45 minute read
Georgia voting restriction
off-campus opinions
Bowen Deng ‘22
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Georgia’s voter suppression bill is a shameful GOP power grab
Regardless of your political stance, the 2020 election should be viewed as a celebration of American democracy. Despite the circumstances of the pandemic, the election saw the highest voter turnout in over a hundred years thanks to the expansion of mail-in voting; 66% of eligible voters cast their ballots, with over 158 million total votes cast. Despite the various conspiracy theories of a stolen election, this election was considered the most secure in history by the Cybersecurity and Infrastructure Security Agency.
Georgia was a prime example of election integrity last November. After Biden narrowly edged out Trump in the Peach State, Georgia election officials recounted and recertified its ballots two more times. Each recount only affirmed the fact that there was no significant evidence of voter fraud. Biden became the first Democrat to win Georgia since Bill Clinton in 1992. The state’s Senate elections (and their subsequent runoffs) in which Jon Ossoff and Raphael Warnock triumphed were also unremarkably safe.
And yet, this reassurance was not enough for the state of Georgia. On March 25, the Georgia state legislature controlled by Republicans signed into law a significant overhaul of Georgia’s election rules. According to Governor Brian Kemp, the goal of the bill is to “ensure elections in Georgia are secure, fair, and accessible.”
Even before examining the contents, the reasoning for this bill is questionable. The Georgia GOP themselves know that the election process in their state was safe; their two recounts and recertifications of the state’s ballots after the election did not produce any significant changes in results. Officials even held multiple press conferences in the weeks following the election to dispute Trump’s election lies; it is simply not true to suggest that the recent elections in Georgia were not secure or fair.
If one were to dive into the contents of the herculean 98-page bill, they would soon discover that the guise of election security and accessibility is a blatant lie to cover up a more dishonest ulterior motive.
Firstly, the bill makes it a crime to hand out food and water to Georgian voters waiting in line. Advocates for the bill insist that this particular provision will prevent lastminute influence on voters before they cast a ballot.
Rightfully so, this provision has received the most attention and scrutiny. Put bluntly, the claim of election interference in lines is absurd; common sense says that a voter will not change their mind at the last minute simply because they were handed a bottle of water—a basic necessity—by someone while waiting in line to vote.
It is already illegal to wear anything political in or near a voting line. In addition, long lines are a problem in the Peach State, most notably in Atlanta and its surrounding cities and suburbs. During the June primaries, some Fulton County voters had to wait two hours in sweltering heat. On the first day of early voting in October, Cobb County voters had to wait over five hours to cast their ballots.
It is crystal clear which voters will be most affected by this provision. Chances are, those living in less populated, rural counties—which often vote Republican—will not have to wait hours upon hours to vote, unlike those in the more populated urban and suburban counties of Georgia, which are often Democratic strongholds. Put simply, not allowing handouts of food and water does nothing to make elections in Georgia more secure or more accessible. In fact, it will only discourage voting in the more populated areas of Georgia.
Though this section of the bill has received the most coverage, there are other, more outrageous sections that seem to be floating to the side, most notably changes to absentee ballots. The period in which absentee ballots can be requested has been drastically reduced from six months before an election to three. Voter IDs are required in absentee ballots with strict rules. The amount of allowed drop boxes has been drastically reduced, and all drop boxes must be placed indoors.
The absentee ballot change simply does not make sense. How does lowering the time frame in which an absentee ballot can be requested curtail voter fraud, or make voting more accessible? It goes without saying that this will make voting less accessible.
As for voter IDs, this is unnecessary. When you register to vote, your information is verified and kept on record. There is simply no need for repeated proof of the legitimacy of a voter.
Then, there is the drop box change. The bill will limit drop boxes to one per early voting site or one per 100,000 registered voters. In the 2020 election, there were 94 drop boxes in the counties of metropolitan Atlanta (Fulton, Cobb, DeKalb, Gwinnett). This law would reduce them to 23 drop boxes total. Furthermore, forcing drop boxes to be kept indoors will limit them to business-hour use instead of 24-hour access outdoors—again, another change that makes voting harder and less accessible for the average Atlanta citizen. The vast majority of citizens simply cannot afford to stand in line for hours upon end during working hours, and limiting hours in which ballots can be dropped off will make voting for these individuals even harder.
Finally, there are the changes to the runoff system. The length of runoff campaigns has been significantly reduced from nine weeks to four, and early voting in runoffs has been significantly reduced from two to three weeks before the runoff to a single week. Again, this does not make sense in the context of trying to make Georgia’s elections more accessible.
Still, certain aspects of the bill do expand the window to vote: weekend early voting has been expanded, with two Saturdays required (alongside the option for two Sundays) instead of just one Saturday. Yet, this does not make up for the other changes that limit voting.
Ultimately, these provisions paint a clear picture of this bill: it is a panicked, reactionary response by the state Republicans to the state flipping blue at both the presidential and senatorial level.
Instead of re-evaluating their platform, the Georgia GOP is trying to make it harder to vote. This bill is not an attempt to increase election security or decrease (nonexistent) voter fraud or make voting more fair.
No, it is a flagrant attempt by the Georgia GOP to disenfranchise voters indirectly. It is not an attempt to replicate the massive turnout from 2020. No, it is an attempt to decrease turnout to benefit the Republican party’s future chances in Georgia rather than helping their own constituents. The bill clearly targets the more populated, blue areas of Georgia, and seeks to restrict, not expand, their access and ease of voting under the guise of election security, which was not a significant issue in the past election.
If the Georgia GOP truly wished to increase voter accessibility, they would be increasing polling places and drop boxes (thus, decreasing the long lines in the Atlanta area) and expanding mail-in voting alongside early voting rather than decreasing the amount of time to request an absentee ballot and limiting drop boxes.
Put bluntly, the claim of election interference in lines is absurd. How does lowering the time frame in which an absentee ballot can be requested curtail voter fraud, or make voting more accessible?
Jacob Stacey ’21
Social media is the monster we never saw coming. According to Mayo Clinic, “97% of people from ages 13-17 use some form of social media.”
Many platforms, such as Snapchat, favored by 34% of teens, Tik Tok, favored by 29% of teens, and Instagram, favored by 25% of teens, have something different to offer, engrossing its users with pictures, videos, and tweets.
Unfortunately, social media also divides our country. People hide behind screens to write harsh and controversial comments to aggravate those who may disagree.
Along with comments that are meant to divide people, comments and posts get directed towards individuals with the intent of hurting and demeaning others. Social media allows users to let out emotions they would never release face to face with someone, only cowardly saying it behind the safety of their screen.
Many posts on platforms such as Tik Tok and Instagram break out into fights in the comment section. These arguments are unhealthy and unproductive. Although some of these disputes are sparked by controversial ideas, some are generated through what many view as the oversensitive Generation-Z community.
Recently, Gen-Z has been notorious for their responses to videos and posts regarding politics or controversial jokes about race and sex. Many of the comments are solely commented or posted to try and hurt others.
Other generations call Gen-Z rude and sensitive because of their handling of sexist, racist, and cruel comments online, when instead of being kind to others, they put themselves first and only escalate the problem.
Many simple solutions to social media fights and the division of our country are possible. One easy fix can be to keep scrolling through your social media feed and ignore the issue or topic that upsets you.
Instead of instigating hate on posts and comments, people can just scroll past and ignore the problem, creating more peace and less negativity. Another solution is to have a civilized, educated conversation or debate.
Social media hostility further divides the younger generation of our country, but if people had conversations using facts and listening to others, the disease plaguing our country might start to subside.
The Gen-Z community and users of social media need to understand how to respect others’ opinions and educate themselves to have constructed debates with people, without causing more division amongst Americans.
Respecting and understanding others are the first steps to a more united country.
Social media responsible for dividing Americans, especially teens
Student scrolls through Instagram
RYAN RODACK ‘22
Don’t pay college athletes
Bernie Rogers ’21
For years, the question has stood at the forefront of many heated debates: “Should college athletes be paid?” Many coaches, analysts, and student athletes have advocated for college athletes to receive salaries.
The answer is not so simple.
When athletes receive scholarship offers to play Division-I sports, their benefits are typically generous. For four years, these athletes have access to free education, free books, free meals, free room and board, free transportation, and other unique perks. According to CNN Money, on average, it will cost a student who attends a public college $56,840 over four years while a student attending a private college will spend $104,400. Over the same period, some scholarship athletes will spend $0 on their college education.
Moreover, college sports are imbued with passion because the players are competing for themselves rather than for a paycheck. If these athletes were paid, the level of play, commitment, and entertainment of these sports would drastically decrease. The intense competition of the college level separates it from the professional level and draws attention from American viewers. According to Statista, the 2019 NCAA basketball tournament averaged 10.5 million viewers per game throughout the whole tournament. On the other hand, according to the Sports Business Journal, the 2019 NBA Playoffs averaged only 3.95 million viewers per game.
Americans clearly enjoy college sports, and paying college athletes could completely alter that.
Other challenges with paying college athletes involve tight budgets. Some schools do not have enough money to sustain paying athletes. This could result in schools cutting less popular sports, which would not be fair to athletes who have worked just as hard as others. Recruiting would simply become a bidding war, and the talent gap between the larger and smaller schools would become even bigger.
“A recent N.C.A.A. study determined that only about 20 of the 1,000 or so college sports programs in the nation were profitable,” said Cody McDavis, a New York Times writer and former Division-I basketball player. “Millions of student-athletes devote their sweat, blood and tears to sports. Some play football and basketball; others swim, run cross-country, play soccer or compete as gymnasts. Only a fraction of them generate money for their schools. We must ensure that the N.C.A.A. is able to preserve its commitment to all of them,” McDavis said.
A glaring pay gap between different schools, sports, and even between male and female sports, would create even more problems for the NCAA.
Division-I athletes are already amongst some of the most privileged people in the country. They don’t need to be paid.
arts
Theater III* students writing their own masked play
Adiyan Nayak ’24
MR. DARREN HENGST
Theater students work on writing a play on the Centennial Hall stage
Students have always known Theater III* as a course of ambition and excellence. Each year, ten to twelve of Haverford’s most skilled students develop a theater company and select a play to produce. Of course, this has been no ordinary year.
The COVID-19 pandemic has put the majority of clubs and organizations on hold or at least severely hampered their abilities. For the earlier part of this year, it appeared that Theater III* would be another of the virus’ casualties.
“I definitely didn’t [think we’d be able to produce a play],” Sixth Former Drew Loughnane said. “We weren’t going to have a show because we couldn’t have an audience, and we weren’t going to be able to have people on the stage at the same time without their masks.”
The group was allowed to perform if they followed the social distancing protocols, but they felt that the masks would damage the story. Theater III* teacher Mr. Darren Hengst did not want the students to wear masks that would serve no purpose in the play.
“I’m not really interested in doing a show where we just add masks for no reason,” Mr. Hengst said. “I want masks to be a part of the world in the play.”
However, the class struggled to find a play that included masks for a narrative purpose.
Loughnane said, “We couldn’t really find a play that had a reason to wear masks. So that’s when we came up with the idea to write our own play.”
With a new process, the group turned what could have been a year of disappointment into one of fresh opportunities.
“This is something that I’ve wanted to do for a while,” Mr. Hengst said. “To keep trying to find specific shows for just ten or twelve people that highlight everyone and their strengths is really difficult. We have a great group of senior leaders that really pushed to write this play.”
The class utilized the longer blocks to create new strategies during their production.
“We hash out plotlines and characters every day,” Mr. Hengst said. “If we get stuck on something, we actually just improv the scene. That process really has helped them come up with new ideas and keep things fresh.”
The students have exercised teamwork to work towards their performance, which is approaching in just a few weeks. “It’s been a really collaborative process,” Sixth Former Trevor Pettibone said. “It’s not easy to write and produce an entire play, and our show date is in less than a month, so it’s good that we’re all working together. Obviously, some discord’s good, but there’s never been anyone who’s refused to play ball if the rest of the group thinks something is a good idea.”
As for the play itself, the final product will feel like a proper production.
“We’ve been working really hard,” Loughnane said. “We’ve been using music and lighting and other aspects of video and projection so we can get as close to a real play as possible.”
Since the school cannot gather for assemblies, the class has turned to virtual platforms for advertisement. Pettibone said, “We’ve made an Instagram account called Second String Production to promote our play. For the next few weeks, we’re going to post updates to garner some excitement. We think that digital outreach at this time is a really effective and safe way to get our message across.”
The Theater III* class has overcome adversity all year and is eager to perform.
MR. DARREN HENGST
“We’re going to have two shows, on May 12th and 13th,” Mr. Hengst said. “The boys are going to perform it live in Centennial Hall, and we’re going to stream it to the community as well, so there’ll be a way for everybody to watch.”
Friday releases worth it for The Falcon and the Winter Soldier
Conner Pinsk ’23
The Falcon and the Winter Soldier is action, teamwork, and violence. In other words, it is pure Marvel. Premiering March 19, The Falcon and the Winter Soldier takes place just six months after half of the world returned from The Blip in Avengers: Endgame.
We follow Bucky Barnes (The Winter Soldier) and Sam Wilson (Falcon) as they fight those who get in their way in pursuit of stopping a terrorist organization. Not only do they fight others, but the tension between the two characters can make the show quite funny.
Along with Sam (Anthony Mackie) and Bucky (Sebastian Stan), we meet a new character named John Walker, who has taken the mantle of Captain America after Steve Rogers’ death in Avengers: Endgame. While the character is not particularly lovable, the actor who plays him, Wyatt Russell, does a phenomenal job. There are subtle things that he does to personify his character, but when it all comes together, his acting is believable.
Before I began watching The Falcon and the Winter Soldier, I decided to rewatch Captain America: The Winter Soldier and Captain America: Civil War, two movies that give a lot of screen time to both Bucky and Sam. I wanted to remember what the characters were like before jumping in, and Disney+ has stayed true to the characters from the previous movies. Aside from the characters, the fighting scenes are just as good as those in the previous movies.
Contrasting the mystery and the confusion that surrounded WandaVision, The Falcon and the Winter Soldier is straightforward. It gives more screen time to Marvel characters that we all love. Similar to WandaVision, and most likely other Marvel TV shows coming soon, episodes of this show are only made available for people to watch once a week, with a new episode appearing every Friday.
While I was skeptical about this method of release with The Mandolorian and almost stopped watching WandaVision because of it, I have grown to appreciate these Friday releases. Not only does it let my anticipation grow, but it gives me more time to think about the episode as well.
The biggest issue with not only The Falcon and the Winter Soldier but WandaVision is that non-Marvel fans can’t just jump into these shows. If you haven’t seen all or most of the marvel movies that tie into the Marvel Cinematic Universe, then you will be completely lost when it comes to this storyline. That being said, I do not think that Marvel should make these shows more firsttime viewer-friendly because then the shows might not focus on the more important things. Still, I feel for those who would like to watch The Falcon and the Winter Soldier but haven’t seen the 20 or so films that comprise the MCU.
If you like Marvel, you will love this show. If you have never seen a Marvel production, this is not the way to try it. Only four of the six episodes of The Falcon and the Winter Soldier have been released as of this writing, but I have no doubt that the final episodes will close this excellent series nicely and put a stamp on another one of Marvel’s impressive creations.
Oscars Best Picture predictions
Matthew Schwartz ’21
Oscar statuette handed out on the night of the ceremony
One year after the shortest awards season in Oscar history, we have now experienced the other end of the spectrum, with the 2021 ceremony not occurring until Sunday, April 25. Unlike other award shows that have relied on hosts to entertain their viewers without any inperson audience, the Oscars are once again going forth with no host, with each category introduced by last year’s winner. Furthermore, the organizers of the event have already announced that they will not allow any virtual acceptance speeches and expect all nominees to be in attendance. A few of those nominees, eight, in particular, are hoping to hear their name called for the most significant award of the night: Best Picture.
Following are reviews of those eight films. If you want more riveting reviews be sure to follow @mainlinemoviereviews on Instagram.
MINIMAL SPOILERS AHEAD
The Father
As the most recent of all movies nominated this year, Florian Zeller’s directorial debut hasn’t had many opportunities to flaunt its incredibly rich and moving tale of a father (Anthony Hopkins) suffering from dementia who is cared for by his loving daughter (Olivia Coleman).
Those who have seen it are treated to a mind-bending story where each previous scene contradicts the next and you begin to question what has really happened and what is simply your mind filling in the purposeful gaps left by Zeller’s meticulous script. The result is an accurate portrayal of dementia and it certainly takes the viewer along for the ride.
However, having not seen Zeller’s play of the same name from which this movie was adapted, I couldn’t help but conceive that the impact on myself would have been greater in a theater. While I enjoyed and felt moved by how scenes were shot, remaining in one room during the entirety of the story and slowly seeing the scenery around me change, similar to what occurs in the movie, would have led to a more surreal experience than what I received from my screen, where the changing locations and camera angles removed me from going through the same mental gymnastics as were originally intended.
Second perhaps only to Ma Rainey’s Black Bottom, The Father’s two leads, Coleman and Hopkins bring their characters to life wonderfully. Specifically, Hopkins gives by far his best performance yet, no doubt aided by his personal experience with aging and beginning to question what role he has left to play in society. It remains to be seen who will walk away with Best Actor, but a late win on his home turf at the BAFTAs have kindled new momentum for Hopkins where he faces off against the favorite, Chadwick Boseman, for his performance in the previously mentioned Ma Rainey.
The Father surprised many with six nominations this year and looks to have chances in both Best Actor and Best Adapted Screenplay, but faces tough competition from fellow best picture nominee, Nomadland.
SONY PICTURES CLASSICS
Trial of the Chicago 7
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From the crafty mind of Aaron Sorkin and the backing of Netflix comes a politically savvy courtdrama that has as much to say about current society as it does about events that took place 53 years ago.
In typical Sorkin fashion, the dialogue here is extremely fast-paced, jumping both from character to character and idea to idea. Such a style would likely be too overwhelming without the likes of Eddie Redmayne, Sacha Baron Cohen, Joseph Gordon-Levitt, and Mark Rylance making up key parts of a skillful acting ensemble. The only time this becomes a problem is with the editing of the film, which features a lot of quick cuts and flashbacks that are confusing when trying to piece together where these moments fit in the whole story.
The plot itself will be a mixed bag for most. Much of the movie takes place inside of a courtroom that feels overdramatized and often cheesy, but I enjoyed the back and forth between the lawyers, witnesses, and judge. When the story is taken outside of the courthouse and into the streets of Chicago, there is a lot more action and excitement leaving not as much reliance on Sorkin’s script.
Before Trial, Sorkin has only directed one other film, so his inexperience and lack of specific style is noticeable when watching. There isn’t a concise method to the storytelling. It seems as if Sorkin himself wasn’t sure how to approach the subject from a visual standpoint.
In contempt of its shortcomings, the incredible performances, and solid writing make for a movie that certainly deserves its six Oscar nominations. Its best chance to win comes in the screenplay category where it must go head to head with Promising Young Woman. For Best Picture, it will face an uphill battle after Sorkin did not receive a nomination for Best Director, typically important criteria in order to win.
Judas and the Black Messiah
Contrary to popular thought, Judas and the Black Messiah has less to do with the Black Panther Party and more to do with the relationship between two of its most important members during the late 1960s.
Director Shaka King delivers a direct and focused screenplay that hits all the right notes in terms of action and drama. The plot itself is incredibly interesting and important for anyone curious about 20thcentury American politics and culture. It is filled with ups and downs that truly keep the audience on the edge of their seats. Instead of portraying characters as heroes and villains, which King could easily have fallen back upon, he instead paints a nuanced picture that gives insight into why events took place and the complicated feelings behind what occurred.
Bill O’Neill (Lakieth Stanfield) is a layered human caught between the FBI and his personal beliefs. Across the screen from him is the ever-talented Daniel Kaluuya as Fred Hampton, the leader of the national Black Panther Party. Kaluuya gives a powerful performance, showing a man who strongly believes in his cause and refuses to let the fear of death get in the way of progress.
While Stanfield and Kaluuya are spectacular in this film, it wasn’t until afterward that I learned the people they portray were 17 and 20 years old respectively. Using actors of the same age would have been even more compelling than it already was. Such a change would also better demonstrate the extremity of actions by the FBI during that time.
Judas and the Black Messiah had one of the largest surprises of all Oscar nominations when both Stanfield and Kaluuya were nominated for Best Supporting Actor even though Stanfield is clearly the lead actor in the film. Even still, Kaluuya has won every precursor to the Oscars and looks to finally win after losing out in 2018 when nominated for Get Out. Beyond the acting category, Judas is unlikely to win another award but should hold its head up high as one of the more important and timely films this year.
WARNER BROS. PICTURES
Another year and another attempt at Oscar glory for Netflix, which has churned out films during the pandemic in hopes of striking gold. This time it is acclaimed director David Fincher with an ode to one of the greatest movies in cinematic history. Mank follows the life of Herman J. Mankiewicz as he races, and struggles, to finish the script for the movie Citizen Kane.
The film captures Hollywood of the 1930s, weaving in Mankiewicz’s interactions with those who influenced his script, such as dinner parties at William Randolph Hearst’s (Charles Dance) private castle or Marion Davies (Amanda Seyfried), the rumored illegitimate daughter of Hearst. At the heart of it all is Mankiewicz himself (Gary Oldman), who oddly enough, is 20 years older than the real Mank was when writing the movie. The peculiarities don’t stop there as the writing itself is often smug and leads into a rather exaggerated performance by Oldman, especially compared to those around him, who seem much more rooted in reality.
Clocking in at thirteen minutes over two hours, the movie drags on for longer than it needs, leaving me oftentimes confused about why certain scenes are included and subsequently bored by the overall story.
The saving grace here is that Mank is a technical feat, much like the 1941 film it styles itself on. Black and white is often a risky choice for modern movies, but the choice brings this film together and helps cast a nostalgic look upon each moment. Flashbacks and editing in the style of Citizen Kane adds some much-needed excitement to my viewing experience.
Leading the field thanks to a whopping ten nominations, including Best Director, Actor, and Supporting Actress, Mank hopes to avoid the fate of technically savvy Netflix movies before it such as The Irishman and win at least one award, which it is likely to do in the production design category.
NETFLIX
Sound of Metal
Combining classic Oscar subject matter, like the story of an artist and one dealing with a disability, Sound of Metal is a look into what happens when a heavy-metal drummer is upended by the sudden loss of his hearing.
As would be expected based on the synopsis and title, sound is as much of a character in this film as any of its actors. The sound work conducted on this film is some of the best I’ve ever heard and allows the film to thrive by bringing the audience into Ruben’s life and allowing us to experience hearing loss. Scenes are performed where we, like Ruben, can’t interpret the characters who are speaking, and, just as Ruben’s ability to use sign language increases, so does our ability to understand those around him. The movie’s technical blend between the frustration of silence to the comfort of commotion parallels Ruben’s transition from agitation to acceptance and finally advancement.
The work of Riz Ahmed as Ruben and Paul Raci as his mentor, Joe, should be applauded. They both bring nuance to their roles, making them feel real and relatable even if they aren’t always communicating through voice. Ahmed’s unsettled visage gives insight into the deep pain being experienced by his character and gives weight to his performance. Raci has one speech later in the film discussing how being deaf is not a handicap and, as the son of deaf parents in real life, it is clear the personal depths from which he draws his feelings for that powerful moment.
Six nominations and an all-but-guaran-
teed win for Best Sound await Sound of Metal at this year’s Oscars. Along with that, they also have nominations for their two actors, original screenplay, and film editing. Notably, Riz Ahmed’s nomination is important as the first Muslim Best Actor nominee.
Though the movie is based on a somber topic, it handles itself beautifully and is more inspirational than anything else. It surely deserves its place as a top film out of everything released this year.
AMAZON STUDIOS
Promising Young Women
Subverting the expectations of the typical rape-revenge film, Emerald Fennell’s directorial debut, Promising Young Woman brings an original and contemporary perspective to one of Hollywood’s more forgotten genres.
Cassandra, played by Carey Mulligan, spends much of the film seeking revenge on men who take advantage of vulnerable women. Her actions stem from a traumatic experience with her friend during medical school that caused them both to drop out. Though her character has a fairly consistent mindset and goal, Mulligan brings depth and sensitivity to a role that might otherwise have been perceived as dry if not for her performance. Her co-star Bo Burnham sprinkles his comedy chops throughout the movie to endear himself to the audience and lull us into a sense of trust.
Fennell's decision to cast the men who hurt Cassandra as people who have previously engrained themselves in society as seemingly nice guys is a clever and effective turn of events. From Sam Richardson (Richard on VEEP), Christopher Mintz-Plasse (McLovin on Superbad), and Max Greenfield (Schmidt on New Girl), we as an audience are forced to reconsider our assumptions, pushing forward the film’s message.
None of these pieces would work without the pacing of editor Frédéric Thoraval and writing from Fennell. The action starts immediately and doesn’t let up. While the constant movement at times prevents scenes from truly resonating with the audience, it is all in service to set up a thrilling finale that is sure to be at odds with what many had expected or hoped to see.
Mulligan remains the slight favorite for
Best Actress, but similar to years past, the race is still a toss-up. For Best Picture, Promising Young Women has gained some lastminute hype due to a win at the BAFTAs, but it’s unlikely to be of any help against the other top contenders. This movie is expected to get some hardware in the Best Original Screenplay category. Finally, although she is unlikely to win, Fennell’s nomination for Best Director is a historic moment as the fifth woman ever nominated in the category along with her counterpart Chloé Zhao.
Minari
Personal story films have become a welcome addition to the Oscars in recent years. Lee Isaac Chung’s Minari fits that category perfectly: detailing his own childhood experience moving to a small town in Arkansas during the 1980s as one of few Korean families in the area.
It is a tender tale that certainly takes its time to engross itself with each character, connecting us to their motivations, desires, and personalities. The plot isn’t extreme. There’s no enormous overarching conflict or wide array of characters. For the majority of the film, we only interact with the same five members of a family, no more and no less.
In a chaotic year, many have found themselves reveling in the quiet of this film and appreciating its subtlety. To be honest, the ending left me a bit lacking inside. I was hoping for more of a conclusion or deeper exploration, but I can see where others have found a profound beauty in the story, even if I did not.
Building off a stream of recent successes, Steven Yeun once again shows off his versatility as the patriarch of the family. But, the real stars to me were eight-year-old Alan Kim and Yuh-Jung Youn as his grandmother. The unique bond their characters shared lent itself to blending comedy and drama to portray the struggle of adjusting to a new culture while holding onto heritage.
While this film won’t be for everyone, it is definitely worth watching. The assimilation of Yeun’s character into both Arkansas and his family provides interesting dynamics and heartfelt conversations.
After controversy at previous award
shows for being sequestered into solely the foreign-language category, Minari is nominated for Best Picture and has one of the best chances to win behind the front runner Nomadland. Steven Yeun’s nomination is historic as the first Asian-American to ever be nominated for Best Actor and his co-star Yuh-Jung Youn looks likely to win for Best Supporting Actress. In total, Minari enters the night with six nominations.
Nomadland
An unlikely frontrunner, Nomadland has ingrained itself as an unfiltered glimpse into the world of modern-day American nomads, uprooted by the Great Recession, who travel in packs across the West and live in vans.
Unlike the other movies nominated for
Best Picture, Nomadland is far from being about one person but is instead about an entire lifestyle.
SEARCHLIGHT PICTURES
Director Chloé Zhao masters the art of the meaningful pause during this film, which includes many moments of quiet. Sights and sounds are crucial pieces of the story, and Zhao gives time to reflect on how they build the larger environment.
The main character Fern, played patiently and thoughtfully by Francis McDormand, is simply a vehicle used to enter this haven for the nomads. Many of the characters featured prominently in the movie are not even true actors, but instead, real nomads that were a part of Jessica Bruder’s book, which served as Zhao’s inspiration. These interactions give an extreme sense of genuineness and their stories are easily the most interesting of everything that happens. Zhao makes these people feel like credible and experienced actors, especially when they have to work alongside one of the industry’s best in McDormand.
Outside of the real nomads, this film doesn’t have a lot of forward-moving plot. There are a few conflicts Fern faces, but with the movie focusing so much on her community, I didn’t feel as connected to these dilemmas when they arose.
Overall, this is an artistic film in every sense of the word. The cinematography is stunning, and the acting feels so real. If there was one movie I would predict to win Best Picture, it is Nomadland. Chloé Zhao is also up for three other awards: Best Adapted Screenplay, Best Film Editing, and finally, Best Director, where she is all but a lock. McDormand is nominated for Best Actress and has a real chance to win.Joshua Richards is nearly guaranteed to win for cinematography. Nomadland has a chance to clean up at the Oscars this year so even if it isn’t the most exciting film, I would have to recommend people watch while it’s still free on Hulu.
Though the theaters haven’t been open this year, films have still been coming out. I’m hopeful that this new era of releases directly to streaming services will allow people the opportunity to experience films they otherwise would not have.
For those interested in seeing how these films perform, don’t forget to tune in. April 25 at 8:00 p.m. EST on ABC.
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A rising Olivia Rodrigo solidifies drive in music, and the community
Christopher Schwarting '24
Haverford students have a strong connection to music. Whether it be center stage in a musical, in rehearsal with a choir, or jamming out with friends, music culture has always found its way into our community.
Despite the challenges of the COVID-19 pandemic, the world of music has continued to listen, and more importantly, produce, moving into 2021 with passion. With such a move comes the entrance of this year’s newest and most promising artists. That includes the rising singer Olivia Rodrigo.
For many, the name may not sound familiar. The Disney+ and Disney Channel actress found success in her pursuits on the television show, Bizaardvark, and the streamed series, High School Musical: The Musical: The Series.
However, with two new singles released, you will likely recognize her singing. Her debut independent from Disney, “Drivers License,” launched with widespread fanfare in January. Dominating Amazon, Apple Music, and Spotify charts, the song quickly cruised to the top of the Billboard Hot 100 and blew up in the world of TikTok.
“Drivers License,” most notably, has been noted for its sentimental theme and presentation.
Third Former Russell Yoh said, “I instantly liked the song, which I think is because of the emotional vibe it has. I’ve also always appreciated the gradual build that the instrumental of the song has from beginning to end.”
Composed of a slow ballad with a restrained vocal, Rodrigo’s song details the feeling of heartache, using her newly earned driver’s license as a symbol for a past relationship. Her vocals, amplified through a predominantly light keyboard instrumental, have resonated with a large audience.
“Her music really speaks to people through [the] lyrics, largely due to her fantastic storytelling,” Third Former Chase Nelson said.
This storytelling is evidenced through the narrative element that encompasses Rodrigo’s singing. Beginning with, “I got my driver’s license last week…,” she describes a story embodying her emotions. Her composition embodies its key emotion not only through its lyrics but through its rich and mixed vocals.
“‘Cause you were so excited for me to finally drive up to your house./ But today I drove through the suburbs, crying 'cause you weren’t around.”
Heartbreak is a subject rarely discussed by the traditional teenager, though that relatable quality proves important for its reception, even in spaces where such discourse is uncommon.
“Mostly Oliva Rodrigo’s music is [aimed] towards teenage problems such as heartache,” Third Former Chase Shatzman said. “However, adults can find hope and happiness within her songs as well.”
Building upon the success of her first song, Rodrigo released her second single, “Deja Vu.” Receiving a boosted public appearance, the song now joins “Drivers License” on the Billboard Hot 100 List.
Matching the lighter and emotional ambiance of her debut title, “Deja Vu,” continues her relatability through references to the television show Glee, the California coastline, ice cream, and Billy Joel. It builds upon her past works, too, adding a loosened vocal structure and sound.
“‘Deja Vu’ was surprising to me because of how different it sounded compared to her previous song,” Yoh said. “It made me excited to see what she creates next.”
And there is more to come from the now-well-established singer. The remainder of her album Sour, from which “Drivers License” and “Deja Vu” come, is expected to be released on May 21, 2021.
As anticipation builds for the reception of Rodrigo’s first completed debut album, many look on with excitement.
Shatzman said, “From her new music to her older music [with Disney], fans are ready to hear a new album.”
Many have added Rodrigo to their playlists, too.
“Although she doesn’t have many songs out yet, I do listen to Olivia’s music,” Yoh said.
While there is an overwhelmingly positive reception for Olivia Rodrigo’s music and the optimism for her future, some disagree with the hubbub surrounding her debut. Some suggest it lacks originality.
“I’ve heard ‘Drivers License’ a couple of times and I really don’t see why everyone loves it so much,” Third Former Jai Bonaparte said. “It’s kind of boring to me.”
CHASE NELSON ’24
DISNEY TELEVISION VIA FLICKR
Olivia Rodrigo on a red carpet for the D23 Expo
sports
A face off in a preseason scrimmage against Gilman School
Michael Bozzi ’21 adds leadership to lax program
JEFFREY YANG ‘22
Bowen Deng ’22
The clock hits 2:45 p.m. While most students are packing up, wiping down their desks, and heading home, Sixth Former Michael Bozzi remains seated, working on his homework or chatting with his friends to pass the 30-minute window. When 3:15 rolls around, Michael is off to the locker room to change into his lacrosse gear and grab his stick—the less time he spends in there, the sooner practice can get started. After warmup and position drills, the players continue into 4-on-4 drills and eventually move to work across the full field.
Having played lacrosse since Form I, Bozzi is no stranger to the dedication and work ethic required to succeed on the field. His time on the varsity lacrosse team during his first three high school years has given him valuable experience applicable not just during matches, but also during practices. As a senior captain, Bozzi strives to set an example for the younger players by giving it his all during practice, working with them to elevate their game.
“Giving 100 percent every single time on the field and showing the younger kids what it’s like to be on the Haverford lacrosse team is something that I think about every day,” Bozzi said. “Sometimes what the younger kids lack is just a little bit of confidence, and the senior captains alongside Coach Dawson try to build that up and hopefully push their game through the ceiling.”
In addition to his increased importance within the team, Bozzi’s playstyle caters to the team’s needs. As a midfielder, Bozzi adapts to both offense and defense.
“He’s a fast player,” Assistant Coach Mr. Jeremy Hart said. “Whether it’s dodging or defending guys, he plays angles really well and refuses to lose. If we need a short-stick defensive mid to go in, or if we need someone to do the nitty gritty, he’s someone who can do that.”
“If we ask him [Bozzi] to focus specifically on offense, he can score a lot of goals. If we ask him to focus on defense, he can be a great defensive player,” Head Coach Mr. Brendan Dawson said. “He’s selfless and does what the team needs and what the coaches ask of him.”
In Coach Dawson’s eyes, Bozzi’s selflessness makes him an exceptional leader and player. Still, Bozzi remains humble and is not worried about being a star.
“The ‘whatever it takes’ mentality means sacrificing something that the players individually want, and Michael has never hesitated to do that. He’s a guy who understands that it is a really important part of being a teammate and a captain,” Coach Dawson said.
In addition, he never gets complacent, maintaining a strong work ethic both on and off the field.
“He’s one of the most humble guys I know. He walks the walk and talks the talk,” Coach Hart said. “He has expectations of guys and doesn’t let himself not live up to the expectations he sets for others.”
Going into competitions, Bozzi keeps a calm mindset in contrast to the stereotypical, pumped-up pregame routine: “I don’t listen to any hyped-up music prior to the actual game. Instead, I stay calm and try not to get too much in my head. We always have a gameplan, and I know if we stick to that, we’re going to be in a good spot.”
It is clear that the midfielder has been— and will continue to be during his final year—a vital part to the lacrosse program, and this is reflected in the team’s current record.
After starting the season with a loss, the Fords have bounced back and won four games in a row.
They began Inter-Ac play with a 6-4 victory over Germantown Academy, getting their league schedule started on the right track. As of April 18, the team stands at 6-1.
Fords tennis performs, despite inconvieniences
Agustin Aliaga ’21
One of the hidden gems of Haverford athletics is its tennis team, which has been able to sustain success for a vast reign of Inter-Ac superiority, winning ten consecutive titles.
This year the team seeks to continue its success even with inconvenient restrictions in place. Among other things, the team has had to practice at Baldwin for two years now due to the presence of Virtue Village, the mobile classrooms that reside on the tennis courts.
However, team members recognize the sport’s unique ability to be played almost as normal regardless of this year’s health protocols.
Fifth Former Adamya Aggarwal said, “Luckily for us, not too much has changed in our practices and matches except for the required mask and the additional effort to stay socially distant.”
“We continue to practice social distancing, mask-wearing, and keeping a six-foot distance from one another during practice and matches,” Sixth Former Max Ferracci said. off to the usual and expected dominant start.
“The team has started off the season strong at 3-0,” said Sixth Form Captain Patrick Bottin. “All of our matches so far have been decisive wins.”
Perhaps a reason for the team’s record in a congested and irregular season is the coaching philosophy revolving around fitness.
“Physical fitness generates mental toughness needed to prevail in contested matches,” Head Coach Mr. Antonio Fink said. “Fitness has been the key to our success for more than a decade. Everybody knows how to play. Our focus is to develop endurance, core strength, and a quicker first step.”
His players tend to agree, and more importantly see these results.
“As Coach Fink always says, the reason we are always the most successful team of the Inter-Ac is because we are the fittest. If we can stay physically tough, we can stay mentally tough because we know we can outlast our opponents,” Aggarwal said.
“When we do fitness, it is preparing us for longer and more intense matches,” Ferracci said, “so in that final set, we can be the team that is more ready for the moment.”
Morale is even more important in a season where social interaction among the team is difficult to promote.
Aggarwal said, “At these matches, the team spirit is through the roof. When players are done [with] their matches, they don’t leave; they loudly cheer on their teammates who are still playing.”
While Coach Fink noted that there is not exactly a formal Inter-Ac title to compete for this year as of yet, the team is confident in its superiority.
“If our team continues to practices hard and work more than the other teams in the Inter-Ac,” Ferracci said, “I truly think we can win ourselves an eleventh straight Inter-Ac title.”
On April 13, the team played its first Inter-Ac game in almost two years. Fosnocht was a big factor in the 5-3 win over Germantown Academy, batting 2-for-3 with multiple tremendous plays in the field. Among his two big hits was a three-run home run in the sixth inning, providing the Fords with some breathing room to finish out the win.
“I just remember seeing the ball go over the fence and screaming a lot. I wasn’t really thinking that much. I basically sprinted around the bases to see my teammates at home. It was a really great feeling,” Fosnocht said. “I don’t hit a lot of home runs, so it was awesome to be able to help the team in a way that’s unusual for me.”
Following the Inter-Ac victory, Fosnocht is still hungry for more. For Fosnocht, the win against GA was just one of many big moments that is yet to come for the Diamond Fords.
“My main goal is to win the Inter-Ac,” Fosnocht said. “That’s a common goal that we all share. For me, my personal goals overlap with what we want to accomplish as a team. I’ll be the first one to admit that I’m not the most talented player on this team. I don’t need to be the guy to get four hits per game. I just need to know my role and do what I can do to help.”
Fosnocht’s teammates only see his positive impact. Sixth Former Grayson Walker, who has been playing with Fosnocht for years, knows exactly what Fosnocht brings to the table.
“He’s the leader of the outfield,” Walker said. “He’s someone who’s always there ready to grind and make his teammates better. Whether it’s before the game making sure he and his teammates get in a proper warm-up or getting focussed during the game, Benny is constantly dialed in and ready to go.”
As the season progresses, Fosnocht is someone to keep an eye on. Even if his impact does not show up on the stat sheet sometimes, Fosnocht’s impact is irreplaceable.
Fifth Former Will Ferris knows Fosnocht is always ready on game day.
“He’ll always keep our heads up and bring the energy,” Ferris said.
BEN FOSNOCHT ’21
Eric Genther ’21 hits vs. Germantown on April 13, 2021
JEFFREY YANG ’22
Ryan Reed ’22 pitches vs. Friends Central on March 16, 2021
TYLER ZIMMER ’21
Should fans be allowed at sporting events?
Kethan Kalra ’24
The last year has been incredibly hard for billions, tearing up the very foundations of society and sending the global economy into a downward spiral. The results have been catastrophic for those in the entertainment and food industry. Hundreds of thousands of loyal fans across the country are all asking the same question; what next? With vaccinations rolling out on a global front it seems that we could see full capacity very soon, with NFL Commissioner Roger Goodell stating, “We expect to have full stadiums in the upcoming season.”
Additionally, with the Major League Baseball season starting up, the Texas Rangers’ stadium season opener attracted 40,000 fans, a record high since early March of 2020.
Former Jack Cimino said, “I see nothing wrong with outdoor events if fans are vaccinated, socially distancing and outdoors with masks.”
On the contrary, Third Former Holden Smith expressed his concerns with unvaccinated people mixing in with vaccinated crowds.
“If everyone is vaccinated it would not be a problem, but if there are any unvaccinated people it would not work,” Smith said. However, both of them agreed that the situation should be taken on a week-to-week basis and social distancing and mask wearing is an essential part of limiting transmission.
