Wondering if Sinners lives up to the hype, or whether you have to watch Big Bang Theory to appreciate Young Sheldon? Curious why the Massachusetts lottery is the best in the country, or what a detective bakeoff reality show would look like?

Tufts faculty, staff, and alumni offer answers, and a seasonal refresh of your go-to watchlists and playlists, with these 25 movie, TV, podcast and album recommendations. 

Get personal takes and expert analysis from Film & Media Studies Program Founding Director Malcolm Turvey, whose favorite movie of 2024 was Steve McQueen’s Blitz, and Feinstein International Center Research Director Dyan Mazurana, who finds insights on the global cycle of war and violence in a podcast called Disrupting Peace.

Check out rebooted cartoon favorites (X Men ’97, The Day the Earth Blew Up) and untold tales of James Baldwin and William Shakespeare (The Secret Lives of Books). Learn about local basketball history (Celtics City) and experience Mumbai cityscapes (All We Imagine as Light) and Beirut soundscapes (Ripe).

And remember to send us your own old favorites or new obsessions for the community watchlist-playlist, by emailing tuftsnowrecommendations@tufts.edu.

MOVIES

All We Imagine as Light (Unrated, Prime / Apple). Panning nighttime shots of street corner vendors, pulsing crowds at a train station—at first glance, these opening images suggest documentary film set in Mumbai. We hear voices confiding their feelings for the city, creating a patchwork portrait of a complicated place. “Some people call this the city of dreams,” a woman says. “I think it’s the city of illusions.” In a packed train car, the camera finally comes to rest on Prabha, one of three characters at the center of this exquisite film, and a nurse at a city hospital along with her younger roommate, Anu. As the story progresses, their painful vulnerabilities are revealed. Prabha’s estranged husband, who lives in Germany, has disappeared from her life, save for a rice cooker he sends without a note one night. Anu is rebelliously pursuing a secret romance with a young Muslim man. Parvaty, the hospital cook, completes the female triangle as her apartment is scheduled to be demolished for a new luxury housing development and she fights a threatened eviction. The women’s relationships ebb and flow poignantly as the film shifts from the cramped, humming hustle of Mumbai to the lush, refreshing spaciousness of a coastal town near Ratnagiri to the south, and the rainy, monsoon blues and greys give way to vibrant, tropical greens and yellows. Winner of the Cannes Grand Prix, this beautiful jewel of a film was also Oscar-nominated for Best Foreign Film and Best Director (Payal Kapadia, who, as it happens, got her start in documentaries), and should not be missed. —Julia Keith, senior program administrator for communications and engagement, International Center 

Blitz (PG-13, Prime / Apple) by Steve McQueen hasn't received much love from critics, who have tended to dismiss it as "conventional." But in its own way, it's just as extraordinary as McQueen's other films. When I was a child, my father would describe to me what living during the blitz—the aerial bombardment of Britain by Nazi Germany during World War II—was like, and nothing I have ever seen comes as close to his vivid tales as McQueen's film. Like George, McQueen's young protagonist, my father (also named George) was a working-class boy who was evacuated to the countryside as the systematic bombing of British cities by the Luftwaffe began in 1940. But the resemblances stop there: McQueen's George is Black, which allows the filmmaker to complicate the myths of British solidarity and resistance to fascism without ever quite abandoning them. In doing so, he offers something we almost never see on screen anymore—a rich portrait of working-class life—while underscoring the devastating toll of the blitz on working-class Londoners. It was my favorite film of 2024. —Malcolm Turvey, founding director, Film & Media Studies Program, and Sol Gittleman Professor, Department of the History of Art and Architecture

In the Bedroom (R, Paramount+), the feature-length debut by Todd Field (Little Children, Tar), is an adaptation of Andre Dubus' 1979 short story "Killings." It’s a minor masterpiece. It’s gorgeous, emotionally devastating, and quite possibly the quietest revenge film of the 20^th century. Frank Fowler (Nick Stahl), set to enter graduate school in the fall, starts a summer fling with Natalie Strout (Marisa Tomei), a divorcee and mother of two young boys. He quickly gets attached, and things escalate. Enter Natalie’s ex-husband Richard (William Mapother), unhappy with her happiness and this threat to his role as father. An act of violence leaves Frank’s father Matt (Tom Wilkison) and mother Ruth (Sissy Spacek) drifting apart, blaming each other, largely unable to give voice to their loss—and ultimately enraged, quietly pondering the possibility of righting the wrong themselves. This film asks its viewers not “what you would do?” but “what are you capable of?” Like all good art, it doesn’t tell you what’s right and wrong—but it may make you wonder if we can ever truly tell the difference. —Stephen Andrew Palermo, Marketing Project Manager, University Communications and Marketing 

The Day the Earth Blew Up: A Looney Tunes Movie (PG, Prime / Apple). OK, let’s just say I have long been a fan of the old Warner Bros. cartoons, from seeing them on TV as a kid to taking my kids to the school vacation week shows at the Brattle Theater: you know, Bugs Bunny, Porky Pig, Daffy Duck, and the crew. So going in, I was a little skeptical that they’d get the movie right after all these years. The happy news is that they did: this is a rollicking romp starring Porky and Daffy and their friend Petunia Pig, an hour-and-a-half boatload of fun. A UFO hits Porky and Daffy’s house, destroying their roof and leaving a trail of alien goo. Needing money to repair the roof, they try to get a job, and land at the Goodie Gum factory. There, Daffy stumbles onto an alien zombie conspiracy, and complications ensue. It’s zany, punctuated with laugh-out-loud moments, and terrifically entertaining. It’s also true to the characters of Porky and Daffy, both voiced in perfect Mel Blanc style by Eric Bauza. See it in a theater if you can. —Taylor McNeil, senior news and audience engagement editor, University Communications and Marketing 

A Real Pain (R, Hulu). The premise is simple: cousins Benji and David Kaplan take a trip to Poland to honor the memory of their grandmother, signing up for a Holocaust group tour led by a British guide. The mercurial Benji, played with manic-depressive energy by Kieran Culkin (Succession) is a fitting foil for David, a by-the-books straight-arrow kind of guy, played by writer-director Jesse Eisenberg. Culkin’s Benji is the core of the story, the centrifugal force of any gathering, tossing convention aside with a fierce desire to experience all of life. David wishes he could be like Benji, but he can’t—and as we see the cousins together, we realize the pain Benji lives with is just as powerful as his life force. There’s not a false moment in this film, which is emotionally stirring and thought-provoking in a quiet and genuine way. —Taylor McNeil, senior news and audience engagement editor, University Communications and Marketing 

Sinners (R, in theaters). There’s a reason Sinners is dominating your social feed and has a 98 percent on Rotten Tomatoes: it’s really good, and it’s unlike anything I’ve seen before. The film, written and directed by Ryan Coogler (Black Panther, Black Panther: Wakanda Forever, Fruitvale Station, Creed), centers on the story of twin brothers (both played by Michael B. Jordan) returning home to the Mississippi Delta in 1932 after years of illegal (but highly lucrative) shenanigans in Chicago. Determined to leave their past behind and start anew, the twins, nicknamed Smoke and Stack, buy an old mill and turn it into a juke joint. But as their friends arrive for its grand opening, along with their love interests (played by Tenaj Jackson and Hailee Steinfeld) and family (shoutout to newcomer Miles Caton, who plays Smoke and Stack’s cousin, Sammie), an even greater evil than Jim Crow and the KKK awaits: vampires. If my History of African American Music textbook and Quentin Tarantino’s From Dusk Till Dawn had a baby, or if famed Blues legend Robert Johnson and his “deal with the devil” were made into a screenplay, Sinners is it. This movie has a lot on its mind, but in my opinion, it works. The vampire plotline is neither cheesy nor all-encompassing, instead working alongside the movie’s more serious themes: sin, redemption, trauma, Black culture and community in 1930’s Mississippi, and of course Blues music, which is really its own character in the film. And while there’s plenty of blood (vampires!) and a few jump-scares, the film is more social thriller and fantastical-retelling-of-history than horror. The original soundtrack is one of the best parts of the movie, especially if you love or appreciate the Blues. Two hours of slide guitar, amazing vocals, and great acting? Yes, please. P.S. The film doesn’t end when the credits appear on screen. Stick around for an important closing scene. —Jess Byrnes, A12, senior communications manager, Tisch College

MUSIC

Clouds in the Sky They Will Always Be There for Me (2024). I saw Porridge Radio at the Echoplex in Los Angeles in early February—they put on a great show, with lead singer and guitarist Dana Margolin lighting up the stage, even jumping down to the floor to jam with the bassist. Their latest album is somewhere between postpunk and indie pop—sharp, inventive, and very catchy. Lyrically Margolin brings a wry and sometimes angry desperation—always baring her soul. “Been trying to forgive myself / For wishing I was somebody else,” she sings in “God of Everything Else.” Repetiton is ever-present with Margolin, who sings on the last song, “I’m sick of the blues, / I’m in love with my life again / I’m sick of the blues, I’m in love” over and over, with variations that slowly accrete as we start to understand that a life built on a foundation of sadness is something to kick aside and move on from. In fact, that’s why the band is breaking up after they complete their European tour this summer; Margolin says she’s ready for a new phase of life. In the meantime, we have Clouds in the Sky and the other records, a treasure trove. (Bandcamp, Spotify) —Taylor McNeil, senior news and audience engagement editor, University Communications and Marketing 

Keep On Ramblin’ (2023), Radio Company’s third album, is a masterclass in genre-blending and storytelling. Far from stereotypical country, the album weaves together threads of rock, soul, Americana, blues, and folk, creating a sound that’s rich, textured, and refreshingly hard to pin down. Jensen Ackles and Steve Carlson have crafted a collection of songs that feel lived-in—music that’s less about polish and more about presence. What truly sets this album, and band, apart is its storytelling. Each song feels like a scene from a well-worn novel, unfolding with emotional honesty and vivid detail. “Right Kind of Trouble” is a standout, pairing swaggering rhythm with lyrical tension to capture the electricity of temptation and possibility. In contrast, “Every Light” is tender and introspective, a quiet reflection on connection, loss, and the promise of returning home. “Restless Man” is my personal favorite. It encapsulates the album’s themes of longing and the quiet ache of never quite settling. Its steady groove and reflective lyrics add emotional weight to the album and showcase Radio Company’s ability to turn restlessness into resonance. Keep On Ramblin’ is for more than just country fans. It’s for people who love Black Keys-style swagger, Leon Bridges’ soulful charm, or even Fleetwood Mac’s genre-blurring ease. It’s for those who want music that evokes something—heartache, hope, nostalgia, or just the feeling of being understood. In a time when so much music feels manufactured, Radio Company offers something rare: songs with soul, stories with depth, and a sound that defies easy labels. —Shanley Daly, senior events coordinator, Tisch College

Ripe (2025). You wouldn’t think that a dreampop/slowcore band singing in English would be based in Beirut, Lebanon, but Postcards is and has been releasing albums for a decade now. The three players—Julia Sabra, Pascal Semerdjian, and Marwan Tohme—create moving dreamscapes tinged with melancholy and hope. This is their latest release, just out, and Postcards can’t help but reflect the reality of living in Beirut at this time; there’s a strong strain of anger and desperation that wasn’t present in earlier records. In “Poison” Sabra sings “This body’s numbed up and this heart is on fire / Now I think I know what love is really for / and all the other people, fighting for their lives / They’re on the run, just like I was.” The music matches the lyrics, melodic and understated at times, ragged, angry, and noisy at others. Here’s a video of them playing the single “Dust Bunnies” off this album—recorded live in a Beirut setting that probably doesn’t match your expectations. Their earlier releases are great, too—especially the dreamy I’ll Be Here in the Morning. (Bandcamp, Spotify) —Taylor McNeil, senior news and audience engagement editor, University Communications and Marketing 

Rush: 50th Anniversary Anthology (2025). While rock music has a few lasting mainstays like Foo Fighters, The Killers, and Metallica, the days of the great bands have ended, and the world is full of predictable, packaged, and mostly boring music. Enter Rush, the high priests of high concept, widely regarded as one of the greatest rock bands of all time. Hailing from Toronto, Alex Lifeson (guitar), Geddy Lee (bass/vocals) and Neil Peart (drums/percussion), are still the benchmark for musicianship and the quintessential “power trio” whose longstanding friendship anchors their music. For more than 40 years, until Peart passed from brain cancer in 2020, they released 19 albums, toured nonstop, and earned a reputation as one of the greatest live acts ever—you’re captivated simply watching them pull it all off. Rush music is a style all its own: complex yet simple, thematically driven, with an uncanny way of switching time signatures at will, and songs that virtually invented air drumming. Peart, whom his contemporaries considered the greatest drummer of all time, also wrote the lyrics, inspired by poetry, novels, and current issues, and often commenting on the human condition. Their seminal album, 2112, is the pinnacle of progressive rock, a 20-minute odyssey of the man against the masses—indeed, their best music always focuses on the free will of the individual against the machine. This career-spanning anthology gives a glimpse into the power, depth and craftsmanship of musicians at the peak of their powers, proving why their fanbase is one of the most dedicated in all of music—rock or otherwise. —Richard DeCapua, senior associate dean of students and deputy chief student life officer, School of Arts & Sciences

Universal Fire (2024), by Massachusetts-based singer-songwriter Jeffrey Foucault, is a meditation on what it means to have and to lose things, as Foucault put it in a September 2024 interview. It reflects on two major losses, starting with the destruction of tens of thousands of master recordings in the 2008 fire at Universal Studios Hollywood, including ones by Louis Armstrong, Billie Holiday, Muddy Waters, and Etta James—cumulatively “the only meaningful redemption” we have made for slavery and genocide, Foucault says in the interview. Elsewhere, the 2001 death of Foucault’s friend Billy Conway, drummer in seminal Boston bands Treat Her Right and Morphine, looms large. The band is a whip-smart team of heavy hitters, and their lyrics are literature of the greatest kind. Foucault’s music has been a constant companion to me for the past twenty years, and I recommend giving it a listen. Better yet, buy his CDs and LPs, because, well, Foucault is a working songwriter who could use the cash. —Ryan Redmond, senior lecturer, Department of Education, School of Arts & Sciences 

Vicious Creature (2024). After more than a decade and four successful studio albums with the band Chvrches, Scottish singer Lauren Mayberry struck out on her own last year to release her debut solo album. Vicious Creature blends a variety of genres to make a surprisingly cohesive whole, from the melancholy “Oh, Mother” and “Work of Fiction” to the vibrant punk stylings of “Sorry, Etc” and “Punch Drunk.” It feels like Mayberry is exploring her full range of talent. Some songs will stick in your head for days, while others will bring you to tears. Some, like “Crocodile Tears” or “Change Shapes,” will have you raging at the unfairness and double standards of the world we’re living in. I picked up this album when it first released in late 2024, and for months it was all I wanted to listen to. It feels incredibly timely, and the ever-shifting tone keeps it from getting dull. —Chris Maliga, photography and performance studio manager, School of the Museum of Fine Arts 

PODCASTS

In Bed with the Right. Right now, I’m feeling like it’s completely impossible to keep up with all the new policies affecting higher education and many parts of our pluralistic and beautifully messy world. For a slightly different take on world events than many breathless headlines and unconfirmed social media threads, “In Bed with the Right” delves into right-wing ideas about sex, gender, and sexuality, in ways that are thought-provoking and accessible. Host Adrian Daub is a professor and director of the Stanford Clayman Institute for Gender Research, and his co-host Moira Donegan is a journalist who focuses on gender for The Guardian. They provide historical context and frameworks across the world for how the right has shaped attitudes and policies around gender diversity and expression and sexuality. They bring a thoughtful, often humorous approach to subjects that can feel esoteric to those not in the humanities. Most recently, they have begun a monthly series called “Project 1933,” where Adrian, who is German, describes the rise of the Third Reich in 1930s Germany, focusing on how sexuality and gender were affected during that time. It’s enlightening, and sometimes quite disturbing, but always worth listening to. —Amy Gantt, director of strategic research development, Office of the Vice Provost for Research 

Disrupting Peace. Bridget Conley, a renowned scholar of mass atrocities, genocide, mass incarceration and human rights, is now hosting a truly thought-provoking and compelling podcast at the World Peace Foundation. Her new podcast, aptly named Disrupting Peace, takes a refreshing and mind-expanding dive into issues that keep societies cycling in and out of violence and war, as well as issues that could unlock the way to real peace. In each episode, she focuses on a particular topic—for example, the arms race, climate crisis, AI and autonomous weapons, prison abolition—and brings together world subject experts and practitioners working on the front lines to have a frank conversation about those subjects and the transformations needed to open the door to a more peaceful and just society. As a scholar of armed conflict and protection of and justice for civilians, I come away from each episode with a new insights and perspectives. I can’t wait for the next episode! —Dyan Mazurana, research director and professor, Feinstein International Center

Scratch & Win explores the history of the Massachusetts state lottery, which is considered the most successful in the country in terms of both innovation and the amount of money residents spend. Just like Ian Coss’s last podcast series, The Big Dig, this series has everything. First, it’s suspenseful, full of unusual alliances, last-minute vote switching, and unsavory characters. Second, it provides interesting local history. Third, it covers the fascinating details of how lotteries work, including technological advancements and bizarre logistics—like having teams of young people driving across Massachusetts at all hours of the day and in all kinds of weather to deliver tickets to the central lottery office. It’s like an entire political science course in one series, touching on political patronage; religion and politics; racial and ethnic politics; conflicts between local, state, and federal levels of government; tax revolts; and current debates about sports betting. And by the time the series ended, I found myself wanting to go out and buy a scratch ticket or two.  —Deborah J. Schildkraut, John Richard Skuse, Class of 1941, Professor of Political Science, School of Arts and Sciences 

Secret Life of Books. The “Giovanni’s Room” episode was my first exposure to this weekly podcast hosted by Princeton English professor Sophie Gee and Jonty Claypole, onetime director of arts for the BBC. From that Baldwin ep, I was hooked. The premise, as the title promises, is the exploration of hidden stories behind major works from the literary canon. But the spicy scandals and juicy bits of historical arcana aren’t the real draw for me (plus, those are often quite tame). As they demonstrated with Baldwin, the hosts are skilled storytellers who plumb the depths of each text for the listener, knitting together insightful analysis and relevant history. It’s like sitting in on a sophomore seminar where everyone has actually done both the assigned and recommended reading. For book (and history?) geeks, Gee and Claypole have a lot to offer. They’re funny, too—prepare for some groaners. A must-listen within the series: Sophie’s interview of Jodi Picoult on Emilia Bassano, which will leave you with a lot of questions about who was really behind the Bard’s greatest plays. —Dave Nuscher, executive director of content and planning, University Communications and Marketing

TELEVISION

Abbott Elementary (Hulu). It’s hard to find a truly good sitcom these days, but Abbott Elementary has been a standout since its debut in 2021. While it’s not exactly a hidden gem, thanks to the well-deserved critical acclaim it has received. It absolutely lives up to the hype. The show follows a group of dedicated teachers at a Philadelphia public school, hilariously “mismanaged” by their out of touch principal, as they navigate daily challenges. Much of the humor and heart comes through the lens of Janine Teagues, the newest and overly enthusiastic teacher and her other new or tenured colleagues. Quinta Brunson is a genius. Her comedic timing, relatable awkward humor, and thoughtful character development make the show a joy to watch. It’s become one of my go-to series, perfect for a quick episode at the end of the day or a light watch between tasks on the weekend. —Meredith Hicks Ogburn, talent acquisition specialist, Human Resources 

Black Mirror (Netflix). For the uninitiated, Black Mirror is like The Twilight Zone for technology. The unease of the anthology series, whose seventh season came out in April and is just as good as the previous ones, stems from its premise of a dystopian near future with innovations that are the next evolution of what we have now. Episodes are mostly unrelated and can be watched in any order, although the new season does have a sequel to a season six episode. The show explores the pitfalls and ethical dilemmas of everything from artificial intelligence to subscription services—the latter is particularly ironic because after season two, Black Mirror moved from the British network Channel 4 to Netflix. The series is harrowing, gripping, and full of emotional depth due to phenomenal writing (mostly by series creator Charlie Brooker) and acting by a well-known cast, from Daniel Kaluuya in one of his earlier roles in season one to Issa Rae in the latest season. You might feel like you’re not in the mood to start such a dark show, but it’s well worth it. Plus, there are a few episodes with happy endings! —Melissa Lee, senior communications specialist, Dean of Students Office 

Celtics City (Max) hooked me the moment I saw it was from the executive producers of The Last Dance, the love letter to the ’90s Bulls and Michael Jordan. Celtics City explores the deep, sometimes uneasy relationship between the Celtics and Boston. It tells the story of a franchise that broke barriers with the NBA’s first all-Black starting five and first Black head coach—even as the city wrestled with segregation, busing, and deep racial tensions. Each episode blends basketball with cultural context, featuring voices from players, fans, and community leaders. The series mixes lighthearted moments with honest reflections on Boston’s troubled past. Whether you love the Celtics or are drawn to the ways sports intersect with identity, it’s worth a watch. —Dan Schultz, senior program manager, Friedman School of Nutrition Science and Policy

Crime Scene Kitchen (Hulu). If you saw four cracked eggs, an unwrapped stick of butter, a bag of butterscotch chips, raspberries, lemons, frozen blueberries, and a baking sheet, what would you think was recently made? Brainstorm your ideas and join the bakers of Crime Scene Kitchen to uncover the mystery together. This unique reality competition show combines detective work and baking expertise, where teams of two investigate a “used” kitchen for hidden clues and ingredients to solve the mystery of the missing baked goods. After the teams piece together the evidence and determine what dessert was made, they replicate the recipe and impress the celebrity judges. Classic desserts are featured, but the show also introduces lesser-known treats that stump even the most experienced bakers. The show is perfect for those who love baking shows and playing along from home, but be warned—watching will leave you craving something sweet afterwards. —Anita Nham, associate director of alumni engagement, The Fletcher School 

Happy Face (Paramount+). If you love true crime, Happy Face is absolutely for you. Created and written by my incredibly talented cousin, Jennifer Cacicio, this series brings a hauntingly fresh perspective to the genre. Based on the true story of Melissa G. Moore—daughter of the notorious “Happy Face Killer,” Keith Jesperson—the show dives into the emotional and psychological toll of discovering your parent is a serial killer. What I love about Happy Face is that it doesn’t glorify the crimes. Instead, it focuses on the daughter’s journey to reclaim her identity while grappling with her father’s legacy. Annaleigh Ashford is phenomenal as Melissa, and Dennis Quaid is downright chilling as Jesperson. Jennifer’s writing brings so much empathy, tension, and complexity to the story. It’s gripping, heartbreaking, and thought-provoking all at once. If you’re into true crime but want something deeper than just the facts—something that explores the human side of the horror—Happy Face will absolutely pull you in. So proud of my cousin for bringing this powerful story to life. Go stream it—you won’t regret it. —Christine Fitzgerald, manager service marketing and communications, Tufts Technology Services 

Say Nothing (Hulu). The limited series Say Nothing shows TV can take on complicated histories without simplifying, glorifying, or moralizing. It levels an unflinching look at the human costs of “The Troubles” in Northern Ireland from the 1970s down to the present. Based on Patrick Radden Keefe’s excellent book of the same title, it intertwines the stories of a single mother who is murdered, and two sisters who become storied foot soldiers in the Irish Republican Army—Dolours Price and Marian Price, played honestly and sympathetically by Lola Petticrew and Hazel Doupe. The story reveals the terrible logic of insurgencies, which pit communities not only against others, but against themselves. Its brilliant supporting cast includes Rory Kinnear, who plays remorseless British commander and counterinsurgency expert Frank Kitson, a veteran of Britain’s imperial wars in Kenya. Called in to crush the IRA, he takes a basic strategy of turning up the pressures on communities in Belfast, so that the insurgencies pull themselves apart. The series reveals the long legacies and lasting pain of people set against each other for political ends. —David Ekbladh, professor, Department of History, School of Arts and Sciences

Stax: Soulsville, USA (Hulu, Max, Prime). If you’re a fan of Soul music and enjoy deep dives into 1960s–70s recording industry lore, this fascinating limited series is for you. Each of its four episodes takes a detailed look at the relatively short-lived but revolutionary Memphis-based record label responsible for launching the careers of such juggernauts as Otis Redding, the Staple Singers, Isaac Hayes, and Sam and Dave, along with Carla and Rufus Thomas, Booker T. & the M.G.s, and the Bar-Kays. Started by brother-sister team Jim Stewart and Estelle Axton, Stax grew out of Satellite Records and quickly became an innovative label focused on promoting Black artists in mainstream music around the country. Its executives and artists created a unique “Memphis Sound” with integrated backing bands—a pioneering and socially risky move in the Jim Crow era. Archival footage abounds in this series, including excerpts from a documentary film chronicling the 1972 Wattstax Music Festival in Los Angeles. It culminates in an electrifying onstage appearance by singer Isaac Hayes, draped in his iconic gold chains, performing his Academy Award-winning Shaft theme song to an ecstatic crowd. Your eyes (and ears) are in for an outta sight time with this sonically rich viewing experience! —Julia Keith, senior program administrator for communications and engagement, International Center 

X-Men ’97 (Disney+). The X-Men have always been the crown jewel team in comic books—the early 90s saw the height of their commercial power, with the much-beloved Saturday morning cartoon show. So when X-Men ’97, a direct sequel to that show, was announced, lifelong fans like me hoped and prayed that this wouldn’t be nostalgia service. And boy, were we rewarded. Contemporary reimaginings of our favorite characters have too often drifted from the core of what makes X-Men so compelling. They are mutants born with powers that make them targets. Members of homo sapiens superior, sworn to protect a world that hates and fears them, they have been adopted by marginalized groups for decades, although it’s the queer community where they resonate the most. Flawlessly executing stories centering on found family, X-Men ’97 doesn’t shy away from drawing clear parallels to contemporary issues like systemic discrimination, rising authoritarianism, and the weaponization of fear. That said, X-Men ’97 is not without flaws. At times, the pacing feels rushed, especially for newer viewers unfamiliar with the original show. Certain characters are reintroduced with little explanation, and while fans (like me) will appreciate the continuity, the show might benefit from occasional exposition or flashbacks to make it more accessible. In short, X-Men ’97 proves that the X-Men’s legacy isn’t just about powers and superheroes—it’s about resilience, resistance, and the radical act of hope. It’s not just a revival. It’s a reckoning. —Richard DeCapua, senior associate dean of students and deputy chief student life officer, School of Arts & Sciences

Young Sheldon (Netflix, Max). A prequel spinoff of The Big Bang Theory, this gem of a series just wrapped up its seventh and final season. We follow young Sheldon Cooper, the future theoretical physicist at CalTech, and his Southern Baptist family in East Texas: twin sister Missy, older brother Georgie, parents George and Mary, and grandmother Meemaw. Sheldon, played with exacting poise by Iain Armitrage, is a child prodigy—“special,” as Mary says, far brighter than anyone else, and never bashful about it. He’s clearly on the spectrum, and that portrayal is always sympathetic. The family dynamics are amusing, but more importantly, we grow to really care about all the characters, who are all played perfectly. It’s well written, funny, and touching—and you don’t need to have seen Big Bang to enjoy it. There are wonderful guest actors, too—Wallace Shawn as Sheldon’s endearingly naïve physics professor who courts Meemaw, Jason Alexander as the high school theater teacher, Craig T. Nelson as Meemaw’s next love interest, and Reba McEntire as his ex-wife, just for starters. I finished the series a little while ago and am in the middle of season one again—it’s that good. —Taylor McNeil, senior news and audience engagement editor, University Communications and Marketing