If I’ve spoken to you in the past two years, there is a 99% chance I have mentioned the television show “Crazy Ex-Girlfriend” to you. It tells the story of Rebecca Bunch, an unfulfilled attorney in New York City who happens to run into her first boyfriend on the street. She subsequently quits her job and moves to the suburban mecca of West Covina, CA in an attempt to win his heart. However, that doesn’t even begin to grasp the emotional depth and skill behind this masterpiece of television. I’ve completely fallen in love with it and was nervous to see how it would pull off its fourth — and final — season this year. Operating at such a high level and finding a satisfying conclusion can be hard.
However, “Crazy Ex-Girlfriend” completely nailed it. Its final season was just as funny, heartfelt, musically-gifted and special as before. Its final two episodes left me utterly speechless. Over the course of four seasons, “Crazy Ex-Girlfriend” tackled a number of story-lines and themes, from coming out to abortion to mental illness to women’s sexuality. All were treated with incredible empathy and respect. I’ve never seen a show that featured a character coming out as bisexual in the form of a massive song and dance number. I’ve never seen a show that focused, essentially, on the main character’s journey to loving herself and overcoming mental illness (especially one that told her “Anti-Depressants Are So Not a Big Deal”). I’ve never seen a show that was so obviously created by (and understanding of) women. “Crazy Ex-Girlfriend” also truly nailed the concept of character growth. The show built a city and a cast that I completely cared about; it gave even the smallest of characters a personality and a story-line (and often, a song as well).
“Crazy Ex-Girlfriend” was a unique, special and innovative show. I feel lucky to have even been able to witness it. I’ll miss you, Rebecca Bunch. I hope you’re thriving out there.
Since its full reveal at E3 in 2018, “Super Smash Bros Ultimate” was at the forefront of my hype up until its release in December. Despite releasing at the halfway mark of the school year, much of my first semester was spent speculating over who would be added as newcomers which made me keep up with the Nintendo Directs that showed off all the new stuff coming. “Smash” is a culmination of some of gaming’s biggest and longest running franchises, and not just Nintendo’s either. The game is great both as a party game with friends and as a title to be competitive in. Through my classes in computer science and at some of the school’s tournaments and meet-ups, I have met a lot of cool people through “Smash” as well. Even as I dove deep into the competitive scene at UNC Charlotte with some intense singles tournaments, I am continually reminded each time I’m hanging out with friends that “Smash” is at its best when simply played as a group.
As a long time fan of the “Tales of” series, I was looking forward to buying this new remaster of “Tales of Vesperia.” I finally got around to buying it during Spring Break and I was glad I played it this semester. Playing this game was a reminder of an amazing time period of JRPGs (Japanese Role-Playing Games) in the 2000s. This was the same era of games such as “Tales of the Abyss,” “Kingdom Hearts II,” and “Persona 4.” Yuri Lowell is one of the best protagonists in the series. His snide yet caring personality was relatable that complemented an amazing cast. Combined with a solid story, a great combat system and the iconic art style from Kōsuke Fujishima, “Tales of Vesperia” has quickly become one of my favorite video games of all time.
While I could’ve just as easily put something like “Avengers: Endgame” as one of the most impactful things I witnessed this semester (as it surely was), the first thing that came to mind was the band “Her’s”. With the Liverpool-based pop duo of Stephen Fitzpatrick and Audun Laading first piquing my interest last year when I stumbled upon their vibrant 2016 singles, “Marcel” and “What Once Was,” I was introduced to yet another phenomenally dreamy pop group to follow along. It was in March of this year unfortunately that the duo’s musical talents were cut short, as both Fitzpatrick and Laading, as well as tour manager, Trevor Engelbrektson, were killed in a head-on traffic collision in Arizona. With their sudden deaths, I was encouraged to turn my ear to their music again. As their 2018 sophomore album “Invitation to Her’s” perfectly encapsulated the duo’s love for peculiar, sardonic lyricism and off-kilter craftsmanship, Her’s represents yet another budding talent taken from this world much too soon. Some of my favorite tracks include “Harvey,” “Breathing Easy” and “Speed Racer.”
Every once in a while, some piece of media will come along that stops me in my tracks and forces me to reassess my understanding of music or cinema. Yves Tumor’s 2018 release, “Safe in the Hands of Love,” is a series of experimental songs that are fluid but at the same time incredibly abrasive. These songs are tied together by elegantly crafted threads, but at the same time, these songs are often decorated with ugliness. The first time I listened to this album I was left gasping for air, I had never heard anything like this before. All of my preconceptions about music were ripped to shreds, doused in gasoline, and set aflame. Thematically, the album deals with the concept of freedom, but it is the albums freedom from music norms that has brought me back to it again and again, and changed my understanding of what music can and should be.
The zombie genre is nothing new. There have been countless takes on the un-dead over the years, but people are still fascinated and moved by the dead rising and taking over the world. Back in January, Netflix released “Kingdom,” a zombie outbreak story set in Korea during the Joseon dynasty. As someone who loves history, politics and zombies, this was right up my fit and quickly became my favorite discovery of the year. It is terrifying, gripping and emotionally powerful, and is definitely worth a binge.