Emily Allgair, Editor

After 148 days, the Writers Guild Strike is finally over. Having ended on Wednesday Sept. 27 at 12:01 am PT, this strike is the second longest in the Writers Guild of America’s history, only to follow a 1988 labor action. Now that leadership has voted to return some 11,500 members back to work, tasks such as pitching, selling scripts, taking notes and taking meetings can all be resumed. 

Although the end of the strike has been agreed upon, Union members still need to ratify the contract. This will take place within the next few weeks, specifically between Oct. 2 and Oct. 9. Informal meetings that will be held in Los Angeles, New York, and even some on Zoom are taking place within the next few days to help those in leadership positions sell the deal to Union members. 

The union and studios announced a tentative agreement about a new three-year contract on Sept. 24 after a weekend full of figuring out the deal. While there was about a month that discussion was at a standstill, the two sides went back to the table around Sept. 20. In attendance were major industry names, including Netflix’s Ted Sarandos, Disney’s Bob Iger, NBCUniversal’s Donna Langley and Warner Bros. Discovery’s David Zaslav. While many topics were covered in these discussions, one that showed to be a difficult one was the issue of artificial intelligence. Eventually a compromise was established, a compromise that the WGA called “exceptional.”

Although the exact language has yet to be released, the memorandum of agreement included increases to minimum wage and compensation, increased health fund rates and pension, improvements to the terms of size of writing teams and length of employment and better residuals, especially in terms of streaming. As for artificial intelligence, productions and writers are still allowed to use AI, only as long as the use of the software does not eliminate completely or diminish the writers and their pay.

Despite the end of this strike, only half of the historic entertainment labor standoff has come to an end. SAG-AFTRA still remains out on strike, and the Alliance of Motion Picture and Television Producers, while they bargained with WAG, has not set any date for discussion with SAG-AFTRA. The issues being fought for here are mainly focused on general wage increases, streaming revenue, and, again, artificial intelligence.

In short, the writers are back. So even though the WGA strike has ended, without performers, production will be difficult. Hopefully the agreement made between the AMPTP and WAG foreshadows an agreement with SAG-AFTRA, meaning better conditions for everyone in the entertainment industry.

Emily Allgair, Editor

Via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:The_Idol.png) 

1. Travis She’s Pregnant

On June 16, Kourtney Kardashian broke the news to her husband Travis Barker that she was pregnant at his band, Blink-182’s, concert. Holding up a sign that said “Travis I’m Pregnant” in reference to the 1999 Blink-182 video for their song “All the Small Things. This pregnancy announcement followed the couple’s first wedding anniversary, as well as a well-documented IVF journey on Keeping Up With the Kardashians.

2. Barbenheimer

On July 21, both Universal and Warner Bros. released their highly anticipated films “Oppenheimer” and “Barbie”. Bringing in over $500 million worldwide in a four-day time span, these two movies signified that movie-going might make a comeback. For most during that weekend, theaters were packed and audiences reacted together, just like the good old days. For more about these movies, please read “Barbenheimer: Review”. 

3. Threads

Meta’s take on Twitter, Threads, launched earlier this summer on July 5. After 24 hours, the site had more than 95 million posts and 190 million likes. Having gained such traction so early on, Meta creators were excited to see how the future of Threads would turn out. Unfortunately, the site saw a 70% decline in daily users just two weeks after its peak on July 7. Following this news, the popular social media app Tik Tok has announced text-only posts, in addition to the photo and video post options. 

4. The Idol

On June 4, HBO released the first episode of “the sleaziest love story in all of Hollywood,” as said by the show’s leading lady Lily-Rose Depp. Created by Sam Levinson, the creator of Euphoria, and Abel “The Weeknd” Tesfaye, The Idol portrays the complicated relationship between a contemporary cult-leader and female pop icon. Viewers were so taken aback by the controversial plot line and almost pornographic scenes, they created a rumor that the show had ended abruptly, scratching the fifth episode and releasing the finale early.

5. Matty Healy

Matty Healy made headlines a couple of times this summer. The first of which occurred right after news broke that Taylor Swift and Joe Alwyn had separated. Shortly after, rumors about Swift and Healy dating began circulating, to later be confirmed by one of Swift’s friends and producers, Jack Antonoff. Although Antonoff confirmed the relationship to be a casual one, Healy was seen at and even in some of Swift’s Eras Tour shows, opening with Phoebe Bridgers. Healy had a few weeks of radio silence after he and Swift broke things off, until he performed at Malaysia’s Good Vibes Festival in mid-July. Following an aggressive rant about Malaysia’s anti-LGBTQ+ laws, Healy grabbed bandmate Ross MacDonald for a kiss.Not only did the remaining three days of the Good Vibes Festival get canceled, but The 1975 also canceled their upcoming shows in Indonesia and Taiwan. Although Healy likely thought he was performing an act of protest and solidarity, many queer Malaysians are critical of Healy’s actions, calling it an act of his “white savior complex.” 

Jack Wagner, Staff

After years of anticipation, beginning back in 2018 with its announcement at E3, Bethesda Game Studios grand space Role Playing Game Starfield has launched to an auspicious start.

The game was released on Sept. 6, though players who pre-ordered the standard edition or the X-box game pass got to experience early access starting on Sept. 1. The game rocketed to over 6 million players worldwide within the first two days of release, according to an announcement made by Bethesda on X.

This is a successful start, but it does not reveal how many players bought the game and how many are simply trying it out using their game pass. For context, Skyrim, one of Bethesda’s biggest hits, sold 3.4 million copies within 2 days, and another major title, Fallout 4, sold 1.2 million copies on the platform steam the day after it was released. If even half of Starfield’s players bought their own copy, it is sitting among lofty company.

Reception among critics has been largely positive, with the game landing a solid 7/10 from IGN, an 87% from metacritic, many claiming that while the game isn’t as groundbreaking as the hype set it up to be, it is still a very good game with solid gameplay and impressive graphics. Audience reactions, however, have been much more varied.

Shortly after its release, the game experienced negative reviews on the public side of Metacritic, with a large number of 0 and 1 out of 10 reviews by angry players. Some users are expressing anger at the game for being an Xbox exclusive, while others refer to it as a “joke,” “outdated,” and a “loading-menu simulator”. The game dipped incredibly low early on, but after a counter-bomb movement by fans, it currently sits at a 5.6 average score.

Some players grew angry for gameplay-unrelated reasons. In the large character creation menu, one field allows a player to choose their pronouns, including “they/them” as an option. One streamer, HeelvsBabyface, who has 350 thousand subscribers on YouTube, went viral after an explicit rant when he came across the pronoun menu. Others, such as Dr. Disrespect, complained about developers making the game “political” by including the option, and many who agree with them have mentioned almost refunding their game when they saw it.

On the other hand, many streamers and gamers have been mocking these sorts of extreme reactions. The streamer The Act Man called the issue “superfluous” since pronouns hadn’t even been brought up in his 8 hours of playtime, and another streamer, Hutch, said that the reactions were “wildly unhinged”, especially as it is a very small option on the menu.

Whatever their opinions, the game is still remarkably popular, experiencing 1 million players online concurrently on the day of release, so one way or another, it seems Bethesda has made an impression with their new title.

Emily Allgair, Editor

The weekend following July 21 was a big one, not only for movie-goers but also for the box office. Bringing in over $244 million to the domestic box office, Universal’s “Oppenheimer” brought in $82 million while Warner Bros.’ “Barbie” brought in a whopping $162 million over a three-day period, making that weekend the fourth-largest in the history of the domestic box office. 

Like many of those who saw Barbenheimer, I saw “Oppenheimer” first and followed with “Barbie” for a light-hearted pallet cleanser. To reflect my viewing experience, I will first review Christopher Nolan’s movie, then end with Greta Gerwig’s. 

My biggest takeaway from “Oppenheimer” was how beautiful it was. I was lucky enough to see it in a 70 mm theater, but I think even with a smaller aspect ratio, the colors and lighting would still be impactful. Even in the black and white scenes, the contrast was graded very well. Even though I am typically not a fan of different saturations being used to portray different time periods, I understood and almost respected how Nolan’s choice helped the flow of the three-hour film. As fragmented as the plot was, I think this choice was more than just artistic and really helped with audience digestion of the concurrent plot lines. 

Although I try not to look into movies too much before watching them, I obviously expected performances from Cillian Murphy, Florence Pugh, Emily Blunt, Robert Downey Jr. and Matt Damon, but the rest of the star-studded cast was distracting to me. Naming a few of those who really caught me off guard, Devon Bostick (Rodrick in “Diary of a Wimpy Kid”), Josh Peck (Josh in “Drake and Josh”), Matthew Modine (Papa in “Stranger Things”) and Gary Oldman (Sirius Black in the “Harry Potter” movies) were all distracting me from the actual plot as they were on screen. The most distracting was Rami Malek, although one could make an argument for the importance of his specific talent towards the end of the film. 

While I understand these actors’ want to be in a Christopher Nolan movie, the culmination of all of them at once was a lot to take in. 

I also don’t have much to say on this last note but I think it’s an important one to include: “Oppenheimer” does not pass the Bechdel test. This does not have to be an important thing to keep in mind, but matched with the arguably unnecessary nudity of Florence Pugh and the fact that no woman speaks for the first approximately 20 minutes of the film, it’s interesting to point out and think about, especially in the 21st century. 

I also do recognize that although this review is fairly negative, I rated “Oppenheimer” as 4.5 stars on Letterboxd. It was visually pleasing, beautifully edited, and the actors’ performances were stunning. Overall, I would highly recommend Christopher Nolan’s latest film to anyone who likes World War II history, Cillian Murphy, or movies as a whole.

As for Greta Gerwig’s “Barbie,” this movie was all I wished it was and more. Not to sound cliche, but the self-reflection that I had at the end of the movie made me so genuinely happy to be a woman. And for those of the viewers who are not women, “Barbie” at the very least makes you more aware of the feminine presences in your life, both within yourself and those close to you. 

The casting choices made by Allison Jones and Lucy Bevan were impeccable. Not only were Margot Robbie and Ryan Gosling the epitomes of their characters, each cameo was tasteful enough to get recognition without stealing the spotlight. From Michael Cera to Kate McKinnon, each side character was casted with just as much attention to detail as the leading roles, really making Barbieland feel like a fully developed reality. 

Although Margot Robbie’s performance was near perfect, I think that America Ferrera as Gloria was the best part of the whole movie. Given her history of roles,  Ana in “Real Women Have Curves”, Carmen in “The Sisterhood of the Traveling Pants” and Betty in “Ugly Betty”, Ferrera has fared well in her iconic roles as one of the first Latinas on television to not fit the stereotypical beauty standard in the early 2000s (and that’s not to say that she isn’t beautiful). Continuing on this track of roles, in the movie “Barbie,” Gloria is a woman who struggles with her self-image and self-worth. By creating a Barbie that goes against societal standards of women, in that she thinks of life beyond having perfect hair and a girls’ night every night, Gerwig’s combination of Gloria and Stereotypical Barbie is, in my opinion, brilliant. And the casting that goes hand-in-hand with this plot point furthers my opinion even more. 

Overall, I would give Greta Gerwig’s “Barbie” five stars. Genuinely. I had high expectations going into this movie and they were exceeded by every element of the film. 

In retrospect, the weekend following July 21 was one that will be remembered well, not only by history buffs, but by teenage girls of all ages, as well.

Anthony Pantalone, Editor

Header image credit: HBO

HBO’s hit show “Succession” returned for its fourth and final season a month ago to much anticipation from viewers. To quickly sum up the premise, “Succession” is about Logan Roy, an aging patriarch and CEO of a global media conglomerate, and his children who vie for power against him and each other. The Jesse Armstrong-written show has received heaps of critical and audience acclaim since first airing in 2018—including forty-eight Emmy nominations and thirteen Emmy wins. Among these accolades were the Outstanding Drama Series Emmy in 2020 and 2022 and Best Television Series-Drama Golden Globe in 2020 and 2022. 

If the copious amounts of awards and accomplishments cannot convince the casual viewer to tune in, there are a myriad of other reasons why a person should give “Succession” a chance. In my opinion, it is the best show currently airing on television. It follows in the tradition of other prestige shows in the “Golden Age” of television—like “Breaking Bad” and “The Sopranos”—wherein it continuously challenges the expectations of its viewers and crafts characters far more compelling than relatable. There is no other program on cable or streaming quite like it. Between the acting, scripts, and score, “Succession” has everything to offer to a viewer looking to watch a show above the rest Here are some more assorted reasons to watch:

Family Matters and the Cycle of Abuse

A major theme permeating throughout the work is the continuing cycle of abuse based on perceived hierarchies of power. These cycles can also be passed on from generation to generation. References are made throughout the show to Logan’s harsh experience as a child living in Canada with his uncle Noah. The details of this uncle’s physical abuse are never described in detail, but Logan’s back is shown to be covered in deep brutal scars that had been seemingly given to him by this relative as a child. With his own children, Logan likes to think of himself as better than his uncle, but his own abusive behaviors and manipulations have only continued this cycle in different ways.

The cycle of abuse passes down from generation to generation, and the Roy siblings are imprisoned by their own love for their abusive father even whenever they try to break free. With Connor Roy, the eldest son who was interested in politics at a young age, he deeply loves his father and half-siblings yet is repeatedly forgotten. His mother received both physical and mental abuse at the hands of Logan, and Connor is constantly perceived as a disappointment and embarrassment by his father. With the other three younger siblings, their father’s abusive parenting is best summarized in a remark by their mother Caroline Collingwood: “He never saw anything he loved that he didn’t wanna kick it just to see if it would still come back.” This assertion can be heavily applied to Roman Roy—who tries again and again to justify the abuse suffered at the hands of his father. Roman is even physically hit by his father during the second season and then the next episode acts like it never happened. The marriage between Shiv and Tom is built upon an incredibly shaky foundation of emotional manipulation by both parties. Shiv is incapable of ever truly loving or respecting Tom and therefore finds herself ready and willing to hurt him. On Tom’s end, his relationship with Shiv only began when she was in an incredibly vulnerable state—which has substantially aided his career. When the first season begins, the audience is also introduced to Cousin Greg, a newcomer to the company, and Tom takes out his frustrations and insecurities about his own marriage on this relative—furthering the cycle.

Nicholas Britell’s Score

Already an Oscar-nominated composer, Nicholas Britell delivers with the score for “Succession” his magnum opus. His dazzling, intense work on the first season won him an Emmy Award, and he has been nominated for the seasons two and three scores as well. The main theme for the show perfectly captures the essence of the show while evoking a specific mood in the viewer. During the opening credits, one hears Britell’s music and is reminded of wealth, extravagance, and the upper class. Particular highlights include his score for the final scene of the season three episode “Chiantishire” and the entirety of his work for season four so far—which sounds far more grandiose and again perfectly matches the tone of the final season.

Perfect Blend of Drama and Comedy

Again, while the show functions as a prestige drama, its comedic elements are so abundant that I would be remiss to not call it a comedy as well. So many different scenes and lines are either intentionally or unintentionally funny. The comebacks and insults offered by the characters are so sharp and genuinely witty—specifically Roman who is especially irreverent and played by Kieran Culkin to perfection. Entire characters are played off as a joke—an example being Connor and his political aspirations. Much of the comedy within the show comes from the Tom-Cousin Greg dynamic. Whether it is embarrassing themselves in front of Congress, talking about the “sog factor” of pizza, or worrying about a potential “attack child” breaching a panic room, these two are the comedic heart of the show.

Award-Winning Performances

I cannot sing any higher praises of the Emmy-winning performances in this show. Every actor in the cast consistently delivers. Brian Cox as the patriarch Logan Roy offers his best angry/abusive King Lear/Rupert Murdoch and has again and again been nominated for the Best Actor Emmy. Jeremy Strong—through his intense method acting—has captured lightning in a bottle with one of the all-time great television performances as Kendall Roy. For his work in this role, he was awarded a Best Lead Actor Emmy, Golden Globe, SAG Award, and Critics’ Choice Award. Sarah Snook’s performances as Siobhan Roy have only gotten stronger and stronger as the seasons have gone on, and I would be surprised if she was not the frontrunner for the best Supporting Actress Emmy for season four. Kieran Culkin—playing Roman Roy—is very similar to Snook and is reportedly being submitted for Best Lead Actor for his season four performance in this year’s Emmys. Matthew Macfayden as Tom Wambsgans recently won a Best Supporting Actor Emmy last year for his work on season three. J. Smith Cameron has also consistently delivered great work as Gerri Kelliman and was nominated for a Best Supporting Actress Emmy last year.

Compelling Characters

One of the best things about this show is watching and growing attached to the characters. You could say that about almost any television show, but “Succession” is different. It’s a prestige drama that never wants to be taken too seriously, and the writing for almost every single character is indicative of that fact. Imagine you have a group of about ten or so people in a field, and that field is littered with rakes in every direction. Now, imagine every single person in that group says, “There aren’t any rakes here. I’m going to walk out and be CEO of a major media conglomerate.” And every last one proceeds to again and again step on rakes. And we laugh. And enjoy it. And love it. That’s what watching the characters on “Succession” attempt to do anything is like.

Kendall, to whom the audience is introduced as the protagonist, so consistently self-sabotages and self-destructs that he makes it look like a skill. Siobhan so desperately wants to cut herself off from her father and work in politics yet still feels herself intrinsically tied to the family business. Roman comes off as the sly sarcastic younger sibling yet in reality is emotionally repressed and desperate for love and approval from others to a shocking extent. Connor is the eldest unemployed son and needs you to know that he was interested in politics from a young age. Now, I want you to imagine a cartoon dog getting a pie thrown in its face. That sums up the character of Tom Wambsgans, and I am entirely serious. He is a big ball of insecurities, cunning, and repressed homoeroticism all bunched up in one man. Finally, Cousin Greg is our point-of-view character in the earlier seasons—an earnest naive twenty-something looking to coast purely on nepotism for a career despite his incompetence.