Jordan Barnes is a Contributing Writer at The Tufts Daily. He is a junior majoring in English and can be reached at jordan.barnes@tufts.edu.


‘Black Panther’: Killmonger has a point

“But, when a long train of abuses and usurpations, pursuing invariably the same object, evinces a design to reduce them under absolute despotism, it is their right, it is their duty, to throw off such government, and to provide new guards for their future security.” — Ten-Point Program, Black Panther Party for Self-Defense. “Black Panther” […]


In ‘Black Mirror’s’ ‘Black Museum,’ black death is a white aphrodisiac

“The over-riding fear is that cultural, ethnic and racial difference will be continually commodified and offered up as new dishes to enhance the white palate – that the Other will be eaten, consumed, and forgotten.” — bell hooks, “Eating the Other: Desire and Resistance” (1992). By the end of season four, episode six of “Black Mirror” (2011–), Rolo Haynes […]


‘Winchester’ tricks ultimately fail to deceive

Looming around the center of brothers Michael and Peter Spierig’s most recent film, “Winchester,” is the all-too-familiar haunted house. It’s a sprawling city of a mansion, but the camera makes use of claustrophobia — the film moves with a labored familiarity. We turn corners with our surreptitious protagonist, Dr. Eric Price (Jason Clarke), as he bumbles through the […]


‘The Divine Order’ is a familial power struggle writ large

From the opening of “The Divine Order,” the rollicking German-language Swiss drama from writer and director Petra Volpe, the family is painted as manufactured. Theresa (Rachel Braunschweig) asks her sister Nora (Marie Leuenberger) to talk some sense into Theresa’s daughter, Hanna (Ella Rumpf). Theresa frames her daughter’s behavior by the gaze, remarking on her daughter’s new nickname: “The Village Bike.” From the outset, the women are […]


In ‘Mudbound,’ intimacy is freedom’s next frontier

As the opening credits of “Mudbound” (2017) lead into the film’s opening scene, the sounds of labor cascade from some unseen source — a few grunts, a garden hoe striking coarsely against wet ground. These are the defining processes of Dee Rees’ adaptation of Hillary Jordan’s 2008 novel: unseen, unnamed and unheralded labor, the necessity of that labor as […]


Despite strengths, ’10 Cloverfield Lane’ suffers from major blind spot

“This drastic, clean-cut deprivation and our complete ignorance of what the future held in store had taken us unawares; we were unable to react against the mute appeal of presences, still so near and already so far, which haunted us daylong.” — Albert Camus, “The Plague” Albert Camus’ words, written in 1947, could be addressing both the […]


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