Search Results

Why your meal should make you squeal. Why do McDonald’s french fries in London have ten fewer ingredients than those sold in Mississippi? Why do foods with the same brand name and packaging contain completely different ingredients depending on where they’re sold? The answer is that the United States and the European Union have very different rules on what can and cannot exist in manufactured food. “In some cases, food-processing companies will reformulate a food product for sale in Europe but continue to sell the product with the additives in the United States,” says Lisa Y. Lefferts, a scientist at the Center for Science in the Public Interest in an interview with the New York Times. Certain additives have been shown to negatively affect consumers. For example, while potassium bromate is an inexpensive additive that increases the quality of bread by making it rise faster and maintain a more appealing shape, it has also been shown to cause cancer. The US permits the use of the additive but, “other countries, including China, Brazil and members of the European Union, have weighed the potential risks and decided to outlaw potassium bromate in food,” says Troy Farah, a journalist for The Guardian. Why does the United States still allow the use of potassium bromate when other nations have decided that the risks that come with the substance are simply too high? I’ll tell you why: the FDA won’t take action because the safety of public health isn’t being prioritized–efficient manufacturing is. “The Center for Science in the Public Interest petitioned the FDA to ban potassium bromate two decades ago due to cancer concerns, but the FDA’s response was that it couldn’t examine the issue due to ‘limited availability of resources and other agency priorities’” says Farah. The issue isn’t just what’s in the food, it is what’s being disclosed. Yellow food dyes like No. 5 and No. 6 in addition to Red No. 40 “can be used in foods sold in Europe, but the products must carry a warning saying the coloring agents ‘may have an adverse effect on activity and attention in children.’ [However,] no such warning is required in the United States,” according to Roni Rabin in a New York Times article. It’s hard to expect consumers to take action against regulations and make informed decisions about what they choose to eat when there is no warning. Not only is this an issue of education, it is also an issue of corporate integrity. A loophole in a decade-old law regarding food additives allows companies to add anything to food that they deem “generally recognized as safe,” according to a 2015 NPR study. "The loophole was originally intended to allow manufacturers of common ingredients like vinegar and table salt — when added to processed foods — to bypass the FDA's lengthy safety-review process. But over time, companies have found that it's far more efficient to take advantage of the exemption to get their products on shelves quickly. Some of these products contain additives that the FDA has found to pose dangers,” says NPR. It is no wonder that US food regulation is not up to the standards of other comparable nations when companies can easily work around disclosing possibly dangerous additions to their food. Companies are adding ingredients to their products in order to increase shelf life, taste, and cosmetic factors when the additives themselves are not properly vetted. In order to reach a safer standard for food in the US, we need to tighten our regulations and, at the very least, educate consumers so that they can make informed decisions. Diana Davidson

This is the new Anvil profile of the issue, where we will detail the life and the oddities of each month’s lucky Zebra, for December? Davis Hale. Ah, Davis Hale. I honestly don’t even know where to start with this fine, muscular specimen of a man. I know I speak for a lot of the Middlesex community when I say that every time I lay my eyes on Davis, I feel some type of way, especially when I see him rocked out in his vacuum-sealed skin-tight khakis and cashmere quarter-zip. Davis is simply a staple of the Middlesex community: a handsome, hardworking, and intelligent individual geared for success. Yet though an idol to many on the outside, Davis is in fact just like the rest of us – a chronic procrastinator and a food lover. Davis managed to get into Middlesex two years ago, where his life would take a dramatic turn. For the first time in his life, Davis had to navigate the social aspects of life and could no longer rely on his mom to pay people to be friends with him (Hudson Hinckley and I are on the payroll though). He is a funny, comedic person who really appreciates a good joke and will watch an ungodly amount of SNL and comedy skits to the point where it concerns me if his brain is okay, so he’s done well here. “I really like food.” Davis has probably said this at some point in his life. Davis really likes to eat food, yet does it in mysterious ways. He will starve himself after breakfast to around 9 PM, favoring to sit quietly in judgment and a Barbour jacket at the lunch table. And then you witness the nightly havoc he releases on an AP buffalo chicken calzone. Sitting in his office chair with SNL in the background and diet coke, Davis commits such heinous acts to that buffalo calzone that I, unfortunately, can not put down on paper. His room is typically off limits from 8-9 PM because its stench is so wretched from the calzone, but then the stench gets even worse once he sprays an entire bottle of Febreeze throughout his room every single night. I am still scared to walk in there and take a breath of the Febreeze because I think he will be the reason I contract a terrible lung disease later in life. That stuff can not be good for you. But Davis thinks it smells amazing and breathes in heavy amounts daily which might explain why a few things are wrong with his brain. What makes Davis, however, is his light-hearted character and that he takes everything in stride, whether a bad test score or a joke made in his direction. Even though we may poke fun at him, Davis is really one of the most incredible people I have met in my life. I do not show enough appreciation for Davis Hale even though I know that he is my best friend and will be someone I stick with for the rest of my life, and I can count on him for a laugh or a serious conversation when the time comes. Davis is one of those people that makes me grateful for coming to Middlesex so I had the honor to meet someone like him, as I simply can’t imagine a life without him. I want to thank him for being the person he is and making my time here more than special. Despite all of our differences at Middlesex, we can all at least bond over one thing: we all love Davis Hale. Will Frank

Middlesex Seniors on the College Admissions Process This fall, Seniors applied to their early decision and early action colleges and universities, and I wanted to talk to them to get some good advice for the junior class and beyond. While getting this advice, I found some common themes and categories of advice. The first piece I got was from Luca Raffa to be “authentic.” He first told me how important it is for underclassmen in Middlesex to spend time exploring and finding what they like in terms of clubs and then by the time Middlesex students are Juniors, they should be focusing on finding leadership opportunities in clubs, academics, and outside of Middlesex, particularly during the summer. Luca then told me how his interests in studying languages, soccer, and photography came from clubs here at school and his identity as someone who grew up in Toronto and has an Italian heritage. Luca told me how schools are looking not only for well-rounded students academically but also for students who have really gone down the rabbit hole in the aspects of their lives that they’re truly passionate about and these passions are central to one’s application. In Luca’s case, he spent his summers continuing his language studies while seeing the world. On the topic of summers, Luca says, “Don’t waste ‘em.” This advice was seconded by other students I spoke with who told me how they spent last summer doing programs centered around subjects they like and by students who went to athletic camps which have helped them get recruited for the sport they like. Joey Caspar added that being authentic is also the most enjoyable way to go through Middlesex. “Do things at Middlesex because you enjoy them, and if you don’t enjoy the things that’ll get you into college, instead of just grinding away mindlessly, really try to find the fun in the grind.” But what happens when it comes time to actually fill out the activities sheet, find recommenders, and write supplements? Luke Power talked to me about how to handle the stress. “College stress is mostly in your head, [and] if you take the process one step at a time [rather than] thinking of the bigger picture, [the college admissions process] will be less stressful.” On the topic of supplements, many students told me the importance of getting it done early. Luke Power also told me how it is “much easier to write an ok draft and edit it … than write a perfect draft first.” I was also told how important it is to start taking standardized tests as early as possible. Some students recommended getting a tutor or taking classes, and some students recommended self-studying for the standardized tests instead, but most students whom I talked to on the subject reiterated the importance of standardized tests even in a time where most schools are test-optional because of an expectation of high scores from Middlesex and other well-performing schools. Overall, the main tips from the Seniors are to be authentic, relaxed, and on top of work throughout the process. Ben Feuer

Halloween felt different this year. What happened? In recent years, the familiar sights and sounds of Trick-or-Treating on Halloween seem to have taken a backseat, with a notable decline in participation reported across the nation. In fact, in a comprehensive study conducted by USA Today, a staggering 74% of over 17,000 respondents noted a decrease in the number of trick-or-treaters visiting their homes this Halloween. Thus, the question arises: What factors contribute to this shift in a beloved tradition that has long been pivotal to the spooky season? One significant trend that has gained popularity as of late is the rise of Trunk-or-Treating. This alternative to traditional door-to-door Trick-or-Treating involves children moving from one parked car to the next in a local parking lot. The appeal lies in its perceived safety, with parents often favoring the controlled environment of a parking lot over the unpredictability of neighborhood streets. The rise of Trunk-or-Treating has undoubtedly siphoned off some participants from the classic door-knocking activity. While Trunk-or-Treating may provide a sense of security, it also alters the social dynamics of Halloween. The tradition of visiting familiar neighbors' homes and building a sense of community is being replaced by a more centralized and structured event. This shift has implications not only for the experience of the holiday but also for the connections forged between neighbors and members of society. Economic factors play a crucial role in shaping consumer behavior, and Halloween is no exception. One key factor contributing to the decline in Trick-or-Treating is the impact of higher inflation rates on candy-buying. The rising cost of living has led to increased prices on everyday goods, including the sweets that make Halloween a sugary delight. As families grapple with tightened budgets, the allure of purchasing large quantities of candy to distribute to trick-or-treaters loses its shine. Parents may opt for more cost-effective alternatives or limit the quantity of candy they provide, directly impacting the enthusiasm of young trick-or-treaters. The day of the week on which Halloween falls has been a crucial component in understanding the decline in Trick-or-Treating. When October 31st lands on a weekday, it poses challenges for both parents and children alike. Weeknight Halloweens often clash with school and work commitments, limiting the time families have to participate in the festivities. On weekdays, the rush to finish homework, attend evening activities, and prepare for the next day can overshadow the joy of Trick-or-Treating. The constraints of the weekday Halloween may contribute to a decrease in participation as families navigate their already busy schedules. As we navigate the twilight of tradition, it is essential to acknowledge the evolving landscape of Halloween celebrations. While the decline in Trick-or-Treating may be influenced by factors like the rise of Trunk-or-Treating, economic concerns, and the day of the week, it is crucial to find a balance between embracing new trends and preserving the essence of this spooktacular tradition. The changes in Halloween traditions reflect the dynamic nature of society and the diverse ways in which people choose to celebrate. Whether knocking on doors or gathering in parking lots, the spirit of Halloween endures, adapting to the evolving preferences and challenges of the times. As we bid farewell to the ghosts of Halloween past, let us welcome the specters of change with open arms, ensuring that the magic of the season continues to enchant generations to come. Danny Cai

Is modern art a pretentious cash grab, or does it contain genuine evocative beauty? Modern art, occasionally depicted as overly extravagant, deviating from the traditional boundaries of older styles by critics, is an expression of the newer generation’s creativity. We find complexity in the simplicity of art, specifically art that we consider abstract, with methods like taping bananas to walls or splattering paint on canvases sharply contrasting the meticulous ways of artists from older periods. Today, the beauty of art is not exclusively from tedious techniques and artistic prowess, but also from the more abstract concepts like the artist’s emotions and intent. For example, an artist can use different colors to depict their mood and less positive attributes to convey a negative perspective towards something, displaying their intention and adding depth that the modern art audience cherishes. While many might consider modern art a ploy for profit because it takes less time to create than the detailed landscapes and portraits of old times, in reality, modern art is a societal shift to creativity and efficiency. Also, old styles of art with immense attention to detail still prosper in today’s society, being valued similarly to modern art; this resemblance in sentimental and economic value demonstrates that modern art is neither a cash grab nor a money laundering tactic, but rather strategically profitable and fairly valued in society. Critics dismiss modern art for its pretentious nature; however, during periods like the Medieval Ages and The Renaissance, art was similarly praised by the bourgeoisie and upper classes, rendering art pretentious throughout history. While both older and modern art reflect the artistic customs of the time, contemporary art uniquely expresses sympathies for issues that plague modern society, adding emotional depth and value. Modern art, similarly to older art, can be an emblem representing a part of society––a monument of an era. For example, The Colosseum preserves the memory of gladiators just as Yankee Stadium represents America's most renowned baseball franchise. Visitors to both buildings are not only fascinated by the artistic angle but also the aesthetic value of these landmarks Modern art has ironically been condemned for its boundless opportunities for creation. Critics believe art needs to be defined with limits; however, the beauty of art comes from the infinite possibility, as its purpose is to instill emotions in the onlooker, not to follow strict guidelines. Throughout time, artists have found beauty and inspiration in nature. This admiration for wildlife is similar to the modern artist’s perception of their craft, as both have room for exploration and discovery. Ultimately, modern art is not only beloved for its monetary value but also for its intrinsic evocative worth, as it is one of the most articulate forms of expression. Nik Rizvi

Beyond Hammer and Steel: The Deeper Significance of The Anvil. Having been at the heart of Middlesex since its founding in 1901, the anvil symbol and its importance at the school is palpable throughout campus. Whether it be engraved in our academic buildings or imprinted on the school merchandise, the Anvil truly shapes our experience at Middlesex, yet many of us do not give the symbol a second thought beyond its inherent meaning of creation. Why did we choose an anvil? What is it supposed to mean? Has it changed throughout the years? In an enlivened search for answers, I, along with school librarian Mr. Smith, delved deep into the hidden wonders of the school archive room, which houses some of the oldest historical documents and artifacts of the school’s founding. Despite the storage room’s musty scent creating a bygone atmosphere, the enthralling origins behind our school Anvil that we discovered certainly shined brightly into the present. Our journey first took a fascinating turn when we stumbled across a 1904 issue of The Anvil, uncovering a significant poem, “The Village Blacksmith,” by Henry Wadsworth Longfellow. This literary gem became the essence and embodiment of our school’s mission from the very beginning. But who was Longfellow and how does his fascination with anvils connect to us? Digging deeper, we found that Fredrick Windsor, our founding father, was greatly influenced by Longfellow, his professor at Harvard. Enlightened by Longfellow’s teachings as both a professor and poet, Windsor crafted our school symbol, the anvil, embodying the poem’s values and ideologies. However, since its founding, the symbol has undergone major changes and sparked heated debate over the years. Most notably, the symbol recently underwent a major shift in design. The original emblem featured a more sophisticated depiction of an anvil encompassed by the words “Fides,” “Veritas,” and “Labour,” denoting our school values of faith, truth, and willingness to work. Fast forward to 2009, the school opted for a more simplistic approach for the sake of marketing, thus discarding the Latin inscriptions. A change in the historical symbolism of our school has since given rise to some contentious discussions. In conversation with a number of tenured faculty, many expressed their preference for the “original founding symbol which better embodied our values in diction,” while others remained unfazed by the change. Yet one thing remained the same for faculty members: their views on Middlesex and the Anvil as a whole. Faculty plays a major role in our experience here at Middlesex and can often be considered the guiding force that forges the anvil. Take Mr. Smith, who joined us in 1999, and humorously comments: “I often consider myself a blacksmith here at Middlesex — working with and shaping students to the best of my ability. As a matter of fact, my role is in the name!” His sentiment captures the Anvil’s role in providing faculty with a sense of purpose in supporting students. Likewise, Mr. Hitzrot, our seasoned Head of the History Department, illustrates a striking analogy of the Anvil’s role in our community. “Envision the hammer striking down on its creation as the demanding expectations Middlesex has for its students. The Anvil is unyielding and forces the iron to submit. The end product? Perfection.” Mr. Hitzrot suggests that although Middlesex has its own rigorous “shaping process,” each student is a unique creation molded by their own Middlesex experience. Moreover, Mr. Hitzrot highlights that Middlesex allows every student to “find their promise” regardless of whether they believe they have discovered it, even quoting our original school motto: “Find the promise even in the most unpromising boy.” Despite the numerous primary sources and interpretations, it is still hard to conclude the true meaning behind the Anvil. Rather, the Anvil is an open-ended concept, inviting each of us to draw our own conclusions. And so the question becomes… How will Middlesex shape you on the anvil? Bryan Dong

Photo by Max Linton Not getting much sleep? The new schedule is probably why. Starting the 2023-2024 school year off, Middlesex has implemented a new schedule including two alternating weeks: red week and white week. Designed to have longer classes and fewer meetings per week, the new schedule strives to have students do less homework per class every night. Conceptually, it sounds great. Less work, less classes, what more could you want? Well, sleep. Out of the 10 students I interviewed, 8 said that on average they are getting less sleep per night than last year, and spend more time doing homework. One senior notes that they spend far more time doing homework during the school day than after, as with classes and athletics commitments ending later in the day, they find it hard to make time in the evenings to study. They also state that although they started off this year taking six courses, they had to drop one because they found the workload so overwhelming as students taking an extra class only have 4 free blocks during the week, most of which are then taken up by advisory meetings and other academic commitments. Although they prefer the new schedule in terms of how much time they have during the school day now that they take 5 classes, they still spend more time on average doing homework, have far less free time in the afternoons, and get less sleep. In general, however, they prefer the new schedule as they find that with taking 5 classes they have ample time during the day to do work. A junior who takes 6 classes has more negative sentiments about the new schedule, as they lament they have zero free time during the school day. With advisor meetings and tutoring for the SAT taking up their double block frees, the student only has two 40-minute blocks every week that they are able to do work during the day. Because they are also taking a fall sport, they state that the limited time due to a longer school day has led to minimal sleep, and they feel as though the new schedule has stripped them of their free time completely. Although some students find the new schedule gives them increased time during the day for studying, there is still a lot of pressure for students taking more than 5 classes, as 3 of the 10 students interviewed said they dropped a course at the start of the school year because of the time commitment alone. The fact that students are dropping courses they could be genuinely interested in solely because of the stress the new schedule puts on an individual’s ability to finish work at an acceptable hour is worth further investigating. So, how can we improve? Making athletics closer to the school day would allow students to have a larger continuous block of time to do work in the evening, rather than giving athletes an awkward amount of time between classes and practices. Furthermore, because so many students taking extra classes find they have so little time with the fewer blocks per week, perhaps there could be an additional alternating class meeting per week so that once in a while kids taking extra classes are able to have more than 2 free blocks per week. Although many students are still getting used to managing their time with the new schedule, many students recognize the helpful changes it has implemented, like designated space for clubs and chapel chorus, as well as more structured meeting times. However, sometimes going out of your way to plan activities is good, as it pushes students to be more independent, and helps them discover what they truly want to spend their time doing. At the end of the day–even if that day doesn't end with 8 hours of sleep–change is good, and we're sure Dr. Schaeberle will have a new schedule cooked up by next year. Catherine Bain

Photo by Leighton Glass Middlesex has pledged to bring gender-neutral housing to campus, even having a survey last year to gauge interest Last year Middlesex shared a survey with the student body regarding gender-neutral housing. What are the school’s plans for the future? Dean of students Jason Sport and Kathy Swain said students need to know that “we want it to happen at some point in the future,” but this is easier said than done. Before any changes like all gender dorms can be made, the Deans believe that the very gendered visitation policy should change first. Part of the challenge is that, without a change to the policy, all gender dorm students would be outliers, and could enter other student rooms of different gender identities while non-student residents could only do so during visitation. To some, the obvious answer tis to abolish the visitation policy entirely; however, this would also be impossible. Being a home to students primarily under the age of 18, certain legal requirements prevent a future without visitation. One of the ways Middlesex protects itself is to follow the precedent of other peer schools to determine what is reasonable in the eyes of visitation. “If Middlesex were to revolutionarily change their visitation policy, " says Sport, “our policies would be outliers, and would therefore be considered unreasonable.” Since Middlesex does not shy away from challenges, policy has already taken a huge step in the right direction to degender visitations. As of the 2022-2023 school year, students of all genders were allowed in any dorm common rooms outside of regular visitation hours. Setting aside the challenges presented by visitation policies, there are other logistical issues regarding enrollment. Since Middlesex is already overenrolled, converting a boys or girls dorm into an all gender dorm could force some students to live in an all gender dorm who do not want to live there. Especially since the primary goal for these new dorms is for “students to be in a space where they feel comfortable,” forcing students to live somewhere they do not want to would have the opposite effect. Similarly, the students who would live in these dorms would need their parents to sign a form of consent. Since this housing is primarily designed to make non-binary students feel comfortable in their home away from home, it presents problems for students in the LGBTQ community who are not officially out to their parents. It would be solving one problem and creating one more. As with any dramatic policy change, the biggest enemy is time. Making sure all parts of the school from students to, faculty, to the board of trustees, to heads of school takes precision and effort. All are working hard to make this vision a reality, and it is still unclear when exactly all gender dorms will become a reality, but one thing is for sure, “faculty and students are ready,” says Swain. Alex Barron

Leighton Glass - Image From Online Does a book’s facilitation of the reader’s imagination make text superior to cinema, or do motion pictures, with their intense sensory stimulation, provide for a better experience? In the realm of storytelling, the debate between books and movies has been ongoing for decades. Some staunchly defend the written word, arguing that books offer a depth of immersion that films cannot replicate. Others champion cinematic adaptations, celebrating their visual storytelling and accessibility. The battle between book lovers and movie enthusiasts has created a dialogue that reveals the unique strengths and weaknesses of each medium. Let’s explore the merits of both and, ultimately, deduce the overall preference for one side in the book-versus-movie showdown. Books are the ultimate realm of imagination. When we delve into a novel, we create a world in our minds, painting scenes, characters, and settings with our own interpretations. There is a personal connection between the reader and the narrative that cannot be replicated on the big screen. The vividness of a book's description allows readers to form a unique bond with the story, a connection deeply rooted in their imagination. For example, J.K. Rowling wonderfully expresses this imaginative aspect of books in her "Harry Potter" series. The books provide a level of detail that immerses readers in the magical world. Readers can imagine the characters and scenes in a way that best resonates with their personal preferences. The excitement of discovering a new world through our imagination is something only books can provide. Conversely, films aim to translate the creator’s vision into a tangible reality, often leaving less room for individual imagination. While this can be a strength, it can also limit the audience's ability to explore and interpret the story in their own way. One compelling argument for books is the emotional depth and character development they offer. In a book, authors can delve into characters' thoughts and emotions, providing insight into their motivations and inner struggles. This creates a profound connection between the reader and the characters. Consider "The Great Gatsby" by F. Scott Fitzgerald, for example. The novel's intricate portrayal of Jay Gatsby in his desire for Daisy Buchanan's love, the embodiment of the American Dream, offers readers a deep understanding of his character. Books have the power to explore the human psyche and unveil the complexities of the characters' inner lives. Conversely, films are often limited in the time they can devote to character development. While talented actors can convey complex emotions, they often rely on the viewers' empathy to fill in any gaps. The visual medium must often prioritize action and spectacle over introspection. Yet movies indeed excel at visual storytelling. The combination of cinematography, direction, and special effects can create breathtaking visuals that captivate audiences. Directors can convey emotions through motion and sound, reaching audiences in ways that books can't. Take, for instance, Christopher Nolan's "Dunkirk." The film's harrowing portrayal of the evacuation of Dunkirk during World War II relies heavily on visual elements, immersing viewers in the chaos and tension of the historical event. The heart-pounding soundtrack and remarkable cinematography certainly leave an indelible mark. Additionally, movies can provide a sense of immediacy. They bring the story to life with vibrant colors, powerful performances, and iconic scenes. This immediacy is ideal for action sequences, thrilling adventures, and tales that demand a visual stimulus. Film adaptations have a unique power: accessibility. Movies bring stories to a wide audience, including those who might not otherwise read the book. Consider adaptations of classic literature, such as Baz Luhrmann's "Romeo + Juliet" or Greta Gerwig's "Little Women." These films introduce Shakespeare and Louisa May Alcott to new generations of viewers. They invite audiences to explore the source material afterward, bridging the gap between literature and cinema. Furthermore, films can reach people with diverse preferences and reading abilities. For those with visual or cognitive impairments, movies provide an inclusive way to experience a narrative. Subtitles and audio descriptions open the door to storytelling for individuals who might face challenges when reading books. After a thorough examination of the strengths of both books and movies, picking a side is certainly no easy question. While movies provide accessibility and visual spectacle, I believe that books offer a richer and more immersive experience. The power of imagination, the depth of emotional connection, and the ability to explore complex characters make books the superior medium. When you open a book's pages, you embark on a personal journey in which you shape the narrative with your imagination. You can inhabit the characters' thoughts and walk in their shoes, forging an emotional connection that is truly unparalleled. Thus, books remain the ultimate source of storytelling magic. However, it is essential to remember that the choice between books and movies ultimately comes down to personal preference. Some may prefer the immediate stimulus and visual allure of films. Others, like me, cherish the depth and intimacy of a well-crafted novel. The beauty of the debate lies in its recognition of the unique strengths each medium offers. Danny Cai

Dissecting the unique plot and tone of the upcoming theater production, as well as what audiences should anticipate come November 10th The first theater production of the year is soon to arrive, and this year’s Radium Girls has everyone in the school anticipating an enthralling story from the creative minds of Tom Kane, Ryan Dubray, and the wonderful student cast and crew. In preparation for the first showing on November 10th, I interviewed Mr. Kane and Mr. Dubray to retrieve some “hidden information” about what to expect come showtime. Radium Girls is based on the true story of a group of female factory workers who contracted radiation poisoning from manufacturing radium dials, as they painted watch dials with dangerous self-luminous paint. After being informed of the supposed harmlessness of the paint, the women in the factories ingested deadly amounts of radium, as they were instructed to place their brushes between their lips to give them a fine tip, which was ideal for painting radium dials. Some even painted their fingernails, face, and teeth with the glowing substance. It was not until hundreds of women started developing symptoms that people started to realize the deadly nature of this radioactive element. But what happens next? Will the factory stop using these chemicals? Or will they hide the truth just for their profits? As far as content, I will leave it to the play to answer. The style of the play this year is evidently different from that of years past, shying away from the typical joyful and humorous productions. According to Tom, he chose this play as he has been looking for “something different” that “tackles some heavier themes.” Besides, he has also been looking for a play that is relatively “new:” written in 2013, Radium Girls perfectly fits this desire. Furthermore, the play allows all 20 talented actors to have a more equal amount of lines. After watching this play, Tom wants the audience to think about the following two questions: how do we value women’s voices, and how do we react to the development of science, especially when science interferes with the profit of business? Despite its heavy subjects and somewhat serious tone, the story still has fun, lighthearted moments; however, going into the play, we audience members should nonetheless be compassionate about this true event that transpired a century ago. The preparation behind the play is something to note as well, as the work done behind the scenes is often overlooked. With the collective effort of the students in the tech group, the major platforms are already built and painted, all ready to go well in advance of showtime. Because of the numerous scene changes between the factory background and more specific settings, Mr. Dubray designed “two jackknife pivoting platforms” that allow the running crew to make smooth transitions between scene changes; one side of the contraption is on the stage while the other is hidden behind the curtain, allowing the crew to change the setting while keeping the factory in the center. The audience is therefore able to see the factory at all times, an important characteristic of the set since the entire story is set around the manufacturing plant. Furthermore, because the story covers heavier topics, the lighting will be quite distinct from past plays, as this gloominess will partially be conveyed through light––or, rather, a lack of it. As the date of the performance grows ever nearer, the cast and crew put their finishing touches on everything from the set and costumes to lighting and line delivery, and we wait in anticipation for the talented theater team and the display of their hard work. On behalf of Tom Kane, Ryan Dubray, and everyone involved in the production, I encourage you to witness this spectacle in the Kaye Theater on November 10th. Katie Chen

Uncovering the underlying meaning of Morris and Zasloff’s complex exhibit On September 14th, artists Meghan Morris and Eva Zasloff displayed their collaborative project, Befriend, to the Middlesex community. The exhibit interweaves a series of paintings and sculptures that, according to the gallery pamphlet, “embody the experience of finding, developing, and sustaining friendship” and explore the question of “what it means to befriend. To befriend another, to befriend all of the unseeable parts of ourselves, to befriend the world in all of its beauty and complexity.” The sculptures on their own represent what it means “to befriend another.” Each clay sculpture is made of two parts: a spherical pot and an object that, depending on the specific sculpture, is configured in different shapes. The choice to have two sculptures represents some kind of companionship. The pot is a companion to the sculpture. The variation in the shape of the sculptures and where the pot sits relative to the sculpture suggests that friendship can take many forms. The position of the pot may also suggest that, depending on the sculpture, the pot and sculpture are in different phases of their friendship. For example, a pot that is distanced from the sculpture may be “finding” this friend whereas a pot that is sitting within a sculpture may be in the phase of “sustaining” friendship. On the wall behind the sculptures are a series of abstract paintings. The paintings, on their own, represent what it means “to befriend all of the unseeable parts of ourselves.” The paintings are made up of a series of amorphous shapes and in each painting, those various configurations interact with each other differently. Every shape within each painting, however, is united in some way with each other, as though the image represents a person attempting to get to know and unify every part of themselves. The parts are “unseeable” in that the viewer is unable to understand what exactly these fragments represent. For example, one painting depicts lines from all the shapes and colors meeting at one single focal point. The painting has many facets, whether that be different shapes or varying colors, yet they are all connected at this one point. Another painting depicts a brown circle-like shape surrounding many smaller, multicolored circular shapes. Perhaps the outer brown circle could represent a person, and the smaller shapes within the brown circle are the “unseeable parts.” The brown circle completely encloses the smaller figures, suggesting that the brown figure has befriended all the smaller forms. The sculptures and paintings together represent what it means “to befriend the world in all of its beauty and complexity.” Each painting and its corresponding sculpture go together beautifully: their colors complement each other and the painting seems to enclose the sculpture like a warm embrace. Sometimes a sculpture accompanies two sets of paintings that are quite distinct from each other, yet the sculpture seems to fit in perfect agreement with both of them, implying that a diverse array of friendships can coexist, a complexity in the idea of friendship. When looking at the exhibit at large, the earthy tones of every component of the artwork, the varying shapes depicted in each painting and sculpture, and the beautiful harmony of every painting and sculpture are a representation of the complex underlying union of the diversity in our world. Ella Coffin

Vegas’ latest advancement in the realm of entertainment combines engineering, technology, and color to create an innovative and hopefully lasting arena. Nestled in the heart of Paradise, Nevada, The Sphere stands as a towering testament to the boundless possibilities of the entertainment industry. This enormous arena, built for music and entertainment, has the potential to become the epicenter of Las Vegas events, rivaling even the most iconic venues in the region. What sets The Sphere apart is not just its imposing presence but the strategic alliances forged to ensure its triumph. One of the most significant contributing factors to the growing anticipation of The Sphere's impending success is its partnership with two illustrious corporations, the Madison Square Garden Company and the Las Vegas Sands Corporation. These industry giants have a proven track record of creating thriving entertainment establishments. Their involvement lends their credibility and expertise to The Sphere, bringing many possibilities along with the collaboration. The proof of The Sphere's potential lies not only in its partnerships but also in its price tag. It is no easy feat to become the most expensive entertainment arena in a city that prioritizes its entertainment industry, yet The Sphere achieved just that with a whopping budget of 2.3 billion dollars. This substantial investment attests to the faith placed in this project, speaking to The Sphere’s potential to become a focal point of Las Vegas entertainment. Living up to its grandiose title, The Sphere is not just massive in terms of cost but also in physical size. Spanning an astonishing 875,000 square feet, the arena is bound to impress the masses of onlookers; however, its architectural design is not just for show. The Sphere is a product of meticulous engineering, offering an immersive experience to all who step inside. The Sphere's unique spherical shape makes it a landmark that will draw people from far and wide. Moreover, the arena, in addition to its architectural prowess, is a technological wonder. It sets a precedent for having the world's largest LED screen, a technological accomplishment that promises to enhance the audience's experience and will likely shatter numerous entertainment industry records. The possibilities for these immersive and innovative visual displays are endless, ensuring that The Sphere remains at the forefront of entertainment technology. The versatile nature of The Sphere is yet another promise to impress. While it is tailor-made for concerts, its design allows it to host a wide range of corporate events, from extravagant parties to international conventions. This flexibility ensures that the arena will remain a vibrant and dynamic hub of activity, catering to diverse entertainment preferences. However, amidst its splendor, The Sphere is not without its share of limitations. Its spherical design, while awe-inspiring, poses a challenge in terms of audience capacity. When compared to traditional rectangular arenas, it might not be the first choice for the biggest concerts, a drawback that the management team will need to address. The elevated cost associated with The Sphere's operation presents another hurdle. Attracting artists willing to pay substantial admittance fees may prove to be a challenge, potentially leading to slower profit growth. Moreover, the sheer size and operational demands of The Sphere could draw criticism from environmentalists concerned about its sustainability. The need for a substantial staff to manage the enormous space also implies higher operating costs, depleting more of the investors' funds. Nonetheless, The Sphere has the potential to dominate the entertainment industry if it recognizes and addresses these challenges. By making strategic adjustments to maximize its audience capacity, striking a balance between revenue and artist fees, and implementing sustainable practices, The Sphere can transcend its limitations and become an enduring symbol of entertainment excellence. If the administration takes these challenges head-on, The Sphere's potential to reign supreme in the Las Vegas entertainment scene is boundless. Nik Rizvi