The sun rises once more on ‘The Hunger Games’ in a prequel starring beloved character Haymitch Abernathy 

BY JULIE HUANG – arts@theaggie.org

Suzanne Collins’ series “The Hunger Games” is well known for exploring difficult questions about human nature and the structure of society, while at the same time being full of exciting young-adult entertainment. Its latest addition, “Sunrise on the Reaping,” follows that tradition in smooth fashion.

What can be described as a prequel following fan favorite Haymitch Abernathy’s journey through the 50th Hunger Games is also a novel that is inextricably concerned with the role of propaganda in shaping human experience and perception. Where can truth be found in circumstances where even the most genuine actions can be twisted by the perverse motives of others?

Before diving into the narrative, Collins prepares her readers for that question with four epigraphs by George Orwell, William Blake and David Hume, discussing the relationship between truth, propaganda and what human beings choose to believe in.

The novel then begins with a depiction of Haymitch’s early life in District 12, introducing his mother, little brother and beloved girlfriend Lenore Dove in a way that just screams “something bad is going to happen” before it actually does.

Foreshadowing runs rampant throughout the entire novel, but it strikes an emotional nerve in this early section as Collins writes a protagonist characterized as a hardworking optimist, driven by love for his close ones, in ominous contrast to the solitary and jaded alcoholic that Haymitch becomes in “The Hunger Games” proper.

Once young Haymitch is selected to participate in the 50th Games, “Sunrise” begins to recontextualize everything that was seemingly well-established in the original series and never once misses an opportunity to make readers question everything they thought they knew. The very moment Haymitch is chosen constitutes one such fissure between truth and untruth, and from there, the discrepancy between the events that happen on the prequel’s pages and what was divulged in earlier novels only grows wider.

The plot unravels with these consecutive events building on top of each other, driven by characters who were portrayed one way in the original series yet are cast in a new light by their roles in this book. For one, the role and motivations of Haymitch himself as a tribute in the games are revealed to be vastly different from what was assumed by “The Hunger Games” protagonist Katniss Everdeen and real-world readers alongside her. Their father-daughter, mentor-mentee relationship is thrown into a new light as well, as the word “sweetheart” takes on a poignant meaning.

Aside from the reveal of other heartbreaking personal connections that Haymitch and Katniss share, “Sunrise” also features the early seeds of the nationwide revolution for which Katniss would eventually become the “Mockingjay” figurehead. Collins’ reveal of just how long plans for revolution against Panem’s tyrannical government under President Coriolanus Snow have been brewing. This sentiment alone serves as pointed commentary that real systemic change requires a lifetime of faith and effort in the face of repeated failures, never knowing when victory might finally arrive. So, too, are these efforts unseen and unnoticed by the majority of people who never knew they existed, yet they are necessary in order to work toward serendipitous circumstances where positive change may actually take place.

Collins’ commentary on the necessity of each generation planting seeds of hope is nowhere more clear than in the character of Lucy Gray Baird, introduced as Snow’s tribute in the first prequel and never once directly mentioned by name in this second prequel. Still, she haunts the narrative and the characters within it: first, in the defiant love of freedom exhibited by Haymitch’s tragic relationship with Lenore — who is a descendant of Lucy Gray’s family, formerly traveling musicians known as the Covey — and later in bitter words spoken by a late-middle-aged Snow on the fickleness of Covey women.

Despite their opposite ideological stances, Lucy Gray’s free will and spirit left an impression on both Lenore and Snow. Their impressions are in turn transferred to Haymitch through their interactions with him, despite him not knowing the woman that they originally knew.

The relationships between characters and the information they share, or omit from each other, could be construed as Collins engaging in fan service — inclusions made simply to please the audience and long-time fans of the series. However, these interactions also feed into the novel’s central theme of how truths and lies are passed from person to person and how the constructed narratives that become propaganda take advantage of the constraints surrounding the communication of information.

“Sunrise on the Reaping” demonstrates over and over how artifice can be injected in even the most genuine of gestures and how well-intended actions can be repackaged to fit narratives that completely oppose one’s intentions, depending on what information has been relayed and what has been discarded.

Yet this story also propounds the idea that, like Haymitch and Lucy Gray, every person is connected through the past and future to others that they may never learn the names of. Even as some information has been lost or omitted, those people have played a part in shaping the world, unseen but not unimportant.

Despite its slew of harsh realities, “Sunrise on the Reaping” is a reminder that the people one has loved leave their influence on their surroundings long after they are physically gone, and those influences leave room for future growth. It is a reminder that the genuine connections forged with others in meaningful moments will always hold some truth, even if those truths might someday become invisible in their namelessness.

Written by: Julie Huang — arts@theaggie.org 

Looking back on “The Hunger Games” series in preparation for its upcoming prequel 

BY JULIE HUANG – arts@theaggie.org

The long-awaited second prequel to Suzanne Collins’ “The Hunger Games,” titled “Sunrise on the Reaping,” was released on March 18, promising to tell the story of Katniss’ mentor Haymitch Abernathy as a tribute in the 50th annual Hunger Games. Due to the novel’s prequel status, the ending seems to be a foregone conclusion, but revisiting the earlier books in the series may remind readers of crucial plot points and sharpen the sense of fate that the characters in “Sunrise on the Reaping” are faced with. 

“The Hunger Games”

The book that began the franchise, “The Hunger Games” features the most self-contained plot in the series. Tightly paced and packed with action, it could technically stand alone as a gripping thriller about a group of teenagers who fight each other to the death in a survival arena. However, this first foray into the games is also tasked with the challenge of introducing readers to the dystopian country of Panem through the mind of the wary and isolated teenager Katniss Everdeen, and it succeeds. 

As narrator and protagonist, Katniss is terribly observant of the issues that affect her directly, including the lives of her loved ones. This shrewd nature extends to some cutting commentary on the injustice of her society. Yet there’s also much that she’s unaware of, as the oppressive ruling class guard their secrets and play political games. Balancing these political machinations with life-or-death action, “The Hunger Games” carefully sets up the characters and forces that will come into play in the second and third novels of the trilogy. 

“Catching Fire”

Having survived the arena together, Katniss and Peeta Mellark leave the physical threats of the games behind and become unwilling political pawns for the Panem government. Katniss especially finds herself under the yoke of President Coriolanus Snow, as he has threatened to kill her loved ones unless she yields to his will by presenting herself as passive and nonthreatening to the cruel regime. This performance requires her to engage in a pretend romance with her fellow tribute Peeta. 

Collins once again transforms political intrigue into another type of story, this time substituting action for romance until Katniss and Peeta are forced to return to the arena and the stakes are driven upwards once more. As the second book, “Catching Fire” does an excellent job of transitioning from the thrill of the first novel to the broader world of the series as a whole, intertwining romance, action and political plotlines in a way that feels all too natural. 

“Mockingjay”

As the finale to the original trilogy, “Mockingjay” breaks away from the Hunger Games arena and focuses more explicitly on Katniss’ role as a figurehead for the growing rebellion against the oppressive government ruled by Snow. As such, the political stakes of the previous novels’ personal entanglements are made more explicit, framed in the context of the political unrest and physical uprisings that concern not just a few people but all of Panem. The book can be summarized as a collection of bittersweet moments amidst a wave of tragedy. Knowing that “Mockingjay” is the last entry into the main trilogy, and that all of the characters’ fates are final, adds a touch of solemnity to the ending while sweetening the rays of hope that Collins leaves for her characters. 

“The Ballad of Songbirds and Snakes”

Fellow prequel to “Sunrise on the Reaping,” “The Ballad of Songbirds and Snakes” provides the unexpected experience of witnessing the most vulnerable and sympathetic days of Snow’s life, transporting the machiavellian dictator back into his youth when he was an ambitious underdog on a university scholarship. The prequel reveals that Snow always had a capacity for cruelty, but his family’s poverty and his own lived experiences with hardship seem to justify his ruthlessness somewhat.

Collins may be commenting on the idea of villains with sympathetic backstories. As in the main trilogy, she throws a love story into the mix as Snow develops a relationship with the District 12 tribute he is mentoring, the enigmatic and lovely Lucy Gray Baird. However, as in the trilogy proper, this romance is far from conventional or happy. Rather than softening his character, these elements of romance instead complicate the question of whether Coriolanus was always destined to become President Snow. 

As the release date has just recently passed, looking back on the events of the earlier books may heighten the anticipation for “Sunrise on the Reaping,” as readers wait to experience the interiority of the beloved but mysterious character of Haymitch Abernathy.

Written by: Julie Huang — arts@theaggie.org 

Are you all about simplicity and serenity, or do you thrive in bold, vibrant chaos?

By IQRA AHMAD — arts@theaggie.org  

Have you been on social media recently, maybe TikTok, Instagram or Pinterest? If so, you’ve probably noticed that your feed is flooded with jaw-dropping styling tips and a never-ending parade of home decor transformations. From perfectly curated outfits to beautiful, magazine-like staged rooms, these aesthetic spaces are taking up more of our day than we might care to admit. It’s hard to scroll without feeling like your space and closet need a total revamp and the ultimate makeover, right?

But instead of reconnecting with nature or escaping to the outdoors, we seem to have entered a new era: the battle of minimalism versus maximalism. So, what suits you? Are you all about the serene simplicity of a clean, minimalist look or do you prefer the bold and eclectic energy of a maximalist style? Dive in and see which aesthetic speaks to your soul.

Minimalism vs. maximalism: What’s the difference? 

Let’s break it down: Minimalism and maximalism represent two contrasting approaches to style and design, each offering its own appeal. 

Minimalism is all about the “less is more” approach. Preserve your mental real-estate and opt in for a clean, streamlined approach that focuses on being intentional in choosing what you keep in your space and presence. With an emphasis on simplicity, functionality and quality over quantity, the purpose of minimalism is to keep your life manageable. Think neutral, calming colors and well-crafted spaces with only the essentials. Instead of being overstimulated by the chaos of endless fast-fashion cycles and those dangerously full online shopping carts, minimalism offers sustainability and a conscious effort in embracing a simpler lifestyle. 

Maximalism, on the other hand, is the opposite. It’s a bold, energetic celebration of life with excess. Why play it safe when you can go all out and make a statement? In maximalism, it’s about showcasing your creativity and individuality without restraint through pieces that compliment your look. So be exciting, experiment with a palette of vibrant colors, mix checkered patterns with stripes and layer textures. Whether you decide to add various fabrics or jewelry to your space or outfits, this style entails displaying meaningful pieces that tell stories about yourself through trinkets and other curious findings. 

Why choose one when you can have both?

Though these styles may seem like polar opposites, there is absolutely no reason you can’t mix elements of both to create a style that speaks to you. In fact, many people find themselves in the best of both worlds, combining minimalist functionality with maximalist flair. It’s all about finding a balance — creating a space or wardrobe that feels soothing and functional while still reflecting your personality and love for daring statements. 

For example, in home decor, you might start with a minimalist base, with neutral walls, clean furniture and open spaces, and then introduce maximalist touches like colorful throw pillows, unique art pieces or a gorgeous gallery wall. Similarly, in fashion, you could layer simple, classic pieces as you establish a capsule wardrobe with one or two statement accessories, like a bold scarf or eye-catching shoes. You can even adorn yourself with touches of gold and silver jewelry. 

The beauty of entwining minimalism and maximalism lies in creating an environment or style that allows both peace and personality to coexist. What’s not to love? Mix it up and showcase your style for you.

Written by: Iqra Ahmad — arts@theaggie.org 

The UC Davis Indian Student Association will host an official event to commemorate the Hindu holiday

BY DEVANSHI AGNIHOTRI — arts@theaggie.org 

A rainbow of colors will fill the sky and water balloons will burst with colored water, because March 14 marks the official time for the annual Hindu holiday, Holi. Celebrated as the “Festival of Colors,” Holi is celebrated on a different day each year to mark the end of winter and the start of spring. The celebration occurs on the last full moon of the lunar month of Phalguna, typically on the 12th month in the Hindu calendar. 

The Hindu “Festival of Colors” honors the triumph of good over evil, with people lighting bonfires to say their goodbyes to winter, throwing bright powders and water and ringing in the change in seasons. 

Holi is celebrated in a variety of ways — the day before Holi is known as Chhoti Holi, and a bonfire is lit to symbolize good over evil. On Holi, people gather together and throw colored powder and water at anyone they see. For the celebration, people typically wear the oldest clothes in their closet, preparing for them to get ruined with colored powder and water; Each swipe of color on a person’s face is a moment of endearment.

In addition to the colored powder, water also gets involved in the celebration. Many people use water guns, water balloons or even buckets of water and playfully splash water at each other. Saanvi Bapu, a third-year cell biology major and president of UC Davis Indian Student Association (UCDISA), described first-hand experience of the festivities.  

“You go in with a set of friends and you’re just playing [alongside] them, but at some point, everyone is usually just playing [alongside] each other,” Bapu said. “You’re just throwing up colors in the air, and you can make new friends in the process. Even if you don’t talk to them and names aren’t exchanged, you’re all just having fun with the people there.”

The Indian Student Association at UC Davis is a student-run organization that focuses on highlighting Indian culture at UC Davis and works with other South Asian organizations. The organization hosts gatherings on Hindu holidays like Diwali and Holi, as well as holds the Garba Night, Davis Dhwani and study social events. 

“The Indian Student Association at UC Davis is the only undergraduate [student-run] organization at [UC Davis] that allows for Indian as well as other students interested in Indian cultures and traditions to unite under one common organization,” the UCDISA website reads. “Our main goals are to bring the UC Davis community closer through holding social events for cultural awareness [and] fundraising for the underprivileged community.”

Holi is a lively event and acts as an easy mode of connecting with others without having to socialize. Students far from home may be missing the traditions with their family such as the sweets their parents would make or the matching Holi outfits, but the Davis community brings similar sentiments to the local celebration — fostering a cultural connection within the college town. 

“You might not find these events so easily in a lot of places, especially for the students from India that may be missing these festivals,” Bapu said. “One of our main goals is to host these kinds of events so students can feel more connected to their culture.”

For those interested in celebrating the holiday, bring your friends and show your love by spreading some color at the official UCDISA Holi event on April 19. For students unable to attend the celebration, remain up to date with UCDISA’s future events and club membership by accessing the UCDISA’s Instagram page and website.

Written by: Devanshi Agnihotri—arts@theaggie.org 

The student-run theater group brought the Broadway show to UC Davis students and local community

BY SHREYA KUMAR — arts@theaggie.org 

From Feb. 28 to Mar. 2, the UC Davis student theater group, Studio 301, rose to the challenge, delivering the Broadway original production of “Falsettos” with humor, heartbreak and a whole lot of heart. 

Under the direction of Isabella Ku, a fourth-year animal science major, the talented cast and creative team brought the show’s intricate score and complex characters to life in a way that left the audience spellbound each night. 

“Falsettos” opened on Broadway in 1992, earning rave reviews and seven Tony Award nominations, taking home the award for “Best Original Score.” It gained even more recognition and popularity after the 2016 revival, starring Christian Borle, Andrew Rannells and Stephanie J. Block. Set in the late 1970s and early 1980s, “Falsettos” follows a family that falls apart when the father, Marvin, divorces his wife, Trina, to be with his male lover, Whizzer. As Marvin and Trina attempt to maintain a sense of normalcy for their son, Jason, the dynamics of their unconventional family become increasingly complicated as they have to face more and more obstacles together. 

The musical’s first act is filled with sharp humor and rapid-fire dialogue, while the second act takes a more somber and introspective turn as the family tries to come together to prepare Jason’s bar mitzvah with the acquired immunodeficiency syndrome (AIDS) crisis looming in the background. Throughout it all, the show explores the complexities of love, acceptance and the work that goes into building a family. 

At the time of its release, the way the play tackled the prominent themes of Jewish heritage, gender roles, LGBTQ+ identity and the impact of the AIDS crisis made it truly groundbreaking. On top of that, the story portrays a family that practices Reform Judaism, a branch of Judaism that was still developing and shifting at the time of its writing. With so many complex themes, “Falsettos” is an ambitious choice for any theater organization.

“In this political climate, I think it’s especially important to represent queer and Jewish culture in the art,” Ku said. “I didn’t foresee this [political climate] when I submitted the idea to do this musical, but I think it’s especially meaningful now, and I hope it resonates with the audience.”

Due to the complex content in the story, the cast and crew took every step to make sure they were being as accurate and faithful in their depiction of the characters as possible. Adira Zylberman, a first-year undeclared major and a choreographer for Studio 301, gave a presentation to the organization to educate them on Jewish culture and practices in preparation for the production.

“As someone who is also Jewish, I felt like it was really important to make sure everything was done right and with care and respect,” Zylberman said. “I applaud the Studio 301 team for giving us the space to be heard and for being so committed to authenticity.”

Josh Velazquez, a fourth-year statistics major who portrayed the male lead, discussed the process of ensuring the production’s authenticity and accuracy.

“We did a lot of listening, a lot of understanding, a lot of talking about Jewish history and that helped us to understand the characters better, ” Velazquez said.

What made this production of “Falsettos” truly special was the resourcefulness and passion of the entire Studio 301 team. This quarter’s production took place in Social Science 1100 lecture hall, a venue significantly smaller than a traditional theater stage. Despite the space limitations, the crew maximized every inch, transforming the lecture hall into an immersive environment. 

The stage design featured minimal but strategic set pieces, allowing the actors to transition fluidly between scenes while keeping the focus on their performances. Cast members frequently engaged with the audience by entering the seats or walking through the aisles, adding a layer of intimacy to the production that made the emotional beats hit harder. The professional sound design and lighting contributed to the theatrical experience, further elevating the production’s quality into a professional, immersive experience. 

“I like to say since we’re on a student-run team, we’re also on a student-run budget,” Ku said. “We rely heavily on donations and ticket sales, and the majority of our budget went into getting the rights for ‘Falsettos’ alone. We actually got a lot of help from the Aggie Reuse Store, which helped us to get a majority of the clothes we used in costuming for free. We also traditionally perform in lecture halls to save on costs, but I think we’re getting the hang of it.”

The actors put on soulful, relatable performances that had the audience laughing out loud one minute and tearing up the next, signifying that Studio 301 had successfully brought “Falsettos” to life in a way that resonated deeply with its viewers. 

With its heartfelt performances, inventive staging and professional-caliber technical execution, this production was certainly a testament to the dedication, talent and passion of everyone involved in making it happen. If you missed “Falsettos” but want to support Studio 301, follow their Instagram account, @studio301productions, or visit their website to get involved or to learn more information about their upcoming productions. 

Written by: Shreya Kumar — arts@theaggie.org 

The thrill, the mystery and the quest for justice 

By IQRA AHMAD — arts@theaggie.org    

From bestselling books to top-charting podcasts and binge-worthy Netflix documentaries, people are hooked on learning about crime. But, why? What is it about murder, mystery and mayhem that keeps us captivated, thrilled on the edge of our seats? 

We devour shows like “Law and Order” and “Criminal Minds” and tune in religiously to “Crime Junkie” and “Dateline.” We lose ourselves in the spine-tingling and sometimes bone-chilling thrill within the pages of books like “A Good Girl’s Guide to Murder” by Holly Jackson or “The Lovely Bones” by Alice Sebold. Even childhood favorites tap into the eerie paranormal and fictitious grandeur of fear with series like “Goosebumps” by R.L. Stine or “It” by Stephen King, showing that fear has a way of gripping us — sometimes literally. 

So, what is it? What exactly fuels the fascination? It is the rush of a red herring? The adventure of playing detective? Or the irresistible challenge of solving a classic “whodunit?” Whatever the reason, one thing is clear: Crime is no longer just a genre, it’s a phenomenon we cannot look away from. Let’s look into why this may be. 

In an effort to make sense of the world and unravel the perilous questions that consume our thoughts, we are drawn to understanding what drives individuals to commit crimes. The psychology behind a criminal’s descent into wrongdoing fascinates us, so much so that we eagerly grasp onto every clue, theory and backstory. 

“We instinctively want to discover the ‘who,’ ‘what,’ ‘when,’ and ‘where’ so we can find out what makes criminals tick, and to better protect ourselves and our kin,” a BBC Science Focus article reads.

This innate curiosity drives a passion that makes obsession with true crime more than just entertainment; it’s a quest for understanding, survival and control in an unpredictable world. Perhaps the true allure lies in stepping into the shadows while knowing we can always close the book, press pause or flip the lights back on when things get too scary. This safety net makes the experience thrilling rather than terrifying. 

Psychologist Paul Rozin’s concept of benign masochism may help explain this phenomenon. His research suggests that humans take pleasure in negative experiences, so long as they are perceived as safe. Meaning, the rush of fear, suspense or even discomfort is enjoyable because it allows humans to feel intense emotions without any real risks attached, according to Rozin’s research study published by the Cambridge University Press. 

There’s also a deep-seated drive to uphold the long standing pursuit of justice. After all, with true crime comes true punishment. While true crime opens many eyes to the realm of criminal justice, it also taps into our natural instinct to seek justice. People empathize with victims and their families, yearning for closure and accountability, according to an article by the Prindle Post.

 But beyond the excitement or the mystery, our fascination with crime reflects something deeper — our own humanity. Whether it’s the adrenaline rush of a well-crafted plot twist, the intellectual challenge of piecing together clues or the moral reckoning that comes with understanding justice, true crime speaks to something within us. 

True crime is not just about indulging in fear from a safe distance, it’s about exploring the darkness to better understand the light. In the end, our obsession with crime is more than just entertainment, it’s a mirror, reflecting our deepest curiosities, fears and desires. And as long as the mystery remains, we’ll keep searching for answers.  

Written by: Iqra Ahmad — arts@theaggie.org

The Arts Desk’s weekly picks for music, movies and more

By ZOEY MORTAZAVI — arts@theaggie.org

Book: “To the Lighthouse” by Virginia Woolf (1927)

This is my favorite book of all time, in case anyone was wondering. Woolf’s stream-of-consciousness prose was a bit intimidating to me at first as I somewhat struggled to understand the dynamics between characters, but before the end of the first section (the book is split into three parts: The Window, Time Passing and The Lighthouse), I was hooked. Woolf’s characters are incredibly honest and genuine. The lighthouse is symbolic of what each character desires the most in this world, while they each individually struggle to obtain it. Lily Briscoe’s character is impossible not to root for, and you get to know each character on a personal level as Woolf peers into each of their minds, using a style of omniscient narration that I can’t get enough of. The book offers glimpses of beauty within the mundane repetition of daily life, creating moments of literary magic out of seemingly nothing: a candle burning in the dark, an exchanged glance, curtains blowing in the wind. I cannot recommend this book enough; In fact, to commemorate my love for it, I’m planning on getting a lighthouse tattoo. Genuinely. 

Album: “Frank” by Amy Winehouse (2003)

This album literally changed the game — not only for me, but also just the game in general. Amy Winehouse’s iconic album, “Frank,” should not be a mystery to anyone, but in case it is, I wanted to give it some well-deserved attention. This album has it all: slow ballad tracks like “Take the Box,” more upbeat songs like “Amy Amy Amy” and “In my Bed” and somewhere in between, like “Mr. Magic / Through the Smoke.” No matter the song, Amy’s ability to express heartbreak while taking so much control over her feelings is inspiring and captivating to listen to. Her confidence, unique vocals, musicianship and her incredible range of lyrics is also displayed throughout this album. Her music will always make me feel empowered, and this album is an example of how I feel that in my everyday life. This album has also already made an appearance on my KDVS radio show, “The Red Scare” — and it definitely will again.

Song: “Pol” by Googoosh (1975)

Googoosh is one of my favorite Persian singers of all time. Any Iranian person will tell you that she’s one of the all-time greats, so I’m definitely not alone in my love for her; My dad raised me blasting her songs around the house, so she’s been one of my favorites for as long as I can remember. “Pol,” better known as “Bridge” in English, is particularly special in my opinion — it opens with a hauntingly beautiful violin intro before her vocals start, and the song in its entirety showcases her beautiful voice and instrumentals. The song explores themes of finding solace with a loved one amidst feelings of solitude, delving into the deep and intuitive “bridge” that romance can build in one’s life. You definitely don’t need to understand Farsi (in fact, I’m not even fluent myself) to feel the depth and emotion of the love she is describing in the song. Another song by her that I’ve been obsessed with is “Gole Bee Goldoon,” a favorite that I play at every family reunion my family hosts. Either way, I definitely recommend giving this song a listen — especially if you’ve been meaning to expand your musical horizons a little bit. 

Movie: “Roman Holiday” dir. William Wyler (1953)

I watched this movie with my dad for the first time in sixth grade, when I was undergoing a serious “I need to be an actor” kick. Audrey Hepburn became one of my ultimate role models after my first watch — she is so graceful, poised and charismatic in the film (and all of her films) that she’s one of the all-time greats to watch. The movie is fun, funny and the dynamic between Hepburn and Gregory Peck is incredibly enjoyable and gratifying to watch. In “Roman Holiday,” Princess Anne (Hepburn) gets a taste of everyday life beyond her duties as a touring European princess alongside Joe Bradley (Peck), a handsome and witty journalist, who shows her around the city. Peck and his friend end up covering her tour around the city, and their romance blooms as they spend a few days together. The movie’s bittersweet ending always sticks with me, and it’s one of those feel-good movies that I could (and do) watch time and time again. 

Written by Zoey Mortazavi — arts@theaggie.org