march media rewind and news stories you should read

a collection of what I have read, watched, and listened to in March

Apr 16, 2024

Oh, media rewind, how I’ve missed you! In March, I delighted in catching up on Oscar-nominated films and indulging in great journalism. Here are some of my faves!

in the news

How Quinta Brunson Hacked the Sitcom: In high school, I would spend hours binge-watching Buzzfeed videos, always finding inspiration and excitement in seeing Quinta Brunson on screen. In all of her nearly five-foot stature, she seemed like an older version of myself, often sporting box braids or her natural curls while navigating what seemed to be right of passage Black girl-isms of the early 2010s, like choosing whether or not to perm her hair or navigating being the only Black friend in a group. Even then, Brunson was a nimble storyteller, planting seeds of wisdom and thoughtful insight into comedic sketches and perfecting the formula that has led to her commercial success as writer, producer, and actor on Abbott Elementary. In Molly Fischer’s New Yorker profile, the journalist spends a day with Brunson on the set of Abbott following her January Emmy win for Outstanding Lead Actress in a Comedy Series. The profile provides a vivid portrait of the behind-the-scenes grit and effort it takes to introduce a mainstream hit to primetime seamlessly. Read here.
Before Cameron Williams died at Waupun, prisoners say he begged staff for help: For the past few months, my Journal Sentinel colleagues Vanessa Swales and Drake Bentley have written stories examining the treatment of prisoners in Wisconsin following a series of prison lockdowns by the Wisconsin Department of Corrections. Waupun is one of several prisons where incarcerated people have reported experiencing up to 24-hour stretches with no access to visitors, outdoor recreation, or medical care. Cameron Williams lived in solitary confinement at Waupun, and in October 2023, he was found dead in his cell after suffering a stroke. Inmates whose cells neighbored Williams’ said he cried out for help for days before they were met with silence. For his family, Williams’ death is reflective of “cruel and unusual” conditions at Waupun. Read here.
Beyoncé Made Country Radio Listen To Her. Black Opry Wants More Voices To Be Heard.: For all of the listeners of the last Tamia Talks episode, this was guest, Ruth Etiesit Samuel’s last story for HuffPost. It raises an important demand from Black country artists who want to secure industry support for their musical pursuits. While many appreciate fresh on the genre by major artists like Beyoncé, they also recognize the long history of obstructed opportunity for Black artists in the country space. Black Opry co-directors Holly G. and Tanner Davenport say there’s a lot more work to do. Read here
An asthma attack gave me a mission: Provide people in the Mon Valley with the tools to survive: I stumbled across Qiyam Ansari's essay in Public Source after a friend shared that they had heard the environmental justice organizer speak at an event in Pittsburgh. In his essay, Ansari shares a near-death experience he had after his family’s move to McKeesport, Pennsylvania, a suburb of Pittsburgh, where air pollution has posed a persistent threat to resident health, specifically in communities of color. Shortly after Ansari’s move to Pittsburgh, a weather inversion hit the city, trapping cool air and pollutive particles like PM2.5 close to the ground. The weather event landed Ansari in the hospital and on a decades-long journey to achieve climate justice in his home state. Read here.
The ‘It’ Girl Is Dead. Long Live the People’s Princess: I just love to see my girls get their flowers. Ayo Edeberi, Alex Cosani, Sabrina Brier, and (of course) Quinta B are extremely talented and interesting human beings who seem perfectly normal, kind, and lovely. Their relatability makes them accessible, their honesty makes the great heights of achievement that they’ve reached seem pursuable, and this W story was just fun to read! Thank you, Maxine Wally. Read here.
For Aida Osman, Writing Was the Dream. Now, She’s an Actor Whose Dreams Are Limitless: Teen Vogue’s Young Hollywood issue has always been iconic for a variety of reasons. For one, the first issue of Teen Vogue that I ever owned was an October 2013 Young Hollywood issue with Hailee Steinfeld on the cover. At the time, she was promoting her turn as Juliet alongside Douglas Booth in a film adaptation of the Shakespeare classic. In addition to introducing an audience of curious teenagers to new stars, the Young Hollywood issues are also responsible for producing some of the most iconic moments in my personal pop culture history, granting us iconic quotes like “I sat down with the president of Disney Channel and said I want to make history,” a la Debby Ryan. “Got some blue going on,” by Selena Gomez when she sported a blue streak at the Teen Vogue Young Hollywood party in 2007. And of course, Zendaya’s legendary Armani jumpsuit and jumbo Black hat combo, pre-dating internet fanfare over Beyoncé’s big white cowboy hat at the 2024 Grammy’s. All that to say, when I saw Aida Osman was being profiled for Teen Vogue’s 2024 Young Hollywood issue, I was delighted to see a rising star and fellow Midwesterner that I’d followed since my freshman year of college was finally getting her spot in the sun.
Osman landed in this issue of Teen Vogue fresh off of the cancellation of her Max series “Rap Sh!t.” The show, a fictional retelling of the City Girls’ rise to stardom centered on two high school friends from Miami, ran for two seasons before its abrupt conclusion in Spring 2024. Osman wrote for the show and earned a spot as one-half of its starring duo in 2022. In her profile, she reflects on her desire to create stories that highlight the upbringing of people like herself, Black, Muslim, Midwestern, and occasionally gender-nonconforming creatives seeking to find their place in a world that often fails to naturally allow space for them. I loved reading this profile and have been continually inspired by Osman’s journey from podcaster to penman to performer. Read her story here.
Jayden Perkins, 11, Was Heralded Dancer Who Saved Life Of Pregnant Mom In Attack That Killed Him: Those who knew 11-year-old Jayden Perkins describe the young dancer and student as joyful, radiant, and bursting with an infectiously positive energy that touched everyone he encountered. Perkins was killed during a domestic violence incident in March when a man who had previously dated his mother forced his way into the family’s home with a knife, attacking Perkins’ pregnant mother. Perkins’ mother had sought a restraining order against her abuser three weeks before her son’s murder after receiving repeated threats. In a March story by Block Club Chicago, Amy Giordano, executive director of Gus Giordano Dance School reflected on Perkins’ promise as a young performer. “You couldn’t take your eyes off Jayden. He was fully engaged in every class, every performance, from start to finish. He could take any movement and make it his own,” she said. Read here.

on my screen

Anatomy of a Fall (2023): Back in October, I read a profile about Anatomy of a Fall director Justine Triet in the New Yorker and was immediately intrigued by the film’s plot. Throughout the interview, Triet details that the Anatomy explores concepts of unapologetic ambition and ego through the lens of its leading character Sandra Voyter, who is accused of murdering her husband at their chalet in the Alps. For months, I listened to my favorite critics and reporters remark on the film’s compelling narrative, the role reversal between a married pair of writers in which the woman is unwilling to minimize herself or her success to accommodate a male partner who feels as though he does not have the time or space to create, and, of course, the off-putting, yet-exciting implementation of 50 Cent’s “P.I.M.P.”
Poor Things (2023): I was so excited when Poor Things landed on streaming in March. This film takes the most fascinating route to tell a story about autonomy and societal constrictions. Also, the Wisconsin representation was off the charts, aka two people, thank you, Mark Ruffalo and Willem Dafoe <3
Jury Duty (2023): I was moved to watch Jury Duty, because I am inspired by people who improvise. Also, I wanted to consume Mekki Leeper content beyond The Sex Lives of College Girls, and I must say, still very funny, still very slay.
Crazy Stupid Love (2011): In the 13 years since Crazy Stupid Love came out, I have been tempted to watch it about once every four years when I would see Ryan Gosling and Emma Stone breathe and or exist in the same space. Or, when I saw a clip of a bunch of prominent Hollywood actors fighting in a backyard without explanation. When I watched it in March, I thought “Wow, this movie has the potential to be the perfect little film!” There’s romance, there’s longing, and there’s a character turn for the better informed by his meeting of someone who values him for more than just his appearance, but instead for the true depth of his (supposed) heart. In a somewhat silly way, it reeks of the nostalgic misogyny that permeated almost every romantic comedy that hit theaters before 2012. HOWEVER, COMMA my joy and delight were murdered when the babysitter gave that little boy explicit photos. That, my friends, made me feel ill. Ryan Gosling + Emma Stone the stars you are, perfect magic, sunshine in a bottle perfection, I weep. Also, Josh Groban? Didn’t know he would be here. Anyway, it was fun.
Shirley (2024): I’ve always been fascinated by Shirley Chisholm’s journey to the United States Congress and her 1972 presidential run. This film brought forth a great amount of nuance and personal history to a story that I was already quite familiar with and gifted us all a beautiful return of Regina King to our television screens.

The Boy Is Mine Choreography, Kyle Hanagami: I love watching dancers do their thing and then pretending and imagining that I, too, could do the same. Haley Fitzgerald, you remain a star goddess.

in my ears

bye, Ariana Grande (2024): I could list every single song on Ariana Grande’s latest album, “eternal sunshine,” as a melody that’s played on repeat in my ears over the past month, but I am granting my #1 spot to my #1 tune, “bye.” Put simply, this song makes me feel like I’m frolicking through a field of tulips on a sunny day in Amsterdam. The way the song builds is so theatrical, a fun reflection of Grande’s most recent dive back into the musical theater world for her starring role in “Wicked,” blended with synth-laced, glittery back beats. I close my eyes and see the cute little shuffling gallop that Ari did during the thank u, next” outro during sweetener/thank u, next tour, waving pride flags as she pranced across the half-moon stage. (That tour was everything to me.) Regardless, “bye” is a forever moment for me and will be in my ears til the end of time.
Safer, Tyla (2024): We’ve not seen an It Girl debut, like Tyla’s in YEARS. As an artist, the 22-year-old singer brings to the music scene what I think has been chronically missing. Vibes and dancing. Hello! There is not a single song on her album that makes me want to cry, but there are 13 songs that make me say “So true, Diva!” and then burst into a shimmy. In Safer, Tyla sings about meeting a new love interest who bears the same traits as a past lover who caused her pain and distrust. Through choruses, she repeats time and time, “ As bad as I want ya, I know that it’s danger, I know I’m safer runnin’.” She’s keen on protecting her heart and her peace rather than chasing an ill-suited desire. I love it, couldn’t love it more, taking notes, thank you!
yeaaaa, Flyana Boss (2024): This Flyana Boss single, in the most fantastic way, feels like a delightful blast to the past. Like climbing into your parent’s car after the last day of sixth grade, buckling your seat belt, and speeding off into the summer of 2012. A very, middle school dance, lady-LMFAO crunk that is undeniably fun to dance to. It’s also sooo short, very repeatable, and has certainly earned its spot on my summer playlists.
Tyrant, Beyoncé (2024): This was immediately my #1 Cowboy Carter track. The Dolly intro is activating and makes the tonal shift and beat drop at the 36-second mark even more thrilling.
Walk Like This, Flo (2024): I’ve never wanted to blast my headphones on a New York city block walk more than when I heard this song for the first time. Even though “Cardboard Box” landed Flo a consistent spot on the radio last year, I still believe that there are not enough people listening to their 2023 EP “3 of Us” and relishing in the inherent gloriousness of a majestically orchestrated three-part harmony.
Escapism (4 am Remix), Raye (2024): I saw Raye in concert among a crowd of about 70 people in October of 2023. The singer has been a mainstay on my Spotify playlists since 2018 when one of her songs was featured in an episode of “The Chilling Adventures of Sabrina.” This haunting take on her hit “Escapism” shifts the bass-heavy club anthem to a somewhat haunting retelling of a blackout night at a bar in which the singer attempts to escape the trauma and pain of a lost relationship. Both in concert and in interviews, Raye has spoken candidly about contending with abusive relationships, being used for her body, self-destructive thoughts, and body dysmorphia. The music, she has remarked, provides a space for healing and acknowledgment of those occurrences and offers room for growth and self-protection. The remix is a beautiful reimagining of a song well-known to her fans and exhibits the creative spins she often adds to her work during live shows.
You Need Me Know?, Girl in Red ft. Sabrina Carpenter: Anyone who knows me well, knows I love and adore Miss Sabby C. Her feature on this Girl In Red track has an undeniably early aughts Aly and AJ pop-punk energy. The song falls in the “bye” and “Safer” genre of ditching lovers who aren’t a good fit and calls for fans to meet the band at an outdoor venue to shout-scream lyrics in the summer sun.

podcasts

Why Hip Hop Never Had a #MeToo Movement, What A Day: On this episode of “What A Day,” hosts Tre’vell Anderson and Erin Ryan examine a decades-long culture of sexual harassment and mistreatment in the hip-hop industry, raising the question of why the #MeToo movement failed to bring justice or shine a light on prevalent abuse. Centering its focus on recent allegations made against rapper Sean “Diddy” Combs, the hosts examine the cultural impact of hip-hop on the Black community and discuss how accountability politics shape conversations about sexual assault and abuse. Recognizing how Black people are a historically excluded group in the music industry, the episode also highlights the greater ethical dilemma that emerges for people who fear that allegations made against Black patriarchs of hip-hop could lead to negative perceptions and stereotypes cast upon other artists in the field. Listen here.
Percy Jackson Cinematographer Jules O’Loughlin on Season 1, Seaweed Brain: A Percy Jackson Podcast: I’ve remarked many times that the Disney+ “Percy Jackson and the Olympians” television series is one of the most delightful things to ever be created, in my opinion. Therefore, earlier this year, I amplified my fandom by tuning in weekly to podcasts breaking down episodes of the show and indulging fans with conversations with producers, writers, and stunt people who worked on the show. “Seaweed Brain” is absolutely one of my faves. The hosts, Erica and Carter, are lovely, both curious and thoughtful analyzers, and, in this episode, they are joined by Percy Director of Photography Julian O’Loughlin. During their conversation, O’Loughlin talks about working with the show’s creative team to develop a visual landscape for PJO and details the ways he establishes emotion and wonder through shifting perspective, lighting, and editing. Beyond being a fascinating episode about television production, O’Loughlin also seems like such a kind and humble leader on this creative team. Such a fun listen, and can be found here.

on my shelf

It’s been a lighter reading month for me in March, but the trio of books I’ve read have guided me through a medley of emotions: shock, horror, joy, thrill, amusement, you get the gist.

Call Me By Your Name, André Aciman: After years of having Call Me By Your Name on my “to-be-read” list, a friend gifted a copy to me at the beginning of the month. I read it all in one sitting on a flight from Los Angeles. Though I did not cry, as I was made to believe I would, I was profoundly moved by this story. The naivety of teenage love, constraints of societal expectations, and persistent fear of impending abandonment all made Elio’s heartwrenching, life-changing summer of romance so fascinating to follow. I also found the conclusion of the book to offer far more solace to readers than the film. Instead of crying in front of the fireplace, we leave with an undeniable acknowledgment that the love these two characters shared was real. There is no questioning, and, in that clarity, I find beauty and hope. Now that I’ve finished, I’m called to listen to “Seventeen” by Troye Sivan.

Down the Drain, Julia Fox: Julia Fox is a woman of a thousand stories, and her memoir “Down the Drain,” I can only imagine, is just a fraction of them. Arriving in New York City at six years old after leaving her native Italy, Fox pulls her readers in with tales of dysfunctional home life, challenging relationships with her parents, romantic faux pas, and a stint as a dominatrix. Shockingly, her big screen break in “Uncut Gems” and short-lived relationship with Kanye West consume only a few chapters in her story. One thing is certain, Fox was destined to be in the spotlight, whether she was choosing it for herself or not. Throughout the novel, Fox unpacks her decades-long struggle with drug addiction and abuse and offers thoughtful reflections on loss, trauma and success.

Song of Achilles, Madeline Miller: I have about 100 pages left of “Song of Achilles,” and I’m ready for a soul crusher.