Which Rory Gilmore Are You?
Even if you’ve never heard of Amy Sherman-Palladino’s early 2000s WB masterpiece, you’ve probably heard of Rory Gilmore. In part, this is because Rory Gilmore, daughter of rebel-child Lorelai, feels like a student on campus, or at least someone that many students want to be: She’s high-achieving, she nabs cute if dangerous boyfriends, she edits the YDN, she’s “basic” before the term existed. In other words, she’s aggressively bland.
Pretty soon, getting scened will amount to more social capital than an Andrew Goble photo.
At Rep, a dangerous desire drives ‘Streetcar’
The Rep recognizes that “Streetcar” is ultimately a play about the fragility of lies, of the rose-tinted fantasies that Blanche invents for herself. As Williams argues, and as you can see in this production, there is something dangerous under these lies. It’s a human instinct, a gnawing impulse that consumes lives, throws men and women together and then propels them apart.
Blanche believes there is poetry in love, but sometimes it is only a spectacle of the flesh.
I have a passing fascination with the other version of my life, the one where I wouldn’t have to be alone for hours after seeing too many people. Would I be happier if I could go to Toad’s without dreading a panic attack?
All Work & No Pay
Fellowship funding insulates Yale students from the realities of a difficult and rapidly changing summer job market. But even on our campus, there aren’t fellowships for everyone. Some—like the freshman Clare Kane of 2011—apply for fellowships, but don’t make the cut. As Kane said, you have to learn how to navigate the application process. Sources for funding are skewed towards encouraging in public service or STEM. Yale’s reputation and deep alumni support may grant its students some institutional advantages, but many miss out on the summer they want.
As arguments about the ethics of unpaid or low-paid internships garner more national attention, Yale’s solution, using fellowships to support some but not all students, will face new questions and louder calls for reform.
"Orange is the New Black" quickly, and wisely, shifts its focus away from its main anti-heroine and onto the other prisoners and staff, a cast of women (and men) more diverse and engaging than any other currently on television.
ELLIS LUDWIG-LEONE ’11: Songwriter, Bandleader, Fan of Hemingway
On Wednesday night at BAR restaurant, the band San Fermin (named after the Spanish town featured in Ernest Hemingway’s “The Sun Also Rises”) performed selections from their upcoming self-titled debut LP, a self-described “pastiche of post-rock, chamber-pop, and contemporary classical composition.” For San Fermin’s bandleader and album’s songwriter, Ellis Ludwig-Leone ’11, this was the first chance to perform his new work in front of his alma mater. On Thursday, after the show, WEEKEND caught up with Ludwig-Leone on the phone to discuss the ins and outs of putting together a debut album, blending genres, and collaborating with your English 120 professor.
Just Missing ‘Normal’
It’s obvious, even from the first couple of scenes, that “Next To Normal” is designed to be impressive.
Hitting Her Marks
Midway through my interview Dance Studies professor and faculty head of the Yale Dance Theater, Emily Coates ’06 GRD ’11, I realized that I’d become distracted by her hands.
Barking Up the Wrong Tree, Thanks to ‘Inspector Hound’
At one point in “The Real Inspector Hound,” the play’s five central characters realize that there may be a murderer in their midst and they all rush to grab improvised weapons — the maid gets a rope, the ex-soldier in a wheelchair clutches a bent pipe and a young socialite fiercely wields a candlestick.
All the Melodrama, All at Once
The Yale Dramat play prides itself on this ambitious sort of crosscutting through time. Written by Jesse Schreck ’14 and directed by Zeke Blackwell ’13, the project is the first student-written production at the Dramat in two years and, considering this sort of institutional support, it aims high.