Letterboxd, Goodreads and Airbuds are apps that allow users to track their media consumption in an interactive and social way 

By AALIYAH ESPAÑOL-RIVAS — arts@theaggie.org

It is nearly impossible to remember every piece of media you’ve ever consumed. From film, TV shows, music and books, there is no guarantee one will be able to recall a movie they watched eight years ago. However, many apps have been created with the intent to provide users with the ability to log every piece of media they have ever consumed. Mixed with rating systems, lists and social aspects, these three apps make logging media activity enjoyable.

Letterboxd is a social media platform that allows users of varying interests in film to log, rate and share every film they have seen. Founded by Matthew Buchanan in 2011, the app was initially launched in New Zealand.

“[Letterboxd was] designed to foster a community of film lovers who would share, log, rate and watchlist films,” the Letterboxd website reads.

The platform now has over 13 million users across more than 190 countries. For Joselino De la Rosa, a second-year human biology major, he enjoys using Letterboxd as an avid movie watcher.

“I’ve been using Letterboxd for two years now and wish I could’ve downloaded it sooner,” De la Rosa said. “I heard about it from a friend and thought it was so cool to have a place where I could track every movie I’ve seen and refer back to it whenever I wanted, with all my notes and thoughts on the film. Also, I like how I can see what my friends log and read their opinions on films I’ve seen.”

For music lovers, Airbuds is an app that allows users to share their music listening history from apps such as Spotify or Apple Music with friends, with the option of adding a widget on their phone screen that shares what their friends are listening to. Launched in 2023, the app takes what people love about “Spotify Wrapped” and “Apple Music Replay,” making user listening habits accessible year-round with features such as “Weekly Recap” and “Daily Roundup.” Additionally, users can “react” to their friend’s listening habits with emojis.

Evelyn Romero, a second-year political science major, uses Airbuds because she likes connecting with her friends and family through music.

“I like following my friends and family on Airbuds, because I think that through music, you are able to build a connection with others and bond over similar things,” Romero said. “Not only are you able to view what others are listening to but you can also view your music compatibility score with them, it’s so fun.”

As for bookworms, Goodreads is an app where you can track what books you’ve read and write recommendations for other users to see. Launched in 2007 by Otis Chandler and Elizabeth Khuri Chandler, the app was later acquired by Amazon and now has over 150 million users.

“[Goodreads] is a place where you can see what your friends are reading and vice versa. You can create ‘bookshelves’ to organize what you’ve read (or want to read). You can comment on each other’s reviews. You can find your next favorite book. And on this journey with your friends you can explore new territory, gather information, and expand your mind,” the Goodreads website reads.

Andrea Rojas Norato, a second-year political science major, loves using Goodreads to look back on how she felt reading certain books and their impact on her life.

“I love that I can go back and read a review I wrote about a book I found impactful (or not) at the time and why I felt that way,” Norato said. “It’s like traveling back in time to see what the me from the past was feeling.”

Next time you blank when someone asks you for a book recommendation, forget if you watched a certain movie or want to know what artists to listen to less before your “Spotify Wrapped,” consider using these three apps to refer back to your media consumption this 2025.

Written by: Aaliyah Español-Rivas — arts@theaggie.org 

A recap of some notable moments from this past Golden Globe Awards

BY SHREYA KUMAR – arts@theaggie.org

The 82nd Annual Golden Globe Awards took center stage on Jan. 5 at the iconic Beverly Hilton Ballroom in Los Angeles. Host Nikki Glaser made history as the first woman to solo host the Golden Globes, and engaged the artists in the ballroom as well as the viewers at home. Glaser kept the energy up while staying respectful, and her rendition of a “Wicked” and “Conclave” mashup song — “Pope-ular” — has already gone viral.

As always, the Globes celebrated the most outstanding and talked-about films and TV shows of the year. Netflix’s original Spanish-language musical crime comedy “Emilia Pérez” led the pack with the most nominations going into the night and delivered on expectations, taking home several awards including the coveted Best Motion Picture in the Comedy or Musical category.

The film has been polarizing since its release and portrays a Mexican cartel leader who starts a new life after transitioning into a woman. Despite receiving praise for its performances, directing, music and ambitious story, it has also received criticism for its stereotypical representation of Mexican culture, clunky Spanish dialogue, and for its somewhat flippant portrayal of gender transition. Despite the controversy, the film’s accolades are still a win for Spanish-language films and transgender representation on the big screen, indicating that audiences and critics alike are willing to expand their boundaries and enjoy unique foreign stories.

“The Brutalist” claimed the award for Best Motion Picture in the Drama category, with its star Adrien Brody also earning Best Male Actor in a Drama for his poignant performance as a Holocaust survivor trying to make a living in post-war America.

“I was told this film was indistributable,” director Brady Corbet said in his acceptance speech. “I was told that no one would come out and see it.”

The film is one of the rare few in Hollywood to include a 15-minute intermission in the middle of its three-and-a-half-hour runtime — yet it remained a critical favorite and commercial success.

In a historic moment, Fernanda Torres became the first Brazilian actor to win Best Female Actor in a Drama for her role in “I’m Still Here,” over 25 years after her mother was the first Brazilian actress ever nominated for the award. Demi Moore, after years of being one of Hollywood’s more iconic faces, won her first Golden Globe for her role in “The Substance” at the age of 62.

In terms of television, “Shōgun” had a major sweep, taking home Best Drama TV Series, with both of its leads winning Best Actor and Actress in a Drama TV Series. On the comedic side, “Hacks” continued its reign as a fan and critic favorite, winning Best Musical or Comedy TV Series for its razor-sharp wit, as well as Jean Smart winning Best Actress in a Musical or Comedy TV Series for her standout role.

From groundbreaking wins to historic moments, the night highlighted the industry’s ability to evolve while honoring its roots. With standout performances, innovative projects and a diverse array of voices taking center stage, this year’s ceremony set a high bar for the awards season ahead. As Hollywood continues to push boundaries and redefine entertainment, the Golden Globes reminded us why we need these stories to resonate, inspire and captivate audiences worldwide.

Written by Shreya Kumar – arts@theaggie.org 

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

By CHARLIE MCBRIAN — arts@theaggie.org

TV Show: “Hacks” (2021 to present)

“Hacks” revolves around the relationship between aging comedy legend Deborah Vance and her younger new writer Ava Daniels. Their clashing statuses and personalities allow the show to explore the power dynamics inherent to comedy. “Hacks” asks: How much of yourself and others around you are you willing to sacrifice for success? Who’s laughing and who’s being laughed at? “Hacks” doesn’t answer these questions, with Ava and Deborah having moments of admirability and detestability, often simultaneously. While constraining her, Deborah weaponizes the expectations and assumptions toward female comedians to stay afloat and maybe even get ahead. Ava works with someone she sees as a “hack” in order to rehabilitate her image after her self-centeredness causes her to lose her life in Los Angeles. In its bluntness, it goes places a lot of shows don’t yet attempt to and preserves its heart and humor.

Song: “Fingertips Suite” (1997) by They Might Be Giants

Consisting of 21 songlets ranging in length from four to 61 seconds, “Fingertips” is a highlight off of They Might Be Giants’ 1997 LP “Apollo 18.” They Might Be Giants can make high-concept pop from a do it yourself approach. “Fingertips” sees this project at its creative peak featuring wit, humor, genre-play and, above all, hooks — as there’s not much room for anything else. Pieces vary from ballads (“Mysterious Whisper”) to power pop (“Hey now Everybody”) to country (“All Alone”). Songs cut off midway through and make way for a fresh idea. The pieces are strong enough to not get disoriented or exhausted, making for an exhilarating listen. I dare anyone to listen through the LP without getting a song segment stuck in their head.

Movie: “The Queen” (1968) dir. Frank Simon

A little over two decades before “Paris Is Burning” came its spiritual predecessor — “The Queen,” documenting a 1967 drag pageant. Shot as a fly on the wall, it allows the story and characters to speak for themselves, covering topics like gay individuals in the military, gender-affirming surgery and marriage — all topics that would later reach the forefront of queer rights discourse. Clearly defined characters like narrator/emcee Flawless Sabrina, Pepper Labeija and the pageant’s favorite Rachel Harlow push forward the narrative toward the end. Although her appearance is brief, Crystal Labeija (mother of Ballroom’s legendary House of Labeija) pulls focus and hijacks the narrative to expose the inequality and artifice of pageant culture. Overall a great snapshot of a period of time through an, at the time, more hidden culture, this film is a must watch for fans of drag, queer history and the 1960s.

Album: “From a Basement on the Hill” (2004) by Elliott Smith

After simmering for his previous six albums, Elliott Smith’s sublimated bitterness comes to the surface. Years of “burning every bridge that [he] crossed” makes the album throb like an exposed nerve. Released roughly a year after Smith’s untimely death, sometimes it reads like a suicide note — ”Fond Farewell,” “Kings Crossing” and “The Last Hour.” But also on other tracks, like the explosive “Shooting Star” and “Coast to Coast,” it felt like Smith had a lot more to give. It’s a messy and difficult but ultimately beautiful album that stands apart from the rest of his discography and music in general. I recommend this to people who like The Beatles (“White Album”) and other all-over-the-place raw albums.

Written by: Charlie McBrian — arts@theaggie.org

The show’s animation and storytelling deserve to be remembered 

BY JULIE HUANG – arts@theaggie.org

The final episodes of “Arcane: League of Legends” came out a little more than a month ago, but no matter how much time passes, it deserves to remain in public memory as a masterful example of animated storytelling.

Although “Arcane” functions as an adaptation of the backstories of certain characters from Riot Games’ online multiplayer video game “League of Legends,” the show can be watched without any prior knowledge of the game that it is based on, managing to stand as a cohesive piece through the strength of the worldbuilding and characterization present within the confines of its own runtime.

“Arcane” is nearly unanimously regarded as an excellent show for the beauty of its visuals alone, and this beauty is put to good use. The animators expertly wield the qualities of their medium to serve other aspects of the show, harnessing the art and animation to advance the plot, develop the characters and enhance the emotional core of the story when necessary. Background art such as that of pristine city of Piltover’s shining white buildings or underground Zaun’s gloomy, dim streets are rendered in ways that convey the living conditions of both locations, hinting at how residents of both might feel on a daily basis without having to shoehorn that information in through heavy-handed dialogue.

As a viewing experience, “Arcane” is comfortable at baseline but incredibly emotional when it needs to be. The medium of animation shines best when used to portray concepts that might not visually translate as effectively in reality, and “Arcane” takes full advantage of its status as an art form. Fight scenes are infused with vibrant color, fluid animation and unique camera angles for maximum thrill and spectacle, while emotional moments, such as scenes featuring a character in mental turmoil, can be artistically represented through stylized depictions of pain, paranoia, chaos and other emotions.

The sizable cast of characters are each animated in a specific manner, subtly differentiated from each other not just through thoughtful character design but also careful emphasis on different aspects of their body language. By focusing on the expressiveness of Caitlyn’s Kiramman’s eyes, Vi’s consistent usage of her hands as a mode of defense or Jayce’s tendency to initiate physical touch as a sign of affection, the animation in “Arcane” successfully replicates how people carry themselves in distinct ways that demonstrate their unique preferences, associations and habits. This subtle reinforcement of each character as an individual entity then adds to the scale and scope of the show, making a compelling case for why the audience should feel invested without having to say a word.

Apart from the supporting strength of its visuals and animation, “Arcane” presents characters and dynamics that are compelling in their own right. Caitlyn and Vi stand out as a trailblazing example of a sexually explicit onscreen romance between two women, not merely for being positive representation but for being effortless representation. The depiction of their relationship avoids the classic queer arc of struggling against heteronormative societal values, a disapproving family, community or internalized homophobia. Although the pair do struggle and face societal pressures that impede their relationship, the fact that both Caitlyn and Vi are women is never itself the obstacle that must be overcome, allowing “Arcane” to explore a portrayal of a same-sex couple that is rooted in something other than the well-trod trope of needing to persevere through homophobia.

Essentially, by diverging from expectations that the nature of their relationship is something to comment on, the show is able to characterize the two women by more than their participation in a same-sex relationship. “Arcane” instead explores Caitlyn and Vi through other facets of their identities, such as how their dynamic is continually impacted by matters of class difference and complex family loyalties, successfully granting both their characters an organic level of depth and sense of attraction.

Some have criticized the inconsistent pacing between the first and second season, and this could be attributed to the differing scale of the timeline in each. The first season appears to cover around the span of a week to a month, while the second season takes place within a much larger time frame. Furthermore, the character arcs become more ambitious in season two,  diverging from each other and covering a larger range of concepts. The show is forced to devote time to each character separately, as opposed to the more tightly knit, entangled dynamics of the first season.

Perhaps some concepts and character arcs in season two could have benefited from the added time that a third season would provide. Yet, ultimately, the difference in pacing between these two seasons proves to be a subtle reminder that art does not exist in a vacuum.

Artists must constantly consider the limits of the resources at their disposal, whether those limits involve finances, time or the sheer amount of effort required to consistently produce art of high quality.

As showrunners confirmed that more shows set in the “League of Legends” world are in development, it only makes sense that “Arcane” had to be wrapped up quickly to make room for new projects. Although the show itself has ended, it will doubtlessly be remembered as a shining example of storytelling through animation for years to come.

Written by: Julie Huang — arts@theaggie.org 

On her latest album, SZA reckons with healing and the cost of growth

By NATALIE SALTER—arts@theaggie.org

SZA is not afraid to contradict herself. On the title track of 2022’s “SOS,” the lyrics read, “No more fuck-shit, I’m done / Damn right, I’m the one” — but 12 tracks later, she laments upon her misgivings and crushing self-loathing post-breakup: “If I’m real, I deserve less / If I were you I wouldn’t take me back” (“Nobody Gets Me”). “SOS” plays out like a high-stakes tennis match between SZA’s ego and insecurities, swinging between effervescent self-confidence (“Conceited”) and a desperation to not be alone so intense it drives her to the point of plotting bloody vengeance (“Kill Bill”).

The triumph of “SOS,” and SZA’s artistry as a whole, is her ability to exist within both of these two extremes and the expanse of emotions in between without once coming across as disjointed or confused. Accentuated by diverse instrumental landscapes and delightfully cheeky lyricsim (“Damn, bitch, you so thirsty” from “Shirt”), SZA’s willingness to be simultaneously ferociously self-assured and self-critical makes her songwriting not only deeply relatable but a refreshing dose of genuine vulnerability in an industry that only celebrates authenticity so long as it isn’t too uncomfortable for commercial audiences.

Just before 2024 came to a close, SZA announced that she would be expanding “SOS” to a deluxe album, with the inclusion of 15 new tracks and a new title, “LANA.” Though perhaps more sonically consistent than its tempestuous predecessor, “LANA” is a clear continuation of the original album’s assertive yet unguarded storytelling.

An aptly titled first note of the album, the ensuing slew of tracks candidly present her deepest desires and worst hurts without restraint.

“I wanna feel sun on my skin / Even if it burns or blinds me / I wanna be purified within,” the lyrics read on “No More Hiding.”

As before, SZA refuses to let herself be strictly defined on this album. She gracefully dances between identities from track to track. The SZA we hear on “Drive” regrets her inability to make good on her promises of self-improvement and the lack of fulfillment she suffers within her current lifestyle. Then, on “30 for 30 (with Kendrick Lamar)” she tosses out expletives and dismissals with a devil-may-care attitude. She swings back into heart-aching introspection on “Kitchen,” but her bravado returns in full on “My Turn” — a fiercely infectious revenge track that channels “Kill Bill,” though is decidedly less bloodsoaked in its narrative.

SZA’s dissatisfaction with the pitfalls of modern life takes the front seat on “LANA.” “Saturn,” a track which predated the full deluxe album by over six months, lets her turn deeply philosophical as she wonders upon her purpose in a world filled with so much suffering.

“If there’s a point to being good, then where’s my reward? / The good die young and poor,” the lyrics read.

She fantasizes about floating away to another planet against a soundscape as exquisitely dreamy as its lyricism, maintaining a delicate balance between melancholy and hopefulness.

Where “SOS” thrived on roaring hooks as a framework for SZA’s intense declarations, the introspective thematic storytelling of “LANA” is composed of more diaphanous sounds. The chorus of “Kitchen” floats over a twinking, ethereal melody; “Crybaby” is enchantingly hypnotic in its slow-paced string backdrop. Side by side on the album, they work in tandem to create a soothing and near-divine listening experience.

On “BMF,” SZA interpolates “The Girl From Ipanema” to craft a blushing, bright ode to new crushes and fluttering first attraction. “Another Life” is elevated from a mere breakup piece to a transcendent reflection on love that could have been thanks to its warm, soaring tune. A bittersweet mixture of affection and mourning seeps into her mesmerizing vocals as she wishes for the stars to align for the love she knows could be the one.

SZA’s touch is verifiable magic — whatever she chooses to bring to life with her captivating voice is instantaneously alchemized into an extraordinary blend of burning emotions and everlasting dreams. Furthermore, the production on “LANA” is arguably her best yet, ascending beyond what SZA has ever done before to create a unique, entirely singular universe of her own.

Of course, some things never change. Damaged relationships occupy her psyche as much as ever — on “What Do I Do,” SZA finds herself paralyzed in the wake of an accidental discovery of her partner’s infidelity. “Love Me 4 Me,” which is made otherworldly by its atmospheric production and haunting instrumentals, gives her the chance to admit that she “romanticize[s] the scariest things,” chasing red flags only to be unloved by their bearers.

Likewise, she’s just as ready to get her knuckles bloody here as she was on “SOS.” A rippling, almost alien sequence of notes skips like a pebble across a lake behind a series of threatening assertions on “Get Behind Me (Interlude).” But where attacking her problems with a headstrong attitude was at the top of her rulebook before, the SZA of “LANA” seems more interested in analyzing her own behavior in order to free herself of it. She’d now much rather blame herself for being foolish and trusting than condemn an ex for betraying her, and she’s choosing to get her hands dirty by digging into her own misgivings rather than swinging at someone else’s.

From as early as 2017’s “CTRL,” SZA has mused upon the idea of healing, questioning if she will ever achieve serenity with herself and the world. She’s danced around it, masked her desire for it with romantic escapades and proclamations of an unbreakable self-worth and even toyed with it momentarily before dropping it for the edgier pessimism that dots the album’s 23-track run.

But on “LANA,” she finally dives into it headfirst. She knows she has a long way to go — (“Maybe if I stopped blaming the world for my faults, I could evolve”), the lyrics read on “Crybaby” — but 15 tracks later, she’s ready to face the challenges it may bring. After all, she said it herself that one must “break it if you want it to grow” (“No More Hiding”). She’s broken herself already; years of bitingly self-effacing lyrics guarantee that.

She’s grown too, as an artist and as a person, “LANA” in particular glowing with emotional maturity beyond what she’s ever done before. And not only is she ready to grow and heal through music again — but this time, it’s in lyrics meant to be screamed along to in cars and cried alongside of during nights of despair, she’s taking us along with her.

Written by: Natalie Salter—arts@theaggie.org

Exploring the life and work of the renowned folk singer outside of her relationship with Bob Dylan 

By SAVANNAH ANNO — arts@theaggie.org

Following the holiday release of “A Complete Unknown,” James Mangold’s long-awaited Bob Dylan biopic, came an uptick of curiosity about the film’s supporting characters. With Timothée Chalamet’s popularity working to bridge the gap between older and younger generations of viewers, many walked into the film with little to no knowledge of Dylan, along with other folk legends like Pete Seeger or Woody Guthrie. But that didn’t stop them from walking out with a new love for their timeless songwriting and sound, particularly when it came to Joan Baez.

With the very first look of actress Monica Barbaro as Baez — long black hair as she determinedly walks through New York to a folk club where she’ll have her first encounter with Dylan — Mangold solidifies her character: sure of herself, pristine and mesmerizing. After a haunting performance of “House Of The Rising Sun,” viewers, just like Dylan and the audience watching her within the movie, were immediately entranced.

Known for her “heartstopping soprano voice,” as Dylan called it in “How Sweet the Sound,” a short 2009 Baez documentary, the singer grabbed the public’s attention in 1959 at just 18 years old during her performance at the very first Newport Folk Festival.

From then on, Baez became a sensation. With her first album, “Joan Baez,” going gold, performing at Martin Luther King Jr.’s March on Washington and featured on the cover of TIME Magazine all within the span of three years, there was no doubt she would be a folk legend for decades to come.

As “A Complete Unknown” details, Baez became eternally linked to Dylan after helping bring his music to the greater public through duet performances and recording her own versions of his songs. With iconic videos of the pair singing tracks like “It Ain’t Me Babe,” it’s hard not to be curious about the exact details of Baez and Dylan’s ultimately tumultuous relationship of the ‘60s.

Baez’s existence as an artist, however, has much more to do with her own talent and character than it ever had to do with Dylan’s rise to fame and their eventual split. With many fans leaving “A Complete Unknown” not fully satisfied with the small hints of Baez’s career outside of Dylan, it may comfort you to know that there is no shortage of films, books or art detailing her life and voice. Here are a few different places to start while you dive into her large music discography.

“Where the Kissing Never Stops” by Joan Didion (1968)

From one Joan to another, “Where the Kissing Never Stops” is an essay that details Didion’s observations of Baez and her Institute for the Study of Nonviolence in Carmel Valley, California. As with everything else, Didion takes a critical eye to Baez’s activism and fame. While you may not agree with her portrayal of Baez, it’s worth the read to imagine the two legendary women sitting down together for an interview.

“Mischief Makers” (2017) and “Mischief Makers 2” (2021) at Seager Gray Gallery

While “A Complete Unknown” made Baez’s musical talent clear for all to see, her talent as a visual artist came to the forefront of her career later in life. Her series of paintings, which she calls “Mischief Makers,” includes portraits of activists like Greta Thunberg, figures like Kamala Harris and even one of a young Bob Dylan.

“Am I Pretty When I Fly? An Album of Upside Down Drawings” by Joan Baez (2023)

Published fairly recently is a 120-page collection of drawings, completed and categorized by Baez in a large, hardcover coffee table book. Baez, who has always had a passion for art, completed each drawing by beginning with the paper upside down and sometimes even with her non-dominant hand. Featuring abstract sketches of herself, nature and other people, Baez provides a new way for fans to get to know her beyond just listening to her music.

“Joan Baez: I Am a Noise” dir. Miri Navasky, Karen O’Connor and Maeve O’Boyle (2023)

A full-length documentary, “Joan Baez: I Am a Noise” shifts back and forth between Baez’s farewell tour in the present day and the fully fledged story of her 60-year career. Not only detailing the events of her life but the inner workings of her mind through her journal entries and drawings, “I Am a Noise,” highlights Baez’s emotional strength and resilience as an activist, artist and overall human being.

“When You See My Mother, Ask Her to Dance” by Joan Baez (2024)

A collection of autobiographical poetry, “When You See My Mother, Ask Her to Dance,” is made up of old and new writings by Baez, chronicling her relationships with friends, family members and more. Published just recently in April 2024, the collection is the very first-ever look at Baez’s poetry outside of her songwriting.

While “A Complete Unknown” may not be a perfect film — Dylan experts are beginning to point out the movie’s inconsistencies with reality — it was successful in its mission to bring new life to folk music’s fanbase. Using Barbaro’s talent as a way to lead fans into the rest of Baez’s story, her character in the film is just the tip of the iceberg when it comes to understanding the depth of her art.

“I hope audiences who watch this film are inspired to dive into Joan Baez’s music and activism,” Barbaro said in an interview with Variety. “She’s an icon, and it’s an honor to bring her story to life.”

Written by: Savannah Anno — arts@theaggie.org

Movies start your New Year off right and on the path to success 

By DEVANSHI AGNIHOTRI —- arts@theaggie.org

As the new year has started, many of us have been experimenting with new habits and regimes to achieve our New Year’s resolutions, but the commitment can get overwhelming. Here are a few movies that embody the hard work and dedication to inspire you to get back on track.

The first movie that describes perseverance in a unique way is “Forrest Gump,” which follows a man named Forrest Gump who has experienced various lives, reliving these experiences while he passes time waiting for the bus. He played college football, joined the U.S. Army fighting in Vietnam, received the Medal of Honor and captained a shrimp boat — just to note a few of his accomplishments. Gump later proposes to his childhood love, Jenny, but once she rejects the proposal, Gump runs around the entire country while distraught. But eventually, Gump comes back and everything falls into place.

In the film, Gump proudly acknowledges that he has always strived to live a life full of experiences, even if they weren’t necessarily easy. “Always be able to look back and say, at least I didn’t lead no humdrum life,” he said. This film emphasizes the importance of finding your true meaning in life, and being fearless of a new experience despite what others may say. Regardless of the obstacles in Gump’s life, such as his friend Benjamin Buford “Bubba” Blue passing away, he managed to push forward and leave no dreams unattended. For example, he ended up captaining the shrimp boat despite it being the dream he shared with Bubba.

Another movie that many of us need to manifest is “Legally Blonde,” a film that follows Elle Woods, a fashion merchandising major. Her boyfriend, Warner Huntington III, will attend Harvard Law the following year but abruptly breaks up with her. In order to get Warner back, Elle aims to follow him there after studying and passing the law school entrance exam. Once they run into each other, Warner is shocked to see her, but even more shocked to find out that she attends the university. He questions her ability to get into the law school program to which she delivers the iconic response —- “What, like it’s hard?” After working to be with Warner, she slowly realizes that he will never want to be with her, so it is time to make a name for herself, which she does by being invited to one of Boston’s best law firms after many doubting her ability to succeed in the industry. This movie is sure to make you laugh and feel inspired to go after what you want, even if you are told otherwise. In 2025, we could all use a little more confidence. No dream was too big for Elle Woods, so why should it be different for you? Every time she formed a new goal, she put in all the necessary work, and marked the goal off her checklist.

When thinking of inspirational films, “Ratatouille” definitely fits the bill. Through the way Remy, the rat, gains inspiration from French chef Auguste Gusteau and maintains his passion for cooking despite the rest of the rats ridiculing him for not scavenging for garbage with them. But, Remy keeps his mind set on what his heart desires and eventually opens “La Ratatouille,” a bistro that welcomes both rats and humans.

One notable quote that guides Remy in the right direction after being discouraged is from Chef Auguste Gusteau: “You must be imaginative, strong-hearted. You must try things that may not work, and you must not let anyone define your limits because of where you come from. Your only limit is your soul.” We are the only people that can hold us back. So, this year, do whatever your heart desires and take on the challenges others have scared you away from. If Remy, a rat, can cook in a kitchen and open a bistro, there is no reason for you to let your dreams go.

If you feel the load of this quarter getting heavy, just take a moment, sit back, turn on one of these movies and let your imagination fly. Remember how Forrest Gump, Elle Woods and Remy achieved their biggest dreams that even us, as the audience, couldn’t believe. They ignored the people (and rats) who doubted them, and continued living their life the way they saw best. So, take a deep breath and stay on track!

Written by: Devanshi Agnihotri — arts@theaggie.org