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The Bird is the Word: Sophisticated Schoolyard Shenanigans

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Everything Sucks: Reflecting the Unfortunate Reality of LGBT+ Representation

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By Shelby Armor

Everything Sucks is an eight-episode TV show that hit Netflix on February 16, 2018. Now, first things first, I have to state how much I adore this show. It is set in the 1990’s, and beautifully mixes 90’s culture with teen angst. The show itself has a sort of otherworldly vibe, as part of the main plot actually focuses on an alien/space romance adventure. The show follows Boring High freshman Luke (Jahi Winston), who is trying to navigate the ups and downs of high school, while also dealing with having a crush on the principal’s daughter, Kate. Kate (Peyton Kennedy) is grappling with her own problems. She is coming to terms with her sexuality in a less than accepting environment.

Just a few weeks ago, Netflix cancelled the show. However upsetting it was, it was not surprising. One of the main points of the entire show was Kate finding out that she is a lesbian, and unlike much representation in TV shows, it was done correctly. When encountering lesbian characters, there are many tropes that almost every single character falls into. The lesbian will either be killed (the “kill-the-lesbian trope”), pushed to the sideline and never given an important role, or given a sad ending. But Everything Sucks didn’t do that. They didn’t ignore the situation. In fact, they decided to put Kate at the forefront of the show. They didn’t see the need to get rid of her character, and they gave her a lovely and healthy relationship that didn’t end poorly.

But, the unfortunate reality we’re facing is that this exact plotline is the reason that the show didn’t survive. Everything Sucks found appeal with LGBT+ audiences but was unable to gain mass appeal. We’re in a world where people are pushing for greater LGBT+ representation in film and TV. But, the reality is that a queer character is only helpful if they’re on the sideline. Shows like Supergirl have a lesbian character as a supporting character, which directly helped their ratings. They keep the character present enough so they’re there but don’t really make them overly prominent. When faced with a show that puts an LGBT+ character at the forefront, mass appeal is quickly lost, which is exactly what happened with Everything Sucks. Kate was crucial to the overall plot of the show, and her accepting herself and finding out about her sexuality was seen as amazing for LGBT+ audiences, but, again, it leads to the loss of mass appeal.

Everything Sucks is an amazing show that deserves loads of praise. However, LGBT+ representation ultimately brought them down. They are not the only show to encounter this fate, as the Netflix Original Gypsy was cancelled, which had two women in a relationship at the forefront of the show.  So, while LGBT+ representation in TV is making a rise, sadly, shows are still unable to sustain themselves with an LGBT+ character in a leading role.

Editor: AJ Patencio

Shows to Binge Over

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By Blogger Reviewer Claire Jenkins

Quarter 4 will be over before we know it. Summer will be here, and there will be many hours in a day to kill. Why use your precious time to do something productive and be a part of the society around you when you can sit at home on the comfort of your couch and binge some Netflix shows! Below is a list of my personal favorite binge-worthy shows on Netflix.

Jane the Virgin 

The title sounds a little off putting, and that might be why it took me so long to watch it, but it’s honestly one of my favorite shows. It has twists, turns, murders, love, and very diverse characters. It’s about a woman named Jane and her family showing how they handle everything life throws at them. It never gets tiring, and there’s something for everyone. I would 12/10 recommend.

New Girl

This show is stupid, but I love it. A girl moves in with three roommates and has a blast. There’s quick one liners and love triangles for hours. It’s an excellent time waster.

Friends

Yes, this show is overplayed on Nick at Night, but there is nothing more satisfying than sprinting through 10 seasons in one week. There’s about 85 hours worth of pure gold, and if you plant yourself on the couch with the proper snacks and only stop for bathroom breaks, you’ll have it done in no time! You can do it if you try (seriously, someone please try; I honestly want to know how it goes).

Wynonna Earp

Wyatt Earp’s great granddaughter kills demons in Purgatory. WATCH IT! DON’T QUESTION ME, JUST WATCH IT!

One Day at a Time

One Day at a Time is a revamp of the old sitcom with the same name. It’s about a Cuban family in America, with an abundance of strong female characters. The show is basically a liberal free-for-all. This has Rita Moreno in it (from West Side Story and everything). Watch it. It’s not your parents’ One Day at a Time.

Editor: Bella Bier

My First Experience With American Beauty

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By Leo Milmet, The Bird on Fire Resident Film Critic

When I was ten, I began to take a serious interest in film. I saw a poster for the Cinemark Classic Series at the theater at The River. The tickets were $5 per film, so I went to see each of the listed films (Forrest Gump, West Side Story, Lawrence of Arabia, American Beauty, Casablanca, and The Godfather).

I fell in love with film that year. I was introduced to an entirely new world: the world of the greatest films of all time, not just something like Star Wars or Gone With The Wind. I became invested in the wonderfully written and beautifully realized characters of American Beauty and Casablanca like I never had been before. I was introduced to the sheer power of brilliant cinematography through Lawrence of Arabia’s beautiful, epic shots. The themes of West Side Story, despite my having already seen the film and enjoyed it, challenged me in a new way. The Godfather showed me a truly tragic fall from grace.

However, of all these classic Oscar winners, American Beauty (1999) was the film that made me want to become a filmmaker. I remember the night I saw that film. The film was a cheeky satire, but also a melodrama. I didn’t get behind Lester, the film’s anti-hero, and his disquieting desires, but I felt terrible for him nonetheless. As much as I loved every one of these films, and I did (I REALLY LOVED THEM ALL), I had become absolutely enamored with the quiet power of American Beauty, the character-based work of genius that I will forever remember seeing for the first time. I was drawn in by writer Alan Ball’s realistic characters. The film’s powerful themes of nostalgia, uncertainty about one’s place in the world, lust, and breaking the system are accessible to anyone. Even when I was not old enough to actually understand them, I still felt them. Somehow, someway, Sam Mendes directed the film so that each character, each scene, each theme spoke to me.

American Beauty changed my life. It made me want to make films just because I want another person to experience what I experienced that night. I owe this film so much because it truly was the film that made me love film.

Editor: Shelby Armor

songs that I’m always in the mood for

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By Makena Behnke

 

we’ve all been in that mood when you don’t really want to listen to any of the songs on your playlist… so here is a list of songs that i listen to when i don’t want to listen to anything.

 

  • Rebel Love Song by Black Veil Brides (when you feel a little bit like hard rock)
  • Coffee Talk by Broadside (when you need some pop punk)
  • Matter of Time by Five Finger Death Punch (heavy metal)
  • Thank God I’m Not You by Himalayas (indie rock)
  • Blank Generation by Richard Hell (punk rock)
  • All You Are Is History by State Champs (pop punk)
  • I’m Shipping Up To Boston by Dropkick Murphys (punk rock)
  • Palette by Grayscale (pop punk)
  • Free Your Mind by En Vogue (R&B/pop)
  • My Own Way by Drowning Pool (metal)
  • Sugar, We’re Goin Down by Fall Out Boy (pop punk)
  • Coffin by Black Veil Brides (hard rock)
  • Your Body Is A Weapon by The Wombats (indie rock)

Editor: Claire Jenkins

*Warning: some songs might contain swear words.

Underseen and Underrated Films, Volume Two

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By Leo Milmet, The Bird on Fire Resident Film Critic

 

I had several other ideas for my previous post “Underseen and Underrated Films,” from various decades, so I retroactively (after submitting it to my editor) titled that post “Volume One” and this “Volume Two.”  This time, however, the decade in which a film is released means nothing. These are simply some extra films that I love just as much as the others that were left out in order to follow my original rule of “one per decade.” Hope you enjoy.–Leo

The Cabinet of Dr. Caligari (dir. Robert Wiene, 1920): A beautiful, German, monster-horror-silent film that exudes pure artistry and pure terror at the same time. A fascinating and expressionistic masterpiece.         

Mr. Smith Goes to Washington (dir. Frank Capra, 1939): An all-time American classic about a  layman who is chosen to become part of the Senate.

The Third Man (dir. Carol Reed, 1949): A masterful noir thriller. Joseph Cotten stars as Holly Martins, a pulp author who goes to visit his old friend Harry Lime in postwar Vienna, only to realize Harry is dead. Obsessed with understanding the circumstances surrounding Harry’s passing, he is led into a confusing web of contradicting stories about the victim.

The Night of the Hunter (dir. Charles Laughton, 1955): Despite initial failure, this ingeniously directed, incredibly suspenseful thrill ride is one of my favorite films of all time. Robert Mitchum stars as Reverend Harry Powell, a murderous and fanatical priest in prison for car theft when he meets a man who admits he has stolen and hidden $10,000. How far will Powell go to get his hands on the loot?

A Man Escaped (dir. Robert Bresson, 1956): A brilliant exercise in sound editing and mixing. The simple (but wonderfully executed) plot concerns the escape of a prisoner of war in World War II.

Network (dir. Sidney Lumet, 1976): A poignant political satire of insane proportions. Featuring Peter Finch in one of the greatest performances of all time.

Blue Velvet (dir. David Lynch, 1986): A twisted psychological thriller about a happy little suburban town and its deep, dark underbelly.

Clerks (dir. Kevin Smith, 1994): This low-budget, black-and-white comedy depicts the type of people who’d nonchalantly ring you up at a convenience store and then feel entitled to mock you just after you leave. Clerks is one of the best of its type because while it cracks its sometimes-funny and always overly sophomoric jokes, it entices you to latch on to its realistic, relatable and (surprisingly) intelligently drawn characters in a way that few comedies of its type can accomplish. Personally, I don’t watch this movie just to laugh, and that might be the biggest compliment I can give it.

Dark City (dir. Alex Proyas, 1998): This fascinating story, a visionary blending of science fiction and film-noir, is executed with beautifully bleak cinematography and production design. If you like film-noir or science fiction, this is an absolute must-see, even according to Roger Ebert, who named it his #1 film of 1998. Also, if you’ve never heard of this film, don’t look it up, just sit back and watch it one day, as the risk of spoiling one of the film’s many wonderful twists and turns is too high.

My Friend Dahmer (dir. Marc Meyers, 2017): This “horrifying coming-of-age story”  (the words of the director, Marc Meyers) concerning the teenage life of the infamous real-life serial killer Jeffrey Dahmer is one of my absolute favorite films of last year. Its well-written script is brilliantly executed, managing to be at once chilling, hilarious, and emotional without ever missing a beat.

Editor: Claire Jenkins

Underseen and Underrated Films, Volume One:

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By Leo Milmet, Bird on Fire Resident Film Critic

 

Many films each year fly under the radar of most audiences. Also, even more great films get less popular as time goes on. This eventually adds up to quite a few films that many people love, but that even more people never get to see.

 

Here are a few of my favorite films from each decade of film’s popularity that seem to have been forgotten or overlooked by the newest generation of film buffs. The two recent films I included (In Bruges and Silence) are films that are incredible but don’t seem to have been given their due by the masses, despite heavy critical acclaim.

 

Lesser-known films you should put on your viewing list include . . .

Safety Last! (dir. Harold Lloyd, 1923): A great silent comedy that is most impressive in that its influential humor and great story hold up remarkably well.

M (dir. Fritz Lang, 1931): One of the original film-noirs. A brilliant German crime film about a child murderer whose disturbing crimes lead him to be chased not only by the police, but by the Mafia as well. The film was incredibly progressive and daring for its time, and is just as bold and innovative today as it must have been in 1931.

Shadow of a Doubt (dir. Alfred Hitchcock, 1943): As paranoid as Rear Window, as suspenseful as Psycho. Hitchcock’s favorite film of his own, and for good reason.

Paths of Glory (dir. Stanley Kubrick, 1957): An emotionally stunning war film concerning the lack of warmth in a cold, inhumane system. Includes one of the greatest final scenes of all time.

Night of the Living Dead (dir. George A. Romero, 1968): The original zombie film. A dark and bleak low-budget horror classic.

The Last Picture Show (dir. Peter Bogdanovich, 1971): The best ensemble film about small-town life.

Rain Man  (dir. Barry Levinson, 1988): A sensitive and subtle road-trip dramedy of brotherly bonding featuring two of the best performances of the 1980s. A popular film in its time (it won Best Picture at the Academy Awards), but a film one rarely hears about today.

Ed Wood (dir. Tim Burton, 1994): A fittingly strange film about the misfits of ‘50s Hollywood and the fantastically terrible films they produced. Martin Landau’s portrayal of Bela Lugosi hits and exceeds the mark of true excellence. For cult film lovers like me, this one’s an absolute treat, and one of my favorite films of all time.

In Bruges (dir. Martin McDonagh, 2008): A great character-based dark comedy that creates pure hilarity out of very disturbing content and doesn’t miss a beat. The first feature film of Martin McDonagh, whose amazing filmmaking is now earning him serious Oscar buzz for his new film, Three Billboards Outside Ebbing, Missouri.

Silence (dir. Martin Scorsese, 2016): A powerful, emotionally draining masterpiece about the strength and will of faith and of the human spirit.

 

Editor: Brennan Nick

Fusion Music: Fusic

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By Peter Kadel, Burgeoning Music Editor

America has historically been a place where cultures mix and blend to create new types of food, dance, literature, art, and music–a giant mixing bowl where people can embrace and experience other cultures. The blending of cultures is what will bring us closer together as a nation. One example of this culture-blend occurs in Fusion or Alternative Music. Here are three examples of some awesome Fusion Music.

A Tribe Called Red (genre–Pow Wow EDM): These Canadian DJs combine the music of Pow Wow’s from various Indian nations with electronic dance music to make a less repetitive, soothing sound. The group frequently collaborates with other DJs and Native American musicians to create a diverse body of work. There are more electric songs like “Electric Pow Wow Drum,” “Indian City,” and “Stadium Pow Wow.” Others like “We are Halluci Nation” and “I Feel” take a political stance and force us to confront the decades of mistreatment of Native Americans. It can’t be denied that the U.S and the various indigenous nations have a troubled and violent history and this genre could be the beginning of a new era in which culture can mix and blend instead of adhering to strict separation under the guise of avoiding cultural appropriation.

Dropkick Murphys (Irish Rock AKA Celtic Punk): Now, I may be biased because this is one of my favorite bands and one of my favorite genres, so be aware of that. This genre combines two styles that sound great on their own. The rich acoustic sound and meaningful lyrics of traditional Irish song combined with the speed, energy, and emotion of rock and punk music creates a strong emotional music. While some rock and punk bands rely only on anger to fuel their music, bands like Dropkick Murphys and Flogging Molly (another Celtic punk band) speak to a broader range of human emotion. The sound of the genre itself, while not as unique as A Tribe Called Red, is distinct and entertaining. Celtic punk bands often gain popularity on Saint Patrick’s day when everyone is feeling a little extra Irish.

Native Howl (Thrash Grass): This pairing definitely seems like the strangest, least appealing mash up, but, as a lover of Bluegrass, I can say that a combination between Bluegrass and Thrash Metal is a fantastic union that is equally angry and folksy and all parts enjoyable. This genre is a good example of opposites attracting and playing off of each others’ strengths and covering their weaknesses. As Bluegrass relies heavily on acoustics and lyrics it can sound repetitive and all the songs can meld together. While metal has a fantastic energy and the songs are unique, the lyrics can often be lacking with similar phrases being used again and again. While Thrash Grass isn’t perfect, it is an entertaining fusion.

 

Editor: Brennan Nick

The Dying Art of Fountain Pens

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By Shelby Armor

 

Pilot Metropolitan with Refillable Cartridges

I’ve always been a lover of pens. I choose my pens carefully based on the type of pen, the thickness of the pen, the smoothness, the type of ink, etc. And I’ve recently fallen in love with an entirely new yet old kind of pen: fountain pens.

Both of my parents used fountain pens  when they were young, and it’s still used in Europe today. But in America we’ve let it die out. We now settle for more efficient roller-balls and ballpoint pens that may last longer but ultimately provide a horrible writing experience. The ink doesn’t flow as consistently. And to many, this doesn’t matter, perhaps that’s why we rely so much on ballpoint pens. But fountain pens have such an elegant vibe to them. Their perfect way that the ink flows from the pen, the sleek look, and the overall effectiveness make the fountain pen ultimately superior.

The ink just seems to flow from the pen. It’s something that I appreciate most from fountain pens. When writing, you get such a smooth line. It’s really the most lovely part of the pen. In addition, fountain pens just LOOK so amazing. They have an elegant and sleek look to them that is ultimately unattainable with other pens. From the spiffy exterior, to the beautiful metal nibs, there’s just nothing to not love. And fountain pens are just very effective as well. When buying one pen, there are two options. You can either get an ink well or cartridges. I personally use cartridges, as that is the more modern and efficient form. When using cartridges, you simply have to unscrew the pen to replace the cartridge every two weeks or so.

Many people argue that fountain pens are not cost effective, but I tend to disagree. My personal favorite pen is the Pilot Metropolitan Fountain Pen. (https://www.amazon.com/Pilot-Metropolitan-Collection-Fountain-91111/dp/B00KRPFD96/ref=ice_ac_b_dpb?s=office-products&ie=UTF8&qid=1517543300&sr=1-4&keywords=pilot+metropolitan+fountain+pen) The price ($15) may seem slightly unreasonable for a pen, but consider the lifespan of the pen. The pen comes with a cartridge already, and the cartridges can be replaced for years. You would go through SO MANY ballpoint pens by that time. Considering that a pack of 12 cartridges is $4.79, that’ll last you for six months.

Pilot Varsity “Disposable” Fountain Pens

My ultimate verdict is that fountain pens are dying out when they really shouldn’t be. They are a beautiful writing utensil that is underappreciated.

 

Editor: Peter Kadel

“Ava” Film Review: Shelby Goes to the Palm Springs International Film Festival

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By Shelby Armor

 

I recently volunteered at the Palm Springs International Film Festival. As a reward, I got a film voucher to go see one movie. A bunch of friends and I went to see a French film called Ava. It had previously won an award at the “Festival de Cannes.” The Palm Springs International Film Festival also gave it the “Best Director” award this year. Needless to say, I was pretty excited. We went into the movie knowing absolutely nothing about it. The only thing we knew about the movie was that it was of a girl who was slowly going blind and was desperate to explore life before she lost her vision.

The reality was slightly more complicated. This girl of 13 is indeed slowly going blind, but she’s dealing with nightmares and suicidal thoughts as a result. The movie starts by following a black dog belonging to a Spanish gypsy named Juan (Juan Cano). The girl, Ava (Noée Abita), sees how the boy is mistreating the dog and proceeds to steal the dog, whom she names Lupo. Along with all of this, she has a strained, love-hate relationship with her mother (Laure Calamy). The relationship grows even more strained when her mother gets a new boyfriend.

The movie is beautifully symbolic, making use of different objects and people throughout the film to represent the coming-of-age of Ava. At the beginning of the film, she is infatuated with the dog, Lupo, wanting to get him away from this bad man. But, as she begins maturing as a person, she becomes less and less interested in the dog, and more infatuated with Juan, his owner. Lupo also serves as a coping mechanism for her incoming blindness. She repeatedly uses him as a guide dog so she can rely on her other senses.

The movie itself is chock-full of symbols. And, if you’re not really paying attention, they can often fly by. There are times where I had to sit back and comprehend the literal and symbolic meaning of various scenes, as other scenes seemed somewhat random if you weren’t paying attention to what was going on inside Ava’s head. To get a better look of what was going on inside her head, there is a nightmare sequence, going through her deepest fears of the future. There are images of her baby sister without eyes, a giant eye moving around in her mouth, her mother and boyfriend (whom she dislikes), and the police shooting her baby sister. Each and every one of these flashing scenes makes her wake up in a cold sweat. However, only one thing has started to take the nightmares away.

As she becomes closer and closer with Juan, she forgets all about her fading vision. She starts focusing more on their relationship and less on what might happen when her vision fails her. The end of the movie is a freeze frame of her smiling at Juan, utterly content with life. This seems to indicate that the nightmares and suicidal thoughts are coming to an end now that she is with Juan.

But, there are problems with the movie as well. The first half of the movie is beautifully written and filled out. The cinematography is absolutely stunning, and the score is really captivating and quite elegant. By the second half, the tempo is starting to fade. The pace can seem somewhat rushed in comparison to the rest of the movie. To others who had watched the movie with me, this really bothered them. I didn’t really mind the sudden change of pace. It made sense to me that the change of pace was accompanied with the presence of Juan. But that might be part of the appeal of the movie to me; the entire film is subjective.

The film itself is made almost entirely of symbols and can be quite hard to follow if you aren’t really the type for these kinds of films. I would recommend this film to anyone who likes a provoking piece of cinema. If a film that really makes you think about the impact of each scene is thrilling to you, then this might be the film for you to see.

 

(Warning — there is mature content in the movie)

 

Editor: Claire Jenkins

Sing Street Hits the High Notes

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Review by Movie Enthusiast Leo Milmet

Grade: A+

Sing Street helped me discover even more about what exactly I love about film as an art form and why I have such an incredible passion for film. Sing Street is one of the truly great films of the 2000s. Why? For me, it’s the potent feeling it gives me every time I watch it.

Now, trust me, no one is more cynical about the modern American film industry than I am. In my humble opinion, most films nowadays are a joke. Most big-budget films are often well-crafted, yes, but to what purpose? Money? An Oscar? Most films, in general, are well-intentioned and perhaps even well-created but forgettable. They are created for selfish commercial reasons, not truly as art. Sing Street is a completely different story. Sing Street is so quietly bold as to take countless risks without even letting you know it’s taking them. Yes, Sing Street includes some cliches for this type of film in general, but the entire idea of a film about a very musical young man in high school being bullied by boys (and men) who don’t understand the meaning of art or creativity–who “have the power to destroy, but not to create” as the protagonist Conor puts it in one scene–is so boldly original that (and I rarely say this about clichés) I simply don’t care.

The film is set in Dublin, Ireland, in the 80s. In the opening scene, Conor is strumming his guitar in his room, with the audio of his arguing parents in the background. They call him out and say they’re transferring him from his posh school to a Jesuit school. Cut to an all boys’ high school–it’s pretty much totally uncivilized. Boys are screaming, fighting, laughing. All play, nothing is sacred, nothing is serious. They behave like toddlers. The rest of the film, despite mostly being an amazing romance story with great music, is truly about the introduction of a limited amount of art into a community full of teenage (and adult) ignorance. Ultimately, this changes so much without really changing much at all. It’s perfectly realistic. That’s why I love this film. It dares to be both optimistic and cynical, staying realistic throughout. All of this is partly due to the beautiful music and the brilliant cinematography. The music acts as the emotional heartbeat of the film, while the gray look of the film (contrasting with a few brilliant, deliberately oversaturated dream scenes) seems to ground the film in reality. However, this is not to take away from the incredibly smart writing in this film. After just a handful of scenes, we have already fallen in love with maybe four-five different characters, and while not every member of Sing Street (the band, not the movie) gets enough to do, every major character in this film is on par with those characters we love from the true classics of the coming-of-age genre. Sing Street is not a musical that uses its music as a crutch. The great music is another necessary element of the brilliant story, which is, at its heart, definitely the finest coming-of-age story this side of Boyhood. The film is perfectly paced and incredibly well-structured. There’s never a scene that feels rushed, nor is there a scene that drags. Some subplots could be cut without changing much, but they are more than engaging enough to not only keep our attention but to enrich the film itself. This is quite an achievement. In my humble opinion, John Carney, the film’s director, shows as much expertise in this one film as anyone has in one film in the past three years.

However, there are a few small negatives: some characters seem totally underdeveloped and are only there to flesh out the band; some scenes in the film are a tiny bit repetitive and/or very slightly contradictory; and, if this bothers you, an ending scene leaves loose ends and involves lapses in logic. However, the ending is open to interpretation in many ways, so it doesn’t bother me. I was swept up in the emotion of the moment and didn’t realize any of this until I had seen the film five times. However, none of these total nitpicks takes away from what a masterfully-created, beautiful film this is. Sure, it’s not for everyone (looking at you, lovers of only spectacle and/or mindless entertainment), but for those of you who like to experience art that is unique and interesting, this beautiful work of art deserves, at least, the meager attention of one viewing.

Editor: Charles Schnell (who agrees with just about everything Leo says of this film)