Who doesn’t love, love? Red and pink hues decorate the stores, streets and homes. People are happier, and children are giddier. All for one reason: Valentine's Day. First celebrated in the eighth century to honor Saint Valentine with a feast, Valentine's Day has been recognized as a time to celebrate love and affection with family, friends and romantic partners alike, and Oklahoma is no stranger to Valentine's Day events that will make your heart swoon.

On Feb. 13, there will be live music, food, shopping and local artists displaying their work in the name of love, all in the Plaza District, which some will regret missing. On the special day, Feb. 14, there  will be many sights to see and places to attend with your loved ones. The Myriad Botanical Gardens is hosting a Valentine’s Day bouquet watercolor workshop, where you can learn how to paint with locally sourced handmade watercolors. Afterwards, if you are still in the artistic intimacy mood, Factory Obscura is hosting a Valentine’s Day mixtape bash and art show. This will be a chance to browse community art and enjoy live entertainment plus fortune-telling.

Valentine’s Day isn’t just a day to experience the joys of love in the community; it’s also a day to be comfortable in your own home with those who make life worth experiencing. While browsing at Barnes & Noble, Amanda Dane, a mother of three and a retired secretary, was approached. 

“Growing up, on Valentine's, it felt like a second birthday,” Dane said. 

Dane has many fond memories of Valentine’s Day through her childhood, recounting how on the morning of the holiday she would receive gifts, candy and a night on the town with her parents and siblings. Dane grew up in Oklahoma City and is proud of the life she’s led thus far. Dane believes her most prized possessions are her home, her children and her husband. 

“Our tradition is that every year on Valentine’s we take off work, drop the kids off and do whatever we want. This year we’re going to watch a musical performance of Romeo and Juliet at the Civic Center.”

To Dane, Valentine’s Day is more than just a day to celebrate love; it’s a day to embody love in its truest form and then express that love outwardly. 

Dane shows the classic model of Valentine's Day that lovebirds for centuries have been conveying through, art music and movies. Gracie Johnson, Rose State’s own applied sciences major, offers a modern touch to this memorable day. 

“My parents believed it (Valentine’s) was a man-made holiday and that you show the people you love every day how you would on Valentine's.”

Johnson’s view says that you don’t need a special day to celebrate the people in your life, which is celebratory in itself. Of course, Johnson still values a good romantic comedy, naming “27 Dresses,” “50 First Dates” and “How to Lose a Guy in 10 Days” as her go-tos. And Johnson has a few suggestions in case you or a friend needed an idea of how to acknowledge the ones you cherish.

“Tellers in Downtown Oklahoma City is a beautiful restaurant to dress up and go to without breaking the bank. The Vault, located below Tellers, is a jazz bar and is a beautiful place to dress up, have a drink and relax while listening to some bands.”

Remember: Valentine's is not just a celebration of relational love; celebration can also be for the self. Whether you bundle up in blankets or treat yourself to an outing, Valentine's is meant to be spent exactly how you prefer.

Photo by Michelle Johnson

Famous YouTuber Markiplier, makes a box office hit. Originally slated for only 50 screens after the final stretch of development, Mark Fischbach’s four-year project premiered on Jan. 30. Due to fan intervention, the film premiered in over 4,000 theaters. Oklahoma saw this solo-produced, solo-directed, barely-marketed indie project on the big screens in Flix Brewhouse, Tinseltown, Harkins Theatres in Bricktown, Regal Warren MWC, Regal Warren Moore, Golden Ticket Cinemas in Shawnee and AMC theaters in Yukon, Norman, Oklahoma City and Edmond. 

I have never been one to rewatch a film in theaters. I will usually watch a film once with whichever friend group most enjoys the genre, and then the discussion of the film stays in that friend group almost exclusively. 

Never have I gone to see a film, let alone an indie film, on two or more separate occasions with different friend groups each time; never have I volunteered to buy tickets to the same movie for my entire group more than once, or vice versa, had them offer me the same deal. The level of charity and captivation that this movie inspires indicates the incredible passion that went into making it a reality–the passion of both the director and the fans that brought this experience into so many more theaters than initially projected. 

Everyone I talked to had the same initial plan: watch the film once, maybe twice with their friends, just to see if Fischbach had done a good job, then continue on with their lives. What ended up happening seemingly across the board was, we went to see the film for the first time, were gripped by the intensity of the story, the claustrophobic atmosphere, the aggressive acting and the addictive foley–and then we had to rewatch. That weekend of Jan. 30 was the first time I ever looked up box office performance on The Numbers’ official site, to see that “Iron Lung” had made No. 1 top grossing in America with close to $7 million grossed in the first night alone. The film “Send Help” took the No. 2 spot and was $600,000 under “Iron Lung’s” gross the next morning; by the afternoon of Jan. 31, the gap had closed to $300,000. 

I remember opening YouTube in front of my friends just as Fischbach’s emergency live stream went online, where he emotionally conveyed the results and gently asked anyone watching if they could spare the time for a rewatch. I remember having noted that since “Send Help’s” numbers were rising so slowly, if we all rewatched, we could theoretically more than double “Iron Lung’s” gross that weekend. I remember my friends splitting into groups, with me and a few others offering to comp concessions and tickets for our respective groups, to go out for a rewatch that same night. 

It was an experience like no other, getting to roll out like that, because when we stepped into that second theater, we’d realized that everyone else had the same idea. People were talking about the emergency stream, about Disney’s and 20th Century Studios (also owned by Disney) competitive films, about how close Fischbach was to dominating the charts against such giants. It was crazy getting to be a part of such a battle, and to see the gross numbers the numbers skyrocketed. 

That weekend, “Iron Lung” grossed over $18 million nationally, with the next closest runner-up being “Melania” by Amazon at $7 million, followed by Disney’s “Zootopia 2” at almost $6 million. The No. 1 top grossing film in America as of Jan. 31, 2026, was “Send Help” by 20th Century Studios, with $19 million grossed, according to The Numbers’ box office charts. 

“Iron Lung’s” success in beating out Disney, Amazon and even giving 20th Century Studios a run for its money is a historic moment for indie filmmakers and theater majors everywhere. For an entirely self-produced, self-starred, self-directed film to pull so close to the finish line sparks hope that the U.S. film industry’s giants like Hollywood can be entirely bypassed simply by word of mouth. With a budget of only $3 million, “Iron Lung” is the only film in the top 3 to have turned a profit in its opening weekend; “Send Help’s” reported budget was estimated at $40 million according to IMDb, matching “Melania’s” $40 million from Amazon, dwarfed by “Zootopia 2’s” $150 million.

Graphic by Michelle Johnson

Adam Silvera, an award-winning American author from the Bronx, New York, is best known for his 2017 young adult novel “They Both Die at the End.” The book follows two young men, Mateo Torrez and Rufus Emeterio, who are notified by a company called Death-Cast that it is their End Day.

In Silvera’s fictional world, Death-Cast is a government-funded corporation that informs people when they will die. The company’s methods remain unknown to the public, except to its CEO, Joaquin Rosa. Despite the mystery, Death-Cast has never been wrong in its predictions.

The concept resonates with millions of readers. “They Both Die at the End” spent months on bestseller lists and sparked widespread discussion on social media, where fans debated what they would do if given only 24 hours to live. The book’s popularity led to a prequel, “The First to Die at the End,” published in 2022. A television adaptation of the series is also in development.

Beyond its success as a work of fiction, the idea of Death-Cast raises questions about how people might respond if such a service existed in real life.

Misty Booker, a single mother and home health professional, said she would not subscribe to Death-Cast.

“I believe that society as a whole would become more empathetic,” Booker said. “Or they’d all kill each other. Who knows.”

Later in the conversation, Booker reconsidered.

“I would want my daughter to be signed up, so I’d be a hypocrite to not sign up as well,” she said.

Booker also reflected on the potential impact of Death-Cast in her work as a healthcare provider.

“No matter what, we make an oath to take care of a patient,” she said. 

Booker added that whether or not a patient had received a Death-Cast call, she would treat them the same.

Emily Wise, director of Rose State’s counseling and access services at Rose State, shared her perspective on the psychological effects such a system might have.

“Well, it depends on your personal beliefs,” Wise said. “There are those who would be a part of it and change their entire life based on that prediction, then there are others who may not buy into it for religious beliefs or anything else. Both of those groups of people would change how they see and interact with others and the world itself.”

Wise said she could not imagine signing up for Death-Cast herself.

Silvera himself has said he wanted to explore how mortality shapes human connection. That theme continues in his prequel “The First to Die at the End.” He wrote: “Here’s the truth no one ever wants to admit when death is on the horizon, or when you’re deep in that grief — as long as you keep existing, you’ll keep breathing, one day you’ll start living.”

Whether embraced or rejected, Death-Cast offers a lens through which readers can consider the intersection of life, death, grief and love. Silvera’s story remains a reminder that time, however long or short, shapes the way people choose to live.

Cover from Adam Silvera.

Recently in media, there’s been a resurgence in popularity for the 2012 political drama series “Scandal.” The series was created by Shonda Rhimes, who is also behind hits like “Grey’s Anatomy,” “How to Get Away with Murder” and “Bridgerton.” 

Scandal follows Olivia Pope, a powerful and confident woman who runs a crisis management firm in Washington, D.C. Her clients include some of the most influential people in politics as well as the president of the United States, Fitzgerald Grant. Olivia is known as “the fixer” because there’s almost no problem she can’t handle. One of the main storylines in the show centers around her complicated relationship with President Fitzgerald Grant, better known as Fitz, who also happens to be married to another woman. 

The show is filled with twists, intense drama and emotional moments that keep you on the edge of your seat. Rhimes does an amazing job balancing political scandals with personal conflicts, making each episode feel high-stakes and unpredictable. Kerry Washington’s performance as Olivia Pope is one of the highlights of the series—she captures both Olivia’s strength and her vulnerability in a way that makes her feel real. The chemistry between Washington and Tony Goldwyn (who plays Fitz) is also one of the biggest reasons people keep watching.

It’s easy to see why “Scandal” has found new life years after it first aired. The show was ahead of its time, especially with its diverse cast and its focus on a powerful Black woman in a lead role on network television. Even today, the themes of power, ambition and moral conflict still hit hard.

Whether you are rewatching it or seeing it for the first time, “Scandal” is definitely worth checking out. It’s dramatic, emotional and full of moments that will have you saying, “It’s handled.”

Art by Michelle Johnson.

Fans of the Tron franchise have long sought faithful, playable recreations of the games shown in both the original “Tron” and the 2010 sequel “Tron: Legacy.” Tron’s cult following has stood the test of time,  despite new installments to the franchise taking decades to develop. Hidden within a niche game development platform within the PlayStation Store, lies the most screen-accurate version of a playable gaming grid as seen in “Tron: Legacy.”

Created by PlayStation Dreams developer AgentWombatUK, “Hypercycle Arena 2” is the sequel to a proof of concept released in late 2020. Many still go back and play their old version of Hypercycle Arena–despite a rougher appearance, it’s still considered the OG light cycle sim on PlayStation Dreams. The game has since seen some developer attention, with the latest update being released in early 2024. 

With just over 14,000 players, the game nonetheless seamlessly recreates the aesthetics and gameplay depicted in “Tron: Legacy.”

“Hypercycle Arena 2” faithfully recreates the game mechanics as shown in the lightcycle grid, leading to surprising gameplay moments that match scenes from the movie. The gaming grid pits the player against five orange programs, with four friendly programs in blue. One of the best strategies for securing a kill is by merging paths with a teammate and forcing an opponent between two allied light trails, constricting them until they either derezz or decelerate to escape. 

The way the game handles de-resolution is faithful the depictions shown on-screen and just as visually satisfying. In Legacy, whenever a program smashes against the light trail of an opponent’s lightcycle, that program and their bike break into thousands of digital bitss, shattering like glass in a neon liquid explosion that sends a shockwave across the grid. Despite the PlayStation Dreams platform’s mechanical limitations, the game manages to recreate all of the above effects except the neon liquid fuel. Digital fragments linger on the grid even after a program has been de-rezzed, glowing brightly against the dark and glossy surface. If anything, these de-resolutions are almost too realistic, as they are often so sudden and so graphic that they closely emulate what it feels like to crash on a real bike or subcompact car. All too often, I found myself staring at those lightcycle fragments spread across the ground like the many pieces of a Chevy hatchback’s crumple zones on the I-35 freeway. 

“Hypercycle Arena 2’s” development has also included some unique gameplay features that add to the experience. The game’s sound design includes adaptive music and crowd cheering that immerses players in the grid, with synthetic-woodwind swells that rise with every successful de-resolution. It’s exciting to hear adaptive soundtracks in an indie game, and it makes me wonder if AgentWombatUK was a fan of the “DOOM” franchise, which significantly advanced and popularized modern adaptive soundtracks in their newer games.

Rather than having a fixed speed and acceleration, the player can boost their speed by jumping off ramps that connect the upper and lower levels of the lightcycle grid. This lets the player recreate the moment in “Tron: Legacy” where Sam stalked an opponent from a lower level before he ramped up to the top floor, using the burst of speed to swerve into the opponent’s path and derezz them. 

Hilariously, the game also answers some questions that I’ve asked myself while watching the movie. In the scene where Sam is thrown into the lightcycle grid, we see him falling through holes cut into the grid and connected with ramps. Sam hits those drops with significant speed, but never hits the edge, which begs the question of whether hitting those edges would actually damage a player or their bike. In Hypercycle Arena 2, this is one of the most common ways to accidentally be de-rezzed, as bouncing off an enemy at speed or clipping the ramp the wrong way can often lead to the player’s head smashing into the grid. 

The game’s all-original soundtrack channels Daft Punk’s score, with arpeggiated synths and electronic bass driving the atmosphere. The title music mirrors the tempo of Daft Punk’s “The Grid,” while woodwind tones and phased mixing evoke “The Game Has Changed.” It is clear that the developer closely studied the “Tron: Legacy” OST when creating the soundtrack for “Hypercycle Arena 2.”

Make no mistake, there have been Tron games created in the image of “Tron: Legacy” before. In 2010, with the release of Legacy, Disney also published a game called “Tron: Evolution” for Windows, Xbox 360 and some PlayStation platforms. It was marketed as an action-adventure game and a tie-in prequel to the events of Legacy, with a story that connected the film to the original Tron released in 1982. Despite featuring the exact same songs used in “Tron: Legacy,” the game fell short of preserving Legacy’s aesthetics, with generic sound effects and combat mechanics as well as a visual theme that was simultaneously too bright and too matte to be compared to Legacy’s clean, glassy, glossy finish and dark, moody atmosphere. 

“Tron: Evolution” was ambitious but constrained, a cinematic action game that nodded to Legacy without letting players “get in” to the grid. 

“Hypercycle Arena 2,” despite being an independent fan project with only 1 developer and 3 credited creators on “Dreams,” and not affiliated with or paid by Disney, has managed to do what Evolution never achieved. AgentWombatUK has made a fully playable, arena-scale lightcycle grid faithful to “Tron: Legacy’s” look, feel and pacing. 

“Hypercycle Arena 2” even includes layers of gameplay progression beyond the gaming grid, allowing players to escape into the wider world of “Tron: Legacy,” even making it as far as Flynn’s mountaintop lounge. The developer has coded a game within a game within a game, culminating in the “player,” controller in hand, directing the movements of their “program,” the in-game avatar, playing the two-dimensional version of the lightcycle gaming grid on Flynn’s countertop arcade. Easter eggs like these are what gives games their soul. 

For Tron fans, “Hypercycle Arena 2” is more than a game. It’s a digital dream realized. After decades of knockoff game releases, players like me have been dreaming of a world we thought we’d never see. To know now that an indie creator has finally built a grid worthy of the franchise’s legacy, I can’t help but feel victorious knowing that we all get to play it. We got in.

On Feb. 22, 2024, Nintendo launched a DLC for “Splatoon 3” called “Side Order.” This was slated as a continuation from the events in “Splatoon 2’s” DLC “Octo Expansion.” I was incredibly excited to play a rouguelite Splatoon game, as a longtime fan of the franchise. It would be my first introduction to a rouguelite.

Continuing the story from “Octo Expansion,” Agent Eight and friends get trapped in a digital world by an AI. The AI calls itself ‘Order’ and seeks to take away all the will and color from the world to create ‘peace.’ Playing as Eight, you ride an elevator up a tower and must pass all the floors to reach the top. 

After launch, I immediately played through the whole game and enjoyed every second of it. It had a satisfying gameplay loop, provided a good challenge and offered more of Splatoon’s wacky music and style. The sound design was especially nice. Then, I put the game down. 

Nintendo had pushed the message that this would be a very replayable experience that you would want to come back to. Even so, after spending a week completing it, I stopped. 

I believe this DLC just didn’t add enough variety to have that “want to replay” experience. Randomly, a year later, I came back. Nothing had motivated this, but upon return I started giving myself challenges.

Since this is a rouguelite, you can customize the difficulty. Once I had made new challenges for myself, I kept coming back to do more. 

My opinion stays the same, however. I still yearn for more variety on each run. Being the second Splatoon DLC, it is good. “Octo Expansion” still rates higher to me. For all the love I give this series, I always wish it was given time to flesh out its experiences. I look forward to the newly announced spin-off “Splatoon Raiders.” It seems like this franchise will bleed into more variety, as its world holds endless possibilities.

-Rose State’s Only Splatoon Fan

Ghosts, tales of the macabre and people slowly slipping into madness, these are all elements that make up the gothic horror literature genre. Some of the most common examples of gothic horror are “Frankenstein” by Mary Shelley, “The Picture of Dorian Gray” by Oscar Wilde and “Dracula” by Bram Stoker. All of these stories have supernatural elements, such as vampires, ghosts and the dead being brought back to life. Gothic horror first appeared in the 17th century and often includes tales of death, monsters, omens and curses.  According to the Writer’s Digest, the overall theme in gothic fiction is humanity vs evil, whether that evil be man-made, such as in “Frankenstein”, or supernatural, like “Dracula.” This literacy genre has changed over the years, having ditched Victorian styles seen in “Dracula” for modern settings like haunted houses. 

One of the most famous authors of gothic horror, Shirley Jackson, wrote “We have Always Lived in the Castle.” However she is most known for works such as The Lottery, and The House on Haunted Hill. “We Have Always Lived in the Castle” had been on my to be read list for a while, but I finally picked up the novel this October. “We Have Always Lived in the castle” tells the story of two sisters, Merricat and Constance Blackwood, who take care of their uncle Julian. They are the sole survivors of a family tragedy that happened six years ago. The Blackwood sisters live isolated lives in their Blackwood home and are mocked by the village just on the outskirts of their home. The only interaction the Blackwoods have with the village is when Merricat goes to the grocer’s every Wednesday. However, Merricat’s world is turned upside down when their estranged cousin Charles comes plotting to steal their fortune. As soon as Charles steps into the Blackwood home, he begins to disrupt Merricat’s way of life. Merricat responds by shattering the mirror in his room and spreading leaves and dirt around his room in an attempt to make him leave. As a result of Merricat trying to get Charles out of the house, a fire starts and nearly destroys the Blackwood home, killing their uncle Julian. 

After I finished this novel, it took a little while for me to gather my feelings and determine whether I enjoyed my first experience with Shirley Jackson. On one hand, I enjoy the overall story that was told, but I sometimes found details in the story incredibly bizarre, specifically some of the superstitions that Merricat believed would protect her home and sister and keep her safe. I also sometimes found the novel to be dry in some areas with the action only happening towards the end of the book. Still, I  enjoyed the settings and characters in the story despite some of their bizarre personalities. Overall, I would recommend “We Have Always Lived in the Castle”  to anyone. I think this book will resonate  with fans of Tim Burton films, and the film, Coraline.

Taylor Swift’s 12th studio album “The Life of a Showgirl” was released on Oct. 3. In this album she discusses her relationship with fiancé Travis Kelce, her dynamic with fame and past, as well as current friendships. This album is a cohesive work and features Swift’s talents. However, it does have its weak spots mostly in the lyricism. Despite this, the music and Swift’s voice keep the album interesting.

Each song fits into an overarching narrative. They all connect to the idea of a showgirl, especially a metaphorical one like Taylor Swift. While some tracks may require deeper introspection into how it fits into the theme of her album, others like the title track are quite easy to fit in. 

Narratively, the album is reminiscent of Swift’s earlier and more diaristic works like “Taylor Swift” or “Fearless.” It shows clear connections to her personal life. The song “Ruin the Friendship” even mentions her long-time friend from high school, Abigail.

Swift shows that for most, the showgirl life is not a “one-size fits all” existence. 

Some may continue to pursue their career. Others may try married life even when it does not work out, like famed actress and one of the muses for this album, Elizabeth Taylor. Finally, some may slow down their trajectory, aiming for kids, marriage and a family. The nice thing about “The Life of a Showgirl,” especially the track “Wi$hli$t,” is that Swift states that these are all valuable pursuits.

While Swift seems to be set on the marriage and family route, she encourages people to go after what they themselves want, stating “They deserve what they want. Hope they get what they want.”

Musically, there is inspiration taken from the album’s concept as well. Particularly, the songs “The Life of a Showgirl,” “Wood” and “Father Figure.” These three songs combine the campy nature expected from a showgirl themed album and the pop expected from Swift. 

The album has its weak moments lyrically. I found “The Fate of Ophelia” and “Wi$hli$t” to be lacking. Despite this, I think these songs are redeemable, getting past the subpar lyrics, they have good production quality and vocals that carry them.

The songs that stand out in this album are “Father Figure” and “Actually Romantic.”

“Father Figure,” details the difficult dynamic Swift had with an authority figure, only to leave and be the powerful figure herself. She asserts her power over them with a risqué metaphor. The song is commanding both lyrically and musically. Seeing Swift be upfront about the influence she has, especially after she was able to purchase back her masters, is an important message. Seeing the struggle Swift had purchasing her masters makes this all the more important, especially for artists who are in a similar fight to own their work. 

“Actually Romantic” discusses another person in the music industry, rumored to be musician Charli xcx, obsession with Swift. She equates the obsession the subject has with romantic feelings towards Swift. She playfully states “No man has ever loved me like you,” showing a sense of honor and humor to be given this attention. While the potential drama of this song is fun, I think it also draws attention to a common occurrence. Especially in the social media age, the need to turn hatred into an obsession. The ease that comes with looking someone’s whole life up online, famous or not, has people turning their jealousy, obsessiveness or dislike of people into “stan behavior.” Stan culture is an intensive form of fan behavior, observed mostly online. It can be extreme support and passion for an idol, but it can also lead to an unhealthy obsession. The opposite is true as well, an intense dislike of a person that becomes all-consuming can be seen in fan spaces. While Swift may have been talking about Charli xcx in this song, I think she also hits at the obsession that people have toward her, her friends and even with each other. While it is catchy, I think the song holds a mirror up to current “stan” culture as well.

Overall, “The Life of a Showgirl” is a notable addition to Swift’s discography. 

While it is not her best album, it is clear she put a lot of thought into this album. Vocally, it is one of her best. The production on it is also enjoyable. I would recommend listening, especially if you are a fan of pop music.

On April 5, fans were in for a surprise as Disney dropped the first trailer for “Tron: Ares.” After 15 years, this franchise is being revived, and many wonder if this will flop or be a huge success. The movie released in theaters on Oct. 10.

Going into this movie I had high hopes and low expectations. I am a newer fan of the Tron franchise thanks to my Dad  being a fan and Daft Punk's music. I was surprised this franchise is being revived considering it was dead in the water after “Tron: Legacy.” That movie did not have the success it needed when it came out, and later on Disney acquired Star Wars. After that, any plans they had were canceled with the franchise. It is exciting to see that this world is getting revived again. It has so much potential as a sci-fi fantasy world that tackles computers and AI.

I was nervous however, I don't trust Disney's current direction when it comes to creating media. Also, I didn’t know if Jared Leto would do the movie justice. He has not had a good record in recent movies. People often say he has ruined franchises like “Morbius” or “Suicide Squad.” The allegations surrounding him because of his method acting would also turn people away. 

I looked forward to the music and the visuals. If there is anything this franchise cannot disappoint me with, it is these. “Tron” had pushed the use of CGI in film. “Tron: Legacy” was known for its beautiful scenes and legendary soundtrack. And now, the trailers for Ares look and sound great.

Fans were also divided over this movie. Looking through forums, people are torn between not supporting Leto and supporting Tron. Many have stated that they will not watch the movie in theaters. Others are saying that fans should support the franchise since it's coming back after a long drought of content. 

I went into this movie in hopes that this franchise will succeed and do well. However, I did not have my expectations set too high given the conditions this movie is set in.

After seeing the movie, I have mixed feelings about “Tron: Ares.” To compare it with the other two movies, it is like getting a software update. Windows 7 is memorable, but Windows 10 was the GOAT. Now we have Windows 11, which is fine, but we had 10. 

I really had a blast watching it. The action was gripping from beginning to end. The visuals and soundtrack lived up to the standard of the last movie. They even improved the action in the fight scenes. 

One major issue with this movie, which this franchise can't seem to conquer, is the weak characterization and basic plot. I would even say Legacy had a better story. There were some great ideas put into the story but they were never properly explored. It felt like Disney was trying to play it safe since this franchise has had a hard time with success. 

The other problem was the loose ends left from “Tron: Legacy.” Since this was not a direct sequel, the main characters from Legacy were excluded. They did set up an avenue for them to potentially come back in the future however. The changes make this movie feel like a reboot as opposed to a sequel. I won't delve into spoilers, but that combined with the basic plot hurts the movie for me, and the fans hoping for a direct sequel. 

Despite major negative aspects this movie has, it was still worth watching. I would definitely go see this in IMAX again. 

Leto’s acting was fine in Ares, but his reputation definitely impacts whether general audiences want to see the movie or not. Critics so far have given the movie a low rating, but general audiences have enjoyed the movie. Things are looking very mixed. However, I do not wish to dissuade anyone interested in this movie. If you are a Tron fan or a fan of action I recommend you watch this movie. Just make sure you have a good sound system when you do. The Nine Inch Nails soundtrack does not miss, and it is a fun time.

The question remains whether Ares will revive this franchise, or will it be another 20 years before it gets revisited? And whether or not there should be a Tron revival. Whatever Disney decides, this movie was not a bad entry into the universe of Tron. It’s only a shame it was unable to break free of its storytelling issues. 

End of line.

Humanity got to experience Nine Inch Nails’ “Tron: Ares” soundtrack for the first time on Sept. 19. While the band’s album dropped three full weeks before the film released in theaters, some may argue it did better than the film itself.

With driving synths, compelling basslines and a whimsical quality that transcends the bounds of most modern science fiction stories, this album holds a treasure for fans of “Tron: Legacy” and the original “Tron.”

The album comes to its breaking point is in the lyrics. Trent Reznor has a professional voice, yet the orchestral versions of the tracks carry just as much meaning as the originals – if not more. 

The album receives a five out of five from me. The last song, “Shadow Over Me,” carries the album. “Forked Reality” is a cinematic, imposing track that echoes the “Terminator: Salvation” trailer track from 2009. 

“Target Identified” takes the trophy for all-out most inspired song on the album, but “A Question of Trust” leaves a gold standard Nine Inch Nails thumbprint on the art. That track is essentially their version of “Derezzed,” the Daft Punk song featured in the club during Legacy.

“Init” initializes the album, giving audiences a solid impression of what Nine Inch Nails has in store for the Tron soundscape. “As Alive As You Need Me To Be” is the energetic action film track we hear in the trailer, and feels the most like their flagship adaptation of a Daft Punk score. 

The Nine Inch Nails sound is one defined in equal parts action and dark, contemplative, often moody and forlorn elements. Where Legacy has its “Nocturne” – a slow, sad instrumental piece that still feels “Daft Punk” in a way, but with more cinema-friendly orchestral elements – Ares sits down and bows its head to tracks like “Echoes,” “100% Expendable” and “Still Remains.” Nine Inch Nails reminds us that for every energetic radio hit like “Head Like A Hole,” there will be albums like “Still” – “Echoes” feels like an amalgamation of the atmospheric misery in “Leaving Hope” set to the downtrodden beat that takes us through “The Persistence of Loss.” 

“This Changes Everything” brings us dial-up darksynth that’s moody but upbeat as Nine Inch Nails demos their more atmospheric additions to the grid. “In The Image Of” shocked me with how closely it matched the iconic intro of “Stranger Things.” While “Stranger Things” made synthwave popular, “Tron: Legacy” made it sound good. 

“Who Wants To Live Forever” and “No Going Back” both belong to a class of songs that I can only describe as ‘digital mobile.’ In other words, the synthetic lullaby. The retro arcade notes are Trent Reznor trying to place a baby carousel over a generation of new Tron fans in the same way that Wendy Carlos did for our Xennial parents in 1982.

Nine Inch Nails’ continued interest in the Tron franchise may result in more films. However, time will tell whether “Tron: Ares” can generate enough interaction for Disney to follow through with another movie that actually revisits the story of “Tron: Legacy.” Nine Inch Nails has done all they can to carry the film’s story and empower its visuals with a banger soundtrack. 

Their end credits song “Shadow Over Me” is victorious, having range outside the theater: out onto the highway where dark glossy finishes and red neon taillights abound, keeping the film’s visual style fresh.

The only thing that can restore the “Tron: Legacy” save file is a digital duo whose fingers still echo with Daft Punk’s influence, having officially remixed the iconic track “Derezzed” to great effect and with Daft Punk’s approval. We need Glitch Mob’s biodigital jazz, man.

Photo by Michelle Johnson

Have you ever revisited a childhood movie or TV show? And when you watched it, you realized that maybe you should not have been allowed to watch that movie or TV show? 

Whether the movie or show had references to more adult topics, or was too dark and scary for a child’s mind, these movies and TV shows were still a part of your childhood. I had these same thoughts as I rewatched one of my favorite childhood movies, "The Secret of NIMH," released in 1982. 

"The Secret of the NIMH" tells the story of a widowed mouse named Mrs. Brisby, who is taking care of her sick child, Timothy, and trying to find a cure for his sickness. Along the way she meets many interesting characters, and ultimately finds out how her husband died and the secrets he had. 

After rewatching the movie, I researched the 1971 book that the movie was based on called "Mrs Frisby and the Rats of NIMH" by Robert C. O'Brien. 

As I read through the book, I began to notice some major differences between the movie and its source material. 

Although the book and movie have similarities such as the characters and setting, the overall story that is told differs. For example in the movie, there is a magical element that is sprinkled throughout the story that shows Mrs. Frisby being given a magical amulet that only helps her toward the end of the movie. While in the book, there is no magical element at all, rather it tells a story of survival. 

Another key difference I noticed between the book and movie is that the movie does not always follow the book in some ways, such as Mrs. Frisby’s name being changed to Mrs. Brisby in the movie. Lastly, the book gives more clarity to the story than the movie. 

After comparing both the movie and book, I began to search online, trying to find what others had to say about "The Secret of NIMH". In a review by Collider, the author focuses on the movie’s dark scenes and mature themes, highlighting that these features are what make "The Secret of NIMH" unique. The review then delves deeper into how Don Bluth, the film’s director, created this story visually by introducing dark and hard life lessons to children. The review also mentions how science and magic are uniquely blended together as well. 

Another review by THE GEEK SHOW, praises the movie for its unique storytelling, as well as, giving a little insight into how Bluth, the director, broke away from Disney to create his own production company.

Overall, I had a mixed opinion about "The Secret of NIMH" movie and the book it was based on. Although I enjoyed the movie for its visuals, acting and setting, the book gave more context into what the story was about, even though, at times I grew bored of the book because of its slow-pacing. All in all, this movie is an interesting experience and I would recommend checking this movie out if you are a fan of Bluth’s other works, or are looking for a unique film to watch and experience.

After its 2022 Netflix debut, “Extraordinary Attorney Woo” quickly rose to the top of streaming charts and won over fans outside of South Korea. At its core is Woo Young-woo, a young lawyer with autism spectrum disorder who combines intelligence, integrity and vulnerability to successfully negotiate the strict legal system. The series is unique, not only because of its emotional appeal, but also because of its deft integration of legal accuracy and character-driven storytelling. 

Park Eun-bin plays Woo Young-woo, a young lawyer who excelled in her class at Seoul National University. Her distinct style of thinking, which is focused on details, patterns and her cherished whales, enables her to view legal situations from angles that others may overlook. Every episode introduces a new legal dilemma ranging from corporate misconduct, inheritance conflicts, criminal defense and medical incompetence. The show is grounded in realism rather than melodrama because the cases frequently reflect actual problems in South Korea's legal system. 

“Extraordinary Attorney Woo's” dedication to strike a balance between accessibility and understanding is what sets it apart. Although they don't shy away from complexity, the legal matters are presented in a style that is understandable to a wide audience. The courtroom process, agreements and the murky aspects of justice that attorneys frequently deal with are all shown to viewers. The show continuously exhibits an understanding of real Korean legal systems, even though some elements—like the emotional climaxes or the pace of trials—are dramatized for entertainment purposes. The series provides a surprisingly educational overview of South Korean law for people who are not familiar with it, highlighting its limitations and cultural quirks. 

Now, the way it portrays autism is equally important. The show treats Woo's character with respect, but in a dramatic way. It draws attention to the difficulties she encounters, such as discrimination at work and social misunderstandings, as well as the exceptional advantages that result from her viewpoint. Many commentators praise the series for igniting discussions on neurodiversity in professional settings, despite others claiming the portrayal romanticizes or simplifies elements of ASD. 

Ultimately, Extraordinary Attorney Woo is successful because it humanizes the characters inside the courtroom stories rather than just repeating them. It is emotionally compelling enough to connect with viewers on a personal level while being sufficiently informed to satisfy those who are interested in the law. In addition to providing entertainment, the show promotes, teaches and challenges stereotypes. In a media environment that frequently ignores neurodiversity and the realities of the legal field, Extraordinary Attorney Woo demonstrates that empathy and expertise can create remarkable television.

Taylor Swift once wrote, “Nostalgia is a mind’s trick. If I’d been there, I’d hate it,” for her song “I Hate It Here.” This quote remains ever relevant as we see more media and content rely on or gain inspiration from nostalgia.

Media has always been something that complements and takes from the past, modern times are no different. Reboots, revivals and remakes continue to be made. They function as a way of pulling in old fans and gaining new ones. From “iCarly” to “Ghostbusters” there’s likely talk of a franchise or piece of media getting a reboot or revival. However, there has been increasingly more criticism for these reboots.

“I don’t really like remaking something just to remake it,” said Conner Gaetke, an engineering major at Rose State. Adding, “If it’s a good story I don’t mind.”

“I don’t really like them, I prefer the original shows,” said Kai Bear, a freshman at North Rock Creek. Adding, “I feel like [reboots] just ruin them.”

If there is such a disinterest in reboots, then why do they keep happening? Well, for one, they get money and views. “Cobra Kai” season one, a TV revival of the “Karate Kid” franchise, has a 95% audience rating on Rotten Tomatoes. “Ghostbusters: Frozen Empire” made $202 million at the box office. 

Despite critiques often being made at them, it is clear they maintain a level of relevancy. Another common belief is that studios are just not being creative. 

“I think they’re running out of ideas,” Gaetke said.

A common sentiment shared by people who criticize reboots. While many production studios do have unique ideas for movies, these can seem like they are drowned out by blockbusters. 

For studios, media that relies heavily on what came before is safe to invest in. Reboots, revivals and remakes come with a fanbase ready to go. People want to see how different writers and directors will take the story or characters, even if they don’t like the change. 

It is not just through reboots that studios show the audience what has been done, many shows and movies that tell a unique story still rely on nostalgia bait. 

The hit show “Stranger Things” used a 1980s setting to draw fans in. The creators also took inspiration from many popular ‘80s media, such as “E.T. The Extra-Terrestrial” and “Stand by Me.”

 “Stand by Me” is an ‘80s film that takes place in the 1950s, the concept of writing a show to take place in the past is nothing new. As mentioned, the media typically likes to pay homage to the past. The movie “Grease” came out in 1978, this movie took place in the 1950s. “Back to the Future” (1985) sees Marty McFly venture back to the ‘50s. “Dazed and Confused” came out in 1993 but is set in the 1970s.

There is nothing wrong with taking a look back into the past. It’s something we as humans and creatives have done for a while. However, the reason many of these films are hits is because they were something new and different when they came out; they were fresh. Often, nostalgia bait shows can feel lackluster because they are not a new concept, they fall flat.

Another conversation that comes up when talking about nostalgic media, is the idea of romanticizing the past. There is often an idea that showing a particular time period is condoning all baggage that comes with the decade. The best shows and movies address this. 

One of the reasons that “Stranger Things” became so popular is that they had hard conversations in the show about the flaws that came with the 1980s. “Stranger Things” addresses racism with the characters of Lucas and Erica Sinclair, who are some of the few black people in the fictional town of Hawkins, Indiana. 

“Stranger Things” also depicts the struggles that came with being gay in the ‘80s, through the characters of Robin Buckley and Will Byers. It even discusses issues like the decline of main streets due to an increase in shopping malls. It brings realness to a fantastical world.

Addressing the bad with the good is what can set apart a show or movie from all the other media that depicts the past. It can make for unique and more compelling storytelling.

Of course, we do not just see an uptick in nostalgia through the media, it presents itself through fashion too.

Again, this is not a new concept. The 1980s saw a rise in 1950s inspired fashion. The 1990s had a lot of elements that were pulled from the 1960s and 1970s. 

We see this again as Gen Z began to love “Y2K” fashion on TikTok. However, it should be noted that much of their fashion was inspired more by early to mid-2000s style, rather than what was popular at the turn of the century. 

Now, late Gen Z and Gen Alpha have started to reminisce on early 2010s fashion, increasing the nostalgia cycle expeditiously. 

Why the increase in love for pre-2016 fashion? While there are many factors, a lot of it has to do with the quality and longevity of clothing.

“I think the kids are seeing the impact that clothes … have on the [environment,]” said Shannon Repka, manager of Griffin Antiques. 

Many are opting for vintage clothing to lessen the amount of clothing that goes into landfills. Making clothes last for as long as possible is a good thing when the fashion industry often tosses items. 

Older fashion items can also have a more timeless feel to them, instead of going for what is trendy now, purchasing classic items can promote keeping and wearing them. Many times, older items may just look cooler.

“They just have better designs than modern day,” said Garrett Smith, freshman and history major at Seminole State, about vintage tee-shirts. Smith has been interested in vintage fashion since his freshman year of high school.

Some like vintage fashion because it looks “dated.” Again, we see nostalgia at the forefront. Many creators have taken to social media sites like TikTok and Instagram to show off their outfits and finds. 

These creators often also address the romanticization that comes with nostalgia. You may be likely to see a post or bio that reads, “vintage clothes, not vintage values.” Like the best nostalgia-based shows, these creators too discuss the problems with their preferred decade of history. 

There is nothing wrong with taking inspiration from the past, in fact if you were to investigate the past, you would see they were doing the same. However, if we are to, it is important to do so carefully.

LGBTQ+ activist and author Leslie Feinberg wrote “At night I’d sing a song about the way life used to be … so that no one would ever confuse nostalgia with wanting to return,” in her novel “Stone Butch Blues.” This distinction is necessary when exploring trends of the past. 

It is important to not erase struggles with romanticization. It is also important for us as a society to learn from the past. Take what previous times did right, adapt it and mold it for modern times. However, it is just as important to look at what they did wrong, to learn not to repeat it. 

Just like fashion from the past, reboots and revivals are not inherently bad, but just like fashion they should be analyzed and looked at critically. People don’t hate reboots or revivals because they are automatically bad, they are criticized when studios take a lazy route with them. If reboots and revivals were to always be done with care and love, many may have less of a disdain for them. 

Nostalgia can have negative connotations, especially when tied to culture. However, media and clothing based on the  past decade can be a way for young people to examine history and safely explore the past. This will not go away, but it can be done with intention and care to maximize creativity and minimize harm.

Photo by Michelle Johnson.

"The Pursuit of Happyness" (2006), starring Will Smith, is among one of most uplifting movies students can watch when they’re feeling overwhelmed by stress. The film masterfully conveys themes of tenacity, resolve and optimism even amid the most dire circumstances. This movie is based on the true story of Chris Gardner. 

This story follows Gardner, a meek salesperson, who makes an investment in a medical product that doesn’t sell. After his relationship breaks apart, he faces the difficulty of raising his small boy alone. He soon endures financial hardship and he and his son are evicted from their home. Unemployed and homeless, Gardner isn’t giving up. Knowing that only one individual will ultimately be awarded a full-time position, he is able to land an unpaid internship with a prominent brokerage firm. Gardner is resolute in his daily presence, learning and moving forward even though he and his child have slept in shelters and even public restrooms. 

This movie’s connection to the difficulties students encounter such as, academic pressure, future uncertainty or feelings of defeat when things do not go as planned is what makes this story so potent for them. The movie’s moral is clear; perseverance and self-belief can unlock doors that previously seemed unattainable, but success does not come without challenges. 

Gardner’s advice to his son, “Never let anybody tell you, you can’t do something,” is among the movie’s most memorable quotes. “Not even myself — you have to protect your dream.” Students find great resonance in this message, which serves as a reminder that while setbacks are temporary, their potential is permanent. 

In the end, "The Pursuit of Happyness" forages a strong sense of empowerment rather than sympathy. It demonstrates how adversity can build resilience and how hope and perseverance alter a person’s course in life, even in the face of dire circumstances. This film serves as more than just entertainment for stressed-out students; instead, it serves as a reminder to preserve, never give up and never lose hope in their goals.

"The Queen’s Gambit" is a novel by Walter Tevis, published in 1983. It tells the story of a young girl named Beth Harmon, who becomes a chess prodigy at a young age. She navigates the world as the only girl in competitive class during the cold war era of the '60s, while struggling with substance abuse. Like others, I became intrigued by this book, when "The Queen’s Gambit" TV series came out in 2020. In that same year, "The Queen’s Gambit" became the most streamed limited TV series on Netflix starring Anya Taylor-Joy. As I watched the series, I thoroughly enjoyed the characters,  scenery, and overall story. After I finished the series, I began to wonder if I would enjoy the book just as much as the TV series. 

As I began to work through "The Queen’s Gambit", I found myself having to watch the TV series again to fully visualize what was happening in the book. The book often discussed various chess moves and variations in detail that I could not grasp until I watched the specific episode of the TV series that covered that chess move or variation. Unlike typical book to show variations, I found only subtle differences between the book and TV series. One of the main differences between the book and TV series was how Beth looked. Throughout the book, Beth is described as a female with brown hair and unremarkable features, while in the TV series, she is pretty and has red hair. The other differences between the book and TV series did not have any impact on how the story unfolded. 

As for similarities, the book and TV series were almost identical in telling the story the book laid out, which is somewhat rare for book-to-movie/TV series adaptations.  Although some, myself included, found "The Queen’s Gambit" TV series to be fascinating and very well-written, some would say otherwise.      

According to an article published by The New Yorker 100, the author explains how they first read "The Queen’s Gambit" by Walter Tevis, and how as they began to watch the series, they did not recognize Beth's character. The author goes on to explain how they felt loss for the story told in the TV series, citing the main reason being that they felt  Joy-Taylor, who plays Beth in the series, was unfit to play the chess prodigy because of her looks. Another person critiqued the unrealistic recovery Beth has when she is struggling with substance and alcohol abuse, and how this does not really show a realistic perspective on what addicts go through when working toward sobriety. Despite what critics and others say about "The Queen’s Gambit," the TV series helped introduce many into the world of chess. 

During the pandemic, many people were looking for something to occupy their time spent indoors. Many turned to TV, spending weeks watching the latest show Netflix or Hulu had to offer. When "The Queen’s Gambit" came into the spotlight, people began desiring to play chess due to watching Beth easily beat her opponents. 

According to an article published by The Boar, chess sets purchased and sign-ups for chess websites rose significantly with the release of "The Queen’s Gambit." The article discusses the reasons for chess’s rise in popularity. One of these reasons being that it makes chess look fun. The other reason is that "The Queen’s Gambit" tells the story of a girl who was not afraid to be bold, and continued to play competitive chess, despite many in the chess world overlooking her because of her gender. 

All in all, I enjoyed both the book and TV series because it told an interesting story. I would recommend this TV series and book to anyone who enjoys stories centered around strong female characters.

Episode one of “The Last of Us” Season Two premiered April 13, 2025. This season will follow the plot line of the game “The Last of Us Part II.” It will be mostly about the characters Ellie, played by Bella Ramsey, and Abby, played by Kaitlyn Dever. These two characters will face parallel journeys throughout the storyline. 

For a season premiere, episode one titled “Future Days,” did a great job. It set up character arcs, new antagonists, new threats and budding relationships. As a show viewer only, it kept me on the edge of my seat and wanting more. When the titles began rolling, I couldn’t help but ask “that’s it” as I was already ready for the next episode. This is not to say that the episode was uneventful, it was jam packed with exciting moments. The story was so well done I was desperate for more. 

One of the main plotlines of this episode centers on Joel, played by Pedro Pascal, and his strained relationship with his daughter figure, Ellie. The tension is high between the two. Season One left off with Joel telling Ellie a lie, a monumental one at that. Joel struggles to understand why Ellie won’t talk to him, often citing it as being just something that happens between a daughter and her father when a girl turns 19. However, the subtext is clear, Joel knows exactly why Ellie will not talk to him, his lie has forced a barrier between them. He carries this guilt with him, he lies to his therapist about it, he lies to Ellie’s best friend about it and worst of all, he lies to himself about it. 

Of course, it is not just the lie though, Joel is right, Ellie clearly seeks some level of independence from her adoptive father. She chooses to live in his garage and make the space her own, rather than take up residence in his house. She has an obvious desire to do her “own thing.” It is apparent that Ellie is no longer the 14 year old girl we left her as in Season One. Ellie is an impatient, head-strong and independent 19 year old. She believes she is ready to take on the world and all the infected that come with it. Her behavior, as of the first episode, has already gotten her into trouble. 

However, her boldness in the face of danger does not stop her from being shy when it comes to romantic feelings. Her blossoming relationship with her best friend Dina, played by Isabela Merced, is a relatable tale of young love. Ellie and Dina’s dynamic is one of the best parts of the episode. They have a perfect balance of the awkward moments that come with love and out of this world chemistry. Their banter and Dina’s blatant flirting with Ellie make you excited to see how their relationship will develop. They also share a dance and kiss at a New Year’s Eve party, Dina clearly much more confident compared to Ellie. Their cute moment is interrupted by a homophobic resident of their settlement, though he does not get away with this as Joel takes defending his daughter and her friend on himself, knocking the man out. This moment perfectly ties Ellie’s two character arcs together, her desire for independence from Joel and her budding relationship with Dina. 

While that particular resident of Jackson, Wyoming was annoying, that does not mean all are. We of course get to see Tommy, played by Gabriel Luna, and Maria, played by Rutina Wesley, again, this time with their son. New characters notably include Jesse, Dina’s on and off boyfriend who is portrayed by Young Mazino, and Gail, Joel’s therapist, who is portrayed by Catherine O’Hara. These new and recurring characters make the Jackson commune and the show itself feel more real and provide ample entertainment. 

Settlers of Jackson are not the only new characters of course, we were also introduced to new Firefly characters, notably Abby. Her desire to kill Joel is palpable and nerve-wracking. We see her last on a mountain, looking at the Jackson settlement, fire in her eyes. Her passion for vengeance and Joel’s unresolved conflict with Ellie leaves the audience nervous. 

Overall, the first episode of the second season of “The Last of Us,” is great. Each actor does an amazing job portraying their characters. The storyline is already intriguing and tense. It is clear this episode was made with passion. I am hopeful and confident that the rest of the season will be just as great. 

Photograph by Liane Hentscher/HBO

Ticket sales in the US dropped a shocking 80% in 2020. With the closure of all non-essential businesses, movie theaters were probably the ones hit the hardest. Streaming and home entertainment were already making a name for themselves, but after the shutdown, streaming boomed. Are movie theaters going out of style? Do people prefer streaming due to its price and convenience, and how are movie theaters addressing this? 

“The fact is that there is so much more out there that’s readily available,” said Marcus Mallard, professor of Film Studies and Digital Media. “It’s a couple of keystrokes on the keyboard and a mouse click away and you can get it.” 

Convenience and price are the real killers for movie theaters. Movie budgets are swelling, as well as ticket fees to match and snack prices are always egregious. More people just tend to stay home and save that money. In the past, it would take months after a movie came out before it was released on DVD or Blu-ray, but now it seems like it comes to streaming only a week or two after its run at the box office. Why go see something in a cinema when you can watch it on Netflix a month later? 

I personally will only go to a movie that I know would be better in the theater. I prefer going and seeing a movie in the theater, but if I’m going to pay a lot for a movie ($10-15 for a ticket). I would like it to be good. Big movie studios seem to be losing the trust of the common consumer. The current Marvel movie box office pales in comparison to their pre-2020 counterparts. Indie film studios, like A24, are getting more traction with young people versus the big studios. 

“Honestly, I prefer a movie theater because it forces me to remove other distractions and then I can focus on just the movie screen,” Mallard said. “I watch them at home because of convenience and because it’s less expensive, but I will always cherish the movie theater experience more so than the home … that is where movies were made to be seen.” 

Cinemas are not going to go completely away. Within the past few years or so, we have seen massive events happen at theaters. The Barbenheimer phenomenon was great for the movie industry. One of Oppenheimer’s big draws was that it was shot on 70mm IMAX. Most movies are shot on digital cameras nowadays, but Oppenheimer is an outlier. 70mm is 4.5x the resolution of 35mm (4k compared to 18k. Those aren’t definite; film resolution can vary depending on the film stock used and shooting conditions). To see Oppenheimer in IMAX would be an experience you can’t get anywhere else. Having experiences you can’t get anywhere else is essential for the industry to survive. 

I saw Twisters in 4DX at the Warren Theater in Moore. It felt like watching Godzilla in Tokyo. In 4DX, your chairs are rigged to shake and move somewhat like a rollercoaster. The opening scene was like a shock to the senses. When the tornado calmed down, a guy in the back of the theater cried out, “Finally!” The whole theater burst out laughing. That is an experience I won’t forget. 

We are currently seeing a huge event now, with the success of the Minecraft movie. The movie is being heavily influenced by the internet through memes and wild audience reactions. If you wait and watch it at home, you might think, “What’s all this hype about? That was an average movie.” It’s about seeing it and experiencing it with the crowd and friends. The internet turned an average movie into a great one. 

The local mom-and-pop theaters are having a harder time combating the lower ticket sales, causing several to close down. Rodeo Cinema in Stockyards City turned to doing some shows that are uniquely centered on the Oklahoman community. They have recently done some jazz shows as well as live Irish dancing. Rodeo can’t afford the high-tech sound or 4DX experience, so they go with something a little more personal. 

“You know, also, smaller theaters may not get the bigger films that need the high-quality sound because it just costs too much to bring them in because they’re paying distribution fees to be able to show those films on those screens … It’s costing a lot to get a big-name picture in there, and if you are spending that type of money, it’s hard to justify it.” Mallard noted. 

Rodeo Cinema has partnered with Rose State’s film program. Rose State students will present their capstones at Rodeo Cinema. The entry fee will be $10, but that goes to help pay for the cinema as well as helping future students with their capstones. 

“They have opened their doors to bring in these other types of shows and other types of events and host Q&As and bring in filmmakers,” Mallard said. “Rodeo is really trying to make sure that they’re known.” 

I don’t think movie theaters are going out the door just yet, but I think they’re just in a trough right now and they’re getting back on their feet. With the big cineplexes pushing for the best experience ever and the smaller ones trying to help their community by making a lasting difference, going to the movies is always a special experience.

The term “older” is subjective but the criteria followed for this list was that the albums came out more than 40 years ago. These albums are of different genres, but they all have something that makes them stand out and capture listeners’ attention. 

Black Sabbath, by Black Sabbath.

“Black Sabbath” was released Feb. 13, 1970. This was the band’s debut album. Its heavy and melancholic sound would inspire many metal artists to come, with some regarding it as the first heavy metal album. Gregory Sadler of Medium.com writes, “I’d even go as far as to say that without Sabbath, metal might have coalesced rather differently.” Songs from the album discuss various topics, all featuring amazing instrumentals and Ozzy Osbourne’s unique voice to deliver the message. One song titled “The Wizard” is about Gandalf, a character created by J.R.R. Tolkien. Not all songs are about fiction though, “Wicked World” discusses and brings attention to many different injustices in the world. Overall, this is a great album to start your metal journey with.

Walkin’ My Cat Named Dog, by Norma Tanega.

“Walkin’ My Cat Named Dog” was released on April 12, 1966. It is a beautiful folk album with pretty instrumentals and great singing. Fans of “What We Do in the Shadows” may recognize the song “You’re Dead,” which is from this album. The album has both upbeat and quick songs and slow and soft melodies. A personal favorite song of mine is “No Stranger Am I,” which is a soft song that appears to be about a relationship that brings the singer joy and fulfillment. This album is a must listen to for fans of early folk music.

Bad Girls, by Donna Summer.

“Bad Girls” was released April 25, 1979. This album shows why Donna Summer is often called “the queen of disco.” Summer brings great energy to every song. The album starts out fun and funky, then develops into slower and softer ballads before finishing with exciting, upbeat songs. This album is mostly about two things, parties and love. This aligns with the disco genre. When Summer tragically passed, singer Beyoncé wrote “Donna Summer made music that moved me both emotionally and physically to get up and dance.” This quote perfectly describes the album “Bad Girls.”

Surrealistic Pillow, by Jefferson Airplane.

“Surrealistic Pillow” was released Feb. 1, 1967. Surrealistic is a great way to describe the album, as most of the songs have a trippy and psychedelic feel to them. The song “White Rabbit” takes inspiration from Lewis Carol’s novel “Alice’s Adventures in Wonderland.” This song was also featured in the television shows “Stranger Things” and “Supernatural.” “Surrealistic Pillow” is a great representation of psychedelic rock and late 1960s music. 

Bookends, by Simon & Garfunkel.

“Bookends” was released on April 3, 1968. This album contains the song “Mrs. Robinson,” which was in the soundtrack for the film “The Graduate.” The album depicts the stages of life through its songs. The lyrics encapsulate the innocence of youth all the way to the more hardened feelings of an adult. The folk music and unique lyricism make this album worth listening to.

Life & Times, by Jim Croce.

“Life & Times” was released July 1, 1973. This album, like his others, shows Croce’s great lyricism. The album also has a variety of songs for different moods, with some upbeat and fun, while others take a more somber tone. Croce has an uncanny ability to depict every mood, and each song is powerful enough to make you feel what emotion he is feeling. One song, “A Good Time Man Like Me Ain’t Got No Business (Singin’ the Blues),” perfectly depicts the happier side of moving on from a bad relationship. For fans of folk and rock, this album is a must-listen. 

Photo by Michelle Johnson

“Being a woman in a very male-dominated field especially once you get into like upper levels like area director and such you see this shift in the contrast between how you're treated. You also see there is not much diversity in those fields and you constantly feel like you have to work 10 times harder than everyone else to break into that field and especially not being a Republican puts you on the outside of things because you don't always align with the old white man's views.” -Heather Walsh

A century ago, Congress passed a law to ratify the 19th Amendment on June 4, 1919. The amendment was then ratified on August 18, 1920, to grant women the right to vote. Sixty-three years later, the Civil Rights Act of 1964 “prohibited discrimination and employment based on race, religion, color, or national origin; it also prohibits discrimination based on gender.” 

Sixty-two years later, the Equal Pay Act of 1963 “Made it illegal to pay a woman less than a man for doing the same job. The Department of Labor was given the power to enforce the law.” Fifty-two years later, on Jan. 22, 1973, the Supreme Court ruled in Roe v. Wade, this decision legalized abortions nationwide and established a constitutional right to abortion. Some famous feminists during that time were Betty Friedan, Gloria Steinman and Angelina Davis. 

As we transition out of Women's History Month, let's reflect and think about some of the great women in our lives and some of the famous feminists who have made it possible for all of us to be able to get a career and an education. Let's use this opportunity to remind us that we will not be regressing to the ‘60s where we had only a few rights, but give us the courage to fight like these great women did back then. 

“In June of 2022 the US Supreme Court abandoned its duty to protect the fundamental rights and overturned Roe versus Wade ruling there is no federal constitutional right to abortion,” - Center of Reproductive Rights. 

In 2025, we held our second election with a woman of color running, and she lost to a rich white male. It sets the tone for us as a nation across the board and after listening to various classmates and various other generations of women most of them are scared. Most of them are sad that we have regressed this badly and we are going back in time instead of forward. One hundred and five years ago we earned our right to vote and now in 2025 we are still fighting the same things they were fighting all those years ago. 

Heather Walsh said, “Being a woman in a very male-dominated field especially once you get into like upper levels like area director and such you see this shift in the contrast between how you're treated. You also see there is not much diversity in those fields and you constantly feel like you have to work 10 times harder than everyone else to break into that field and especially not being a Republican puts you on the outside of things because you don't always align with the old white man's views.” 

Individuals from current generations have views that tend to align. Their issues are current and happening now. Previous generations fought for different causes and have made progress they are content with. They didn't fight the same way as we do now. Alas, here we are still standing 105 years later, fighting the same things our great-great grandparents fought. This isn't just about keeping the standards set in place from the past its also about the future. Continuing to create a better place for future generations. 

When it comes to women's rights it effects human rights in general. The decisions of our rights usually fall into the hands of the rich and the powerful. 

At the core of this debate lies a simple truth: women's rights are human rights. The fight for gender equality isn't about granting special privileges—it’s about recognizing the inherent dignity, freedom, and opportunity every person deserves. When we champion women's rights, we uplift humanity. 

So, the question isn't whether we should call it women's rights or human rights—because they are the same.

Photo from Rose State Media Group's Archives

These movies all have some connection to spring and, most importantly, are entertaining. They are a great watch for a calm spring afternoon. 

1. “Ferris Bueller’s Day Off” (1986) This movie follows three high school seniors as they cut class to explore Chicago. This classic 1980s movie has many shots that perfectly reflect a sunny spring day. The carefree attitude of the titular main character also brings the familiar feeling of spring. I love the journey of every character and how they change throughout the movie. The “senioritis” experienced by the characters is also relatable to many in their last year of school, especially during the spring. 

2. “Abominable” (2019) This movie is recommended by Theatre major Ariel Nutt. “It’s basically about this girl; she finds a [Yeti] ... that got taken from his home. Then ended up in the town where the main character is. And she finds him on her rooftop,” Nutt said. The movie follows the main character and friends as they try to help the Yeti return home. “And there’s one scene that just reminded me of it … they’re at this temple/ statue … She’s playing her violin and it’s magical. She basically makes flowers as she’s playing with her emotions. It’s really good,” she said. 

3. “Scooby Doo” (2002) This movie follows the classic Scooby Doo gang as they reunite to help solve a mystery. While the creepy visuals may remind one of Halloween, the movie takes place in May and the main location, Spooky Island, is said to be a popular spring break spot for college kids. This movie is a great watch for spring break as the beach and tropical imagery of the movie are perfect. The bright sunny vibes also perfectly offset the spooky mystery at play. The humor is a good balance of the typical humor present in “Scooby Doo” media and the more mature themes the movie was trying to achieve. I particularly enjoy Matthew Lillard’s performance as Shaggy. 

4. “Bee Movie” (2007) This movie is recommended by movie enthusiast Evan Retherford. “When I think of spring, I think of all the flowers blooming and the bugs flying and what is more spring inspired than a bee pollinating plants and flowers,” Retherford said. Bee Movie follows the main character Barry B. Benson, voiced by Jerry Seinfeld, as he realizes that bees are being exploited by humans for honey. “I recommend it because it shows an interesting perspective from the bees that keep our ecosystem going,” Retherford added. 

5. “10 Things I Hate About You” (1999) 10 Things I Hate About You is about Kat Stratford, played by Julia Stiles and her sister Bianca, who is played by Larisa Oleynik. It is an adaptation of William Shakespeare’s “The Taming of the Shrew” that is set in a high school in the 1990s. It takes place in spring as we see them go to prom. The colorful outfits and sunny Seattle skyline also contribute to the spring vibes of this movie. “10 Things I Hate About You” is a must watch for 90s nostalgia fans or anyone who enjoys the “enemies to lovers” trope.

Photo by Michelle Johnson