxtaposition that fostered an eclectic but enjoyable musical experience. Immediately after this first song, slowthai removed his shirt to increase the further enhance the sense of liveliness of the concert. For much of the show, all that could be seen of the performer was his tattooed chest and his slowthai branded underwear. Slowthai ran the concert through some of his biggest songs like “Inglorious” and “Doorman” off his critically acclaimed album “Nothing Great About Britain,” released May 2019. Slowthai has also fashioned himself into one of the most political artists coming from Britain in the last few years. Multiple times throughout the show, slowthai called upon the crowd to proclaim their hatred for President Donald Trump. He has been very vocal in his opposition to Brexit and British prime minister Boris Johnson. During the Mura Masa produced “Deal Wiv It,” slowthai climbed on top of the speak-

ers in Bulldog Alley, giving the crowd an unobstructed view of his shirtless, tattooed torso. He rapped the song with an immense amount of energy, rapping directly at certain members of the crowd who followed suit. Slowthai was also masterful at engaging with the crowd. At multiple points throughout the show, slowthai would either climb on speakers, crowdsurf or instruct the crowd to act in certain ways. Toward the end of the show, slowthai made the crowd form a circle and run anti-clockwise, much to their delight, and encapsulating the pure energy of the show. The set also featured a variety of some of slowthai’s biggest feature spots. His performances of BROCKHAMPTON’s “HEAVEN BELONGS TO YOU,” on Tyler, The Creator’s “WHAT’S GOOD,” and his collaboration with Denzel Curry on “Psycho” were some of the standout moments of his set. Many of the songs in slowthai’s set blended together in a way that showcases his stage presence as an artist. All that mattered throughout slowthai’s show is the energy and power of his performance. WGTB’s winter concert perfectly mixed different musical styles to offer something captivating for every kind of listener, while also showcasing a burgeoning student musical act in BOGUS!

COURTESY GEORGETOWN RADIO

Georgetown student band BOGUS!, Atlanta folk singer Faye Webster and British grime rapper slowthai rocked Bulldog Alley as part of Georgetown Radio’s Winter Concert. The artists each played to their strengths, even though their performance styles stand in contrast to one another, with BOGUS!’s and slowthai’s immense energy bookending Webster’s more relaxed songs.

ILLUSTRATION BY: ROSY LIN AND TARIKA KUMAR/THE HOYA