Written by Gabrielle-Suzanne Barbot de Villeneuve over 200 years ago, “Beauty and the Beast” has enchanted the minds of both children and adults.

A misfit heroine and an unfortunate beast fall in love. A handsome antagonist schemes with a manservant. The young heroine finds her escape in books until she enters an enchanted castle with talking clocks and candlesticks.  Her life forever changes and changes the lives of others. What is its purpose? And why is it so alluring? Perhaps it answers to our want of adventure, love or even magic?

“Beauty and the Beast” has a rich history in Madison.  Madison playwright Mary-Kate Lorenz wrote an adaptation of the fairytale in 1958, according to the Wisconsin Historical Society, before the Cold War and even before the Berlin Wall went up. It was performed by the Madison Theater Guild at the Central High School auditorium, according to WHS.

Since then, like the characters in the story, the fairytale has undergone multiple metamorphoses in Madison. It was staged as an opera, a play, a musical by children and theatre companies. Adding to this list and continuing the legacy of “Beauty and the Beast” in Madison is Disney’s musical.

Disney’s “Beauty and the Beast” 30th anniversary tour brought the musical production of the fairytale to Madison, performing at the Overture Centre for the Arts from May 12 to May 17.

The show featured actress Kyra Belle Johnson playing heroine Belle and actor Fergie L. Philippe playing the Beast, both of whom were applauded by the audience for their excellent performances.

The best part of the show was its exquisite sets. Watching the show and the changing sets transformed you through space and time. The sets and scores took you to places around the world across different periods.

“Beauty and the Beast” catered to both the adults and children present. Its flashing, bright and captivating sets with pink curtains, flying ribbons and flashing lights engaged not only the children, but also the adults. During the show, at the climax of the “Be our Guest” musical number, when ribbons burst and showered the audience, not only were the children thrilled, but so were many adults who wore the ribbons around their necks.

The sets took audience members to an 18th-century English manor, a performance of Swan Lake, 20th-century Art Deco Chicago and many other places. Its gaiety and enthusiasm filled the audience as they left.

“I’ve seen so many people die that it’s leeching something from my soul,” Robby tearfully tells Abbot in the final episode of “The Pitt”’s sophomore season. It’s a cathartic confession, one in the works for thirty episodes.

His words echo the recurring throughline of the second season: the impact medical work has not only on those injured but on the nurses, doctors and more who endure and witness day after day of suffering.

The last two episodes of “The Pitt” season 2 let the season down gently. They are sobering, barring a few comedic scenes and are more of a reflection on the characters than necessarily plot-advancing episodes.

As a whole, “The Pitt” approaches its second season in a less dramatic way than its predecessor. What results is a slightly weaker but still strong foray of television, one that would almost definitely be worse had it tried to usurp the stakes of the first season.

It would have been tempting, expected even, for the writers to devise some kind of tragedy even worse than the PittFest in season 1. Instead, the sadness of this season is more internal than external; the storylines are focused on individuals, particularly Robby and even the patients’ narratives are largely self-contained other than how they parallel other characters.

This approach largely works. Most of the characters have something to do, some strong development or new way of looking at them. I found myself appreciating Santos much more than in the first season while loving her pseudo-nemesis Langdon, and new characters like Joy, Ogilvie and Al-Hashimi served their roles well.

Robby is clearly the focus of the season, more so than he was in the first. While he is largely compelling and the protagonist, I think he might have taken up slightly too much screen time, as great as much of it was.

Case in point: Samira Mohan. I was a bit disappointed by her this season, or rather how the series treated her; this is the last of her actress, Supriya Ganesh, on the show, but she felt rather unanchored and even unfinished as a character.

Certainly, there are many loose ends concluding the season. What will Robby do with his life now? What about the various patients whose stories take place over longer spans of time than just one day? Will Langdon and Santos ever make amends? The lack of conclusion to these threads is perfectly fine and suits the day-per-season structure of the series. I simply wish Mohan had some semblance of closure while, of course, indicating that she herself has much to learn in her life.

The doctors only make up part of “The Pitt,” of course. What about the patients? There were less clearly heart-wrenching storylines in this season than the first and they definitely seemed like a little less of a focus, but there were still quite a few storylines to appreciate.

Louie’s story was tragic and heartwarming in equal measure, serving as a great parallel to Robby, Langdon and others. Roxie’s story was the most emotionally resonant this season and I enjoyed how it was staggered across episodes. Other narratives, like Orlando’s, are quietly sad in a way that a death or dismemberment cannot truly offer.

Overall, if you enjoyed the first season of “The Pitt,” you’d most likely enjoy this one, even if it does not reach the same highs as its predecessors. There is much to reward viewers for, particularly on a character level and the series more broadly represents the value of longer, stagger-released series in our streaming-dominated era. It will also make you feel sad, frustrated and sometimes even happy.

Despite its consistently — and justifiably — sober mood, “The Pitt” season two does conclude with an offering in hope for both Robby and the audience. He seems to consider adopting the Baby Jane Doe, giving himself the family he seems to have always longed for. It is also a celebration of the life that he and millions of health professionals work day after day to preserve.

Summer is around the corner, which means it’s almost time for driving around with the windows down and blasting songs that just scream “summer.” Like any season, there are some albums that almost make you feel the sun on your face and the warm breeze in your hair. Start the season off right and consult this list of the most summery albums of all time to put yourself right back in that July mindset.

“Golden Hour” by Kacey Musgraves

This 2018 country-pop, soft rock masterpiece seems to emit a visible golden glow. A strictly no-skip album, “Golden Hour” is composed of heartfelt, romantic ballads and feel-good melodies. Standout songs like “Butterflies”, “Space Cowboy” and “Happy & Sad” make the record an instant classic. Even if you’re not a country fan, this album’s artful genre-blending is sure to convert even the most skeptical critic. 

“Norman F*cking Rockwell” by Lana Del Rey

Lana Del Rey’s dreamiest album to date, “Norman F*cking Rockwell” challenges the very Americana-nostalgia it embodies with dapples of melancholy modernity. Del Rey’s imagery of the “California sun and the movie stars” along with “facing the greatest loss of them all” works with vintage instrumentation and stellar production to create not only a record that feels exactly like summer, but in my humble opinion, one of the greatest records of all time. 

“Tell Me That It’s Over” by Wallows

2022’s “Tell Me That It’s Over” by indie trio Wallows is one of those albums that feels like a carefree drive to the beach with all the windows down on a hot day. With highlights like energetic “I Don’t Want to Talk” and romantic “At the End of the Day,” the 80s-inspired production and electric feel of the record inevitably makes you feel like a teenager without a worry in the world. 

“Landmark” by Hippo Campus

Another staple indie rock summer album, “Landmark” by Hippo Campus is a balance of relaxing and feel-good. This upbeat record is great for any occasion — a summer car ride, hammocking out in the sun or a beach day with friends. The band is from St. Paul, Minnesota, so don’t be surprised when you hear an immediate reference to “Wisconsin pines” — “Landmark” is perfect for embracing a Midwest summer. 

“Solar Power” by Lorde

Though Lorde’s third studio album wasn’t received as well by critics as her previous projects “Pure Heroine” and “Melodrama”, I think it deserves its flowers for its perfect harmony of sunniness and melancholy. Throughout the album, lighthearted, ethereal melodies contrast nostalgic lyrics in a way that allows you to either dance around or linger on the past, depending on your mood that summer day. In “Solar Power”, Lorde pays tribute to the bittersweetness of growing up, the environment and summer itself. 

“folklore” by Taylor Swift

Though Taylor Swift is known mostly for her pop projects, I look back fondly upon the days when quarantine brought out her sad indie side. In “folklore,” Swift tells the stories of her own fictional characters in “august,” “betty” and “cardigan” alongside deep-cut ballads like “this is me trying” and “my tears ricochet.” The album’s mellow sonics, poetic lyricism and artful storytelling makes “folklore” feel like a walk through the woods on a summer day, perfect for a drizzly morning or a trip up North.

Some other Badger Herald staff weighed in with their go-to summer albums:

Clare Cowan, ArtsEtc. Editor: “Sugar Water” by Maude Latour

While the “Sugar Water” album is amazing year round, the summer is hands-down the prime time. Latour’s music is high-energy indie pop perfection packed with sharp lyrics. Listening to this album in the car with the windows down might even convince the Wisconsin sun to stay out a little longer. Start out with “Cosmic Superstar Girl” and “Save Me” — trust me, you’ll be hooked! Latour’s entire discography is full of gems and “Sugar Water” is no exception.

Sophie Wooldridge, ArtsEtc. Associate Editor: “LOVED” by Parcels

An album I’ll be bumping this summer (and have been for the last 8 months since it came out) is “LOVED” by Parcels. I cannot get enough of the Australian band whose vocal layering, electropop production and general band chemistry makes them so addictive. True proof of  a good album is having a new favorite rotation of songs every few weeks, but some great tracks to start off with for summer would be “Summerinlove” and “Yougotmefeeling.”

Declan McDonnell, ArtsEtc. Associate Editor: “Smile! :D” by Porter Robinson 

Porter Robinson brings a shot of happiness with “Smile! :D”. A combination of Robinson’s signature EDM leads, phenomenal production and overall airy and optimistic instrumentals, “Smile! :D” really just feels like a ray of summer sun.

Elsa Englebert, ArtsEtc. Associate Editor: “RENAISSANCE” by Beyoncé

My go-to summer album is “RENAISSANCE” by Beyoncé! It’s chock-full of upbeat, sweat-soaked songs that were made to be listened to at a beachside club. My favorite and the most summery tracks are “SUMMER RENAISSANCE” and “PURE/HONEY”. They truly never fail to pull me out of the winter doldrums.

Optima Dance — a student-run dance organization at the University of Wisconsin — held their Spring Showcase April 18. As a close-down to the end of the semester, the show marked a pivotal era of growth and change for the group, as they experienced a 200% increase since 2022.

Moving away from contemporary or hip-hop heavy lineups of years past, this performance featured nine distinct dance styles, making it one of the organization’s most well-rounded shows to date. 

Choreographer Coordinator Ella Gilhooly attributes the semester’s success to the Executive Board’s ability to navigate the logistical hurdles of a rapidly expanding organization.

Gallery • 20 Photos

Katie Wang

Joey Lindenberg lifts a dancer to the song "party 4 u" by Charli xcx. The number was co-choreographed by Joey Lindenberg and Sadee Johnson for the Optima Spring Showcase. April 18, 2026.

“With 41 groups requiring weekly practices at the same time, it was a puzzle to figure out everyone’s schedules while advocating for the campus space needed for so many people,” Gilhooly said. 

Outside of the administrative grind and complex spreadsheets, Gilhooly said she viewed the fight to ensure everyone sees the spotlight as a way to protect the close-knit, supportive environment that Optima is celebrated for. 

“The world of dance is often harsh and competitive, so it’s always been my goal to provide a space for people to have fun and not stress about academics during practices,” Gilhooly said. “We hear from a lot of members that Optima helped them fall in love with dance again, giving them that chance to shine on stage in a way that they didn’t get growing up.” 

The season’s final showcase and senior sendoff served as a testament to that bond, drawing in the broader campus community — in a show of support, the Women’s Hockey team took the stage for the finale, dancing to “Lush Life” with Optima. This mix of high energy and heavy hearts defined the night for organizers like Optima President Marissa Chitwood. 

“I came off stage from our 7 p.m. show and saw seniors sobbing everywhere, their friends and families crying too,” Chitwood said. “I felt a nostalgia for the present, knowing I’m going to miss this a lot in the future, but I couldn’t stop smiling. I felt fulfilled knowing I helped create such a welcoming, supportive, and special place for people to share their talents.”

Because the group is entirely student-led, the distinction between those running rehearsals and those dancing in them disappears, fostering a unique environment of belonging. This extends beyond Optima studio walls, transforming an enormous campus into a place that feels personal and connected. For Chitwood, this is the heartbeat of the organization’s culture. 

“We meet you where you’re at, we understand the academic stress and the personal stress, and we recognize that we’re all in Optima for the same reason,” Chitwood said. “I think it’s really special that something as simple as a student organization can provide a transformative space for students during their college career and make such a big impact on their lives.”

Sixteen square inches cannot contain Katseye. Watching their Coachella Weekend 1 performance of “Gnarly” on my iPhone feels almost sacrilegious — no amount of pixels could possibly capture them in their entirety. 

But even when rendered on a tiny phone screen in a YouTube video of middling quality, the girl group has a stunning ability to keep you watching. They’re hypnotic, sweat glistening on toned stomachs, hips swinging in perfect sync. It’s chaos, it’s coordination — grimey, yet polished. Katseye is a baffling musical oxymoron, pulsing and plieting, growling and crooning. When the girls move, the crowd howls and screams, phone screens twinkling in a sea of outstretched hands and punching fists. 

No one can deny that when Katseye performs, they’re mesmerizing. Their fine-tuned choreography is almost enough to distract from the words coming out of their glossed lips — “Hottie, hottie, like a bag of Takis / I’m the sh*t, I’m the sh*t.” 

It seems that Katseye’s most perplexing contradiction is the massive discrepancy between the quality of their performances and the quality of the songs they’re performing.

The Los Angeles-based pop music sensation, which formed in 2023 and is made up of six members, released their first EP last summer and they’re slated to release their second, “WILD,” in August. Right now, Katseye seems to have it all — a fanbase with a cute name (the “Eyecons”), a viral ad for Gap denim, set to Kelis’ 2003 hit “Milkshake,” that boosted their cultural currency last year and upward of 32 million monthly Spotify listeners to boot. 

What the group lacks, however, is a strong roster of fool-proof, hit-worthy tracks. Katseye was engineered to have mass appeal, its members methodically chosen through reality competition show “Dream Academy.” And yet, in stark contrast, their songs don’t seem to be engineered to top the charts — at all. 

If anything, Katseye’s catalogue is confusing and incohesive. There’s “Gabriela,” a modern-day “Jolene” delivered over a 2016-esque reggae-pop beat that recalls Ariana Grande’s “Side to Side” — “Touch,” which is a K-Pop-adjacent track that borrows pinging, Y2K production elements from more adept hyperpop songstresses like PinkPantheress; and “Internet Girl,” a noisy single with a little too many bells and whistles, plus awkward lyrics — “Eat zucchini,” for one.

To be fair, girl groups have never been known for their eloquent lyricism — The Spice Girls’ global smash “Wannabe” famously includes the befuddling line “I wanna really, really, really wanna ‘zig-a-zig’ ah,” and Fifth Harmony’s painfully 2014 track “BO$$” has the significantly more egregious lyric, “Swipe my card, then I do the Nae-Nae.” 

With lyrics like “Boba tea (gnarly), Tesla (gnarly),” it’s not surprising that many Katseye’s fans, like 22-year-old Riley Schaaf, don’t consider the girl group’s music to be the main attraction. 

“The choreographers are working overtime to make up for how much the lyrics suck. But the dancing is so good,” Schaaf said. “Like, the songs are only good when you can have the dance in your head playing on repeat.” 

It’s true that watching Katseye perform at Coachella is a drastically different experience from simply listening to one of their songs on Spotify. Without the rapid camera work, Cirque du Soleil-worthy dance moves and strobing lights, you’re left with just Katseye’s music — which is decent at best and almost unlistenable at worst. The group is meant to be perceived through a phone screen in all their choreographed, well-styled glory, not just listened to through headphones. 

In that way, Katseye might just be the perfect girl group for the internet era. They’re not in the business of making good music — they’re in the business of making content. They’ve got lyrics sure to spark a viral moment, danceable tracks with chantable choruses, trendy brand partnerships (see the unabashed TruFru ad in the “PINKY UP” music video) and an undeniable gift for putting on a show, just like they did at Coachella. But is it sustainable for a girl group to coast by on their performing prowess if the songs they’re performing aren’t very good? 

It hasn’t exactly been done before. Consider other successful girl groups — Destiny’s Child had superb harmonies (and Beyoncé), the Spice Girls had catchy girl-power anthems — even Fifth Harmony had some sticky pop songs to their name. Meanwhile, many of Katseye’s songs, like “Gnarly,” “Internet Girl” and “PINKY UP,” lean heavily on production rather than offering the girls an opportunity to flex their vocal chops. Harmonies are scant, and the simple choruses are designed for dance breaks. 

These songs are bound to keep Katseye’s chronically online fanbase hooked for a time, but they’re unlikely to elevate them to true mainstream success. To reach a broader audience — an audience of casual listeners, who won’t seek out Katseye’s music videos and performances — Katseye needs to make better music. More specifically, Schaaf said, music with better lyrics.

“Obviously, it’s easier said than done,” Schaaf said. “But like, what are we saying? ‘Fried chicken, gnarly. Tesla, gnarly.’ ‘Eat zucchini.’ What does ‘pinky up’ mean?”

Katseye evidently has world-class choreographers planning every performance and top-knotch publicists landing them brand partnerships with Gap, Fendi and Coach, but what they really need are better producers and songwriters who can help the group carve out their own sonic niche without relying on accompanying visuals or passing trends in pop music. All it’s going to take is one bonafide pop hit with some meat on its bones, Katseye’s “Don’t Cha” à la the Pussycat Dolls, to give the group the musical credibility they so desperately need. 

Until that hit comes around, Katseye will continue incubating in their social media chamber, growing fingers and toes before they can really flex their claws. If those claws will be sharp enough to maintain the girl group’s grip on stardom remains to be seen, but in the meantime, Katseye will probably keep pawing feebly at sonic trends, fumbling for one that fits them just as well as the Gap denim seemed to. 

The Screenwriters Union and Hollywood Studios reached a four-year tentative agreement April 5 as reported by the Associated Press. Though the arrangement was largely confined to Hollywood, it represents many shifts relevant to Wisconsin Filmmakers.

While the exact terms of the agreement have yet to be clarified, they generally involve prioritizing writers’ wishes, like stronger health plans and protection against artificial intelligence, according to the Associated Press. Compared to previous agreements, this year’s agreement went by rather smoothly and without much contention, the article said.

The Badger Herald spoke with Michael Graf, a Wisconsin-based filmmaker, and Emily Laskowski, a senior intending to enter the film industry, about the implications of this deal within Wisconsin and its film industry more generally.

The current deal is tied to the 2023 writers strike, which was caused by writers feeling they received less pay than they deserved for their television work, Laskowski said. An important aspect of the deal is the provision that writers will receive a pay raise if a television show they work on becomes significantly popular, according to Laskowski.

Network producers have also begun producing spin-offs instead of television series with multiple seasons due to requirements that television writers be paid more the longer a series goes on, Laskowski said. There are similar loopholes that prevent screenwriters from earning as much as they deserve, according to Laskowski.

“The broader issue is the greed in the industry,” Laskowski said.

Part of the reticence to go on strike stems from the rapidly-changing state of the film industry, as well as the overall damage the industry has suffered over the past seven to eight years, according to Graf.

“Between strikes, and fires in Southern California and the Pandemic, nobody wants to go on strike anymore,” Graf said.

While the agreement in Hollywood has no immediately direct impact on Wisconsin filmmakers, as most members of the Screenwriters Union live in California, it sets a precedent for future agreements with producers, Graf said.

A tangible consequence of the deal in Wisconsin is how, with the writer’s strike lifted, more television series will go to Wisconsin for filming than prior, Laskowski said. A major draw of Wisconsin as a film-making location is its relative affordability when it comes to filming, and Milwaukee in particular has become a hotspot for production, according to Laskowski.

“This agreement is really good for Wisconsin,” Laskowski said.

Last year, the Badger Herald reported on the Wisconsin Screenwriter’s Symposium, which Graf attended. During this symposium, multiple speakers discussed the state government of Wisconsin’s investment in growing the state’s film industry.

Though progress is gradual, there is room for optimism in growing Wisconsin’s film industry, according to Graf. Part of this optimism is thanks to the first-ever government film office in the state’s history, a moderate incentive package passed by the state legislature, and encouraged coordination between the government and filmmakers, Graf said.

“Everyone’s very excited about [the incentive package] … it’s a good first step,” Graf said.

Still, Wisconsin’s incentive package of around $5 million pales in comparison to other states, such as Texas which recently passed a $550 million incentive package, according to Graf.

A major issue across most creative industries is the role of generative AI, which has been accused of plagiarizing author’s works as well as posing job security risks to writers. While AI tools can be helpful during post-production processes, they have little to no positive place in the writing phase of film production, according to Graf.

“It’s high-tech plagiarism,” Graf said.

While generative AI is unfair to many in the industry and has a litany of negative effects, there is little reason to believe it will disappear from the industry, Laskowski said. While many screenwriters and directors disapprove of AI, network executives are more likely to favor it and continue to use it to cut costs, according to Laskowski.

Laskowski personally disapproves of AI in the filmmaking industry, she said. Much like the Screenwriter’s Union, Laskowski believes that generative AI strips the human aspect of storytelling and prevents screenwriters from sharing their artistic voices.

“In the long run, [AI] could really cripple the industry,” Laskowski said.

The film industry is of course nebulous, even in smaller states like Wisconsin. Something aspiring filmmakers may not be aware of is the rise of vertical shorts, which are very short, vertically-directed bits of content often found on social media, Laskowski said.

Though vertical filmmaking is fairly niche, it is becoming more and more popular and could be a viable avenue for new filmmakers to explore, she said. Aspiring filmmakers should also be aware that, while large film production is still far-off in Wisconsin, there is increasing room for independent filmmaking in the state, according to Graf.

“It’ll have a really good boost for the current generation of filmmakers,” Graf said.

Jazz has had a unique and colorful interaction with American colleges. The naturally fast, loud and undefinable nature of jazz has been an integral part of American colleges. 

Madison has its own extensive culture of jazz music, defined by its diversity, wide array of genres and subgenres stemming from different cultures. In this mixture is a smaller, intimate jazz community that supports itself outside of university funding. It’s made possible by non-profit ventures like BlueStem Jazz and Cafe Coda, amongst others.

BlueStem Jazz is dedicated to bringing progressive creative jazz music to Madison. Since 2016,  the organization has worked to book and promote local musicians, stemming from a deep love for the art form born while attending jazz shows in other cities, according to co-founder of BlueStem Jazz David Stone.

“A lot of times we’re at these shows, we’re thinking, why isn’t this stuff in Madison,” Stone said. “So we decided to bring it to Madison.”

Stone and his BlueStem partner Thomas Ferrella traveled extensively throughout the U.S. to hear great music, from Iowa City to Knoxville, and decided that Madison needed the music they fell in love with. Taking donations from friends and supporters, they created BlueStem.

BlueStem Jazz works with a wide array of venues to support these artists, with the two most frequent being The North Street Cabaret and Audio for the Arts. The venues are intimate and personal, each seating less than 100 people.

“We’re coming up on our 500th show, and I can’t think of a bad show,” Stone said.

Another such venture is Cafe Coda. Exemplifying Madison’s diversity, Cafe Coda offers workshops, master classes and live performances. It has a mission to inspire and broaden the cultural scope of Madison, according to Cafe Coda’s website.

Situated near the University of Wisconsin campus, Cafe Coda brings a variety of jazz performances from blues to afrofunk. It also offers swing nights and Karaoke Wednesdays for visitors, hoping to connect and unify the Madison community through jazz.

Cafe Coda also hosts “Cool School” every Saturday, where young musicians learn the basics of improvisation in music for free. Percussion, woodwind, brass and string instruments are available to participants. Participants are welcome with or without experience or their own instruments.

The Mansion Hill Inn is another such venue where local jazz life thrives. Their “Jazz and Cocktails” series events feature Madison-area jazz musicians for a door fee of $20. The Inn, located northwest of the Capitol at the top of Mansion Hill, hosts musicians in a dimly lit room,  according to their website. Attendees above the age of 21 can purchase alcoholic beverages from the Mansion Hill Inn’s bar while they watch the show, according to their website.

A larger space, the Overture Center for the Arts, hosts over 200 performances every year. The Center attracts internationally acclaimed musicians to the concert hall, seating over 2,000 visitors, according to their website.

The Center features a total of seven state-of-the-art performance spaces with hundreds of local artist performances amongst international performers, some of whom are jazz musicians.

Later this  summer, the Madison Jazz Festival is to make its return. The annual event features free and ticketed events across Madison, culminating in a final, free performance on the Memorial Union Terrace. The event celebrates different genres and styles of jazz, pulling musicians from the local area and across the country, according to their website.

Further, the Madison Jazz Society organizes interactive school visits where jazz artists perform for students, then invite and educate students on community jazz programming to help their exploration and curiosity. The Madison Jazz Society also provides grants to finance jazz in local classrooms through the Linda Marty Schmitz School Grant Fund. The grant specifically supports the chosen school’s in-school and extracurricular jazz programming, according to their website.

Additionally, the Madison Jazz Society offers community workshops and jam sessions. For both the seasoned and entirely inexperienced musician, these spaces are welcoming to any skill level. The Madison Jazz Society also partners with other arts organizations to provide community jazz educational activities, according to their website.

Jazz in Madison has a great scene, categorized by its diversity. Whether entirely new or seasoned performers, there is something for everyone to both learn and experience the American art form of jazz here in Madison.

It’s April, which means the class of 2026’s intense senioritis is about to be disrupted by the terrifying, exciting, stressful approach of graduation. What once seemed impossibly far away is now just around the corner, and I think I speak for most seniors when I say that we’ve been so immersed in desperately formulating post-grad plans that we haven’t really begun to consider the technical details of graduation, like if we want to take graduation photos and throw a grad party.

Fear not — it’s not too late to plan the perfect photoshoot and graduation celebration. (But if you haven’t yet secured a dinner reservation for graduation weekend, it’s definitely time to accept defeat.) Don’t think about how after you toss your cap, you’ll be facing months of ignored job applications, futile networking calls and endless unemployment — just think about how fun your grad party will be and how awesome your grad photos will look!

Psst: Check out The Badger Herald’s guide to what to wear to graduation here.

Stage a DIY photoshoot

Hiring a professional to capture your grad photos isn’t the most financially viable option for every soon-to-be alumni, since many of us are already knee-deep in student debt and aren’t looking to dish out a couple hundred bucks for an hour-long photography session. If that’s the case for you, consider asking a friend to take your graduation photos for you and offer to return the favor. No need to purchase a fancy digital camera — you can buy a retro model from eBay for as little as $30 or find a solid film camera at a thrift store. So chic!

The Capitol and Bascom Hill are staple spots to take grad photos, of course, but if you’re looking to get a little creative, consider staging an impromptu photo shoot at a campus location that reflects your major.

For example, botany or agriculture majors can pose amongst the foliage of Allen Centennial Garden or Olbrich Botanical Gardens. If you’re an English or history major, take some studious photos between the shelves of your favorite library, and if you’re studying art, head to the Chazen or the Madison Museum of Contemporary Art for a fittingly artsy grad photoshoot. Just be careful not to spray any champagne on the priceless works of art! (Just kidding — obviously don’t open a bottle of champagne in a museum.)

Doing a full photo shoot definitely isn’t for everyone, and that’s OK. Personally, I’ll be taking a few cute pictures with my friends after the ceremony, and that’ll be that! Anyways, you’ll treasure the candid snapshots you’ve taken throughout your college experience much more than a collection of polished photos taken by a professional.

Throw a fabulous graduation get-together

The graduation ceremony runs from noon to 1:30 p.m., and by the end of it, we newly minted alumni will certainly be itching to stretch our legs and get our hands on something to eat. Answer the call by hosting a post-ceremony graduation party for your family and friends at your house or apartment, complete with food, drinks and games.

It can be a simple affair, or you can lean into a fun theme, like a casual summertime picnic. I’m talking red-and-white gingham tablecloths, a picnic basket full of celebratory shooters, a selection of sandwiches (homemade or catered) and bouquets of fresh-cut red roses and white lilies on the table.

Craft a nostalgic playlist of songs that defined your college years and decorate your party space with photos of you and your friends’ freshman-year selves, then make mimosas with some Badger flair by substituting cranberry juice for orange juice. Don’t forget to stock the cooler with Spotted Cows (you’ll miss them when you’ve left Wisconsin), or go all-in and get a keg.

Graduation dos and don’ts

Graduating is a monumental achievement, and you should be proud of yourself for securing your diploma. But though it’s an accomplishment worth celebrating, that doesn’t mean you can do whatever you want for the whole weekend without fear of repercussions.

Graduation has rules of etiquette, some of which go without saying, like listening respectfully to James Patterson as he gives his keynote speech. Look, I know that he’s no Sarah Jessica Parker (screw you, Northwestern), but I was a big fan of his “I Funny” book series as a kid, so I’ll be locked in to whatever he has to say. Here are some graduation dos and don’ts to keep in mind before, after and during the ceremony.

DO: Leave a generous tip for your server at your graduation-night reservation.

DON’T: Call the restaurant the night before to ask if you can change your four-person reservation to 12 people. The answer is no.

DO: Have a wonderful time sharing celebratory drinks with family and friends after the ceremony.

DON’T: Pregame the ceremony too hard. Trust me, you want to remember the moment you become an alumni, and no one likes sitting next to someone who’s already 10 beers deep at noon.

DO: Craft a thoughtful, BRIEF LinkedIn post reflecting on graduation once you’ve tossed your cap.

DON’T: Craft a 1,000-word LinkedIn post recapping every meaningful moment from your college experience and how they shaped you into the working professional that you are today. Keep it succinct, for all of your connections’ sakes!

Saturday, April 25, marks one of the most anticipated days of the year for Badgers: Mifflin. Whether you’re counting down in excitement or sort of dreading it, this guide is here to help you make the most of the day. As a senior at UW, I’ve had plenty of firsthand experience, and if there’s one goal to keep in mind, it’s this: balance endurance with fun.

Choose the right shoes

This one’s at the top of the list for a reason — your shoes can truly make or break your Mifflin experience. Go for a comfortable pair and, I can’t stress this enough, that you’re okay getting dirty. Mifflin is notoriously muddy, so while it might be tempting to wear your favorite shoes, you’ll be much happier in a pair you don’t mind getting a little (or a lot) ruined.

Wear layers

Saturday’s weather is shaping up to be pretty nice for Mifflin — 50s and 60s, maybe even some sun. Still, layers are your best friend. You’ll want options as the day goes on, so dress in a way that lets you adapt. Pants with a short-sleeve top, or the reverse, is a classic and reliable move.

Avoid balconies

Nothing good happens on high balconies at Mifflin. Or maybe it does — but it’s definitely not worth the risk. Trust me, those balconies were not built with Mifflin-level enthusiasm in mind, and staying on solid ground is always the smarter choice.

Plan a bathroom spot

One of the most underrated pieces of Mifflin prep: know where you can use the bathroom. Figure out which bathrooms you actually have access to ahead of time, and don’t count on random houses to save you. Your future self will be very grateful.

Don’t rely on your phone

Your phone will not be your friend at Mifflin. Between spotty service and a street packed with Badger gear, texts are more wishful thinking than communication. Do yourself a favor: either set a meeting spot in advance or commit to sticking together. Once you’re separated, finding your friends becomes an impossible scavenger hunt.

While I can’t say I’ve mastered the art of Mifflin, hopefully these tips will help you make the most of your day. Remember the two most important tips of all: have fun and stay safe!

“Riverdance 30: The New Generation” is a dazzling series of dances. Despite lacking any discernible plot, the show manages to transport the audience to stormy seas, starry nights, and even downtown Brooklyn. What began as an interval act during the 1994 Eurovision contest is now a staggering two hour performance.

This new Riverdance show had a modern flair. The backdrop was a brilliantly colored animated screen. Clips of original Riverdance performances bookended the show. Animated bridges, Spanish villas, and rushing rivers all set the scene. Some of the effects were quite beautiful, others were somewhat disorienting. Fortunately, this wasn’t enough to overshadow the talent on stage.

Graceful softshoed dancers practically floated across the stage, while the electrically charged leaps and backflips of the male troupe stunned the audience. The folk dance troupe showed off an impressive array of hypnotizing aerials and spins, delivering what were some of the most memorable performances of the show.

There is something absolutely mesmerizing about watching a cast of about twenty or so people move in perfect unison. These cast members are world class competitive dancers. This performance is an opportunity for them to work collaboratively.

The spirit of camaraderie was clear during the “Riverdance 30: The New Generation, and it wasn’t just the dancers. Percussionist Mark Alfred, uilleann piper Cathal Croke, saxophonist Emma McPhilemy, and fiddler Haley Richardson rocked out between dances, cheered on dance members and invited audience members to clap along.

If you’re looking for a lighthearted celebration of dance, complete with sparkly outfits and an impressive cast of dancers and musicians who are clearly in it for the love of the art.