REM: Vol. 4 Issue 1

EXECUTIVE BOARD

FULL STAFF

WRITING TEAM

Camryn Bacon, Chloe Foster, Emma Ehle, Logan Hansen, Madeline Townsend, McKenna Madis, Nathan Brooks, Alexa Davis, Lauren Carmona, Catherine White, Lauren Lopez, Hannah Toy, Olive Okoro, Leah Lara, Chloé Golden, Lianna Davidson

PHOTOGRAPHY TEAM

Alexis Holt, Krystal Pham, Lacey Loomis, Lindsey Lopez, Lisa Nguyen, Maha Afzal, Nicole Hinojosa, Parker Elkins, Rylie Meek, Tyler Pfeil, Grace Weng

DESIGN TEAM

Jade Sung, Maitri Modi, Isabella Kaarto, Peyton Bruffy, Noa Shrikhande, Maddie

Case, Alli Powell, Lynn Nie, Izzy Davis

SOCIAL MEDIA TEAM

Camila Ponce, Emily Hansen, Emma McMinn, Karla Trevino, Krisha Atreya, Liane Nguyen, Sahithi Vemuri, Sudiksha Pai, Kate Puckett, Angela Duplantis, Sofia Felker, Madelyn Jordan, Kadence Cheang

VIDEOGRAPHY TEAM

Amy Kingston, Sheyla Hidalgo

EVENT TEAM

Catherine Kim, Grace Kauderer, Zoë Tsoukalas, Katie Collins

Photography : Peri Shaink

Model: Logan Hansen

Design: Anna Keller

LETTER FROM THE EDITOR

Dear reader,

As I am writing this letter to you, I feel compelled to reflect and explore the impact of A-Line Magazine, and more notably, its impact on my life. That is what REM does to you; it takes you on a trip towards dreamy horizons and propels one to a euphoric space of reflection. This exploration in ourselves, pressing societal issues, and the content we consume everyday is imperative for our future. Before we look at what lies ahead, I feel as though my past experiences with this organization need attention. Not only have I been able to work with inspiring young men and women these past six semesters, but I have also met a lifelong best friend, Mary Trantham. As I know my time here at A-Line is coming to a close, I am so pleased that my friendship with a dependable, intelligent, and driven woman is only just beginning! I also look back at my own progress; I was once a full staff writer, anxious to present my first published work to the world. Then, I navigated our website as Online Editor and was able to interact with gifted members from all teams. Finally, in the past year as Editor in Chief, I can’t help but feel a deep sense of gratitude for my writing team and editors. Chloe Pham and Zoey Frederick, my literal dream team, I have so much pride that you guys will continue to lead our written endeavors and incredibly talented group of writers.

I now encourage you, reader, to also reflect. Whether a freshman, senior, or well into adulthood, delve deeper into your actions, motivations, and passions – self-discovery is calling your name! REM certainly allows for a headspace of reflection, as this material examines the abstract, the obscure, and the surreal. Even more so, this print issue pushes one to uncover their dreams, whether that dream is geared toward a romantic relationship (p.83), a lifestyle (p.13), or a career (p.67). Through film analysis, we can gain a better understanding of present social issues, like the trials of womanhood (p.87), scientific racism (p.27), or suicidal ideation (p.55). While these topics may sound alarming, there is great comfort in other realms of this print issue – say dreamy portraits (p.51), surreal animation (p.35), and extraordinary fashion designs (p.59). In order to fully gain an out-of-body experience, an aspiration of REM, it requires both sides of the spectrum. Furthermore, the pages of this magazine subject us into a trope of time-travel, as we go back to the mind-bending 1960s (p.23), and then plunge ahead to the unknown with possible what-ifs regarding artificial intelligence (p.77). I commend our full staff and executive board on a collaborative project well done, and I hope this is the print issue of your dreams.

From a fellow dreamer and advocate of reflection,

Gretchen Evans Editor in Chief

Photography : Peri Shaink

SPOILER ALERT

REM contains revealing plots in popular films and a TV show. Reader, beware and welcome to your adventure down the

RABBIT HOLE...

R.E.M.

An exploration of the unconscious with Dr. Sara Dowd

From alternate realities, to different dimensions, we as humans love to toy with the idea of otherness. The other side, the alternative, the deeper meaning; we can’t help but wonder: How do these complex ideas imbue our lives? In REM, our goal is to traverse further into these intricate topics and to take a trip down the royal road to the unconscious. Dreaming is one of the most common ways that we falter the illusive border of reality; however, it is something that we know little about. Although we have scientific evidence for the stages of sleep and R.E.M. sleep, there is no clear way to empirically prove the psychological reasoning behind dreaming. Many have attempted to study the unconscious, including the notorious Sigmund Freud, but experimentation and limited research on this topic proves difficult. Fortunately, we had the opportunity to speak with Psychologist Dr. Sara Dowd and were able to explore more about the psychological basis of dreaming, if the popular interpretations that we know today are valid, and question if one can ever truly know the meaning of their dreams.

WHAT IS YOUR NAME & WHERE DID YOU EARN YOUR DEGREES, AND IN WHAT?

Dr. Sara Dowd. I got my undergraduate degree in New York City at a small college called Baruch College. I got my honors degree in psychology, and then I got a second degree in English. I got my Ph.D. in Social Psychology here at Texas A&M.

WHAT DO YOU TEACH AT TEXAS A&M AND WHAT IS YOUR FIELD OF FOCUS IN PSYCHOLOGY?

I think my specialty is PSYC 107, the intro into psychology course. My other specialty class is adjustment psychology - which I built this class basically from scratch - so I'm really proud of that one. As for field of focus, I don't know if I necessarily consider myself as having a specialty. Originally when I came to A&M, I was kind of in 2 Ph.D. programs, the clinical department and the social psychology department. I ended up switching to social psychology, but my heart is still very much into wellness. I worked at a startup for a hot minute that did holistic wellness, and though I wasn't a licensed practitioner by any means, I did a lot of writing about mental health, And certainly, a lot of my classes are about that.

WHY DID YOU CHOOSE TO STUDY PSYCHOLOGY, AND WHY DID YOU CHOOSE TO COME TO A&M?

One of the cool things I like about dreams and the unconscious is the collective unconscious. There's a Freudian unconscious, which is about your individual unconscious. But there's also something called the collective unconscious which was theorized by Carl Jung. Part of the Collective Unconscious is making meaning of coincidences. A collective unconscious suggests that all of our unconsciouses are working together and do quirky things that don't make sense. All that's to say, the first year I applied to grad school, something kind of terrible ended up happening to me, so I didn't get in that year. That year, my friend gave me a shirt that just said "Texas" on it. After that, I had this feeling that I was going to end up in Texas, and Texas A&M also gave me a special fellowship.

WHAT LED YOU TO YOUR SPECIAL INTEREST IN NEUROSCIENCE AND OR DREAM INTERPRETATION?

My specialty is not neuroscience or dreams by any means, but I really like dream interpretation. In looking at Freud, a prominent figure in dream analysis, there's two schools of thought around Freud and dreams: that it's a bunch of baloney or the people who do buy it. I was personally determined to be a hard scientist, and so when I came to A&M I didn't necessarily want to be one of those types. But I changed my mind, and partly did so because of teaching. When you teach, you get so many students sharing crazy dreams that they had, and I got to the point where I decided to no longer hold my scientific skepticism to the highest regard and chose to be a human and to believe first. I think that this journey has been life-changing for me.

WHAT ARE THE STAGES OF SLEEP, AND WHAT IS THE DEFINITION OF REM?

There are four different stages of sleep, but these stages are not always so clear cut and are sort of like a slope. Each stage gradually gets you deeper into sleep, and if you look at EEG [Electroencephalogram- used to measure electrical brain activity] data to various degrees, it looks like slower waves and higher voltage or amplitude. REM is interestingly the level right on the surface of sleep. You go from stage one all the way down into stage four, but then every time after that you go back up, and instead of waking up, you hit what we call REM sleep (rapid eye movement). Some argue that we dream during that REM cycle, and not throughout the rest of our sleep. In my hypothesis, I think there's enough evidence to support that dreaming can be possible in deeper stages of sleep. In REM you have more access to the visual dream, but people who get night terrors for example, typically wake up in stage four. That's deep sleep, and not REM.

WHAT IS THE PSYCHOLOGICAL DEFINITION OF A DREAM?

The definition varies. I don't know if psychology has a more sophisticated version of this, but a neuroscience heavy person would probably emphasize that it happens during R.E.M. and the casual version would probably be more about visuals. I think when we talk about dreams, we're usually talking about something that we can attach a plot to. Someone who wants to emphasize the importance of R.E.M. and dreams would also emphasize having access to that visual stimuli, but someone who wants to make dreams as abstract as possible would probably say that it is an experience that you have while you aren't conscious.

take a trip down the royal road to the

WHO IS FAMOUS FOR STUDYING DREAMS, WHAT ARE HIS THEORIES?

[Sigmund] Freud is most famous for dream analysis, and he has a couple of things that he's famous for. The idea with dreams is that the royal road to the unconscious is more than just sleep, it is also the things you're not conscious of. Part of his theory is the psychosexual stages of development. The idea is that slowly throughout your life, you are shamed for basic needs, and this could be any kind of need for physical affection. The other part of that process is putting things into what he calls the id, ego and superego. Your id is what you really want to be doing, and it’s like the devil on your shoulder. You then have the superego, which is what society tells you you should be doing. The superego sort of ignores your id needs, fighting against each other. Lastly, your ego mediates between those two. There is also something called “Freudian slips,” which are when you say the wrong word and it's kind of embarrassing, like kids calling their teachers mommy. And then you have dreams which are not just one moment in time. It's almost like watching a movie, and you can figure out all sorts of interpretations about them. The unconscious is real to various degrees and Freud took it the most seriously.

WHAT DO YOU THINK ABOUT HIS THEORIES?

I tell my students when I talk about Freud that if you believe him first, instead of saying “this is all a bunch of baloney,” say “Okay, I can kind of buy what he's saying,” …then his theory starts to come to life! In my opinion, the best way to approach it is that some of these dream interpretations/ unconscious experiences can be used as a starting off point. I think that every dream is going to be right with multiple interpretations, and describing each of those perspectives will give you a different perspective on who you are, because we're all very complex people. I think it's absurd to dismiss Freud’s theories… Why have experts with theories if we just dismiss it as soon as it's cool to hate them?

What is your opinion on the concept of psychoanalyzing dreams?

I think I like to approach it this way: Every single part of you deserves to be understood, and every part deserves attention. It is really crazy that we all just actively hallucinate every night, and the idea that you shouldn’t pay attention to that, I think, is much crazier than the idea that you should. I think if you choose to believe and search for evidence to support it, anecdotal evidence is also evidence, and something about that has made my dreams certainly come to life in an undeniable way.

Is there credibility to popular/ nonpeer reviewed websites that tell you what your dreams mean? (Ex: dreaming of cheating on a

partner, dreaming of teeth falling out, dreaming of somebody dying)

So something like “La La Land”… did that movie have an effect on you? Do you ever look up interpretations or talk about it with your friends after? If yes, do you feel like talking about those interpretations affects you? That’s kind of the point of the art…right? Art reflects life, but it also influences you. I’m a huge Swiftie, so listening to her music influences me, but looking up the meaning of the lyrics changes my interpretation of who I am as well to various degrees. So if that process is so influential, the idea that taking your dreams and analyzing them isn’t going to have an effect on you, again, I think is absurd.

To wrap things up, what would you say to someone wanting to learn more about dream analysis?

I think that as much as I love dream analysis, and while I do think the websites might create a really good starting point, I wouldn’t put too much stock into the belief that there is one correct answer. I think the point is collecting a bunch of different interpretations, seeing what you do with them, and seeing how

talking about them influences you. I would say to just start somewhere, and I would take your dreams seriously. Put effort into remembering them and interpreting them in multiple ways. Try not to find “the” answer: It’s about the experience.

Thank you, Dr. Dowd, for your time and sharing your insights with us. We wish you well in your future endeavors!

Writer: Haley Cox

Photography: Alexis Holt

Design: Anna Keller

Model: Abdullah Olakukan

Don’t Worry Darling… this fantastically retro and A-List celebrity-filled movie is more than just a psychological thriller as it looks deeper into the minds of the characters through their internal struggles, bizarre interactions, and constant suspicions.

Phantasmagoria:

Hallucinations:

Individuals may experience phantasmagoria and hallucinations throughout their lives. “Don’t Worry Darling” explores these experiences and dives into what is real and what exists only in our minds. Throughout the film, the protagonist Alice, played by Florence Pugh, constantly demonstrates that distinction. After an incident where Alice wandered into the desert and came in contact with the hub of the simulation, she awoke in bed to Jack making her dinner. Although she was about to escape the simulation, she is sucked back into the virtual world. The simulation, titled the Victory Project, was created by Frank, played by Chris Pine, meant for users to forget about their realities and become a part of a society in which everything is ideal, at least for men. Have you ever had a dream or deja-vu that was so vivid, you could have sworn it actually happened? Alice is a perfect example of trusting one’s intuition, as she symbolizes the voice of reason throughout the movie. After noticing her friend, Margaret, played by Kiki Layne, is mentally struggling, Alice trusts her gut despite the suspicious excuses from others in the Victory Project. Unsatisfied with Margaret’s death being ruled as hysteria, Alice continues to dig and obtains doctor’s notes, confirming her suspicions of a larger underlying issue at hand. The hallucinatory aspect of this movie takes away from the fact that the enticement of the story is that every day in this alternate world is meant to signify perfection. Each wife has the perfect husband, the perfect house, the perfect car, the perfect wardrobe – the dream world as some would say.

a sequence of real or imaginary images like those seen in a dream

where you see, smell, taste, or feel things that appear to be real but only exist in your mind

The mental and physical hardships the characters are willing to undergo to have a superb life feels like an actual reality in today’s society. For example, a greater number of individuals are beginning to alter their lives, bodies, and social media, to have the ideal life. “Don’t Worry Darling” portrays the great lengths individuals will go to achieve their dream life regardless of the consequences. Director Olivia Wilde’s character, Bunny, is a clear example; her signature cat eye look, stylish 50s glam, and beautiful children makes her appear to be the epitome of happy wife, happy life, although this is far from the truth. In the scene where Alice is having a panic attack at the Victory Project Gala, Bunny snaps at Alice to ride it out and enjoy it, showcasing the lack of support women are given throughout the movie. In today’s society, it can be difficult for women to be believed when they’re struggling. Women may be portrayed as insane because they attempt to stand up to patriarchal structures. However, Alice is not conforming to the expectations of the women in this reality, while Bunny embraces it. When viewing this scene, it’s inferred that although Bunny seems like she genuinely wants to be in the Victory Project, she is disheartened at the fact that she knows the reality of her situation. Even though Bunny invalidates Alice’s feelings at the gala, Alice still places most of her trust in Bunny. As the movie approaches its conclusion, Alice discovers that she has been lied to by her husband Jack, played by Harry Styles, and falls to pieces after realizing she is in a simulation. Bunny then comes to her friend’s aid and shows her the good in their world. Bunny mentions that the reason she and her husband chose

When the audience gets a look inside Alice’s real life, it is implied Alice typically comes home from an extensive hospital shift and finds her husband in the same spot she left him. Alice would like a balance and equal division in household tasks, but it seems that Jack does not want to. It is obvious that Alice’s success leads to a clear disconnect in their relationship. Eventually, this is where his interest in The Victory Project stems from; it is an attempt to become the stereotypical man of the house. Nowadays, women can be the breadwinner of the household and are able to take on traditionally more masculine roles, but gender inequality in society expects women to possess superhero qualities, accomplishing all without the help and redistribution of tasks.

This so-called dream world was interrupted by hallucinatory circumstances and patriarchal actions. Alice is not only able to get past the nagging feeling of knowing that she is not supposed to be where she was, but is also able to stand her ground and become a dominant figure. Alice proved that women can do both, they can be the perfect housewife, who cook, clean and tend to their husbands, but they can also be career motivated, strong-willed females who are just as intelligent and worthy of recognition as men. No matter how thrilling and illusory this movie may seem, it contains a deeper message which shows women all around the world that they are strong and can make their own decisions.

Writer: Alexa Davis

Photography: Rylie Meek

Design: Noa Shrikhande

Models: Mikayla Colby & Braxton Husk

Photography : Kylie Dunlap

Models: Emma Ehle & Peyton Turpin

Haveyou ever gotten an eerie feeling when trying to recall a certain memory? Ever felt like you were going insane for misremembering past events? Well, you’re definitely not alone. Ever since the already believed death of Nelson Mandela, collective memory falsifications have led an array of individuals to feel crazy, sparking the 2000s debate of the Mandela Effect.

Originally coined by Fiona Broome, the Mandela Effect refers to a situation in which a large mass of people believes that an event occurred when it did not. This was, after she discovered that she, along with several others, believed that the first president of South Africa, Nelson Mandela had died in the 1980s when he was very much still alive (he died in 2013).

While Broome was discussing the tragedy with others, she learned she was not the only person to remember his death in additon to media coverage and speeches. Fascinated by this mistaken recollection of events, she published a book discussing what she referred to as the Mandela Effect.

COMMON MISTAKEN RECOLLECTIONS INCLUDE...

Some popular examples of the Mandela effect can be seen in a variety of topics such as pop culture, history, and art.

2

• “Mona Lisa used to have more of a smile.” (seeing the Mona Lisa as children when facial recognition skills are not fully developed)

• “Curious George used to have a tail.” (he is called a monkey but lacks a tail like apes)

• “Pikachu used to have a lightning bolt on his tail.”

• Infamous Star Wars quote is “No, I am your father” not “Luke, I am your father”

• People recall being inside the Statue of Liberty despite it being closed to the public in 1916 after a terrorist attack

• “Michael Jackson wore the white glove on his left hand.” “No, it was on his right!”

“Actually he switched off the hand he wore the white glove on.”

If you remember any of these events happening differently than in actuality, don’t worry. There are several logical and psychological explanations.

This happens when our brain simply fills in missing information and spotty parts of our memories. Because confabulation happens on a subconscious level, people refer to this as honest lying. Although it is often linked to brain disorders, confabulations are usually autobiographical and involve people misrecalling their own experiences and memory. These could be small or large details substituted for details taken from movies, TV, or other conversations.

CONFABULATION. PRIMING.

Another theory is the mental process that occurs when exposure to a singular stimulus affects the response to a separate stimulus with related characteristics. In order words, when we have a brief understanding of an idea, we tend to relate similar concepts whether or not they are truly related. This connection affects the responses we have to different ideas. Several scientists explain the priming process as a bias our minds put in place that we subconsciously refer to when absorbing new information. Our mind will interpret the details in a way that stays consistent with previous information. This means, based on everyone’s personal long-term memories, new information can be stored or translated differently from person to person.

THE INSTIGATORS OF OUR SOCIETY.

Elevation. Embellishment. Expansion. The immune system of our society, the media, is no stranger to acting as a catalyst in building up the popularity of a phenomenon. Over the past decade, a singular woman’s misguided recollection of a public figure’s death date has been enveloped by the digital world, spurring a website, a movie, a handful of books, and pop culture references regarding the media-formulated concept. Within the same period, the internet has grown into an impenetrable force hosting intensifying debates, outlandish assumptions, and a 24/7 forum to publicize and grow viewership over a multitude of topics. Since the Mandela Effect has been thrust into conversation, it has become a common term due to the application of the media that has placed it upon a pedestal of cultural interest. There is power in gaining the attention of the internet, a power that has proven the ability to amass a crazed obsession and the cause behind this suspicion-inducing confusion. As humans, we crave justification and the comfort of relatability; this encourages the push of a mob mentality as we would rather conform to the chaos. The chaos that has brewed into online conspiracy as the Mandela Effect expands from psychological explanation to parallel realities; further fanning the flame of the paranoia surrounding these cognitive stimuli responses.

There is no denial of the presence of false memories when, “faulty eyewitness testimony has been implicated in at least 75% of DNA exoneration cases.” Stressful situations such as acting as a witness before a jury continually proves to trigger confabulation, an honest mistake with the capability of turning a fractured memory into a fractured family with the wrongful convictions sealed by our false memories. The malleability of our memories will never fail to inflict skepticism onto our minds, but there is a solace provided by the media’s inflammatory tendencies, there is a solace in discovering that we all feel manipulated by our own minds at times, and there is a solace in the knowledge that you are not alone within the MANDELA EFFECT.

Writer: McKenna Madis & Chloé Golden

Photography: Tyler Pfeil

Design: Maitri Modi

Models: Mary Trantham & Stefano Beale

he Psychedelic Sixties broke societal norms in every conceivable way. From music to culture to fashion, previously set boundaries were challenged and crossed in all forms of media and social movements. With the fight for peace taken upon by the youth during the height of the Vietnam War and Martin Luther King Jr.’s powerful speeches for civil rights, the introduction of mind-expanding drugs was at the heart of it all. More profound changes occurred during this decade than perhaps any other in the 20th century.

The Fight For Equality

The movement for African American equal rights did not get its start until the 60s. Black and white youths set out across the nation to put an end to racial discrimination through interstate travel on buses. The Freedom Riders faced attacks and violence at the hands of those who supported segregation, leading to the injury and arrest of several Riders. However, their efforts successfully exposed the nature of segregation and inspired similar efforts to ensure an end to injustice across the United States. In 1963, 250,000 people set out to Washington, D.C. for Martin Luther King Jr.’s “I Have a Dream” speech. MLK’s acts of peaceful protest led Congress to pass meaningful laws regarding civil rights.

“Living is easy with eyes closed, misunderstanding all you see”

The feminist movement also gained traction in 1963 with Betty Friedan’s book “The Feminine Mystique.” It condemned what she called the domestic captivity of women. Women fought to break the mold of the 50s housewife and engaged in the idea of advocacy for women’s rights.

When Lyndon B. Johnson was sworn into office in 1964 after the assassination of John F. Kennedy, he enacted several plans such as the War On Poverty, ensuring jobs for 200,000 Americans, and the introduction of Medicare and Medicaid. This was a revolutionary decade for political reform, as these progressive ideas continued to infiltrate every other aspect of society.

The Drug Behind the Madness

Dr. Hofmann, a Swiss chemist discovered the drug Lysergic acid diethylamide (LSD). The great promise of LSD left behind the common way of doing things and replaced it with a cultural intoxication to return to the natural world. The anything-goes attitude led to a dramatic revolution of freedom, as many young people during this time refused to accept the long-standing traditions and historical values. College campuses became a breeding ground for political activism. The student body consisted of

the first working-class kids and minority groups to attend college. Instead of institutionalized religions, countercultural enthusiasts were drawn to Buddhism, Hinduism, and the Jesus Movement; the new culture welcomed the notions of peace, love, and unity. This all-encompassing Hippie movement contributed to great changes, as the youth challenged established authorities and advocated for social tolerance.

One of the most radical events of this decade was Woodstock in 1969. Woodstock was an opportunity for people to escape into music and spread a message of unity and peace. The entire crowd was a sea of rebellious tie-dye. Tie-dye, with its vibrant colors and swirl-like patterns, encompassed the idea of acid visions and forms of visual transportation that mindaltering drugs can offer, further emphasizing the psychedelic movement. Even more so, Woodstock was a hotspot for all forms of drugs and psychedelics. Opium, LSD, marijuana, cocaine, psychedelic mushrooms, and many more were present at the festival. With the heavy influence of psychedelic drugs, like LSD, the entirety of the 60s experienced a radical form of change. No longer were people blind to privilege, but rather opened their eyes to the truth and decided to put to rest traditions and the old ways of the world.

Rhythmic Hypnosis

It is no secret that the music from the 60s contains some of the most influential and groundbreaking messages and sounds. Bands such as The Beatles and The Rolling Stones, and individual artists such as Jimi Hendrix or Otis Redding, introduced the world to a new era of music. This music highlights the morphing societal culture, vastly differentiating itself from the previous decade. The music of the 60s was heavily influenced by blues, rhythm, and both garage and blues rock. Again, LSD played a role in this decade’s culture; it led to the creation of funky and hypnotic beats used to mimic the high feeling. Songs such as “White Rabbit,” by Jefferson Airplane, or albums such as Tune in, Turn on, Drop Out by Timothy Leary, reiterated the new drug infatuation. “Tune in, Turn On, Drop Out” became the phrase of the era, as it called people to drop out of consumerism and focus more on themselves in the search for internal control, freedom, and solutions.

There are many decades that altered American society, but nothing is as socially and politically transformative as that of the 1960s. What started off as a continuation of the conservative 50s, quickly became a decade known for seeking liberation and freedom for women, minorities, and the youth. The Beatles said it best, “Living is easy with eyes closed, misunderstanding all you see.” This controversial, mind altering, and drug-induced decade encouraged society to open its eyes, giving birth to the most radical social changes this country has ever seen.

Since its inception, horror cinema has been almost entirely dependent upon presenting viewers with facets of our world that we find to be objectively frightening. A shaded junction on an otherwise well-lit path, screams that echo off trees with no discernable origin, the reflection of your own contorted face on a dark mirror; you name it and a horror film has probably done it. This genre earns its name by capturing the darkest corners of the human psyche and crafting even our most hellish nightmares into something solid and perceptible. These nightmares, however, come with a contingency plan; a promise that when things get too scary, one can simply turn on the lights and turn off the terror. After all, none of it is real, right?

Jordan Peele crafts horror that can not be turned off.

His horror is constant and ever-present. It lives and breathes alongside the skeleton of our country, beating quietly like the muted sound of a steady heartbeat. Simply put, Jordan Peele’s horror is reality and everything that reality is.

Who Is Jordan Peele?

Jordan Peele is a 44-year-old director, producer, writer, and actor. In 2012 Peele founded his own production company, Monkeypaw Productions, and through it, developed projects like “Get Out,” “Us,” and “Nope.” These films, which are not only genuinely scary, are also widely known for their ability to blend traditional horror, satirical comedy, and social commentary into one terrifying package, solidifying Peele as a certifiable horror genius since 2017. His films also portray a fascinating examination of the interaction between horror and race, with “Get Out,” “Us,” and “Nope” all containing strong subtextual elements about racial injustice in contemporary society. Ultimately, what makes Peele’s films so unique is the way in which they blend the horrors of reality with those of our imagination. They do not produce a clear-cut villain or unmask one terrifying monster, but rather examine the human race in a mass sense, conveying that as a joint force, we are all the villian. We are all the monster.

“Get Out” and Scientific Racism

2017’s “Get Out” was the beginning of Peele’s celebrated directorial work. The film, which was also written by Peele, not only earned him the impressive initial score of 100% on Rotten Tomatoes, but also made him the first African American to win the Academy Award for Best Original Screenplay.

“Get Out,” in its simplest form, is an overt commentary on racism. Utilizing important elements of structural racism, tokenism, and white feminism, the film follows interracial couple Chris Williams (Daniel Kaluuya) and Rose Armitage (Allison Williams) as they visit Rose’s parents in Upstate New York. While Chris is already uneasy about the fact that Rose’s parents do not know he is Black, she constantly attempts to reassure him by presenting her parents as progressive figures that, “would have voted for Obama twice if they could.” Chris then continues to encounter a continuous microaggressions

“The scariest monster in the world is humans and what we are capable of, especially when we get together.”

-Jordan Peele

the constant sexualization of the Black body, until eventually learning that the Armitages are not your average racist suburban white family. They are instead, the masterminds behind a modern-day scientific slavery operation that transfers the brains of white people into the physically superior bodies of kidnapped Black people.

Interestingly, one of the most fascinating and crucial aspects of “Get Out” is that the Armitages do not appear to perceive themselves as racist. Despite taking part in what is essentially high-tech slavery, Peele portrays the family as a close equivalent to modern-day eugenicists, utilizing their characters to convey deeply rooted biological racism. Rather than the overt hate crimes and cruel language that is often associated with how society perceives the concept of racism, the Armitages display a more nuanced form of hatred, seeing themselves as helping Black citizens reach their full potential by combining Black physical advantages with white determination.

Another important part of understanding “Get Out” is understanding Peele’s symbolism of the deer or Black Buck. Deer are a recurring motif throughout the plot. Rose hits one in the road in the very beginning of the film, Dean Armitage makes comments about controlling the deer population, and the family has a taxidermy buck in the room in which Chris is imprisoned. So, why is this? The deer symbolism in this film plays with the idea of the Black Buck — a controlling image for Black men that portrays them as dangerous, hypersexual, and aggressive. Since the Armitage’s entire belief system revolves around the idea that Black men are nothing but virile bodies whose sole purpose is to act as a vessel for white intelligence, the deer seen throughout the film are symbols of those men, as well as the scientific and cultural racism that binds them in the Armitage’s sadistic experimentation.

“Us” and Contorted Americana

“Us” is the second notch in Peele’s directorial belt. Perhaps the most intricate and thematically complex of Peele’s works to date, “Us” is not a film that could ever be described as an easy watch. It may take the viewer a couple watches and several internet deep-dives to fully grasp the symbolic density of this movie, and even then there are probably a multitude of things that one may have missed.

“Us,” at its fantastically convoluted core, is a film about the extreme duality and divide that exists within the United States. Exploring themes like class inequality, political finger-pointing, and even religion, “Us” is a stunning social commentary about the us vs. them attitude that our country

has adopted, as well as how it manifests itself in practically every aspect of American pop culture.

The film, which flashes back and forth between 1986 and the present, follows the Wilson family on a vacation to Santa Cruz, California. Adelaide Wilson, played by Lupita Nyong’o, is portrayed as uneasy with this destination choice, as the 1986 flashbacks indicate that she experienced some kind of traumatic experience on the Santa Cruz boardwalk while visiting with her family back in the ‘80s. The present however offers its own share of ambiguous horrors, with the family experiencing a slew of odd coincidences and then eventually The Tethered — a terrifying family of doppelgängers that parallel the Wilsons in every aspect besides behavior and dress. Played out like a twisted homeinvasion horror, the Wilsons enter into a bizarre combat with their doubles, fighting not only for their lives, but also to understand what exactly the tethered are and what they want.

While trying to fully digest and explain all of the symbolic meaning in “Us” is a near-impossible task, the film explores duality through the experiences of the Wilsons and their tethered twins. Ultimately, the Tethered are not only a metaphorical representation of ourselves as our own worst enemy, but also reflect an American divide in terms of privilege, resources, and opportunity.

“We are our own worst enemy, not just as individuals but more importantly as a group, as a family, as a society, as a country, as a world,” Peele said in an interview with The Guardian about the film. “We are afraid of the shadowy, mysterious ‘other’ that’s gonna come and kill us and take our jobs and do whatever, but what we’re really afraid of is the thing we’re suppressing: our sin, our guilt, our contribution to our own demise … No one’s taking responsibility for where we’re at.”

“Us” as a commentary on America itself truly begins to reveal itself when Gabe Wilson (Winston Duke) asks the Tethered what they are, and Adelaide’s doppelgänger bluntly replies, “We’re Americans.” Upon further inspection of this concept, it also becomes clear that Us doubles as U.S., essentially portraying the entire film through the lens of our country as a divided landscape. It is later revealed that the Tethered exist in a type of warped, underground America, living the same lives as those above them, but in a way that is contorted and dark, like someone took the country and stripped it back to its shadowy skeleton. Privilege and opportunity make themselves apparent as key themes in the final eerie shot of the film, where it is ambiguously

insinuated that the Adelaide Wilson followed throughout the entire film is actually one of the Tethered who switched with the real Adelaide when she visited back in 1986. Ultimately, she could’ve lived an entirely different life, one of love and light and opportunity, but instead she was cast into the dark as a deviant, partially formed version of a human.

Nope and the Art of Spectacle

“Nope” is Peele’s most recent project. Straying away from the more traditional horror tropes of “Get Out” and “Us”, this film toys with the sci-fi genre, presenting its monster as a giant alien-type creature. While grossing and scoring slightly less than Peele’s previous films in terms of audience and critical reception, “Nope” definitely does not lack in the department of dense symbolism or explosive deeper meanings, taking audience members down a bizarre rabbit hole of spectacle, exploitation, and extraterrestrial activity.

“Nope” stars actress Keke Palmer and “Get Out” actor Daniel Kaluuya as Emerald and OJ Haywood, a brother and sister who have recently taken over the family ranch after the odd and sudden death of their father. After witnessing what appears to be a UFO in the skies above the ranch, Emerald, OJ, and tech store employee Angel Torres become obsessed with capturing the Oprah shot, or the image of this ship that will bring them fame and fortune. It is quickly revealed that this UFO is not an alien spaceship at all, but an alien itself — nicknamed Jean Jacket by OJ — that is hovering above the ranch and “eating” both animals and people. This plotline is spliced with that of Ricky “Jupe” Park and Gordy the chimp, stars of the ‘90s sitcom Gordy’s Home which was discontinued after Gordy viciously attacked the actors on set.

While not as clear-cut or packed with obvious social commentary as “Get Out” or “Us”, “Nope” is very much still a criticism of modern society, with Jean Jacket and Gordy reflecting the disastrous consequences of humans attempting to utilize nature for their own profit. Spectacle, which is seen both in the initial awe of Gordy and Jean Jacket as well as in the tragic results of their retaliation, is the predominant theme of the film, manifesting itself in the various symbols that Peele produces. “Nope” also is greatly intertwined with Hollywood and the entertainment industry, with OJ and Emerald being related to the unknown Black jockey who rode a horse in the first-ever motion picture. Eadweard Muybridge, the photographer responsible for these images lives in history and is memorialized by history while the unnamed jockey remains just that: unnamed. Jean Jacket and Gordy also play into the Hollywood plotline as symbols of the monster that is fame and what happens when you attempt to tame it.

Unfortunately, the frightening familiarity and pure depravity of Peele’s modern nightmares are not elements of life that will be a thing of fiction anytime soon. They are deeply rooted within our country’s history and society itself, remaining hidden behind closed doors, whispered conversations, and the darkest parts of ourselves that we mask with proprietary and polite conversation.

SO, NEXT TIME YOU’RE CRAVING A GOOD SCARE, PERHAPS LOOK OUT THE WINDOW.

Just a couple of digits is all it takes for philosophers, Renaissance artists, mathematicians, architects, and state-of-the-art cosmetic surgeons to obtain perfection. The idea of a Golden Ratio has captured the attention of humans for centuries. With an infinite number of proceeding digits, the ratio society has conjured up is defined by the irrational number 1.61803339. If you were to draw a line and cut it into two, the length of the larger piece divided by the smaller piece should be equal to the length of the whole line divided by the length of the larger piece. This proportion, 1:1.61803339, deemed aesthetically pleasing to the eye, is also referred to as the golden proportion or the divine proportion, denoted by the Greek letter . While it may appear to be a pile of arbitrary numbers, phi consistently makes a bold debut in science, nature, and aesthetics.

This alluring concept sprung roots dating back circa 300 B.C.E in ancient Greece. Mathematicians, like Pythagoras and Euclid, observed occurrences of this ratio in the natural world. Namely, if one were to inspect the spiral formation of a nautilus shell, one may find that many shells develop a spiral with proportions near the phi golden proportion.

Some could argue that the praised phi ratio is a necessity for the existence of life. From tree leaves to pine cone seeds to a beguiling sunflower field; this mystical number can be encountered everywhere. In order for the most ideal distribution of seeds, sunflower spirals shape into a proportion that approaches phi. Furthermore, this reoccurring ratio makes a presence within our human anatomy. The British Medical Journal conducted a study that proves individuals with a heart rate (diastolic pressure: systolic pressure) similar to the divine proportion are less susceptible to developing heart conditions. Diving into the most unique unit of human life, our DNA, its structure contains a double helix. Its structure is a double helical structure, a two-sided spiral

that wraps long and comes close to perfection. around itself, measures 21 angstroms wide by 34 angstroms long and comes close to perfection.

In addition, this holy grail measurement can extend to crafting the most harmoniously balanced face. Facial aesthetics are often associated with balance and ideal proportions. In an effort to map the most flawless face possible, German psychologist and mathematician, Gustav Fechner, crafted a set of guidelines to build a perfect complexion. The length of the face would be nearly 1.618 times longer than its width with the volume of the lower lip being nearly 1.618 times larger than the upper lip. The list of ideal facial proportions is endless, however, this is merely a glimpse of what is considered ethereal beauty. Can this single rigid number truly encompass perfection? Many criticize the golden guidelines of beauty as it does not take into account the dynamism of trends and standards for “beauty.”

Ancient Greece hailed unibrows, Ancient China praised porcelain-like fair skin, and the 1920s flapper girls of the United States sported ruby red lips and finger-wave updos. Conversely, the 2000s favor foxy upturned eyes and chiseled cheekbones. Needless to say, beauty has and always will continue to evolve and it cannot, nor should, be restricted to one definition. According to the golden ratio, Bella Hadid and Amber Heard are the only individuals to bear a pretty complexion; however, this fails to include the iconic figures Beyonce, Sofia Vergara, or Jennie Kim.

The divine proportion has staked itself as a meaningful value for its aesthetic prominence in nature, but is it possible to cater to all trends – why should we use a number to define beauty? It can be fascinating to ponder over an equation that could lead to this form of otherworldly, celestial perfection and there is no denying its presence in Mother Nature. As for the human form, there is no boundary of what is deemed beautiful.

Writer: Hannah Toy

Photography: Lindsey Lopez

Design: Lynn Nie

Models: Ra’Maia Espinal & Lance Gomez

disney, &

Salvador

Dalí is one of the most celebrated artists of all time due to his contributions to the surrealist movement and exploration of subconscious imagery. Dalí’s exposure to the world of Surrealism in his 20s sparked his discovery of Sigmund Freud’s writings regarding subconscious imagery. He affiliated himself with surrealist artists that wanted to find the greater reality as described by Freud. In order to accomplish this, Dalí would induce hallucinatory states in himself by a process called paranoiac-critical. This method allowed for the rapid maturation of his painting style. Dalí would often depict a dreamworld in his pieces, with objects juxtaposed, deformed, or transformed in an irrational manner. He portrayed his depictions with oversaturated colors and hyperrealism by utilizing crisp details with an illusion of three-dimensionality to emphasize the dream-like quality of his work. Dalí’s fame and influence led him to travel around the world for exhibitions and shows. In 1944, while in America, Dalí was invited to a dinner party at the home of Jack Warner of Warner Bros, and it was this fateful night that led two of the most iconic 20th-century artists to develop a lifelong friendship.

DESTINED FOR SUCCESS 29

The first meeting between Salvador Dalí and Walt Disney is treated somewhat like a legend as there are no pictures of the two’s first encounter. Instead, the story lives on as a word-ofmouth-history passed down and affirmed by the recollection of John Hench, Dalí’s primary collaborator at Disney Studios. As a result, most of the information we have about this meeting and their collaboration comes from an interview with David Bossert, an artist and filmmaker, who has worked at Walt Disney Studios for over thirty years. Allegedly, while at the Jack Warner dinner party, the two hit it off right away; Dalí just happened to be a fan of Disney’s work saying he was the Great American Surrealist and Disney grew a great interest in surrealism while working on “Fantasia.” The two had a mutual appreciation for each other and their work, therefore they decided to collaborate on an animated short. Both wanted to create an experience that would bring people out of their daily lives and into what they considered a better and more imaginative world, thus “Destino” was conceptualized.

Writer: Lauren Carmona

Photographer: Lisa Nguyen

Design: Morgan Tran

Models: Aubrey Matson, Enrique Estrada & Mattison Gonzales

THE PERSISTENCE OF DESTINO

“Destino” tells the story of Chronos, the god that personifies time, and his ill-fated romance with a mortal woman. Dalí described the short as “a magical exposition of the problem of life in the labyrinth of time,” while Disney simply said it was “just a story of a girl in search of her real love.” While the length of the film is short, sitting at six-and-a-half minutes, the animation has no problem with getting its story across. The mortal woman Dahlia floats across surrealist landscapes of Dalí’s paintings wandering the vast landscape as Chronos tries to break from his bonds to pursue Dahlia. Dahlia transforms into a range of various shapes in an effort to find a form that coincides with Chronos’s immortality. The two continue to shift and move in surreal ways before they finally become one. Dalí and Disney began work on the short film in 1946, creating 22 paintings and more than 135 storyboards, drawings, and sketches. After this, the studio illustrated around 20 seconds of original animation based on these ideas. However, “Destino” was quickly tabled due to financial pressure from World War II and the studio’s prior commitments. “Destino” remained in the Disney vault for decades and sadly neither Walt Disney nor Salvador Dalí was alive to see their creation come to fruition. Nevertheless, in 1999 Roy E. Disney, Walt Disney’s nephew, found the shelved animation and decided to finish the film while completing production on “Fantasia 2000.” The studio knew if they were going to pick up this project again they had to do it right. They wanted to make “Destino” as authentic to its original art as possible, so when work resumed, the studio brought back John Hench, who worked at Disney for sixty-five years and is considered one of the studio’s most gifted artists. Hench returned at 90 years old and produced so much artwork that he was eventually listed as a co-author alongside Dalí. After five decades since its conception, “Destino” was finally released in 2003.

DESTINO’S HAPPILY EVER AFTER

The short became a breathtaking tribute to the lifelong friendship and collaboration between Dalí and Disney. These two artists were quintessential to shaping the art world in their respective fields and the collaboration will remain in art history forever.

HOW BLACK MIRROR IS UNFOLDING THE FUTURE

A lot has happened since “Black Mirror” appeared on Netflix in 2016. Created by Charlie Brooker, the science fiction series was made to explore the flaws of technology utilizing Murphy’s Law, which states anything that can go wrong will go wrong. Through the examination of modern society with evolving technology, the show represents the wedge growing between humans due to technological advancements. Each episode of the show is a stand-alone story that offers a different perspective on how technology could impact mankind in the future. Brooker is the Edgar Allen Poe of the digital age as he seems to have a knack for predicting societal fallouts due to the unfortunate combination of humanity’s flaws with technological tragedy. These dangers appear to be just around the corner or, as he describes, “visions of the future five minutes from now.” Few TV series have managed to blend social satire, political commentary, and moral tragedy so seamlessly and effectively. The purpose of technology is to help us, connect us, and create a more efficient life for everyone. Technology is a tool after all, meaning that it can be used for good or for bad, and “Black Mirror” explores the latter. This series embodies Murphy’s Law by showcasing the possibilities of what could go wrong since technology can very well go wrong.

The first few seasons of this series were about a future we could see rapidly becoming a reality from rating systems to artificial intelligence technologies. But, the last couple of seasons explores a future totally unexplored, with the main problem being the most unpredictable factor in our world: humans. As Brooker explained in The Guardian, “ If technology is a drug – and it does feel like a drug – then what, precisely, are the side effects? This area –between delight and discomfort – is where “Black Mirror” is set. The ‘black mirror’ of the title is the one you’ll find on every wall, on every desk, in the palm of every hand: the cold, shiny screen of a TV, a monitor, a smartphone. 32

“

Just as season three was released, China’s Communist Party proposed the implementation of a grading system and denied basic privileges to those who fall short of the score. The ambition is to collect every scrap of information available online about China’s citizens and then assign each of them a score based on their political, social, and 33 legal credit. This is strikingly similar to episode one of season three, “Nosedive,” where everyone is ranked, and the ranking determines your reputation, what restaurants you can attend, and how you essentially live your life. While “Black Mirror” has some frightening episodes, as the concepts can seem too mindblowing to wrap our heads around, there are some situations and themes presented in 2016 that are appallingly becoming reality.

Brooker claims the show is not produced with the intent of being anti-technology. Rather, “Black Mirror” is satire, demonstrating the pitfalls we risk as our society progressively becomes more dependent on technology. The fourth season of the show presents another raft of believably near-future technology: parenting surveillance systems, memory recall, recording machines, highly advanced dating apps, inescapable virtual realities, and cloud consciousness. The third episode, “Hang The DJ’’ explores the question of what dating apps will look like in the future. Would you leave your love life up to algorithms and coding if the system had a 99.99% chance of finding your soulmate? Dating apps are becoming more and more popular, especially after the pandemic, as we try to recreate the serendipitous encounter of meeting someone authentically by a dopamine-rush-induced swipe right.

Since we are so dependent on technology in the modern era, shows and even books are developing new ways to demonstrate our trust in computers to decide our futures for us. The concept of this episode from “Black Mirror” may sound similar to “The Soulmate Equation,” a popular book by Christina Lauren. In this novel, a matchmaking company suggests their DNA compatibility technology can match you with your soulmate based solely on biology. There is nothing wrong with wanting to meet people by whatever means possible including from apps and websites; however, with technology rapidly evolving, our blind trust in the system is becoming increasingly troublesome. From “Black Mirror” to trending novels, it seems that we as a society want to leave the fate of our lives into the hands of 0s and 1s. This begs the inevitable question – should we be concerned with technology destroying modern society as we know it?

From electric cars to inhabiting Mars, Elon Musk has built his career on technology. And yet, he calls artificial intelligence (AI) our “biggest existential threat.” He reiterates these fears in multiple interviews saying, “As AI gets probably much smarter than humans, the relative intelligence ratio is probably similar to that between a person and a cat, maybe bigger.” One of the recurring themes in “Black Mirror” is the idea that AI technology can become too uncontrollable and too powerful for humans to control. In the episode “Metalhead,” autonomous robots become self-aware and begin hunting humans. In “Be Right Back,” a grieving widow uses AI technology to recreate her deceased partner, but the virtual copy becomes increasingly uncontrollable and ultimately leads to tragedy. Similar to how Brooker showcases in “Black Mirror,” Musk agrees that

Musk’s concerns are not just an out-of-character technological pessimism, but rather an optimism that if we can get ahead of the technology and control it, then we can make something great out of what we would be able to accomplish.

we are fast approaching digital super-intelligence that far transcends any human. “ “

The dangers of technology portrayed in “Black Mirror” are not just fictional situations depicted on the screen. While technology has the potential to revolutionize society and improve people’s lives, it also has the potential to become a means for oppression and control from the very object we seem to have glued to our hands. “Black Mirror” serves as a reminder that the future is not predetermined and that the decisions we make today will shape the course of our technological evolution. Although tracking, algorithms, and surveillance seem inevitable, we can learn from Charlie Brooker and Elon Musk about how to enjoy the benefits of technology without letting the potential dangers of artificial intelligence consume us and take away what it really means to be human.

WRITER: MCKENNA MADIS

PHOTOGRAPHER: GRACE WENG

DESIGNER: JADE SUNG MODEL: ALEXIS ARCE

As humans, we are all reflections of the various forms of mass media consumed across our entire lifetime. We are a cut-and-paste collage of culture, a patchwork of past interests, a twisted entanglement of body and mind merely trying to distinguish itself from the next person over. We may wish to establish a distinct personal identity, often rooting ourselves in what kind of music we listen to, what movies we watch, or how we dress. Once an identity is established, we will fight tooth and nail to maintain it; after all, who wants to lose their sense of self?

In contemporary society, the quest for internal and external congruence has led many people into the open arms of a carefully curated, pre-existing identity called an aesthetic. While the term is rooted in both art and philosophical-related scholarship, it has come to mean something beautiful and ideal, a guide for an artistic image. It has also become highly associated with the concept of personal identity, acting as a rubric for how we want to be perceived by others. Our clothes, music, and room decor practically reflect every aspect of one’s identity, and this can now be connected to a pre-established persona, leading many young people to take the idea of their aesthetic very seriously. Therefore, where does our authentic self start and our aesthetic end? Or, more importantly, do we truly have an authentic self at all?

One of the most crucial parts of understanding aesthetics is recognizing that they, in a way, exist as two entities: the internal and the external. The external aspects of one’s aesthetic exist in a more visual sense, including entities like clothes, color pallets, pinterest boards, Instagram feeds, or any other digital display of a particular image. They are a bit less dense and slightly more surface level, taking on the aesthetic as something predominantly perceptible. Do you wear cream colored clothes and dainty gold jewelry paired with Ultra Mini Ugg Boots? This makes you a Vanilla Girl.”Or, maybe you opt for long linen pants, muted pastels, and any brand of expensive sandals. This makes you a Coastal Grandma. These aesthetics are diffused and perpetuated predominantly by social media platforms, and TikTok plays a pivotal role in the rate at which they are adopted by consumers. They are also both fluid and ever-changing, meaning one “in” aesthetic can burn out just as quickly as it was born.

Another fascinating aspect of this contemporary phenomenon is the way aesthetics can shatter individuality for those initially attempting to achieve distinction. This comes from the way in which social media and online sites have standardized these images, consolidating them into something that more closely resembles a checklist than an expression of unique or fun fashion. For example, when searching this or that aesthetic online, we are often met with various beauty articles offering aid in how to achieve a specific look. Want to fit the coquette aesthetic? The baddie aesthetic? Perhaps one of the hundreds of core aesthetics is more your style. Balletcore, cottagecore, dreamcore, fairycore … it all begins to feel not only overdone but incredibly mundane, especially considering that these sites not only tell you how to look, but also how to act and even

The second way aesthetics can be analyzed is through the lens of internal elements. These deal more with the media we consume and how it is adopted into both our identity and personal brand, essentially making films, art, and books a part of our personality. Internal elements, while directly correlating with the visuality of aesthetics, are a bit more difficult to distinguish as they are bidirectional. Basically –do you fit a certain aesthetic because you like a certain singer? Or, do you begin listening to that singer because you want to fit the aesthetic that they are often associated with? An example of this is the sad indie girl aesthetic that has exploded in recent years, most likely as a result of TikTok trends. This aesthetic is one characterized by Phoebe Bridgers songs and Ottessa Moshfegh novels. Do you love Sylvia Plath’s “The Bell Jar?” Listen to Mitski and Lana Del Rey? Are you more of an Augustine or a Betty in Taylor Swift’s Folklore love-triangle? Well, then this sad indie girl aesthetic must be you… right? This also applies to the more solidified concepts of the previously mentioned aesthetics. For example, if you want to fit the dark academia aesthetic, better prepare not only to rock plaid and dark turtlenecks, but also to make “Dead Poets Society,” Donna Tartt, and any kind of canonical literature your entire personality for the foreseeable future.

Now, this is where the fascinating bidirectionality of it all starts to come into play. In order to claim one of these aesthetics as your own, you must interact with, or at least appear to interact with, the types of media that it is connected with. For example, if you are claiming the previously mentioned sad indie girl persona as your own, it is implied that you listen to Phoebe Bridgers. It is implied that you tear up over Sylvia Plath poetry. It is implied that The “Virgin Suicides” is one of your favorite movies. None of this, however, has to be true — at least not initially. Ironically, whether or not you actually like or have liked any of these things is beside the point. Fitting an aesthetic, at its core, is about performativity, and wanting to be perceived as the type of person that would like something, not necessarily about being someone that actually does. Now, it is completely plausible that one fits an aesthetic because they actually do enjoy the media and overall image that it entails. However, the question is, did they already like the majority of the media related to said aesthetic before they decided to adopt it? Or, did they slowly embrace various forms of music, literature, and film perceived to be connected with the chosen aesthetic in an attempt to solidify this identity? It is a rather convoluted version of what came first, the chicken or the egg, effectively portraying humans as consumers that not only curate their identities, but also commodify them. This topic is one that is beautifully addressed by writer Rayne FisherQuann in her original piece, “Standing On The Shoulders of Complex Female Characters.”

“One girl on your tiktok feed might be a self-described joan didion/ eve babitz/marlboro reds/straight-cut levis/fleabag girl (this means she has depression). Another will call herself a babydoll dress/ sylvia plath/red scare/miu miu/lana del rey girl (eating disorder), or a green juice/claw clip/emma chamberlain/yoga mat/podcast girl (different eating disorder). The aesthetics of consumption have, in turn, become a conduit to make the self more easily consumable: your existence as a Type of Girl has almost nothing to do with whether you actually read joan didion or wear miu miu, and everything to do with whether you want to be seen as the type of person who would.”

Writers: Emma Ehle & Lianna Davids

Photographer: Maha Afzal

Design: Maddie Case

Model: Emily Hansen & Katherine Kristofel

-Rayne Fisher - Quann

Photography : Kylie Dunlap

Models: Emma Ehle & Peyton Turpin

WRITER: Catherine White

PHOTOGRAPHER: Nikki Hinojosa

DESIGN: Izzy Davis

MODELS: Kenley Becker & Meghan Reed

Bedroom culture is a concept where girls can be within the privacy of their own area whilst being able to express their true emotions without the threat of judgment. The private space of a girl’s bedroom, much like her mind, can offer an onlooker a personal view of the female experience. Looking at a Petra Collins photograph feels as if you are entering this liminal space. It evokes the swirling emotions of adolescence: the confusion of a budding sexuality, the horror of being looked at but not perceived, and the ever-present threat of womanhood. It’s an intimate experience but one she shamelessly celebrates. She is not merely a photographer for hire, but rather a coveted auteur in her own right. But what is it about Petra Collins that makes everything she touches turn to gold? It could be the moody, dream-like atmosphere she effortlessly captures, an impression heightened by her exclusive usage of 35mm film. Perhaps, though, it is her ability to encapsulate the interiority of adolescence with sincerity and a refreshing shrewdness rarely seen in depictions of girlhood. Nonetheless, Collins has created a visual grammar that is both personal and universal, seamlessly blending fantasy with the naked truth of the female experience.

THE EARLY DAYS

The art world has always been a boys’ club with the notion of femininity being determined by the likes of men, but the muses themselves rarely have agency in the portrayal of their own identities. The male gaze governs art. As a product of the ‘90s, Petra Collins was raised during a time awash in confusion about femininity; there was no right way to be a girl, only different ways to fail. Growing up in this wildly sexualized era, she regarded the female body as only a tool: “You are the thing that is sex, but you are not allowed to want it,” she told Dazed Magazine. The female body was, and continues to be, ubiquitously controlled by the media, as evidenced by the world of disconnected male-centric images. The Toronto native became aware of this issue while in high school, where she was exclusively taught about photography’s forefathers.

Dissatisfied with the lack of female agency in contemporary art, 15-year-old Petra Collins began photographing scenes from her own life, using her younger sister and friends as subjects. The resulting images were tender, yet raw as she was able to capture the essence of girlhood through images of abandoned bras, pink bathrooms, and melancholic bedrooms. The shoot, which took place without a production team, marked the beginning of her rise to fame. Collins continued to explore the female experience without objectification and was heavily influenced by the work of Ryan McKinley, a photographer known for his snap-shot scenes of sex and sybaritic youth. She gained notoriety on Tumblr before later publishing her work in Tavi Gevinson’s Rookie Magazine and launching her own online artistic collective, “The Ardorous,” in 2010.

Collins’ rise to fame coincided with the popularization of postmodern feminism, as discourse surrounding the male gaze became more widespread. This concept of the male gaze persists, battling to represent female subjects as diegetic storytellers rather than a scopophilic spectacle. And who better suited to interpret the true female experience than a woman herself?

WOMAN OF THE HOUR

Petra Collins’ curated aesthetic of pastel-hued portraits and an unconventional approach to photography set the tone for a certain kind of introspective, dreamy, but never-concealing female gaze. She knows how to catch an essence, thanks in part to her unique tools for shoots: amateur models culled from Instagram, Ziploc bags for visual effects, and, most importantly, a specially curated Spotify playlist. She creates the mise en scene of an impromptu sleepover photoshoot, instructing the models to just be themselves. Collins’ first body of work embodies this theme of raw femininity by exploring the complex intersection between adolescence and life online. In an age where the female body is hypermediated by social media, “Discharge” offers an awkward experience of girlhood. The images are snapshots of moody, inward moments that hint at a larger narrative. This book was published in conjunction with Petra’s first solo exhibition in New York, of the same name.

Later that year, Collins released “The Teenage Gaze,” a series of images collected from 2008 to 2015, including those taken when she was 15-years-old. She managed to capture the sheer longing of teenage years, the sense of waiting associated with adolescence: waiting for your friends to get ready, waiting to drive, even waiting for someone to like you. From smoking to gossiping and roaming the halls of school, the scenes are quite powerful. It is intimate but surreal, and nostalgic yet somehow still feels young. Collins would go on to produce dozens of original art, including a strange experiment in self-portraiture, “Miért vagy te, ha lehetsz én is”, and her personal take on the performative femininity of fashion editorials in “OMG, I’m Being Killed.”

In recent years, she has become a household name due to her involvement with Olivia Rodrigo’s “Good 4 U” music video, as well as her work in commercial and editorial shoots, photographing for Interview, Vogue, and Gucci. It is her early work, however, that established the standard for contemporary photography and has been essential to the dialogue of the spectrum of female beauty. She embodies what it means to be a girl in our everchanging, hyper-connected world while remaining deep in her own style.

IMPACT OF AESTHETIC

In a culture where we document everything, why are people still so offended by the messy experience of being a human? Women are taught that their values come from being likable, desirable, and digestible: a “fact” that Collins strongly detests in her work. She has inspired a generation of girls to believe that their worth is not contingent on their appearance and how palpable they are to others. Petra Collins’ art continues to establish a unique and much-needed stylistic tone, confirming her place within the feminist lineage.

THE PHILOSOPHY OF “EVERYTHING, EVERYWHERE, ALL AT ONCE”

TRIGGER WARNING: SUICIDE AND SUICIDAL IDEATION

WRITER: NATHAN BROOKS

PHOTOGRAPHER: KRYSTAL PHAM

DESIGNER: JADE SUNG

MODEL: LINH TRAN

Joy Wang is the college-aged, queer daughter of Evelyn and Waymond Wang. Joy Wang is also Jobu Tupaki, the interdimensional entity and main antagonist of “Everything, Everywhere, All at Once,” and her psychological arc is one of vast importance to modern society, no matter how seemingly unreachable her predicament within the film may be.

Jobu Tupaki is Joy Wang, but a version of Joy Wang from a different universe. Jobu is from a universe known in the film as the Alphaverse, as it is the first universe to develop the technology to travel between different universes. In the Alphaverse, she was extensively experimented on in what would amount to torture in order to study the effects of repeated verse-jumping on the human mind. Instead of the death that was expected of her, Jobu’s mind broke, and her consciousness became scattered throughout every universe. As a result of this, she was able to inhabit every version of herself, in every universe, amounting to an infinite amount of experiences at any given moment in time.

In this, Jobu Tupaki became a part of Joy Wang, just as she became a part of all infinitely-many versions of herself. She drifted through endless worlds in which every possible combination of existences dwelled, living through everything, always. Her choices no longer mattered, for every choice had already been made. No decision yielded any significance, as there were always infinitely more universes to inhabit in which every other possible decision was made. There was no more reason to continue. Everything had already been done. Everything had already been seen. The vastness of every possible universe had been unraveled in front of her, and in being given everything, she had nothing.

The story of Jobu mirrors the beliefs developed by Hegesias of Cyrene, or the philosophy of existential nihilism. Like many philosophers of his day, Hegesias believed that the central purpose of life was to seek pleasure; however, he came to his own conclusion that true pleasure simply did not exist. He believed that it was impossible to be completely happy, and that nothing in existence is objectively pleasant or good. With this he deemed all action as indifferent, as none can be expected to yield any happiness in return, and all life as ultimately no more desirable than death. He is known to this day as Hegesias the Death Persuader, as his philosophical writings were seen as so inescapably depressing that many who read his works were said to have committed suicide as a direct result. His most famous book, “Death by Starvation,” was not only banned from being taught, but resulted in Hegesias himself being banned from teaching in many places just for having written it. The book has been lost to time, as have many of his teachings.

Jobu Tupaki is one of the most fulfilling representations of a modern existential nihilist. As a result of her undeniably existential predicament, there was no more happiness to be had, no more pleasure to seek, as every action held no longer any novelty, but was just a statistical inevitability. She saw death, as did Hegesias, as an equal if not preferable alternative to life, and for this, she planned to destroy herself. She constructed what amounted to a black hole, in the form of an everything bagel that truly had everything on it. “All of my hopes and dreams. My old report cards. Every breed of dog.” Her plan was simple: Allow herself to be sucked into the bagel. End everything.

In the film, Evelyn is recruited to help stop Jobu, and she decides to do so by subjecting herself to the same experimentation that created Jobu, under the pretense that if she could somehow become like Jobu, she could stop her. However, when her own mind “breaks,” she quickly falls down the same path as her daughter. It is only through the power of her husband, Waymond, who, while unaware of the magnitude of the conflict at play, faces existential nihilism head-on.

The philosophical conclusions created through existential nihilism are indisputable. That is why they can seem so overwhelming at times. There is no logical answer to the idea that life has no meaning. It is an unfalsifiable stance. The only way to move forward is to accept this. To live meaningfully in a meaningless life is, by definition, absurd. There lies a discrepancy between the understanding that there is no value to life and the ability of oneself to live it as if every moment is infinitely valuable, and that is, by definition, absurd. To somehow bridge that gap, and live comfortably in such a state of existence, is by definition, absurd.

Absurdism is a philosophical belief system first developed by Albert Camus. The belief is outlined by the fundamental acceptance of the meaningless of reality, and the conscious decision to rebel against that fact, by living enthusiastically in spite of it. As Alexander McKechnie put it, absurdism is to “party at the end of meaning”. It is accepting that life is absolutely, positively, absurd, and that any attempts to live meaningfully are ridiculous, but to accept that one has to be ridiculous to live at all, and so to be as ridiculous as possible. To accept the meaninglessness of life is to grant oneself infinite freedom, to allow oneself to live life to the fullest in spite of all that may come. To look into the abyss with a smile. To be absurd is to want, to hope, to dream, despite knowing what lies at the end of every journey. To be absurd is to fight against all external factors, by simply continuing to live.

Near the end of the film, Waymond, in a universe in which Evelyn left him, never moved with him to America, and never raised a child with him, tells her,

“When I choose to see the good side of things, I’m not being naive. It is strategic and necessary. It’s how I’ve learned to survive through everything. This is how I fight.”

And in this, Evelyn learned the truth, a truth that leads to the resolution of the film as a whole. That our choices may not matter, that we may never know why we’re here, that the universe is strange, and harsh, and uncaring, but that we should only live more intensely because of it. That we should fight everyday by seeing the good side of everything, and enjoying life in spite of it all. That everyone we love may just be a random assortment of atoms, but we’ll love them even harder anyways. That is to be absurd.

OF TA UNREALI

SCHAIPARELLI’S SURREALIST REVOLUTION ON THE RUNWAY

Allow me to begin with an explanation: I am not a gold person by any means. I almost find it to be a kind of defining aesthetic that is understood when looking at someone: they are either a gold person or a silver person. What I mean is what metal someone is drawn to when they choose their jewelry, or what compliments them when they wear it. Obviously, it’s all subjective: of course no one is defined to an aesthetic or box they must remain within. However, I have always been defiantly a silver person; almost all of my jewelry is silver and I will not mix metals. Despite the long endured and deeply rooted tradition of ordering an Aggie ring in gold, I chose silver not to be pretentious and above it all, but because I knew it would rarely find my finger in gold.

Despite all of this, my ongoing tense relationship with gold, when I look at the haute couture collections of Schiaparelli, I with no hesitation become a gold person.

For Maison Schiaparelli, gold is simply the tip of the iceberg. First launching knitwear in 1927 and fragrance in 1929, Elsa Schiaparelli began what would become an iconic fashion house. However, it was evident even from Schiaparelli’s first designs that Elsa had a surrealist itch to be scratched: from her original sweaters that gave the illusion of shirt detailing to her first collaboration in 1931 with the creation of the aspirin necklace. The construction of a necklace that was linked together by beads that resembled pain reliever tablets was only the beginning of Elsa’s journey of joining together fashion and surrealism.

It did not take long for the designer to gain recognition: it was evident the public had been waiting for someone to blend art and fashion in such a way. In 1934, Schiaparelli became the first female designer to grace the cover of Time Magazine. Just the next year in 1935, Schiaparelli would collaborate with Salvador Dalí, the first of many between the two. Schiaparelli was known to be influenced by many artists in the surrealist space and said that it released her, “From

the boring reality of merely making a dress to sell.” Schiaparelli and Dalí would go on to make everything from the likes of a lobster-printed gown to a ruby-encrusted “mouth brooch” with pearls for teeth.

Amongst her work, Schiaparelli was known for her fragrances accompanied by unique and wacky bottles; one may recognize spring/summer haute couture collection. Additionally, Schiaparelli was known for

notably including hand-sculpted animal heads which adorned themselves on multiple gowns. Perhaps one remembers Kylie Jenner waltzing into the show in one of these: one that was embellished with a lion’s head larger than Jenner’s own. Despite the boldness of the collection, Roseberry said that his inspiration came from self doubt: specifically the doubt one experiences when creating art.

the late designer left; who was capable of bringing modernity to the surrealism that lived so vibrantly almost a century prior?

After a few collections under two creative directors, in 2019 Schiaparelli would bring on Texas-born Daniel Roseberry who spent a decade designing at Thom Browne. Since then, Roseberry has evoked the wonder of the fashion world and given insight into the beauty that surrealism can evoke.

The question was, how would Roseberry translate Schiaparelli’s heritage into a modern context? After such a hiatus, Elsa left big shoes to fill. How would Roseberry establish his own take on house motifs that came into existence so long ago? Roseberry’s recent spring/summer 2023 couture collection quickly gained virality for its’ bold elements,

On taking inspiration from Dante’s “Inferno,” Roseberry wrote, “it was how perfect a metaphor it provided for the torment that every artist or creative person experiences when we sit before the screen or the sketchpad or the dress form, when we have that moment in which we’re shaken by what we don’t know. When I’m stuck, I often take some comfort in thinking of Elsa Schiaparelli: the codes she created, the risks she took, are now the stuff of history and legend, and yet she too must have been uncertain, even scared, when she was inventing them.”

Roseberry quickly proved Schiaparelli’s couture capabilities, creating garments of meticulous and extraordinary craftsmanship that have rapidly spun the heads of the public. Schiaparelli showed its spring/ summer 2022 collection at the beginning of last year, their first show since the pandemic. The collection without a doubt demonstrated that Roseberry was powerfully here to stay, done almost entirely in Schiaparelli core elements of black, white, and gold. The creative director communicated that Schiaparelli couture encompasses the ethereal, the surreal, and of the otherworldly, and nothing less.

It almost seemed like Schiaparelli needed to come back down to Earth; Roseberry exceeded expectations when it came to custom-made garments worthy of the red carpet, but could he design for everyday wear? On Mar. 2, Schiaparelli exhibited its first ready-to-wear collection. Fans of fashion and industry professionals alike wondered if Roseberry could “dress down” the mystical universe he had conjured.

“Dress down” may not be the phrase: Schiaparelli proved far and wide that making garments for regular wear was certainly not outside their scope, yet executed them at haute couture standards. The collection, which included 34 looks, was for all walks of life yet was vividly Schiaparelli. Readyto-wear fall/winter 2023 featured the return of multiple surrealist house motifs, including the keyhole (featured on numerous handbags and a new clutch iteration), the iconic face bags (they are exactly what they sound like), and feet heels (you may have to google this one).

Schiaparelli proved that making and enjoying beautiful things does not have limitation; perhaps Roseberry’s point, despite the grandeur of it all, is that there is beauty in the grand and in the ordinary.

There are many reasons why I am enthralled by Daniel Roseberry’s work, but when I discovered his work at Schiaparelli, I was captivated by something I could not quite place. Now, when I remember looking at the golden sun look from the spring/summer 2022 couture collection for the first time, it has clicked. Schiaparelli, through Roseberry’s lens, has depicted the importance of creating things that are beautiful. This break, the one of creating art for art’s sake, is one that can be seen as frivolous. Clothing by nature is utilitarian; it serves a clear purpose. I challenge those who hold this school of thought to try and watch a Schiaparelli show — and to try and look away.

Writer: Aubrey Matson

Photographer: Parker Elkins

Design: Alli Powell

Model: Abby Boerm

Writer: Camryn Bacon

Photography: Peri Shaink

Design: Isabela Kaarto

Models: Haley Cox & Drew Martin

Life is not easy, nor is it fair. The film “La La Land” centers around two characters who have big dreams but face hardships in Hollywood. The idiosyncratic, almost entirely unpredictable journey between two people demonstrates the reality of life. The two-hour film, filled with songs and dances, was made to resonate with viewers and debunk the Hollywood fairy tale. Sebastian and Mia, the couple in the film, fall in love at first sight. The pursuit of both of their careers takes over their ability to prioritize their relationship; therefore, the happily ever after never happens, but they grow to meet many milestones throughout the movie. When two people share memories and a connection like no other, it can be hard letting go, but, letting go may open new doors to greater opportunities and lessons. Our most challenging moments are our best teachers.

Starting At the Bottom

If you reach a breaking point in your life, there’s only going up from there! Mia starts her career as a barista on the Warner Bros lot serving famous actresses. Sebastian, a piano player, has a longing to play jazz, but is stuck with an undesirable setlist at a local restaurant. The lofty dreams, and subpar jobs, bring the unlikely pair together. That’s how life works. The unexpected someone or something always comes out of nowhere, but changes our lives drastically. You start from the bottom and work your way to the top. Nothing in life is permanent; obstacles must be hurdled to reach your next achievement. There’s a fine line between dreams and reality, we strive for our dreams without realizing that it might not be realistic.

Conquering Self-Confidence

What makes us so special? There are billions of people in the world with many accomplishments; Nobel prize winners, feminists, authors, revolutionists, etc. Despite the fact that others win significant achievements, the power of small wins leads to larger goals. These small wins can be undermined by questioning ourselves. Second-guessing and self doubt roots in our fear of criticism from others Throughout the film, Mia went into auditions with self doubt; she calculated

the cast director’s comments and compared herself to others. Additionally, Mia went into her auditions along with 20 other redheads and didn’t give herself credit for even showing up. Worrying about how others view us stems from the terror we might endure from rejection. Although hiding from social situations and challenging moments can seem safe, this lack of confidence affects our lives. Even then, the thought of no one wanting to see us succeed crosses our minds, but in reality, those around you want to see you at your best. It can be hard to eliminate self-depreciation and develop self-confidence but it is certainly possible. Build your self-esteem piece by piece and appreciate every accomplishment, no matter the significance. Even little wins are the most valued; believe in yourself.

Journey to Success

We often dream of the unknown without thinking about the journey to get there. Dreams take time to achieve, except if you are a main character in a rom-com who always gets that happily ever after. In this scenario, Mia continuously went to auditions rejection after rejection, not allowing doubt to get the best of her. Her grind for acting never stopped; she continued to practice, produced her play, landed her dream roles, and became a successful actress. Same for Sebastian; he wanted to play old jazz music his entire life, but got a job opportunity playing a modern jazz band on tour. He despised the music he played, yet sacrificed his love for old jazz to save money for his future bar. While each character demonstrates a different nonlinear journey, the message is still the same, some sacrifices, big and small, are required to succeed.

Humility Benefits Your Success

After Mia had worked in the cafe on the Warner Bros lot serving famous actresses, she was finally on the other side of the counter. She remained humble, tipping the new barista and greeting them with a smile. This admirable quality is definitely worth noting, as humility benefits one’s success. Humble people may learn better from their mistakes because they are willing to view themselves more clearly and receive constructive criticism. Humble people are more often than not, well liked! Most importantly, though, a key takeaway regarding humility is that we all start somewhere. Garnering success does not mean knocking down those in progress; recognize those who were rooting for you since the You can’t always get what you want, and that’s reality. At the end of the movie, Sebastian is visited by an older Mia in the same bar where they fell in love. Although their relationship is over, they have both found happiness and success. When Sebastian looks up from his piano and notices Mia, he thinks about what could’ve been. They did not end up together, but the love they shared is a fond memory and they were both able to find fulfillment in their own ways. For a movie where the cast bursts into choreographed dances and songs at inappropriate moments, sometimes even on top of cars on the 405 in LA traffic jams, it is one of the most touching movies to exist. At the movie’s end, the camera fades into an iris shot closing the scene, almost as if it were like going back to sleep just to wake up the next morning to relive the day again, back in reality.

ELUSIVE O R ILLUSIVE?

THE PURSUIT OF A DREAM THE A DREAM THE PURSUIT OF A DREAM

THE PURSUIT OF A DREAM THE A DREAM THE PURSUIT OF A DREAM

The pressure of achieving the illusive dream job has been instilled in us like our ability to speak – in our youth and in its importance. The timeline of our maturity coexists with our grasp on the reality of this ideal. Unfortunately, the reality is jobs are becoming increasingly more competitive, along with harsh conditions of drastic inflation. Thousands of dollars are spent on earning a degree that’s value decreases as the years go by. Not to mention the arduous and taxing hours that are put into building up a resume that will be scanned and judged within a few seconds. There is no denying that the job market has become a cruel and intimidating place. Besides the concerns of becoming employed, the wages of the job also carry a burden. A decent lifestyle has become a high-ticket item, and while ‘decent’ is a subjective term, the effects of the faltering economy cannot be overlooked. The situation at hand is not ideal, much like our dreams.

BETWEEN DREAMS AND REALITY

But of course, a dream is just that. It is an aspiration, a hope, a desire. Can a dream job actually hold up in the real world? The reality is, dreams can only go so far. Burnout is inevitable. Culminated with the current economic crisis, burnout can feel especially amplified for today’s young adults. It is in the burnout phase that the infamous question arises, is this really my dream job? Well, the answer to that question varies from person to person.

For some, that question itself can be gut-wrenching; potentially admitting that maybe the dream has changed, is a hard reality to face. While for others, it is simple; the dream job truly IS the dream. But even if the dream job stays consistent, it would not be a stretch to say there is no perfect job for anyone. Even in an ideal job, there are going to be aspects that may not be as fulfilling, appealing, or desirable. The perception that a job is supposed to be a magical fit is fiction; even if that is the dream. It is the expectation that our future careers are supposed to be perfect that tarnishes the dream and ruins reality.

The perfect job might not exist, and maybe the dream job does not always live up to the imagination. That does not mean that it isn’t the right job. Letting go of the pressures of finding and living up to the job of your aspirations is the first step in finding that balance between dreams and reality.

SURVIVAL OF THE FITTEST

So, what is the reality of the job search today? It is overly competitive and saturated. Not only are more people having to go to college in order to get an entry-level job, but they are also having to settle for jobs that do not support them financially after graduation. Top that with the debt from college, young adults today are drowning in debt. In a world of inflation and high living costs, it can seem like one job does not allow for an individual to be financially stable.

To combat this dilemma, people are turning to hustle culture. Hustle culture promotes getting multiple jobs to make up for the financial burden of living in today’s economic climate. Taking on two or three jobs is the only way people are able to live comfortably, especially in cities. This time spent working multiple (most likely) less satisfying jobs, takes away from the time and effort one could put into the dream career, making the journey that much more grueling.

RESUME REMEDIES

While facing reality may be a difficult battle, seeking a balance between the wildest dreams and healthy expectations is going to dramatically improve one’s outlook on the future; even given some of the harsh realities of life and finding jobs today. There are always ways to make someone a more appealing applicant when starting to pursue the dream job. Of course, good grades are imperative coming out of college; however, there can be a lot of value in a diverse candidate when applying for jobs today. Volunteer hours, jobs, maintaining memberships in organizations, internships, and research are all indicators of a well-managed person- characteristics employers seek in applicants. But more importantly, they showcase who the candidate really is; their passions, their background, and their ability to work cohesively in various groups. All of these traits are marketable and hold immense value in today’s ever-so-diverse workforce.

While the economic situation seems to be nosediving, and the workforce seems more and more unattainable, it is all about perspective. Yes, the workforce and the demands of the workforce are changing, but that change is also promoting diversity in the workplace. Yes, college degrees are seemingly losing their value, but that means we as a society and generation are seeking higher education more frequently. Yes, the dream may feel out of reach, but that just means bigger celebrations for the little wins. It can be easy to get overwhelmed about your degree, your future, and your dreams; but that does not mean that you are ever out of the race. So, bet on yourself. Bet on your future. Bet on your dreams.

Writers: Chole Pham & Leah Lara

Photogrpaher: Lacey Loomis

Design: Alli Powell

Model: Kadence Cheang

Photography : Kylie Dunlap

Model: Emma Ehle

A Trip To

THEY’RE JUST LIKE US, OR ARE THEY?

Picture it. You’re mindlessly scrolling on your phone, effectively wasting your day away on TikTok, when a sponsored clip of a woman advertising a product pops up on your For You page. Immediately, you are washed with a feeling of unease and a potent sense of discomfort takes over your body, but why? The longer you look at her face the more sinister she seems; however, you just can’t decipher the cause. Then it dawns on you, the reason for the disturbance is that she’s not real. This is the uncanny valley phenomenon – an unsettled, anxious reaction people have to seeing a humanoid figure that is not human – and we are starting to see it more and more frequently.

Japanese roboticist Masahiro Mori first introduced the uncanny valley hypothesis in an article entitled “Bukimi No Tani” published in the journal “Enerugi.” Mori proposed a relationship between human likeness and affinity wherein the more humanoid something becomes, the greater peoples’ affinity towards it will be. However, this pleasant mental connection will promptly transition to feelings of unease when the object reaches a threshold that humans deem too human. He further argued that this rattled feeling will be alleviated once a higher level of human likeness is reached. While many have tried to explain the psychological reasoning behind the uncanny valley, a common consensus has yet to be met. One of the leading hypotheses is dependent on the pathogen avoidance hypothesis. “The Oxford Scientist,” the University of Oxford’s independent science magazine, published an article detailing this hypothesis and its relation to the uncanny valley. In it, they stated that the pathogen avoidance hypothesis states that the uncanny feeling has “evolved as protection against a potential carrier of pathogens.” They further iterated that “it describes changes in behaviour or appearance of an individual compared to the healthy norm as signs of unspecified infection.” The uncanny valley effect lives in the gray zone between fear and affinity. For example, American Girl Dolls were the it girl phenomenon of the early 2000s elementary school experience. The proportions and faces of these dolls were just human enough to be endearing but didn’t surpass the threshold into unpalatable. However, many would consider the Old Navy mannequins (in all of their terrifying glory) to be pure nightmare fuel. Their stature and dead-eyed expression, coupled with the harsh overhead fluorescents of a department store makes being greeted at the doors by these mannequins a chilling experience. They are simply too human which has led to their condemnation on social media sites such as Twitter.

Writer: Chloe Foster

Photographer: Kylie Dunlap

Design: Morgan Tran

Model: Josh Carley

While the uncanny valley phenomenon is becoming more prevalent in discussion, there are still many unaware individuals. Naivety has bred some interesting reactions to recent media. “Cats,” which debuted in 2019, was a highly anticipated movie adaptation of a beloved Broadway musical. Shockingly, once the movie hit theaters it was not met with the expected excitement and adoration. The film was quickly torn to shreds by viewers and holds a score of 19% on Rotten Tomatoes. Film critic, Robbie Collin, on the movie’s Rotten Tomatoes webpage, referred to the movie as a “digital veneer of horror and farce and glazed looks”. While this classic musical should have been welcomed into the world of digital media with open arms, it was instead rejected and regarded as an unexpected horror film. The rendering of the characters in the movie is to blame for this upset. In the original stage production of “Cats,” the actors were made to resemble felines using special effects, makeup, and costuming. Alternatively, the film aimed to achieve the same effect by utilizing Computer Generated Imagery and 3D rendering. It seems that somewhere along the way, the producers took a reprehensible turn. The final product revealed characters that were a rebarbative combination of cat and human: human bodies, human faces, feline fur, tails, and ears. Not human, but just close enough to be terrifying.

Recently, websites such as “unrealperson” and “thispersondoesnotexist” – which utilize AI technology to generate images of nonexistent people – have been introduced. The AI programs work by examining an expanse of human pictures which then allows them to create modern-day chimeras, composed of various individuals’ features and expressions. The photographs created by these websites have successfully reached the third stage of ‘human likeness’ that Masahiro Mori introduced over five decades ago. However, these technological advancements have established an entirely new dilemma.

While the AI generations from these websites do not cause the uncanny valley phenomenon to

occur, it is not because they have breached a level of humanity that we find agreeable. Contrarily, these images are completely indistinguishable from those of real people. Currently, we are watching as AI and robotics progress at an exponential rate. Deep learning was only brought into mainstream AI research in the early 2010s by Andrew Ng and Geoffrey Hinton. In less than fifteen years, this technology has gone from being poorly under-researched to the point of advancement where it can produce shockingly human faces from just photos of real ones. If science and technology are to keep improving at this expeditious speed, it is imperative that we ask the question: will we soon lose the ability to distinguish humans from machinery at all?

There has been a supranormal presence of an irrational fear of technology taking over the world since the introduction of smartphones. This concern continually grows with the production of movies such as “Inception”, “The Matrix”, and of course, the Marvel universe – highlighting hits such as “Iron Man” and “Ant-Man”. Even a sweet tale of two robots falling in love in space (“Wall-E”) can bring intrusive thoughts of technology’s power to replace humanity. With the rise of new technological development, this elusive suspicion is transitioning into a progressively more rational one. Technology has become alarmingly integral to our ability to function in everyday life – from scanning a QR code to access a menu to self-driving cars. Jobs are becoming digitized and the need for human employees decreases as demand for goods increases. Our dependence on technology is fueling its development, and who is to say if there is a limit to its bounds?

Artificial intelligence (AI) was first introduced to this world in the 1950s. The concept of AI was constructed by a British polymath, Alan Turning, who analyzed the mathematical side of computer programming. He suggested that machines could be programmed to think in the same manner as humans by using available information and reason to solve a problem. The road from Turning’s idea to its evolution into ChatGPT was a long and arduous process. Computers at that time were extremely expensive and did not have the capacity to store commands. Eventually, the development of AI was launched in the early 1960s by the Logic Theorist, a program funded by the United States government. While there were some halts in development and funding cuts, AI began to really thrive in the early 2000s with the rise of machine learning and neural networks: the ability to store commands and learn from them. This breakthrough led to the advancement of technology utilization into speech recognition, language processing, and computer visualization. From there, development of computers that fit into pockets and virtual reality surged in the 2010s.

The artificial intelligence chatbot, ChatGPT, was developed by Open AI and launched on Nov. 30, 2022. The company was founded by Elon Musk and Sam Altman with investments from Microsoft. This resource has been widely accessible and free to use, as the program is still in its developmental phase. ChatGPT utilizes transformer architecture to sift through the internet as a whole and generate a single text composed of all its finds. What can be jaunting is the human-like

nature of the responses generated, almost as if the program is talking back to the user. ChatGPT is a language model so it has the capacity to understand natural human languages, as well as generate them. The chatbot is adaptable to many uses, from generating a creative story to complex research papers, as well as the simple task of explaining a subject. All the user needs to do is enter a prompt, as specific or broad as preferred, and ChatGPT will produce a response that encompasses characteristics of human-like writing, to make it as natural as possible. However, there are limitations to its expanse of knowledge- the response performance was shown to have only a 60% accuracy rate. But even with its limitations, there seems to be no limit to its range of users. Students are taking advantage of the humanlike text generated to cheat on assignments and teachers are capitalizing on its ability to condense information into a simple body of text. Some users even commented that while using the program, it gave them the illusion that someone was inside their computer typing these responses, which may come from its ability to engage in and hold natural conversation. The premise of technology being able to mimic human behavior can be unnerving, and some may ask, “will technology be able to outsmart us?”. Sam Altman, C.E.O. of OpenAI stated that he believes the AI movement will “eclipse the agricultural revolution, the industrial revolution, the Internet revolution all put together.” There is no denying that harnessing the power of AI is just the beginning of a revolutionary technological society.

What does the development of this technology mean for our society? The implications of AI have been postulated since the dawn of technology. What if robots replace all humans? What if they take over the world? What if robots enslave humankind? The spout of what if questions come from an innate fear of the unknown. A New York Times article comments on how the launch of ChatGPT has set off an AI arms race. The traction surrounding the program launch, praises and critiques, has pushed other tech developers, such as Google, to catch up. Technology is advancing and at an alarming rate. Moore’s Law suggests that the number of transistors on a circuit will double every two years, allowing speed and capability of computers to increase at no additional cost. However, there are still limitations, the ChatGPT website even issues a warning that the program may occasionally produce harmful instructions or biased content, possibly urged by controversial complaints from its users. Even Altman, the founder, has publicly critiqued the program, proclaiming that it is still severely limited. His critiques emanate from fear that the trepidation surrounding it will result in backlash or exorbitant expectations for the next development. Altman is now working up deals with Buzzfeed and has been in communication with Apple, and Google.

Writer: Chloe Pham

Photography: Krystal Pham

Design: Noa Shrikhande

Models: Kerina Farias & Rachel Ng

AI is beginning to beat humankind at their own game. Computing systems have proven to be better than humans at strategy-based games such as Chess and Go. Experts have started to delve into the ethics of AI, examining who benefits. Is there an ulterior motive behind the madness? Harvard professor of internet, Jonathan Zittrain, states that he is “concerned about the reduction of human autonomy as our systems — aided by technology — become more complex and tightly coupled.” While programs can be set to function on their own based on a certain algorithm, where is the room for exceptions and to what extent can human-nature be programmed? Zittrain goes further in saying, “if we ‘set it and forget it’, we may rue how a system evolves – and that there is no clear place for an ethical dimension to be considered.” Further is the concern for having a standard set of operations and safeguards for an entity such as this. The criminal justice and healthcare systems have begun implementing AI into their computing algorithms, specifically decision-making. This integration of technology into humanistic areas postulates concerns regarding not only ethics in judgment but in the automation of jobs and career fields.

Despite concerns, the development of artificial intelligence marks the advancement of human intelligence. Technology has become indispensable in daily life and will continually become more integral. Humans simply cannot live without it. The development of ChatGPT has spurred the race for all tech companies to produce their own versions of AI. The question of how much will be enough? remains as imminent as ever. If human nature can be programmed, who is to say where the innovation of AI will end and where it surpasses us? The tumultuous advancement of AI could ultimately make or break us.

Writer: Gretchen Evans

Photography: Peri Shaink

Design: Lynn Nie

Models: Jin Sin & Delia Pastore

Waiting for your McDreamy?

Wow, he is the man of my dreams! Maybe you’ve heard this once or twice. However, the idea of a dream guy or a dream girl is exactly that, a dream. Through social media and love interests from romantic comedies and novels, it is easy to see how we as a society have gotten to this point. We expect so much from others when entering the dating pool, yet unrealistic standards for a relationship and a potential suitor just may be the reason one is still in the dating world in the first place.

Let’s face it, dating can be tricky and hard to navigate. Valentine’s Day rolls around every year and that singleness hits hard. Even more so, at least here in the South, it feels like everyone is getting married young. This feeling actually isn’t wrong. As a matter of fact, the average age couples tied the knot in 2022 dropped to 31! Is everyone else settling just to get a rock on their finger – what is the deal?! Well it may be that your standards are too high…

A Time of Reflection

Do you find yourself expecting the one you’re dating to always look drop dead gorgeous, pay for every meal, and never produce any negativity or bad behavior? Well, it is time to look in the mirror! Do you have a positive outlook on every aspect of your life, 24/7? Our girl Hannah Montana says it best: Nobody’s Perfect! There will be times for everyone that call for a less presentable look or an irrational outburst – it happens. We are all human and expecting a potential significant other to be a superhero is simply unrealistic.

So, it is time to reflect. What are desirable qualities you see in a partner? If you already have a partner, what behaviors and actions do you currently expect? Can you measure up to the qualities you look for in someone else? Really consider the questions that pertain to you, as this may be affecting your success in romance! Satisfaction and healthy standards are important for both people in the relationship.

Realistic and Healthy Standards

Adjusting your standards may be as easy as recognizing what is considered unrealistic and what is acceptable. Simply put, healthy standards are pertinent to realistic qualities, goals, lifestyles, and temperaments that one recognizes and would like to be reciprocated or complimented by a romantic partner. For example, it makes sense for an outgoing individual to seek fellow extroverts, but this seeking of an outgoing personality may be performed by an introvert searching for someone to compliment their own unique characteristic as well. This search for compatibility isn’t out of the ordinary or asking for extreme, superhero efforts. As a matter of fact, ordinary qualities are what we should be seeking. The distinguishing factor of one’s standards from another person’s is the prioritization of said ordinary qualities, and that is perfectly okay!

Already have a significant other? Through accountability, support, and communication, you can achieve realistic and healthy standards in your current relationship. Regarding accountability, if you and your counterpart have decided that staying fit is important, then be sure to encourage one another towards that lifestyle. It’s not fair for either party to expect one way of life and consistently indulge in lifestyle choices that prove otherwise.

Support trickles down into all aspects of a relationship. This may be splitting the bill, helping your partner overcome past trauma (which may require patience and understanding), or tackling date night planning together. A division of roles and responsibilities during the dating stage makes the idea and transition of a potential partnership that much more achievable. Long term support and encouragement allows for a space where you and you partner can strive to be the best, most consistent version of yourselves.

Perhaps the hardest part of standard setting is communication. Establishing boundaries, discussing admirable qualities, and being proactive about possible bumps in the road is difficult to do, but makes a world of difference. Communication alleviates resentment. Maybe, the idea of your boyfriend having girls that are friends sounds unbearable. However, your significant other is allowed to have friends of the gender they are attracted to — this is normal and healthy! Setting and openly communicating boundaries early on is imperative in making this situation work for both you and your better half.

The Bottom Line

Looking inwards allows us to see what we truly want in a partner. Through self reflection, mental adjustments, and the pursuit of healthy relationship standards, you are sure to have your dream-ish romance!

WRITERS: LAUREN LOPEZ AND OLIVE OKORO |

PHOTOGRAPHY: PERI SHAINK

DESIGN: PEYTON BRUFFY | MODEL: LACEY LOOMIS

The1951 animation “Alice in Wonderland” is a surrealist, fantastical story that is the perfect portrayal of the creative mind of an artist. From quirky characters to dreamlike landscapes, every aspect of this tale is rich with inspiration. The 1865 tale written by Lewis Carroll was published during the reign of Queen Victoria which is widely recognized as the infamous Victorian Era characterized by zealous acts of harsh punishments, forced labor, and the rapid spread of inhumane colonization. Alice in Wonderland is synonymous with the mystical idea of dreams and surrealism. These spectrums create an extended metaphor for the trials and tribulations of womanhood. The film is an amazing depiction of a lost little girl learning about the world around her; she faces the absurd obstacles of her bombarding reality. Alice’s first encounter in Wonderland through her interaction with the talking doorknob is a dramatic and emotional rollercoaster encompassing the confusion of womanhood. This is the first time the concept of big and small Alice comes into play; she tries to cross through a minuscule door and the doorknob continues to command her to use random objects. The Doorknob tells her she is too small at first and asks her why she hasn’t taken the potion, but Alice had yet to be given the tools (the potion and the key). As soon as Alice takes the potion and is too big to fit, she is ridiculed and questioned by the Doorknob for not knowing better, which is symbolic of Alice’s place in the world as a woman. This illustrates the feminine figure and how women are never enough physically and metaphorically because the standards and expectations are always being changed. If a woman is too meek and small, then they are undesirable, but if a woman is too loud and assertive, then they are also undesirable because they cannot be controlled. This concept of Alice physically not fitting into the setting reoccurs in the scene where she is in the White Rabbit’s house. The group of men calling Alice a monster are personifications of how men as a collective have used their power to manipulate and shame women into complying with the male gaze.

Alice encounters the Mad Hatter and the March Hare which proves to be disastrous, as she is constantly interrupted and ignored. These two characters echo how men and society interacted with women during Victorian times. There is a surrounding plethora of tea and seats, but is Alice there for a real purpose other than sitting there and being pretty? The film is meant to make the viewer feel as if there is no real commentary to be presented, but that can not be further from the truth. The use of the word mad as a repetitive adjective to describe multiple characters in the film indicates the ones that are called ‘mad’ are the ones showing Alice characteristics of the real world. In a twisted way, they are only being honest about how people actually treat women. It is a paradox if nothing else, especially to female viewers who are seeing this young girl being treated as less than by the male characters. The female experience is put into the view of a little girl ridiculed by a world that was supposed to be hers. This is in stark contrast to how the film and the male characters treat the Queen of Hearts. The Queen is meant to describe how society demonizes women with power and control into aggressive and emotional leaders.

The Caucus Race scene occurs twice in the movie, once in the beginning and once at the end of the dream, which is incredibly symbolic. The whole concept is that the majority of the characters in the scene run around in circles to get dry but never can because the ocean is constantly dousing them. The Dodo bird stands above the rest on a rock with fire for warmth while encouraging those below to keep running. Alice is a part of the runners both times, which speaks to the circles that women run through to have a better life or fight for their freedom. However, women are no better off because of their restriction from those in power. This surrealist scene is pretty literal in the message that the race to get dry or have a better life is unrealistic to reach as a woman because they are not allowed by society or the Dodo, and thus the Caucus Race never ends.

Ultimately, Alice is taken against her will through this dream that seems to be full of wonder. It is soon clear that Wonderland is actually a nightmare. This movie’s exploration of womanhood is paramount when looking at the impact that dreams and the unconscious have on real life.

Relationships are some of the most coveted, desired, and sought-after entities of yesterday, today, and the tomorrows after. The formula in a relationship is simple; we give as well as receive. But, how can the “love of your life” meet you halfway in a relationship if they have absolutely no clue of your existence? They cannot, and this valued relationship of yours is in fact parasocial and born of fantasies. Parasocial relationships can be defined as a sense of connection we have with a media personality that creates the feeling of a real world relationship. In a world of imperfect humans, we are understandably drawn to personalities that are polished upon a screen, eloquently written in the pages of a novel, or on a lit up stage. There are only delusions to be found in these unrequited relationships, so why is the obsession of forming parasocial relationships so painfully relatable?

EXAMINING THE PARASOCIAL RELATIONSHPS AROUND US

Writer: Logan Hansen

Photographer: Peri Shaink

Designer: Maddie Case

Model: Kate Puckett

PART OF THE BAND

There is an admiration that develops for the characters that we observe growing up with our eyes directed toward a screen, and we enter a fantasy. These carefully crafted storytellings offer relatability, entertainment, and humanization of these personas that can spark an addiction to view more content. Security can be found in having Dwight Schrute available to connect with 24/7 through Hulu. Social anxiety can be soothed when Matt Rife’s comedic punchlines are found at the expense of a present audience member, allowing us to digitally observe the criminally attractive comedian without risking rejection. Justification is offered when Hazel Grace’s monologue from “The Fault in Our Stars” reflects similar frustrations in our own lives. These personalities, whether they are character portrayals or real life celebrities, can lure us in with a false sense of a personal kinship. Brutally speaking, if you were to go back to your Skechers-wearing self and snap out of the idea that you are Justin Beiber’s one less lonely girl, it would save all the time spent on daydreaming of the day he chooses you out of the crowd at his concert.

From entertainment-social to intense-personal to borderline pathological, the level of a parasocial relationship varies, yet the risk of higher intensity is determined by an individual’s identifiable attachment style. Between secure, anxious, avoidant, and fearful, an anxious attachment style has a great probability of encouraging a parasocial relationship. In response to low self-esteem and a fear of rejection, people with an anxious attachment style turn toward fiction, as it is a safe haven from the idea of social acceptance. These fictional connections bring a comfortability and escape that is utterly convincing. We are innocently ignorant of the truth behind our presence to our parasocial counterparts; we are the fourth wall. As audience members, we are viewing the show behind a two-way mirror. We observe every action of our favorite actors, musicians, influencers, and fictional characters…but they are incapable of viewing our lives to the same extent, if at all. These imperfect humans placed on pedestals are glamorized in how we perceive them, and when they become wrapped up in a controversy that contradicts our polished perception of them, it is a shock to our systems. Logically, we are aware of the extent that our parasocial relationships reach yet we still feel alief. This term is defined as an automatic, gut-level, belief-like attitude that may contradict an explicitly held belief. It is this cognitive response at fault for the illusionary heartbreak that runs through us when we lose a character persona that we became attached to.

PERFECTLY IMPERFECT RELATIONSHIPS

Typically, what would you say your ideal night looks like? There are endless options, but many of us would go straight to the simplest one of all: Netflix. A night of watching your cherished show and binging your favorite snacks is more than ideal. There is no greater freedom than relaxation, but there is condemnation in prioritizing fictional personas over relationship intentionality. Getting wrapped up in a fantastical television show is addicting and that addiction is only heightened by the presence of characters in which we are beyond attached. Love makes you do crazy things, no matter how obsessive or delusional that love is. Parasocial relationships feed into a love that encourages us to choose a night with Damon Salvatore over a night with friends that are physically right in front of you and craving the reciprocal treatment that you are so clearly seeking in a realm that is incapable of offering anything real. Replacing real friends with our fictional ones offers the short-term solution of never having to worry about your social battery running out. However, in the long run, this solution ensures unfulfillment, loneliness, and exhaustion in focusing all of your energy on relationships that do not reciprocate the praise you pour toward them on a constant basis. Everyone deserves to be surrounded by a social circle that is eternally grateful for their existence. Real relationships of all kinds are messy, tiring, and take an equal effort, but their value is found in their humanity. Perfection is not a reality out of show business, so appreciate the fictional worlds for their shiny exterior, but hold strongly to your real-world relationships, for they will prove to be far more valuable than any parasocial relationship ever can.

Writer: Zoey Frederick

Photographer: Peri Shaink

Design: Anna Keller

Model : Logan Hansen

ODE TO PEACE

Take me to walk somewhere gentle where flowers grow uninterrupted the Breeze sings and whispers where everything moves slow

Take me to run through Forests that hug you creeping to kiss overhead where Sunlight is shy but finds you in fleeting moments

Take me to skip in sunny fields that warm your skin and meet your feet softly where stems dance and tangle we find ourselves, lost

Take me to dance in twilight where stars break through a daunting sky confiding in us the future if we are patient enough to listen

Take me to sing with the shore’s steady rhythm calling out to the waves let me admire their consistency and fall into their embrace

Take me to sleep in a field of poppies where I dream, hope, and long petals fall and change my view I see the things we often forget

Take me to weep with tall willows for the things we don’t understand the things we wish to ignore and for all, we are grateful for Lie on my shoulder then, as we bear it together take me somewhere alive and well and safe and full take me to walk.

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Photography : Kylie Dunlap

Models: Emma Ehle & Peyton Turpin

LETTER FROM THE PRESIDENT

Dear reader,

Ever since I was a young girl, I dreamed of working within a creative space in fashion. However, it never seemed realistic or attainable until I came across A-Line Magazine immediately after my arrival at Texas A&M University. The transition from an abstract thought to being a constant in my everyday life has fulfilled my past dreams, while shaping my future desires. As next semester will be my last semester as President of A-Line Magazine, I am thrilled to convey the messages behind REM, as A-Line Magazine is a personal dream come true.

REM navigates through everyday illusions, augmented realities, and the most abstract thoughts in our minds. From analyzing mind-altering filmography to dream-like fashion designs, illusive ideas are all around us. As you have explored these pages, I challenge you to dive into the deepest part of your imagination and constantly seek out your wildest dreams.

Sweet dreams,

Mary Trantham President

LETTER FROM THE DESIGN CHIEF

Dear reader,

From the start of my journey in A-Line over two years ago, to serving as Design Chief in my last semester, I can attest to the incredible impact that this organization has had on my creative journey. A-Line has been a home where I have pushed my own limits and gained the confidence I needed to excel beyond what I thought to be my reality as a designer. REM. This latest issue is a testament to the overwhelming amount of passion that comes from A-Line. This print issue pays witness to the incredible creativity of our members, and I am honored to have been a part of bringing our work to life. To my design team, I hope it is evident how much I believe in your abilities to create, and I can’t wait to watch each of you break the boundaries of what you believe you are capable of. Lastly, I want to thank the readers of REM for taking the time to explore this issue. I hope it inspired you to think differently, to question what you know, and push the boundaries of what is possible.

To shattering limitations,

Anna Keller Design Chief

LETTER FROM THE PHOTOGRAPHY CHIEF

Dear reader,

A-Line Magazine has opened my eyes to something I would have never expected to find here at Texas A&M. I am lucky to be surrounded by such gifted, creative people. Photography has always been a great passion of mine and expressing my love has been truly life-changing. I have thoroughly enjoyed this first semester as A-line’s Photography Chief. It has been so gratifying watching all of the photographers making their ideas come to life through shoots for this print issue and online articles. I have been so passionate about shooting for REM and expressing my creativity through my photos. I have loved being a part of this process by seeing this print issue come together photo by photo and I am so excited we get to share it with you. We hope you love this beautifully strange issue as much as we do!

Dont let the bed bugs bite,

Kylie Dunlap Photography Chief

LETTER FROM THE CREATIVE DIRECTOR

Dear reader,

REM as a body of work is something that has meant so many things to me, yet there is one thing in particular that it has depicted to me so vividly: what it means to watch others’ visions and dreams become real. We entered the deepest crevices and corners of the mind to create REM, and its manifestation has blown me away. I have been so privileged to watch this publication make something so artful, unique, and bizarre; to watch the A-Line staff stretch their minds within this concept has conveyed to me so clearly the evident creativity within this magazine. From wearing faux animal heads in film, making models into robots and statues, or even doing a full photoshoot underwater, the list goes on to show how special the journey into REM has been. I cannot express my pride enough.

Enjoy REM and sleep tight,

Aubrey Matson Creative Director

Photography : Peri Shaink

Photographer: Lisa Nguyen

Models: Mattison Gonzales

WHO WE ARE

We are an online fashion and lifestyle magazine run by students at Texas A&M University. Our core mission is to enkindle the human spirit through self-expression and embolden all to excel beyond social norms.

Self-expression can be seen in many forms. Whether it’s in writing an article, capturing a photo, creating a graphic design, or filming a video, we encourage our staff and readers to challenge themselves creatively and freely express their original ideas.

Here at A-Line, we believe that those bold enough to excel beyond norms should be acknowledged and empowered. We aim to uplift all who dare to be different, and to ignite a spark in our readers when we do so.

The A-Line team is made up of a community of collaborators, working to produce weekly content for our site, as well as a semesterly print issue, like REM.

We hope our content makes you feel inspired to pursue what sets your soul on fire.

Let’s get to creating.