Cheap nostalgia: Disney live-action renditions lack fresh interpretations

Within the past decade, there has been an increase in the production of live-action remakes of many beloved animated films. Disney is by far the largest contributor in this phenomenon, as they appear to be working through their collection of classic animations, most recently debuting the live action “Snow White,” released last month.

Disney has the ability to revamp stories because the company is not the creator of the tales they showcase, many of which are based in folklore. While we understand the immersive appeal of live-action movies, there seems to be a level of halfhearted handiwork on Disney’s part. Many of these live-action remakes include changes that aren’t really significant enough to bring a fresh or interesting take to the source material. Rather than watching a well-coordinated adaptation of animated films or an experimental take, viewers are left with recycled remakes that don’t respect their source material.

In our view, Disney doesn’t seem able to consistently churn out films that are either innovative or thoughtful in their retellings. This dilemma results in remakes that feel like a cheap attempt to appeal to nostalgia rather than create renditions or expand on beloved fairy tales. It’s our view that Disney should be more intentional with their remakes instead of throwing in unnecessary additives. We believe Disney should honor original films with quality shot-for-shot remakes or clearly offer consistent, fresh renditions in an effort to not muddle people’s perceptions of beloved tales.

To read more of the Lanthorn staff’s editorial, click here.

Political polarization leads Kendrick Lamar halftime critiques

Shortly after sweeping the Grammys with the diss track “Not Like Us,” Kendrick Lamar took the stage at the Caesar’s Superdome in New Orleans for the most-viewed Super Bowl Halftime Show in history. This wasn’t Lamar’s first time performing at the Super Bowl— he appeared alongside Dr. Dre, Mary J. Blige, Snoop Dogg, and Eminem during the 2022 Super Bowl, which marked the first halftime show to focus entirely on hip-hop. With guests including SZA, Mustard, Samuel L. Jackson and Serena Williams, Lamar used his performance to make a statement; against Drake, of course, but also about greater themes of patriotism and political division.

Jackson, who served as a narrator through the performance, was decked out in a patriotic suit, and personified Uncle Sam. As the Root reported, “Uncle Sam was supposed to represent the ‘sanitized’ America. The America that makes most of the Super Bowl viewers comfortable.”

The show was filled with symbolism, with dancers on the main stage dressed head-to-toe in red, white and blue. During the opening notes of Lamar’s 2017 hit “HUMBLE,” the dancers arranged to form an American flag. The choreography continued, and the flag formation split down the middle, which we see as symbolizing the division within our current political system.

To read more of the Lanthorn staff’s editorial, click here.

Brat or not brat: “We’re bumpin’ that”

Ranking No. 3 on the Billboard music charts, the album “brat” by Charli xcx is more than the soundtrack to our summer. After “brat” released on June 7, the chaotic, high energy album became a viral sensation, and has transformed into an aesthetic and lifestyle trend called “brat summer. Brat summer has swarmed social media and truly took on a life of its own. We are certainly “bumpin’ that.”

One of the trends associated with “Brat” is its lime green album cover– the new color of the summer. The color has had an impact similar to the aesthetic trends of last summer’s blockbuster movie release, “Barbie.”

The singer has defined brat summer as an aesthetic for messy and rebellious party girls to embrace a lifestyle of being your perfectly imperfect self. The trend has been deemed by the general public as an opposite of the “clean girl” aesthetic of 2022, which popularized a groomed and filtered version of femininity. Here at the Lanthorn, we think this acceptance of a real and sometimes messy lifestyle is “so Julia.”

To read more of the Lanthorn staff’s editorial, click here.

Columns

Ranking every Michigan record store I’ve visited

Since starting my music collection in 2018, visiting record stores has become one of my favorite activities– whether that be shopping with friends or my dad, who’s also restarted his own collection. I’ve made a habit of stopping at shops while on mini-vacations or driving through new towns. That being said, I’ve taken the time to rank all of the 13 stores in Michigan that have had me flipping through vinyl. A majority of the shops I’ve ranked are located in West Michigan, however there are a couple exceptions. My list is, in-part, determined by both my preferred selection and the type of shopping experience I enjoy most.

To read more of Hailey Hentz’s column, click here.

Written rivalry: What the Anchor-Bone Classic means to our newspapers

When talking about rivalries in sports, there are plenty of options. Michigan and Michigan State or Michigan and Ohio State are easy answers for Michiganders. Those aren’t the rivalries the Torch and the Lanthorn have the honor of covering.

Our small, midwestern newspapers get to say that we cover the Anchor Bone Classic. It’s built into the DNA of Bulldogs and Lakers to have the date of the Grand Valley and Ferris game circled, either mentally or physically.

Every fall, the Lanthorn releases an article about the Grand Valley versus Ferris game– an article that encapsulates the antagonism and excitement that repeats with unfaltering intensity. With a corresponding photo on the newspaper’s cover, the yearly edition arguably represents school spirit and what it means to “be a Laker” better than any of our editions.

In pages divided up between the latest news, club features and individual Lakers’ columns, pride for Grand Valley normally takes many forms. But when it comes to the edition highlighting the rivalry game, devotion to school spirit is in one substantial place, taking the form of a two-page blue, black, and white compilation.

To read more of Hailey Hentz and Dylan Rider’s column, click here.

Beyond ceasefire: Advocating against apartheid is a continued fight

More than 471 days since Oct. 7, 2023, the day so many of us have been asking for, praying for and demanding, has finally come to pass. A ceasefire has successfully been brokered between Israel and Hamas, ending the former’s genocidal slaughter of the Gaza Strip. For many, and certainly myself, this is cause for celebration. We’ve witnessed war crimes unlike anything our generation has ever seen broadcast daily on our devices. After over a year, we can finally look forward to an imminent ending of the terror and a relative return to “normal.” However, I must urge you to look at what this “normal” entails. While the bombing may stop, we still must continue to advocate for the Palestinian people.

To read more of Jace Perroud’s column, click here.

GV administration should protect students from Trump’s agenda

Like other students at Grand Valley State University, I have become increasingly anxious about the state of America following the inauguration of President Donald J. Trump on Monday, Jan. 20. The inauguration was notably attended by wealthy tech executives and several high-ranking politicians from both parties. The occasion was also filled with much of the hyper-nationalistic rhetoric we have come to expect from Trump, who declared that America would “pursue (its) manifest destiny into the stars.” While the speech captured many people’s attention, it was Trump’s actions soon after that became the main cause of alarm.

Within hours of entering office, Trump began a wave of executive orders and plans, including, but not limited to, the pardoning of all involved in the Jan. 6 Capitol riot, a requirement that all federal employees stop working remotely and even a rename of the Gulf Of Mexico to the “Gulf Of America.” Most concerning, however, are Trump’s attacks on immigration and diversity.

To read more of Jace Perroud’s column, click here.

Reducing financial burdens could improve the college experience

Being broke is a common stereotype for us college students. In most cases, this stereotype reigns true with many of us living paycheck to paycheck and feeling the constant stress of finances. I believe that without the extremely high cost of course materials, housing and tuition we wouldn’t be in such a bad situation. I feel that almost all things related to college should be more affordable.

High costs of university expenses cause major stress and anxiety. Nearly every four-year student has some kind of debt stacked up before the end of their college experience. If the cost of college and materials were cheaper, I think the number of students with debt would be drastically decreased. I can attest to the anxiety that having future debt gives students.

I personally worry about my future and the financial burden my student debt might cause me. Students worry not only about debt, but also semester bills they don’t take out loans for. I’ve had friends cry over expenses and wonder how they’re going to pay. Not every student has the benefit of financial aid– they have to pay their bills immediately. While many students do barely manage to pay, there’s still a large number of students who end up dropping out because they cannot afford the cost of college.

To read more of Gabrielle Ray’s column, click here.

Opening the EP, “Perverts” begins with a rendition of the Christian hymn, “Nearer, My God, to Thee.” The lyrics reference “Jacob’s Dream,” a biblical story in which during a dream, Jacob discovers a ladder leading to the gates of heaven where he is blessed by God. The song begins with echoing vocals but transforms into an eerie experience as the track distorts before the hymn abruptly stops as if being switched off. The remaining 10 minutes of the song accent a pulsing and droning ambient sound and heavily distorted poetry, which features a quote displayed on Cain’s Instagram account, “it’s happening to everybody.” Overall, the song sets the tone for the gothic and ambient themes that appear throughout the EP. 

“Punish” is one of our favorite songs from this work. Opening with rich and drawn-out piano chords, Cain’s voice sweeps over her listeners slowly. The lyrics reflect feelings of self-loathing, guilt and shame. Repeating the words “I am punished by love” throughout the song, it feels as if Cain is wrestling with the harsh reality of failed devotions and the harm they have caused. The somber piano paired with Cain’s ethereal vocals makes for a stunning, almost transcendent piece. The final chord of the song fades into the next track seamlessly. 

Transforming the final note of “Punish” into rhythmic pulsing surrounded by a chorus of ambiance, “Housofaphycoticwomn” is rumored to be an evocative rendition of the story of Genesis. The missing letters “e” and “a” in the track’s title represent the biblical story of Adam and Eve. Interpretations entail Eve’s use of sexual power over Adam, alluding to the EP’s overall theme of perversion. 

Beginning with a repetitive thumping, as if someone’s knocking on the wall, “Vacillator” descends into measured drum beats layered atop low rumbling. Cain’s voice glides in serenely, and she softly promises that she won’t be lost to “thunder or lightning.” The track drives ahead, with resonating clamor in the background and humming that’s soft as silk. Triggered by indecision reminiscent of the song’s title, the listener is plunged into murkiness and calamity. Cain returns, and in melodic, hushed tones, repeatedly asks that one’s love for her be pushed to the wayside. “Vacillator” fades ominously, quickly cut off by stark silence.

Religious figures of speech are exhibited in “Onanist,” which pulls listeners into uninhabited, yet tumultuous lands. Stagnant piano notes permeate the heavy air, and Cain vocalizes a connection between guilt and self-gratification. Sacrilegious imagery gives rise to crushing waves of sound that stamp out any remaining trace of innocence. With an industrial uproar in the distance, Cain concedes defeat.

“Pulldrone” is an immersive experience, as Cain lists off the “12 Pillars of Simulacrum.” This is a spiritual exploration of the ways in which humanity desires to touch a godly being but inevitably fails to bring enlightenment, due to our desire for fleeting moments of intense relief. Cain’s voice sounds soft and far away, as she describes the concept over a quiet, ambient hum. The song ends with a 10-minute-long drone of abrasive strings that seem to be dragging slower as the song continues until they creak with resistance in the piece’s final moments. 

Utilizing piano instrumentals, Cain creates a somber and empty soundscape that triggers the reflection of forgotten memories in “Etienne.” As the seconds tick by, optimistic notes are thoughtfully added in and rudimentary guitar strumming looms in the background. With light shining through the cracks, the track encircles grimly and then backs away. Resonant buzzing ushers in a static, spoken-word outro that chronicles a man’s experience of yearning for death. In the eleventh hour, the man relinquishes to his fate of continued existence.

“Thatorchia” is an atmospheric piece that begins with a soft pulsing sound before descending into a chorus of dark enchanting vocals. The gritty tone of the guitar can be felt in listeners’ bones, drowning them in Cain’s ethereal ambiance. 

“Perverts” ends with “Amber Waves,” a track with warm tones and soft vocals that feel reminiscent of a peaceful countryside, as connoted by the title. Confirmed via Cain’s Tumblr, “Amber Waves” also represent the personification of love cast aside to get high. Describing waves of euphoria, the song’s narrator finalizes the EP. They seem to say goodbye, as addiction takes over their infatuations, perverting and eroding their previous devotions.

I am not the only person noticing this increase in unsafe driving behavior. According to Nationwide’s 2023 Driving Behaviors Survey, over 90% of participants say others on the road are becoming more aggressive, reckless and driving faster. This statistic is up since 2022, which reflected 88% of participants describing an increase in aggressive driving. I find this startling, and believe that our society normalizes certain behaviors that are to blame. Having an individualistic culture encourages drivers to become absorbed into their own routines, often with a disregard for others’ safety.

When you begin driver’s training courses, one of the first things you are taught is that driving is a group activity. While you may feel as if you are alone inside your vehicle, you are sharing the road with countless other drivers. While it is important to follow basic traffic laws, it is equally, and I would argue, more important to be aware of the flow of traffic, as well as the actions of others on the road. However, I feel this mindset is becoming less and less prominent in drivers’ minds, as we are becoming desensitized to the act of driving.

In our culture, driving is a necessary part of many Americans’ day-to-day routine in getting to work, school and countless other activities. When we drive multiple times a day, the act starts to feel like a mindless activity, and not a space to be aware and engaged. I find myself feeling as if I’m in airplane mode when I drive to work for an early shift or home after a long day. At the risk of sounding hypocritical, I think this mindset largely contributes to many people not being aware of the importance and responsibility of safe driving.

In addition to becoming desensitized to the act of driving, I believe a socialized lack of consideration is a large contributor to hazardous driving. In society, individualism is emphasized, meaning people are focused on their own individual success and independence as opposed to functioning with a collectivist mindset. This means our decisions are typically less focused on benefiting all people and more focused on personal gain– a mindset that can occur on a subconscious level. I believe this increase in individualism is largely due to the COVID-19 pandemic and the worldwide lockdown, in which social behaviors were completely thrown.  Since individuals spent so much time in isolation, transitioning back into a community-mindset is easier said than done. 

This individually-motivated mindset that we have adopted, in turn, transfers to our driving. It is easy to feel as if the only way of reaching a destination on time is by driving fast. Due to our individualistic culture, we often make driving decisions that benefit us, while putting others at risk. I don’t think the normalcy of reckless driving should be an excuse to rush. Being late should not warrant putting others and yourself at risk. Instead, your goal should be to put your driving performance first. If this means employers need to be more lenient when it comes to arriving at work, then so be it.

The bottom line is that after my experience traveling for the holidays, I do not feel supported by other drivers sharing the road with me. It feels like everyone’s goal is to get to their destination as fast as possible, and drivers disregard how their rushed commute impacts others. I believe that as a society, we need to work together to improve individualistic mindsets and behaviors while driving. When getting behind the wheel, we should recognize the importance and risks of driving. Rather than put your own commute above others, we as a society must slow down, and patiently drive in an effort to improve everyone’s traveling experience.

Robot reporting: ESPN announces AI will cover certain game recaps

Popular sports broadcasting network ESPN announced that starting Friday, Sept. 6, Artificial Intelligence will be used to cover game recaps for under-served sports. These sports include the National Women’s Soccer League (NWSL) and the Premier Lacrosse League (PLL). NWSL and PLL were not regularly reported by ESPN prior to the inclusion of AI, an initiative that is said to extend to other sports in the future. 

According to ESPN’s announcement, the AI-generated recaps aim to “enhance coverage of under-served sports, providing fans with content that was previously unavailable.” 

We feel ESPN’s explanation has some gaping holes. If the goal was to enhance coverage of sports that don’t receive as much attention, why lean to AI to achieve this when assigning more journalists should be the solution? As college students soon to enter the professional field, coverage of underrepresented sports competitions sounds like the perfect internship opportunity or entry-level position.

To read more of the Lanthorn Staff’s editorial, click here.

Fan frenzy: the internet owes Chappell Roan an apology

Chappell Roan, singer of the hit song “Good Luck, Babe” and the VMA’s Best New Artist, has seen a meteoric rise to fame over the past year. That rapid rise to fame placed Roan under a constant microscope of criticism. The intense scrutiny that Roan experiences has led her to make some decisions that left fans (and us) questioning if the internet is shining too bright a spotlight on Roan.

Recently, Roan has received an onslaught of hate for refusing to endorse Democratic presidential candidate, current Vice President Kamala Harris. Following high-profile endorsements of Harris from artists like Taylor Swift and Billie Eilish, many fans were expecting (or demanding) something similar from Roan. 

In a series of videos posted to TikTok, Roan discussed the problems within a two-party system, and explained why she will not endorse Harris for president. 

“I think it is important to question authority and question world leaders,” said Roan. “The world is changing so rapidly, and I want to be a part of a generation that changes things for good because we need it. Actions speak louder than words, and actions speak louder than an endorsement.” 

To read more of the Lanthorn Staff’s editorial, click here.

Cabinet critiques: Trump’s nominations are cause for concern

As President-elect Donald Trump is finalizing his Cabinet picks, controversies have erupted over the chosen individuals. We feel that the way his administration is shaping up to be is shocking and cause for concern. With varying levels of experience and questionable elements in their respective backgrounds, many of Trump’s selections have led the public, and us, to question whether or not they’re fit to run government. 

As young adults in America, these Cabinet picks, and the overall shift to a right-leaning political system, is cause for alarm. The changes that many of Trump’s picks could implement have the potential to negatively harm the country, and the world, in the long term.

In his upcoming, second term as president, Trump will have both a Republican-controlled Senate and House on his side. This red wave within our political system will likely lead to the Senate pushing these controversial nominees through, solidifying their place to head government initiatives. Following the election, and after witnessing these Cabinet decisions by Trump, we’re apprehensive about the future of this country.

To read more of the Lanthorn Staff’s editorial, click here.

Columns

Review: Delicate Steve embraces instrumental melancholy

“Delicate Steve Sings” is the latest album released by the instrumental band Delicate Steve. This anthology features the same unique style that earned the band the cult following they have today. The “singing” heard on the tracks is remarkable, but the only voices you hear are from the guitar of Delicate Steve’s front man, Steve Marion. This album is chock-full of smooth, relaxing and memorable guitar licks and riffs. 

The last time we heard from Delicate Steve, they were grooving us to sonic paradise with their 2022  album “After Hours.” It’s on that album that the group gained mainstream popularity with their hit single “I Can Fly Away.” Soon after its release, the song gained much more traction after being featured in a short animation on YouTube by Joe Cappa. Since then, Delicate Steve has honed in on what made them so successful in recent years, resulting in an album that may be their best to date.

To read more of Collin St John’s column, click here.

Linkin Park’s highly awaited return is a disappointing renaissance

In 2017, popular rock band Linkin Park announced that their frontman Chester Bennington had passed away, and I was devastated. I had grown up on their music, and remember my mom jamming out to their studio album “Hybrid Theory” when I was a kid. They were in my “Top Artists” on Spotify Wrapped for years because there is not a song of theirs that I will turn off. I even had tickets to see them live before they announced Chester’s death.

I was shocked and disappointed that I’ll never be able to see one of my all time favorite bands perform. I, as well as millions of other fans, couldn’t help but wonder the next step for Linkin Park. The real question was, who had the voice to replace Chester?

To read more of Macenzie Conn’s column, click here.

Every Taylor Swift album, ranked

After an illustrious career spanning almost two decades, Taylor Swift has been the center of a zeitgeist effect seldom seen in pop culture. Her discography and public persona have seeped so far into the psyche of America’s youth that they are impossible to ignore. Having released her debut album at age 16, fans have seen her continually evolve and pursue new sounds on each studio release, known synonymously as her “eras.” Of course, being so popular and culturally significant, Swift’s music is often the subject of many opinionated music fans with equally as much criticism as there is praise. After all, even with millions of albums sold, countless Billboard #1 songs, and the recently gained status of billionaire, Swift is universally seen as a victim by her fan base. 

While I myself do not frequent Swift’s music, I am at my core deeply passionate about music and am always looking to broaden my horizons. So, to hopefully open my mind a little, I listened through the singer-songwriter’s discography from front to back in an attempt to differentiate her best from her worst. The ground rules for this list are simple. I am ranking her core studio releases as they were originally released, so any of the deluxe or “From the Vault” tracks from any of the re-recorded “Taylor’s Version” albums will not be considered. Swifties, please don’t come for me. 

To read more of Ayron Rutan’s column, click here.