Category: Film

Experiencing Creole: PCAS/ACAS Day Three

Our third day in New Orleans offered a unique look at the melting pot of Creole culture. Creole, as the name suggests, grew from the city’s status as a global port, blending the best parts of nearly every nation and state, including customs, traditions, and ideas. Today, we took a deeper look at that concept, experiencing the city’s cultural blend with the rest of the world.

History at the National World War II Museum

Written by Robin Houghton

We started our Saturday by taking a taxi to the National World War II Museum, the largest of its kind in the United States. Spanning seven acres, the museum is so expansive that it offers two-day passes to see everything.

Our visit began in the Pacific Theatre, since we were less familiar with that side of the war. Given less attention both during the war and in teaching about it afterward, there was a lot we learned about this area for the first time.

The museum was jam-packed with artifacts, most frequently artillery and an impressive collection of uniforms. We especially found the nurse’s uniforms fascinating!

One thing we found interesting was the Allied strategy of island hopping. After landing in Guadalcanal, the Allied powers devised a strategy to continue advancing in the Pacific by “hopping” over heavily fortified islands — isolating Japanese-occupied islands and moving closer to Japan. This strategy was crucial to the Allied powers’ victory in the Pacific.

Near the end, we found ourselves in a replica of the room Anne Frank and her family stayed in while in hiding. Being able to immerse ourselves in the life of the Franks allowed us to experience the routine they had during their time in hiding.

Although we did not spend the two days needed to explore the museum in its entirety, the National World War II Museum gave us plenty to learn, and even more to be excited for if we come back to New Orleans!

A Look into Society and Film

Written by Ruthie Passmore

Our last session of the weekend was a deep dive into film and how it reflects society. First hearing from Chair Daniel S. Traber about Trainspotting, then Kathleen Hardesty about Social Services as the Villain, and lastly from our very own Professor Mike Yawn, speaking about The Manchurian Candidate.

Daniel Traber opened by evaluating Trainspotting through a lens that captured addiction through layers. He reflected on the film’s portrayal of addiction through a combination of surrealism and realism. This helps contribute to a more overarching theme of addiction, the main character’s drug addiction allowing audiences to draw parallels to alcoholism, nicotine addiction, gambling addiction, interpersonal dependency, and consumerism.

Following Traber’s research on addiction, Kathleen Hardesty presented on the portrayal of social workers in film. She began by studying adoption in film, noting that the language surrounding adoption in these works is usually negative. She observed multiple different children’s films that portray social work in a negative light: Mrs. Doubtfire (1993), Despicable Me (2010), Lilo & Stitch (2002), and The Willoughbys (2020). In most of these movies, social workers are being painted as the “bad guys.” Hardesty argues that children’s movies play an important role in the narrative of social work and adoption, and that finding more positive ways to refer to social workers in media may reduce stigmas and biases surrounding adoption and social work.

We might be biased, but saving the best for last, we got to hear from Professor Yawn, who gave a reflection on free will in The Manchurian Candidate. He mentioned the Oresteia Trilogy, arguing that there is a narrative structure similarity between the 1962 film and the Greek tragedy. Justifying this argument requires examining how Orestes, in the Oresteia Trilogy, and Raymond Shaw, in The Manchurian Candidate, both face moral dilemmas that force them to choose between family loyalty and moral responsibility. Like Orestes, who must choose between protecting his mother and avenging his father, Raymon struggles between loyalty to his mother and carrying out her orders to kill for her personal vendetta. Together, these works help display the complex relationship between The Manchurian Candidate and free will.

It was a striking ending to a very insightful conference. The LEAP students all agreed that this session was our favorite.

Blending India and Louisiana at Saffron Nola

Written by Ruthie Passmore

We ended the day by indulging in delicious Indian cuisine at Saffron Nola in uptown, near the Garden District. We started with appetizers: garlic and truffle tandoori naan, breads and spreads, and tandoori squash, which our waiter recommended. We all thoroughly enjoyed the starters, describing them as rich and savory, with a perfect balance of spices.

While waiting for our entrees, we had the delight of speaking with Chef Arvinder Vilkhu, who couldn’t have been kinder. He even shared how his son wrote the business plan for Saffron. After chatting with him about the restaurant and its delicious food, he was nice enough to allow us to take a photo with him.

As for our entrees, we ordered four distinct large plates and two small plates. Allie chose the Duck Confit Masala, Isis opted for the Chicken Biryani, and Robin selected the Pork Vindaloo. Meanwhile, Professor Yawn enjoyed the Curried Seafood Gumbo, Stephanie went with the Homestyle Seafood Bisque, and I tried the Grilled Pepper Steak. I would describe my steak as being juicy, tender, and all-around delectable, especially being soaked in the coconut white Malabar sauce, but every dish was spectacular.

For dessert, we got to try five different dishes: English Bread Pudding, Kiss From a Rose, It’s Not Even Your Birthday Cake, Ginger Creme Brulee, and the Peach Seasonal Ice Cream. Robin and I were particularly fond of the Peach Ice Cream. The flavor was perfectly balanced, subtle and delicate, rather than overwhelming. It was topped with peach chutney, which added a savory and tangy depth to the taste. Others enjoyed the Kiss From a Rose, which included ice cream, vermicelli, rose, and pistachios, describing it as floral, in a good way, but sweet at the same time.

This was the perfect way to wrap up the day. It was such a pleasure to hear from the Chef and gain a little insight into how he started the restaurant and his background. His personal touch and willingness to share a little bit about his story with us made it even more worthwhile.

Conclusion

Throughout our stay, we had the opportunity to learn not only from the conference speakers, but also from the city itself. New Orleans has a way of bringing together different histories, cultures, traditions, and ideas, creating something that feels entirely its own. Our last full day was a fitting reflection of that spirit, leaving us with plenty of new memories, new ideas, and a deeper appreciation for the city and the people who make it what it is.

Presentations, Popular Culture, and Pavlova: PCAS/ACAS Day One

Presenting at PCAS

Written by Allie Plunk

Our first day in New Orleans began late, but with plenty of excitement! I was going to present my paper, Modernism in Billy Collins‘ Poem “Forgetfulness,” at the PCAS/ACAS conference.

As soon as we arrived at the Conference Hotel, I checked in and found the room in which I would present. While waiting for my session to start, fellow presenter Richard Vela introduced himself. He was very friendly and said he was excited to present. A former professor at the University of North Carolina–Pembroke, he was sharing his research on Hispanic poet Julia Alvarez. Though we were supposed to have a third presenter, it ultimately ended up being just the two of us.

Professor Vela acted as Chair for the room, introducing our topics as well as the overall theme of the session: “Poetry and Postmodernisms.” His presentation was first, and his insight into Julia Alvarez was intriguing! I had never read any of her work, but his presentation was well thought out and ended up tying neatly into mine, as we both addressed Postmodern poets and the intersection of memory and identity.

Though there were some technical difficulties that resulted in me being unable to display my slides, I did my best to read my paper as interactively as possible. The lack of slides definitely threw me off, but I was delighted to hear afterward that no one could tell I was bothered!

Following my presentation, we had a brief Q&A, during which we were able to discuss some key features that might not have made their way into our presentations, such as more of the key factors of postmodernism and how they likely affected Alvarez’s work, and the presence of mythology in Collins’ poem.

Overall, it was an incredibly impactful experience, and I am very grateful to have had the opportunity to present at my very first academic conference. It was a wonderful opportunity to share my research, meet another scholar, and experience what presenting at an academic conference is actually like. I hope it will be the first of many.

(Professor’s Note: Allie did a wonderful job. Following the session, an attendee came up to me and said, “She has a great future!”)

Exploring Southern Culture at PCAS/ACAS

Written by Ruthie Passmore

After the first session, we moved on to a session discussing Southern Gothic, a theme much covered during this conference. This particular session covered folklore, masculinity, and southern decline, led by Chair Grace Becker, and included presentations by Lauren Butte and Kerbie Addis. All three speakers explored how the region’s anxieties refuse to stay buried, shifting from the monstrous myths of local cryptids to the slow violence of environmental and psychological decay.

Grace Becker opened the floor by interpreting William Faulkner’s The Sound and the Fury. She gave a depiction of how the novel captures misogyny and toxic masculinity through Jason’s actions in the story, focusing on the femininity and repressed sexuality seen in characters like Caddy and Quentin. I found it interesting to see how these ideas could be explored through the relationships between the characters and the expectations placed on them.

Lauren Butte then began talking about the “Alabama White Thang,” explicating the folklore in a way that was very comprehensible. She explained that sightings began in the early 1900s, with the most recent being August 2026. Being described as anywhere from seven to eight feet tall, white, cat-like, and elusive, the “White Thang” certainly sounded like an intriguing beast. Her presentation showed how folklore can continue to exist and evolve even as the culture surrounding it changes.

Kerbie Addis proceeded to give a brief analysis of literature, cinema, and digital media, exploring Jesmyn Ward’s acclaimed novel Salvage the Bones, the movie Beasts of Southern Wild, and the video game Norco. She focused on the environmental aspects in the Southern Gothic and how this is transcribed across different media platforms. I especially liked seeing how the same concerns can be expressed through different forms of storytelling, rather than being limited to traditional literature.

Shifting to the last session of our day, we got to hear about Vampire Literatures as Decolonizing Practice from three professors from Louisiana State University of New Orleans. The chair and one of the presenters was Lisa Verner, along with colleagues Robin Werner and Elizabeth Lewis, who deconstructed three different texts in an analysis of minority representation in vampire literature.

Robin Werner started by discussing Certain Dark Things by Silvia Moreno-Garcia, and I liked how she focused on the idea of identity in the book. Elizabeth Lewis then talked about The Black Vampyre and shared how her students reacted to it. Lisa Verner wrapped things up by looking at Indigenous literature through Stephen Graham Jones’s The Buffalo Hunter Hunter.

Ultimately, the speakers all shared a common goal: presenting their research, asking for feedback, and ensuring that the books they teach leave a lasting impression on their students. Even though the presentations covered very different subjects, each one demonstrated how literature and other forms of storytelling can be used to examine larger cultural anxieties and give readers new ways of understanding them.

Creole Delights at Arnaud’s

Written by Robin Houghton

Feeling pretty hungry after a busy day at the conference, we visited Arnaud’s, which specializes in Louisiana Creole cuisine. We started boldly with Oysters Arnaud, a collection of baked Oysters: Bienville, Kathryn, Ohan, Rockefeller, and Suzette, as well as Escargots en Casserole—baked snails with a flaky pastry top. The escargot’s earthy taste received mixed reviews; however, the oysters were agreed to be one of the best dishes of the night.

To experience Creole cuisine in its brevity, we chose a wide variety of entrees: a fittingly-shaped Crabmeat Karen, flavorful Chicken and Andouille Gumbo, and a delicious bowl of Turtle Soup. We all loved Arnaud’s savory Crab Cakes, as well as the Shrimp Creole. We even had the opportunity to try Frog Legs Provençale!

For dessert, we had the Chantilly Pavlova, Baked Alaska, and a New Orleans staple: Bananas Foster. The latter two desserts — which were served flamed — were a highlight of our meal. Arnaud’s was a wonderful introduction to Louisiana Creole, and we left full and happy, a satisfying conclusion to our day.

Conclusion

Our first day at PCAS/ACAS was a busy one, but it was also an incredibly rewarding experience. From presenting our own research to listening to scholars discuss poetry, Southern Gothic literature, folklore, and decolonization, we were able to see just how many different perspectives can come together at an academic conference. Beyond the presentations themselves, getting to experience New Orleans added another layer to the day. Between the conference sessions and our exploration of New Orleans, our first day at PCAS/ACAS was a great beginning to what would become an unforgettable conference experience.

Here’s Looking at You, LEAP: A Night with Casablanca

Written by Allie Plunk

Last Thursday, LEAP Ambassadors got the chance to step back in time and experience the classic film Casablanca at River Oaks Theatre!

Once we arrived, we quickly found our seats and settled in for the show. Before the film began, Robert Saucedo, River Oaks Theatre’s Artistic Manager, shared a few brief remarks before introducing film critic Joe Leydon. Leydon dedicated the screening to his late wife, Anne Leydon, and shared a touching message about how people live on through the things they love. For Anne, that was Casablanca.

Released in 1942, the romantic drama follows American expatriate Rick Blaine (Humphrey Bogart), the owner of a nightclub and gambling den in Casablanca, a city in French Morocco that has become an important stopping point for refugees fleeing the German occupation. For many refugees, Casablanca is a necessary stop on the journey to Lisbon and, eventually, freedom in America.

Rick, however, has no interest in leaving. Content to remain neutral in the war, he seems determined to look out for himself and avoid getting involved in anyone else’s problems. That changes when Ilsa Lund (Ingrid Bergman) unexpectedly walks back into his life.

Rick and Ilsa had once shared a passionate romance in Paris before the German occupation, but their relationship ended abruptly when Ilsa left Rick without explanation just as they were supposed to escape the city together. Now, Ilsa is married to Victor Laszlo (Paul Henreid), a resistance leader being pursued by the Third Reich. With Ilsa back in his life, Rick is forced to confront the conflict between his desire to remain neutral and the love he still has for her. The result is a story full of romance, tension, and unexpected twists that kept all of us guessing until the very end.

On the car ride home, we had plenty to discuss. One of the biggest topics was Rick himself. We talked about how he is an objectively morally gray character—especially for a protagonist from a film of that era—and compared him to the morally complicated characters we see so often in modern movies.

All in all, Casablanca gave us plenty to think about, and it was a fun opportunity to experience one of Hollywood’s most iconic films together!

The PVIL: Celebrating Athletic Legacy and Civil Rights

On August 19, the LEAP Center had a strong presence at the George H. W. Bush Presidential Library and Museum for a screening of photographer—and now filmmaker—Mark Burns’ The PVIL Story: Separate… But Equal?

Burns, best known for his acclaimed photography, makes his filmmaking debut with a documentary examining the Prairie View Interscholastic League (PVIL), which provided athletic competition for Black Texas high schools during segregation. Operating from 1920-1970, the PVIL produced remarkable athletes while serving as an important source of community pride. The film, however, goes well beyond athletics, placing the PVIL within the larger history of segregation, integration, and the Civil Rights Movement.

The evening began with a reception before attendees moved into the theater for the film. Following the screening, former Houston Chronicle sportswriter John McClain moderated a panel featuring Burns; Michael Hurd, author of Thursday Night Lights; narrator Fred McClure; producer Rob Lynch; and Pulitzer Prize-winning journalist Joe Holley, who wrote the documentary. The discussion offered additional insight into the research and work involved in recovering a history for which archival materials were sometimes difficult to find.

Also attending were individuals featured in the documentary, including Mark Updegrove and Ramon Gonzales, adding another personal connection to the evening.

For LEAP, however, the screening had special significance. LEAP Ambassadors have known Burns for years, having opportunities to assist him during portions of his National Parks photography project. During those experiences, Burns was generous with his time, sharing his expertise and serving as both a mentor and friend to the organization.

Seeing Burns move from still photography to filmmaking—and use a new medium to preserve an often-overlooked piece of Texas history—made the evening particularly rewarding. The PVIL Story ties into Texas history, US history, delves into America’s favorite sport, and also tackles questions of constitutional law–a perfect combination of LEAP elements.

LEAP Fall Retreat: The Girl on the Train

Written by: Isis Hollis

During our retreat in Houston, LEAP students and alums visited the Alley  Theatre once again to watch a performance of The Girl on the Train! Based on the bestselling novel by Paula Hawkins and the Dreamworks film adaptation, the play proved to be another memorable addition to LEAP’s theatrical experiences.

The Girl on the Train follows Rachel Watson (Elizabeth Bunch), an alcoholic whose life has begun to unravel following her divorce. One morning, Rachel receives a visit from Detective Gaskill (David Rainey), who informs her that a woman named Megan Hipwell (Emily Neves) has gone missing. Rachel immediately becomes invested in finding her. Although she has never met Megan, Rachel used to see her and her husband from the train each morning and imagine that they lived a perfect, happy life. With Megan now missing, that illusion is shattered, and Rachel becomes determined to uncover what really happened. The list of suspects is long: from a therapist, Dr. Kamal Abdic (Christopher Salazar), to Rachel’s ex-husband Tom Watson (Chris Hutchison) and his new wife, Anna (Michelle Elaine), to Megan’s husband, Scott (Dylan Godwin–an SHSU Alum), to even Rachel herself.

The story takes us through an exciting series of twists and turns, leaving many of us surprised when the mystery finally came to a close. Kayla and Tania were particularly surprised by the ending, while others, like Britlynn, managed to figure out the twist early. Afterward, we had a great discussion about our reactions to the play, and many of us agreed that it had earned a place among our favorite Alley Theatre productions.

The British accents of the characters also caught some of us off guard, especially those who had previously watched Misery at the Alley. Elizabeth Bunch and Chris Hutchison, who played Annie Wilkes and Paul Sheldon in that production, returned as Rachel and Tom. Many of us find the husband-and-wife duo particularly fascinating to watch because they seem to have a knack for playing characters who either despise each other or are completely obsessed with one another—and sometimes both! Their dynamic creates an interesting on-stage chemistry that made their performances especially memorable.

My favorite aspect of the play was the set. I really enjoyed the way that the stage had been designed to move; parts of the stage raising and lowering to reveal or conceal furniture that changed the scenery. They also utilized a catwalk-like structure above the stage to demonstrate the terrace of Megan’s home, which allowed Rachel’s memories to be displayed over the action of scene below. One of Olivia’s favorite parts was how they portrayed the moving train, through lights and set. Towards the end of the play, the technical team even utilized projection to create train tracks that ran across the stage.

Overall, the combination of story, acting, and creative set design made The Girl on the Train a great watch. We are all looking forward to our next opportunity to experience another Alley Theatre production together!

Many thanks to alums who joined us: Ademide Adedokun, Justin and Chelsea Beiser, and Quinn Kobrin–and to Ademide’s friend, Andrea Alexander.

Number One Fans: Misery at the Alley Theatre

Written by: Allie Plunk

On the first day of our LEAP Retreat, LEAP students travelled to the Alley Theatre for a performance of Stephen King’s Misery. To make this event even more memorable, we were joined by several alumni which gave us a group of 19 people!

​The story follows author Paul Sheldon (Chris Hutchinson), who has finally written what he thinks will be his masterpiece when he gets into a car accident that shatters his legs. He is rescued by his self-professed “number one fan,” a woman by the name of Annie Wilkes (Elizabeth Bunch). At first, she acts normal enough, but things very quickly take a turn for the worst. Married in real life, the actors gave a wonderful performance, leaving us wondering how they manage to create such believable characters while still going home together each night. Having just seen the movie a few weeks before, it was very interesting to see the difference in the details and presentation of the story as it was adapted for the stage.

​One of the most striking elements of the play was the set. Split into three distinct parts, the set rotated on a turntable to create a seamless transition between the room where Paul is held captive, the rest of the house, and outside. We were all astonished by the level of detail that went into the set, from the numerous images of Paul Sheldon, to the inclusion of a working staircase. Another practical piece of the performance that we enjoyed were the special effects. We had a good time figuring out how they incorporated stage blood and prosthetics to enhance the gorier elements of the story.

​Having finally finished the Misery trifecta– the novel, movie, and play– I found the differences between the three mediums incredibly striking. The novel contained much more prosaic passages, as well as backstory and lengthened character development, especially for Annie Wilkes, than either the movie or play. The movie, however, shifted and condensed elements of the novel, such as the addiction that Paul develops to the pain medication Annie provides him and his reliance on imagination to endure his captivity, while adding in the perspective of the town Sheriff that is investigating his disappearance. The play retains many of these elements, several lines of dialogue taken directly from the movie, though Annie’s characterization relies on much more of the actor’s discretion, removing much of her backstory entirely. Despite these differences, each preserves the core of the story: the dangerous, disruptive nature of obsession.

​Overall, Misery proved to be a fascinating example of how a story can evolve across different mediums while retaining its central themes. Both entertaining and thought-provoking, it was a memorable highlight of our retreat and gave us a deeper appreciation for the art of adaptation.

Have the Lambs Stopped Screaming?: The Silence of the Lambs

Written by Allie Plunk

LEAP students took a Wednesday night trip to Cinemark in the Woodlands for the 35th anniversary screening of The Silence of the Lambs! Arriving around thirty minutes early, we had more than enough time to load up on popcorn, candy, and sodas before heading into the theater.

Once we were seated, the film began with an opening from legendary film critic and historian, Leonard Maltin, who explained some of the historical and cultural significance of the film, including its status as one of three films to win the “Big Five” Academy Awards: Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay. Based on Thomas Harris’ 1988 novel of the same name, The Silence of the Lambs is a staple in American film that inspired an infatuation with the character of a dignified serial cannibal named Hannibal Lector, resulting in numerous spinoff series and prequel films.

The film follows young FBI trainee Clarisse Starling (Jodie Foster) as she interviews Hannibal Lector (Anthony Hopkins) with the hopes that he might provide insight into the mind of a serial killer. On the rise is a man by the name of Buffalo Bill (Ted Levine), who skins his victims after he kidnaps and kills them, mysteriously keeping them alive for three days. Starling has the sinking feeling that Hannibal Lector knows more about the killings than he is letting on, and must navigate his psychological manipulations and lies to get to the truth.

Though a clear psychological thriller/horror, we were all able to find humor in some of our favorite parts, especially in Hannibal’s witty dialogue. Several of us had never seen the film before, though it is one of my favorite movies of all time! On the way home, we all agreed that it was an evening well spent.