Relationships in 2025

Growing up, I had a love for the YouTube content creator Mr. Beast — I mean, who wouldn’t? In his early days he made hilarious skits that I remember showing my friends during after school programs. As he gained more notoriety, he began using that success to benefit others, a video of donating a truck load of toys to children here, a video of him donating $10,000 to a homeless man there. How could you hate someone who did so much philanthropy?

Around the time high school arrived, I found my self watching him less. I’d see the casual video of his pop up on my feed, similar to his past content but larger sums of money, and a big increase of game show-like contests. Around this time, Squid Games released on Netflix. The concept was simple, a man enters a “game show”, desperate for the earnings. However, plot twist, when you’re eliminated, you die, all at the entertainment of some masked group of rich people, laughing and eating lavishly while watching people get brutally murdered while trying to achieve the same goal of helping their families. The message of the show was incredibly clear, being capitalism, poverty, and navigating moral dilemmas when pushed to the human limit, both physically and mentally. It seemed as though it had one target in it’s primary sights, America. For decades we’ve all watched game shows, but never really understood them. A satire that somewhat covers this is the 1992 film “White men can’t jump”, where the main character’s girlfriend is trying to get them out of poverty by desperately studying for Jeopardy, in attempts to get the earnings. For the most part, however, these games are fun, trivia games that people can play at home, and usually people who go on them would benefit greatly for the earnings, but who are also not necessarily struggling from debt, and could live rather comfortably with or without the earnings.

On December 19th, 2024, Mr. Beast would release his largest project yet: Beast Games. If you couldn’t tell by the name, it’s heavily inspired by Squid Games, difference is people don’t die. However, although Mr. Beast made the correct move not incorporating this factor, he missed the entire narrative: the satire. As mentioned previously, Squid Game is poking fun at capitalism and those in power ignoring or abusing those below them, and the brutality was one way of highlighting this. Who could ever look at this and think this would be a good idea? I mean, one of the games people are jumping on glass platforms that, if they were to break, would send them plummeting seemingly a couple hundred feet. Apparently Mr. Beast; minus the whole people dying and plummeting part. Still, the fact remains that Mr. Beast was putting desperate people against each other, all for the sake of cash. Even the roles of the billionaires were filled, with his friends watching and laughing as the games go on, despite this money being not only life changing, but life saving for 90% of the contestants. Said contestants are forced to be in cramped conditions, doing challenges that, if failed, could send them home with 0 earnings. This brings out the worst in people, with lifelong hatreds being formed all because of one decision, or people being forced to eliminate themselves so others can move on, or people coming up with reasons why they need the money more than others, with one guy just saying he wants it as only passive income. The game is truly disgusting, with a 54 page lawsuit already being filed, with one reason sticking out in particular – widespread mistreatment.

It’s truly a shock that though something that is so obviously a satire, no matter what you believe it’s theme to be, was seen as a good idea to execute, and become the very thing that it was trying to prevent. It’s not a shocker that it has the lawsuit it does, after all Squid Games at least killed them, so how could those contestants file a lawsuit?

Satire in “Cookie Jar”

By Joe K

On March 16, 2025

In his song “Cookie Jar”, Jack Johnson uses satire to comment on how people avoid accountability for their actions. Johnson tells the story of watching a newscast on TV after a shooting. He mocks interviews of various people involved in the incident. He repeats the phrase “You can’t blame me” as the shooter, parent of the shooter, cameraman, musician, and filmmaker all deny responsibility for the murder.

But I didn’t teach him to pull the trigger of the gun
It’s the killin’ on his TV screen,

These two lines are from the parent’s defense. The parents dodges responsibility by shifting the blame to the media, claiming that the killer learned to kill from TV. While the parents didn’t actually teach the kid to shoot the parents are responsible for his upbringing and behavior. The irony lies in blaming external factors while ignoring their own role in raising the child which highlights how weak the defense is.

It’s only entertainment as anyone can see

The musician and filmmaker claim that they are not to blame because their media is obviously just entertainment. They dismiss the impact that media can have on people. This section brings in a new layer of satire. It points out the ethical considerations that sometimes get ignored in the pursuit of wealth or popularity.

Ultimately the song implies that society as a whole should feel responsible for everybody’s actions. Johnson points out how weak the arguments are to deny responsibility by mocking them. Instead of blaming others, Johnson feels that we should recognize our own roles in societal issues.

Comedy In The Office

By Zoie S

On March 16, 2025

The Office as an Example of Failed Dramatic Comedy

The Office (US), is a mockumentary-style television series about the daily lives of office workers at Dunder Mifflin(a paper company). It presents a case of how modern comedy works often fall short of Aristotle’s ideal. On its surface, The Office seems like it should be a prime example of dramatic comedy. The characters are exaggerated versions of real people, the situations are often absurd, and the series regularly exposes the ridiculousness of corporate life.

But, despite its widespread acclaim, The Office does not achieve the moral enlightenment Aristotle envisioned for comedy. Instead, it indulges in heightened examples of human nature without offering much in regards to story resolution or depth.

The character of Michael Scott, the laughable regional manager of Dunder Mifflin, is a prime example of this. He is presented as a deeply flawed individual, desperate for attention, approval, and human connection, yet consistently failing to navigate basic social interactions. His ignorance, insensitivity, and frequent overconfidence make him a classic comedic figure. He is someone whose behavior is exaggerated to the point of absurdity. Yet, Michael Scott’s actions are rarely critiqued in any meaningful way. While some episodes offer mild consequences for his poor decisions, the show does not offer a larger moral resolution. Michael’s behavior does not serve as a cautionary tale; it’s simply a vehicle for humor. The audience laughs at his misfortune and his cringe-worthy moments, but they are not invited to reflect on his behavior in a way that would lead to deeper moral insight. Rather than following through to establish a statement of his own wrongdoings, the story continues and doesn’t offer a message to society.

The same could be said for other characters, like Dwight or Jim. They are super comedic, and still their antics are a bunch of gags rather than a deeper exploration of human nature.

The Master in Raise the Red Lantern

By Jasmine S.

On March 15, 2025

In Film, Power and Identity

After watching Raise the Red Lantern in class I couldn’t help questioning the significance of never showing the master’s face. Honestly, when we first watched the film I felt frustrated by how skillfully the film avoided showing the Master’s face. Maybe it was superficial, but I wanted to attribute his characteristics to a face. Reflecting now, however, I see how excluding his face did many different things throughout the film.

Focus

Not only is the master’s face hidden, but he also appears a small amount compared to the rest of the characters. I believe that this forces the audience main focus to be on the women’s experiences and their relationships. While watching I found myself forgetting the master even existed at times. I think that this was intentionally done as we and the characters don’t really understand the master’s character nor was it an important aspect.

Tradition

The lack of the master’s face and his minimal screen time emphasize how the system was not really dependent of him, rather the belief in tradition. Throughout the film we often hear the tradition being tossed around whenever the strange practices of the house were being questioned. It was almost as if tradition became a consecrated all-powerful force that could not be reckoned with. In reality, the fact “tradition” worked as it did was because the women and servants adhered and maintained it. We see this as the film took deliberately took time to show how the servants carried out the traditions of the household like lighting the lanterns, delivering messages to the women, and even in the execution of Meishan. Additionally, we see the mistresses obey this power and subject one another to it. During all this, we rarely see the master actually enact or enforce these practices signifying that the system is bigger than a specific individual.

Representation

Like I said at the beginning, I really wanted a face to attribute to the Master, however I nw see how it works for the film. The master was never really suppose to be a character, rather a physical manifestation for male dominance and power. By not showing his face, the film creates this unequal power dynamic between him and the mistresses as we see him as an authoritative force. Additionally, I think this choice especially heightens the feelings of anxiety the mistresses had around him and trying to understand his character for their safety.

Overall, I really appreciated the choice the filmmakers made in not showing the master’s face.

Raise the Red Lantern – The Psychological Themes

By Anna T

On March 13, 2025

In Film

In Zhang Yimou’s Raise the Red Lantern, there are themes of portrayal of power, the harsh toll of the patriarchal system, and isolation. Songlian is a young woman who is forced into the position of becoming the fourth mistress of a wealthy lord. At first, she considered it a luxurious place, as her house was huge and she was receiving foot massages at no cost. She soon learns the reality of the palace, which can be described as a prison with no way out.

In this film, there is a huge weight of isolation among the characters, especially the mistresses. The estate where the film takes place has huge, bland walls that are so incredibly tall, hinting to the viewers of the impossibility of escaping. All of the mistresses are locked outside of the physical world and their only option is to navigate the hierarchy within the castle. The mistresses also begin to feel isolation because they are pitted against each other because of the manipulation from the lord. Even the servants show us their desperation for any bit of attention or power. The servants also convey how it can be so hard to escape a psychological trap because of their devotion despite how they are being treated.

How Raise the Red Lantern Traps Songlian

By Henry K

On March 11, 2025

In Film, TV

At the beggining of the movie, Songlian believes that women will be forced to be objects and have no choice. Songlian says “Let me be a concubine. Isn’t that a woman’s fate?” Her mother has been pressuring her into marriage and she feels like she needs to marry a rich man in order to live as a woman. And once Songlian arrives at the manor, these views are solidified by the servant not letting her help with the laundry and the other servants upholding traditions.

Once Songlian gets to the master’s house, it never shows the outside world. Every camera angle depicts the characters as being confined in the house and any shot that shows the entire area blurs anything outside of the house. by only showing the house, the camera shows that the manor is the only thing that matters to the mistresses and traps them into superficial conflict with each other. Songlian is forced into family traditions which trap her in a routine that manipulates her into fighting with the other mistresses. By seperating the movie into seasons the movie depicts the endless cycle of living in the house. Visuals like blowing out the lanterns and sounds like the foot massage are repeated in order to highlight how the mistresses are trapped by the cycle.

Finally, in the end of the movie Songlian realizes that she is a human being and she has power. Witnessing Meishan’s death mentally frees Songlian and she realizes how evil the system that she is stuck in is. When Songlian gets revenge for Meishan’s death, she is bathed in the red light that trapped her for the entire movie but she is no longer obeying the system. Songlian returns to her university uniform because she realizes that she is an educated human. However, despite being mentally freed, Songlian is still trapped. Songlian has nowhere to go and can only go mad and wander back and forth. While the credits play, Songlian is trapped in a frame within a frame by buildings around her and she is surrounded by the red lanterns that trapped her before. Songlian is no longer adhering to tradition but she is replaced by another mistress and the system continues to work while she wanders aimlessly.

Raise the Red Lantern: Using the medium of film to enhance a story

By Daniel P

On March 11, 2025

In Film

Usually when the word “story” comes to mind, it’s a novel – words on a page, imagery in the mind. What comes next is usually an extension of the novel onto the screen – a film. Extension is the key word here, as film is sometimes thought of as just another way to portray a written story. However, in Raise the Red Lantern, the director capitalizes on the unique medium of film to enhance the story as well as its meaning. For example, my teacher emphasized framing: boxing in characters to make them seem trapped, trapped within the system of the estate. Another visual element is the colors of the movie. Most of the film focuses on the gray, drab visuals of the estate, the stifling, dark corridors, and the stale rooms. When the red lanterns appear in the frame, it emphasizes the importance of the person that it’s for (or controversy of the act as in Yan’er case) as well as, by comparison, the drabness of the estate.

Visual elements are not the only elements that the director uses: timing, or pacing, is another. There are moments in the film where it dwells on certain moments – Songlian crying at the beginning, Songlian seeing Feipu for the first time, or Songlian screaming murder in the cold winter wind. These moments of pause emphasize the feelings being portrayed on screen and give time for the audience to process their own reactions; they are a pause from the action.

Sound is another element – the dwelling on Songlian screaming murder fades into winter wind, for example, emphasizing the void that Meishan’s death creates.

I thought that in this film, overall, the director capitalized on techniques of film to emphasize the meaning, emotions, and experience that he wanted to get across quite well.

Thoughts and Prayers: How Bojack Horseman Satirizes Gun Violence

By Alara R

In Comedy/Satire, TV

At first glance, Bojack Horseman might seem like just another absurd adult animation. But under the talking animals and celebrity satire, the show delivers profound critiques of modern society, tackling themes of mental health, toxic celebrity culture, and the way the media handles political issues. Created by Raphael Bob-Waksberg, the show follows the life of BoJack Horseman, a washed-up sitcom actor from the ’90s struggling with addiction, depression, and his inability to escape the toxic cycles of his past.

One episode in particular strikes me as a true work of satire: “Thoughts and Prayers” (Season 4, Episode 5), tackles America’s ineffective response to gun violence. The episode satirizes the way politicians, Hollywood executives, and the media treat mass shootings as PR problems rather than human tragedies.

The episode uses irony to expose the hollowness of “thoughts and prayers.” A phrase repeated by Princess Carolyn, a Hollywood agent, and her as she works on promoting an upcoming action film, Ms. Taken, starring Courtney Portnoy.

Instead of advocating for policy change, Hollywood executives and politicians repeat this phrase as a meaningless PR move, mirroring how real-world leaders offer sympathy while refusing to take action. This irony highlights the disconnect between public outrage and actual reform, forcing viewers to question whether these gestures are genuine or just a tool to quiet the public.

The absurd escalation of events, when the government finally bans guns only after women start carrying them, exaggerates how political decisions are often based on power dynamics rather than public safety. The same politicians who ignored mass shootings for years suddenly panic when their sense of power is disrupted. This extreme reversal of roles forces the viewer to confront the underlying biases in gun legislation, especially how laws are shaped not by morality but by who holds power.

This episode also uses parody to mock the media’s performative coverage of gun violence. News outlets treat mass shootings as just another trending cycle, and Hollywood executives scramble not to address the issue but to spin it in a way that keeps their profits. Their decision to rebrand Ms. Taken as a feminist empowerment film is a direct satire of how corporations exploit social issues for financial gain rather than advocating for a real change.

Understatement and situational irony are used for a comedic effect when the government’s reaction to the mass shootings is suddenly outraged when a woman is the cause of the tragedy, and men begin to feel personally threatened. After years of inaction, congressmen now argue for gun control, but only because women are armed, making them uncomfortable.

“What are my constituents supposed to do, NOT compliment random women on the street because they might be carrying a gun? We cannot allow our lives to be dictated by that kind of fear!”

This moment perfectly encapsulates the hypocrisy of gun politics, showing how lawmakers prioritize preserving male dominance over genuine public safety. “Bojack Horseman” isn’t just making fun of politicians; it’s criticizing the societal cycle of inaction. The episode forces viewers to recognize how mass shootings have become normalized and how real change only happens when those in power feel threatened.

Diane’s final line,

I can’t believe this country hates women more than it loves guns.

serves as a devastating critique of how deeply ingrained bias shapes policy more than logic ever does. The satire isn’t just exposing the American government’s hypocrisy, it’s compelling viewers to ask why we accept this reality and whether we’re willing to demand actual change.

The Suffocating Compound in “Raise the Red Lantern”

By Ryan W

In Film, Power and Identity

I recently watched Raise the Red Lantern with my English class, and I loved it. Everything from the cinematography to the subtle messages to the tense relationships and moment throughout the movie made it super enjoyable to watch. When it came specifically to the cinematography though, I noticed how aside from the opening scene and some minor foliage in the background, the entire movie is shot inside the grey, desolate compound of the master. While this made the movie all the more unnerving and intense, I liked the deeper message that it sent to the audience.

I think the compound, although all of the mistresses were allowed to roam it freely for the most part, served to represent how they were all trapped in their relationships with the master. Sure, they were allowed freedom in what they ate, what they did during the day, who they talked to and they even each got their own personal servants. Yet, at the end of the day one of them would have to end up spending the night with the master and they all had to answer to him. We never knew any of their families, aside from the voice of Songlian’s mother, and they had no relationships outside of the compound. Still, some of them accepted this fact. The first mistress seemed content with her place in the family. Zhuoyun seemed determined to make the best of the situation she was in and tried to get as much power as allowed in her position.

Yet, at the end of the day, they were all still in the same position. they still slept in identical houses, served identical roles, and had identical schedules each and every day. They were all trapped in that giant stone compound no matter what they did, and the cinematography emphasized that. Even when characters were on the roof or outside walls, the camera angles were positioned to make the viewer feel as if they were trapped inside the compound with everybody.

Raise the Red Lantern truly is a beautiful movie and Yimou is nothing short of a creative genius. I loved this movie and look forward to immersing myself in more foreign films in the future.

SNL and its Satire

By Noah S

SNL just celebrated its 50th anniversary of being on air and with this new anniversary brought new skits and segments. Many of these various skits have used multiple forms of satire and humor to poke fun at current events, politicians, and celebrities. The skits have been known to use dark humor, irony, and sharp commentary to make fun of America’s popular culture and politics.

While we looked at the example regarding guns and Americans in class, another example poking fun at political life in America was the recent sketch that dealt with the meeting between Trump, President Zelensky, and Musk. In this sketch, the writers dramatized Musk’s character by showing him with a large chainsaw, which made fun of a recent incident in which he held one up in front of a crowd of people cheering. They also made fun of his multiple instances of acting strangely while in professional settings. The writers did this by having actor Mike Myers yell “glitch!” then continue to act like a robot malfunctioning while playing Musk. This was a strong example of their strong dark humor that the writers use to show satire while dealing with American politics at this time.

While this sketch seems to be mainly making fun of these people, its not just a poke at Trump and Musk, its also to show, humorously, the state of the country under the new administration, as well as show how many people find the politicians and people close to the Oval Office ridiculous and embarrassing to America’s image towards the rest of the world.

Symbolism in The Murder of Meishan

By Ben Schmollinger

In Comedy/Satire, Film

This film has plenty of symbols of power, hierarchy, and the suppression of women within a system, but the house on the roof is one of the most powerful examples. Because of the system set in place by the master, Songlian is constantly fighting with the other mistresses for his attention. The murder of Meishan is the final turning point in the movie and it highlights the deadly consequences of working against the system. Meishan’s death and Songlian going mad are the final tragic outcomes of this system

The lingering shots of Songlian watching the men from a distance symbolize her isolation and helplessness. She feels alone in her passive role in the system. In this house, she is always an observer and never doing actions of her own. The distance between Songlian and the men represents the suffocating nature of her environment, where she is distant and feels powerless to do anything to stop the men or change the system.

The house where Meishan is killed becomes an embodiment of the oppressive system. Its isolation and the rumors surrounding it reinforce the system and its control. The constant reminder of the house’s rigid rules and the fear of being ignored by the master led to constant torment among the mistresses. The house itself is both a literal prison and a figurative prison as a threat of what will happen if the girls attempt to break the system, thus keeping them in line to exactly what the master wants.

The Future in The Movie Idiocracy

By Sheriff K

The movie Idiocracy, directed Mike Judge in 2006 is a movie where the military is doing test on a time machine but goes wrong and teleports two people in a future where everybody turns dumb. The world revolves around top brands like Brawndo that ruin plants in the world. The main character Joe Bauers becomes the smartest person in the world and then solves the plant issues by giving it water. He then becomes president and decides to stay there and help out the world.

The whole work is basically a hyperbole showing how the world becomes so stupid that society can’t seem to function. There is a big emphasis on people just sitting around and drinking processed food out of a straw showing how people haven’t progressed in society. I think the whole idea that the whole society can’t figure out how to grow a simple plant because they are using Brawndo to grow the plant is just plain ridiculous and just adds more to the whole film being a hyperbole.

The whole film isn’t poking fun at society but just trying to keep society at a steady pace of growth and progress. It keeps pushing the idea of how society will be if we all became stupid showing how bad the world can be. The film makes the watcher feel disgusted by the world and is trying to say that we need kids to have a good education so that this will never happen.

Relationships In 2025 – original satire

By Jane S.

Relationships in 2025

Hey bros, I could not be more excited to share some of my biggest tips for navigating the dating scene in 2025, I know most of you have been in some situationships, even stacking that roster cause I mean let’s be real, were either done after Valentines Day or hold out long enough just to have a banging chick on our arms for Prom. I know some of you are even in committed relationships- like dude, I don’t even know how y’all get locked down like that, Men are like eagles bro, we need to soar. But today I bring you hella good advice for all audiences to help you maximize the alpha within you to benefit the most out of the dating scene truly.

For Those Getting Back Into The Scene

Hey hey, I know some of you may have just gotten out of that relationship, maybe you got cheated on or even left for another dude. (condolences) but just remember you always have the best out of this situation with one simple word.

“Crazy”

It can be used in multiple ways! instead of self-reflecting on the reasons you may have been emotionally checked out and not been willing to talk things out, and taking even a sliver of responsibility for the downfall of your relationship that drove her to feel insecure about her relationship with you, she went to go look for those qualities in someone else, all of this can be deflected! It can be used in many different ways for example:

“Dude she was so crazy, I didn’t even like her that much, I stopped hooking up with her and she was so desperate she cheated.”

“You know I was actually getting bored of her, she was crazy anyway”

See it works, and can be used in many different ways to deflect responsibility, which will eventually foster deep emotional unavailability, that will manifest itself later. Or could simply be used as it has been for decades, to negatively impact women.

For when you really, do like her, but can get whatever you want if you make her believe it’s going somewhere

Like I said before, when you want to get back onto the scene, after you had time to protect your precious feelings, or maybe you do have a sliver of emotional maturity and took some time to reflect, and reset. Once you feel deprived of the validation you resented at first when things ended with your last relationship, you’re ready to hit the scene.

One day you get a notification that this total baddie followed you on Instagram, and after carefully reviewing, you hit up your friend who goes to her school to see if he knows her to see if you can get put on. To your surprise, everything you thought is confirmed! She’s totally in the clear. You ask your friend if you can get put on and to your surprise, she already has you added. You start talking to her and damn she’s super cool. You might even start thinking she might be cool enough for you. You make plans to hang out even, rizz her up.

All of a sudden you’re talking every day, yet that feeling deep down inside doesn’t go away. You start to pull away a little, you don’t know why she’s like so cool and super similar to you, she even comes to your games and gives you space dude you’re chillin’! At an afterparty, you can talk to her for five minutes then leave her to herself even though she knows no one and you spend 6 hours a day with these people. She sends you good morning texts, and when she asks you to hang out just push it off so you don’t have to hang out with her, because that makes you feel vulnerable, and you don’t want to be put in that position to be hurt again. So you pull away even more but it only makes her want you more, Sickk minimal effort and maximum give, all of a sudden this other girl I hear wants you! You’ve already pulled away and want to investigate this further.

She’s super athletic also, and you look hella cool together. Even though the other chick was bangin’, and you may have let her believe you wanted something more with her, this other girl lives closer, and It’s just easier. Choose the easier chick, even though you really want things to work out with the other chick, the validation from your friends is more important, although you hate to admit it. It’s okay, you can randomly get over your issues and date her. But still enter the other chick’s life whenever you want cause she’ll always have hope you’ll want her back until she finally has enough self-respect to walk away and accept you two will just be friends. Yet, you’ll miss the connection and it doesn’t compare to your non-emotional and easy relationship with the super athletic chick.

Just remember if you like to avoid how you feel, and still have a sense of control over your emotions, just string them along, give them girlfriend treatment, and pop back in once and a while to feel alive, but never lock-in. If you do, make sure it’s a low-maintenance relationship and you don’t have to do much.

Another Way to Get Girlfriend Treatment Without Having to Commit

Gentleman, when I tell you this one solution your lives will be fixed. With one simple phrase you can get a woman to do whatever you want.

“I don’t want anything serious”

Let’s be real, most women live by a code, and if they don’t, every underlying gender dynamic and role in society tells them this one thing. They’re the exception, or They can fix you. No matter what you do, however many women you have on your roster, even if she’s your favorite. Who cares if you’re freshly broken up with? Even if you hang out and talk, and give her the girlfriend treatment. She will do anything for you because deep down she believes she can fix it or make you change your mind. Even if she accepts it, she will still always have resentment for you and anxiety from the lack of security.

Working through over your emotional issues, avoidant attachment, and insecurities to overly communicate what you want with women, so you don’t waste their time.

Anyways, that’s it, have an alpha day killas.

Analysis of “Raising the Red Lantern”

By Jack S

In Film, Viet Thanh Nguyen

As a huge fan of foreign films, I was excited to hear we were watching a Chinese movie I had never even heard of before, and this movie did not turn out as I expected.

At first, this film took me by surprise. I was astounded by the atmosphere created and the ever-evident mystery of our protagonist’s situations. While this story is based on real life, it was almost as if we were tossed into this new world and told to fend for ourselves. With a very limited amount of characters, locations, and activities, this story did a very good job in compelling the audience in mere day-to-day matters in this estate. Giving a more realistic feel without making the film seem superfluous

While watching the film, I could not get over how stunning the visuals were. Every shot is either full of color, dampened with despair, or contrasting in feeling. Many shots of a pale Songlian in her platinum attire painted across the blank grey rooftops were nothing short of art. Some of my favorite shots were the ones from the perspective of the rooftops themselves. The camera was placed to show the ever-infinite expansion of rooftops, paired with the occasional human just to show the mere size comparison was extraordinary. Just showing the grandeur of the estate was essential to instill a sense of loneliness for the audience and give a peek into Songlians’ evolving feelings throughout the film.

One cinematic move enjoyed was the mystery of the master’s identity. At first, I expected it to lead up to some big reveal, that our protagonist would know him, or he would turn out to be someone essential to a crazy pot twist. But I was happily wrong. His mysterious identity added a sense of unease to the film. Like, we never really know what is really going on. We are told to trust the process and let the film take us to where we need to be. It works out in the end by leaving a satisfying yet unsatisfying ending to some.

The ending, as a whole, was lovely to me. It left something to be desired, but also wrapped up the plot, and Songlians story nicely. Her downfall and descent into madness was eventual and was caused by her original loneliness on her birthday, in which she got drunk and indirectly got Meishan killed. Meishan is looked at as the “bad guy” for a while until Songlian really realizes she cannot trust anyone but Meishan.

Overall, I really enjoyed the film and how it played out towards the end.

Raise of the Red Lantern – Songlian’s Clothing Reflection

By Mara K

In Power of Stories/Storytelling

While watching Raise the Red Lantern, it caught my attention on how the movie uses clothing choices to reflect on Songlian’s emotional transformation. At the beginning of the film, Songlian wears a vibrant red, showing her excitement and hope when first entering the Master’s household. When the film progresses and she starts to feel trapped, the colors of her dresses darken, which expresses her growing feeling of imprisonment, despair, and loss of self. The darker tones reflect how the rigid rules of the household are withholding her individuality and freedom.

The end of the film is what stood out to me. It shows Songlian wearing her university shirt, which contrasts with her earlier desire to dress all lavish. This shift symbolizes a return to her past life, a time of independence and hope. It shows her rebellion against the oppressive household, representing her attempt to reclaim a piece of her identity. The change represents a powerful shift in Songlian’s internal journey, showing her struggle for personal freedom within the household and resistance of control.

Processed Food for Thought- Original Satire

By Claire D

On March 9, 2025

In Power of Stories/Storytelling

Processed Food for Thought

For preventing our children, living in the United States, from becoming obese and unhealthy from the unsupervised food production companies in America.

By Dr. Claire E. Dormanen

It is a sad, yet strangely beautiful sight when you stroll into the average American supermarket. The isles are lined with cardboard boxes, brightly colored foils, and plastic single use wrapping, which holds the food we consume on a daily basis. While mothers and fathers know the overpriced, soon to be moldy, produce section is what the family should be eating, the cheap temptation succeeds and instead one purchases a multitude of hot chips, 3 minute mac and cheese, and toaster strudels for the week. Leading on no nutritional value and learning in further to the already staggering obesity problem in America. Why spend $10 on kale when you can buy a week’s worth of “food” for the same price? Who needs nutritional value when you’ve got flavor—and the kind that’s probably been altered in a lab? Don’t worry, it’s safe (ish).

As those who are reading this are most likely grown, I would like to point out our children, while several have made peace with their unhealthy eating habits, us adults are setting examples to the youth around us. Many of us choose to endure the lasting effects like obesity, heart disease, and diabetes. However, are we really setting our children up for a future of type-2 diabetes and heart disease just because we couldn’t resist the allure of a $1.50 frozen pizza?

My intention of this is not to make you feel ashamed for the eating choices being pushed upon you from the undeniable marketing and cost these large corporations are implementing. My goal is that a change is made, one where food production companies are held accountable while also making fresh produce readily available and affordable. As a doctor of over 30 years, with an additional Bachelor’s degree in economics. I have seen dozens of patients die from obesity, heart disease and stroke, type 2 diabetes, and cancer, all because they refused to change their diet before it was too late. As the 14th most obese country in the world, America needs a solution that will not only combat this epidemic but is economically correct.

I propose to alter the food pricing system in the United States. Food corporations will be forced to heavily upcharge their product for every ingredient that has proven to enhance or cause medical issues as well as up-charging for excessive amounts of added sugars, trans-fats, sodium, and cholesterol. Five dollars for each ingredient. Every unhealthy food will suddenly be expensive. Fresh produce, on the other hand, is affordable. It’s a twisted game of reverse psychology, where the broccoli is cheaper than the Doritos.

By doing this consumers will be diminished from buying unhealthy, guilty pleasure, foods and instead forced to eat fresh produce. Although the taste of real produce might not be as appealing to customers it will be the only choice they have if they want to remain on budget. Leading to Americans being less immune to diseases like obesity, heart disease, diabetes, cancer and stroke. Additionally, due to fresh produce prices being at an all time high, families who can’t afford it will be forced to purchase less food per week. Meaning, families will be eating less allowing for even more weight loss to take place. If Americans start eating less volume and their diet consists of only fresh foods then it is a no-brainer that this solution will help consumers lose weight.

Furthermore, companies will be forced to make products healthier or suffer the consequences from a lack of sales from the middle and lower class. Due to the nature of most over-processed foods, most brands’ entire product will be changed. Many brands will not want to change their products this drastically. So instead, the junk food being up-charged will eventually turn into a desirable product that you can only get once and awhile. Which is forcing consumers to have proper dietary habits, the luxury of having an unhealthy treat every once and awhile. Your health social media gurus who promote all the expesnive grocery items will start promoting the new wave of expensive junk: pizza pringles, cotton candy pop tarts, etc. These products will become a staple in wealthy people’s homes simply because of how unattainable and expensive they are. So now instead of exotic fruits and plant-basd everything, rich people would prefer to have takis and cheetos to impress their guests.

I can see no flaws in my proposal and can think of no objection as to why we wouldn’t move forward with this process. Given, this is just one perspective and I am open to other solutions on how to solve this epidemic that is taking over America.

However, do not bother with attempting to implement impossible solutions including providing more food stamps for low income communities which would give people the opportunities to buy fresh produce and make healthy meals at home rather than being forced to buy cheap processed food with no nutritional value due to budget restrictions.

Don’t even think about attempting to put a nationwide ban on harmful ingredients like red-dye 40 and other preservatives and pesticides. Although products like red-40 are banned in over 6 countries, our government is letting us do the decision making.

I encourage every reader to attempt to come up with their own solution to the epidemic our nation is facing. Obesity is a chronic health condition that significantly increases the risk for heart disease, which is the leading cause of death in the United States. The monopoly food production companies have over our diets’ is unsettling, considering the amount of harmful ingredients and lack of nutrients that are in foods we consume daily. We must take action and set an example for our children on how to properly take care of ourselves, because we only have one life.

Raise the Red Lantern – Camera Choices

By Anna R

On March 9, 2025

The film Raise the Red Lantern, which we watched in class this past week , caught my attention. Its weird plot twists taking me by surprise was a big part of it, but ultimately the choices of how it was shot were incredibly important to the meaning of the movie.

Throughout the movie, the gaze of the camera rarely ever moves. This creates a sense of distance between the characters and the audience. It never gives us an opportunity to relate and put ourselves into any of the characters’ shoes. Along with this, it also encapsulates the idea of Songlian’s entrapment. This is also seen through the “frame in a frame” shots, where she is in doorways and windows. She truly is completely stuck. There is so much rigid rule following in this household, which is brought over to the camera choices as well.

The only time that there is a POV shot is when Songlian runs up to the death room after she sees Meishan brought there. The camera is shaky, running towards the room, clearly as Songlian’s eyes. This is the only time in the entire film that the camera acts like this. As the turning point in the movie, where she goes mad, it’s the only place that the audience can see exactly what she is seeing.

However, they do not show Meishan, nor what Songlian sees. This still allows the audience to assume and understand the traumatic response of Songlian. These specific choices of what they are not showing are very intentional. The directors also do this with the Master staying the night. They never show any of the details from the night, but the audience has enough context to assume.

Overall, I personally really thought this movie was interesting to watch, and has a lot of little details to dive into.

Raise the Red Lantern: The Weight of Tradition

By Sebastian F

On March 7, 2025

The ending of Raise the Red Lantern is a haunting and powerful depiction of a woman slowly unraveling under the weight of oppressive tradition and competition. The film follows Songlian, a young woman who becomes the fourth wife of a wealthy man in 1920s China. What starts as a seemingly privileged life soon becomes a suffocating existence, as Songlian is thrown into a world of jealousy, manipulation, and strict hierarchy within the household.

In the end, Songlian’s descent into madness feels like the only way she can reclaim some kind of agency, even if it’s just in her mind. The film doesn’t just show the mental collapse of a woman—it paints a broader, more heartbreaking picture of how a deeply patriarchal society can crush individuals, especially women, who are forced to exist within its rigid, dehumanizing structures. It’s a striking reminder of how societal pressures can break even the strongest of spirits.

Addiction hotline providers say their “compassion budget is officially depleted and are overwhelmed”

By Dee E

On March 7, 2025

“We simply can’t handle the emotional burden,” wailed a spokesperson for HopeNET Solutions,” a leading provider of addiction support and referral services. “Our carefully curated call center aesthetic, designed to promote efficiency, is being utterly ravaged by feelings. The sheer volume of distressed individuals calling about overdoses and substances dependencies is exceeding our projected empathy capacity.” The company, known for its premium “Platinum Support Package” which features personalized hold music and a “soothing voice” option, is now facing unprecedented levels of human interaction and emotion.

“Our staff, trained in the art of efficient call routing and the subtle nuances of empathetic phrasing, are breaking under the strain,” lamented a HopeNET executive. “They’re having to listen to stories. Real, upsetting stories about loss and struggle. It’s simply not sustainable. Our carefully calibrated algorithm, design to optimize call resolution times and minimize emotional investment, is malfunctioning. It’s as if these callers expect us to…um.. care?” The company’s shareholders, accustomed to reports detailing the steady growth of their compassion as a service model, are reportedly deeply concerned about the sudden spike in emotional distress incidents and call duration anomalies. “We even had to dedicate an entire room to distressing, filled with aromatherapy diffusers and weighted blankets, just to keep our staff functioning. Frankly, the overhead is becoming unbearable,” the Executive added.

“We’re a business, not a charity,” insisted the HopeNET CEO, adjusting his diamond encrusted headset. “We provide a valuable service, connecting individuals with treatment options. But we can’t be expected to shoulder the entire burden of human suffering. Our profit margins are suffering! Our stress-reduction yoga sessions are being fully booked from our staff!!! We ask the public: Please, find your emotional support elsewhere. Our carefully curated corporate vibe is being seriously compromised. Perhaps try calling a friend?”

Satire in “The Truman Show”

By Sophia M

On March 7, 2025

The satire in The Truman Show works because it feels real. It’s not just making fun of society—it tells the story of a man searching for truth in a world built on lies. Truman Burbank isn’t just a character in a movie; he’s a person with dreams, emotions, and a deep need for freedom just like us. The film uses his journey to criticize media control, advertising, and how people accept what they’re given without questioning it.

Truman doesn’t know that his whole life has been a TV show. Every person around him is an actor, his conversations are scripted, and even his emotions are manipulated. The film exaggerates this idea, but it also makes us think—how much of our own reality is shaped by what we see on TV and social media? Unlike Truman, we aren’t physically trapped, but we’re surrounded by messages that tell us what to believe, buy, and want.

The film also mocks consumer culture. In Truman’s world, everything is a product placement. His wife, Meryl, constantly advertises items in everyday conversations, and his best friend repeats lines written by the show’s creators. It’s funny because it’s ridiculous, but also because it’s true to life. Today, ads are everywhere, disguised as entertainment or personal recommendations. The movie makes us think about how often we are being sold something without realizing it.

Comedy IS art

By NormanC

On March 6, 2025

Comedy is often seen as less important than other art forms like painting, literature, or music. People sometimes think of it as just for laughs, and see it as immature or not really smart. But, it plays an important role by helping us reflect on the world, and makes us think about important issues. Comedy deserves to be seen as an art form because of the many valuable things it does.

One of the most important things comedy does is help us look at serious issues in a way that’s more realistic. Comedians can talk about tough topics like politics, race, and inequality through humor and jokes. By making people laugh, they can shine a light on problems that might be hard to talk about directly, or seriously. Satire and parody, tools in comedy, let comedians expand the truth, making us see what’s wrong with certain ideas or systems in society.

Comedy is also an art form that reaches a wide range of people. Unlike some other types of art, comedy is often easy for everyone to understand, and it happens in some way in everyone’s life. Stand-up comedy, sitcoms, and funny videos on the internet are all forms of comedy that entertain people. Humor brings people together by making them laugh at the same things. When we laugh together, we feel a sense of connection, and comedy has the power to unite us, even if we don’t agree on everything. It helps people find common ground, even when they come from different places or have different views.

Another reason comedy is important is that it reflects the world around us. Great comedy shows us something about the time and place in which it’s created. Comedians use humor to talk about real problems in society. Comedy doesn’t shy away from difficult topics. Sometimes, humor can help us see the truth in situations that would be hard to face otherwise.

Comedy also has a way of helping us cope with difficult emotions. Laughter is more than just a reaction to a funny joke—it’s a way for us to release stress and feel better. When things are tough, comedy can offer a break from the pressure, helping people relax and find some joy even in hard times. Comedians give us a chance to laugh at things that are frustrating or sad, which helps us keep going. In my mind, laughing and making other people laugh is medicine.

Lastly, comedy encourages people to think outside the box and question the world around them. Comedians often challenge the way things are, making fun of rules, authority, and things we take for granted (one of my favorite examples is the dictator). They push us to think differently, to see the world in new ways, and to imagine what could be better. This makes comedy a way to inspire change and encourage new ideas.

In the end, comedy is much more than just something that makes us laugh. It helps us reflect on society, brings people together, helps us deal with difficult emotions, and pushes us to think in new ways. Just like other forms of art, comedy requires skill, creativity, and thoughtfulness. It’s an important and valuable art form that should be recognized for the many ways it enriches our lives.

The Good Place

By Nate G

On March 6, 2025

Aristotle believed comedy shows our flaws. The Netflix TV series, The Good Place proves that comedy can do more than just make us laugh—it can make us think about morality and personal growth. The show follows four flawed people in the afterlife who realize they are part of a moral experiment, using humor to explore big questions like right and wrong in a way that’s easy to understand. Unlike regular sitcoms that focus only on jokes, The Good Place makes us reflect on our own choices by connecting philosophy to real-life struggles. I find this series interesting because it mixes comedy with deeper themes, but it stands out because it offers hope, showing that even the most flawed people can change. By using comedy to explore morality, The Good Place proves that humor isn’t just for fun—it helps us understand what it means to be a better person.

A Letter To Ms. Austen

By Vivienne L

On March 6, 2025

Ms. Austen,

I wish to protest against your portrayal of me in your recent book, Pride and Prejudice. I am nothing like how you described me to be! I am the most kind, most caring of friends, and I do think so highly of Jane and Elizabeth Bennet. Jane is the sweetest girl I have ever had the pleasure of befriending, and as for Elizabeth, there is no one more handsome in the world…except for perhaps Jane, and Mrs. Hurst, and Miss Darcy, and of course myself, and now that I think about it, many of my other lady friends. But she is such a delightful girl, and I am so pleased that she has married my dear Mr. Darcy. Everyone knows that marriage is crucial for a woman’s happiness, and of course it is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. Thus, I am so glad that dearest Elizabeth has settled down and will not have to face the dreaded horror of an unmarried life. I am sure that even in the future, as society changes, marriage will remain one of the most important parts of life, for however is a woman supposed to live by herself? Of course she could never work – everyone knows women are far too frail to hold a job. I feel faint just thinking about it. Oh, I’m sorry, Ms. Austen, I forgot you aren’t married – I am so sorry for you. I hope you find someone soon…very soon, you’re getting on in age aren’t you?

Anyway, to get back to my point, I find how you have described me in your book most offensive. I am the best of friends with all of the Bennets, and I would never fight with one of my closest closest friends over a man – I may care about marriage, but whoever would do something so silly as let a man push them apart? If you could correct your depiction of me, it would be much appreciated. Oh, and if you could write in a husband for me somewhere along the way, it would be much appreciated…the only sufficiently wealthy men in the neighborhood have been taken, and it is ever so embarrassing for me that I am still single – all the readers of your book must be laughing at me.

Much thanks,

Caroline Bingley

Is 10 Things I Hate About You meaningful art?

By ella m

On March 5, 2025

I think that Aristotle’s definition of comedy as a meaningful art form is accurate. The representation of his definition is prevalent in 10 Things I Hate About You, a romantic comedy by Karen McCullah and Kirsten Smith. 10 Things I Hate About You enhances our understanding of the world by allowing us to see the life of a very average girl going through high school. This movie was made famous for the poem that Kat writes/reads to her English class, where the boy of interest hears it. The poem is after they break up and she talks about all the things she “hates” about him, but in reality, the poem is about how she hates how she can’t seem to bring herself to hate him.

This movie stars Julia Stiles as the main character, Kat Stratford, and we follow along as she navigates personal relationships with her family, peers, and crush. Aristotle’s most basic definition of comedy is “a story of the rise in fortune of a sympathetic central character.” and 10 Things I Hate About You meets this criteria. Kat is a sympathetic character for many teenage girls, we can relate to her and her life seems easy and fun. She struggles with relationships in high school, like many teen girls do. The movie tracks her going from never having been truly loved by someone to finding a boy who really loves her whom she loves in return. Their relationship is rocky for most of the movie, but in the end, they communicate and he apologizes to Kat, giving way to rekindling of feelings and their relationship.

We have met Aristotle’s basic definition and Kat is seen as our Comic Hero. She has personal charm and worth, she is average in her morality, and is a young woman who is humble and withstands the death of her mother. 10 Things I Hate About You also has ordinary people, students, teachers, parents, etc. and Kat’s family is upper-middle class, living in a Californian suburb. The plot is very simple and relatable, but sweet at the same time. This movie is one of the best romantic comedies of our day, in my opinion, and set the stage for many more rom-coms after it. It is often referred to as one of the “classic” romantic comedies and is what a lot of other movie plots in the same genre are built off of.

This movie enhances our understanding of the world because we get to see how many teen relationships are and how hard high school social life can be for some people. We see how not all relationships are perfect and how sometimes, the people you love the most can drive you absolutely crazy. It gives an insight on to how teenagers function and how their feelings are reflected in their interactions among others.

Satire in “Get Out”

By Jasmine S.

In Comedy/Satire, TV, Uncategorized

Get Out is a satirical comedy horror released in 2017 by Jordan Peele. The film follows Chris, a black man, as he travels with his long-term white girlfriend Rose, for a weekend getaway to meet her parents. Initially, Chris feels uneasy around the family because they may not like him because he is Black, however the threat quickly changes when he learns that their weirdly micro aggressive behavior is because the family transplants white brains into black bodies while the consciousness of the host remains in the “sunken place.” The movie ends with a severely injured Chris narrowly escaping Rose and her family while simultaneously destroying the Armitage’s property.

Get Out uses many forms of satire throughout the film to explore the exploitation of black bodies by white elites and different forms of racism, however I found that irony and hyperbole to be the most impactful and reoccurring.

There are many micro aggressive lines within Get Out that are subtle in nature, but numerous enough so that the audience is forced to take note of it and understand what the character is experiencing. An example of this is during the drive down to the Armitage’s property, Chris questions if Rose’s family is aware that he black. In an effort to comfort him, Rose says,

Baby, it’s fine. My dad would legit vote for Obama a third time he could. Yes, he will want to talk to you about it, and that will be embarrassing, but they’re gonna love you. I promise.

Here, we see a demonstration of verbal irony as Rose’s words are suppose to reassure Chris and the audience that her family is not racist because “they voted for a black man” however this line does the exact opposite as it as a generalization of Black people and lacks actual depth. Additionally, during a family dinner Chris and Rose’s brother discuss the MMA and her brother asks if Chris was ever interested in fighting. Chris denies it claiming he is a “lover not a fighter.” Rose’s brother response exemplifies the micro aggressive tone of the film as he says,

Cause, with your frame, your genetic make-up? If you pushed your body, I mean really trained, you’d be a beast.

Here, her brother reduces Chris to the stereotypical belief that black people are inherently stronger and athletic than white people because of genetics. Even though this can be seen as a “good” notion, a stereotype is a stereotype. Lines such as these are verbally ironic in nature because they masked as compliments seeking to comfort and reaffirm Black people, however they do the exact opposite as they are generalizing and reduce them to particular characteristics and people.

The other form of satire throughout the film was hyperbole. The entire premise of Get Out is hyperbolic in nature because the idea that elite whites can “buy” black bodies to inhabit as their own is an over exaggeration and similar in nature to American chattel slavery. After going to the “sunken place”, Blacks are forced to be passengers in their own bodies. This is metaphorically similar to slavery as black people did not have any sense of autonomy or ownership over their bodies.

One of the most important uses of satire in the film seemed to happen at the end of it. After escaping the property, Chris is faced with a psychotic Rose seeking to kill him. The fight ends with Chris on top of her while choking her, however he is unable to bring himself to kill her. Just as this is happening a police car pulls up. Before the audience and Chris know it’s his friend, there is a feeling of dread and uneasiness as everyone knows what will happen next. I think this moment perfectly encapsulates what it feels like to be a Black person in America as the police should bring a sense of security and relief, while in reality it brought the exact opposite.

Overall, Peele is able to really criticize and illuminate how black bodies are being exploited in present America and explore what it really means to be Black in different spaces. I really appreciate how he puts the audience in Chris’ shoes and instead of telling them how they should feel he shows it.

Don’t Look Up

By Leila A

Don’t Look Up is a satirical science fiction film directed by Adam McKay. The story follows two astronomers, played by Leonardo DiCaprio and Jennifer Lawrence, who discover a comet headed toward Earth. When they try to warn the world about the impending disaster, they are met with apathy, denial, and political spin. The film parodies real-world responses to climate change and other global crises, showing how media, politics, and public figures prioritize entertainment and profit over scientific truth. The film employs multiple techniques of satire. One example is irony; Despite overwhelming evidence that a comet is about to destroy Earth, the public either ignores it or turns it into a political debate, mirroring real-world climate change denial. Additionally, hyperbole is used. The film exaggerates how politicians and media outlets trivialize serious issues, turning the life-threatening comet into a mere entertainment spectacle. Parody is also evident in the mockery of real life figures, such as politicians who downplay scientific facts for personal gain and media personalities who prioritize ratings over truth. Understatement is another example used. Scientists explain the impending catastrophe in simple terms, yet the government and media respond as if it’s not urgent, highlighting how real crises are often downplayed. Rather than just making fun of politicians or media figures, Don’t Look Up serves as a broader critique of how modern society reacts to existential threats. The film shows how political agendas, misinformation, and celebrity culture distract people from urgent issues. By portraying absurd responses to a clear scientific crisis, it forces viewers to reflect on their own complacency toward climate change and other global threats.

Satire: Pure Comedy

By Ben S

In Course Stuff

Father John Misty’s album Pure Comedy is, in a sense, a satire of a satire. You start the album staring down at earth from far away. The album opens with a six minute track recording all the absurdities of human life. With over a hour left in the album, Father John Misty has already painted every facet of human life, from birth to religion to love, as one big joke. When you look at life from this far away, it’s hard to do anything but laugh.

For the next four songs we stay out in space. FJM presents us with more satirical stories about humanity’s ridiculousness. From far away we can sit and laugh at ourselves. The album reaches an intermission midway through. In the twelve minute track: “Leaving LA”, FJM sheds his songwriter personality and with that the detached satire that the album has had so far. He stops satirizing all of humanity for a few minute to take a look at himself. His far-removed, songwriter’s attitude towards human existence is even more ridiculous than the human existence that he mocks. In a world so full suffering and absurdity, is satire what we really need?

Nevertheless, the second half album continues with more satirical stories, now much more nihilistic than the first. By the time we reach the penultimate song, FJM has declared that thought is pointless, the world is too polarized to ever come together again, and that art is dead. This is the world we live in. It is utterly devoid of real meaning despite our desperate attempts to find it. This is where most albums end; this story has been told thousands of times. Human life has now been fully satirized. The absurd truth that this is life and we have no choice but to live it has been fully revealed.

The album does not end here though. In the penultimate song, FJM is confronted with death. The whole album has been an attempt for him to remove himself from the reality of life by satirizing it. By being the one to recognize the comedy of life he believed he could rise above it, but there is no escaping death. He is forced to come down to earth and recognize that life is a game we all have to play. It may be ridiculous, but in the end there’s nothing more ridiculous than trying to escape life. Maybe nothing matters and the world will end tomorrow. We will never know, and so the album ends with the line: “there’s nothing to fear”.

Bodies Bodies Bodies and the Comedy of Chaos

By Vivienne L

While some may dismiss comedic narratives as mere entertainment, the best comedies offer profound insights into human nature. One of the greatest recent examples of this is Bodies Bodies Bodies (2022), a film that uses dark comedy and satire to explore the absurdity of modern relationships, social media-fueled paranoia, and generational dysfunction.

On the surface, Bodies Bodies Bodies is a horror-comedy about a group of wealthy Gen Z friends who gather at a remote mansion during a hurricane. They decide to play a party game that quickly spirals into real-life accusations, betrayals, and paranoia when people start turning up dead. While the film has all the trappings of a slasher—jump scares, a creepy setting, and rising body count—its true brilliance lies in how it uses comedy to expose the shallowness, self-absorption, and performative nature of its characters.

The humor in Bodies Bodies Bodies comes from its characters’ reactions to the escalating chaos. Rather than approaching their dire situation with logic or sincerity, they respond with buzzwords and social media speak, using phrases like “gaslighting” and “toxic” without fully understanding them. This satirical take on Gen Z communication highlights how internet culture often shapes real-life interactions, sometimes replacing genuine emotional depth with performative outrage.

As the film progresses, Bodies Bodies Bodies dismantles the typical whodunit structure by revealing that the so-called murders were never actually murders at all—just a series of unfortunate accidents and misunderstandings fueled by hysteria and narcissism. This twist reinforces the film’s central idea: that in an era of constant digital noise, people often create their own worst enemies. The movie doesn’t just poke fun at Gen Z’s internet-fueled anxieties; it uses comedy to examine how easy it is for paranoia and mistrust to spread in an environment built on fragile egos and superficial friendships.

Dismissing dramatic comedy as a meaningful art form would mean ignoring films like Bodies Bodies Bodies, which use humor to highlight the absurdities of contemporary life. Bodies Bodies Bodies proves that in the ridiculous, we often find the most biting truths about ourselves.

Can Happy Gilmore Be Art?

By Will W

On March 3, 2025