In the Year of Our Lord 2020, a diffuse understanding of what constitutes “media” has increasingly flooded the world with easily consumable content—Netflix, Hulu, Amazon Video, Disney+, and others create and distribute online television and movies, while the traditional Hollywood studio system works frantically to keep pace with its nimble digital competitors. Alongside cable television, this triumvirate of mainstream content-makers contends with the proliferation of media that has arisen in recent years—podcasts, fringe websites, talk radio, YouTube, social media. With a camera and microphone nestled neatly in your pocket, one can create, edit, and distribute content of any kind with ease—and the cultural impact, like the technology that enables it, is rapidly evolving.
Since its publication in 1960, Harper Lee’s To Kill a Mockingbird has captivated readers with its effortless poise, finely crafted details, and enduring messages of equity in an unjust world. Immediately commercially successful upon its release, the novel received numerous literary accolades, including the 1961 Pulitzer Prize for Fiction, and has been broadly incorporated into the curriculum of American schools. Known as a classic work of modern literature, To Kill a Mockingbird has been adapted into a movie, which premiered to acclaim in 1962, earning several Academy Award wins and nominations; Gregory Peck’s portrayal of Atticus Finch, the novel’s indefatigable and unflappable Southern gentleman, earned him the Oscar for Best Actor.
Global warming be damned: As New Yorkers enjoy this late-February burst of spring-like warmth, basking in the sun’s rays for the first substantial time since October, a leap towards our next season seems inevitable—and it feels pretty darn good. If you’re looking for an album to queue into the bright, pop-infused playlists that you’ll jam to while walking to all your classes for the next three months, then COIN’s third studio effort, Dreamland, is the LP for you.
By Tyler Genevay For those unfamiliar with The Lumineers’ trademark sound, their third studio effort,…
With American media outlets transfixed by this nation’s ongoing 2020 campaign for the presidency and control of the Congress, attention was diverted this week to a scandal roiling the federal elections of our northern neighbor. Having led the government since 2015, Canadian Prime Minister Justin Trudeau—known for his youthful charm, dazzling hair, and boy-next-door looks—is vying for a parliamentary mandate to return his ruling Liberal Party to power in the October 21 election. He has spent his first term cultivating an image of himself and his party as the gracious stewards of a 21st century Canada that welcomes refugees, confronts climate change, steers global foreign policy from conflict, and maintains a working relationship with an American president who shares few of the PM’s goals—or his alluring, “bring-him-home-to-meet-your-parents-and-pray-he-proposes-at-dinner-because-those-babies-would-be-so-damn-cute” charisma.
The President of the United States rounded out August the same way that dozens of freshmen boys at Barnyard did: by getting rejected.