For the Wellesley student spending summer back in their childhood bedroom:

When you’re lying in your twin bed, staring at the ceiling and wondering why 15-year-old  you decided that was a good color to paint a wall, play Lorde’s new single “What Was That ––using your headphones of course, other people live in this house and your brother is studying for the SATs. As a TikTok I once reposted said, “Lorde is like Nanny McPhee, never showing up when you WANT her but showing up when you NEED her.”

For the Wellesley student determined to have a summer fling:

Play “The Glamorous Life” by Sheila E. It’s fun! It was written by Prince! She’s a drummer! The song is nine minutes long and is major for every single second. Play it while doing your makeup, while driving at exactly the speed limit–for legal reasons–or while riding the subway and being mysterious. Everyone wants you. The person you want definitely wants you. And, who knows? You might just find yourself falling in love.

For the Wellesley student getting beaten down by tariffs:

Eggs are four billion U.S. dollars and the minimum wage in your home state is still the exact same. Get in your car and play Gang of Four’s “Natural’s Not In It.” Or not. Gas is really expensive. What to do for pleasure? This song is featured in Sofia Coppola’s “Marie Antoinette” and if we have to be living in an ancién regime-coded era, it might as well be directed by the very best Coppola.

For the Wellesley student who didn’t get into any summer internships:

Play “Fire with Fire” by AlicebanD. You’re trying to find a purpose in your life right now and so is she. There is somebody else who’s clearly to blame, but is it your professors, politicians, or parents? Who knows? Spend your time dreaming and imagining hypothetical scenarios with your friend who lives way too far away.

For the Wellesley student replacing their smartphone with a flip phone:

Have you told your friends that you’re deleting Instagram again? Did you send a reel 24 hours later? If so, this summer it might be time to reconnect with nature. Hear a child’s laugh. Watch the sunset from a 7/11 parking lot as you plan your big move to Montana. Since you won’t have Spotify, go buy Jim Croce’s “I Got A Name” record on vinyl. Plus, whenever you eventually succumb to social media temptations you can post a picture of said vinyl and appear #rustic and cultured to your followers. 

For the Wellesley student upset with the government:

Did you finally block Elon on X? Have you started googling citizenship and visa requirements for Nordic countries? Are you actively avoiding interacting with anyone from Babson? Listen to “Money Game, Pt. 2” by Ren. Yes, he is British and this song is from COVID-19, but the “unprecedented times” are still going on.

For the Wellesley student traveling abroad this summer:

I hate you. I want to trade lives. I have no interest in sharing music recommendations with you because you already have everything. In any case, play “Free Man in Paris” by Joni Mitchell. Or, at the very least, use it as the score to your Instagram post that I will be hate viewing. A little on the nose? Sure. But so is spending the summer in Europe. And you’re unfettered and alive.

“A Minecraft Movie” introduces us to a ragtag group of four as they stumble into the animated world of Minecraft, where they meet Steve –– the original avatar of the game, played by Jack Black. An opening scene reveals how Steve travelled into the video game world years prior: a piglin witch from the Nether (a hell-like dimension) wanted the crystals they had used to enter the world, hoping to channel their power to wipe out all creativity. The gang learns about the new world with lots of exposition and explanation from Steve, but are forced to split up when piglins attack the village. While the guys go on a harrowing and homoerotic adventure to gather the missing piece to bring them home, the girls fail to pass the “Bechdel Test.” By the end of the film, the group reconnects before finally heading home, defeating their enemies in a way only partially accurate to game mechanics.

The most important element of the movie was the addition of a subplot in which a Minecraft villager enters a portal into the “regular” world, proceeds to get hit by a car and goes on a date with Jennifer Coolidge. Obviously. 

Is the movie good? No. However, it clearly shows a lot of love for the game and its community, featuring iconic Minecraft mechanics, from redstone lava machines to creeper farms. The movie celebrates Minecraft fans with appearances by famous gamer content creators Aphmau, DanTDM, LDShadowlady and Mumbo Jumbo, as well as a tribute to Technoblade –– a beloved Minecraft YouTuber who passed away in 2022. 

However, the contrast between the movie’s genuine love for the game, and the attempt to capture children as a clear target audience, created confusion. Minecraft is iconic for being a sandbox game, where each player can explore the never-ending world and build or destroy whatever they desire. Unfortunately, this doesn’t mesh well with a movie plot which unironically uses the words “chungus” and “unalive,” much less one in which the villain’s backstory centers around losing “Nether’s Got Talent.” “A Minecraft Movie” is certainly a cultural moment, but it’s hard to say if this movie adds anything of substance to the already-beloved game.

Following Donald Trump’s return to the White House, many women online have begun promoting a variant of the 4B movement (or in English, the “4 No’s”) in the United States. This is in part due to the higher gender disparity among voters: according to exit polls, men preferred Trump 55% to 42% while women favored Harris 53% to 45%. This statistic reflects a sense of betrayal felt amongst many of the women and gender minorities who voted for Kamala Harris. Americans’ mimicking of the 4B movement can be seen as an act of protest not just against Trump voters, but also Trump himself, who has been found liable for sexual abuse, faced numerous allegations of sexual harassment and assault, and has consistently made sexist remarks throughout his life.

The implementation of a movement like 4B within Trump’s America is not without significance –– it would provide a means of control over one’s sexuality and personal relationships in the face of an administration seeking to restrict it.

However, the actual effectiveness of adopting the 4B movement from South Korea should be questioned. South Korea and the United States are both culturally distinct, and social movements must be understood within the context of their development. In South Korea, the movement’s gradual growth was primarily due to a mix of radical feminist forums and opposition to an influx of pro-natalist policies which do not currently exist to the same degree in the United States. In the United States, the reactionary discourse around the 4B movement quieted a week after the election in November.

Additionally, the 4B movement in South Korea has faced criticism for its transphobia and misandry. Given the current rise of trans-exclusionary radical feminism in the United States, including in state and national legislatures, the movement’s goals in the United States might accidentally serve to further attack and isolate transgender and nonbinary Americans (who, according to polling from the Human Rights Campaign, overwhelmingly voted for Harris). 

While it might seem tempting to advocate for a complete separation from men in terms of sex and romance, we must ask: does further alienating them actually help the cause? In placing both the fault and burden of punishment for the election results on men, it continues the greater gender rift within the United States which has fueled the political tensions that many Americans are trying to address.  

Contact the editors responsible for this article: Norah Catlin, Ivy Buck

According to the Wellesley Office of International Study, reasons behind the cancellation include “[t]he administrative model for the program”, which “was very complex, with legal and financial oversight posing a heavy burden to small finance and legal teams at Wellesley and Smith – for a relatively small number of students”.

The explanation echoes an email sent to students in the Spanish department, which stated that “the US administration feels that it is straining their resources to support a study abroad program.”

It also told students that such strains on the US side include financial, risk management and human resources components.

Speaking about their experiences with the program, former participants Maya Hart ’25 and Emily Rosado ’25 highlighted how welcoming their host families were. Hart called it a “home away from home.” 

“I genuinely felt like I became part of the family,” Rosado stated. 

Both also mentioned the cultural excursions to other parts of Spain and a stipend for experiences as contributing to the feeling of immersion. 

Additionally, neither noted a stressor from COVID-19 impacting their experiences or much of a feeling of a financial strain on Wellesley. Like other former students, Rosado was surprised by the program ending.

“We were all genuinely very shocked to hear the news,” Rosado said. 

Svetlana Greene ’26, a student who will be participating in PRESHCO next semester, echoed her surprise and the lack of issues with the program apparent to her. 

She expressed disappointment with the end of the PRESHCO partnership: “It’s one of the best programs for Spanish immersion for non-native speakers.”

Given the recent nature of the cancellation, students, faculty and administrators are still figuring out what programs will replace PRESHCO in the future. 

Although students will be able to participate this summer, after that programs such as Middlebury Schools Abroad will be a likely choice.

 The Middlebury Schools program, however, is not available to sophomores, which may lead younger students to seek other options.

In the email announcing the cancellation of the program, the Spanish department also expressed their hope to “[work] with [Cordoba] University to see if there are any possibilities to continue to work together.”

If students have any questions about the PRESHCO Program’s cancellation or their options for studying abroad, they are encouraged to contact the Spanish department or the Office of International Study.

Contact the editor responsible for this story: Valida Pau, Galeta Sandercock

“Joker: Folie á Deux,” the long anticipated sequel to the 2019 award-winning film Joker, was finally released nationwide on Oct. 4, picking up where the first film left off: Arthur Fleck, or Joker, awaiting trial in Arkham Asylum. Despite bringing in Lady Gaga as Harleen “Lee” Quinzel, and interspersing a host of musical numbers into its plot, “Joker 2” failed to build off from its critically acclaimed prequel and was met with a flurry of largely negative reviews, due to the film’s director, Todd Philips, disdain for the first movie’s fans and the lack of utilization of Gaga’s skills. The film received a D rating on CinemaScore, the lowest rating a comic book movie has ever received (box office flop “Madame Web” (2024) received a C+, for reference). With a 33% on Rotten Tomatoes and a 5.3 out of 10 rating on IMDB, it’s not exactly a surprise that “Folie á Deux” has earned less than half –– $40 million –– in domestic opening earnings than its predecessor, the first R-rated movie in history to gross over $1 billion (Wikipedia). 

“Folie à Deux” opens with an animated musical sequence featuring Arthur Fleck and his now-sentient “Joker” shadow, which attempts to take his place but abandons him once police arrive. Undeniably foreshadowing the themes of carceral violence and regret, the initial non-animated scenes show Fleck at Arkham State Hospital, harrassed by guards and awaiting trial.

The audience soon meets Harley “Lee” Quinzel –– Fleck/Joker’s right-hand woman, musical scene partner and fellow patient at Arkham. The two bond at group music therapy and eventually escape from Arkham together — an ultimately unsuccessful mission which sets up the film’s courtroom plot. During the trial, Fleck adopts the persona of the Joker, only to publicly reject it after a traumatic incident. His guilty verdict arrives, along with the explosion of a car bomb outside of the courthouse. Fleck escapes, reuniting with a begrudged Lee that rejects his love, only to return to prison and die –– stabbed to death by an unnamed inmate who proceeds to carve a Joker-like smile on his own face. 

“Joker: Folie á Deux” appears to be an attempt to counteract the idolization of the Joker from the first film, whose real-world impact inspired online incels to mobilize, drawing inspiration from the character. The result is a movie-musical that seems afraid to truly commit to a genre: by tying in beautifully-performed but oddly-placed songs, a tonal dissonance between dark theater and violent trauma porn appears, and remains, for the rest of the film. 

It’s certainly possible to create a film where its musical elements enhance or compliment dark topics, but “Folie à Deux’s” chosen soundtrack –– including Golden Age classics like “World on a String” and “That’s Life” –– falls flat with apparent lack of direction from the film’s executive team. “Folie à Deux” feels like a film that can’t decide if it wants to be a critique of violence in the carceral system or a musical courtroom drama.

 As for the film’s connections to the original DC comics, the difference from the source material perpetuates the belief that any similarities are nothing more than inspiration. Harley “Lee” Quinzel remains a student of psychiatry, but is characterized as less of a therapist who’s manipulated and pushed into a life of crime and insanity and more like a serial killer fangirl who managed to get with her idol. Because of this change, the dynamic between Fleck and Lee is almost the opposite of the Joker and Harley Quinn from their shared comic history. Fueled by a desire to maintain Joker’s fame, Lee consistently manipulates and lies to Fleck. Fleck turns into a man so desperate for love that he allows his own music-fueled delusions to drive their relationship (in part due to the lack of scenes that build it naturally), a departure from the nature of Joker in past DC comics –– who became the franchise’s clown prince of crime.

Fleck and Lee’s dynamic –– and Lee’s character development for that matter–– isn’t improved by multiple scenes cut from the final film, which included Lee (enhanced by Lady Gaga’s astounding performance abilities) singing and performing full-length renditions of songs featured on Gaga’s companion album, “Harlequin.” Due to Gaga’s general lack of screentime, most of the central relationship between Fleck and Lee is built within musical numbers, making Lee’s love seem less genuine and more theatricalized. The film also under-utilizes Gaga’s acting ability –– almost all of her few scenes in “Folie à Deux” are musical numbers, giving her no room to act and instead simply singing at the camera. 

The message of “Folie à Deux” remains unclear to me, other than being an attempted critique of those who idolized the Joker from the first movie. However, being a meta-commentary on idolization isn’t a sufficient crux for a film that feels much longer than its two hour runtime. Joaquin Phoenix’s Arthur Fleck/Joker is stuck in a toxic system perpetuated by Lee, the one person he appears to love. When he finally gains the clarity to free himself from the Joker, the film rejects any possibility for development; he dies in the final moments. However, despite the confused plot and characterization in “Folie à Deux,” the film’s stunning visuals and Gaga’s performance make it worth watching –– but perhaps only once.

Contact the editors responsible for this article: Ivy Buck and Norah Catlin

The opening exhibition, “A New Perspective on Nature,” showcases artist Rory McEwen’s depictions of flora. It is the second event of its kind; the first was held last year and centered on white gloves – a motif in the life of the featured artist. This year, the activity revolved around wearable and decorative items inspired by nature, with some material contributions by the Wellesley Botanical Gardens and the Paulson Initiative.

“Fashioning Nature,” in the words of Dr. Semente, the museum’s curator of education and public programs, continues what is “kind of our new tradition to have to make something wearable right before an opening just for students.”

Inside of the museum’s lobby, several tables were set up and covered in crafting supplies. On one table sat faux flowers and pearl corsage bracelets, as well as small paper flowers, wire, and a hot glue gun. There, students crafted bracelets, bouquets and flower crowns. White hand mirrors and bucket hats were available to decorate at other tables; gemstones, stamps and paint allowed for personalization. The last table was scattered with cyanotype paper, ribbons, dried flowers and leaves. The processing pieces covered any remaining table space, and a few were placed in the sunlight outside of the museum. 

Ursula Junker ’27, a returning student guide at The Davis, said that the event was “lovely to kick off the exhibition with a more hands-on experience.” 

By already engaging students with the exhibit’s theme before the museum opens, the Davis both invited more discussion of the pieces and allowed for student creativity and relaxation through crafts. 

According to Dr. Semente, the museum’s student assistants and guides were encouraged to reflect on nature in preparation for the museum’s opening, such as going on a nature walk together in the Botanical Gardens. Overall, the event seemed to fulfill both roles. Nana Ama Asare-Kwaah ’28 expressed being “really excited that the Davis [Museum] is going to open soon” and Mira Ivanis ’28 stated that she “thought it was a great way of bringing people together.”

The Davis Museum, featuring the exhibit “A New Perspective on Nature,” opens at 5pm on Thursday, Sept. 26, and will be available to see until Dec. 15, 2024.

Contact the editors responsible for this story: Norah Catlin, Ivy Buck