By Leanne Signoriello – Features Editor
The CW’s “Riverdale” returns to television with a brand new season October 11. The revamped, modern version of the classic comic’s new season is sexy, mysterious, and full of drama, proving why it scored seven awards at this year’s Teen Choice Awards.
By Seán McGlone and Pavel Zlatin – Editor-in-Chief and 1851 Staff
In the remake of the 1990 horror movie, based off of Stephen King’s novel of the same name, Bill Skarsgård plays the demonic clown, Pennywise, who terrorizes the fictional town of Derry in the summer of 1989 in “It.”
By Tyler Hetu – 1851 Staff
BoJack Horseman returns with its fourth season. Created by Raphael Bob-Wakesberg and first aired since 2014, the Netflix original has churned out three seasons of the animated animal/human hybrid show. It features a horse named BoJack Horseman (Will Arnett), a washed up Hollywoo(d) actor who has fallen into a drug and sex addicted lifestyle. While the show has embodied the definition of funny, it’s not in a “ha-ha” sort of way. Its fourth season is a masterpiece of humor and sadness, mixed together to provide something that no sitcom can create.
By Casey DiBari – 1851 Staff
Step aside old Taylor Swift, move over Brad Paisley, and throw out your Steven Tyler country albums, world. There’s a new star entering the country scene, and his name is Richard Starkey.
By Krista DeJulio – Co-Editor-in-Chief
With a quick name change and a rechoreographed ending, “Artifact 2017” kicked off its opening night on Thursday, February 23 at the Boston Opera House at 539 Washington Street, Boston and will run until Sunday, March 5 with a matinee showing of the performance. “Artifact 2017” is the first show of a five-year partnership with William Forsythe, one of the most innovative choreographers of today. Boston Ballet is the first North American company to perform “Artifact” in full.
According to the Boston Globe, the ballet was created in 1984 and reimagined what a classical ballet could be. The show is unique and features more than just ballet as an art form. Memorizing choreography, spoken word and a minimalistic set and costumes are the focal points of the show, leaving the show at two hours.
The show, well extremely innovate and extraordinary, is not for everyone. While “Artifact 2017” promises classical ballet, the rest of the show is not traditional. The spoken word aspects of what looks and feels like an evil Disney-like character brought laughter to the crowd, as did an old man with a megaphone, but left those coming for a traditional ballet at a loss. The costumes were simple variations and different colored leotards and stockings, but still beautifully worn when the ballerinas danced in unison.
Also according to the Boston Globe, “The heart of the ballet’s music is a score, partly improvised, by Eva Crossman-Hecht based on Ferruccio Busoni’s piano transcription of Bach’s monumental ‘Chaconne,’ as well as a sound collage by Forsythe himself.” The show’s ending was rechoreographed, something different than the original from 1984, thus being renamed to “Artifact 2017.”
By Samantha Plumley – 1851 Staff
Not all stories are happy and regrettably this is the case for the three Baudelaire children. Stamped with the Netflix seal of approval, the latest adaptation of “A Series of Unfortunate Events” comes in the binge-able form of eight episodes. The season follows the first four books of the series written by Lemony Snicket, the pen name of Daniel Handler. Following the bleak journey of the orphaned Baudelaires further than the 2004 movie of the same name ever could, each book is allotted two detailed episodes.
By Tristan Davis – Features Editor
It’s not often we are treated to a Coen brothers’ production, and the long-awaited premiere of “Hail, Caesar!” had great expectations. Coming off of the Academy Award-nominated drama “Inside Llewyn Davis,” in 2013, the Coens ventured further back in time to 1950s Hollywood, where a ma- jor actor has suddenly gone missing.