Contributing writer

Will Holub-Moorman

Latest Content

Beverly's Debut an Underwhelming Summer Jam

Beverly might be Frankie Rose’s main focus moving forward, or a one-off side project, but “Careers” doesn’t ask a lot of questions that feel like they need answering in a follow-up.

Playlist: Sci-Fi Suites

Yardfest headliner Janelle Monae’s forays into futuristic soul on her albums “The ArchAndroid” and “The Electric Lady” aren’t the first time a popular musician has crafted albums around heady concepts of dystopia and (occasionally) utopia. This week, the Arts Blog explores a few of our other favorite sci-fi-themed albums.

CEO Builds His Palace In “Wonderland”

On “Wonderland,” Berglund cares less about meeting expectations than he does about eliminating them altogether. Like Lewis Carroll’s creation of the same name, the resulting landscape is simultaneously opulent and unsettling, both organic and artificial.

11 Scenes We Wish Had Made the Breaking Bad Finale

Incoming Campus Arts Exec Will Holub-Moorman runs through the scenes we all would've liked to see make the ending of Breaking Bad.

No Checkered Flag for Dale Earnhardt Jr. Jr.

As was the case with “It’s A Corporate World,” the strength of “The Speed of Things” is its top-notch and sonically varied production. If only they were working with better songs. There are some great songs on “The Speed of Things,” but they’re far outnumbered by great moments in mediocre songs.

The Most Used (and Abused) Classical Music Pieces

What do "Dead Poets Society," "Die Hard," and "Sister Act 2: Back in the Habit" all have in common? Answer: you can hear Beethoven’s "Ode to Joy" in all of them. Directors have been relying on classical music since the invention of the silver screen. Even during classical's present decline in popularity, you'll rarely make it through a modern movie without hearing something Thomas Jefferson would've considered an oldie. Of course, with thousands of directors mining the classical archives for score material, some pieces are bound to pop up more than occasionally. Watch out for five of the most overused classical pieces in film: