By Trevor Pacelli
Museums have always been among the main activities my mom and I enjoy doing together; between that and visiting zoos, she and I seem to bond best over culture, nature, and the arts. While we’ve found a preference for historical museums, the art museums we’ve seen are best when their exhibitions are pleasing to the eyes and were clearly made by an expert who spent a long time on the piece to trigger a specific emotion. Yet often, the art museums we’ve seen exhibit modern “art” that is just something like a white canvas with a single black dot in the center, or paint randomly splattered over a childish doodle, which to some people, isn’t really art. Like the curators in charge of what gets exhibited at art museums, the Academy of Motion Pictures award what they think is “art,” but I believe are simply products following a checklist of components films need to gain attention from Oscar voters. It’s why movies like Shakespeare in Love, Crash, Extremely Loud and Incredibly Close, Green Book, and most recently Emilia Pérez have become so hated. They’re not movies the average person wants to watch with friends or family, nor are they providing worthwhile entertainment that can be talked about positively. The are signs that the Academy, and many elite groups of other artistic mediums, including museums, are growing frustratingly out-of-touch with their own industries and audiences.

By Trevor Pacelli
​​She was green. She was bullied. She was used. She was ostracized. Sound familiar? Elphaba, along with her wheelchair-bound sister Nessarose, are modern representations of what it’s like having a disability. Yet sadly, Elphaba is taken the extra mile by being rejected, even by her own father, for being green. Perhaps she can find a place of belonging in the miraculous Emerald City? Turns out the answer is no, as that’s where the man she hoped would help wants to use her and gets her framed for crimes she never committed. Without its second act, this adaptation of the famous Broadway musical comes off more as a cautionary tale of what happens to someone with a disability who’s treated as less-than.