Queen Elizabeth II passed away on Sept. 8, 2022. She left behind a legacy drenched in blood from her long imperial reign. Hidden behind the veil of elegance, jewels and wealth, the English monarchy has long stood as a bloodthirsty, villainous force.

One of the most gruesome examples of the violence committed by the monarchy was their response to the Kenyan Mau Mau independence movement in the 1950s. Occurring at the start of Elizabeth II’s reign, English troops sent hundreds of thousands of people in both Kenya and Malaya to be imprisoned in detention camps, enduring forced labor and starvation — acts carried out in the name of the Queen.


As a senior at the University of New Mexico, I have had four years to familiarize myself with our campus. Over that time I have fallen in love with so many aspects of our school's beautiful architecture and landscaping. However, like many other students, I know of a handful of areas on campus that don't necessarily bring me joy. In fact, they do quite the opposite. One spot in particular that has bugged me for years is the area between Zimmerman Library and the Education Classrooms building.

In July 2017, former Lance Corporal Brian Brown-Easley entered a Wells Fargo bank in an Atlanta suburb and informed employees he had a bomb in his backpack that he would detonate if the Department of Veterans Affairs office did not provide him with his monthly disability payment. “Breaking,” released wide in the U.S. on Aug. 26, depicts that fateful day with a sympathetic eye, providing audiences with a taut and hard to watch thriller.

The film, which marks the feature-length debut of director-screenwriter Abi Damaris Corbin, documents the unfolding of the robbery, only occasionally breaking off into flashbacks to establish Brown-Easely’s family life, military service and the events leading up to present day.

On Sunday, Sept. 12, television’s best and brightest will gather at the Microsoft Theater in Los Angeles for the 74th annual Primetime Emmy Awards. Back in Albuquerque, New Mexico, two Daily Lobo editors have compiled a list of what they think will win and should win in seven of the award categories.


REVIEW: ‘Obvious Child’ brings abortion to the rom-com

Gillian Robespierre’s 2014 romantic comedy “Obvious Child” seamlessly portrays the difficult realities of young adult life, complete with heartbreak, job instability and unplanned pregnancy. “Obvious Child,” with its frank discussion of abortion and reproductive rights, earns a solid place alongside other romantic comedies like Michael Showalter’s 2017 film “The Big Sick,” handling serious issues with heart, thought and care, while remaining funny and alive all the while.

REVIEW: ‘Unpregnant’ falls flat in its own Storyline

Rachel Lee Goldenberg’s “Unpregnant,” released in September 2020 on HBO Max, follows a newly pregnant 17-year-old Veronica (Haley Lu Richardson) and her ex-best friend Bailey (Barbie Ferreira), as they travel across the country from Missouri to Albuquerque, New Mexico. The duo’s aim is for Veronica to get an abortion without parental consent. The film entertains, but ultimately falls flat both in cohesion of storyline and in making a statement on abortion.

This film could have benefited from being a miniseries — six episodes rather than a feature-length film. Perhaps an expanded version of the story could’ve better explored the emotional depths of Veronica's decision. The events in “Unpregnant,” however, unfold episodically instead of flowing into one another.

REVIEW: Going bananas for ‘Minions: The Rise of Gru’

Minions have found themselves to be the sources of great civil unrest since their introduction to cinema in 2010 with the release of the first film in the “Despicable Me” franchise. These peanut-esque beings have been shamed and disgraced for little reason since their introduction to the public, but with the release of the latest despicable installation, have risen to great distinction: on July 1, “Minions: The Rise of Gru” released in the United States, already becoming one of the highest-grossing films of the year.

Finally, we’re going bananas for minions, rather than rising against them.

REVIEW: ‘Hellfire’ burns fast and bright

When black midi first burst onto the music scene with their debut single “bmbmbm” in 2018, it was clear they were a band to watch. Their subsequent albums “Schlagenheim” and “Cavalcade,” released in 2019 and 2021 respectively, were met with universal critical acclaim, further cementing black midi’s place among some of the top bands working today. On July 15, 2022, black midi returned with “Hellfire,” an album that strangely feels like the best introduction to the band with its clear sense of identity and superb musicianship.

While black midi typically gets grouped in with the other bands out of England making waves in the post-punk scene like Dry Cleaning and Black Country, New Road, they stand out from the crowd with a heavy progessive rock influence not present in other acts. It makes midi’s music incredibly unique, but also difficult to approach.

Baz Luhrmann’s ‘Elvis’ ain’t nothing but a hound dog

Baz Luhrmann’s “Elvis,” with its overwrought style beyond substance, is the cinematic equivalent of eating all of your leftover Halloween candy in one night and waking up sick the next morning. An enjoyable ride with sweet flavorings to boot, it’s too eager in its undertakings and leaves you staggered and slightly sick.

With a hubristic two-hour, 39-minute runtime that challenges even the most ardent supporters of the hyper-stylistic director, “Elvis” fails to shine beyond spectacle in its portrayal of the relationship between the iconic rock-and-roller and his infamously manipulative manager. 

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