As a member of the Alpha Sigma Alpha sorority at Moravian University, I find that Greek Week is something many look forward to each year. 

Each spring semester, Moravian’s sororities and fraternities participate in a weeklong competition featuring events such as relay races, trivia, and dodgeball. Each year follows a different theme. This year, organizations stepped into a time machine, with each organization representing a different decade. 

The theme carries through many events, including banner painting, but one of the most anticipated competitions is Musikfest. Each organization creates a dance inspired by its assigned decade and performs it in Foy Hall, on South Campus, on the final night. 

The roar of the crowd can be heard far beyond the concert hall’s doors as each organization cheers for one another. Members spend weeks practicing and memorizing dance routines in preparation for their 5 minutes of fame. 

This show of support extends far beyond the dance competition. At each event, organizations continue to cheer one another on. The environment doesn’t feel divided. Instead, it feels unified.

There is a shared understanding that while there will be one winner, everyone has contributed something larger than themselves. This sense of unity is what makes Greek Week stand out from any other event on campus.

In addition to competition, Greek Week places a strong emphasis on philanthropy. Each organization spends the week raising funds for a community nonprofit in our Penny Wars. This year, over $3,000 in proceeds was donated to the Eastern Pennsylvania Down Syndrome Center from all of our organizations. 

Coming together to show philanthropic support to our community is one of the most important parts of this event. It serves as a reminder that Greek Week is not just about interal competition, but about making a meaningful impact beyond campus.

The ability to come together as separate organizations for a shared cause highlights the values that Greek life is built upon: service, leadership, and community. 

Beyond the events themselves, Greek Week creates connections that extend far beyond the competition. Students find themselves interacting with others outside their own organization. Friendly competition turns into new friendships, and letters on a shirt create a community rather than individualization. Although our organizations support one another’s philanthropic events, this is one of the few times each semester when the entire Greek community comes together. 

While Greek Week may end with a winner, its impact goes far beyond the final ranking. The memories created, the friendships formed, and the support shown throughout the week are what truly define this experience. Greek Week is more than a competition; it’s a reflection of what it means to come together, support one another, and be a part of something bigger. 

What makes this album stand out is not its commercial success, but its emotional vulnerability and transparency. After one listen, I connected instantly with Role Model’s lyricism. He addresses topics he felt he couldn’t discuss during his relationship, including addiction, cheating and emotional unavailability, just to name a few. 

This lack of communication is not just about avoidance, but about the depth of those emotions and the fear of vulnerability that comes with expressing them. When feelings become overwhelming, there is a risk that they will not be received well, making silence feel safer than honesty. 

In an episode of Emma Chamberlain’s podcast, “Anything Goes”, she mentions that many of the problems he discusses about their relationship were things she didn’t even know about, particularly regarding how deeply he felt for her. 

As someone who loves deeply but struggles to articulate it to my partner, I resonated strongly with this dynamic. It is easier for me to write my feelings than to speak them, and more often than not, that has negatively affected my relationships. I like to call us the unrequited yearners. By this, I do not mean that the love itself is unreturned, but rather that the expression of it is. The feelings run deep on one side but remain unspoken or misunderstood, creating a disconnect between what is felt and what is received. We love our partners, often more intricately than the average person, but cannot express it. This dynamic is reflected in Role Model’s relationship with Emma Chamberlain, where the depth of his feelings, as revealed through the album, appears to exceed what was communicated or understood during the relationship itself.

These unrequited yearnings are highlighted in songs (and personal favorites of mine) like “Deeply Still in Love”, “Slut Era Interlude”, “Something, Somehow, Someway” and “Some Protector”. 

Each of these songs exposes the hardships of loving someone completely, while being unable to change yourself to be better for them, ultimately suggesting that timing was not on their side.

Role Model does not blame external factors for their breakup, or really her. Rather, he points to himself, and his ego is the reason the relationship could not work. This is highlighted in the track “Deeply Still in Love”, through the closing lines: “Well, I won’t get down on my knees, no point in coming back to me. But it still bleeds. I’m sorry, but I’m deeply still in love, in love with you”. He acknowledges that he will not beg her to come back, as it is not in his nature, but that he still loves her from a distance. 

If it were not for his ego and his fear of vulnerability, this relationship might very well have worked out. Role Model is aware of these traits, also referencing them in his song “Something, Somehow, Someway” where he talks about his awareness of his substance problems, as well as his inability to communicate, “He’s a bad dream, nicotine, druggie complication. She’s a peace sign, tea time, drinker on occasion”. These recurring themes throughout “Kansas Anymore (The Longest Goodbye)” accentuate his yearning for Emma. 

He is almost speaking directly to her, especially in songs like “Francis” (which is Emma Chamberlain’s middle name), and the album as a whole reads like an apology. 

I find this to be most prevalent in “Some Protector” where he repeats the chorus, “Am I guilty, am I sorry? Do I miss you at the party? Am I dragging this forever? Am I thinking about September? Am I wrecking reputations? While you’re making reservations? Am I lying to my mother, that some day I’ll find another? (Am I Guilty? Am I Sorry?) Yes I am, and I always will.” These lines are guttural, raw and vulnerable. Something he was unable to share throughout their relationship. He blames himself for their breakup and for the habits he indulges in afterward. While in these lines, it is not directly stated what he means by “Am I wrecking repuatations?”, this may allude to his drug use, found in other songs on the album. He acknowledges that she’s moved on, but that he cannot yet. 

He is, through and through, an unrequited yearner. Unable to express these emotions directly, music becomes his outlet – an indirect way of saying everything he could not bring himself to say during the relationship. He cannot tell these things to her face, or even over a phone call or text, so he instead writes an entire album of everything he couldn’t say. He knows he is in the wrong and could have done better by her, but even after their breakup, he cannot change his ways. 

In this way, the album becomes more than a reflection on a breakup – it becomes a form of delayed honesty, where emotions finally find expression, even if they arrive too late to change the outcome.

Overall, I find this album to be one of the more emotionally resonant indie-pop releases in recent years. Not only is his lyricism direct and, at times, blunt, but it is also something many listeners can relate to. There is a good variety of slow ballads and bedroom pop, showing his range as a musician. But, on a deeper level, it reflects the process of going through a breakup. It highlights the highs and lows. The album serves as an outlet for those who express their romantic emotions through art rather than verbal confession. Especially for those who identify as unrequited yearners. If you haven’t yet listened to this album, I recommend experiencing it in full, in order, as they reveal the stages of denial, acceptance, bargaining and sorrow that come post-break-up. 

Top 3 songs: “Slut Era Interlude”, “Slipfast”, “Some Protector” 

Least favorite song: “So Far Gone” (Featuring: Lizzy McAlpine)

Role Model, known offstage as Tucker Pillsbury, took the charts by storm with his song “Sally When the Wine Runs Out” from his album “Kansas Anymore (The Longest Goodbye)”, a project born from his breakup with long-term girlfriend and influencer Emma Chamberlain. 

What makes this album stand out is not its commercial success, but its emotional vulnerability and transparency. After one listen, I connected instantly with Role Model’s lyricism. He addresses topics he felt he couldn’t discuss during his relationship, including addiction, cheating and emotional unavailability, just to name a few. 

This lack of communication is not just about avoidance, but about the depth of those emotions and the fear of vulnerability that comes with expressing them. When feelings become overwhelming, there is a risk that they will not be received well, making silence feel safer than honesty. 

In an episode of Emma Chamberlain’s podcast, “Anything Goes”, she mentions that many of the problems he discusses about their relationship were things she didn’t even know about, particularly regarding how deeply he felt for her. 

As someone who loves deeply but struggles to articulate it to my partner, I resonated strongly with this dynamic. It is easier for me to write my feelings than to speak them, and more often than not, that has negatively affected my relationships. I like to call us the unrequited yearners. By this, I do not mean that the love itself is unreturned, but rather that the expression of it is. The feelings run deep on one side but remain unspoken or misunderstood, creating a disconnect between what is felt and what is received. We love our partners, often more intricately than the average person, but cannot express it. This dynamic is reflected in Role Model’s relationship with Emma Chamberlain, where the depth of his feelings, as revealed through the album, appears to exceed what was communicated or understood during the relationship itself.

These unrequited yearnings are highlighted in songs (and personal favorites of mine) like “Deeply Still in Love”, “Slut Era Interlude”, “Something, Somehow, Someway” and “Some Protector”. 

Each of these songs exposes the hardships of loving someone completely, while being unable to change yourself to be better for them, ultimately suggesting that timing was not on their side.

Role Model does not blame external factors for their breakup, or really her. Rather, he points to himself, and his ego is the reason the relationship could not work. This is highlighted in the track “Deeply Still in Love”, through the closing lines: “Well, I won’t get down on my knees, no point in coming back to me. But it still bleeds. I’m sorry, but I’m deeply still in love, in love with you”. He acknowledges that he will not beg her to come back, as it is not in his nature, but that he still loves her from a distance. 

If it were not for his ego and his fear of vulnerability, this relationship might very well have worked out. Role Model is aware of these traits, also referencing them in his song “Something, Somehow, Someway” where he talks about his awareness of his substance problems, as well as his inability to communicate, “He’s a bad dream, nicotine, druggie complication. She’s a peace sign, tea time, drinker on occasion”. These recurring themes throughout “Kansas Anymore (The Longest Goodbye)” accentuate his yearning for Emma. 

He is almost speaking directly to her, especially in songs like “Francis” (which is Emma Chamberlain’s middle name), and the album as a whole reads like an apology. 

I find this to be most prevalent in “Some Protector” where he repeats the chorus, “Am I guilty, am I sorry? Do I miss you at the party? Am I dragging this forever? Am I thinking about September? Am I wrecking reputations? While you’re making reservations? Am I lying to my mother, that some day I’ll find another? (Am I Guilty? Am I Sorry?) Yes I am, and I always will.” These lines are guttural, raw and vulnerable. Something he was unable to share throughout their relationship. He blames himself for their breakup and for the habits he indulges in afterward. While in these lines, it is not directly stated what he means by “Am I wrecking repuatations?”, this may allude to his drug use, found in other songs on the album. He acknowledges that she’s moved on, but that he cannot yet. 

He is, through and through, an unrequited yearner. Unable to express these emotions directly, music becomes his outlet – an indirect way of saying everything he could not bring himself to say during the relationship. He cannot tell these things to her face, or even over a phone call or text, so he instead writes an entire album of everything he couldn’t say. He knows he is in the wrong and could have done better by her, but even after their breakup, he cannot change his ways. 

In this way, the album becomes more than a reflection on a breakup – it becomes a form of delayed honesty, where emotions finally find expression, even if they arrive too late to change the outcome.

Overall, I find this album to be one of the more emotionally resonant indie-pop releases in recent years. Not only is his lyricism direct and, at times, blunt, but it is also something many listeners can relate to. There is a good variety of slow ballads and bedroom pop, showing his range as a musician. But, on a deeper level, it reflects the process of going through a breakup. It highlights the highs and lows. The album serves as an outlet for those who express their romantic emotions through art rather than verbal confession. Especially for those who identify as unrequited yearners. If you haven’t yet listened to this album, I recommend experiencing it in full, in order, as they reveal the stages of denial, acceptance, bargaining and sorrow that come post-break-up. 

Top 3 songs: “Slut Era Interlude”, “Slipfast”, “Some Protector” 

Least favorite song: “So Far Gone” (Featuring: Lizzy McAlpine) 

Going into it, I thought it would just be another chill anime that I would watch here and there. That did not happen. Instead, I got completely hooked, like saying “just one more episode” turned into multiple hours, and suddenly I had responsibilities I was ignoring. No regrets, though.

Let’s start with Maomao because she is literally everything. I don’t think I have ever loved a main character this much. She is smart without being annoying about it, sarcastic in a way that feels so real, and honestly, a little chaotic. The fact that she is so into poisons and medicine just makes her even better. Like the way she gets excited over something slightly dangerous is kind of concerning, but I also respect it. She is always thinking, always observing, and always ten steps ahead. Meanwhile, I am sitting there thinking I figured it out, and then she explains everything, and I realize I was completely wrong.

What I love most about her is that she is not trying to impress anyone. She is just doing her job, staying in her lane, and somehow still ends up involved in everything. It makes her feel more real compared to other characters who are constantly trying to prove themselves. She already knows she is capable and does not need to show off.

And then there is Jinshi. I could go on about him for a while, so just prepare yourself. Every time he shows up on screen, I suddenly forget what was happening before. His whole presence is just… a lot in the best way. But what really makes it interesting is his dynamic with Maomao. He is clearly intrigued by her, maybe even a little obsessed, and she is just there, like please leave me alone so I can do my job. It is the perfect balance.

Their interactions are honestly some of the best parts of the show. It is not overly dramatic or forced. It feels natural, a little awkward at times, and actually funny. The slow build between them is done so well that it keeps you invested without feeling frustrating. I found myself overanalyzing every little look and interaction like it was my job.

But what really makes “The Apothecary Diaries” stand out is that it is not just about the characters. The setting in the imperial palace adds so much depth. There is always something going on, whether it is political tension, hidden secrets, or some random illness that no one can explain. Every episode feels like a mini mystery, and I love that it keeps changing so it never feels repetitive.

The mystery aspect is honestly one of my favorite parts. Watching Maomao break everything down and explain what actually happened is so satisfying. It makes you want to pay closer attention to every detail because you know it is going to matter later. Even when I thought I understood what was happening, there was always something I missed.

Also, I need to talk about how good this show looks. The animation is beautiful without trying too hard. The colors, the clothing and the overall atmosphere of the palace all feel very detailed and intentional. It just adds to the experience and makes everything feel more immersive. Even the smaller scenes feel important because of how well everything is put together.

Another thing I appreciate is that the show does not rush anything. It takes its time building the story, developing the characters, and letting things unfold naturally. It makes it so much easier to get invested because nothing feels forced or out of place.

At this point, I am fully aware that I sound a little obsessed, and that is because I am. This is one of those shows that just sticks with you. You start thinking about it when you are not even watching it. You start wanting to rewatch episodes just to catch things you missed. It becomes a whole thing.

If I had to sum it up, “The Apothecary Diaries” is one of those shows that seems simple at first, but then pulls you in without warning. It is smart, funny, a little chaotic, and somehow comforting at the same time. It balances mystery, character development, and subtle romance in a way that just works.

Anyway, if you need me, I will be rewatching it again and pretending I could survive in that palace. I absolutely could not, but let me have that a girl can dream.

Michael Joseph Jackson, the man, the myth, the legend. Everyone knows him, and everyone loves him. And now, everyone can watch his story on the big screen with the new Michael Jackson biopic, “Michael”, which premiered on April 24, 2026.

With a 2-hour-long film that showed the audience Michael’s journey from the very start of The Jackson 5 all the way up to The Bad Tour, it was like looking through a new lens. The viewers are shown moments that happened behind the scenes of all the fame and fortune, and learn how Michael became the star that he is known as today.

I watched the movie on opening day at the Movie Tavern in Trexlertown, PA. I attended the 10:30am and 7:30pm showings. The first showing in the morning was relatively empty due to it being so early in the morning, but the evening showing was almost entirely packed and filled with fans, with the energy through the roof.

There were people wearing shirts with his face on them and even people wearing his signature glove. It felt like I was attending a concert of his instead of a movie. As someone who has been a huge fan of Michael since they were 5 years old, seeing everyone excited for the movie gave me a very nice feeling.

Now, to talk about the biopic itself without spoiling it for anyone wanting to go watch it, it was definitely worth the wait. The film was supposed to come out in 2025, but due to some issues with a part of the film that needed to be taken out due to legal reasons, the film was pushed back to this year. Fans waited a long time for this film to be released, and they were not disappointed.

The person who plays Michael in the film is his nephew Jaafar Jackson. This film is his acting debut, and as an audience member and a fan who is very picky when it comes to Michael impersonators, he did an excellent job portraying his uncle. He really took the heart and soul of Michael and poured it all into this film. It really felt like I was there watching Michael on the screen. 

In an interview done before the movie was released, Jaafar stated that he watched every music video and every interview he could find with Michael and studied them for hours on end until he was able to get every move and every mannerism as accurate as he possibly could. After watching the film twice, you can really see the work that was put into this, and I think that’s what makes this film so special.

However, saying the film was 100% accurate would be a lie. Some parts of the film aren’t accurate to real life. For example, the fact that a few of the Jackson siblings were missing makes me scratch my head a little. I understand that the rest of his siblings, except for Janet, didn’t really make an impact on the public, but it still would’ve been nice to see them. 

Another thing with the film that bugged me a little was the fact that they used CGI for some of the animals that were in the movie. Michael loved his animals and had many animals that belonged in a zoo or the wild rather than in a mansion in California, and I’m glad they made sure to put that in the film; however, they didn’t use real animals.

Michael’s favorite animal that he had was a monkey named Bubbles, and they added Bubbles into the movie, but using CGI. The CGI itself looked horrendous, and you could tell that it wasn’t a real monkey, which really bothered me. I understand not wanting to use real animals to avoid anything having to do with animal abuse and such, but I believe that Michael would’ve wanted the use of real animals in the film due to how much he loved them, as long as they were treated correctly, of course.

All in all, if we put aside the things from the film I didn’t really like, the rest of the film was a masterpiece in my eyes. It did Michael justice and made it feel like he was here with us again, which is a special feeling that I held onto even when I left the theater.

If you haven’t watched the film, I would absolutely go do so. It is worth the money, and I promise you will have a good time. If the storyline doesn’t get you interested, I know the singing and dancing will. So go and buy that ticket, and let the magic take you to a world full of music, love, and Michael Jackson.

Though the initial film set itself apart from that nightmarish live-action flick from 1993 starring John Leguizamo, critics hated it, while the fans of the franchise ate it up. As I sat in the theater and took this one in, however, I could see where the former was coming from.

The movie follows Mario, Luigi, Peach, and Toad as they venture into outer space to face off against the galaxy-conquering machinations of Bowser and his troop of Koopas. We see the whole cast return, and despite my provocations toward Chris Pratt and Jack Black, they all do a fantastic job. Newcomers to the cast include Yoshi (Donald Glover, and I honestly couldn’t shake any of Troy’s lines from “Community” out of my head when he spoke) Bowser Jr. (Benny Safdie), and Princess Rosalina (Brie Larson). 

The animation was arguably the strongest facet of the film. The way Bowser Jr., in particular, was designed was perfect, with him having a vibrant color palette and moving like a maniacal villain despite his stature. Despite being titled after Super Mario Galaxy, it took influences and designs from several Mario games, and the player in me couldn’t help but smile at how they came to life on the big screen, whether it was the scenic sands from Mario Odyssey’s Tostarena Town or Bowser’s imposing technicolor castle ripped straight from Super Mario Wonder.

Now it’s time for the negatives. Artistically, this film gets a gold star, but in terms of being a good film, it falls pretty short. I’ve been on my soapbox before about kids’ movies deserving to be well-written, and my thoughts haven’t really changed here. The plot bounces all over the place, and in a way that feels like they filmed the stream of consciousness that poured out of some Nintendo-obsessed kid’s head. 

Despite being a Galaxy movie, Rosalina has no role in it, acting more as a MacGuffin rather than a character. A similar issue falls to Yoshi as well — his role offers nothing to the film, which raises the question as to why Illumination would pay Childish Gambino to say about four to five lines. If you’re not a huge Nintendo fan, there is NOTHING for you here. The characters are slingshotting from place to place seemingly at random, and it’s a cycle of them having a little battle/adventure/chase, and then rocketing off to the next level. While I appreciated little character cameos and appearances such as Star Fox, it felt more like the movie was trying to reach a quota on iconic references rather than telling a compelling narrative. 

In the end, this film was a mixed bag. While it’ll obviously turn an enormous profit, “The Super Mario Galaxy Movie” is devoid of anything interesting for anyone who isn’t a Nintendo fan in some capacity. It’s sadly the cinematic equivalent of jingling keys, and here’s hoping the next foray for Jumpman is less of a bloated mess.

“Smiling Friends” follows four employees of Smiling Friends Inc., whose job it is to make people happy. Our main duo, Charlie and Pim, are tasked with making clients smile but are often caught in the precarious situations of this vibrant yet turbulent world. 

Seems simple enough until you get absorbed into the asinine and surreal misadventures of this animated sitcom. You start with a bang (pun intended) in the series’ first episode, “Desmond’s Big Day Out,” as Charlie and Pim are sent to cheer up a depressed man named Desmond with very minimal success. Wherever the duo takes Desmond, whether it be a house party or a rollercoaster ride, he is holding a gun to his head – a dark but admittedly hilarious gag that sets the tone for the rest of the series. 

What is “Smiling Friends” without our colorful cast of characters? I mentioned our main characters, Charlie and Pim, who are distinct in their own right. Charlie is a slightly cynical yet well-meaning employee, often countering the sunny, optimistic disposition of our positively pink Smiling Friend, Pim. 

I would be remiss if I didn’t mention Allan, my favorite character with the most hilarious deadpan deliveries and odd pronunciations, Glep, and the enigmatic Mr. Boss. This foursome has quirky dynamics and interactions that can occasionally be really wholesome. I love me a show that can make me laugh until my stomach hurts one minute and smile the next!

Episodes like “The Smiling Friends Go To Brazil!” or “Pim Finally Turns Green” slightly diverge from the wacky hilarity to give us painfully realistic dialogue or just endearing moments. 

The cast of side characters isn’t anything to sneeze at either; Mr. Frog and Gwimbly are some of my favorites, and overall, these characters contribute to much of the zaniness in the “Smiling Friends” cinematic universe.

“Smiling Friends” is exceptional in the comedy department with its mix of niche internet humor and random skits that are out of left field but somehow work in context. I appreciate that it doesn’t depend on cynical, shock-factor humor to get jokes across; all it needs to do is let the main characters do their own thing and … maybe slip in an internet meme for good measure, too! I never liked the in-your-face, cruel overtones of adult animated shows, so this series is quite the breath of fresh air. 

References to the Burger King foot lettuce meme and that one fan who posts about their life-sized Allan figure on Instagram or cameos from voice acting legend Gilbert Gottfried and famed YouTuber Nostalgic Critic just tickle my funny bone in the best ways possible. I should also mention the insane amount of quotables like “I just wanted my cheese” or “Guess I’m oogly goo” (if you know, you know). 

In February 2026, the creators of the show, Zach Hadel and Michael Cusack, announced that the show would end with its final two episodes in April. Many fans, myself included, were saddened by the unexpected news that such an iconic animated series was coming to an end; no more absurd new adventures or surreal dialogue. 

While I’m still sad about the show ending, I’m glad it’s going out on an extremely high note. So many shows needlessly continue and lose their charm that attracted fans in the first place, and I’m glad we had three high-quality, rewatchable seasons of “Smiling Friends.” 

Thank you, “Smiling Friends,” for now being my favorite show set in Pennsylvania!

… Or, so I thought until I finally gave Gorillaz’s latest album, “The Mountain,” a casual spin and was instantly reeled in. Composed of Blur singer Damon Albarn and artist Jamie Hewlett, Gorillaz dominated the 2000s and 2010s with iconic banger after iconic banger from “Feel Good Inc.” to “On Melancholy Hill.” This artsy band is also made of four fictional members, including 2-D, Murdoc, Noodle, and Russel, with their own distinct quirks and personalities. 

The band’s ninth studio album, “The Mountain,” is a spiritual meditation on grief, love, death, and the afterlife, imbued with cultural influences from India to the Arab world. In fact, the project’s themes were inspired by both Albarn and Hewlett’s experiences with loss. 

You hear that deep essence of grief present on tracks like “Sweet Prince.” A quieter moment in the tracklist, this otherworldly tune depicts losing one’s father with imagery of the afterlife and rebirth. As somber and solemn as it is, it also has this wise undertone that death may not be final and that someone passing could set them on a “patterned path into the next life.” 

The mystical “Empty Dream Machine” presents grief through learning to live through an uncertain, somber transition. The galactic, twinkly sitar instrumental coalesce perfectly with Albarn’s forlorn vocals, portraying a vast spatial emptiness within grief – very reminiscent of “Plastic Beach,” might I add. Black Thought’s rap verse and the call and response outro really transcend the song for me; by the end, it becomes this fusion of introspection, deep-wounded sorrow, and reflection. 

A track like “The Shadowy Light” is an alternative way of looking at death through a frame of peace and renewal. With a verse sung in Hindi by the late singer Asha Bhosle, “The Shadowy Light” is wonderfully meditative with a wise insight into life and death: “The end is the beginning.”

In other ways, the theme of loss relates to the end of a relationship, like the glimmering “Orange County.” Despite how lyrically melancholic it is, I found it to be quite pleasant, striking an odd mixture between serenity and sadness for me. The melodic whistling and the excellent verse from poet and singer Kara Jackson add this summery quality to the song that I just couldn’t get enough of. Plus, the repetition of the hook, “You know the hardest thing is to say goodbye to someone you love,” just hits in the most tender of places for me. 

In between the more grief-laden hitters, “The Mountain” had plenty of upbeat tunes with a colorful variety of subject matter. “The Happy Dictator” hooked me from first listen, not just because of its infectious melody but also its fascinating lyricism on cults of personality and dictatorships. The song was inspired by a trip Albarn took to Turkmenistan, learning about former dictator Saparmurat Niyazov, who famously wanted to ban bad news (hence the “No more bad news” chorus).

 Quippy lyrics like “I am the one to give you life again / I am the one to save your soul, amen” and “Oh, what a happy land we live in” create a satirical front that underscores how leaders and governments manufacture happiness for citizens. In a similar fashion, “The Plastic Guru” evokes this idea of artificiality but through a “guru” who seeks attention and selfish pursuits rather than actually helping people.

“Damascus” is such an electrifying moment in the tracklist, with how it embraces Arab culture as well as one of the oldest cities on Earth. With how insanely tuneful and hyped it is, this one was an instant favorite and actually the first song I listened to from this album. I love the rap/spoken word bits from Yasiin Bey (formerly Mos Def) mixed with trill-singing from Syrian singer Omar Souleyman. Hypnotic to a T!

“The Sad God” fittingly concludes this journey up “The Mountain” as a depiction of a deity disappointed in its creation (specifically, humans). Through Hinduism imagery, the song also depicts human loneliness and loss of connection, instead of “only screens left to see your face.” I found it to be an interesting commentary on the follies of human behavior and how we were given tools to excel, and instead, use them for harm. 

If this review is indicative of anything, it’s that “The Mountain” is one of, if not the best, releases this year. The majesty of the project and its contribution to Gorillaz’ musical canon is nothing short of remarkable and meditative. We still have the rest of the year to get outstanding releases but honestly, I think Gorillaz set the standard extremely high this year with “The Mountain.”

Rating: 8.5/10 

Favorite Tracks: “The Moon Cave,” “The Happy Dictator,” “Orange County,” “The Empty Dream Machine,” “Damascus,” “The Shadowy Light,” “The Sweet Prince”

Least Favorite Track: “The God of Lying”

It’s the first time since 1972, when the Apollo program ended, that astronauts have been sent to the moon. As part of the Artemis II mission, the Orion spacecraft blasted off from Kennedy Space Center in Florida on Wednesday, April 1, carrying four astronauts ready to conquer a ten-day mission. The launch itself was enough to bring tears of happiness to my eyes, as it made me feel that child-like wonder I haven’t experienced in a long time. I swear that if I were smarter in STEM fields, I would have studied to be a NASA scientist or astronaut. But, alas, I’m forced to watch here from the ground.

The Artemis II crew was composed of four talented astronauts: Commander Reid Wiseman, Pilot Victor Glover, and Mission Specialist Christian Koch, all from NASA, as well as Mission Specialist Jeremy Hansen from the Canadian Space Agency (CSA). And of course, we can’t forget about their mascot and zero-gravity indicator, Rise. The plushie was designed by an eight-year-old from California, and inside, it contains a data chip with millions of names of people who signed up to be included in the mission. Rise’s purpose, other than being cute, was to float around and show those watching the livestream when the astronauts reached space. I’m still waiting on the announcement that Rise replica plushies will be available to purchase.

Every joyful moment and milestone to have come out of the mission showcased the splendor of humanity—and each brought a smile to my face. For starters, the spacecraft traveled the furthest any human has ever traveled: a whopping 252,756 miles from Earth. The mission also featured the first female astronaut in Koch, the first Black astronaut in Glover, and the first Canadian astronaut in Hansen to have ever orbited the moon. The crew also witnessed a rare solar eclipse not visible to us here on Earth, and they were able to see parts of the moon never before seen by the human eye. 

The four astronauts were able to identify craters on the surface of the moon which had not previously been named. For one particularly bright crater, they proposed the name “Carroll,” after the wife of Commander Wiseman, Carroll Wiseman, who died of cancer in 2020. After proposing the name to mission control, the four shared a floating embrace. I shed a few tears after that. They named another crater “Integrity,” after their space capsule. 

Aside from the momentous occasions, the less significant moments brought me small amounts of joy, too. A jar of Nutella flew across the frame during one livestream, and the astronauts could be seen playing with Rise during a press event (they gave Rise the microphone, but he didn’t have anything to say). The toilet got clogged, and Microsoft Outlook apparently wasn’t working onboard, which isn’t that funny, but it’s nice knowing that human problems still happen in space.  

And did you know that Chappell Roan has played in space? Flight controllers woke up the astronauts each day with a new music pick. One day it was “Pink Pony Club” by Chappell Roan, another day they woke up to “Under Pressure” by Queen and David Bowie, and another day they played “Lonesome Drifter” by Charley Crockett. 

Over the course of the ten days, seeing the crew members take unbridled joy in their work, gazing back in awe at our planet, celebrating when they got awesome photos, and sharing everything they learned with the rest of us enlivened my week. With all the bad news happening and all of life’s stress, we really needed this one really good thing. 

I’ve heard lots of people ask: Why are we going back to the moon? To some, it may seem like a waste of time and resources, but the Artemis program is doing a lot more than bringing joy. NASA is conducting critical research for future space travel, such as testing life-support systems, potentially discovering valuable resources, and eventually setting the stage for travel to Mars. 

The Integrity capsule splashed down in the Pacific Ocean off the coast of San Diego, California on Friday, April 10. After bobbing in the waves for a bit and being cleared by medical teams, all four astronauts are home safe with their families. Rise went home with Wiseman, who seems to have grown attached to the little moon plushie.

If you missed the excitement or want to reminisce, hours of coverage are available for free on NASA’s Youtube channel. And don’t worry. For all you fellow space nerds, the fun will continue next year with the Artemis III mission and in 2028 with a moon landing. 

I’m hoping that, in addition to everything that came out of this mission, it can also serve as a reminder for all of humanity. Every single one of us is a valuable human life, and maybe seeing the new pictures of our beautiful planet we all call home will put that into perspective. 

Like, I get the concept; honestly, I really do. On paper, a “senior gift” sounds nice. It’s about giving back, leaving a legacy and showing appreciation for the place that supposedly shaped you into who you are. To be perfectly honest, I have had some really great experiences during my time here. I’ve made meaningful friendships, found my place in certain groups and grown a lot over the past few years studying here. The college experience hasn’t been all rainbows and unicorns, but I wouldn’t say it’s been bad. 

But here’s where I start to have a problem: the pressure. 

Whether anyone wants to admit it or not, there is pressure. It’s subtle, but it’s there. Emails, reminders and little mentions here and there all add up. Suddenly, if you don’t contribute, you’re somehow less appreciative. It’s like your memories and experiences don’t count unless you attach a dollar amount to them. 

And personally, that doesn’t sit right with me. 

Let’s be real for a second. Have you seen the economy we’re about to graduate into? It’s not exactly giving financial stability. Jobs are competitive, underpaid, or somehow both at the same time. A lot of entry-level positions require years of experience, which makes absolutely no sense. Unless you have strong connections or come from a certain background, it can feel like you’re already behind before you’ve even started. 

So being asked to donate money right now feels a little out of touch with the reality most of us face. 

Most of us are already leaving with student loans. We’ve spent the last four years paying tuition, buying textbooks we barely used, paying fees we didn’t fully understand, and trying to manage everyday expenses on top of that. And now, right as we’re about to step into one of the most uncertain transitions of our lives, we’re being asked to give more. 

It’s kind of ironic if you ask me. 

Don’t get me wrong, I’m not saying the idea itself is bad. I actually think it could be meaningful under different circumstances. If anything, it would make more sense to ask for contributions later on, when alumni are more established. You know, when we actually have jobs, a steady income and maybe a little less financial stress hanging over our heads. Because right now, most of us are just trying to figure things out.

We’re applying for jobs, stressing over interviews, thinking about where we’re going to live, how we’re going to pay bills and what our lives are even going to look like in a few months. Some of us are going into fields that we know are underpaid, but we’re doing it anyway because we care about the work. And that’s something to be proud of, but it also means we have to be realistic about our finances.

So when I see those emails asking for a senior gift, part of me feels a little guilty, I won’t lie. I am grateful for a lot of what I’ve experienced here but at the same time, I have to remind myself that gratitude doesn’t have to be financial.

I can appreciate my college experience without donating money I don’t have.

I can value the memories, the friendships and the growth without proving it through a contribution.

And honestly, I think a lot of seniors feel the same way, even if they don’t say it out loud.

So no, I won’t be contributing to the senior gift. Not because I don’t care and not because I’m ungrateful, but because I’m being realistic about where I am right now. I’m about to enter a career field that isn’t exactly known for high pay, and I have to prioritize my future.

Maybe one day, when I’m more financially stable, I’ll look back and feel differently. Maybe I’ll want to give back in a way that actually feels manageable and meaningful.

But for now, maybe ask me again in a few years.