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Contests
The Winners of Our Seventh Annual Pupil Review Contest
Read critical commentary by teenagers on "West Side Story," Crumbl Cookies, Baby Keem'due south new album and more.
What are teenagers today watching, reading, eating, wearing and listening to? Our annual Review Contest, in which students are invited to play critic and submit original reviews about any kind of creative expression covered in The New York Times, gives usa a glimpse into the art, culture and engineering science young people are loving — and loathing.
This yr, the subjects include "Dickinson," the Kobe four Protro sneakers, a documentary on whales, "West Side Story," Babe Keem'due south new album, gunpowder art, Crumbl Cookies, "Squid Game," Olivia Rodrigo, an NFT fine art exhibit, the Apple Pencil, skate shoes, Harry Styles, "Othello," Minecraft, corn muffins, Pearl Jam, a New York City park and much more than.
Of the nigh 4,000 entries nosotros received from immature people from around the world, our judges selected nine winners, 15 runners-up and 25 honorable mentions. Below you can read the top reviews, which were chosen for their clever employ of language, insightful perspectives and engaging commentary. Whorl to the bottom of this post to see the names of all of the finalists.
And if you enjoyed this claiming, don't forget our STEM writing contest, going on now, as well equally our editorial and podcast contests that open this spring.
Here's what you'll find below:
- The Winning Reviews
- All Finalists
The Winning Reviews
'Dickinson': Drunk on Imagination and Unapologetically Feminist
Past Tina Mai, age 16, St. Margaret'due south Episcopal School, San Juan Capistrano, Calif.
No one imagines the meridian of American literature as a carriage ride with Expiry, a giant talking bee, a twerking trip the light fantastic-off and a stroll with Nobody. Merely this is "Dickinson," Alena Smith'due south imaginatively raw, genre-defying retelling of an creative person struggling as a marginalized voice. Now in its last flavour, the Apple tree Idiot box+ series follows Emily Dickinson (Hailee Steinfeld) equally she navigates adolescence in 19th-century society. What ensues is an advanced love letter of the alphabet to a Transcendentalist icon, remixed with magical realism and 21st-century popular culture — just every bit defiant as its heroine, merely as rebellious as teenagers today.
As a young female poet, I was nothing short of amazed when I met Smith's version of Emily: a teenage misfit every bit characteristically Gen Z as Steinfeld's previous role in "The Edge of Seventeen." Ane moment she's penning a magnum opus, the side by side she's throwing a house party and complaining most getting her period. By fusing history with a coming-of-historic period dramedy, Smith intentionally makes the evidence anachronistic (characters driblet pickup lines like "You lot look hella ripe" and share "hot goss" at sewing circles). Historically inaccurate? Who cares — the bear witness's true accuracy lies in its portrayal of adolescent uncertainty, making it and so radically relevant for teens like myself.
Though whimsical interpretations make some scenes feel like a surreal fever dream, "Dickinson" remains earnest past transforming absurdities into lessons on identity. In ane episode, Emily hallucinates a shadowy, Daliesque circus earlier being chosen "the greatest freak of them all" — it's a homage to our innate fearfulness of non plumbing equipment in, but as well a message of embracing our true selves. Meanwhile, the poet's fight against the control of powerful men unveils Smith'south feminist vision. In the episode "The Daisy follows soft the Sun," the bear witness delivers its message for women who feel unheard and voiceless: "Refuse to be the daisy and offset existence the sun."
Thus, the writers are unapologetic when championing female characters (with 50.G.B.T.Q.I.A.+ and minority representation in the spotlight), who rise like witty mavericks in insubordinate mode. Sue (Ella Hunt), whose relationship with Emily is supported by scholarship on the real Dickinson's sexuality, delivers a hauntingly honest line: "The minute we [women] go a piffling bit of fame, or bear witness the slightest amount of ambition, we go slapped with the nastiest comments." With that, "Dickinson" earns a poignant urgency — like a palimpsest, it embeds our modern tertiary-wave feminism atop the commencement-wave feminism of Emily'due south time.
So here's to all the women and teens who have been silenced, who are reclaiming their ambition, and who are penning their own identity. "Dickinson" — brilliant, innovative and utterly unforgettable — empowers us to not be daisies following conventional suns, but to be our own sunday, unafraid to share our voice and unfettered from expressing our true selves.
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This night, Tonight, 'W Side Story' Is Full of Light
By Edward Simon Cruz, age 16, W Windsor-Plainsboro High Schoolhouse N, Plainsboro, N.J.
Musical theater is, at its best, exhilarating and immersive. The tricky tunes, dynamic choreography and live surroundings form an feel that cannot be replicated anywhere else. No wonder motion picture adaptations of musicals frequently fall flat.
"West Side Story" provides an interesting exception to the rule. The musical and its 1961 picture adaptation are both notorious for their inauthentic depictions of Puerto Ricans, but they remain cultural touchstones. In an age of remakes, some other adaptation of a semi-problematic work could very easily fall flat.
This one, thankfully, does non.
Director Steven Spielberg and screenwriter Tony Kushner made several wise adjustments, like casting Latinx actors equally Latinx characters and adding dialogue that mixes English and unsubtitled Spanish. These changes do not erase the original's issues, but they exercise assistance reimagine "West Side Story" for a new era.
The famous score from Leonard Bernstein and the recently-passed Stephen Sondheim remains, and the Shakespeare-inspired premise still revolves effectually two star-crossed lovers (the white Tony and the Puerto Rican Maria) associated with rival gangs (the Jets and the Sharks, respectively) in 1950s Manhattan. While Ansel Elgort is only serviceable as Tony, newcomer Rachel Zegler is graceful in Maria's softer scenes and achingly vulnerable amid her heartbreaks. The supporting performers, many of whom are Broadway veterans, are all commanding presences: Mike Faist and David Alvarez bring border every bit Riff and Bernardo (the leaders of the Jets and Sharks, respectively), and Ariana DeBose'south lively portrayal of Bernardo'southward girlfriend, Anita, lives up to Rita Moreno's Oscar-winning performance in the same function.
Spielberg combines these performances with Janusz Kaminski's absorbing cinematography and Justin Peck'due south abrupt choreography to create musical sequences that are in themselves exhilarating and immersive, particularly when viewed in a big theater. Some numbers, like the vibrant "America," could have come from a classic Technicolor extravaganza; others, like the toe-tapping "Absurd," are inventive in using their environments, exist they platforms hanging over the h2o or displays in a department shop. One reprise of "This night" encapsulates this pic'south strengths, using overlapping voices and quick cuts to crescendo both musically and emotionally in the buildup to a climactic fight.
In Spielberg's hands, "West Side Story" is both a glorious throwback and a grittier update. It'southward also a poignant tribute to the living fable Rita Moreno and the late legend Stephen Sondheim. Fittingly, Moreno appears every bit a wise mentor, bridging the gap between past and present in a film that purports to bridge the gap between stage and screen. She even gets one of the evidence's well-nigh iconic (and heartbreaking) numbers, singing, "There's a place for the states / Somewhere, a place for us."
There is, indeed, a place for some other "West Side Story": right here.
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A Piffling Isle With a Not-So-Little Ego
Past Colin Kim, historic period 16, Groton School, Groton, Mass.
A vibrant drove of vlogs gushes over New York Urban center'due south newest allure, the "floating oasis" Piddling Island. An bogus skerry at the once drawn Pier 55 correct in the middle of the Hudson River, it's new, information technology's unique and information technology's definitely eye-catching. It's habitation to evergreen gardens, families of lush copse and even a festive amphitheater that are sure to glow upward Instagram feeds. Even so, it's the exact opposite of what it's supposed to correspond. Parks are for families, for experiencing the peace and cohesion that our planet organically gifts u.s.a., values that are nowhere to be seen within the bulky belly of Little Island.
The edifice is supported by an assortment of plump physical foundations the designers call "tulips." These poles are shaped in an inorganically rigid way, cartoon an odd dissimilarity with the authentic flora on the isle itself, and they ultimately juggle with visual instability past precariously cramming all their mass toward their peaks. At that place are over a hundred of these pillars, each of which holds a unique superlative, a haphazard collection composing a complexly unbalanced organization. It is hard to see that such visual clutter was designed with visitors in mind, reverse to the claims of Barry Diller, the developer, who hoped to "see people being actually happy." Whilst the novel structure may capture attention at start, it just doesn't fit with the aesthetic of a "park," in which familiar comfort should embrace each and every passing family. In the colorful district dubbed the "Playground," no swings, seesaws nor jungle gyms are in sight, and no dogs skip around the designer furniture.
The ironic juxtaposition of a man-made structure that roots off the natural mural demonstrates how Picayune Isle accomplishes its goal in the least organic mode possible. Even the Ancient Greeks warned us not to mess with nature: They passed downwards the stories of Phaethon, who grabbed the sun chariot from the gods, and so proceeded to nearly burn and freeze the Earth simultaneously. Like Phaethon's disorderly driving routes did to our planet, Piffling Island intrudes into the scenery of our Hudson River with a dizzying assortment of man-made tourist attractions. The pavement pushes us through predetermined pathways and separates us from freely exploring the greenery. It's all very jarring: The image of the mega-rich throwing around obscene sums of money to lure in the blindly joyous masses with a contrived projection of "nature" could have been pulled straight from a dystopian screenplay.
Picayune Island, much like an untouchable contemporary art slice at the nearby Whitney Museum, is the most attracting from afar. Up shut, it's an unfriendly extrapolation of the ideas of its cocky-conscious creators, non a resort for New York City and its families.
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'The Melodic Blue': The Cool Hues of Infant Keem
By Brian Li, age 17, West Windsor-Plainsboro Loftier School N, Plainsboro, North.J.
Off-kilter drum sequencing, baroque inflections amplified with ingenious uses of Auto-Tune, ridiculous lines well-nigh "diabetes in a jar," and haunting chants over ethereal chords — all actors forming the mesmerizing cacophony that is California rapper Hykeem Jamaal Carter Jr.'s debut album "The Melodic Blue." More often recognized as Kendrick Lamar'south cousin, Baby Keem has nonetheless carved his ain path combining the potent delivery and the budding lyrical chops of his elder cousin with experimental trap beats and an eccentricity that reflects the eclectic and wild spirit of Gen Z. This album is a pivotal jump from Keem simply making social media hits to becoming a more fully-fledged creative, and he sticks the landing.
"Trademark USA" begins with a poignant poetry pondering success and a distant relationship over a spacey instrumental, then abruptly switches to Keem unwaveringly delivering bar after bar over a whining, warbling trap beat — an invigorating start emblematic of the album to come. On this track, too as the incensed "Vent" and the jarring "Cocoa," Keem'southward yelps, veering flows and instrumental experiments come up to fruition in a wonderfully energetic form. His manipulated vocals — contorting, straining as a synthesizer of their own — are refreshing in an often homogeneous hip-hop landscape, and simply make for a fun listen.
Keem's unique compositions and sometimes unhinged rapping may turn off and so-called "hip-hop purists," but they are what gives this album grapheme. "Range Brothers" features iii shell switches, with each leg of the track as beautifully cool as the concluding. Punchy drums experience offbeat with pauses punctuated by Keem'southward staccato delivery, and intertwined song and string samples construct a grandiose stage. Keem's Motorcar-Melody-drenched droning that he "needs a girlfriend" is ludicrous, but such moments make the album memorable in all of its confusing glory.
Fifty-fifty with these idiosyncrasies, Keem is capable of writing the melancholy, introspective tracks that the name "The Melodic Blue" implies. "Issues" is a somber reflection on family life torn autonomously by poverty and addiction over sleepy chimes, and "Scars" is a pulsating anthem with a truly heart-wrenching refrain: "I ask God / Why this life you gave so hard? / Why all the choices that I make exit me with scars?" The modulating synths and crooning vocals on "sixteen" are similarly evocative.
With a clashing musical menagerie just a track away from atmospheric pianos that exit listeners contemplating life, this album is a variety of dissonant shades, yet they all gleam bluish on Keem's canvas. Aye, some of the production is crude effectually the edges, some of the lyrics are outright nonsensical (possibly lovably so), and some of the anthology feels disorienting, but Baby Keem'due south eccentric and unbridled creativity ultimately triumphs in the vivid sonic journey that is "The Melodic Blue."
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'Only Murders in the Building': An Ingeniously Comedic Take on True Crime Podcasting
Past Maeva Andriamanamihaja, age 16, Battlefield High School, Haymarket, Va.
Almost no one could take dreamed up a world where Steve Martin, Martin Short and Selena Gomez would be working together. Just, identify the unlikely trio in the thick of a New York-ready murder mystery, and their palpably wholesome chemistry volition unfold as the laughs roll in. The Hulu original comedy series follows 3 neighbors podcasting their own investigation of the death of a resident in their apartment. Rooted in its twisty plot and playful humor, "Only Murders in the Building" strikes comic relief gold.
At first glance, the murder mystery one-act feels "Knives Out"-ish with its premise and sleek visuals. We rapidly larn, though, that the series is in a lane of its own, revamping the tried and true whodunit for the age of the podcast. Keeping me at the border of my seat until the very stop, the trio leads viewers through a miscellaneous group of murder suspects, one of whom is Constabulary frontman Sting?
For consumers of truthful offense content like myself, the apprentice sleuths' adventures deliver the same boom-biting twists, only with a humorous dose of the less climatic. Capturing the ill-timed sponsor breaks and pesky vocalisation-over retakes, viewers get the behind-the-scenes reel of a murder mystery podcast. We are even granted admission to co-hosts Oliver and Charles's recording sessions from a cramped closet where the "acoustics are meliorate." Completely merging comedy and the murder mystery is an endeavor most writers wouldn't touch with a 10-foot pole, but the series manages to notice its vocalisation without losing sensibility.
"Only Murders in the Building" besides makes a point of zeroing in on the muddled ethics of truthful crime entertainment. Nosotros are forced to examine the exploitation of information technology all when we see Oliver focused on producing riveting content instead of finding the killer. "I'yard looking for motive; I'thousand looking for means; but most of all, I'm looking for moxie," he says in an overview of the suspects, epitomizing the consequence of sensationalism in the genre. The series pushes viewers to consider their identify in true crime media'southward moral grey area.
While its star-studded leading cast may accept been the show's greatest attraction, nosotros go an intimate expect at other characters' perspectives besides. "The Boy From 6B," an entirely nonverbal episode — save for the final line — centers on a deaf resident, Theo Dimas. Well-executed and narratively effective, viewers are put in his indicate of view for 30 minutes in this standout installment of the series.
Hulu's nigh watched original comedy "Only Murders in the Edifice" establishes itself not just equally an innovator of the murder mystery, but of the modern television show, distinguishing its title on the list of must-see TV.
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This Cookie Will Crumbl
Past Carolyn Considine, age 17, Acalanes Eye for Independent Study, Walnut Creek, Calif.
Crumbl Cookies is more marketing phenomenon than cookie. Equally a culinary experience, information technology'south a manufactured carbohydrate rush that borrows much from the playbook of Krispy Kreme's early 2000s stampedes. Information technology offers a Disney-esque round-the-block queue that draws cookie pilgrims into a modest pinkish and white Easy-Bake-Oven-inspired open up-concept kitchen. Eggs crack, frosting is piped, and everything smells of carbohydrate and butter — even through an N95 mask. The cookie-baking experience, as much every bit the nearly 700-calorie cookies themselves, is what's for sale.
Yet dissimilar Crumbl's glazed doughnut predecessor, the main outcome happens online afterward customers leave the shop to post their Crumbl Reviews. It is a cookie engineered for the influencer age. Actually eating cookies takes a back seat to food photography and online ranking. Patrons snap staged photos of their four to 12 selected cookies, rating each 1 to 10. The company celebrates the "totally Instagrammable!" cuteness of its production, a merits more or less confirmed by the 8.6 one thousand thousand views of #CrumblCookieReview and the 287.3 1000000 views of #CrumblReview on TikTok.
Inbound Crumbl feels like a distinctly Apple-store feel of minimalistic white with the addition of millennial pink accents. A contactless iPad ordering counter completes the artful. Afterwards twenty minutes in line, in a haze of cookie dough aroma, I approached the tablet with my long-considered order: two Churros, a Double Trouble, a Turtle, an Orange Curl and a Milk Chocolate Chip (their only nonrotating choice). Then more than waiting, this time in a roped-off area for observing a functioning that combines cookie-spewing mod baking machines with a meticulous associates-line of frosting and battle. Every Monday, five new flavors driblet. Cookies are well-nigh never repeated, and Crumbl boasts over 170 recipes. Sat at midnight is peculiarly busy, offering one final hazard to sample express-edition selections before they disappear, possibly forever.
Nonetheless beneath all of this ingenious manufactured hype, I couldn't quite look past i glaring contradiction. While my six cookies were indeed a dissimilarity of well-baked exterior and gooey interior, they were besides easily divisible and revealed no signs of crumbling. Bert might even approve of Ernie eating them in bed. One event of this doughy underbake is that beneath each cookie lay a grease ring, grease which clung to my hands and my lips, too. My #CrumblReview? The only cookie I fully consumed was the satisfyingly melty Milk Chocolate Chip. I'd requite it an 8. The Churros' carbohydrate was overpowering (v), Double Problem was basically a chocolaty-er chocolate chip (eight), Turtle suffered from NutraSweet-like artificiality (three), and Orangish Whorl was overwhelmed past a sweetness cream cheese frosting more Safeway cake than cookie (ii).
While these too-large caloric Mack Trucks may decline to crumble themselves, it is only a thing of fourth dimension before the online novelty that fuels their flavour-of-the-calendar week mania does.
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'My Year of Rest and Relaxation': Ottessa Moshfegh Reckons With Privilege, Dazzler and Ambien
By Salma Reda, historic period 16, Jumeirah Higher, Dubai
Whether she does it via a thorough polysyndeton ("tall and thin and blond and pretty and young") or a gnomic vulgarity ("hot shit"), the unnamed protagonist of Ottessa Moshfegh's "My Year of Residual and Relaxation" will make sure you know she'southward beautiful. Speaking from a foreign, morbid enclave between consciousness and unconsciousness, the central character provides a whole host of these self-diagnosing insights. Speaking of cocky-diagnosis, she's only about to take three lithium, two Ativan and v Ambien. Check it out.
Set in pre-nine/eleven New York City, Moshfegh's 2018 novel has all the corrupt ennui of vivid fin-de-siècle literature. The beautiful, recently orphaned scion of an flush WASP family, our master grapheme initially "only wanted some downers to drown out my thoughts and judgments." In a furiously drawn buildup, she decides she wants to spend as few hours of the twenty-four hour period awake as possible. "A twelvemonth of residue and relaxation," she dubs her quest to lull herself into a narcotic-induced country of unconsciousness. She'll finally be rid of all the beefy appendages that come with being awake: her needy college friend Reva, her older kind-of-boyfriend Trevor, her quack doctor Tuttle ("whore to feed me lullabies") and her creepy fine art-gallerist friend Ping Xi. Every aspect of the protagonist's privileged Y2K milieu is realized with withering causticism. This is where Moshfegh's writing thrills — in her scathing social taxonomy. A particularly damning passage in which she describes her finance-bro boyfriend Trevor: "I'd choose him a meg times over the hipster nerds … reading David Foster Wallace, jotting down their brilliant thoughts into a black Moleskine pocket notebook … passing off their insecurity as 'sensitivity'." Moshfegh breathes new life into that eternal dichotomy — jock versus nerd, cultured versus uncultured — all with the somehow-timeless syntax of gauche 2000s pop culture.
Toward the end of the novel, the protagonist's bumbling doctor contends, with uncharacteristic penetration, "look deeper and deeper and eventually yous'll find nothing. We're mostly empty space. We're mostly aught." I'm not wholly inclined to believe Moshfegh's performed misanthropy, though. Undergirding "My Year of Rest and Relaxation" is a wonderful, anachronistic reverence of art. Whether it's in the 19th century portraiture that graces the now-iconic embrace, or the main graphic symbol's fine art history education ("cultured," she calls herself, with a halfhearted narcissism), it's articulate that Moshfegh is deeply protective of art. "I've defended a lot of my life equally a writer to understanding … the music of the spheres," she confesses in an interview, with an almost hippyish worldliness.
For a pandemic-ridden populace, the protagonist's soporific chrysalis takes on a newly appealing allure. For that enduring subsection of the population — the eternal grouping of malcontented teenage girls enamored with a beautiful-withal-tortured ideal — the novel should delight.
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'Entangled' Trades Activism for Honesty
By Jacob Mulliken, age 16, Milton University, Milton, Mass.
An developed whale lies motionless on a Maine beach as an excavator heaves its dilapidated carcass from the h2o. Volunteers and scientists mill almost, looking on at the crude scene unfolding before them. It'southward this sort of raw particular that characterizes filmmaker David Abel'southward new documentary "Entangled" (2020), which chronicles the political, economic and social consequences of the fight to relieve the North Atlantic correct whale from extinction.
Abel'southward film focuses primarily on the leading cause of death for right whales: entanglements with line-fishing and lobster lines. Scattered throughout the motion picture are images of these gruesome injuries, which occur when ropes connecting buoys to lobster traps ensnare whales and cut deep into their mankind. Throughout the film, Abel provides historical footage showing right whales being dismembered for their blubber; these pictures are often hard to look at.
But just as we're made to feel for the whales and their predicament, nosotros're too made to feel for the humans whose lives are intertwined with the mammal's survival. The motion-picture show follows a wide cast of characters, counting lobstermen, environmentalists, policymakers and scientists among its ensemble. While most of them remain fairly neutral and grounded in their interviews, the controversy of Abel's bailiwick is underscored past the moments in which they break this mold: an activist yells profanities at an official, a marine biologist breaks downwardly into tears, and a Maine politician riles up crowds with aroused rhetoric.
However, the inclusion of these outbursts never feels overdone, and, for the nearly office, serves as a counterbalance to whatever complacency on the viewer'south part. By underscoring the emotional tension the issue holds for its stakeholders, nosotros are forced to go invested in their plight. Particularly gratifying are the interviews with one Cape Cod lobsterman, who comes across as the most even-keeled of all the talking heads. He cares well-nigh the future of his profession, threatened by seasonal bans on lobstering, just also about preventing the correct whale'due south extinction.
Though never heavy-handed, the documentary sometimes overwhelms with detail. Scenes from policy meetings fiddle in the inaccessible, occasionally dealing in minutiae too specific for the average viewer to grasp. All the same, these brief moments of confusion stand vastly overshadowed by the remainder of the film's narrative luminescence, its private stories woven together into a tapestry of tragedy. The picture show'southward grace in dealing with such controversial subjects is unsurprising, considering Abel's prior work roofing active wars in the Balkans and violence in Latin America. Most remarkable of all is the flick's unwavering commitment to fairness, a feature often lacking in environmental documentaries. The project ultimately eschews activism — a term Abel himself rejects for his work — in favor of honesty, leaving the states more than uncomfortable than earlier.
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Gunpowder: A Symbol of Violence or a Beautiful Ritual for Humankind?
By Yiyun Hu, age sixteen, Shanghai Qibao Dwight Loftier Schoolhouse, Shanghai
Explosions in art often stand for fear and destructiveness; yet, in Cai Guo-Qiang's hands, they become the embodiment of mystery and beauty. In Guo-Qiang's latest exhibition, "Odyssey and Homecoming," which features hundreds of works that use gunpowder to recreate old masters of Western art, he shows us the shamanic power of gunpowder as an artistic medium that bridges nature and canvas in aboriginal and contemporary worlds.
In Guo-Qiang'due south work, the aboriginal weapon is artistically transformed into a modern visual language. In "Painting Rubens's Diana and Satyrs," for example, Guo-Qiang uses speckled traces left by the explosion to create a psychedelic smoke fog over the wood, reproducing the intense atmosphere in a different fashion. Compared to oil paintings with classical and elegant styles, Guo-Qiang's "Diana and Satyrs" uses randomness brought past the explosions to create graffiti and neon furnishings, which is more in line with the visual aesthetics of mod urbanites. Those traces of gunpowder explosions silently record the dialogue between old masters and the contemporary creative person.
Traveling through time and space, Guo-Qiang first takes Chinese audiences on a journeying through the Western classical menstruation and contemporary fine art. Adjacent, it's time to go dwelling. His virtual reality work, "Sleepwalking in the Forbidden Urban center," echoes "Homecoming" in the championship of the exhibition. "It's a daydream defended to the grand history of the Forbidden City," Guo-Qiang said. He takes Shanghai audiences on a visit to a legacy thousands of miles away; he invited professional craftsmen to build a miniature version of the white marble palace and used V.R. engineering to record the stunning fireworks above the palace. Cue the multicolored fireworks, and the Forbidden City, which has been sleeping for 600 years, gradually becomes filled with color and glows brilliantly again. The crackling sound of fireworks awakens the aboriginal relics of Guo-Qiang'due south motherland.
Gunpowder is an aboriginal weapon that had been given the meaning of destruction and killing thousands of years ago. Now, Guo-Qiang has redefined it as a medium for connecting the past and the future. Using gunpowder equally his language, Guo-Qiang speaks to the souls of the past masters; color is his vocabulary, texture is his syntax and fireworks are his voice. He is not restricted by identity, race or gender, nor does he make a specific group the target of his creations. Instead, he creates for all mankind as ane man existence. In an era when travel bans are however in effect, Guo-Qiang's art takes audiences on a fantastic journey across time, place and Western art history.
All Finalists
In alphabetical order by the writer's last proper name.
Winners
Maeva Andriamanamihaja, age xvi, Battlefield High Schoolhouse, Haymarket, Va. : "'Only Murders in the Building': An Ingeniously Comedic Take on Truthful Offense Podcasting"
Carolyn Considine, age 17, Acalanes Center for Independent Study, Walnut Creek, Calif.: "This Cookie Will Crumbl"
Edward Simon Cruz, historic period 16, West Windsor-Plainsboro High Schoolhouse Due north, Plainsboro, North.J. : "Tonight, Tonight, 'West Side Story' Is Total of Light"
Yiyun Hu, age 16, Shanghai Qibao Dwight Loftier School, Shanghai: "Gunpowder: A Symbol of Violence or a Beautiful Ritual for Humankind?"
Colin Kim, historic period 16, Groton Schoolhouse, Groton, Mass.: "A Petty Island With a Non-And so-Little Ego"
Brian Li, age 17, W Windsor-Plainsboro High School North, Plainsboro, N.J.: "'The Melodic Blue': The Absurd Hues of Baby Keem"
Tina Mai, historic period 16, St. Margaret's Episcopal Schoolhouse, San Juan Capistrano, Calif.: "'Dickinson': Drunk on Imagination and Unapologetically Feminist"
Jacob Mulliken, age xvi, Milton University, Milton, Mass.: "'Entangled' Trades Activism for Honesty"
Salma Reda, age 16, Jumeirah College, Dubai: "'My Year of Rest and Relaxation': Ottessa Moshfegh Reckons with Privilege, Beauty, and Ambien"
Runners-Up
Ananya Balaji, age 15, American High Schoolhouse, Fremont, Calif.: "Why Women Can Win: Netflix's 'The Baby-Sitters Lodge'"
Carson Crays, historic period xvi, Carroll Senior High School, Southlake, Texas: "'Squid Game': An Exciting Storyline With a Mediocre Ending"
Aryav Desai, age 16, Crystal Springs Uplands School, Hillsborough, Calif.: "'Bo Burnham: Within': No One Laughing in the Background"
Eric: "Blonde: A Mod Masterpiece"
Michael Gan, historic period 15, Dulwich College Shanghai Pudong, Shanghai: "Ruishilou: Dazzler Born Out of Necessity"
Siya Gupta, age 15, Herricks Loftier Schoolhouse, New Hyde Park, Northward.Y.: "Requiem for a Still Needed Dream"
Momo Horii, historic period sixteen, American School in Japan, Tokyo: "Losing Your Vocalization Through Grammarly"
Sonja Jugo, age 16, Dusk High Schoolhouse, Portland, Ore.: "'Shang-Chi and the Legend of the Ten Rings'": Trope or Trailblazer?"
Yaejoon (Jay) Jung, historic period 14, North London Collegiate School Jeju, Seogwipo, Republic of korea: "There Are Bad Shoes and Terrible Shoes. And then You Take the Kobe 4 Protro"
Justin Khim, age 16, Dandy Neck S High School, Great Neck, N.Y.: "Goodbye, Graphite!"
Angela Ya Xin Lu, age 16, University Loma Secondary School, Vancouver, British Columbia: "'Never Have I Ever' … Actually, Yes. I Have."
Malini Sampath, age 16, Carroll Senior Loftier School, Southlake, Texas: "A Window Into Another Earth"
Lakshmi Sunder, historic period xvi, Kinder High School for the Performing and Visual Arts, Houston: "'The Jasmine Throne' by Tasha Suri Changed My Perception of What an Indian Woman Tin Exist"
Zi Wang, historic period 17, Shanghai Qibao Dwight High School, Shanghai: "'Blüht und Lügt': Lost in Colors"
Tune Zhang, age 17, Fremont Christian School, Fremont, Calif.: "'Wandavision': A Report in Ruddy"
Honorable Mentions
Ava Anderson, age 17, Ames High School, Ames, Iowa: "'On Earth Nosotros're Briefly Gorgeous': A Quintessential Piece of work of American Literature"
Matthew Belcrest, historic period 18, Academy Liggett School, Grosse Pointe Woods, Mich.: "Pearl Jam'due south 'Ten,' 30 years Later"
Omar Elbadawy, historic period 13, Birchwood Schoolhouse of Hawken, Cleveland: "Searching for Italian republic"
Izzy Fruehauf, historic period sixteen, University Liggett School, Grosse Pointe Wood, Mich.: "A Eatery Worth Its Weight in Gold"
Wanqing Gao, age 16, Tabor University, Marion, Mass.: "Art Basel 2021 Representing the 'Miami Movement': A Modern Renaissance"
Maya Gest, historic period 13, Cedarbrook Middle School, Wyncote, Pa.: "'1984': Outdated in Every Fashion"
Fiona Gu, age 16, YK Pao School, Shanghai: "'Speak of Me as I Am': The Way 'Othello' Was Meant to Exist Seen"
Gage Huff, historic period 17, Westward Shore Junior/Senior High School, Melbourne, Fla.: "'Spencer': An Intricate Portrait of a Real Woman Seen Only as an Icon"
Ashrita Kollipara, age 16, Due west Windsor-Plainsboro High School South, W Windsor, Due north.J.: "Ravishing: The Rose in Fashion: A Artistic and Historical Enkindling"
Shangqi (Peter) Lin, historic period 12, United Nations International School, New York, N.Y.: "Minecraft'south ane.18 Update Is the Ultimate Middle School Stress Reliever"
Serena Liu, age 15, Parkway West High School, Ballwin, Mo.: "Mars House: Non Quite Out of This Globe"
Maya Menon, age xv, Sunset High School, Portland, Maine: "Lana Del Rey's Verses Versus the Critics: 'Norman F——— Rockwell!'"
Zach Nish, historic period 15, Clark Magnet High School, La Crescenta, Calif.: "Long Alive the Skate Shoe"
Enya Pinjani, age 17, Carroll Senior High Schoolhouse, Southlake, Texas: "'Sour': A Different Have on America's 'Teenage Dream'"
Heather Qin, age 15, Ridge High School, Basking Ridge, N.J.: "Daring, Hilarious and Hearty: 'Gintama,' a Master Class Deconstruction of Mainstream Anime"
Erin Rasmussen, historic period xv, St. Mark'south Schoolhouse, Southborough, Mass.: "The Corn Muffins That Changed My Life"
Madison Nicole Rojas, historic period 17, Mayfield Senior School, Pasadena, Calif.: "Harry Styles in Concert: Spreading Credence and Love on Tour"
Poorvi Sarkar, age 17, Glen Ridge High School, Glen Ridge, N.J.: "Never Volition I Ever: Toying With Representation"
Nathan Shan, age 16, Montgomery Blair High School, Silver Leap, Physician.: "'Shang-Chi and the Legend of the 10 Rings': A Mod Take on the Disappointed Dad"
Simon Sidney, age 16, Waynflete School, Portland, Maine: "'Say That Y'all Were Born Here': A Review of an Viii-Yr-Old 'Illegal' Immigrant's Tale of American Poverty"
Ella Siebentritt-Clark, age 17, Foxcroft Schoolhouse School, Middleburg, Va.: "'Proficient Days': A Reflection on Hope and Happiness"
Caroline Song, age 14, Boston Latin Schoolhouse, Boston: "'The Untamed': A Story of Hazard, Disobedience and Love"
Sanya Tinaikar, historic period sixteen, University Scholars Program — PALCS, Chester County, Penn.: "'Loving Vincent': A Fusion of Unparalleled Artwork and Emotion"
Jiarui Wu, historic period 19, Hwa Chong Institution, Singapore: "'The Boxing at Lake Changjin': Mere Propaganda?"
Maggie Yao, historic period 17, Canyon Crest Academy, San Diego: "'Cats & Soup' a.k.a. Purr-fection"
Thank you to our contest judges!
Kirsten Akens, Erica Ayisi, Julia Carmel, Amanda Christy Chocolate-brown, Nancy Coleman, Kathryn Curto, Nicole Daniels, Dana Davis, Shannon Doyne, Jeremy Engle, Caroline Gilpin, Michael Gonchar, Annissa Hambouz, Kari Haskell, Callie Holtermann, Jeremy Hyler, Susan Josephs, Tina Kafka, Shira Katz, Stephanie Kim, Megan Leder, Phoebe Lett, Sue Mermelstein, Amelia Nierenberg, John Otis, Ken Paul, Natalie Proulx, Katherine Schulten, Ana Sosa, Tanya Wadhwani and Kimberly Wiedmeyer
Source: https://www.nytimes.com/2022/02/15/learning/the-winners-of-our-seventh-annual-student-review-contest.html
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