CONCERT Anandita Agarwal (SFS ’28) thinks the Khan Suri benefit brought back D.C. punk. B2
MUSIC Miley Cyrus’ “Bass Persuades” leaves much to be desired, says Francis Rienzo (CAS ’27). B4
FILM “Oasis: Don't Look Back in Anger” lacks emotional depth, writes Penelope Snoep (CAS ’29). B6
SEPTEMBER 25, 2026
‘Resident Evil’ Thrills, Surpasses Expectations By balancing comedy and horror, Zach Cregger’s ‘Resident Evil’ stands singular. B3 Grace Ko
Deputy Guide Editor
ILLUSTRATION BY ANNIEK VOETEN/THE HOYA
ISABELLA ALVAYERO/THE HOYA
The Badar Khan Suri Benefit Show was a beautiful showing of solidarity, community and the best of DC’s indie-punk, says Anandita Agarwal (SFS ’28).
CONCERTS
Khan Suri Benefit Show Keeps the Spirit of DC Punk Alive
Anandita Agarwal Senior Guide Editor
On the evening of Sept. 12, Pearl Street Warehouse came alive not just with light and music, but with the beat of punk solidarity for the Badar Khan Suri Benefit Show. Bringing together musicians, Georgetown community members and music fans for an energetic and emotional night of thrumming bass, booming mics and eye-catching eyeliner, the night was startlingly reminiscent of ’80s punk in Washington, D.C. Since March 17, 2025, Khan Suri, a Georgetown University postdoctoral fellow, has been embroiled in legal battles as federal immigration authorities attempt to deport him, alleging he threatened U.S. foreign policy interests. The benefit concert aimed to raise money for Khan Suri’s legal fees. While organizers said they raised $1,898, the evening’s true accomplishment, to me, was the impressive showing of a community united in the hope of punk music for a better world. Punk music has a long, storied history in D.C. From the 9:30 Club to the Revolution Summer, the marks and memories of the counterculture punk movement are all over the District. The movement is now undergoing a renaissance in
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D.C., to which the concert’s lineup of three punk artists provided a great introduction. For both those unfamiliar with the indie-punk scene (such as myself) and those in the know, the show made for an enjoyable, thrilling evening. First to perform was D.M.V., a D.C.-based group consisting of lead singer Beatnick, guitarist Hannah and a drummer. With the ironic catchphrase “I hate D.M.V.,” and frenetic, high energy, the band set the tone for the rest of the night. Playing from their recent debut album “Five Finger Discount,” their setlist consisted of songs with minimal lyrics, heavy bass and constant beat drumming, creating a cathartic environment to embrace and release frustrations and regrets. D.M.V’s set also cultivated a strong sense of togetherness as young students created a mosh pit in the front, children ran around in the middle and adults chatted and laughed in the back, bringing people across generations closer. Beatnick said the band chose to participate in the concert due to punk music’s history of doing benefit shows. “It’s a core part of the punk scene and when something like this comes across our table, we definitely do it,” Beatnick told The Hoya. Following D.M.V. was Fetcher, a Baltimore-based four-piece band focused on the dreampunk genre.
Starting off strong with a long guitar riff, their first song focused on providing a sense of comfort amid a sense of helplessness. With stunning, sultry vocals that complemented melodious guitars and drums, Fetcher was my highlight of the night. In the coldness of Pearl Street Warehouse, Fetcher’s music was a source of warmth, with lyrics of hope in times of instability and conflict. The set’s centerpiece was a melancholic rock love ballad that was deeply moving and reflective. Jason Jones, the founder and lead singer of Fetcher, said that the band sought to participate to feel proud of their community when they feel the U.S. government is unwilling to uplift others. “Most of us aren’t very happy with what’s going on in the nation right now,” Jones told The Hoya. “I don’t think any of us are really proud of our country. But doing stuff like this, though — getting together to help people, when the government doesn’t do shit but in fact, the opposite — it means a lot to us and that gives me a sense of pride in my community.” Last to perform was the all-girl punk trio Somebody’s Daughter, whose unbelievable live vocals and operatic sound were reminiscent of musicals I adore. With a deeper, grunge tone and incredible harmonization, the trio closed out an unforgetta-
ble night with music that personified yearning. With lyrics such as “Don’t get too close or far away / Don’t do the things I do or say / The girl you see is just the reflection in the mirror,” the band memorably underscored self-doubt in their music. Band member Lydia Homovich said solidarity between oppressed communities and the strong connection between music and politics encouraged Somebody’s Daughter to participate in the benefit. “We talk a lot about the value of solidarity and this is a part of being involved,” Homovich told The Hoya. “This set means a lot to us, just a way of showing up for those in our community. If it happens to one of us, it can happen to any of us.” With a cover of “Vampire Empire” by Big Thief and a message to materially support the transgender community beyond just posting a catchy slogan, Somebody’s Daughter brought both music and political messages to the forefront in a unique fashion that I believe cannot be replicated. The benefit concert was a singular and genre-defining night — it not only brought together the Georgetown community, but it also helped introduce countless people to D.C. punk music, ensuring that the historic, socially conscious genre is kept alive for another generation.
THEHOYA.COM | FRIDAY, SEPTEMBER 25, 2026
CONSTANTIN FILM/IMDB
By focusing on fleshing out the quieter characters in Racoon City, “Resident Evil” brings out the poignant humanity of the world, argues Grace Ko (CAS ’27).
FILM
‘Resident Evil’ Is a Gory Yet Comedic Lesson In Adapting Video Games to the Big Screen Grace Ko
Deputy Guide Editor
Zach Cregger is on an inspirational run. The horror director made a splash in 2022 with his junior feature “Barbarian,” unique for its intense tonal switches and tendency toward laughter in the midst of the utterly horrid. Fresh off “Weapons,” Cregger returns with “Resident Evil,” an adaptation of the titular classic horror video game. Tossing aside the video game’s conventional focus, Cregger’s “Resident Evil” leaves behind famed zombie infestation survivors Leon Kennedy and Claire Redfield to instead focus on the quite average and stressed-out Bryan (Austin Abrams), a medical courier who takes on a mysterious delivery to Raccoon City. What ensues is a wild night that is enough to make anyone quit their job and move to an entirely new country altogether. With his origins in the comedy group Whitest Kids U’Know, Cregger’s penchant for comedy has not disappeared in his horror career. “Resident Evil” nearly runs
entirely on this comedy, as Bryan’s various mishaps tread the fine line that exists between the comedic and the horrific. While there is an argument to be made that humor cheapens the impact of horror, the various jokes that stem from the insanity blossoming all around Bryan at any given moment enhance the film’s unique tone. Without the comedy, Cregger’s take on “Resident Evil” actually might have fallen somewhat flat. In the more intense moments of the film, Cregger does allow the atmosphere to build, and the jokes are laid to rest. It’s a fragile balance, but one the film successfully achieves through most of its runtime. “Resident Evil” is also strongly rooted in an absolutely charming performance by Abrams. Abrams is an underrated actor, often serving as the supporting lead in the madness of a film — as with his role as the naive, sweet Kid in Jon Watts’ “Wolfs” — but here, he fully shines as the film’s main star. The burden of being a film’s sole protagonist is heavy, yet Abrams carries that burden with ease. With his outrageously inimitable range of shrieks and hollers,
FRIDAY, SEPTEMBER 25, 2026 | THEHOYA.COM
he creates a character that you cannot help but root for in the mess of zombies, blood and explosions. There is no doubt that Abrams delivers a stellar performance that makes “Resident Evil” at least half as fun and outrageous as it is. Beyond the blend of horror-comedy, there is a surprisingly tender touch to the film’s story. At the beginning of the night, Bryan has an argument with his partner, Michelle, who is pregnant. Throughout the film, Bryan encounters the forms of families and children in the various monstrosities he kills — a neat detail that engrains Bryan’s conundrum on whether he is truly ready for fatherhood into the film’s main action. Often within the genres of horror, comedy and action, it is easy to lose sight of the foundations of building a character. “Resident Evil” does not forget that at the end of the day, it is more than a spectacle — it is a film. Bryan is given a subtle yet fleshed-out background, and the film fits his struggles seamlessly into its madness and mess, creating a compelling backbone that serves as a strong foundation for the rest of the film to build upon.
Above all, what makes “Resident Evil” such a unique ride is its decision to leave the preestablished world of the franchise behind to craft a story that it can call its own. In the grand scheme of the “Resident Evil” franchise, Bryan’s significance is equivalent to that of a non-playable character that meets an unfortunate fate. Yet, putting Bryan front and center of the story makes the film so much more novel and refreshing than if it had decided to focus on someone like Leon Kennedy. The film is a successful adaptation because it honors the spirit of the source material rather than its superficial details. The whole experience feels as if you are playing a “Resident Evil” game, with first-person perspective shots that emulate the experience of being up at 2 a.m., tired, scared and incredibly frustrated that you haven’t beaten the trailer park level as you enter it again for the 30th time. While the film does flesh Bryan out as his own character, Bryan also feels like the audience — one of the many gamers who have picked up the “Resident Evil” games and fell in love with the absolute insanity that each brings. If there is one word to describe “Resident Evil,” it is that it is unique. It’s an inspired take amid the cookie-cutter adaptations of the past. Because of its willingness to push against the status quo, “Resident Evil” captures not just the details of the franchise’s world and atmosphere, but what exactly makes it so easy to fall in love with the “Resident Evil” universe in the first place.
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@MILEY/INSTAGRAM
Miley Cyrus’ “Bass Persuades” is good but not great, writes Francis Rienzo (CAS ’27).
MUSIC
Miley Cyrus’ ‘Bass Persuades’ Makes a Lot Of Big Promises, Fails to Follow Through Francis Rienzo Hoya Staff Writer
Miley Cyrus’ latest album is a classic case of misdirection. Its titular song and lead single, “Bass Persuades,” is a dance-pop anthem akin to Lady Gaga and Madonna. A strong single, “Bass Persuades” made me excited for the songs to come. But the rest of the album diverges, resulting in a disjoined, incohesive record. After Miley dropped her last name, I expected this album to be a big revelation for her career. It ended up being a half-baked venture into dance-pop, with downtempo ballads and a couple experimental tracks. After the title track, we launch into “Different Religion,” featuring Model/Actriz, which sounds as if it is straight out of Madonna’s discography. It is weird and experimental, though not in a totally awful way. But it does not build anywhere
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and never reaches a climactic moment good enough to make the song. The lack of a solid structure actually hurts the song rather than reinforcing any experimental tendencies. Much of the album is about Miley’s love for her fiance Maxx Morando, who also serves as a producer. The third track, “Let’s Get Married,” is somewhat static but a relaxing and emotional song. The track’s synthy vocal layering is a very nice and welcome addition. Overall, the synth production is one of the album’s greatest strengths, especially on “Snow” and “Innocent Ways.” These synths are one of the only cohesive links between songs on the project. In the past, I have liked Miley’s original electropop ventures in 2010 with “Can’t Be Tamed.” “Innocent Ways” now appears to try to trace back to that sound. Though it still has a looming darkness, this is the only song that lives up to its title. It covers
her relationships with her family, notably her sister and her mother. “Fall out from the fame, claim my mother’s maiden name,” she sings in the chorus. The subject matter is a risk that pays off as an exciting yet emotional venture amid the rest of the album’s romance. I would love for that subject to continue across other tracks. The main issue I have is the red herrings that the title track gave for the rest of the album. It’s not super dance-heavy, and many of the songs are not uptempo. For example, “Orbit” is a pretty but forgettable ballad about her lover being the center of her solar system, but it does not go anywhere beyond its initial impressions. Thematically, it meshes with the rest of the album’s focus on Miley and Morando’s love, but it isn’t very interesting. However, this does make the album’s standouts appear even better. “Aftermath,” far and
away the best track, actually accelerates and grows into an interesting and exciting song. It is the only truly sad song, so the tone feels a little out of place, but it is still welcome on an album full of slow romantic bliss. The production is intoxicating, feeling reminiscent of a Charli XCX track. The lyrics’ similes are somewhat off-putting — such as “your mouth like a straw / you’re calloused but soft” — but her strong vocal performance overtakes this easily. Miley strives to do a lot with this album, but she doesn’t totally deliver. It’s not an iconic dance-pop record like the title track is trying to be, but hidden in the album is a meaningful story about romance, family and dancing your troubles away. Given time, that could have blossomed into a dazzling yet introspective dance-pop album akin to Madonna, but the short runtime prevents that. The 10th and final track is simply a remix of the title track, not offering much substance as a closer. I would love for Miley to either fully commit to a single theme, or continue to explore her unexpected production impulses like she does on “Aftermath” and “Different Religion.” She will never do the same thing twice, but she also tends to shy away from committing to a total 180-degree shift. There are hints of greatness here that I would like to see her continue to explore, maybe in a longer and more finished project. While still half-baked, the album features some songs with great production and good stories to tell. Although it doesn’t match the drama of dropping her last name and the allure of the title track, “Bass Persuades” tries its best to deliver a solid collection of songs about romance and Miley’s current headspace.
THEHOYA.COM | FRIDAY, SEPTEMBER 25, 2026
MUSIC
On ‘Angel,’ Lizzy McAlpine’s Restraint Becomes Stagnation Wesley Sreter Special to the Hoya
Lizzy McAlpine wants listeners to hear her artistic and personal evolution on “Angel.” Unfortunately, it comes through only in flashes. In “Angel,” the indie alternative singersongwriter’s fourth studio album, McAlpine offers a folk-inspired, 14 track-record with whisper-soft vocals. She departs from her previous ventures into polished indie pop and complex musical arrangements to deliver a more sparse and 70s-inspired sound. Though her voice remains as intimate as ever, the album is hamstrung by repetitive arrangements and an unwillingness to push many of its ideas far enough, leaving “Angel” feeling stuck rather than fully realized. McAlpine has described “Angel” as a hopeful record centered on “healing and growth” and “change for the better.” The 27-year-old spent the past two years touring and performing in the folk bluegrass musical “Floyd Collins.” This venture into folk music, as well as McAlpine’s own listening habits — Joni Mitchell, Nick Drake and Crosby, Stills and Nash & Young — informed the album’s sonic identity. These influences make “Angel” easier to understand, but do not necessarily make the album more compelling. In fact, McAlpine sets a rather high bar that she never fully meets.
Too often, McAlpine allows folk music’s quiet restraint to become monotony. When executed well, the genre can be subdued without becoming static — Mitchell’s 1971 album “Blue,” one of McAlpine’s major influences, is proof. Its shifting emotional intensity and fluid song structures add motion to the album, even with sparse musical arrangements. McAlpine has all the right ingredients: confessional songwriting, storytelling and emotionally resonant vocals. However, “Angel” folk music’s subtlety becomes a boundary instead of a vehicle for artistic evolution. The album’s promise and limits are immediately apparent on the lead single, “The light in the painting.” With excellent vocal production, a soft, whisper-sing delivery and a pretty melody, McAlpine’s voice remains the star. Yet, the lyrics’s cliches hold the song back: “If somewhere there is a heaven / This is as close as I will get.” The central metaphor is pleasant but never develops into anything particularly distinctive and the production, while attractive, falls victim to a similar issue. “Angel” flourishes when McAlpine experiments lyrically and sonically. “A car wash and a new pair of pants” ventures into groovier folk that pairs percussion and unusual instrumental textures. With a clever metaphor for craving physical rejuvenation while emotionally recovering from a relationship in
ON YOUR RADAR
its lyrics, it remains uniquely hers while adding something new to her sound. “The moon” combines a compelling rhythm with some of the album’s most interesting writing. She declares, “I want to feel like I’m the center / And you revolve around me,” before delivering the song’s thought-provoking hook, “I am no freer than / the moon.” The celestial metaphor does more than provide pretty imagery; it deepens Alpine’s perspective in the relationship. She wants more control yet is trapped in her partner’s gravitational pull. Both songs embrace McAlpine’s trademark intimacy and push it somewhere new, drawing on folk influences to experiment with her sound and writing. “Peach,” however, demonstrates how frequently “Angel” stops short of its own potential. Ethereal production and specific imagery begin building toward something fascinating, but just as it appears ready to explode into something larger, the production pulls back and the song ends. This teasing becomes a frustrating pattern in “Over country” and “Two elevens,” which also build in depth only to end before ever reaching their peak. By the album’s middle stretch, another softly-strummed guitar begins to lose its typical effectiveness, reading less intimate and increasingly forgettable. “Anybody’s fool” and “Ugly things” are overwritten, expressing fairly simple ideas in overly elaborate language. Both could have been outtakes
By Aarushi Maskara
THIS WEEK’S THEME: Show Up, Give Back to the District
ALZHEIMER’S WALK
GU COMMUNITY DAY
Grab your sneakers and a few friends this Saturday, Sept. 26, and join thousands of other participants in the Walk to End Alzheimer’s. The event, which raises awareness about Alzheimer’s disease and money toward a cure, will start around 8 a.m. at the JFK Hockey Fields near the Lincoln Memorial. Attendance is free, but walkers should register online and are encouraged to set a personal fundraising goal.
Head over to Copley Lawn this Saturday, Sept. 26, from 11 a.m. to 1 p.m. for face painting, activities and free snacks. Hosted by the Office of Community Engagement, the fair will bring together local organizations, government agencies and university departments to show you how to get involved with organizations throughout the community. The event is free to attend and does not require tickets. The rain date is Sunday, Oct. 4.
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@GEORGETOWNUNIVERSITY/INSTAGRAM
FASHION RUNWAY
THEATRE WEEK
Swap out studying for the runway this Friday, Sept. 25, when Sofitel Washington, D.C. Lafayette Square hosts a Paris-themed fashion show. Support emerging designers and models as they take the stage from 4 p.m. to 7 p.m. Tickets can be purchased online for $24.57.
Enjoy Washington, D.C.’s theater scene at Make a Scene! The Theatre Week Concert on Tuesday, Sept. 29, at the Transit Pier at The Wharf. Pre-show festivities start at 6 p.m., while the concert, which features local musical theatre performers, begins at 7 p.m. Tickets are free and can be reserved online.
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FRIDAY, SEPTEMBER 25, 2026 | THEHOYA.COM
from McAlpine’s debut, fading into a back catalog of beautiful but indistinct songwriting. On “Angel,” McAlpine didn’t necessarily need to be louder — she just needed to add more dynamic contrast. The album’s final tracks find McAlpine returning to emotional territory that she has already covered with greater depth and skill. “Mason’s song” revisits self-improvement and growing older: “I still have things to work on / That will never end / But I can’t do it alone.” “Older” explored these feelings with more complexity. Still, “The crowd” proves that melancholy itself is not the problem. Instead, it’s how rarely McAlpine finds a new way to express that emotion on “Angel.” Addressing her late father, McAlpine sings, “Everything I do / I do so I can make you proud,” offering new insights into an issue she has already written about at length. If more of “Angel” offered this level of specificity, the album’s restraint would feel purposeful rather than repetitive. By the time the title track closes the record, “Angel” has offered plenty of beautiful moments without making a compelling argument for why these 14 songs belong together. The album lacks consistency and coherence, making it feel stagnant and, at times, a regression of McAlpine’s ambitions. Still, her voice remains capable of turning a quiet whisper into a tidal wave of feeling. “Angel” proves folk could be a fruitful adventure for McAlpine; she just needed more ideas worth whispering about.
@THEATREWASH/INSTAGRAM
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FILM
‘Oasis: Don’t Look Back in Anger’ Feels Too Inauthentic
Penelope Snoep Deputy Guide Editor
I would like to preface this review by saying that I absolutely love documentaries, and that I love listening to Oasis. With that out there, I can safely admit that “Oasis: Don’t Look Back in Anger” was one of the most haphazardly compiled, repetitive and off-putting marketing scheme-feeling films I have ever seen. This feeling is perhaps furthered by Oasis’s announcement of their summer 2027 tour across the U.K., Ireland and the U.S., titled “Oasis Live ’27.” The announcement, which dropped the morning of my viewing, came only three days after the documentary’s release. Perhaps my frustration with “Oasis: Don’t Look Back in Anger” is my own fault. After all, the film is meant to celebrate the 2025 reunion of the band following their tense 15-year hiatus, during which the brothers had no contact. The film absolutely captures the joy of the fans as they gathered to watch Liam and Noel Gallagher reunite in the cultural phenomenon that is Oasis. Directors Will Lovelace and Dylan Southern were certainly able to achieve a vibe of triumph, relief and glory of the Gallaghers’ reunion. What “Oasis: Don’t Look Back in Anger” does best is allow the music of Oasis to shine. Clips from concerts over the course of their 2025 tour made me feel as if I was there, and as a fan of the band, I enjoyed listening to some of my favorite songs as they blasted maybe too loudly through the AMC Georgetown 14 sound system.
While putting up a good fight, Oasis’s stellar performances were unable to distract from the film’s failures, which were completely overwhelming. While most documentaries follow some sort of storyline or feel like they are building a certain narrative, “Oasis: Don’t Look Back in Anger” was a muddled collection of clips leading nowhere. Despite promising to tell the “untold stories” behind the band’s reunion, there was absolutely nothing of the sort. Instead, there were endless interview clips with the band’s fans, each mentioning their excitement about the reunion and boasting about how much of a fan they were. We get it — Oasis fans are happy that the band is back. Of course they are. Early in the film is a clip from Oasis’s 2009 Paris show, where a promoter on stage announces to the crowd, “The band doesn’t exist anymore,” after the brothers had broken up as Oasis backstage. Following this is a caption stating that the brothers “didn’t speak for 15 years,” which had me eager for interviews or some sort of explanation as to why they had broken up and why they came back together. Neither story is revealed, though, and instead, the film dives back into what feels like filler footage. What is most frustrating about “Oasis: Don’t Look Back in Anger” is that the backstory exists, and that — at least at first — the film sets itself up to tell it. After the first 45 minutes of skirting around any sort of substance or real information, I came to the realization that the story would not be told. Instead, I would be sitting through
a collection of glory clips, which was, frankly, exceptionally boring. I entered the theater with all the same questions I walked out with: What inspired their reunion? Was there any sort of tension throughout the tour? How did Liam and Noel Gallagher feel throughout their 15-year no-contact phase? Following the documentary’s inability to answer any of these questions, I felt incredibly frustrated and disappointed, but also less compelled to care to find answers to them myself.
The film’s inability to say anything negative or real about the band, and its focus on the brilliance and magnificence of their new concerts, further tied in by the announcement of a new tour, is what made “Oasis: Don’t Look Back in Anger” feel so phony to me. It felt so obviously transactional, missing any sort of authenticity, which is so contradictory to how I view Oasis’s music. Maybe a more serious fan of the band would have enjoyed the film more than I did, but I cannot help but think they would also find the film’s scheme to be at least mildly unappealing.
SONY MUSIC ENTERTAINMENT/IMDB
Penelope Snoep (CAS ’29) sees “Oasis: Don’t Look Back in Anger” as too surface-level.
CULT CLASSICS
From Lullabies to Alt-Rock, Beabadobee’s ‘Pylon’ Is a Triumph Madeleine Goei Special to the Hoya
Who knew Beabadoobee could do rock? Her newest album, “Pylon,” proves she can, while portraying the searing emotions that come with love, yearning and isolation. Released on Sept. 18, “Pylon” is a chronicle of catharsis. Beabadoobee — or Filipino British singer-songwriter Beatrice Kristi Ilejay Laus — has turned 180 degrees in her musical style since her 2024 album “This Is How Tomorrow Moves.” The new release features Beabadoobee’s distinctive wispy and high-soaring vocals complimented by a new era of rough-edged alternative rock, a dichotomy that molds perfectly to the album’s oscillation between hopeful new relationships and burying bodies. For those getting over a breakup, Beabadoobee provides enough soul screaming via high guitar riffs and static feedback that you will not need to scream into your pillow. If you have recently had a brief conversation with someone, exchanged numbers and now can’t unsee their smile, be it limerence or a genuine spark, nothing encapsulates that better than the album’s weightless vocals and an acoustic guitar. Or perhaps it’s 3 a.m. and you miss your family, or
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the familiar forms of the town, country or even a person you’ve left behind. On the third song on the LP, “Estranged,” Beabadoobee threads the textures of isolation into a pop-rock melody that almost mimics your elevated sinus rhythm and lungs straining to breathe as you unconsciously spiral into an internal breakdown. Where Beabadoobee’s “This Is How Tomorrow Moves” was all light-hearted pop and soul, “Pylon” introduces a darker, alternative emo-pop dynamism. The album’s title track and opening song, “Pylon,” acts as a perfect bridge between the two LPs. A simple acoustic guitar melody plays to carry Bea’s voice sweetly through the air while feedback fades in and then everything hits all at once. The static, electric notes and alt-rock drums come in and overwhelm your senses. An album born on the road during her “This Is How Tomorrow Moves” tour, “Pylon” is a diary of solitude, frustration and hope. Named after electricity pylons — think a utility pole on steroids — that Bea saw on the road during the tour, “Pylon” creates a cyclic atmosphere of images flashing by on an open road. This was also inspired by the artist’s reflective nostalgia for her younger self and the anxiety of her 20s. Songs like “Sun Has Set” is valedictory to a past relationship, and might serve as closure after ending her relationship with Soren
Harrison, with whom she was rumored to be in a seven-year relationship, beginning from her teenage years. This ode to her teenage self reveals the familiar feeling of frustration and isolation that were present both in her adolescence as well as on the road. Lyrics like “There’s so much we left unsaid / And so much that you don’t get / Fuck that, not worth thinkin’ about to me now” reveal the lingering anger of a past relationship. Her lyricism is reminiscent of a burn letter as if closing the chapter on this person forever. Track 10 on the album, “Radio,” cycles through a sublime riff that courses through the listener, their body moving in tune. The edgy yet ethereal instrumentals pair beautifully with Beabadoobee’s soft vocals, creating a medley of acidic emotion. Through song, Beabadoobee reclaims power after the death of a relationship, repeated over and over through the lyrics “You’ll listen to this song on the radio.” While their connection may be severed, taking advantage of her public platform shows that this other person no longer has power over her. They will be forever haunted as she pops up on iHeartRadio or Z100. Beabadoobee brings amazing talent to the table with collaborations on songs like “Nothing to Prove” with Hayley Williams, Paramore’s lead vocalist, who no doubt brought pop-rock spunk. “Powerlines” is a
collaboration with Brendan Yates, the cofounder of punk-rock band Turnstile, and the final song “Satellite” features Chino Moreno, lead singer of Deftones. Each of these artists’ styles is echoed in the alt-rock sound of the album, their influence helping shape her musical identity within the world of rock. A microcosm of the entire album, “Satellite” has both vulnerable and cathartic tones, and by blending her usual warm style from earlier works with an intense raw vocal performance at the end, the song leaves you waiting for permission to exhale. The second half of “Pylon” softens the album’s metallic edge with songs “Spark” and “Memories” introducing the bliss of a blossoming new relationship, presumably her relationship with cinematographer Jake Erland, whom she has been dating since 2023. Lyrics like “Found through you that love like this is not so hard to find” in the song “Memories” show how Beabadoobee is stepping out of her turbulent teenage years into a new era of herself that, while at times lost, remains grounded when on the road thousands of miles from home. More than a sonic evolution, “Pylon” is a way for Beabadoobee to unload the burdens of her past, turning a tumultuous journey into a calm upwards lift of hopefulness as she steps into a new era of herself and her music.
THEHOYA.COM | FRIDAY, SEPTEMBER 25, 2026
AWARD TO THE WISE
Three Winners of the Fall Film Festivals Give Early Insights Brad Derfner Guide Columnist
With the close of the Toronto International Film Festival (TIFF), the first stage of the 2026-27 awards season is officially complete. The major fall festivals, including the Venice International Film Festival, the Telluride Film Festival and TIFF, offer looks into nearly every major awards contender, giving films ample opportunity to gain or lose traction. Though many films shown at these festivals have established awards expectations, three key ones left in a significantly stronger position than they entered. Of the three, “La bola negra” might make the most noise this year. The film — directed by duo Javier Ambrossi and Javier Calvo, who fans affectionately call “Los Javis” — was wellknown before TIFF and received a glowing Cannes Film Festival reception that included a tie for the Best Director prize. A queer war film, “La bola negra” unfolds across three connected timelines, with two earlier stories in 1932 and 1937, and one in 2017 where a young man (Guitarricadelafuente) learns how he and his family are connected to the earlier sections. The film is based on an unfinished Spanish play of the same name by Federico García Lorca and interrogates queer desire and inherited trauma across generations.
But strong critic reviews, including an 86 on Metacritic and a prize awarded by a ninemember Cannes jury, hardly tell us how general audiences would receive the film. Winning the fan-voted TIFF’s people’s choice award (PCA) has put these anxieties to rest — nine of the last 10 TIFF PCA winners have received best picture nominations. Runnersup have good track records as well — with the exception of the 2020-21 pandemic cycle, at least two of TIFF’s top three finishers have earned best picture nominations each year since the 2015 cycle. I am predicting “La bola negra” for five above-the-line nominations, including best picture, director, screenplay, supporting actor (Guitarricadelafuente) and supporting actress (Penélope Cruz). I don’t have any of these nominations translating into wins for now, given the smashing success of “The Odyssey,” but if TIFF showed us anything, it’s that “La bola negra” is Christopher Nolan’s biggest challenger. Looking over at Telluride, “The Debut,” Jesse Eisenberg’s latest comedy, had been firmly in the awards conversation for months. According to Awards Expert, the film had a 56% chance of earning a best picture nomination on Sept. 4, the day before its Telluride world premiere. I, on the other hand, was less than convinced. I personally loved Eisenberg’s previous work, “A Real Pain,” but
A24, the distributor for Eisenberg’s latest, already boasts two well-received contenders this season — Olivia Wilde’s “The Invite” and Jordan Firstman’s “Club Kid.” As the untested youngest child, “The Debut” felt like the simplest of the three to count out. My prediction was smashed to bits almost immediately, however, as “The Debut” premiered to positive critical reactions, now settling with a 74 on Metacritic and a 4.0 on Letterboxd. More importantly, Julianne Moore’s turn as Mona Fastvold, a housewife who decides to delve into the cutthroat world of New Jersey community theater, has received such high praise that she’s rocketed to the top of my best actress predictions. Paul Giamatti has also established himself as a likely mainstay in the supporting actor category. Now, I have “The Debut” slated for nominations in both categories, alongside best picture, best screenplay and potentially best director as well. There is plenty of season left, of course, but the possible path to Oscar glory is quite clear, especially for a film that pokes fun at the acting industry itself. Venice’s biggest story is a little more complicated. May el-Toukhy’s “Woman Unknown” left the festival with not only the Golden Lion — Venice’s top prize — but also the Volpi Cup for best actress for
Mathilde Arcel. But these wins cannot be separated from surrounding their context — jury president Maggie Gyllenhaal publicly denounced the remarkable lack of diversity at the festival, where el-Toukhy was the only female director. Gyllenhaal has emphatically denied any alleged bias towards the film, noting that the decision was discussed extensively across the seven-person jury. The jury’s love for the film is obvious as, per festival rules, Arcel’s acting prize was required to be unanimous as the film had already been awarded the Golden Lion. This year, winning the Lion means more than ever before. Starting this year, nonEnglish language films can enter the Oscars’ best international feature competition if it wins the top international award at the Venice, Berlin, Cannes, Sundance, Toronto or Busan film festivals. As a result, “Woman Unknown” will not need to rely on an outside national committee to be eligible for Oscar love. I have “Woman Unknown” sitting just outside my top 10 for best international feature, and not ranked in any other category, but Venice has proved that enthusiasm for the film undoubtedly exists. The festival stage of awards season is about discovering which contenders merit greater scrutiny but the next few months, with wide releases and critics’ groups galore, will determine who can and will take home an Oscar.
RATED AND PLATED
Van Leeuwen Hesitantly Dips its Fingers Into Froyo Ginny Cheung Guide Columnist
Frozen yogurt is probably my favorite dessert in the world. However, for a serious froyo lover like me, Washington, D.C., doesn’t seem to have such a thriving froyo scene. While Van Leeuwen on 14th Street did come to the rescue, it tasted like every other frozen yogurt I’ve had. If you want ice cream, it’s a solid pick, but if you were looking forward to trying their tarter options, maybe don’t go when there’s a line out the door. After walking in circles that evening with my family, who are new to the area, we stumbled onto a jam-packed ice cream store with colorful murals and a long line. Neon paintings of cute, cartoonish faces lined the walls, and at least 10 people were ahead of us. Now, I’ve tried Van Leeuwen before in Los Angeles, so this wasn’t my first rodeo. It was, however, my first time trying their frozen yogurt. I was hesitantly hopeful, since their ice cream was solidly tasty from memory, but my standards are high for a crown-jewel dessert. I only got plain, but what better way to judge a business’s frozen yogurt than having its purest flavor? It tasted similar to Yogurtland’s mediocre froyo, but that was it. Unless you’re craving frozen yogurt, I’d
recommend Yala as an alternative (at least until my beloved luxury froyo place, Go Greek, opens on Wisconsin Avenue). Yala’s flavors are a bit more creative and out-ofthe-box than Van Leeuwen’s “passionfruit” and “matcha,” and I could taste the depth in each bite, whether in their frozen yogurtadjacent or classic ice cream flavors. I also enjoyed Yala’s mixed-in toppings, compared to Van Leeuwen’s more standard frozen yogurt. Again, the only time I’d pick Van Leeuwen’s froyo is if you’re craving that lighter, less creamy consistency. It was lively inside Van Leeuwen, with loads of college students hanging out and eating on the patio outside. I appreciated this, as when a store is deserted inside, it’s usually not a good sign. The bright, friendly decor also had exceptional vibes. The worker serving the frozen yogurt was incredibly nice. She insisted my whole family try samples, even though we’d already said we knew what we wanted. There were four flavors, but the matcha one wasn’t working that day, so we narrowed it down to three. The ice cream, on the other hand, had about a dozen. My stepfather got some sprinkles with his. While they were pretty good, Van Leeuwen’s toppings as a whole created the sense that the eatery was trying out a seasonal item rather than investing in serving frozen yogurt regularly. However, the prices are average, and the
FRIDAY, SEPTEMBER 25, 2026 | THEHOYA.COM
eatery does have multiple locations near campus. Still, if you visit the one on 14th Street, note the separate lines for ice cream and froyo; don’t accidentally stand in the wrong one. Speaking from experience. Overall, if you’re in the area, I think Van Leeuwen’s froyo is worth it. My family and
I checked out other ice cream stores nearby, like Milk Bar, which was scarily dead inside, so Van Leeuwen was definitely a better alternative. I think it would be fun to visit with your friends. While it is nothing I would drive for, if it’s convenient and a sweet treat is calling your name, I would recommend it.
ILLUSTRATION BY AVELYN BAILEY/THE HOYA
Ginny Cheung (CAS ’30) wishes for more from Van Leeuwen’s foray into froyo.
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CROSSWORD
By Luke Landegger
This Week’s Theme: Sweet As 1
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1. Prefix with -genarian 2. Patrick Ewing, once 3. Likely items in a cartographer’s collection 4. You might have a 43-Down up one 5. [It’s f-f-freezing!] 6. Inhuman 7. Workplace safety org. 8. Bridal accessory worn over the head 9. Call upon 10. Summer on the Seine
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11. Variety alongside shoestring, waffle and curly 12. Saint ___, Caribbean nation with a cool-looking flag 13. Site of a pyramid scheme? 18. Nike competitor 22. Palindromic math class 24. Fifth Avenue retailer 26. Org. that employs many CPAs 27. Deep sleep 28. Smart guy? 29. Book you can’t help but keep reading
30. Word Rocky uses to express excitement in “Project Hail Mary” 31. Like many shampoos for fine hair 35. Weather device that shows wind direction 36. Middle Eastern ruler 38. “I wasn’t even near the scene of the crime!” excuse 40. Poke 43. Member of a royal flush 45. ___ Gay (World War II plane) 48. Seinfeld’s slide-in-the-door neighbor
ACROSS
1. Units of resistance 5. Second half of a double feature 11. Browns, on scoreboards 14. Fuel of the Industrial Revolution 15. Despise, often for some an affront 16. Floor covering 17. Now-shuttered museum documenting the history of English printing 19. Like many a winter road 20. Often desert mirages 21. Golden ring above an angel’s head 22. Short cut? 23. A German needs it to visit Russia 25. Chocolate treat Japanese students gift each other before exams 27. Florida launch site where Neil Armstrong set flight 32. Portuguese greeting 33. Portmanteau for a winter sport featuring hiking and carving 34. Default Minecraft character 37. Super-sized 39. Resell at an inflated price 41. Ponzi scheme, e.g. 42. High-speed Amtrak train 44. Like lapis lazuli, colorfully 46. Locale for undergrads 47. “Creature” whose “attacks” might make kids laugh 50. Twitch streamer with a digital avatar 52. Diva 53. “___!!! on Ice” (anime series) 54. 1998 animated bug film 57. Orchestrators of a 41-Across 61. B&B 62. Raunchy 1999 coming-of-age film, or what this puzzle’s circled letters indicate flavors of 64. Birth name indicator 65. Adam of Maroon 5 fame 66. Member of a royal flush 67. [I’m mad!] 68. Having a bun in the oven 69. When tripled, “you get the idea” 49. Kid’s toy that can walk down stairs 50. Competing 51. Guitar gadget that tells you which pitch is played 55. “Scream” actress Campbell 56. Math class with degrees of difficulty 58. Capital of Samoa 59. Earth: Crust: Orange: _____ 60. Owner of “Sonic the Hedgehog” and “Angry Birds” 62. Swiss peak 63. Company MVP
THEHOYA.COM | FRIDAY, SEPTEMBER 25, 2026