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Top 25 Buffy The Vampire Slayer Episodes: #10-1

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By Leo Milmet, Extreme Buffy Enthusiast


Warning: There are spoilers for all 7 seasons of Buffy The Vampire Slayer in this post. Also, this post is designed for people who are very familiar with the series — there will be references to certain scenes, lines, etc. that simply may not make sense if you aren’t at least a casual fan of Buffy. I have tried to minimize this while also speaking to die-hard fans of the series such as myself.

I previously revealed my choices for #25-11 on my list of the top 25 Buffy The Vampire Slayer episodes. Now we’re down to the top 10! I love this show so much. I could go on about it all day, but as I fear that this post may get a little long, I’ll shut up and get on with my choices!

10. “Fool For Love” (Season 5, Episode 7) — It’s very rare that a single episode has such a long-lasting major impact, but “Fool For Love” is relevant from the moment it begins all the way until the series’s final moments. This episode is, as vampire Spike might say, “bloody brilliant.” Its exploration of what it means to be a Slayer is one of the more important themes throughout the series, executed nowhere better than here. While watching the show up to this point, one may have always had the thought remaining in the back of their head, “What if Buffy were to be severely injured or killed just by having an off day with a totally normal, regular vampire? Everybody makes mistakes, right?” Well, yes. Buffy is bested in a fight by a totally normal vampire in the opening scene of “Fool For Love,” prompting her on a journey of self-exploration that leads her to Spike, who knows about Slayers.  Funnily enough, no one knows more about Slayers than vampires, especially those who have killed multiple Slayers, such as Spike. He was always a layered character, but I feel his “William the Bloody” moments showed the complexities of how one changes when becoming a vampire. I believe Spike ultimately is able to act benevolently because of who he was as a human — an awkward but oh so well-meaning romantic. In “Fool For Love,” we are treated to a deconstruction of Spike the man, Spike the monster, and most interestingly and importantly, Spike the tragic hero. Spike is one of the most layered, fully developed characters in the series, and this episode is one of two reasons why.

9. “Lies My Parents Told Me” (Season 7, Episode 17) — This episode is the other reason why I love Spike so much. He’s a human in the world of vampires; he’s a vampire in the world of humans. Now, it seems harder and harder for him to prove that he really isn’t beyond redemption. However, this episode is also about Buffy’s transformation into becoming a leader. Sometimes a leader must lead by defying her advisors, including Giles (who is trying to see things the most rationally but ultimately cannot be persuaded by his own bias against Spike and his firm opinion that demons are irredeemable). Buffy must confront the idea that sometimes leaders do need to know how to break the moral boundaries when the time is right. However, the discussion of this episode is “Is this the right time?” And that idea is the basis for one of the most revealing episodes in the entire series. Giles’s sometimes-harsh “leadership” tactics are finally shown to be somewhat misguided, and it is in this episode where his mentor-mentee relationship with Buffy is finally destroyed; they are now equals.

8.  “Hush” (Season 4, Episode 10) — If I had to single out a single, incredibly valuable strength of this show, I’d have to say “dialogue, dialogue, dialogue.” Then, Buffy creator Joss Whedon comes along with a largely dialogue-free episode that is one of the most horrifying (and also one of the silliest) of the entire series. The Gentlemen are truly terrifying in its use of silence. The lyrical melody hummed by a small child in a dream sequence, reminiscent of A Nightmare on Elm Street’s famous “One, two, Freddy’s coming for you,” sets off the tone about how the loss of verbal communication can actually help Buffy and Riley cement their feelings for each other. The Gentlemen are also the perfect villains for a show like Buffy. They come from an old fairy tale and represent the demonic nature of the sins of the past: patriarchy, slavery, and more. They even steal the hearts of their victims, a reference to the destruction one person can create by metaphorically breaking someone’s heart. It’s surprising even for Buffy villains how layered these guys can be (more so considering they exist in one episode, without a single line of dialogue between them all). And the fact that Buffy is the “princess” who stops The Gentlemen by screaming is perfect. This episode, with almost no dialogue, was the only Buffy episode ever to be nominated for a writing Emmy.

7. “Innocence” (Season 2, Episode 13) — This is where Buffy stops being a silly ‘90s vampire show that happens to be laden with amazing characters and great metaphors about teenage life and becomes a truly legendary show. The pain that Angelus will cause Buffy is so clear here, and he’s only just begun. The Judge is a very good villain as well. Though he has little flair or personality (and almost no character development over the two episodes in which he appears), he has lots of thematic and symbolic meaning. His place here is mainly twofold: giving Buffy a corporeal villain to fight that poses a larger threat and is more powerful than a vampire, and reminding the audience of Angel’s soullessness. We have entered the golden age of Buffy! The title reflects the literal innocence of everyone at this time in their life (just before and after they lose their virginity), especially Buffy’s vulnerability in her deep yet very innocent love for Angel and her incapability of killing him at the end of the episode. “Dream on, schoolgirl. Your boyfriend is dead.” With that line, we enter the golden age of Buffy.

6.  “Graduation Day, Part 2” (Season 3, Episode 22) — This episode is the perfect climax of the greatest season of Buffy. Buffy learns, from Faith, about the nature of being the Slayer. This episode marks several ascensions: the students are ascending in graduating high school; the mayor is ascending into a demon; et cetera, but more important are the sacrifices that must be made to achieve ascension. The end battle is epic, with major stakes that lead to the tragic deaths of many important characters (the secretly gay football player Larry Blaisdell being one of the most heart-wrenching for me; he had one season of being allowed to be his gay self and STILL be the star footballer, and then he died. I’m crying a few tears as I write this.)

5. “Earshot” (Season 3, Episode 18) — This is maybe the most relatable episode in the entire series, one of the most strikingly real and deafeningly alarming episodes ever on television. In the post-Columbine era, this thing reminded us that maybe direct mass murder isn’t even the scariest thing in our crazy world; maybe that distinct honor goes to how humans as a group can bring specific people to their breaking point. This episode draws us in with a murder-mystery premise and some of the best dialogue in the entire season. I love it for how relevant it has stayed for almost twenty years since it was created. I love it for how well-written it is.

4. “Once More, With Feeling” (Season 6, Episode 7) — “The hardest thing in this world is to live in it.” — Dawn Summers (as written by Joss Whedon). Everything about this episode is perfect. I mean, the idea of people singing out their most deep-seated painful thoughts and secrets is perfection. Sweet is the greatest one-off villain on the entire show, and he’s even more impressive given his rather small amount of screen time. Every single scene in this episode is rich with character. Buffy feels like she is “Going Through the Motions”; for the first time in her life, she doesn’t give a damn about anything going on in the world. She is singing a Disney-like song about being very depressed and giving up hope in general. Sweet leads her on the path of admitting all of her secrets, ending with the revelation to her friends about how they took her out of a literal heaven when they brought her back from death. Tara and Giles, who never really had much in common before, are in similar roles here, trying to save a person they love from going down a very dark path. For Tara, it’s Willow with her magic, and for Giles, it’s Buffy with her post-resurrection depression and dependence on his help. Spike is also conflicted. He feels deep lust for Buffy (which later proves uncontrollable in “Seeing Red”), who won’t give him the time of day but often tortures him with her presence. These are deep, nuanced characters. The songs are all great; the depressing and non-Disney-like meaning of  “Going Through The Motions” contrasts with its natural Disneyish charm; “Standing” is an emotional, introspective soft-rock ballad about Giles’s role in Buffy’s life now that she is an adult; “Under Your Spell” is a love song that glimmers with ironic truths; “What You Feel” is a jazzy, gleeful crowd-pleaser ironic in its intent; “Rest In Peace” is a hard-rock song about the anger that can come with love; “Walk Through The Fire” is a harmonic masterpiece about characters overcoming their fears.

3. “The Body” (Season 5, Episode 16) — In the middle of a very good season of television, we suddenly have this literally musicless interruption that discusses the profound impact death can have on loved ones. This episode tackles profound emotions in every character. It is absolutely perfect in its handling of every single character’s reaction to this loss. Anya’s reaction to Joyce’s death is heartbreaking; she’s never felt anything like this before in her life. The impact of a sudden, very tough loss like Joyce’s on the lives of other people is immense, and that’s what the show captures here. It treats the brutal realities of death in all their horrible simplicity. It has no conventional Buffy-like plot; it is just the characters we have grown to love dealing with all the issues, big and small, that are brought on by death. It is realistic in a way that even few non-fantasy films and TV shows can even aspire to. I love this episode; it’s painful, real, and (sometimes) darkly comedic — just like the loss of a real loved one. And the ending, with its brutal reminder that the real, normal world is still there, waiting for Buffy’s return is heartbreaking. Buffy has to return to the real world because so many lives depend on her existence. Now it’s time to go back to the real world, holding your bleeding heart in your hands and placing it back in your chest so that you can keep going on. Wow.

2. “The Gift” (Season 5, Episode 22) — “The Gift” made me bawl. A lot. “The Gift” begins with a tragic reminder of Buffy’s past, a simple little vampire fight with almost no emotional stakes attached to it. And then she goes back inside and argues with Giles over whether he’s allowed to kill her sister. Dawn is all Buffy has left; her mother is dead; her finances are in serious trouble; her life revolves around killing soulless demons that will murder people unless she stops them. She is a necessary human sacrifice to keep the forces of evil at bay; the First Slayer said that “death is your gift” because the only thing Buffy can do to stop the endless trauma that pokes at her is die. That sucks. The moral discussion between Giles and Buffy is my favorite scene in the episode; two people, both trained to think rationally– even during the apocalypse — disagree on how far they can go to save the world. It’s about the personal versus the rational; the emotional versus the logical. It is logical to kill one person to save the rest of the world, but most of us probably couldn’t pull the trigger ourselves; we couldn’t have such a thing on our conscience, especially when that person is closely related to us. How could we kill everything we still love about ourselves in human form and stay alive in the metaphorical sense of the world?

1. “Passion” (Season 2, Episode 17) — I first saw this episode at the age of eleven, I was lying in bed while watching it. I didn’t sleep that night. This episode is witty, tragic, intense, thoughtful, philosophical, gutsy, morose, operatic, brutal, and most of all, shocking. Angel is an intense, thematically rich villain. Angel, Buffy’s former lover who has lost a soul, talks about passion. Passion is the beating heart in all of us. One could even say that passion is what makes up one’s soul — or, in Angel’s case, one’s lack of a soul. This episode is about the passions of all of the characters. Angel’s horrifying obsession with Buffy is downright painful to watch, especially because the episode is narrated by — and told from the perspective of — Angel. Buffy’s passion is her love and caring for a man she finds sympathetic — a man who lives in the dark while still having a conscience — until he loses his soul, and all hell breaks loose. She feels the need to neutralize Angel without killing him; she still believes that the man she loves is inside somehow. Giles’s passion is one of the most interesting; it ebbs and flows through the episode from passionate love for Jenny to an intense hatred for Angel. One last little side note: I’ve heard (but can’t quite confirm) that before Buffy, David Boreanaz wasn’t pursuing acting; he was apparently discovered by a friend of one of the casting directors who lived nearby and watched Boreanaz walk his dog and saw in Boreanaz everything they were looking for in Angel. If that’s true, then I must truly tip my hat to David Boreanaz. While this would explain some wooden acting early in season one, for Boreanaz to be able to do anything resembling the kind of work he does here with so little acting experience is…well, it’s breathtaking. His performance here is captivating; he embodies this cold, soulless, darkly comedic, slightly melodramatic (yet also intensely passionate) character of Angelus (Angel, when he has no soul, is sometimes referred to as Angelus) to a degree that many seasoned actors would be jealous of.

So that’s my top 10! Hope you all enjoyed this little Buffy geek-out session. And if you haven’t seen the show, just go watch it. It’s the greatest thing ever. Like, now. Like, WHAT ARE YOU STILL DOING HERE GO WATCH IT!!!!!!!

Editor: Makena Behnke

Top 25 Buffy the Vampire Slayer Episodes: Countdown #11-25

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By Leo Milmet, Buffy the Vampire Fanatic

Warning: There are spoilers for all 7 seasons of Buffy The Vampire Slayer in this post. Also, this post is designed for people who are very familiar with the series–there will be references to certain scenes, lines, etc. that simply may not make sense if you aren’t at least a casual fan of Buffy. That said, on with the post.

 

Buffy the Vampire Slayer is the most amazing television show ever to grace the small screen (and therefore, us) with its presence. In honor of its glory, and honestly just because I love it so so incredibly much, I wanted to list my top 25 favorite episodes. However, I have so much material here that I have decided to separate it into two posts. Here is #25-#11. Log in next week for the top ten Buffy episodes ever.

 

#25. “After Life” (Season 6, Episode 3) — This episode is both terrifying and emotional, fun and profound, bitter and sweet. And I always tear up a bit during Buffy’s conversation with Spike. That moment is perfection.

 

  1. “Selfless” (Season 7, Episode 5) — Anya is a great character, and her unique disconnection with humanity and traditional morality is showcased in “Selfless” more than in any other episode.

 

  1. “The Wish” (Season 3, Episode 10) — Cordelia (stereotypical popular girl)  has always been a hilarious character, but I think this might be one of her greatest moments. Her superficiality in wishing that Buffy had never come to Sunnydale is believable, and I love Vampire Willow and Vampire Xander. Points off for using the clichéd “be careful what you wish for” story technique, but it more than makes up for it with its unique dystopia and hilarity. Anya’s demon face still haunts my dreams.

 

  1. “Tabula Rasa” (Season 6, Episode 8) — GILES, GILES! The characters’ amnesia creates so many hilarious jokes; i.e. there’s a “loan shark” shark paid off with kittens. It’s wonderful seeing the characters act like I would (e.g. being terrified of and running away from the vampires) as opposed to their usual immense bravery and courage.

 

  1. “Dead Things” (Season 6, Episode 13) illustrates the horrible power of false guilt.

 

  1. “Band Candy” (Season 3, Episode 6) — This episode’s character-based zaniness is hilarious. I love how turning the adult characters into their teenage selves ties into the main plot of The Mayor’s attempt to take over Sunnydale. The incredible chemistry between Joyce and Giles is honestly the sexiest thing I’ve ever seen in a ‘90s network TV show–except maybe the Buffy and Angel relationship in season two, or Xander and Faith in “The Zeppo.” But y’all get my point.

 

  1. “Villains” (Season 6, Episode 20) — This great episode, while by no means perfect, makes you think and ask yourself, “How far is too far?” “What actions are truly irredeemable?” and, “Is murderous revenge justifiable?” The episode does all of this while being one of the most action-packed episodes of the series, with a villain made only more terrifying as she morphs from soft-spoken nerd to vengeful grieving murderess.

 

  1. “The Replacement” (Season 5, Episode 3) — Xander is one of the most nuanced characters in the series. He is warm, funny, and humorous but with an awesome subtle-but-serious dark side, and this episode knows exactly how to deconstruct such a character. He is literally shown his potential as he gradually grows into a self-confident man in every sense of the word. That’s Xander’s arc throughout the series, growing up, and this episode shows that more than any other.

 

  1. “The Zeppo” (Season 3, Episode 13) — Another end of the world is gonna happen from some demon group or another. Excuse me while I channel Vampire Willow and say, “Bored now.” Oh, wait, even the writers know that, so they decided to make the “B” plot the “A” plot by focusing on Xander’s encounter with a group of undead psychos. And, I know it sounds lame, but anyone who’s seen it knows how awesome it is. And that ending? One of the best in the series.

 

  1. “Prophecy Girl” (Season 1, Episode 12) — I can’t imagine what people in 1997 thought of this episode. Just imagine this: you’re tuning into your favorite Monday-night schlock horror show, the ridiculously-titled (and, at the time, rather ridiculous) Buffy the Vampire Slayer, which has potential to become a really good series, but it never (yet) really gets there, and you kinda like its cheesy grade-B horror vibes. Then you see THIS EPISODE, and Buffy completely changes. Sarah Michelle Gellar is one of the greatest actresses of the ‘90s. I see you all laughing at this statement as I write it, but, my God, it’s true. The rawness of her emotion when talking to Giles about her imminent death is priceless, and the use of the Buffy theme music just makes you wanna get up and scream: “HELL YEAH!”

 

  1.  “Storyteller” (Season 7, Episode 16) — The biggest issue with Season 7 is its unfocused-ness. The introduction of too many “Potentials” always rubbed me the wrong way. But, this episode shows that Buffy will always be able to do right by its most important and interesting characters. I mean, come on, this episode is just one long running joke about the ridiculousness of Andrew Wells’ character, and it works so well. It’s funny, charming, and in the end, deeply, deeply moving. It’s about redemption and faith and the influence of The Blair Witch Project on modern horror and love and sacrifice and the awesomeness (and not-so-awesomeness) of nerd-dom.

 

  1. “Grave” (Season 6, Episode 22) — I got two words for ya. Yellow. Crayon. This episode had me bawling the first couple times I watched it, and I rarely cry in movies or TV. Xander’s monologue is one of the greatest scenes ever to be shown on television. The way the writers have, from the first episode, built up to that one moment in both of these characters’ lives is truly epic. While the rest of the episode is great but not truly on the level of the others you’re about to see, the “yellow crayon” monologue is, for me, maybe the greatest moment in all of Buffy.

 

  1. “Normal Again” (Season 6, Episode 17) — This episode is freaky. Buffy is tempted with the chance to live in a fantasy that, compared to her real world, is a paradise. She is presented with the chance to NOT be the “chosen one.” This has been her biggest internal long-term goal since the first season. Though she obviously accepts her calling, she doesn’t truly want to give up her life for a cause that is bigger than her (she merely deems it a necessary sacrifice). And here, she may have a chance at being “Normal Again,” and it’s tempting. It really is. But this episode is about waking up, and facing the true trials, tribulations, and horrors of what the real world presents, refusing to live in a fantasy.

 

  1. “I Only Have Eyes For You” (Season 2, Episode 19) — First of all, a round of applause for the beginning of the career of the great John Hawkes. Second of all, James is one of the greatest one-off villains ever. There’s a James in all of us, even in those who hate him most. He wants to be loved and can’t find a way to properly and appropriately express his love, so that love turns to hate. What could be more tragically relatable? Also incredibly well-done is Giles’s totally illogical (and yet so fitting of a man in true love) desperation to believe that the spirit possessing the school is that of Jenny Calendar, his now-dead love interest. And that ending is so bittersweet and moving, simultaneously reminding us even more of the noble, tragically heroic Angel of the past and the stomach-churning new reign of Angelus, brought forth by none other than our heroine, Buffy Summers.

 

  1. “Chosen” (Season 7, Episode 22) — These characters have come so far and done so much over these crazy seven years. Only when one considers the Buffy, Xander, Willow, and Giles from “Welcome to the Hellmouth” and then considers the moment this same gang facing the literal Big Bad of all Big Bads (the First Evil) does one understand the epically rich characters of this series. This episode has some incredibly character-rich moments like the First Evil’s midnight taunting sessions, Xander’s great line “That’s my girl. Always making the stupid decision,’ and of course that little smile on Buffy’s face at the very end that indicates that Buffy finally is NOT the “chosen one,” the “one girl in all the world.” In “Chosen,” Buffy has gone from her “chosen one” status into one empowered woman, who can bring one glimmer of hope for the survival of humanity and its vanquish over evil. Her character arc is now complete, and in the end, just like in one of the fairy tales she’d probably (and rightfully so) call lame and sexist, this TV scream-princess finally gets what she wants (to regain a “normal life”). This, while imperfect, is an incredibly satisfying conclusion.

 

Stay tuned for the top ten Buffy episodes, which will be revealed soon in a future post!

 

Editor: Holden Hartle

How can I make videos like Jeremy?

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Want to make videos like Jeremy’s? Watch, and read.

 

By Blogger-Videographer Jeremy Chang

 

First, you need to take two videos.

The first video involves standing in front of the mirror and acting like you are looking for an item; then, you stand up, look into the mirror, and pretend that you are frightened and pass out.

The second video starts when you come up from the floor. It shows yourself inside the mirror and staring at yourself. You do whatever you want that is different from the first video! (Make sure the video is long enough.)

Second, download the app (Videoleap) from the App store on your phone.

Open Videoleap and press the “+” button and add the first video. Then press the “mix” button on the left corner which will lead you to add the second video.

Lower the second video’s “Opacity,” and adjust the second video to the first video such as lining up the mirror.

Next, you need to press “Mask” on the fourth button and choose “Linear” to hide the second video’s person who stands outside the mirror.

 

 

Do this, and you’ll have a video as eye-catching as Jeremy’s–although . . . he’s left a few secrets out to preserve his artistic signature.

 

Editor: Makena Behnke

horror movies you should’ve seen

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By Makena Behnke, Horror Movie Expert and Enthusiast

 

since halloween is over, here are some horror movies that you should’ve watched

  • Halloween. a classic. seriously, everyone needs to see this. no questions.
  • The Hills Have Eyes. it’s not as scary as it is creepy. the storyline could be clearer and the acting could definitely be better, but what can you do? it’s from 1977; give it a break.
  • A Nightmare on Elm Street. one of my favorite movies ever. you have 1) young Johnny Depp, 2) a crazy dream murderer guy, and 3) the iconic orange and green sweater. the storyline is interesting, but your understanding of the movie isn’t dependent on being super focused throughout the entire movie. (if you get up and get a snack, you won’t feel like you missed too much).
  • Friday the 13th. there is an entire series of Friday the 13th’s, any one of those movies will be just fine. the first movie does not have good acting and the overall theme of the movie reeks of  “classic horror.” if you’re in the mood for mindless killing, check this out.
  • Jigsaw. yikes, this was weird. the killer basically lets his victims go through an obstacle course of death. it’s gross and gory, but sometimes that’s what you’re looking for in a horror movie.
  • The New Daughter. this  has a really good story and it’s super interesting to watch. it’s not as scary as you would expect it to be, just creepy and interesting.
  • Hush. this has such an original story, and i really haven’t found another movie like it before. the killer and victim relationship is really unique, and there’s really nothing like it. there’s also some gory parts, so it automatically improves the horror aspect of the movie.
  • Scream. i love this movie so much. it’s just really good, and i don’t know how else to explain it. good watch.
  • The Amityville Horror. specifically, the 1979 one. there’s lots of slow parts in this movie so just be aware of that. the acting isn’t good, but it’s a must watch movie. plus, the dad reminds me of a werewolf, so that’s cool.

Editor: Leo Milmet

Short Halloween Horror Story Competition Winners

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By Harlow Berny

BOO! Tonight is the 13th annual Scarefest, and as promised, the winners of the Halloween Horror competition will now be released!* The 1st place winner of the 12 oz Hershey’s Kiss is…

The Masked Rabbit!

Congratulations! The 2nd place winner is Marianne Capetz, 3rd place is Erik Bearman, and the two honorable mentions are Jane White/Mr. Griffin and Amelia Lockwell! Thank you to everyone who chose to participate in this competition. It was tons of fun to read them all, and I hope to read even more of these in the future! You all have amazing potential to hone your skills and become expert writers, and I hope that one day you may join the Journalism class.

To honor our first place winner, we will now reveal their amazing story for all to behold!

 

The Darkness

By The Masked Rabbit

It was the family’s first night in their new home. Boxes still filled the house, some empty and some not. The child had a room all to himself. It was big and fit to be a child’s playroom. The pine trees outside shielded the moonlight from entering through the window. Toys were scattered about, clothes were still crammed in the boxes, and it was long past his bedtime. The child crawled into his bed. While getting under the covers, his mother walked in. “Can you check the closet for monsters?” asked the child. The mother opened the closet door and saw nothing. “What about under the bed?” She went down and searched underneath the bed. Nothing again. She tucked him in, “Have sweet dreams.” She left and closed the door, cutting off the last bit of light that could enter the room. The child was now satisfied, for his mother was right, there was no monster in the closet or under the bed. Instead, it was above him. It clung to the ceiling with its long, sharp fingers and its pitch black eyes glaring down at the child’s tired, limp body. The darkness of the room made it invisible. The crooked teeth were just eager to be let loose. It waits there, motionless, for the child to fall asleep…

Editor: Leo Milmet

*The other stories will be posted throughout next week.

some movies that i love and you might not but i don’t care because i love them with all my heart

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By Makena Behnke

 

some movies i like suck; some rule. it’s all a matter of opinion, okay? it’s summer, so instead of going outside and getting a tan, stay inside your little cave of a room and watch movies (most of these are on Netflix by the way). so, here we go.

  • The Craft. four girls experiment in the world of witchcraft. can they handle it, or do they go power mad? plus it has Skeet Ulrich soooo, yes.
  • Almost Famous. a 15-year-old kid goes on tour with a band in the 70s. as far as i know, this is the most realistic movie about band life on tour. also, a true story. love, peace, and joy, man.
  • 10 Things I Hate About You. despite what Leo says, it’s great. Julia Stiles and Heath Ledger? yes! also, a modern interpretation of a Shakespeare play? yes! also, set in the 90s? yes! overall, yes.
  • Hush. the horrorest of horror. not really, but it’s still good. It involves a deaf girl who lives in the middle of the forest and a murderer. the girl’s cat’s name is my favorite thing; i’m not allowed to mention it on the blog, but trust me, it’s good.
  • Peter Pan–the 2003 one specifically. the very story of Peter Pan just makes me so happy, but the actors and the way it’s executed makes me love it more.
  • Scream. so darn good. a classic. it has Matthew Lillard, Skeet Ulrich, Neve Campbell and Courteney Cox–my favorite 90s actors. truly one of my favorite movies ever.
  • Bring It On and Bring It On: All or Nothing. i was obsessed with this for a long period of time. i probably still can remember most of the cheers (and probably most of the script), but don’t ask me to cheer; i won’t.
  • 13 Going on 30. a movie everyone should watch. although a little chick-flicky, it’s great. can a magical birthday present fast forward through seventeen years? 
  • Kong: Skull Island. i haven’t seen any other giant monkey movies, but this was on the plane, and i couldn’t sleep on the plane. so far, i’m a fan of giant monkey movies. my last two eight-hour plane rides were good movie days.

 

Warning: some movies are Rated R, so beware.

Editor: Claire Jenkins

Fear and Loathing

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By Leo Milmet

 

I’ve been called a liar.

A bit excessive.

A weak little weasel who has just gotta toughen up.

A cold-hearted young man with a face of stone.

A slave to my fears.

A bitter soul.

I’ve been asked “What the hell is wrong with you?” countless times.

I’ve been unfavorably compared to the accommodation-needing, annoying kid in the car who constantly asks “Are we there yet?”

I’ve been told, by well-intentioned people, “Mine is different. You wouldn’t have a problem with mine.”

 

 

All I said was,

“I’m afraid of dogs.”

 

Editor: Peter Kadel

Is Far Cry 5 a “5 out of 5”?

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By Peter Kadel

Far Cry 5 is the latest installment of the Far Cry published by Ubisoft and developed by Ubisoft. The game takes place in the fictional Hope County in Montana. This is the first game of the series to take place in the United States. Many of the jokes and quests are more relatable and the characters seem to be more relatable and more farcical at the same time. As a sequel, the game stays close to the core concept of Far Cry: Lots of weapons, outlandish and wacky side characters, maniacal and oddly charismatic villains, and an expansive open world. But, it also mixes it up with a plethora of new minor features that give the game a fresh feeling for the first couple hours of gameplay. The gameplay itself is pretty standard for a Far Cry game. The main villain(s) is/are the Seed family and their radical evangelical cult, The Project at Eden’s Gate, who have taken over Hope County, Montana, and are capturing, brainwashing, torturing the people of Hope County. The main leader of the cult is Joseph Seed who oversees the entire cult with support from his three siblings: Jacob Seed, a cruel and merciless warrior who believes in culling the weak; John Seed, a charismatic man who forces people to confess their “sins” and submit to the cult; and Faith Seed, a sort of enchantress who uses a hallucinogenic drug to control and manipulate her enemies and turn some cultists into drug-fueled berserkers. Each member of the Seed family controls a region, and players have to defeat the three lieutenants and liberate their region before getting to the leader Joseph.

 

The main story of the game is entertaining at parts, but as a whole it is disorganized and lacks a compelling reason to follow the main quest. In all honesty, I only completed the main questline because the side quests were even more one dimensional and linear, with one exception–the Clutch Nixon Stunt missions, which are a series of time limited vehicular feats which you must recreate. The quests themselves don’t have a compelling backstory, but they unlock a series of star-spangled vehicles that are really fun to drive/fly around. But, in general, the game fails to provide a compelling reason to complete missions other than “do this to get some cool stuff” or “because an NPC [Non-Player Character] said so.”

 

That being said, the game is entertaining and provides an enjoyable experience in many parts. New vehicles such as planes, helicopters, and semi trucks offer more options in terms of gameplay and how to overcome certain challenges and obstacles such as enemy strongholds and convoys. The game also includes a new type of weapon–melee weapons. These give the player more stealth options in terms of combat.

 

SO! Overall the verdict is: Far Cry 5 is an entertaining game and provides a good gaming experience, but it isn’t worth the 60 dollars needed to pay for it, so if you would like to purchase it, I suggest waiting until it is cheaper.

 

Editor: Bella Bier

The Monster Under Your Bed

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Graphic by Harlow Berny

By Harlow Berny

 

When you were a child, you would make your parents check underneath your bed after they had tucked you in at night. This is because you thought that the gentle glow of your night-light was not strong enough to reach underneath, and thus monsters would take refuge there. When you grew up, you threw out your night-light to sleep in the dark, for you no longer believed that monsters hid under your bed. The thing is, those monsters exist no matter if you believe or not. The only difference is that once you do not believe in them, you can no longer see them. You cannot see them crawling out from under your bed. You cannot see them peering at you from the foot of your bed. You cannot see them staring you in the eyes. You cannot see them slipping into your mind, replacing your childhood innocence and youth with stress, sorrow, fear, and regret. You cannot see that the monster under your bed has become the monster in your head….

 

Editor: Peter Kadel