CONCERT Juan Almanza (CAS ’29) says Quadeca finds exciting new sounds on his ‘Life 1 Tour.’ B2
CONCERT John Summit’s tour excited, but could not inspire dance, says Eli Tuchinsky (SFS ’29). B4
FILM Brad Derfner (CAS ’27) praises performances but desires more depth in ‘The Debut.’ B6
NOVEMBER 6, 2026
Mask and Bauble Revives Oscar Wilde Classic Actors shine in a raucous rendition of Wilde’s “The Importance of Being Earnest.” B3 Eliana Kut
Deputy Guide Editor
MATTHEW GASSOSO/THE HOYA
JUAN ALMANZA/THE HOYA
Quadeca’s new tour is a highenergy spectacle of joy and wonder, writes Juan Almanza (CAS ’29).
FILM
Quadeca’s Sandbox of Sounds Shines on the ‘Life 1 Tour’
Juan Almanza Deputy Guide Editor
Quadeca has hit a wonderful stride since the release of his 2022 studio album “I Didn’t Mean to Haunt You.” Constantly reinventing his sound, the artist has effectively used the concepts behind each album like a sandbox where he experiments and explores his sound. Quadeca’s nautical voyage and the shimmering seas captured on his 2025 album “Vanisher, Horizon Scraper” left me awestruck, but I also found myself missing the lo-fi sounds of the 2024 project “Scrapyard” that preceded it. “Life 1,” released this October, shares the mission of sonic exploration that “Scrapyard” first set out on, but completely alters its themes. Gone are the frantic electronic keys of “Scrapyard,” replaced instead by a bright and whimsical smorgasbord of sound. This same feeling of joy, like playing in a sandbox, was encapsulated perfectly at the Life 1 Tour at Washington, D.C.’s 9:30 Club. Upon entering the venue, I first saw the giant banner of a piano, a perfect refer-
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ence to the cover artwork of the album’s third single, “Hell of a Time.” As the lights dimmed, Olēka, the alternative rock artist extraordinaire signed to Quadeca’s label “X8 Music,” took the stage. After the success of her debut album “Human Error,” it was no surprise that the hype from the crowd was palpable. Cheers erupted as she took the stage, the most I’ve ever seen for an opener. Olēka’s brand of alternative rock is wonderfully refreshing, as the looming guitars waltz daringly with her powerful chamber vocals. It’s hard to encapsulate just how powerful her voice is, as every lyric drowns the room in reverberating emotion. The second opener, Derby, was enjoyable as well, but nothing could have prepared me for the banner of the piano (which I had previously thought to be static) lighting up as Quadeca took the stage. The hypnotic piano loop of both the show and album’s opener, “Life 1 (where did the time go),” felt like a meditative celebration of Quadeca’s career up until that point. The loop evoked the same feeling of being
swept away he explored on “Vanisher, Horizon Scraper,” but the optimistic tone felt more like what was seen on “Way Too Many Friends” from “Scrapyard.” While I enjoyed “Life 1” upon release, I found myself missing Quadeca’s edgier work, whether it was the siren song of “The Great Bakunawa” off of “Vanisher” or “Guess Who?” off of “Scrapyard.” Still, the moment “EVEN IF I TRIED” queued up, my worries were immediately eased. It felt like the air sizzled as the guitars roared, and when the chorus hit and the lights strobed, it easily became one of Quadeca’s best performances. Quadeca’s ability to command an audience has always been a strong suit, and that night was no different. Towards the end of the set, Quadeca hosted a small guessing game for the audience to play along with. The stakes of the game were high, as the winning audience member would be the first to receive the test vinyl pressing of “Life 1,” which had the crowd squealing in anticipation. The risk and intense desire to win set the stage perfectly for the next song, “THE GAMBLER.”
Coming in at only a little over a minute, “THE GAMBLER” achieves so much in so little time. What begins as a short reflection on the sycophantic nature of artificial intelligence descends into a smattering of guitars, a chorus of voices and — of course — the sound of coins emptying out of a winning slot machine. As the stage lights strobed into a summery array of colors, what I used to regard as only an interlude on the album became a triumphant moment for the night. Importantly, “THE GAMBLER” feels like a perfect representation of the feeling of the show writ large: an unashamed embrace of the whimsical and all that is simply fun. Upon first listening to “Life 1,” I will admit that I was not fully convinced by the album’s more lighthearted stylings and less focused nature. The “Life 1 Tour,” however, through its colorful and smile-inducing setpieces as well as the raw energy Quadeca brought to the stage, has left me a believer. All I hope is that Quadeca doesn’t shy away from this newfound joy and all the bright pianos and wonderful samples that come with it.
THEHOYA.COM | FRIDAY, NOVEMBER 6, 2026
MATTHEW GASSOSO/THE HOYA
The Mask and Bauble Dramatic Society delivers a ridiculously entertaining rendition of “The Importance of Being Earnest,” says Eliana Kut (CAS ’29).
THEATRE
Mask and Bauble’s ‘The Importance of Being Earnest’ Is a Sincerely Show-Stopping Spectacle Eliana Kut
Deputy Guide Editor
Easily one of the most hilarious plays I have seen, the Mask and Bauble Dramatic Society’s rendition of Oscar Wilde’s “The Importance of Being Earnest” is perfectly theatrical, humorous and ridiculous. I was thoroughly impressed by both the play’s dramaturgical and technical aspects, and could not have asked for a more entertaining way to spend an evening. Directed by Jack Markowitz (CAS ’27) and produced by Annie Howard (CAS ’29), the extremely convoluted — though fittingly intricate — plot follows Algernon Moncrieff (Sam Levinger, SFS ’29) and his friend Jack Worthing (Albert Malhotra, CAS ’27) on their escapades in 1895 England. Worthing initially hopes to marry Moncrieff’s cousin, Gwendolen Fairfax (Claire Cable, CAS ’27), but her mother — the formidable Lady Bracknell (Drake Norris, CAS ’30) — opposes their union because of Worthing’s uncertain heritage. When Moncrieff learns about Worthing’s ward, Cecily
Cardew (Ruth Abramovitz, CAS ’27), he poses as Worthing’s brother, hoping to charm her. Each character somehow ends up in Worthing’s country home, where the play concludes by revealing hidden identities, exposing affections and showing why it is important to be earnest. Mask and Bauble brought this complicated story to life with mastery and ease. Every performance was captivating until the last moment. Levinger and Malhotra’s witty banter set the perfect tone for Moncrieff and Worthing’s friendship. Both captured the 19th-century gentlemen’s airy and somewhat entitled nature that Wilde so vividly describes while maintaining their characters’ subtle depth. Meanwhile, Cable and Abramovitz’s characters were nothing short of delightful. The pair perfectly portrayed the emotional range of Fairfax and Cardew’s on-and-off friendship, while deftly capturing the individualities that make their characters so endearing. Cable’s witty expressions and Abramovitz’ whimsical personality lit every scene they were in. The supporting characters — Miss Prism (Addison Golden, CAS ’29), Reverend Canon
FRIDAY, NOVEMBER 6, 2026 | THEHOYA.COM
Chausible (Makenna Faddis, CAS ’29) and the dual roles of Manservant Lane and Butler Merriman (Pranya Nagpal, SFS ’30) — also kept the play’s momentum going. With strong, meticulously detailed characters and choices, they added extra depth and personality to the performance. Chausible’s flamboyant speeches and the inclusion of Manservant Lane’s flask were a few moments that stood out to me. This play requires the ensemble cast’s strength and creativity to create plot variety and provide breaks from the main characters’ entangled narrative. Of course, I must also mention Norris’ absolute hilarity and grandiose stage presence. Totally magnetic from the start, Norris’ wonderful exaggeration of the frivolous character kept me on the edge of my seat, wondering what acting choices he could possibly make next. I could not stop laughing every time a dramatic gasp would escape Lady Bracknell whenever something barely consequential or noticeable would happen. Norris and his hooped dress completely commanded the stage.
The cast, however, is not the only source of the show’s energy and charm. The play’s technical aspects, directed by Maya Ortner (CAS ’29), were fascinating. The round, elevated stage gives actors a wide range of directions to work with and provides a much more personal viewing experience. Many props were kept beneath the elevated stage and accessed by trapdoors, so actors and crew members could easily bring in and take out many different props throughout the play. This meant the run crew didn’t have to be as present on stage and allowed for more creative prop choices. An extremely active, present run crew can be distracting, even in the dark, especially in a smaller room. However, because the props were incorporated into the stage, and because some of the run crew posed as Moncrieff and Worthing’s household personnel, transitions were much smoother. I also found the costume and lighting choices fun and engaging. The lighting, designed by Mackenzie Pitsko (CAS ’28), changed based on lines and mood, but was never too distracting. For example, when something hilariously dramatic happened, the stage would be lit red, then quickly returned to normal for effect. The costumes, designed by Lainey Lyle (SFS ’27), were gorgeous and suited to each role, perfectly encapsulating characters’ personalities while staying true to the time period’s fashion. There are not many comedic plays that have managed to keep me totally engrossed and smiling ear-to-ear for their entire runtime. “The Importance of Being Earnest,” however, did just that. This raucous Victorian satire is a show that you absolutely should not miss. With plenty of laughs and performances for everyone to enjoy, I can only hope that theatergoers will enjoy it as much as I did.
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MATTHEW GASSOSO/THE HOYA
Despite performing an incredible and endearing set, John Summit just could not get the crowd to dance, writes Eli Tuchinsky (SFS ’29).
CONCERT
DJ John Summit Begs You to Bust a Move At His ‘CTRL ESCAPE’ Tour, if at All Possible Eli Tuchinsky Hoya Staff Writer
Walking into Capital One Arena on Halloween to attend the concert of an artist I have little familiarity with felt like a divinely orchestrated prank. John Summit, the 32-yearold house music producer and DJ, recently launched his “CTRL ESCAPE” arena tour Oct. 23. His “Summyween” stop in Washington, D.C., capped off multi-day festivities for many Hoyas. Luckily, “Summyween” did not disappoint. “CTRL ESCAPE” brought impressive levels of production and storytelling to a packed arena, showcasing Summit’s newfound experimentation with other genres of EDM. The show’s production value was enormous. Several times throughout his set, an overwhelming combination of pyrotechnics, lasers and confetti cannons went off throughout
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the arena. “LIGHTS GO OUT” was a particular highlight, and Summit seemed to know it, smirking as red strobe lighting dominated the arena. His remix of The Temper Trap’s “Sweet Disposition” was also noteworthy, enveloping the audience in a beautiful rainbow. Summit opened his set with a cut scene of himself working in a nondescript cubicle — a callback to his earlier career as an accountant — only to liberate himself from a life of corporate monotony and start the show. The office was a mainstay of the show, functioning as both a stage and a screen. At times, a group of dancers would perform on this floating office suite, pantomiming writing emails with their intensive choreography and sensual ballroom-adjacent dance. Before even considering going, I was admittedly confused as to why Summit chose Capital One — an arena with a capacity of roughly
20,000 — for his tour, rather than Echostage, a more traditional pick for EDM titles. With so many fans in the seated terrace and balcony sections, I assumed dancing would be limited and that only those on the floor could properly enjoy the music. I was wrong — the floor, too, was still, containing a small but enthusiastic mosh pit surrounded by a much larger sedentary mass gazing at the massive screen projecting Summit’s face across the arena. It was a damning sight and easy bait for those who criticize both Summit and his so-called “frat house” following — the charge that Summit and his counterparts have sanitized rave culture into a more commercial husk of its underground roots. However, Summit was able to turn this on his head, seemingly aware of this stereotype and deliberately poking fun at it. While mixing from a B-Stage in the 200 levels, a team of cameramen zoomed in on the crowd and projected them on
the screen. If they were dancing enough, the screen would turn green and say “HIRED.” If not, the arena turned red and “FIRED” appeared above the stage. As explicit as this urge to dance seemed, the message did not seem to get through to the relentlessly nonchalant Summit superfans, who stayed almost completely still throughout the show. For a concert made up of dance music, the crowd’s immobility hampered complete enjoyment of the set. Toward the end of the concert, Summit paused to play videos of his early days as a DJ and partier, sitting on the booth and looking up at his younger self explaining DJ tutorials and detailing his nightlife anecdotes on YouTube. It was clear how monumental the tour was, pushing his commercial success to new heights in a new large-scale format for EDM. Though the segment was endearing, it felt slightly forced. The montage played on the crowd’s nostalgia and supported his story arc of accountant-turned-dance-machine, but his wistful and teary-eyed affect felt slightly exaggerated. Summit’s playfulness with genre and character is what made the show feel legitimately inspiring, not his semi-infantilized DJ persona. Commendably, rather than sticking with the house and tech house music he became famous for, he spent half of the concert playing music influenced by dubstep and bass, even ending with the head-banging “DON’T BELIEVE IT (GRiZ Remix),” a testament to his respect for the genre. While the show may have suffered from a general lack of movement, Summit’s performance was outstanding and his charisma was undeniable. After a month of midterms and stress, Summit provided a much-needed “ESCAPE.”
THEHOYA.COM | FRIDAY, NOVEMBER 6, 2026
CONCERT
Under the Washington Monument, Turnstile Invites Grief, Joy Cash Moore Hoya Staff Writer
Whether Washington, D.C., is punk rock again, whether the city ever stopped being punk rock and whether Turnstile is really hardcore were all questions up for debate at Turnstile’s free benefit concert in the Washington Monument’s shadow Oct. 24. While I’m not sure I am the authority to decide on any of them, I can say for certain that this show will go down as one of the defining moments in D.C. punk history. In what is shaping up to be my new beat covering solidarity shows, this week’s installment takes an international turn. In partnership with Human Concern International (HCI), a humanitarian aid nonprofit, Baltimore-based Turnstile solicited donations for relief efforts in Palestine, Sudan and Lebanon. Organizers estimated the crowd at 60,000 people and, by Tuesday evening, the show’s LaunchGood fundraiser had blown past its original goal of $100,000 to roughly $284,000. The show
closed out the second leg of Turnstile’s “Never Enough” tour, which opened in the same manner — with a free hometown concert at Baltimore’s Wyman Park Dell in May 2025 that raised $35,000 for Health Care for the Homeless. It also added the band to a long lineage of free outdoor punk shows in D.C., from Fugazi’s gigs on the Mall to local band Glitterer’s Sylvan Theater benefit for Ward 1 Mutual Aid in September. Getting into the show was weirdly simple because security was minimal. It might have been the smoothest entry I have ever had at a show, which was convenient but simultaneously worrying. With a crowd this rowdy and security this light, I was definitely anxious. But that all disappeared when I stepped into the venue. I saw D.C. locals of all ages and backgrounds talking and smiling as sweat beaded on their faces. There were also a surprising number of kids, accompanied by parents. Many of them wore huge headphones and sat on their parents’ shoulders, looking confused and excited at the same time. That image, in many ways, summed up the show. Punk fans have praised Turnstile
ON YOUR RADAR
as the next big hardcore band for years. Its music has authentic roots in Baltimore’s hardcore scene, but its elegant, more accessible production gives it mainstream appeal. It is the next generation of music, and the kids in the audience are also that next generation more literally. This was my seventh time seeing Turnstile. Like a lot of people, I got into more alternative music partly because of the band. I saw it live before I’d heard a single song, and I think that’s a big reason why I love it so much. Turnstile has an infectious presence on stage, and it would not be the same without an audience that matches its energy. My first time was at a music festival, my eyes glued to the hypnotizing mosh pits that synced up perfectly with the rapid guitar strums and aggressive drum hits. This show was no different, except this time I was in the mosh pit myself, grinning from ear to ear and hearing some of the songs that carried me through the beginning of college. As lead singer Brendan Yates belted every lyric and jumped right on cue with each riff switch and beat drop, I felt the crowd’s collective effervescence.
The show was also a paradox in some ways. On one hand, it was an escape from the busyness of work and school, a chance to let loose on a beautiful Saturday afternoon. On the other hand, it was a sobering reminder of the international crises the show drew attention to. Before Turnstile came on, a member of HCI introduced the band with the story of a girl who escaped Gaza and narrowly avoided having her leg amputated. People around me were sniffling and reaching for tissues. Then, when the musicians walked out, the crowd surged forward. That energy shift was surreal. It proved, to me at least, that sorrow over the world’s suffering and joy in the present do not cancel each other out. The transition was abrupt, but it never felt dismissive. In between songs, Yates reminded the crowd why we were all there: to stand in support of humanity in the belly of the U.S. capital. “Today we’re here to gather around music to celebrate humanity,” Yates said at the concert. “But also to fight for it. Be loud enough for the White House to hear.” That balance of celebrating humanity and fighting for it is what the show struck so beautifully, and it is what made it nothing short of incredible.
By Juan Almanza
THIS WEEK’S THEME: THEATER, TEMPO, TRUTH
‘THE ADDAMS FAMILY’
BATTLE OF THE BANDS
For those missing the spooky tricks and treats of Halloween, Nomadic Theatre will open its fall production, “The Addams Family,” on Nov. 5 and continue through Nov. 14 in the Village C Theater. There is variable availability, but overall, tickets are $5 for students, $10 for non-students and free for staff and students with financial constraints. Be sure to jump on this fast-selling and wonderful show to support your fellow students.
Copley Lawn will host the 2026 Battle of the Bands, featuring musical acts from Georgetown University, George Washington University and American University, on Saturday, Nov. 7 from 6 p.m. to 8 p.m. Among the lineup is the Georgetown University rock band Rumspringa. The event is free to attend and will have a farmers’ market-style stand selling food.
@NOMADICTHEATREGU/INSTAGRAM
@GEORGETOWNRADIO/INSTAGRAM
DOUBLE EXPOSURE
‘REMEMBER ME’ EXHIBIT
The 12th annual Double Exposure Investigative Film Festival will take place Nov. 5-8 at the Johns Hopkins University Bloomberg Center. This year’s theme is “Evidence in an Age of Doubt,” and the festival will feature 13 films, 11 panels, six workshops and three free short-film blocks. The panels include speakers from The Washington Post as well as a workshop led by Mark Graham, the current director of the Wayback Machine at Internet Archive. Passes start at $25.
The National Gallery of Art will open its exhibit “Remember Me: Picturing African Americans in Early Photography” on Nov. 7, which will run until March 14, 2027. Featuring about 70 unique works, the exhibition emphasizes how photography has helped Black Americans combat stereotypes, define themselves and celebrate their communities throughout the 19th and 20th centuries. Admission is free. @DOUBLEEXPOSUREFESTIVAL/INSTAGRAM
FRIDAY, NOVEMBER 6, 2026 | THEHOYA.COM
@NGADC/INSTAGRAM
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FILM
Julianne Moore, Paul Giamatti Steal the Show in ‘The Debut’
Brad Derfner Guide Columnist
Jesse Eisenberg’s “The Debut” was undoubtedly my most anticipated film of 2026. His directorial effort, “A Real Pain,” was a remarkably witty and heartfelt comedy-drama whose sharp screenplay, subtle performances and pitch-perfect direction made it one of my favorite films of 2024. The idea, therefore, of Eisenberg returning with an oddball comedy starring two of the industry’s most acclaimed actors, Julianne Moore and Paul Giamatti, was incredibly exciting. “The Debut” premiered at the Telluride Film Festival in September to rave reviews and quickly emerged as a major Oscar contender — early predictions even toyed with Best Picture. After finally catching the film myself at the Philadelphia Film Festival, I can certainly understand where the enthusiasm comes from. However, I walked away a bit unsatisfied, simply because Eisenberg’s new screenplay lacks the complexity of his previous works. While Moore and Giamatti deliver two uniquely exceptional performances in a frequently hilarious comedy, the second half struggles, leaving the film just short of true greatness. Set in central New Jersey, “The Debut” follows stay-at-home mom Mona Friedman (Moore), who has clearly spent much of her adult life
caring for a family that barely acknowledges her existence, with her two children set to graduate high school and a husband who takes no interest in her life. Yearning for change, Mona auditions for a supporting role in a local community theater production of the fictional musical “Nosy Neighbors,” despite having no theater experience. Despite a disastrous audition, Mona lands the part after another actress drops out and has to work under Jerry Blankenbuehler’s (Giamatti) intense direction. The role, a tough apartment-building superintendent named Miss Danielle, initially seems far too difficult for Mona, as her generally quiet personality leads to a far-from-inspiring performance, but Jerry begins pushing her to fully embrace her character. From this, the audience is treated to an increasingly absurd character transformation — Mona discovers the confidence that she’s been looking for her entire life, blurring the line between Miss Danielle and herself. Moore is a true revelation as Mona, delivering perhaps my favorite lead acting performance of the year. She starts as painfully reserved before shifting into a truly cartoonish personality. This absurdity is ultimately the film’s greatest strength, turning what could have been a conventional story of self-discovery into something much more unpredictable and entertaining. My favorite sequence comes during a rehearsal where Jerry improvisationally
challenges Mona to demand she pay rent, pushing her to uncover the personal motivations behind the character. Moore has an extended, over-the-top monologue that is easily a highlight of the film. I’m not alone here — the sequence has inspired mid-screening applause at several festival screenings. My Philadelphia audience reacted the same way, breaking into raucous applause as Moore finished. Giamatti is similarly excellent, matching Moore’s heightened comedic energy while providing a necessary counterweight to her increasingly bizarre behavior. His performance is admittedly familiar, recalling the gruff but ultimately caring personality he portrayed in the acclaimed “The Holdovers.” Still, Giamatti plays this model exceptionally well, and his and Moore’s chemistry keeps their ridiculous interactions consistently entertaining. Together, the two actors elevate a script that I think would have been considerably less compelling without them. My biggest issue with “The Debut” is the way the narrative flatlines after the aforementioned rehearsal sequence. Eisenberg spends the first half of the film slowly escalating both comedy and drama, but the second half plateaus at the same level of absurdity rather than raising the stakes. I felt the noticeable loss of momentum here, as the payoff in the final act never quite reaches the excitement — or relief — of Mona and Jerry’s journey.
The screenplay also lacks much of the subtlety that made “A Real Pain” one of my favorite films. The message behind “The Debut” is admirable, using Mona’s character to more broadly explore the way the arts can provide a sense of identity and community for someone who has spent years feeling invisible. The supporting characters, though, frequently veer towards caricatures rather than being fully fleshed out and, combined with an ending that is a little too neat, distance the film from any nuance. “The Debut” looks to be a true awards juggernaut as we enter the fall season. Currently, I’d predict it for nominations in Best Picture, Best Actress, Best Supporting Actor, Best Original Screenplay, Best Original Song and maybe even Best Casting. Moore is the current favorite to win Best Actress, with 84% of Award Expert users picking her first, while Giamatti and Eisenberg are in consideration for Best Supporting Actor and Best Original Screenplay, respectively. Given the film’s subject matter, which is focused on acting, and the initial tremendous response to the leading performances, I suspect the Academy’s acting branch will be especially enthralled by “The Debut.” “The Debut” is a hilarious ride that features two of the year’s best performances. While my sky-high expectations were not fully met, I had a blast watching it and, even if it is not likely to be one of my favorite films of the year, it is a true celebration of finding oneself through performance.
FILM
‘Wildwood’ Is One of This Decade’s Best Animated Movies Nam Nguyen
Special to the Hoya
It feels as though we are constantly reminiscing about the animated movies of our childhood. While the recent animated “Spider-Verse” movies are some of my alltime favorites, the feeling I get from them is more of the awe and excitement of a blockbuster than the pure childlike wonder the Dreamworks and Pixar classics elicit. But “Wildwood,” produced by the independent studio LAIKA, brings that whimsical feeling back — and man, it feels good. “Wildwood” follows rebellious teenager Prue McKeel (Peyton Elizabeth Lee), whose baby brother is abducted by a murder of crows and carried into the Impassable Wilderness — an enchanted forest just beyond Portland, Ore. Alongside her awkward classmate Curtis (Jacob Tremblay), she ventures into a world of talking animals, mysterious magic and warring factions. I went into “Wildwood” not knowing much other than that it had received glittering reviews. I was familiar with LAIKA’s stopmotion animation through “Coraline,” but
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it had been more than a decade since I had watched any of the studio’s other films. Thankfully, “Wildwood” quickly proved itself and had me hooked right away. The opening sequence is full of suspense, hinting at the dark undertones of a truly magical movie before the viewer even begins to understand its world. A seemingly traditional narrative that follows a girl trying to save her brother relentlessly unfolds into some of the best world-building I have seen in years. Each new encounter makes the forest feel bigger, with histories and conflicts that exist well beyond Prue’s storyline. I always wanted to know what lay around the next corner, and the film kept giving me reasons to care. Much of the plot of “Wildwood” presumably comes from the source material, Colin Meloy’s 2011 novel of the same name. Nonetheless, director Travis Knight and his crew deserve plenty of credit for how the film stands on its own. Stylishly animated flashbacks develop the universe while driving the story forward. These sequences made me more invested in what I was watching, rather than impatient to get back to the plot in the present, which is sometimes the problem with poorly executed or timed flashbacks.
Additionally, the animation is truly breathtaking. Without spoiling too much, when Prue soared through the air on a golden eagle, named the General (Angela Bassett), I beamed with pure happiness and wonder. It was the kind of scene that made me forget I was sitting in a theater. For a moment, I just wanted to stay up there with her. The movie also knows exactly when to be dark. At times it slips in the horror elements that work so well in “Coraline,” then returns to the vibrant backdrop of nature, all without making either feel out of place. The forest is memorable and beautiful, but the viewer never forgets its frightening underbelly. That uncertainty makes the film’s exploration of it all the more exciting. At no point did I feel pulled out of the story. For any viewer whose attention span is short enough that their mind always wanders, the sheer beauty of everything on the screen should be enough to pull you right back in. Its most spectacular moments feel like discoveries we get to make alongside Prue. Another facet “Wildwood” aces is the oft-underappreciated art of voice acting. So many recognizable voices ease the unfamiliarity of the film’s world. Bandit King Brendan (Mahershala Ali) has a rugged authority with enough warmth
to make him more than an imposing presence. Prue’s father (Jake Johnson), meanwhile, carries a vulnerability that makes the family’s emotions feel real, even as the adventure grows increasingly fantastical. Alexandra (Carey Mulligan) — a governess who took a dark turn after her only son’s death — stands out, personifying a frighteningly charismatic and deeply broken woman. These voices gave the characters personality without making me feel like I was simply listening to celebrities behind a microphone. For all its epic proportions, “Wildwood” ultimately boils down to simple, human emotions and relationships. Prue will do whatever she must to get her brother back. That desire remains easy to understand even when the world around her becomes wonderfully strange. I could admire the film’s scale while still caring about the family at its center. “Wildwood” feels like a portal back to childhood, when a movie could make an imaginary place feel like somewhere I could actually find. I left “Wildwood” wanting to return to its forest, even more excited that someone watching might get to grow up with it. With certainty, I can say “Wildwood” is a future classic.
THEHOYA.COM | FRIDAY, NOVEMBER 6, 2026
BE OUR GUEST
Honoring Beloved Georgetown Staple La Bonne Vache was a little hesitant to try it at first because I had never eaten snails before, but I ended up really enjoying it. Overall, it was a fun For this installment of Be Our GUESt, I am experience trying something new, and I taking a step back from my usual exploration would definitely eat it again! of lesser-known spots in Washington, D.C., in order to shine a spotlight on an iconic Zara Vaseem (CAS ’30) I visited La Bonne Vache on family weekend Georgetown eatery: La Bonne Vache. The French bistro recently suffered a devastating fire that with my roommate and a friend. It was my indefinitely shut down its operations. That not first time and the ambiance was perfect. We only means Georgetown University students kept noticing the little details, like the clay have lost access to La Bonne Vache’s delicious artichoke and Diptyque candle on the mantle. French offerings and unmatched ambiance, The escargot was my favorite, but the desserts but also that the waiters, chefs and other staff were definitely the highlight. We tried a members have lost access to a steady paycheck. banana chocolate cream puff, which tasted like In honor of this Georgetown community the feeling of getting a 100% on your midterm staple, I wanted to highlight some of GU (nerd alert). The diversity of the restaurant’s Eating Society members’ favorite memories clientele underscored its importance to the and dishes from the beloved restaurant as it Georgetown community; people from all walks of life enjoyed the restaurant’s unique cuisine. begins rebuilding. My heart goes out to the damage to a place that is a favorite for so many. Catherine Dodd (CAS ’29) A few weeks ago, I went to La Bonne Vache with my best friend, Eliza. We went Abigail Becker (SFS ’27) As a cheese lover, I knew I would fall in love on a Friday evening and waited in line for a little while, as one does. However, what was with La Bonne Vache from the moment I laid memorable was that as we were waiting, the eyes on the menu. The first time I ever had a La manager came over, took our drink order and Bonne Vache gougeres bite, I was blown away. brought us refreshments while we waited. Even more mouthwatering was the truffle Eliza and I were so delighted by the manager’s brie burger, which was one of the best I’d ever kindness; it completely made our night! We had. I have been lucky to try many of La Bonne weren’t surprised, though, as that is exactly Vache’s cheese combinations, but also share why we kept coming back (and were willing to those meals with friends and family, which was the most meaningful part of all. wait as long as we did on Friday nights).
Blake Mahoney Guide Columnist
As these fellow students have shown, La Charlie Farber (SFS ’29) I tried escargot for the first time at La Bonne Vache has provided many memories Bonne Vache, and it was surprisingly good. I and beautiful moments to countless
Georgetown students. Without the staff’s time and dedication, none of us would have had the opportunity to sink our teeth into their boeuf bourguignon burger, daydream about their roast beef or wait in line for an hour for the chance to snag an outdoor table and enjoy a dinner with a friend on a perfect Georgetown fall day. La Bonne Vache is not just a restaurant, but a seminal part of the Georgetown
community. Therefore, it is our responsibility to come together in its time of need. The bistro’s owner, Claire Wilder, already started an online fundraiser to help the staff deal with this disruption to their livelihood. I encourage readers to contribute to the fundraiser if they are able to do so, and tell your friends to do the same. I wish the very best for the future of La Bonne Vache and every member of its team.
@LABONNEVACHEDC/INSTAGRAM
Blake Mahoney (SFS ’29) and GUES members revel in memories of La Bonne Vache.
RATED AND PLATED
The Coolest of DC’s Ice Cream, Frozen Yogurt Spots Ginny Cheung Guide Columnist
With summer officially over, it’s time for my ultimate ice cream and frozen yogurt guide. That’s right: your one-stop shop for my opinions on sweet treats in Washington, D.C., is here to keep the spirit of summer alive, even as the leaves turn brown. From donuts to juices, I’ve tried many desserts since coming to D.C. In classic food blogger fashion, I’ll start with my least favorite of five local spots and save the best for last. Ice Cream Jubilee (3/5 Stars) While my April review might not be the most up-to-date, I remember Jubilee as an overall mediocre pick. I got their mango sorbet, which was a decent size for the price and featured the refreshing tropical taste I was looking for. As someone who is lactose intolerant, I steered clear of their dairy flavors this time, but they might be better than their non-dairy sorbets. As for ambiance, there was only one small table, so don’t expect to sit and chat. They also sell donuts, which I didn’t try, but my friend who did wasn’t very impressed. If you’re in a hurry and want the closest option, I would visit Jubilee. It was just
fine; its only strength being that it is conveniently recommend eating inside because the space is closer to campus than other ice cream shops. tight, but there are some benches just outside on the street. If I’m ever craving ice cream, Yala Van Leeuwen Ice Cream (3.5/5 Stars) is the first place I’ll stop by, as it is delicious and I’ve tried both the ice cream and the frozen conveniently located on N Street. yogurt from this Georgetown staple, and I much prefer the ice cream. Their ice cream features OLLI Frozen Yogurt (4.5/5 Stars) more diversity and creativity in their flavors, and You heard it here first, folks — the newly the mix-ins are usually a great combination. opened OLLI Frozen Yogurt is absolutely worth it. While there is room for improvement in Van I made it my mission to try the new frozen yogurt Leeuwen’s line management, both their frozen place as soon as I heard of it, beating the weekend yogurt and ice cream are overall satisfactory and rush of its soft opening. I loved the thickness, and at an affordable price. the cashier’s recommendation to add the baklava crunch topping was an excellent suggestion. Yala Greek Ice Cream (4/5 Stars) It added nice textural depth to the otherwise This is my favorite ice cream place in smooth froyo. For my other two toppings, I Georgetown. I like that the mix-ins, especially chose berries, which could have been riper. Their the fruits, taste distinct from the ice cream. The location is underground, and I knocked my head texture is also perfectly rich and creamy. Their on the overhang while in line on the stairs, so be mikro size, which can have up to two flavors, careful going up or down. Overall, I really loved costs $8.95 and is certainly big enough for one the aesthetic and simplicity of their menu, which person, showcasing the eatery’s well-designed features only tart yogurt. I do think the price ($10.95 pricing options. While there is no indoor seating, for the 8 oz size, $8.95 for the 6 oz) was a bit high for they offer a fun photo booth. However, my friend the amount of froyo. Moreover, I didn’t feel like it and I could not figure out how to download our filled my large cup much more than the regular image, and it stays up long enough that other size, which was a bit off-putting, especially since I patrons can see it after you take it. I wouldn’t was sharing it. Due to size constraints, they only
FRIDAY, NOVEMBER 6, 2026 | THEHOYA.COM
had a small indoor seating area, so my party and I sat at outdoor tables across the street to enjoy the fall weather instead. Trust me, I will be back to try their other toppings. Dolcezza Gelato and Coffee (4.5/5 Stars) Last but certainly not least is Dolcezza Gelato and Coffee in Dupont, which takes first place solely for its gelato. I’ll preface by saying their drinks are abominable; however, I did fall in love with their coffee and cookies gelato. All of the flavors my party tried were delicious, including Thai coconut milk and dulce de leche swirl. They had so many unique flavors that we all wanted to try. We couldn’t wait to dig in, so we started eating right at the counter since the other tables were all occupied. The blueberry lavender matcha and Rocky’s matcha were $7.50 and $7, respectively, and a horrible waste of our money and appetite. The large gelato at $9.80 was much more worth it. Dolcezza generally has a cute interior, so I’m excited to see them open in Georgetown this winter! Though it’s starting to get cold out, I hope you will return to this ranking of my favorite D.C. ice cream and dessert spots once it warms up again.
| B7
CROSSWORD
By Luke Landegger
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1. Barbara Kingsolver’s “Demon ___,” a modernization of a Charles Dickens novel 11. Aerate, as when making chantilly 15. Wafer treat with a sweet creme filling 16. Suggestive 17. Fiancees 18. 9-Down and ___ 19. Free (of) 20. “The Matrix” hero 21. Mischievous 23. Commotions 25. Lift a trophy after a win 28. Chinese “way” 29. Prime 31. Frequently, in poetry 32. Come into being, as in a video game 34. Wander without a destination 36. Key ___ (remote control to open your 49-Across) 38. Belonging to that thing 39. Symbol depicting a snake eating its own tail, whose shape is also evoked by the entries on this puzzle’s border 42. Motor oil brand 44. Anger 45. Miles per hour, say 47. Soy sauce, in Japan 49. Automotive vehicle 51. Capital of Italia 53. Blemish 54. Alabama or New York, but not Washington, D.C. 56. Crime film genre 58. Breakfast food that can be made with or without yolk 60. Img. format 63. Cup holder? 64. Eye-care brand ___-Free 65. Poe Dameron in “Star Wars” 69. Kiddos 70. Place of origin 71. Play ball 72. Supersonic air-to-air missile developed by the U.S. Navy 52. Seasoned fighter pilot 55. Sporty sunroofs 57. Many a Formula 1 driver 59. Pronounce a ‘th’ rather than an ‘s,’ say 61. Apt name for a former artist 62. Finished, in France 66. ___ Lanka 67. Common fish and chips ingredient 68. Japanese honorific
THEHOYA.COM | FRIDAY, NOVEMBER 6, 2026