Arts and Entertainment

By Angela Gin

On January 16th,  fans of indie music around the world rejoiced as popular indie artist Mitski officially announced the release date of her new album, “Nothing’s About to Happen to Me, ” after teasing the arrival with the release of her new single, “Where’s My Phone?” 

The eighth addition to Mitski’s discography came out on February 27th, with mainly positive reviews from critics and fans. In its first week since being released, the album has gotten over 37 million streams on Spotify. But it poses the question: does her new album live up to all the hype it’s received? 

After listening to the teaser song, I figured the album would have a similar vibe to her earlier albums “Bury Me At Makeout Creek” and “Puberty 2,” because of the rock music in the background. But when the entire album was released, I found it to feature more country than rock, making it more like her previous album, “The Land Is Inhospitable And So Are We.”

Despite the fact that it’s a lot less fast paced and discordant than her other albums, it still maintains many of Mitski’s stylistic and musical trademarks. Many songs feature overlapping discordant sounds and notes that compliments the chaotic overlap of emotions in the lyrics. All the tracks have her signature melancholy, ranging from pure chaos like “Where’s My Phone?” to deceivingly upbeat like “Rules.” 

Alternating between country and rock each song, the album centers around themes of death, lack of agency, and inadequacy in a relationship. For example, “Dead Women” references renowned 20th century author Virginia Woolf’s suicide by drowning. Essentially, the album focuses on the end, whether it’s the end of a relationship, regretting the end of an era, or the end of life. 

Ultimately, while I do like Mitski and many of her other albums, this one isn’t my favorite. I did like a couple of songs, specifically. However, I didn’t enjoy the country vibe overall. I wouldn’t go so far as calling it a bad album, it’s just very country, which isn’t a new change in Mitski’s music. She’s been slowly leaning more and more into country with each album, beginning with her 2022 album “Laurel Hell” and continuing on through the albums after that.Newer Mitski fans will appreciate this album, however, fans who prefer her original sound might have mixed feelings about the album.

 “Nothing’s About to Happen to Me” is one of Mitski’s weaker albums, however, I would recommend it to others. I feel like country music enjoyers will appreciate this album and add it to their library. 

By Abigail Park

Known for fried potato puffs and chicken sandwiches, a new Grégoire location opened in San Francisco and the exquisitely flavorful menu is definitely worth a try–just not worth a revisit.

Grégoire has been a Berkeley staple since June 26th, 2002, located on 2109 Cedar St., Berkeley. On January 16th, 2026, fine-dining trained chef and owner Grégoire Jacquet debuted his new Grégoire restaurant location in the inner Sunset district of San Francisco. 

Located on 1300 9th Ave., San Francisco’s Grégoire offers a variety of French-inspired takeout ranging from salmon gravlax sandwiches to mushroom garlic and quiche salads and popular potato puffs. Many people enjoy the takeout cuisine proven by the many awards Jacquet has won, including best take-out food in the East Bay by “East Bay Express.”

Entering the restaurant, the white tiles and orange decor brightened my mood and the quick access to their bathroom checked off my initial expectations. 

After a long 25 minutes of hungry waiting, I sat in their indoor window side tables which viewed 9th Ave. and Irving and taste-tested the most popular and intriguing items–the fried cauliflower wrap for $13.25 and potato puffs for $8.85. Was the long wait and the $23 worth it?

The angular cut fried cauliflower wrap consisted of slightly salted and tempura-fried golden-brown cauliflower, sweet orange Moroccan carrot shavings decorated with aromatic grilled lavash raisins, and a vibrant bunch of lettuce shreds wrapped in a thin and light tortilla. From being ever so slightly sweet and salty, the lightness of the wrap fell snugly into my stomach as the crunch of the lettuce mixed perfectly with the softness of the cauliflower. 

The lightness of the wrap balanced well with the fried potato puffs. The nine slightly golden, slightly brown spheres wrapped around a container filled with light orange, spicy mayonnaise sauce. When biting into the potato puffs, the initial crunch was complemented by the soft, steaming white mashed-potato-like inner mush. The spiciness of the mayonnaise sauce juxtaposed the oily and dense potato nicely.

The surprise of the pleasant taste and lightness of the meal outweighs the long wait for the food. Considering the high price for the French-inspired takeout, Grégoire is not a restaurant I would come back to regularly. For an occasional visit? Definitely a go-to.

Under Jacquet’s refined culinary expertise, Grégoire is definitely worth trying due to the detailed balance of sweet and savory, and light and heavy. In the end, a visit back may have to be rethought–the long wait and high price are not always worth the gamble–but Grégoire still deserves a taste.

By Ella Lau

A new restaurant called “La Linda” has recently had its grand opening so I decided to go to the restaurant and see what it is all about. So far, the restaurant has built itself a reputation of having an incredibly welcoming atmosphere and delicious food. They serve a mix of New Mexican cuisine and cafe staples. The restaurant sits on the cross section of Taraval Street and 33rd Avenue, meaning it is right next to the L-taraval stop.

The restaurant has a rating of 4.7 on Yelp and a rating of 4.9 on Google, with 19 reviews and 17 reviews respectively. Based on my experience going to La Linda I'd have to agree that the restaurant is wonderful and definitely worth the visit.

I went with my mother for brunch. For drinks, we ordered a macchiato, and the strawberry besos smoothie. For our main dishes we ordered the chicken pesto sandwich, the breakfast burrito and a plate for corn ribs. For dessert we ordered Linda’s churro bowl.

We ordered the six ounce macchiato for six dollars. The macchiato was smooth and the taste was appropriately bitter, but I didn’t find it to be too remarkable. 

The strawberry besos smoothie was my favorite of the two drinks. It was 11 dollars. The consistency of the smoothie was absolutely perfect, the flavor was nice and light, and it had the perfect balance of sweetness. I highly recommend the strawberry besos smoothie. 

We had a delicious chicken pesto sandwich for 19 dollars and 50 cents. The chicken pesto sandwich was the weakest in terms of presentation in my opinion, since the other meals were presented in such an appealing and appetizing way that the presentation for the chicken pesto seemed mediocre. The chicken pesto sandwich was presented with a small salad on the side and was cut in half. However, it absolutely made up for it with its taste, as it was incredibly rich and refreshing. It was still filling without being heavy in your gut. 

If you’re looking for a hearty meal, the breakfast burrito is sure to satisfy your craving. The burrito costs 20 dollars. The presentation is indulgent and lavish, bathed in beans and topped with a mix of lettuce, tomato, and sour cream. It’s loaded with flavor and was definitely my favorite of the meals that I tried. 

To share, we ordered corn ribs for 13 dollars, however the price has since been increased to 15 dollars. I love corn so it was no surprise I loved this dish. They grill the corn and top it with chipotle aioli, queso fresco, cilantro, lemon, and aleppo pepper. The chipotle aioli and corn ribs make for such a nice combination of flavor, being savory with just a hint of sweetness. 

If you’re looking to satisfy your sweet tooth then I would recommend Linda’s churro bowl, which was 14 dollars. The dessert is a churro bowl coated with sugar and ground cinnamon, with a scoop of ice cream in the middle and topped with strawberries and nutella drizzle. This dessert was absolutely perfect. The churro bowl wasn’t too soggy from the ice cream and it was still soft and fluffy. The ice cream was wonderful and mixed with the strawberries. It was nice and sweet without overwhelming my taste buds. 

The atmosphere in the restaurant was also very welcoming and warm. It has large, near floor to ceiling windows that let in tons of sunlight. It’s appropriately decorated, without feeling too under or overwhelming. There was also outdoor seating for people who like a nice breeze while they eat. 

When it comes to pricing I thought it was pretty fair. The pricing for the food was similar to other cafes I've been to in the area, and maybe slightly better.

Overall I absolutely loved “La Linda” and highly recommend you go and try something to eat. I can’t wait to visit it on my weekends for a lovely brunch. It was tasty food with a nice atmosphere and a convenient location. 

By Kevine Liang

Only after a six month wait, winter turns to spring, and fashion houses prepare for the cold once again. 

While runway shows of Autumn/Winter 2026 prepare for the upcoming winter cycle, I have my favorites from the repulsive couture of Matières Fécales, to the nostalgic diaspora of Tolu Coker and the Monet obsession of Jonathan Anderson at Dior. These three designer’s understanding of culture and the social commentary in their designs leave a lasting impression. 

Matières Fécales, or Fecal Matter, is a Parisian label that debuted last year in Paris fashion week. Founded by Hannah Rose Dalton and Steven Raj Bhaskaran, they refine glamour with the extreme that underlines the unspoken truths about our classist society in their Autumn/Winter 2026 show titled “The One Percent.”

I thoroughly enjoyed how Dalton and Bhaskaran drew a fine line between borderline grotesque imagery and intrigue. Archetypes of the rich prance around with Mr. Monopoly suits and pleated tulle skirts, eyes blinded by dollar bills, necks are wrapped with pearls shaped into pentagrams, and mouths are gagged BDSM style by pearls. Funeral veiled cartwheel hats—wide brimmed with a shallow crown—conceal plastic faces scarred beyond recognition.

Screams of red, red bottoms, red teeth, red lips, and red stained hands flood the show as one of the only vivid colors that appear, a color that represents passion for wealth but also the price of pain that follows. 

Model’s walk with a strange poise, an unsettling taunting tone appears in the way they smirk, peer around, and wave their fingers. A true billionaire representing immortals, Bryan Johnson, who transfuses his son’s blood into him in hopes of extending his life and spends two million dollars annually on a goal to not die, walks down the runway not for admiration but out of ironic repentance. 

Only when a cult appears to perform their ritual in black cloaks and Alexander-McQueen-inspired red hair devil horns on partially shaved heads, their transcendence is complete.

 Their new features resemble beings out of this world, wide black pupils, silver feathers, elongated heads, Elizabethan gowns, sharp claws, and prosthetic boots where the heel is an extension of the foot (yes, in the shape of human feet), but humans they are no more. Immortality has become power. The ability to control time and body to shed humanity that the one percent strives for paramounts the power of money. 

I believe that a fascinating fashion show brings a concrete political stance and their message was clear: they won’t stand to be complicit. The mention of the “one percent” from Dalton and Bhaskaran dates back to 2017 on Instagram, when they created the “ End White Supremacy” bag that shedded light on the truth about minority exploitation within the fashion industry.

In Matières Fécales’ show notes, they said “Power affects us all. Whether it’s the corruption of power by those who lead us or the lack of power from those who seek it. We all have a relationship with it and that’s ultimately what this collection is about.”

At London fashion week, Tolu Coker, a British-Nigerian designer guided us through her inspiration from the grief of wanting to escape the places that embraced her, which made her hold tighter to her heritage in her Autumn/Winter 2026 show titled "Survivor's Remorse.”

This collection was unapologetically Nigerian and British: bright oranges and vibrant pinks and blues are tartan printed. Puffed sleeves and ties sit on sculpted satin peplum bustiers, the created flounce of the short flared fabric is reminiscent of school uniforms.  

The pleated folds dropping off of the corsetry rejuvenate the look of the 60s, while paired with extended triangular collars and patterned bowler hats given a new look of higher dome crown, and layered curved upturned brim. I always love a unique hat and Coker does just that. 

In this collection, Coker wanted to create an homage to the immigrants and the working-class of Britain that continue living without recognition. King Charles III’s attendance of the show signaled that Black designers, Black rappers, and Black people are able to occupy the same space as a monarchy that has been historically anti-black with their ties to the transatlantic slave trade and imperialism. 

Coker mimicked the neighborhood of her childhood, the Mozart Estate in West London, where the murals of Black portraiture and the comforting neglect of working-class neighborhoods that once nurtured her. 

“To the cage we played in, laughed in, learned in. It is a love letter to our inner children and to those we have loved and lost. Proof that grief and joy can exist in the same breath, and that community is qualitative wealth money cannot buy,” says Coker in an interview with Perfect Magazine. 

The show was her remorse and her amends. 

Jonathan Anderson recognizes the beauty in a departed city as he takes the Jardin des Tuileries in Paris for the set of “Sun King” for Dior’s Autumn/Winter 2026. Anderson tailors Dior’s identity of hyperfeminine look, bar jackets, and cinched waists with an emphasis on reinvention on its heavy past. 

The invitations for the show were mini green Sénat seats, steel chairs with gently curved slats, that have filled the Tuileries since 1923 and serve as a place for reflection and intimacy. Ideas that are reflected in French impressionist Claude Monet’s “Water Lillies”, serves as an inspiration for this collection. 

I admit I’m impressed by the muted pastels of green, brown, and pink make up peplum bodices that are paired with voluminous polka dot ruffles that trail down from the end into a tail. The illusion of cinched waists are accentuated with wool cardigans and silk embroidered coats. The deep V-collar with blooming skirts that resembles much of the flowers that have been long time inspirations of Dior, but not water lilies. 

The artificial water lilies that fill the hexagon pond at Tuileries  symbolize beauty, rebirth, and creation. These symbolisms are attached to the ornate accessories created for the show as water lily brooches, water lily heels, water lily rings, and elongated water lily ear cuffs subtly add to the subtle elegant charm of the show.

Unlike Anderson’s previous shows at Loewe, where he was known for his turning conceptual designs from everyday objects into clothes,“Sun King” was more wearable. Even as the show was inspired by the 18th century aristocracy, the poetic theatrics redefined aristocracy as a form of self expression rather than inheritance, giving more access to the public rather than restraining it for the higher class. 

Anderson has created a peaceful sanctuary at Dior, it’s soft and cheerful on the eyes. The flow of the garments allows the women to breathe with intimate ease and femininity, and gives a new beginning of an era. 

By Orin Yu

The TV series “Percy Jackson and the Olympians” first premiered in 2023, bringing Rick Riordan’s beloved book series to the screen. The original novel, “The Lightning Thief,” was released in 2005 and served as the basis for the show’s first season. Season two released in 2025, and adapts the second book in the series, “The Sea of Monsters,” published in 2006. The Percy Jackson universe itself spans more than 15 interconnected books. The first five books, which the show is adapted from, follow teenage demigod Percy Jackson, as he adventures into the world of Greek Gods, going on quests and facing all manner of foes. The book series has attracted an enormous fan base over the years, and with such a long time since the original publishing, fans have developed high expectations for adaptations.

When I watched season one, I was disappointed. Part of that came from the casting not matching what I had always imagined while reading the books. I had a vision of what characters would look like when brought to the screen, and almost all of the cast was off in some way. 

Another reason was something that happens with almost every book adaptation; the exclusion of some of my favorite scenes. 

Because of that, I went into season two with low expectations. It may just be that I’m a pessimist, but I don’t think any adaptation could perfectly capture the literary genius that Rick Riordan created in his books. 

In season two, each episode is named after an important chapter from the book, which initially makes it seem like the show would stay faithful to the source material. However, several memorable moments are either removed or changed in ways that feel unnecessary.

One of the most noticeable examples appears immediately in episode one, titled “I Play Dodgeball With Cannibals.” In the book, the dodgeball fight with the Laistrygonian giants–essentially just giants–is a chaotic and memorable opening scene where Percy is struggling to fit into normal school life, but a group of giants crash his PE class. But in the show that scene is missing completely. 

As a fan of the books, I was disappointed to not see George and Martha. The two snakes that intertwine Hermes’ winged staff are completely missing when we see Hermes in the show. They aren’t largely relevant to the plot of the book, but their banter is incredibly memorable and hilarious. They are some of my favorite side characters in the books. I think their exclusion is a disservice to people who have not read the books. 

Some characters are also portrayed differently than in the books. Clarisse, for example, is depicted in the show as a more sympathetic and emotionally conflicted character who is trying to live up to her father Ares’s expectations. In order to do so, she takes on a quest to find a cure for Thalia’s Tree, a tree that protects the camp from monsters, which has been poisoned. In the book, however, Clarisse is much more aggressive and confident, taking on the quest mainly because she wants glory and recognition from Ares. While this is not a bad change, it just seems unnecessary. In the books Clarisse is more of an enemy, and as a reader you dislike Clarisse. The change in the show makes you sympathize with her more, which I feel takes away from the depth of the cast in the story. 

Another major change involves the Golden Fleece and Thalia’s Tree. In the book, the quest is mainly about saving Thalia’s tree and protecting Camp Half-Blood. The characters do not realize that the fleece could actually bring Thalia herself back to life. That reveal is a huge surprise at the end of the story. The show reveals this possibility much earlier, which removes the shock of the moment and ruins the amazing reveal that the book has. 

Beyond story changes, the show also struggles at times with production elements. Some props and CGI look noticeably artificial, such as the chariots, which appear overly plastic. The fight choreography also feels weak in several scenes, sometimes looking more like staged role-playing than intense battles.

There are also smaller details that longtime readers might notice. For example, the show’s version of Poseidon is very different from the relaxed, surfer-dude that appears in the books. In the books, Poseidon appears with a laid back, beach-goer look, rocking a Hawaiian shirt, shorts and flip-flops. In the show, however, he appears in a suit and looks very serious, which is a change that I just don’t understand. 

Overall, “Percy Jackson and the Olympians” season two is still an enjoyable show. In fact it is a great improvement over season one. However, as an adaptation of “The Sea of Monsters,” it changes or removes enough moments that it may disappoint longtime fans of the books. If you are simply looking for an entertaining fantasy show, it’s a fun watch. But if you want the full “Percy Jackson” story as it was originally told, the books are still the best way to experience it.

By Sylvia Liu

I walked into Goldenette, a new American diner that sells breakfast, lunch, and dinner. It opened on February 16th on Polk St., and you can get there by the 48 and 49 buses and the L train. 

When walking in, you're hit with the smell of coffee and beef, along with the sound of modern music. The atmosphere is warm, and it reminded me of a vintage bathroom, with shiny tiles all over. You’re greeted with pink, white, and gold-themed furniture and white tiled floors, along with mirrors on the walls.

Goldenette has limited staff, but they still provide fast service, check in mid-meal, and are overall friendly.  

With good-quality service, they offer four flavors of milkshakes: chocolate, strawberry, golden banana, and Vietnamese coffee; each is seven dollars. Their milkshakes are freshly made for each order and are creamy but not too sweet. 

However, I ordered the strawberry milkshake, and the strawberry flavor was faint. The strawberry flavor is only noticeable when drunk slowly. 

Their most-ordered food item is the Goldenette Melt, a sandwich with two smash burgers, caramelized onion, and Russian dressing on rye and Reyes toma. On the side, there’s either tater tots or fries. It comes in a pink dinner plate, and a side of ketchup in a white sauce cup.

The taste of the melt is disappointing, with the beef overpowering most other flavors. When you are able to taste other flavors, the caramelized onions are sweet and add a nice touch, and the dressing is savory with a hint of acid, but most of the time, they’re overshadowed by the beef. The tater tots and fries are perfectly crispy and golden brown, yet soft on the inside, but you're not given many of them.

Their salads are filled with romaine lettuce and have plenty of different toppings, but they're not worth 17 dollars; most of the salad is romaine lettuce.

Their drinks range from four dollars for carbonated water or soda to 14 dollars for a mimosa. Their most popular drink is Vietnamese coffee, which costs seven dollars.

The average price per meal is 20 to 30 dollars, and while the quality of the food is good, the price isn't worth it. The aftertaste of the melt tastes like an In-N-Out burger, so you're better off going to In-N-Out and buying from them if you’re craving a milkshake, melt, or a burger. Plus, it’s more affordable to go to In-N-Out than Goldenette. 

Goldenette has a beautiful atmosphere that's warm and welcoming and serves good-quality food, but high schoolers are better off going somewhere else to eat.

By Sophie Ng

Formerly the tenth member of the 12-piece South Korean girl group LOONA, Chuu began her solo music endeavors in late 2023. Admittedly, I hadn’t been keeping up with her work as much as the other former LOONA members. During her time in LOONA, Chuu had served as the bright, energetic member. Chuu’s retained her vibrancy in her solo music for the most part.. Despite this, her musical identity has always felt a little flimsy. I’d enjoyed her discography, but none of her songs really stuck with me, so I was excited to hear her plans for a studio album. 

Released January 7th, “XO, My Cyberlove” serves some of Chuu’s best songs while also serving some of her worst;some tracks absolutely changed my life, while others feel more like dull filler.. 

The lead single of the same name, “XO, My Cyberlove” opens the album with a dreamy synth-pop melody, telling the story of unrequited love from the perspective of an AI chatbot. I found this topic especially interesting coming from a K-pop artist; the industry is all too familiar with parasocial relationships. However, “XO, My Cyberlove” plays it safe as the title. Despite tackling a difficult topic, the song is easy-listening and laidback, which is a bit of a letdown. Unfortunately, “XO, My Cyberlove” misses the mark as the lead single. 

“Canary” takes on a more melancholy sound— with a dark pop ballad, Chuu reminds us she can sing. Her voice is emotional and clear here, easily making the song one of her best. She draws inspiration from the phrase “canary in the coal mine” to chronicle the message of unconditional love and devotion; in the past, coal miners would bring small yellow birds with them to help detect toxic gases. I’d love to hear more of this sound from her. 

Throughout her career, Chuu has kept up a more wholesome image. While she hasn’t completely shed this reputation, the third track, “Cocktail Dress” boasts a more mature and refined side of the 1999-born singer with an indie-alternative pop sound. Chuu’s lower register is insanely gorgeous, and I’m amazed she hasn’t showcased it as extensively before. I feel that “Cocktail Dress” would’ve made an incredible lead single; it’s bubbly while also having its own distinctive sensual sound. 

The fourth track, “Limoncello” feels a little lackluster—it is by no means a bad song, but after an insane three-track run, I was a bit let down. It’s a fun, light, and dancey Afrobeat-inspired track. However, nothing quite stands out about the melody or lyrics. I wouldn’t skip it if it came up on shuffle, but I wouldn’t go out of my way to listen to it. 

Diverging from the mellow and laidback sound of previous tracks, “Teeny Tiny Heart” takes us back to LOONA-era Chuu—lively, jazzy, and playful. It’s another easy-listening song, but unlike the title track, “XO, My Cyberlove,” stands out more with its distinctive melody and catchy chorus. “Teeny Tiny Heart” was a great addition to the album and balanced out the “old” and “new” Chuu sound in this album.

The sixth track, “Love Potion,” once again highlights Chuu’s lower register. Like “Limoncello,” the song has Afrobeats influences, something every K-pop artist seems to be taking on recently. While her voice sounds gorgeous, the song itself does not offer anything unique; it lacks the stand-out quality the earlier tracks have. Again, “Love Potion” isn’t a terrible song; it’s just okay.

Chuu redeems herself with the next track, “Heart Tea Bag.” This track is another one of my favorites; I love alternative R&B and I love Chuu’s voice. Her tone is smooth and suits the sweet and easygoing sound. Unlike “XO, My Cyberlove,” “Heart Tea Bag” delivers the cool, mellow sound more artfully.  This is another one of my favorites from the album; I think Chuu could find success if she continues with this sound.

“Hide & Seek” leans back into Chuu’s vibrant and cheerful music style. However, this track lacks the same charm as its sister, “Teeny Tiny Heart.” The melody is reminiscent of the 2017 K-pop era, but in the nugu girl group way. The album really could’ve done without this track; “Hide & Seek” doesn’t show anything we haven’t seen before from Chuu. 

Closing off the album, “Loving You!” maintains the smiley “Chuu-like” quality while simultaneously providing a sense of closure. She really serves up YENA vibes with the hyperpop melody and vibrant lyrics. The song’s synths draw back to Chuu’s original “cyberlove” theme, wrapping up the album’s story well.

Overall, “XO, My Cyberlove” fails to completely solidify Chuu’s musical identity, but it does create a promising start for her future endeavors. The album does have its standout moments at the start—“Cocktail Dress” has been on my top songs weekly since my first listen, but starts to flip-flop as the album goes on. I look forward to seeing what direction Chuu takes in her next releases.

By Zoe Hong

On February 20th, Sara Falls, Lincoln's AP Literature and Composition teacher, walked onto the stage of the Little Theater packed with families, classmates, and teachers to announce the opening of the annual Hamlet showcase complete with fist fights, corporate break downs, and brooding monologues. 

Each year, Falls’ AP Literature and Composition and European Literature students are tasked with performing a scene from Hamlet to demonstrate their understanding and provide their analysis of the text. As students came and went off stage, the amount of practice they put in showed as different groups performed their unique scenes. 

However, this year, the preparation for opening night hit a roadblock when the teacher strike started the Monday before the show, pushing the performance from February 13th to February 20th. With a week of no practice, students rushed to re-rehearse lines before the Little Theater doors opened.

Alisa Kryan, one of the students who played Hamlet, estimates she spent four hours a week outside of class to memorize her lines.

 “I was worried I was going to forget my lines,” admitted Kryan, “But, when quizzed, it was like muscle memory because I had practiced so much.”
For Falls, performing Hamlet rather than reading the play forces students to make their own interpretative choices, allowing them to understand the play as it was meant to be seen and performed. For example, students decide how to portray Ophelia's grief and if Hamlet knows he's being spied on. After reading the play initially, students participate in a “casting call,” submitting their top two characters and scenes along with their vision for the role before Falls makes the final decision. Practice then begins with students rehearsing in class, in the mornings, and during lunch. 

"The Ophelia in my first period was hotly desired," Falls said. "I had to look at several people who wanted to play her and decide who had the most interesting vision."

One such interpretation was from the group “The Influencers,” directed by Ian Stewart, which portrayed Ophelia as an influencer in a streaming company.
“Being at a streaming company would give Ophelia the opportunity to broadcast her feelings of grief to the world… [rather] than what was possible in the original play,” adds Stewart “We thought this was a cool twist.”

Falls initially took over the Hamlet showcase in 2017 after the previous AP Literature and Composition teacher, Daniel Kim, retired to start his own school. After watching his class perform in the Hino Gardens, she was inspired and worked hard to fill Kim's big shoes and put on her first showcase to a similar audience of students, teachers, and families the following year. Eight years later, Falls still has her students perform the Hamlet showcase for extra credit. 

“I try to emphasize that this is a little bit about proving to me that you're a good reader,” she says. 

When the lights dimmed Friday evening, the group “The Gravestones” walked on stage to perform Act Five, Scene One. Directed by Kyra Cheung, the performance started with Kevine Liang and Mika Buckwald as gravediggers tossing bones out of a coffin, causing the audience to laugh. Kryan then bursted onto the stage, soon joined by Jaydon Zhang as Claudius, Julian Laberinto as Laertes, and Anabella Ramirez as Queen Gertrude as Kyran and Laberinto broke into a fist fight while the rest of the cast struggled to hold them back.

“Ghostly Ghouls,” directed by Ella Taraborelli, transformed the stage with paper trees taped across the set, creating an eerie atmosphere for the ghost of King Hamlet, portrayed by Raquel Chim, to haunt Hamlet, portrayed by Jane Regnier. 

In “Get Thee To A Comedy,” director Bella Speckhard set her cast in 2008, giving Hamlet, portrayed by Kara Gibbons, Uggs and a side part while he argued with Lina Pierce, as Ophelia, over love letters dotted with hearts.
“Hamless,” directed by Autumn Pritchard, shocked the audience as Zoë Hsu Doo playing Ophelia flounced onto the stage with streaks of mascara running down her face, singing her grief while distributing flowers to the other actors.
“The Influencers” then provided an opposing take on Ophelia's breakdown, dressed in suits on the executive floor of Elsinore Streaming rather than in a Sitting Room. 

The show closed out with “The Bloody Thorns,” directed by Angela Gin, who worked with Fin Konnan as Polonius to synchronize Moyses Aguirre’s speech as Hamlet to an original score composed by Konnan, giving Aguirre's monologue a dark atmospheric quality.

For Falls, moments like these are why the showcase, and performing Hamlet, is so important.

“Watching kids step up, being creative,  trying out new things, taking on this challenge, and doing a really good job,” Falls says, "That's so cool, you know?”

By Zoë Hsu Doo

“The Hunger Games” trilogy by Suzanne Collins ignited the explosion of young adult  dystopian fiction that defined teen pop culture in the late 2000s and early 2010s. While earlier novels such as “The Giver” by Lois Lowry laid the groundwork for the genre, "The Hunger Games” popularized young adult dystopian into the global phenomenon it is. Soon after its initial release, every YA novel contained similar elements: a teenage “woman warrior” heroine; a love triangle between her childhood best friends and a stranger; a fractured nation; an oppressive government; and a looming rebellion to lead. 

The newest addition to this beloved franchise, “The Hunger Games: Sunrise On The Reaping," maintains the series’ level of artistry through its riveting storyline and nuanced commentary on dystopian governments.

The original trilogy follows Katniss Everdeen, a District 12 teenager forced to compete in the Hunger Games, where she fights to the death in a televised competition. The Capitol is the wealthy metropolis, home to the elites who govern the Panem districts in a dictatorship. Contrasting the lavish lifestyle in the Capitol, are the impoverished Districts, ranging from one to 12, each specializing in a good or service, exploited by the Capitol. District 1’s industry is luxury goods, making it the Capitol’s favored district with many winners. District 12, the coal district is the underdog, with only two previous winners, Lucy Gray Baird from “The Ballad of Songs and Snakes” and Haymitch Abernathy from “Sunrise On the Reaping”. Over the course of the trilogy, the competition expands beyond survival to explore propaganda, authoritarian control, and rebellion. The series became a massive publishing success, and the four movie adaptations (2012-2015), a blockbuster film franchise.

Collins returned after ten years to Panem with the prequel, “Ballad of Songbirds and Snakes," which follows the story of young Coriolanus Snow and the earliest days of the Hunger Games. The prequel earned its own movie adaptation, with mixed reviews over Collins's decision to center the story around Snow, the antagonist in the original trilogy.

On March 15th, 2025, the most recent installment in “The Hunger Games” series, “Sunrise on the Reaping," was published. The movie, slated for November 20th, 2026, was announced soon after. “Sunrise on the Reaping” follows Haymitch Abernathy’s, Everdeen’s mentor in the trilogy, journey at the 50th Games for the Second Quarter Quell, where double the amount of tributes are Reaped.

As an avid fan of the series, my favorite book and movie is “Catching Fire." I adore the inclusion of new characters, romance, and the exploration of the aftermath of the first acts of a rebellion. In both the book and the movie, comedic scenes, such as Everdeen thinking CPR was making out, are coupled with depressing revelations of Everdeen’s mockingjay dress transformation condemning Cinna’s, her stylist, subsequent death.

As a reader, I typically favor backstories, so going into this book, one question lingered in my mind: could it become my new favorite? 

The long-term rebellion 24 years later in the original series takes root in the 50th Hunger Games. The tributes’ sabotage of the arena forces the 50th games to be heavily edited, proving that the Capitol’s control is not absolute. Everdeen’s Mockingjay pin, the symbol of the rebellion, was originally Masilyee Donner’s, Abernathy’s fellow tribute. 

Although all of the books have a dark and bleak tone, “Sunrise on the Reaping” lacks some of the comedic scenes of prior books. Through the Games and the Capitol, Collins explores propaganda, power structures, and use of AI. Not only do these topics curate a dystopian feeling in the book, but their connection to the current state of our political and social world invests me and creates a sense of unease while reading. 

When Louella McCoy, a District 12 tribute dies in a chariot race gone bad before the games begin, a brainwashed body double, LouLou, is sent to the games in her place. As a punishment for Beetee Latier’s early resistance, his son, Ampert, is sent to his death in the Games with Beetee forced to watch. The Capitol and Districts watch this as entertainment, a disfigured reality show, mimicking the current social media trend of desensitization to violence in the media.

Others may argue the constant writing for film adaptations cheapens the influence of Collins’s intentions. Despite my love of Collins’s writing, I found the plot somewhat formulaic, with certain aspects rushed since the book was written for its film adaptation. However, the books and the adaptations maintain their meaning and relevance. Nearly two decades after the series release, Collins’ examination of war, propaganda, and wealth, mirror current global issues in a dramatized version.

"Sunrise on the Reaping" is a compelling addition to “The Hunger Games” series, but not my new favorite. With each new release, Collins continues to define the YA dystopian fiction genre, and I for one hope the next book is about Johanna Mason’s games.

By Elise Dunn

Over the first weekend of March, I took myself over to the movie theater to see the film that many have been discussing in person and through the screen of my phone, the new “Wuthering Heights” movie. I had heard dozens of opinions through Instagram posts, TikTok videos and fellow classmates who had seen the movie. Overall, I walked in with an open mind and open curiosity. 

“Wuthering Heights,” originally written by Emily Brontë, follows the entanglement of Catherine Earnshaw and Healthcliff over the course of the late 1700s and early 1800s in the dark cloudy northern England countryside. This cunning tale was recently adapted by award-winning director Emerald Fennel and it succeeded in capturing a vibrant setting, a beautiful soundtrack, and array of dramatic yet captivating costumes. However, the film, like other movie adaptations in the past made of this classic novel, failed to bring to life aspects of the plot necessary in telling the full story, making the movie an underwhelming watch. 

Fennel, the director of the movie, has been known for her previous 2022 film “Saltburn," which had a familiar feeling of English countryside romance. Yet, the 2022 film dove into a weirder genre of film that was seen similarly in “Wuthering Heights” dragging away from the gothic and classical era shown throughout the novel. Similarly, elements of the movie such as the opening scene and other various troubling entanglements throughout the film pushed it further away from the original story told by Brontë. 

The cast of the movie from book-to-screen also proved to be slightly controversial with descriptions in the book not meeting the casting in the movie. When it comes to book adaptations, especially popular novels, casting is important and valuable to accurately bring the story to life. One of the main protagonists, Healthcliff, is an example of this, as in the novel he is described as a man of mixed race whereas in the movie he is played by well-known actor, Jacob Elordi, who is white. His race is a vital trait that is shown throughout the novel as Heathcliff's experience with racism and  racial/class struggle fuels his violent temper. This proved to be a thematic loss as the film once again slid away from the original plot of the book. 

The story also takes on a controversial subject of abuse which is an active theme throughout both book and movie. Yet in the movie, it is seen in a more glamourized scope. Heathcliff's romance and yearning for Catherine in the film overthrows the more brutal and concerning dark side of his character shown within the novel, especially since Heathcliff's flaws are a viable and necessary part of the story. Not to mention the failure to include critical plot characters, including Catherine's children and Healthcliff’s children, which take a big role in Heathcliff's darker and abusive traits shown in the book. 

As much as this movie lacked certain elements necessary for a good book to screen adaptation, it was an entertaining watch. The soundtrack, with original songs written by fan favorite artist, Charli XCX, gave the movie a push into the right direction with the music making you feel the heartbreak and shock shown on the screen. The original motion picture soundtrack gave the film an edge in which the plot simply wasn’t with songs making certain scenes worth the watch. Beautiful drawn out scenes of foggy northern countryside matched with angelical tunes left me sitting at the edge of my seat wanting to dive deeper into the story. Not to mention the setting, encapsulating the brooding and painful love between Heathcliff and Catherine as they grow older running along the familiar countryside year after year. Scenes of Catherine and Edward Linton's luxurious mansion and the green lush hillsides of Wuthering Heights made a strong impression visually and despite obvious plot absences, I could not help but enjoy visual aspects throughout the film. 

As a movie based on a classic novel, “Wuthering Heights” was an interesting but inaccurate watch. However, if the movie was an independent film, not based on a novel, it was an entertaining and worthy watch.