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Saturday, September 18, 2021

Arts

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ARTS

Rocket Raccoon: Marvel’s most unique hero

One character in the Marvel cinematic universe stands out. He’s not a powerful god, a billionaire techno-genius, a wizard, a massive green monster, or an African king, but rather a smart-ass talking raccoon. Appearing in both “Guardians of the Galaxy” films and “Avengers: Infinity War," Rocket Raccoon, voiced by the exceptional Bradley Cooper, is without question the best character from the Marvel films.


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ARTS

No laughing matter: Peele’s ‘Us’ a brilliant modern horror film

Jordan Peele’s “Get Out” from 2017 was a film that so creatively examined racial tensions in the United States and gripped us to our cores that we’ll be analyzing the film for decades. Peele, in his second feature, crafts a film similar in style and energy, yet grounded and based on different societal themes that are executed profoundly well. “Us” is a monumental piece of cinema that is a gift to the horror genre.   


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ARTS

Ben Burnley, Breaking Benjamin a consistent force in rock

Breaking Benjamin has traversed an always-morphing musical landscape, survived several member changes and has simply gotten the better of time itself. The one constant throughout the entire journey has been founder Ben Burnley, the band’s lead singer and guitarist who also served as the creative mind behind most of the band’s music dating back to the its inception.


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ARTS

Jon Snow: The Hero’s Journey

In what is commonly referred to as the hero’s journey, a protagonist often starts off in a bad position, one in which they feel trapped or isolated. Throughout the course of their journey, they learn lessons, face difficult situations and end up altered internally due to their treacherous growing process. Such is the case for “Game of Thrones” protagonist Jon Snow, a character who throughout the course of seven seasons has faced a number of grueling challenges that have tested his leadership and personal growth abilities to the nth degree.


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ARTS

Say goodbye to ‘The King and I’: ill-written relic should be left in the past

Rodgers and Hammerstein’s “The King and I” might take the cake when it comes to virtually fossilized, ethnocentric, and downright offensive pieces of American theatre. Maybe its “white savior” narrative and hyperbolic representation of Thai culture were considered all fine and dandy when this show debuted in 1951. But in our wanting-to-be-woke society of today, there was no justifiable reason for this show’s revival tour and subsequent stent at the Overture Center from Feb. 26 to March 3.  



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