Fine Arts 

Dusty roads. Neon signs buzzing under the desert moon. A camera crew chasing wild cowboys through golden-hour light across an endless Texas horizon. For decades, Texas has been the backdrop for some of America’s most famous cinematic stories, from The Alamo and Giant to Dazed and Confused, Friday Night Lights, and No Country for Old Men. The State's landscapes have long reflected independence and the freedom of spirit in American life. But now, filmmakers and lawmakers alike are betting on something bigger: transforming Texas into what could be the next Hollywood. 

Historically, Texas served as a cinematic symbol rather than a production powerhouse. That’s changing.  According to The Hollywood Reporter, Taylor Sheridan, creator of “1883” and “Yellowstone,” is currently building a 450,000 square foot studio campus in Fort Worth’s AllianceTexas, in partnership with Hillwood, Paramount, and 101 studios. The new development includes workforce training programs with local colleges, designed to keep jobs and talent in state. Sheridan, who testified in favor of stronger incentives earlier this year, is one of many industry voices pushing to position Texas as a premier filming destination. 

That push appears to be working. The Texas Senate recently approved a plan to commit $2.5 billion over the next decade to boost film and TV production according to Houston 39. It’s a bold move that puts Texas in direct competition with film hubs like Georgia, which currently offers a 20-30% transferable tax credit and maintains one of the nation’s deepest crew bases (The Hollywood Reporter). California, meanwhile, has expanded its own incentive program to $750 million to keep productions from leaving the state (The New York Times). Yet, as costs and restrictions rise in Los Angeles, producers are continuing to look elsewhere.  As these states race to attract major studios, Texas is positioning itself as a serious contender in the competition for big-budget projects and industry talent. 

Producer Jack Giarraputo, co-founder of Happy Madison Productions with Adam Sandler, says the shift isn’t just about money, it's about stability. “Making movies is not only about creative decisions, it’s also about managing risk,” Giarraputo said in an email interview. “If a state has consistent incentives and clear rules, that gives us confidence we can actually budget correctly. Predictability is as important as the size of the incentive itself.” Giarraputo added that Texas’s landscapes and business friendly culture make it a “smarter” choice for certain projects than California. “Hollywood is practical,” he said. “If the infrastructure is there and incentives are competitive, studios follow the money. Georgia did it in less than a decade, Texas could do the same in five years or less.” 

Beyond studio expansions, there’s a growing desire among Texas filmmakers to revive the state’s indie roots. Richard Linklater’s Austin Film Society continues to support smaller projects, maintaining the spirit of the 1990s Austin film scene that gave popularity to Slacker and Dazed and Confused. Actress Merrilee McGehee, who played Pam Garrity in Friday Night Lights, said she’s eager to see that era return. “It’s really hard for an actor to be a working actor in Texas because there just aren’t enough jobs,” McGehee said in a recent Zoom interview. “But if the right incentives pass, I think Texas can absolutely become a hub again for larger productions. Lawmakers need to wrap their heads around the fact that people are leaving California,” she explains. “Texas is massive and diverse, you’ve got deserts, lush forests, oceans. Everything you need to make films is right here.”

Still, the race to become “the new Hollywood” isn’t just about money, it's about identity. Hollywood remains the symbol of American Cinema, but cracks are showing. The 2023 WGA (Writers Guild of America) and SAG (Screen Actors Guild) strikes temporarily halted production nationwide, including in Texas, just as the state’s new incentives were gaining momentum (The Guardian). Giarraputo and McGehee both emphasized the importance of keeping creative integrity alive during this economic shift. McGehee worries that major studio growth could drown out local stories. “Television right now is where the art is,” she said. “Movies are becoming more formulaic. We need to bring back those old, vintage indie films here in Texas again.”

Whether Texas truly becomes “the new Hollywood” is something only time will tell.  But for now, the signs are clear: Major investments, passionate artists, and a state ready to compete. With the Texas Moving Image Industry Incentive Program (TMIIIP) fueling productions through generous tax breaks, filmmakers are flocking south to bring their visions to life. The Lone Star State is staking its claim, not just as a cheaper alternative, but as the possible “next best thing” of American filmmaking. 

The purpose of a Reality TV show has always been to entertain. The genre gained popularity as a form of escapism, especially during times of economic or social stress, according to sociologist Danielle J. Lindemann. However, over the past few years, the rise of social media has affected the genuine motive of society’s beloved lifestyle shows. 

What was once about competition and storytelling, conveyed in shows such as “Survivor” and “American Idol,” now revolves around virality. Now, the success of a show is not only based on ratings, but also relies on hashtags, memes, and clips from the show that flood across social media platforms. The “Dancing With the Stars” show runner, Conrad Green, admitted in an interview with The New York Times “We’ve kind of hit this tipping point where now we feed TikTok, TikTok feeds back to us,” meaning “Dancing with the Stars” uses TikTok as a way to gain new viewers and to promote their show. However, these new audience members are no longer passive watchers, they are active participants influencing the show in real time. 

The cultural shift has also changed how audiences consume Reality TV. Watch parties at bars and restaurants, as seen with “Love Island USA,” now resemble sports events, complete with cheers, debates, and excessive online commentary. Fans obsess over these shows by dissecting every gesture of each contestant, creating fan clubs and entire communities on platforms such as Tiktok and X. As the 2025 contestants came home, after filming their season of Love Island, they were greeted on social media with a mix of overpowering idolization and excruciating hate pages, harassing every single decision they made. The New York Times notes about a specific relationship formed on the show, “Fans were divided. They read into body language, smirks, eye contact and passing comments to try to piece together whether Nic and Olandria got together out of convenience or their love was a genuine slow burn.” According to a Medium analysis, more than 90% of online TV discussions take place on social media, proving that digital engagement is now as important as viewership itself.

With contestants becoming social media influencers after the release of their shows, commentators are suggesting that contestants only go on TV to grow their own fame. Competitors create built-in fan bases, which are manipulating the scores in competitions. As blogger Lifebonder, Polly Cumming, noted, networks are increasingly casting social media stars who bring followers with them. For example, the upcoming season of “The Bachelorette” cast an already famous reality TV star, Taylor Frankie Paul. As well, despite “Dancing with the Stars”  typically being known for casting bygone celebrities, this season the show casted TikTok’s most adored influencer: Alix Earle. These contestants have an advantage, and “winning” becomes more about likeability and online clout than about the show’s actual challenges or performances.

The line between social media and Reality TV is now blurred, so when a "viral moment" secures a win over a flawless performance, are we celebrating genuine talent or just the right algorithm?

On a Tuesday afternoon in the choir room, the thrum of guitars and the steady beat of drums fill the air. Students huddle in circles, adjusting amps, flipping through music, and tuning their instruments. For many, Rock Band at St. Andrew’s isn't just another fine art. It's a stage, a creative outlet, and for some, the highlight of their high school experience. 

Unlike traditional music classes, Rock Band is built on collaboration and experimentation. Each semester, students are grouped into bands through a process that’s part survey and part Mr. Ed Jarusinsky’s intuition. They don’t always know each other at first, but over weeks of rehearsal, they grow into something that feels like a family. “It started with a Google Form," senior Bo Aycock explained. “Over the summer, Mr. J sent us questions about instruments, singing, our music taste, top 20 songs, even our favorite concerts. He took those answers and created the bands. If there were issues, he gave us space to work them out,” Aycock, who is one of two seniors in her band, emphasized the responsibility Rock Band requires. “A lot of it is practicing at home. It's accountability. If you don’t practice, it shows.” That independence is exactly what appeals to her. “I’ve always loved to sing and perform, but not in the formal way of a play or choir. Rock Band gives me more freedom and it’s fun!”

For senior drummer Kaylee Johnson, the experience of being placed into a group has been a lesson in trust. “We don't choose our bands, Mr. J does,” she explained. “But he asked us if we wanted to be with our siblings so I ended up in a group with mine. Everyone listens to each other and makes sure everyone is heard. Even if we weren't close before, we find chemistry through our songs.” Johnson described their process for choosing songs as democratic and flexible. “ We all suggest one, and then we do a little listen-through. Everyone's really open to trying new stuff and it's about learning together.” Johnson’s band’s current setlist includes Paramore's The Only Exception, Chappell Roan’s Pink Pony Club, and Beach Bunny’s Cloud 9. During practice even when someone misses a cue or loses the tempo the group keeps playing. “If there's a mistake we just keep going and support each other,” Johnson said. 

Rock Band isn't just about the music—it’s about the craft of performance. Students set up their own stages, run their warm-ups, and manage transitions between songs. Mr J provides guidance, but the students carry the weight of preparation. “You learn more from a loss than a win,” Mr. J  often reminds them. Before the practice show that I sat in on, he told the bands:  “Have fun, be supportive—we're going to learn something from everyone.” That supportive environment is one reason so many students rave about the class. 

 At a recent rehearsal, each band brought something different to the table. One group leaned into pop punk with a Paramore cover, anchored by Johnson’s powerful drumming, senior Julia Milikin’s guitar solo, specifically in their cover of Pink Pony Club, and Nina Urban’s strong vocals throughout each song. Another leaned fully into rock with fiery guitar riffs by senior Alonso Martinez and sophomore Lucas Yu, plus a wide vocal range by senior Allegra Pizzolatto in Heartbreaker by Pat Benatar. A younger group of musicians also took on the Strokes's Selfless and Paramore’s Still Into You, their gifted vocalist, sophomore Gracie Sexton leading the covers, with junior Belle Blaha on electric guitar, and her brother, sophomore Andrew on drums.

That variety reflects the personalities of the students as much as their skills. Aycock’s band for instance found common ground in early 2000s alternative rock. “We all love the Red Hot Chili Peppers, Third Eye Blind, The Killers,” she said. Their setlist, Semi-Charmed Life, Just Like Heaven, and Dreams showcases that nostalgic, high-energy vibe. 

For many, Rock Band has become one of the defining experiences of high school. “Yes, for sure, join Rock Band,” Johnson insisted. “You'd regret it if you didn't. It's such a cool high school experience.” No prior experience is  required, and students are quick to point out that growth comes naturally.  “My first year of Rock Band was my first year of drums,” Johnson told me. “You just learn as you go. Students who may have never picked up a guitar or sung into a microphone get the chance to experiment in a supportive space. The result is joyful and different, which is exactly what makes the bands fun to watch. 

For students on the fence about joining, Aycock has simple advice: “Come to our concerts.” The next show promises a mix of indie, pop, alternative, and classic rock, with something for everyone. The charm of these concerts is that students aren't trying to replicate the original songs. They're learning, experimenting, and discovering their own tune. As Mr. J put it after the rehearsal: “Whatever gets you in the best position for song one. That's what matters, then you just go there.” 

For the audience, it's more than just a concert. It's a glimpse into the exhilarating process of young musicians finding their rhythm together. 

Rock Band Performance Dates: 2025

Wednesday, September 17th. Workshop Concert during class.

Thursday, September 25th. Grandparents Day Performance during class.

Friday, October 24th. Homecoming Concert. Nazro Green. 5:00pm.

Wednesday, November 19th: St. Andrew’s Day Performance. Nazro Green. 11:15am.

Monday, December 8th: Winter Concert: 7:00pm. DFAC. Nazro Laboratory

2026

Monday, March 9th: Rock Concert!! 7:00pm. Nazro Laboratory. DFAC. 

April 9th-11th. ISAS Festival. St. Mark’s. Dallas, TX. 

Wednesday, April 15th: Spring Rock Concert. Nazro Laboratory. 8:00pm. 

Monday, April 27th. Project Alchemy Begins: When the seniors depart for their senior projects, the Rock Bands will reshuffle the deck and become Project Alchemy. We will create new bands, choose new songs, try new instruments, and perform for each other utilizing our talent and creativity to its fullest potential.

Thursday, May 14th: Project Alchemy Performance and Summative Experience: Ella Fitzgerald Music Building during class.

Austin City Limits 2025 has once again delivered an iconic line-up of artists that left fans making impossible decisions of which artist to choose. For each of the six days total of ACL, two headliners tore crowds in half, creating vastly different vibes for the infamous nights in Zilker Park. The question remains: what did these headliners offer? What stage should you have chosen? And how did these headliners make Austin City Limits the festival we all know and love?

It’s Friday night, the first day of the first weekend of ACL. As the setting sun poured over the festival, my friends and I knew that we only had to wait an hour or two for the first set of headliners. The energy of the festival was electric. 

Our choice was between folk music and upbeat country. Tonight, my friends and I would divide ourselves among Hozier and Luke Combs, a decision that felt impossible at the beginning of the day. 

Luke Combs is a North Carolina country singer. He has never released a single that didn’t top the Billboard country airplay charts. His songs range from sentimental to rowdy under the country genre, and I have a soft spot for country music. However, my interests were torn as Hozier,  an Irish singer-songwriter who has mastered folk, blues, and soul music, has been one of my favorites since middle school. The thing that ultimately influenced my decision to attend Hozier was the crowd. I knew that Hozier would attract a younger crowd that I would have more fun being a part of. 

Hozier was the kind of crowd where I could sing my heart out and not feel judged, because most people were super fans who knew every word and if they didn’t, the music moved them so much that they were swaying or hugging their friends. Junior in high school Sammy Cece said it perfectly, "I have seen Hozier live before, but this concert was especially fun. Everyone around me was having a blast and everyone knew the words."

Some of my friends, however, attended Luke Combs. When asked about her experience,  junior Gemma Attal replied that she "could not stop dancing, even though [she] barely knew any songs.” The crowd of Luke Combs sounded connected and fun, really encompassing the funky Austin energy that country music brings. 

Saturday, day two, was especially exciting, as every teenaged girl in a ten mile radius was anticipating Sabrina Carpenter’s set. Although I rarely listen to pop music on my own time, and many of my friends are the same way, we all decided to go to Sabrina just for the feel of the crowd. We knew that Sabrina’s set would be full of energy as all her songs are popular. We could just scream, sing and wear fun, colorful outfits, and everyone would be doing the same. 

Although the overwhelming majority of Austinites found themselves at Sabrina Carpenter, The Strokes managed to attract a certain group of people. As said by senior Enzo Hsu,  “There were lots of old people, but it was still a really vibrant crowd.” Despite Enzo feeling like he was in the minority of younger people at The Strokes, he still enthusiastically replied to my question of how the live performance made him feel by saying that, “It changed the trajectory of my life. I feel transformed now.” 

Sunday, in my humble opinion that also happens to be shared by everyone I’ve talked to, was the best day for headliners by a long shot. 

John Summit and The Killers was the real battle of the bands. John Summit is a DJ from Chicago who creates house music. He usually sticks to infamous clubs and more intimate settings. But at Austin City Limits, everyone who loves house music flocked to his stage. The Killers is more-so my type of music, a Las Vegas based band who create iconic alternative and indie rock. 

Many of my friends rushed to John Summit, enticed by the idea of a mosh-pit and an electric crowd, which was absolutely delivered. It is widely agreed on social media that Weekend 1 ACL was John Summit’s personal best set of all time, and potentially the best set of the weekend. When asked, junior Leah Jayne Emmett exclaimed, “I didn’t really know a lot about house music before his set, but it changed my view on house music forever!” She has now been converted into a house music listener. Watching the crowd leave John Summit at the end of the night, everyone looked excited and giddy, despite it being almost 10pm after a long day. He simply brings that vibe. As said by junior Zoey Kakridas, John Summit “gives the people what they want.”

However, I chose The Killers, and one of my friends joined me in making this impossible decision. Junior Annabel Cronin and I had the time of our lives, despite the slightly older crowd of mostly dads and grandpas. We both agreed that the concert topped all other concerts we had ever been to. Hearing “Mr Brightside” and “Read My Mind” live was a prime example of the way music can be therapeutic. The whole crowd sang with each other and connected over the music. I didn’t see more genuine smiles any other time during the weekend. The Killers have been on repeat since.

You really couldn’t go wrong on Sunday.

It wasn’t just headliners that caused me to make an impossible decision that day. On Sunday, Gigi Perez and Discolines had their sets at the same time. The two artists couldn’t have been more opposite. Gigi Perez offers introspective and emotionally charged indie pop, while Discolines has high-energy electronic music that you physically have to dance to. 

  Junior Gigi James attended Discolines, as her typical music taste revolves around house music. She commented that, “The set was insane, but the crowd was a little disappointing, especially compared to Sammy Virgi. They just weren’t very energetic.” 

I chose Gigi Perez, as she is in the top five of my favorite artists of all time. I absolutely had to see “At the Beach, in Every Life” and “Please Be Rude” live, or else I could never forgive myself, despite the pull of Discolines giving her some competition. 

Annabel Cronin raved about the set, “Gigi Perez was a really amazing experience because she connected with the crowd. It was one of the times I felt most connected to an artist the whole weekend,” she said. 

I couldn’t agree with her more. I recommend everyone to listen to Gigi Perez. My key takeaway from the weekend is to always go with your gut at Austin City Limits and really stick to your own music taste, not just what your friends want to see. These headliners gave each other a run for their money, but I couldn’t have been more satisfied with my choices, and I know the people I interviewed were more than happy with theirs. This Austin City Limits 2025 was a huge success!