Sometimes a bad tattoo is harder to forget than a beautiful tattoo is to remember. Tattoos are risky, not necessarily because of the intense physical pain they can produce, but because of their permanence. We are constantly bombarded with examples of horrendously butchered tattoos, both in person and online. Since neither our minds nor the internet will allow us to forget the mistakes that have been left on people’s skin, we often forget that a tattooist is a genuine artist.

I’m not usually one to voice controversial ideas. I find that when I suggest things that force people to consider their own fundamental beliefs and perhaps, even for a moment, call them into question, guilt creeps like fear into distant territories of my mind. I sometimes feel like I am responsible for maintaining the happiness of others and, because of that, pacify others and modify the outward manifestations of my internal notions. However, after operating in this way for some time now, I have begun to feel trapped.

The 89th Academy Awards will go down in history for one very obvious reason, the massive blunder that was the final and most important award announcement of the night. For those that live under a rock, here’s a quick recap: While announcing the “Best Picture” winner, Warren Beatty took a pause when reading the card. However, his hesitance seemed like a cheesy effort to build suspense, causing his “Bonnie and Clyde” co-star, Faye Dunaway, to take the card and name “La La Land” as the winner.

“Arrival,” based on the short story “Story of Your Life” by Ted Chiang, is an anomaly in today’s entertainment scene. It’s an alien “invasion” movie completely devoid of action; instead it opts for consistent tension and drama. Even more notable is that “Arrival” is undoubtedly a true science fiction movie, one that tackles its heavy subject matter in clever and entertaining ways. Thankfully, grounded performances from a cast led by Amy Adams keep the movie focused on the human element of the story.

Every year, the Oscar-nominated animated shorts present a pool of feelings. Each piece accentuates and lingers on a certain aspect of the human condition, and watching all in succession leaves a lively feeling brimming in the viewer. The directors strategically use color, form of animation and voice to explore subjects that almost require deviation from real life to begin to adequately express what they want to portray in their work in such a short glimpse.

The Amherst College theater and dance department celebrated Valentine’s Day in an unorthodox way this past weekend. Theater and dance major Lauren Carter ’17 performed her senior acting thesis, Charles Mee’s “Big Love,” last Thursday through Saturday in Holden Theater. Directed by department professor Yagil Eliraz, “Big Love” follows three sisters who flee their home country to escape arranged marriages to three men. They ultimately take refuge in an Italian villa, where they convince its wealthy homeowner to take them in, despite his reservations toward refugees.

Ben Kissinger ’19 is directing a one-act play for his directing studio class with Ronald Bashford, who he worked under last year in his first production, “The Cherry Orchard.”

Q: How did you come to directing and theater? Do you do other arts?

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