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Transy Women’s Basketball Wins Seventh Straight HCAC Championship; Prepares for NCAA Tournament

Sports & Health

Nate Brother

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March 7, 2025

Transy Women’s Basketball Wins Seventh Straight HCAC Championship; Prepares for NCAA Tournament

On Saturday, March 1st, the Transylvania Pioneers Women’s Basketball team clinched the Heartland Collegiate Athletic Conference Tournament title by defeating the Mount St. Joseph University Lions 69-62. The championship title marks the seventh year in a row that the Pioneers have won the tournament title, clinching an automatic bid to the NCAA tournament in the process. The Pioneers, led by first-year coach Hannah Varel, now head to the NCAA Tournament riding a sixteen-game winning streak.

Despite some struggles early in the season, with the Pioneers holding a 6-5 record through the first eleven games of the season, the Pioneers won the HCAC regular season title by multiple games; the Pioneers have not lost a game so far in the year 2025. With a 16-1 record in HCAC play, the Pioneers earned the number one seed in the conference tournament, and the right to host the tournament in the Beck Center, for the fourth consecutive year. With this year’s HCAC Tournament expanding to eight teams, the Pioneers began tournament play on Saturday, February 22nd against the eight-seeded Blufton University Beavers. After a back and forth first quarter, the Pioneers began to expand their lead in the second quarter with timely three-point shots, holding a twelve point lead at the half. However, the Beavers continued to fight back, slowly chipping away at the Pioneer lead throughout the second half, with the Pioneers leading by five points halfway through the fourth quarter. Late free throws helped the Pioneers hold on for a 58-52 victory. Advancing to the semifinals, the Pioneers faced the number four-seeded Anderson University Ravens on Friday, February 28th. Things started looking quite grim for the Pioneers, with the Pioneers trailing by eight after the first quarter. The Pioneers slowly worked their way back through the next two quarters, trailing by one as the fourth quarter began. However, a dominant fourth quarter, with the Pioneers scoring twenty-four points while shooting sixty percent from the field, holding the Ravens to only four points scored on only thirteen percent shooting, would erase the memories of the tight first three quarters. The Pioneers won 70-51 and advanced to the championship game against the two-seeded Mount St. Joseph the next day.

This is the second consecutive year that the Pioneers have faced the Lions in the HCAC Championship game, with last year’s championship quickly devolving into a twenty-eight point rout in favor of the Pioneers. Things would not be so easy for the Pioneers this time around, as the first three quarters would be a constant back and forth. The Pioneers led by one point after three quarters. Transylvania and Mount St. Joseph would trade one-possession leads through most of the fourth quarter, with a jumper by junior guard Makya Grinter tying the game at 59-59 with a little over three minutes to go. The game would ultimately be decided in the final two minutes when the Pioneers scored three-pointers on back-to-back possessions, courtesy of senior guard Sadie Wurth and sophomore guard Riley Flinn respectively. This created a deficit that the Lions could not overcome, and after some free-throws for good measures, the Pioneers secured a 69-62 win.

This win continues the Pioneer’s dominant run through the Heartland Collegiate Athletic Conference, with it representing their seventh-consecutive tournament championship. The Pioneers previously earned their fourth consecutive HCAC regular season title, and twelfth overall. Wurth, who scored fifty-seven points across the Pioneer’s three tournament games and scored one of the decisive shots of the championship game, was named tournament MVP, as well as being named to the All-Tournament team alongside junior guard Sierra Kemelgor. This was in addition to the numerous regular season honors earned by the Pioneers, with Kemelgor being named HCAC Defensive Player of the Year, first-year head coach Hannah Varel winning HCAC Coach of the Year, and Wurth and Kemelgor being named to the First and Second All-Conference Teams respectively.

With the win, the Pioneers also secure their fourth-consecutive automatic bid to the NCAA Tournament. The Pioneers will travel to Bloomington, Illinois to kick off the NCAA Tournament. There, they will face the Trine University Thunder on Friday, March 7th at 6:00 P.M.. Should the Pioneers advance to the second round, they would face off against the winner of a match between the home-team Illinois Wesleyan Titans and the Centre College Colonels on Saturday, March 8th at 8:30 P.M..

Guidance for Students Facing Fears of ICE

Campus Conversations

ReVo

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March 4, 2025

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Guidance for Students Facing Fears of ICE

Before reading this article, I ask you to please be mindful and respectful towards the subject. We as students should focus on building a community rather than making others feel unsafe or silenced. I suggest reading with the intention of understanding and learning.

There can be a lot of fear and anxiety arising from current events happening in our country. There are various faculty, staff, and students who are here to offer you support. The information that will be discussed in this article is for anyone who finds it helpful. The purpose of this composition is to inform you on what your rights are, what to do in certain situations, and resources that are available to you. Transylvania is considered private property, meaning in order for ICE to set foot on campus, they would need a valid and signed judicial warrant. Without a warrant, they are unable to enter any buildings, both academic and residential ones. However, this does mean that public places are not protected in the same way private places are. If they do end up on campus and ask questions to students or faculty, all students, faculty, and staff have the legal right to stay silent and withhold any information about anyone on campus, including your colleagues and friends. Regardless of where you are, the first precaution you can take is carrying an official government-issued form of identification or at least copies of it. This includes driver’s licenses and state IDs, but stronger forms of identification include your passport, birth certificate, and any documentation proving your legal residence. If you feel uncomfortable carrying these kinds of documentation, you may also keep pictures of it on your phone, though it is not guaranteed to be taken as valid in this form. If approached by an ICE agent, do not run away and try your best to remain calm. Having someone with you may also ease this anxiety and fear. Know that you have the option to stay silent if asked any questions and can explicitly state “I choose to remain silent.” For legal support, there are resources available such as the Kentucky Refugee Ministries in Lexington. They provide services such as assisting in filling out or filing forms, representation before the Immigration Court, and disclosing additional information on your rights.

In addition to that, Transy has offices that are available to provide support, assistance, and guidance. This includes the Spirituality and Religious Life office, Counseling Services, and Student Wellbeing Office. It can be difficult as part of an underrepresented community on campus to open up to faculty or staff. The intention of this article is to bring support to not just these communities, but for the overall community of Transylvania University. There is a need to support those around us and to ensure voices are heard. Various individuals around the campus have your benefit and wellbeing in mind and strive to bring you this support. If you find yourself overwhelmed with worries and anxiety, reach out to someone. It may be easier said than done, but expressing yourself to potential like-minded and unprejudiced people can bring light to the situation. Remember, you are resilient, you are loved, you are supported, and you are not alone.

-ReVo

What’s going on at Main and Broadway?

Lexington

Joe Roution

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March 4, 2025

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While walking through downtown Lexington, you may have noticed that the empty building on the corner of Main and Broadway looks different. Some of the windows are boarded up and entrances are blocked up with chain link fencing.

On one of the windows, a banner has a logo and URL. This website was not extremely helpful, having only two sentences of platitudes about a new “dining, shopping, and gathering” concept for the space. The side also includes a rendering of the renovated building, showing the brick facade painted white and new windows without the green tint that exists now. The render also shows example businesses that could populate the building, all of which seem to be bars or higher end retail. Do we need more bars in downtown Lexington? We already have so many of them. The retail might be promising. But given how the Square is faring across the street, I’m not entirely convinced this project will be successful. I’m just glad that it’s not just being turned into more parking or something (as Cincinnati is planning on doing to some riverfront property near downtown).The project website (https://www.325westmain.com/) claims that the building will be open by fall of 2025, around when Gatton Park a couple blocks away will be open to the public.

This story may be updated as more information becomes available.

Greg Woolf, Ancient Urbanism, and “The Environmental Sustainability of Ancient Cities.”

History

Nate Brother

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March 4, 2025

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Greg Woolf, Ancient Urbanism, and “The Environmental Sustainability of Ancient Cities.”

On Thursday, February 20th, Transylvania University hosted Greg Woolf, a renowned ancient historian and archeologist who was recently appointed the director of the NYU Institute for the Study of the Ancient World. On Thursday night, Dr. Woolf gave the 2025 Collis lecture to a crowd in Carrick Theater, titled “The Environmental Sustainability of Ancient Cities.”

Woolf received his Bachelor of Arts from the University of Oxford in 1985 and graduated from the University of Cambridge with a Doctor of Philosophy in classical studies in 1990. Woolf taught ancient history at many institutions, such as Oxford, the University of St. Andrews, the University of London, and UCLA before assuming his current position at NYU in January 2025. In his scholarship, Woolf has examined material culture, urbanization, and religion, as well as looking at how all three interact with imperial systems, especially the Romans. When introducing Dr. Woolf prior to the lecture, Transylvania professor Dr. Frank Russell emphasized how Woolf’s 1997 article “Beyond Romans and Natives” was an inflection point in the classics discipline, helping shift discussion of Roman imperialism from the shadow of modern debates on colonialism to a more nuanced discussion of cultural exchange. Both Russell and Woolf added that the content of the lecture was related to topics explored in Woolf’s recent book, The Life and Death of Ancient Cities: A Natural History.

Woolf opened by explaining his main goal behind the research that led up to the lecture. His goal was to contextualize Roman cities in historic debates over naturalness versus unnaturalness in environmental sustainability. The works of ancient writers like Juvenal and Galen have cast Roman cities in a negative light, with Woolf comparing them to the works of more modern writers like William Blake who criticized urban life during the Industrial Revolution. And while the pollution and industrialism of the nineteenth century that angered authors like Blake existed in the Roman period – evidence of high lead emissions during the imperial period can be found in Greenland’s ice caps – this resulted from the industrial-scale mining that largely occurred in rural areas of the empire. As for urban areas of the empire, Woolf argued that Roman cities were far closer to sustainable ‘green cities’ than the polluted dystopias that they are often portrayed as in literature.

This is an argument that makes quite a bit of sense when considering the limitations of the ancient world. Roman urbanism reached its height around 200 CE, with hundreds of small cities forming around the empire, along with a handful of megacities. The limitations of transportation meant the materials for building Roman cities were usually locally sourced, both from nearby forests and quarries. Roman cities were also circular economies, with archeology showing that older structures were consistently harvested for materials in newer structures. As for supporting the needs of the citizens of megacities, Woolf turned to their surrounding rural areas, or what he refers to as their hinterlands. Woolf argues that rather than Roman megacities creating the ancient equivalent of suburbs, megacities only formed in areas with rural hinterlands that could serve as breadbasets for their citizens such as the Italian peninsula and the Nile and Orontes river valleys.

Woolf brought up many other points to support his argument for Roman sustainable urbanism, such as the trend of more green spaces appearing in Roman cities over time, the distinction between the biological waster of cities and the chemical waste of mining activity, the Mediterranean brushwood that served as a quick growing source of fuel for cities, and the – albeit traditionally undesirable – biodiversity that came with urban growth in the form of fungi and rats. In a Q&A session after the lecture, Woolf conceded that this Roman urbanism relied on the imperial system surrounding it, the same one that undertook the extreme pollution-causing mining and based much of its economy on human slavery. Overall, Dr. Greg Woolf gave a fascinating lecture that brought to light the initially surprising, but in hindsight clear environmental advantages of urbanism in the ancient world.

Transy Theater Ardently Shines in Pride and Prejudice

Arts & Entertainment

Nate Brother

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February 27, 2025

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Transy Theater Ardently Shines in Pride and Prejudice

Transylvania Theater has done it again! Transylvania Theater’s latest mainstage production is a for-the-stage adaptation of the classic novel by Jane Austen, Pride and Prejudice, adapted by Kate Hamill. This is the second play by Hamill, who was named Playwright of the Year in 2017 by the Wall Street Journal and is known for innovative adaptations of literary classics that Transy Theater has produced in recent years, as Little Theater hosted performances of Kate Hamill’s Little Women in October of 2022. Many of the actors who starred in Little Women return for this production, including Vanessa Rivera (‘25) and Mary Clark (‘25), who play the leading roles of Elizabeth Bennet and Mr. Darcy respectively. Pride and Prejudice opened to audiences in Lucille Little Theater on Wednesday, February 26th, and will continue its run through Sunday, March 2nd. I was lucky enough to be in attendance for the opening performance of Pride and Prejudice on the 26th.

An important note before I begin this review. I have not read the novel Pride and Prejudice. I have not seen any film or television adaptation of Pride and Prejudice, including the lauded 2005 film adaptation directed by Joe Wright. Other than a vague knowledge of the names of characters like Lizzy Bennett and Mr. Darcy, I have unintentionally avoided Pride and Prejudice related media for most of my life, with this production being the first time I was exposed to the story as a whole. Because of this lack of knowledge of the source material, I will be judging the Transy Theater production on its own merits as a contained story, not as an adaptation of the novel or film. If you are a die-hard Jane Austen fan who wants to know whether Kate Hamill and Transy Theater deliver a faithful adaptation of the 1813 original, you will just have to attend the show and find out.

Similar to the Hamill adaptation of Little Women, which trimmed down its source material to focus on the relationships between the titular women of the March family, this adaptation by Hamill focuses heavily on the relationship between the women of the Bennet family and close friend Charlotte Lucas, how they each confront the pressures of the patriarchal system they are living in, and how they resist the tendency of those forces to tear the women and their families apart. The adaptation confronts the contradictions of the need to find a partner one loves, signified by the ever-present ringing of bells throughout the show, and the importance of finding a “perfect match,” with the show’s characters split on if such a thing even exists. The show lays the absurdities of these competing social pressures bare, with moments of slapstick-laden comedic chaos contrasted with moments of genuine tragedy. This is perhaps best signified by the literal game of blind man’s bluff that serves as the play’s cold open. Lizzie later describes the pursuit of marriage and love as a game, and this cold open shows the anxieties many of the characters hold about losing that game and being left out in the cold.

Hamill’s vision for the Pride and Prejudice story relies heavily on the individual eccentricities of each character, and those shined through in the performances of the Transy Theater cast. The absurdity of the social game played by the Bennet family shines through Katelynn Humphries’ (‘26) hysterical Mrs. Bennet, her younger mirror in Addie Regnier’s (‘25) Lydia Bennet, and Sam Goss’ (‘27) jaded straight-man performance of Mr. Bennet. Luke Aguilar (‘27) performed excellently in two wildly different roles in Mr. Bingley and Anne de Bourgh. Lumi Kaono (‘27) brings a justified exasperation to Hamill’s comically tragic interpretation of Mary Bennet. The absurdity of the show shines through the most in Will Johnson’s (‘28) Mr. Collins, who puts his slapstick skills to the use in his surreal take on the character, who is tremendously funny at times and tremendously disturbing at others. In particular, a scene between Mr. Collins and Lizzy near the end of the first act feels as if it was lifted straight from the climax of a horror film, rather than a nineteenth-century novel. However, the absurdity of the show only works when balanced by the emotional core of the show in the relationship between Rivera’s Lizzy Bennet and Clark’s Mr. Darcy, as well as Samantha Farr’s (‘26) Jane Bennet. Pride and Prejudice is a wonderful romp through the perils of nineteenth century British high society that adeptly balances the hilarious with the heartfelt. And the story is brought to life through the tremendous work of the actors, technicians, artists, and everyone else working in Transylvania Theater. Pride and Prejudice runs through Sunday, March 2nd in the Little Theater, so if you have access to tickets, be sure not to miss it!

Aromantic Awareness Week: What It Is and Why It Matters

Health

B. Hartley

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February 24, 2025

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Aromantic Awareness Week: What It Is and Why It Matters

If you’re reading this, there’s a good chance you’ve never heard of aromanticism. If so, don’t worry, you’re not alone. Aromanticism (along with asexuality) is often referred to as “the invisible orientation” due to the fact that it is rarely discussed and not as represented as other queer identities, despite there being just as many of us. This is why, in 2014, members of the aromantic community came together to create a week where aromanticism could be talked about and celebrated. It’s picked up since then, even being officially recognized in a couple states, but there is still more work to be done. That’s why I’ve decided to take a moment and discuss what it means to be aromantic, why this week of visibility is so important, and what you can do to help.

Let’s start simple. Aromanticism is defined as the lack of romantic attraction. Someone who is aromantic experiences little to no romantic attraction to others, regardless of gender. Aromanticism is different for everyone who identifies with it, but this is usually the underlying thread. People who are aromantic may not experience crushes, be interested in traditionally romantic activities, or want to participate in physical affection. It’s important to mention that this is different from asexuality, which is the lack of sexual attraction. The two are similar and can often go together, but this is not always (or even usually) the case. Someone who is aromantic is not always asexual, and vice versa. Part of this confusion comes from unfamiliarity— the Oxford English Dictionary says that the earliest known use of the word “aromantic” wasn’t until the 1960s, although the word wasn’t added to the dictionary itself until 2018.

Only seven years ago.

It’s very difficult to track the history of aromanticism. Much like asexuality, it’s historically been misunderstood as a personal deficit or decision, rather than a legitimate identifier, mainly due to the fact that romantic attraction is normalized in our society to an overwhelming degree, and has been for years. Many people in the past who might have otherwise identified as aromantic were regarded as bachelors or old maids. Some were considered too busy with work to bother with romantic relationships, or perhaps they were religious and chaste. Many others entered romantic relationships simply because they believed they were supposed to in order to be “normal” and have a happy life.

The word for this belief is “amatonormativity,” a term coined by Elizabeth Brake in 2012 to describe the societal assumption that everyone benefits from romantic relationships, and cannot possibly be fulfilled without one. Obviously, this isn’t true, regardless of one’s romantic orientation. But regardless of whether we believe it or not, it has been the prevailing social narrative for millennia: grow up, get a partner, marry that partner, settle down and have a happy life. Till death do you part and all that.

Much like the rest of the history of aromanticism, the origin of this sentiment is difficult to track. Some blame conservatism, some blame religion, some blame both. It’s certainly become more popular after the European Enlightenment of the 1700s; increasingly so after the introduction of the nuclear family in the 40s and 50s. Nowadays, despite the slow breakdown of familial and social norms, amatonormativity is everywhere: movies, TV shows, music, books, social media, toys, cartoons, advertisements, politics, school, religion…on and on and on. It doesn’t even have to be heteronormative! Depictions of homosexual relationships do the exact same thing.

It’s everywhere. It’s inescapable. And unfortunately, no matter your reasons, no matter what you do or don’t feel, if you deviate from that pattern you are abnormal and wrong. And if you are openly aromantic, chances are you will hear this from someone at some point. People will say you’re a prude, or that you haven’t dated the right people. They’ll say you’re too young or naive to know how you feel. They’ll say you’re sick or mentally ill. You’re disabled. You’re broken. You’re inhuman. According to them: You do not exist.

And it’s different for aromantic and asexual people than it is for other members of the queer community. They at least have decades of openly queer people to look to, hundreds of years of music and art, and thousands upon thousands of years of literature expressing queer love. They have proof. And what do we have?

Seven years in the dictionary and eleven years since we were taken out of the DSM-5.

This is why Aromantic Awareness Week is so important.

Aromanticism is called the invisible orientation because it is so, so easy to believe that we don’t exist. But we do. There may not be anyone like us in movies or TV shows, but that doesn’t mean we aren’t watching and waiting for the moment that there is. There may not be much literature on us, but that doesn’t mean I can’t sit here and write my own. We may never in our lifetimes be mentioned in any piece of civil rights legislation, but that doesn’t mean we can’t fight for those who will come after us.

And for those reading who are not aromantic, you no longer have the excuse of ignorance. It doesn’t take much to support someone who’s aromantic; all it takes is for you to acknowledge them, to see them and accept them. Progress is only possible through empathy and education, and if you need a good place to start, a week of visibility is an excellent opportunity.

And for those who are aromantic, for those who’ve never gotten a crush or been on a date or kissed someone, for those who don’t know if they experience romantic love, for those who experience sexual love but not romantic love, and for those who are still figuring themselves out:

I see you. You exist. And you are so, so loved.

Aromantic Awareness Week is an annual week of visibility that takes place the first full week after Valentine’s Day. In 2025, Aromantic Awareness Week took place February 16-22. More information on aromanticism and Aromantic Awareness Week can be found on the official ASAW website, AUREA, and the AZE literary journal.

Lazy Eye: A Review of Tim Kirkman’s Film

Peyton Dunaway

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February 11, 2025

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Lazy Eye: A Review of Tim Kirkman’s Film

I don’t usually get to do things like this (busy schedule and all), but last Thursday, I got to attend a screening of Tim Kirkman’s film Lazy Eye along with several dozen other students, faculty and visitors. Personally, the film itself was good, but I wish I’d gotten to speak to Kirkman after the movie ended— the film’s halting progression and Kirkman’s brief comments on its themes leave a little too much to the imagination for a truly satisfying viewing experience.

Lazy Eye is a film that takes place over a single weekend in a little house in Joshua Tree, California. The protagonist is a gay graphic designer named Dean (Lucas Near-Verbrugghe), whose ex-boyfriend Alex (Aaron Costa Ganis) has just reached out for the first time in fifteen years after their relationship collapsed due to Alex’s sudden disappearance. Once they meet up in Joshua Tree, they waste no time picking up where they left off, rekindling their romance and flirting over Harold and Maude and Dean’s complaints about his work. However, several startling revelations about their respective pasts put Alex and Dean’s reunion in jeopardy, and the two must decide whether it will be worth it to continue their relationship or call the whole thing off.

In terms of the film’s strengths, the cast and set carried the movie. Near-Verbrugghe was wonderfully, painfully guilty as Dean, his complicated, insurmountable feelings for Alex leaving the audience sympathetic and completely frustrated all at the same time (á la Louis in Tony Kushner’s Angels in America). Costa Ganis’ portrayal of Alex is undeniably sweet and sensual with a bitter undercurrent of hesitation that emerges during moments of vulnerability. With such a small cast, the two are on-screen for almost the entire film, a presence that adds to the film’s emotional impact, rather than distracting or drawing away from it. All throughout, the isolation of the little house in Joshua Tree contributes to the feel of Alex and Dean’s secret, budding romance, the backdrop of mountains and stars present in nearly every shot making the audience feel as if they’re intruding on something intimate.

Kurt Gohde (left) asks audience-submitted questions to Tim Kirkman (right) about his movie in a Q&A

And really, they must be, because Kirkman doesn’t seem keen on giving his audience anything more than what they see onscreen. The plot— for all its twists and turns— doesn’t really go anywhere in the end, leaving several questions unresolved and the characters’ development similarly up in the air. It’s entirely possible that this was intentional on Kirkman’s part; during the Q&A session following the screening, any questions about the film’s themes or open-endedness were answered with a vague statement about leaving further interpretations up to the audience. As a fan of ambiguous endings myself, I can certainly respect this, but from a writer’s perspective, I’m doubtful that this approach was suited to such a simplistic, isolated story. With “bottle episode” films like these, the lack of action or effects tends to increase the audience’s focus on the script. With no other source of resolution, they expect a complete story within the writing itself. And although depriving audiences of that satisfaction ensures that they’ll be thinking about the film for a while, perhaps it’s not in the way a director might intend. I’m personally unsure, but Kirkman seemed perfectly happy to leave it in the audience’s hands.

However, there was one question Kirkman answered in full. It was a good question and I’m going to print his answer here, both because of its relevance and the fact that it was the only time he was clear about the film’s themes. I’m still not sure if I like Lazy Eye or not, but even if the film itself wasn’t clear to me, I’m glad Kirkman addressed this part out loud. It seems important.

[AUDIENCE MEMBER]: What did you hope people would take away from this movie when it first came out (2016), and how has this changed?

[TIM KIRKMAN]: I think putting something out in the world in any art form at all is a risk, and you do it as an offering. I set out to make a movie where queerness wasn’t the center of the story. I didn’t want to make it the problem in the story. Since Lazy Eye came out eight years ago, it’s less of an important question. But these people have problems just like anyone else and that normalization is what I want people to take away from this.

I think those old stereotypes will stop as soon as you stop taking our rights away and attacking us, because we will stop making movies about how you do that.

And then we will be as boring as you are.

*Tim Kirkman is an American director whose previous work includes the feature films 2nd Serve and Loggerheads, as well as the documentaries The Night Larry Kramer Kissed Me and Dear Jesse, which was nominated for an Emmy in News/Documentary Writing in 2000. Lazy Eye was released in 2016 and can be found on Amazon.*

Nostalgic for your childhood? Don’t forget to take care of your inner kid

Lyra Duffy

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February 10, 2025

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Nostalgic for your childhood? Don’t forget to take care of your inner kid

As we continue to grow up, we begin to leave many things behind from our childhood. College is hard. It is the true beginning of adulthood and to be honest, that doesn’t always sound all that fun. I often look around and see individuals who are stressed beyond measure. Maybe they can’t get motivated; we all struggle with getting out of bed some days. With all the adversities of college life and adulthood, it is oftentimes hard to navigate how to take care of ourselves. I know we’ve all seen the infographics of self-care tactics, and while those are helpful, they don’t always work for everyone, and to be honest… very few people have time for them anyways.

If you’re reading this you may have been captivated by the word nostalgic. That’s one thing everyone wants to feel these days. No matter how bad of a day one has, having that hint of nostalgia can bring back such happy memories of childhood. One thing that I believe we forget how to do once we attempt to grow up, is take care of our inner child. Many of us get caught up in our adult worries, and nothing feels fun anymore. Taking care of that inner child can be so beneficial for our overall well-being. I believe by bridging the silliness of childhood with our current lives, we can feel more happy and more motivated to accomplish daily tasks.

How do I take care of my inner child and what does that even mean? I see it as meaning different things for every individual. It is looking for those moments that make you feel like a happy carefree kid. These activities don’t even have to be something that you did when you were a kid, while they could be, that is not the primary goal. This conscious choice one makes to take care of your inner child is more about the simplistic comfort and silliness you so desire to feel. There is no one way to accomplish this goal, it’s all about trial and error.

Maybe you have no idea where to start! Here are some examples of how I try to incite carefree joy and comfort. First, I love to sit and color with my friends, sometimes putting on my favorite show or movie in the background. Maybe you love to play games – if so let me know if you ever want to play Sims 4 together. These outlets are great during school because we don’t have to use our brains too much. If you want to get more simplistic… just go outside! Perhaps to a park where you can take a break from campus and walk around, swing or make a flower crown. It could even be finding comfort in a warm drink on a rainy day. Maybe you don’t have time for that on a regular basis… that’s where you incorporate basic silliness into your daily routine. Trust me, it is easier than you think. Maybe you skip to class, or dance around your room a bit on a study break. It can be as easy as reminding yourself to laugh or just incorporating your own personal silliness into life. It is all about being mindful and remembering that you’re still just a kid on the inside who wants to play and have fun. Taking care of your inner child isn’t always easy, and it is a hard task to remember. It may take a while to figure out what works for you. I hope after reading this you feel inspired to be silly and go on more random adventures just for fun. Good luck!

Centipede Circling the Sun: A Review

Arts & Entertainment

James Soderling

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January 29, 2025

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Morgan Hardigree ‘25 recently hosted an art show titled “Centipede Circling the Sun.” In her artist’s statement, Morgan explained how the inspiration for her work came from a poem she wrote on a whim three years ago. It reads:

I wonder if

A centipede crawled up-air and circled the Sun,

Would that star’s light escape after

Those legs encapsulated it?

Morgan found inspiration and connection within the centipede. She explained that her affinity for centipedes comes alongside their multifaceted nature and their perception within society. For many people, the sight of a centipede provokes fear and revulsion, but for others, there is beauty and complexity to be found in their existence. This notion parallels Morgan’s experience as a trans woman, and her art serves as a testament to the beauty and resilience she found by embracing her identity.

A collection of Morgan’s Jewelry pieces throughout the years, which she still wears regularly

Additionally, in the same way the centipede finds power, life, and contentment in repeated actions of circling the sun, Morgan’s hobby of collecting has been a similar source of fulfillment and empowerment. She views her art-making as a collection process, and this idea was skillfully and passionately reflected in her pieces. Her work in the show took the forms of jewelry and large-scale colored pencil drawings that included a vast array of colors and collectibles. Morgan used things like old watches, chain-link fences, ribbons, beads, screws, and circuit boards to create dynamic and intricate pieces that indubitably represent her history, identity, and character.

One highlight of the show, titled Setback Starlight: Baby I Still Got It, was inspired by a deeply personal moment in Morgan’s life. After losing a scholarship she had poured her heart into earning, she took a walk to clear her mind, took pictures of things that inspired her, and created this piece to prove to herself that, no matter the setbacks, baby, she’s still got it. Another standout piece was titled Rainy Day But Clouds are Clearing. Morgan completed this work in Drawing 1, making it the oldest piece in the show. It features a colorful cloudscape that incorporates depictions of butterfly wings and free-floating embryos on fire.

Morgan’s pieces “*The Journey, The Quilt”* (left) and “The Coronation, The Channeler” (right)

It appeared the clouds were clearing so pieces like The Journey, The Quilt and The Coronation, The Channeler could come to fruition. These pieces specifically showcase Morgan’s development as an artist and a human. The former depicts Morgan in the front of the frame, and it represents how Morgan found connections to her art and womanhood within her family: her grandmother, who often made quilts in her spare time, inspired the colored pencil quilt that drapes along the background of her piece. The quilt (and the entire piece) is “stitched” with Morgan’s memories and experiences that reflect her identity, and it also symbolizes the artistic bridge she has to the women in her family who came before her. The Coronation, The Channeler is a continuation of The Journey, The Quilt. In it, Morgan depicts herself as someone who has been through war. She is holding a sword and wearing a crown, representing herself on the cusp of accepting her own power. The sword’s end is intentionally placed in front of the sun as it shows Morgan tapping into the light in the sky, something she otherwise could not have achieved without the experiences she endured or depicted. Morgan also shared that these two pieces are part of a larger series, and the third is currently in progress. For the next one, Morgan wants to portray herself as someone who is no longer languishing but as someone who is enjoying the fruits of her labor. She wants to manifest a time of peace as a sustained effort in the work to come.

Morgan posed in front of her piece “The Conjuration of Magical Flesh,” which is framed with fencing, nails, and her own jewelry

Morgan’s show was much more than a collection of pieces. She showcased her journey, her identity, and her resilience along the path to finding herself. While her work was based on her own experiences, the themes she portrayed were universally applicable: she invited viewers to reflect on their own struggles, triumphs, growth, and self-discovery. As I walked through the exhibit, I could feel the weight of the stories she told and the feelings of hope that were embedded in her work. She proved there is power, beauty, and strength in embracing parts of ourselves that society often misunderstands. As Morgan’s friend, I am immensely proud of her and the hours and hours of work she put in to make this show possible. Her mind and artistic vision are unlike anyone else I have ever met, and the courage and vulnerability found in her art are nothing short of admirable. I feel privileged that I have witnessed her growth, and I am confident that this show was only the beginning of the incredible things Morgan Hardigree will achieve.

Check out more of Morgan’s art on Instagram at @morg.space or on her website https://morganhardigree.com/

Slow Boat to Red Note: The downfall of TikTok and the Great Digital Migration

Cameron Ritchie

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January 21, 2025

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Slow Boat to Red Note: The downfall of TikTok and the Great Digital Migration

Much like the nationalist KMT party fleeing to Taiwan after the civil war, TikTok users are moving “en masse” to the social media app Xiaohongshu, often translated as Red Note, seeking refuge from American social media.

TikTok was briefly banned in the United States on Saturday, January 18th. This was part of a bill passed last year by Congress and signed into law by President Biden, the Protecting Americans from Foreign Adversary Controlled Applications Act, which stipulates that it “prohibits distributing, maintaining, or providing internet hosting services for a foreign adversary controlled application.” TikTok had stated that the screens would go black starting on Sunday, rendering the platform unusable in the United States and cutting off around 170 million users.

*Xiahongshu, which translates to “Little Red Book,” is a reference to Chairman Mao Zedong’s quotation book of the same name. Image credit: BBC, 2015*

In an act of defiance, many users have fled to the app Xiaohongshu or Rednote as an alternative rather than use American-based social media platforms like Facebook, Twitter, or Instagram. Notably, the abandonment of these social media sites coincided with Mark Zuckerberg’s recent announcement that he would end Meta’s fact-checking services, causing public backlash. These users have referred to themselves as TikTok refugees, using the hashtag #TikTokrefugees to identify themselves and make posts on the platform. Xiaohongshu has a user base mainly in China and is under the more direct control of the Chinese government, further adding salt to the wound of congressional leaders trying to “protect national security.” Another act of protest that has been a recent trend on TikTok is a growing number of people “saying goodbye to their Chinese spy” and packing personal information into envelopes to be mailed directly to Xi Jinping, President and Paramount leader of China.

These rebellious moves away from American-owned social media reflect a broader souring attitude toward the US government and US corporations. Many people online express that they simply don’t care about how China uses their data; what could they do worse than companies like Meta already have? Meta has overseen multiple data breaches and faces ongoing lawsuits over illegal data selling. It is fair to say that companies like Meta might not have our best interests in mind.

The US government also has a long history of curtailing personal rights in the name of National Security. The Alien and Sedition Acts, Espionage Acts, suspensions of Haebeus Corpus, The PATRIOT Act, etc. In all instances, American’s rights to speech and expression were restricted in the name of “National Security.” But these are usually dubious claims, giving our government more surveillance ability over its citizens. Such activity was revealed when whistle-blower Edward Snowden leaked information that the National Security Agency had been spying on American phone calls. It is safe to say that claims of protecting national security are met with skepticism.

When users opened the app this morning, they were met with a screen that read: “Sorry, TikTok isn’t available right now,” with options to either “Learn More” or close the app. In a recent development, TikTok might scrape its way back to the US. After then President-Elect Donald Trump announced he would sign an executive order to delay the ban by 75 days, TikTok said they were working on restoring access to the app. Most users had their access restored on Sunday, adding further confusion and uncertainty to the mix. Many users have also expressed worries about potential changes that may come to the app, in line with recent changes to Meta Platforms, to avoid the ban. What TikTok’s ultimate fate will be is yet to be seen. We may have access to it now, but it could soon change.

This latest attempt to ban the platform sets a dangerous precedent around curbing personal rights. TikTok undeniably allows millions of individuals to communicate, express ideas, spread information and news, collaborate, make content, and make a living. NPR reports that around 7 million small businesses are propped up on TikTok. TikTok has become a viable source of income for millions of Americans as content creators in a world that’s becoming increasingly unaffordable. Attempts to ban it come at a great price: a profound loss of connection and jobs with no compensation.

*This is a developing story*

Sources:

https://time.com/7207351/tiktok-refugees-us-red-note

https://time.com/7206781/red-note-tiktok-migration

https://www.bbc.com/news/magazine-34932800

https://www.congress.gov/bill/118th-congress/house-bill/7521

https://apnews.com/article/supreme-court-meta-facebook-lawsuit-9173ad92e11df4b2a565418e419dfb88

https://www.reuters.com/technology/tiktok-goes-dark-us-users-trump-says-save-tiktok-2025-01-19

https://www.npr.org/2025/01/17/nx-s1-5265346/as-tiktok-ban-looms-small-business-owners-wait-with-uncertainty#:~:text=SHAPIRO%3A%20Some%20of%20those%20Americans,that%20didn’t%20exist%20before.&text=ED%20MARKEY%3A%20Seven%20million%20businesses,that%20rely%20upon%20the%20platform.