Happy Friday Newsletter March 21st, 2025

Arts & Entertainment

• The Grand Hosts a Twin Peaks Weekend of (David) Lynchian Delights March 28 & 29th
  • Twin Peaks fans can immerse themselves in the eerie world of David Lynch’s cult series at the Twin Peaks: Fire Walk With Me event on March 28 and 29, hosted by Weird Elephant at The Grand Cinema. The event features a screening of Fire Walk With Me, a costume contest, exclusive memorabilia, and live music on March 29. Fans can also sit in an actual chair from the Black Lodge, thanks to Twin Peaks superfan Jason Mattson, and get a professional photo. The costume contest offers prizes, including high-quality David Lynch posters. On March 29, The Black Lodge Quintet, featuring notable local musicians, will perform haunting Twin Peaks music live before the screening. The evening will include themed trivia, photo ops, donuts, pie, and “damn fine coffee.” In addition, Thank You For The Dreams – A David Lynch Retrospective runs from March 21 to April 3, showcasing Lynch’s major works like Blue Velvet, Mulholland Drive, and Dune. Tickets for both the Twin Peaks event and the Lynch retrospective are on sale now.

• Museum of Glass Installing Ikebana Exhibition, Celebrates Japanese Flower Arranging
  • Glass in Bloom: An Ikebana Exhibition at the Museum of Glass showcases 18 glass pieces from the museum’s Permanent Collection that have inspired ikebana (Japanese flower arranging) artists. The exhibition runs from March 19 to April 13 and celebrates the harmony between glass and ikebana, highlighting the shared principles of design that enhance the beauty of both mediums. On March 22 and 23, members of Ikebana International Seattle Chapter No. 19 and Tacoma-Olympia Chapter 147 will display 44 floral arrangements inspired by the glass pieces. A ribbon-cutting ceremony will take place at 11 am on March 22, followed by ikebana demonstrations from 1 pm to 3 pm both days. All events are included with Museum admission.

• Tacoma Historical Society Hosting Golden Gala at Rust Mansion April 5th
  • Join the Tacoma Historical Society on April 5th at 7 p.m. for their Golden Gala at the Rust Mansion. This elegant evening will feature live music, drinks, local foods, and a special talk by Peter Altmann about his great aunt, Adele Bloch-Bauer, the subject of Gustav Klimt’s famous Woman in Gold. Peter will share insights into the painting’s history, the artist, the movie adaptation, and his mother’s fight to reclaim the artwork from the Nazis. Guests are encouraged to wear formal attire, with thematic gold being admired but not required. The evening will also include a silent auction, with all proceeds supporting the Tacoma Historical Society’s mission to preserve and promote Tacoma’s history. Tickets are available at this link. For more information, contact [email protected] or call (253) 472-3738.

• Watercolor Paint & Pour March 22 at Barlow Gallery
  • Immerse yourself in an afternoon of creativity and inspiration as you learn water color techniques and sip some wine with one of the talented artists features at Barlow Gallery. Ina Xi is a Pacific Northwest painter and visual artist, whose painting style spans a wide spectrum, encompassing seascapes, cityscapes, landscapes and architecture. Tickets include everything you need to participate.

• Dukesbay Theater Presents: Bloomsday
  • “If you could give your younger self life-changing advice, what would you say?” Robert returns to Dublin to reunite with Cait, the woman who captured his heart during a James Joyce literary tour thirty-five years ago. Dancing backwards through time, the older couple retrace their steps to discover their younger selves. Through Robbie and Caithleen, they relive the unlikely, inevitable events that brought them – only briefly – together. This time-travel love story blends wit, humor, and heartache into a whimsical and almost poetic appeal for making the most of the present before it is past. You can see the production March 21st – April 6th. Fridays and Saturdays at 7:30pm, Sundays at 2:00pm. Tickets are $15 which includes coffee, tea and an assortment of cookies. Learn More.

Neighborhood News

• Old Town Getting Updates to Business District Bus Stops
  • Pierce Transit’s Board of Commissioners approved a project to replace bus shelters with a new smaller design with more durable and cost effective glass panels that will be more resistant to vandalism. Solar lighting will also be added where possible. The upgrades will enhance efficiency, appearance and customer experience. So far, 93 of the shelters have been replaced. $3.5 million in federal grants will support these ongoing replacements. This will also include special shelter types in business districts and accessibility upgrades at stops needing them, pending funding. You can find more information about the project at their website.

• Will These Road Closures Around the Sound Affect Your Commute?
  • I-705 ramps will be closed March 24-28 from 8am – 3:30pm along northbound I-705 and under the SR 509 interchange due to maintenance. The northbound exit to Schuster Parkway will be closed then as well along with the SR-509 on-ramps to Schuster Parkway in both directions.
  • South 21st Street will close between Jefferson Avenue and Pacific Avenue for six to eight weeks starting on Wednesday, March 26, 2025. Crews will be conducting work on the Prairie Line Trail Project, which will connect Downtown Tacoma to the waterfront. While work is taking place, please follow all posted detour signs in the area. The I-705/ SR 509 interchange adjacent to Pacific Avenue will remain open.
  • Due to a canceled contract, Spanaway Loop Road Project will be extended for an undetermined time as the county works to find a new contractor to finish the project. The road is still down to one lane open in each direction.

• Puyallup Tribe to Construct New Terminal in Port of Tacoma
  • The Puyallup Tribe and The Northwest Seaport Alliance (NWSA) have announced a historic partnership to construct a new terminal at Port of Tacoma in the East Blair Waterway. This collaboration aims to enhance the region’s shipping capacity and bolster economic activity.
    Under the terms of the memorandum of understanding, the Puyallup Tribe will fund, construct, and own the new pier, tentatively named the “Puyallup Tribal Terminal,” on approximately 22 acres of tribal property adjacent to the existing East Blair Terminal 1 (EB1). The EB1 terminal, operated by the NWSA, currently handles roll-on, roll-off (RoRo) and breakbulk cargo, including automobiles and heavy equipment. The new terminal will feature similar capabilities, incorporating on-dock rail and carbon reduction technologies to minimize environmental impacts. This development addresses capacity constraints at the Port of Tacoma, creating a two-berth facility with ample cargo handling acreage to support existing customers and attract new business. The increased capacity is expected to enable new cargo services to call at Tacoma Harbor, generating additional job opportunities on the waterfront and across the supply chain. The Port of Tacoma and the Puyallup Tribe have collaborated on preparatory work, including conceptual design, waterway depth analysis, and ship simulations, to ensure unimpeded vessel navigation to the piers. The U.S. Army Corps of Engineers has also been an important partner in the process. The Port will continue to work alongside the Tribe to finalize the design, permitting, and construction processes. This partnership marks a significant milestone, as no tribe has previously entered into such an agreement with a port. The collaboration is expected to position both the Tribe and the surrounding community for long-term economic growth.

Local Governance

• Replacement for Bryan Yambe’s Open Seat on Fife City Council Selected
  • The Fife City Council has selected Summer Andriyuk, a planning commission member and real estate broker, to replace Bryan Yambe as the District 1 representative. Andriyuk will be sworn in on March 25. She has been a member of the Fife Planning Commission since 2023 and works as a managing broker with John L. Scott Real Estate. A resident of the Benthien Loop neighborhood, she is married with two sons. Andriyuk applied for the position to make a bigger impact on the city and its residents.
  • She has worked on Fife’s 2024-2044 Comprehensive Plan and zoning updates, which are expected to be approved in June. She aims to enhance the city by improving downtown vibrancy, promoting walkability, creating more affordable housing, and preserving Fife’s small-town charm. Andriyuk is also committed to transparency and trust in local government. She will serve on the City Council until the November election, when a new representative will be chosen for the remainder of Yambe’s term, which ends in December 2027. Andriyuk may consider running for re-election if the role aligns well with her goals and commitments.

• Applications Open for Six City Events and Recognitions Committee
  • The Tacoma City Council is seeking applicants for six open positions on the City’s Events and Recognitions Committee (CERC), including positions representing Council Districts 3, 4, and 5, and three At-Large positions. All applicants must be Tacoma residents, with district applicants needing to live in the respective district. The 11-member CERC advises on City-hosted events, special events funding, and recognition programs. Committee members focus on civic engagement, volunteer contributions, and event planning, such as the City of Destiny Awards and the annual Dr. Martin Luther King, Jr. Celebration. The City of Tacoma encourages applications from diverse groups, including BIPOC, LGBTQ+, individuals with disabilities, seniors, youth, immigrants, and refugees, to reflect the community’s diversity. Appointed members must complete required trainings within 90 days of appointment. Applications are due by April 15, 2025. More information and application details are available at cityoftacoma.org/cbcapplication. For questions, contact Elizabeth Wing at [email protected] or (253) 591-5178.

• Pierce County Human Services is Seeking Proposals
  • Pierce County Human Services is seeking proposals from qualified organizations to develop and operate mobile opioid treatment units that will provide comprehensive care to underserved rural and suburban communities. These units will deliver Medication for Opioid Use Disorder (MOUD), counseling, harm reduction, primary care, peer support, telehealth, and other essential services. This initiative, funded through opioid settlement funds and the Comprehensive Opioid, Stimulant, and Substance Use Site-Based Program (COSSUP) from the Federal Bureau of Justice Assistance, aims to improve access to critical treatment and recovery services for individuals affected by opioid use disorder. Over $3.2 million has been allocated, with potential for additional funding. Proposals are due by May 5, 2025, at 2 p.m. For more information and submission guidelines, visit https://bit.ly/3QWjOEj.

Business & Opportunities

• The 2025 Washington State Nonprofit Conference is coming to Tacoma, May 20th
  • The Washington State Nonprofit Conference (WSNC) is the largest gathering of nonprofits in the state bringing together nonprofit leaders to learn, connect, and inspire. This year’s Washington State Nonprofit Conference will be online May 13-14 with in-person regional WSNC locations in Spokane (Friday, May 16) and Tacoma (Tuesday, May 20). Powerful keynote speakers, memorable workshops, and invaluable connections await! Come be a part of an active Conference community and connect with nonprofit peers from across Washington. At the 2025 Conference, we will explore the theme “Ready for Action” through online and in-person opportunities for learning, connection, and celebration. Actions are engaging, and can spark movements, excite donors, and lead to positive change. Actions can be small or large, visible to many or meant for oneself, taken on by an individual, team, or community. You will generate new ideas and discover resources that will help you leave Ready for Action!

• Tacoma City Council Seeking Applicants for Public Utility Board
  • The Tacoma City Council is seeking applicants for a position on the Public Utility Board, which oversees Tacoma Public Utilities, including Tacoma Power, Tacoma Water, and Tacoma Rail. The board consists of five members who are nominated by the Government Performance and Finance Committee and appointed by the City Council. Each term lasts five years, and applicants must be Tacoma residents.The City of Tacoma encourages applications from diverse groups, including BIPOC, LGBTQ+, individuals with disabilities, seniors, immigrants, and refugees, to reflect the community’s diversity. Appointed members must complete required training within 90 days of appointment. Applications are due by March 30, 2025, and can be submitted through the City Clerk’s Office at cityoftacoma.org/cbcapplication. For more information or questions, contact Elizabeth Wing at [email protected] or (253) 591-5178.

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Recreation & Wellness

• Labyrinth Adventure Escape Room Returns to Fort Nisqually
  • Trapped: A LABYRINTH Adventure has returned to the Fort Nisqually Living History Museum in Tacoma, WA, with updated puzzles and clues. Set in the historic Fort, surrounded by the forests of Point Defiance Park, participants are transported to 1855 when the Fort was a bustling trading post. Players act as allies of the Hudson Bay Company, decoding ciphers, interacting with artifacts, and solving puzzles to recover a map of the Northwest Passage from a thieving fur trader’s cabin. This immersive escape room experience is perfect for families, friends, and teams, offering an exciting challenge in a historical setting. It lasts 60 minutes, and groups of 4-8 players, aged 12 and up, are recommended. Reservations are required, and the price starts at $224. Book online at FortNisqually.org.

Film & TV Reviews

• Series Review: Adolescence – By Elizabeth Mulloy
  • Every year there seems to be a small, quaint series on Netflix, that takes the world by storm. A few years ago, it was Squid Games, last year it was Baby Reindeer, and this year it appears to be Adolescence. A series about a family’s world turns upside down when 13-year-old Jamie Miller is arrested for murdering a schoolmate. The charges against their son forces them to confront every parent’s worst nightmare. Adolescence is a profoundly somber series that fearlessly engages with pressing, often contentious themes, delivering them through some of the most visually arresting storytelling on television. However, despite its ambition and artistry, it isn’t without its flaws.
  • The brilliance of Adolescence lies in its groundbreaking approach to its cinematic storytelling. Each hour-long episode unfolds in a single, uninterrupted take—no cuts, no hidden edits, just pure cinematic bravado. The sheer level of craftsmanship, coordination, and precision required to pull off such a feat is nothing short of astonishing. What makes it even more impressive is how seamlessly the camera glides between locations, executing complex maneuvers like aerial shots, extreme close-ups, and sweeping arcs, all within the same continuous shot. It’s a technical and artistic triumph, and if there’s any justice, the show should be clearing space for an Emmy in Best Cinematography.
  • Each episode of Adolescence serves as a crucial piece in unraveling the crime and examining the devastating consequences of “incel” culture. In Episode One, we follow Detective Inspector Basombe (Ashley Walters) and Detective Sergeant Frank (Faya Marsay) as they track down and arrest the suspected murderer, Jamie (Owen Cooper), moving from his home to the tense interrogation room in the early hours of the morning.
  • This episode unfolds like a tightly-wound true crime thriller, keeping viewers on the edge of their seats as the arrest draws near and the first pieces of evidence are revealed. While it stands as the series’ most gripping episode, it also remains the most formulaic, a procedural at its core, following the well-worn beats of a classic crime drama. Nonetheless, it sets the stage with palpable tension, pulling us into the investigation with relentless pace.
  • Episode Two shifts its focus to the detectives investigating Jamie’s motive for killing Katie, as the school environment teeters on the brink of chaos. Teachers and officials scramble to maintain any semblance of control as students openly defy authority, bully each other in plain sight, and abandon all societal decorum, transforming the school into a dystopian nightmare reminiscent of Mad Max. In this environment, the fertile ground for resentment and hatred is disturbingly clear, as a lonely student like Jamie is all too vulnerable to these toxic undercurrents. Though this episode stands as the weakest of the series, it offers a sharp and unsettling commentary on the mounting societal pressures, particularly within schools, that can steer a young boy toward dangerous ideological extremism. It’s a sobering reflection on a level of toxicity in modern education that, quite frankly, has never been more pronounced.
  • Months later, Jamie finds himself in a psychiatric hospital, undergoing evaluation by a psychologist (Erin Doherty) in an attempt to unravel the mindset that led him down such a destructive path. What begins as a seemingly routine conversation gradually mutates into a harrowing psychological showdown; a tense, slow-burning game of cat and mouse steeped in self-loathing, rage, and misogyny. This is where the series plunges headfirst into the psyche of an incel, offering a chillingly authentic portrait of how low self-esteem, societal alienation, and unchecked anger can metastasize into a toxic worldview, one that figures like Andrew Tate readily exploit.
  • Anchored by Owen Cooper and Erin Doherty, this is undeniably the series’ standout episode. Doherty delivers a masterclass in quiet intensity, but it’s Cooper—making his acting debut—who leaves an indelible mark. He walks a razor-thin line between unbridled fury and tragic vulnerability, capturing both the raw aggression of an incel and the heartbreaking collapse of a young man buckling under societal weight. It’s the kind of performance that feels destined for Emmy recognition.
  • The fourth and final episode propels the narrative forward a year after Jamie’s arrest, shifting focus to the devastating ripple effects of his crime through the eyes of his family. Despite the forced smiles and attempts at normalcy, his parents, Eddie (Stephen Graham) and Marda (Christine Tremarco), are barely holding it together as they grapple with the unthinkable, piecing together how their son became a murderer.
  • This episode delivers a gut-wrenching examination of parental blindness, exposing not only how out of touch many are with the insidious nature of online radicalization but also the quiet failures that may have played a role. Jamie was never truly taught how to regulate his emotions, and in that absence, something far darker took root. Anchored by Graham and Tremarco’s raw, deeply felt performances, this is Adolescence at its most haunting; a devastating reckoning with guilt, grief, and the limits of parental love.
  • However, for all its merits, Adolescence feels like only half the story. While the series excels at exposing the consequences of incel culture and the factors that can lead a young man down that path, it stops short of painting the full picture. It frames the “manosphere” and men’s struggles with emotional expression as root causes of the incel phenomenon, when in reality, they are symptoms of a deeper, systemic issue—one that few seem willing to confront. The uncomfortable truth is that boys and young men are being left behind, alienated by a society that often fails to acknowledge their struggles. And so, they gravitate toward the only spaces that offer them a voice—flawed as those spaces may be.
  • This underlying theme, what truly drives boys toward such a dangerous ideology, had the potential to be explored with greater depth in the second episode. While the episode effectively illustrates the social pressures that push young men down this path, it stops short of addressing the broader systemic forces at play. A more incisive critique could have examined how schools, often unintentionally, reinforce these disparities—whether through discrepancies in grading, disciplinary measures, or access to counseling. The series misses an opportunity to highlight a stark reality: while numerous support programs exist for female students, their male counterparts are frequently left without a comparable safety net. By failing to address this institutional neglect, Adolescence leaves a crucial piece of the puzzle unexplored.
  • Additionally, the series overlooks a crucial perspective: that of the victim. Exploring this viewpoint would not only have provided a harrowing look at the psychological toll incel culture inflicts on women and girls but also served as a vital counterbalance. It could have shed light on the early warning signs of a boy descending into toxic ideology while offering a more nuanced exploration of the societal forces steering him in that direction.By neglecting this angle, Adolescence overlooks an opportunity to explore the broader societal fractures fueling gender divides. Elements such as toxic femininity, the often unexamined sexist rhetoric within third-wave feminism, and the rise of movements like 4B (the female counterpart to incel culture) are left unexplored, despite their growing influence. A more nuanced approach could have illuminated how social media, identity politics, and cultural echo chambers are exacerbating the disconnect between men and women, leading to devastating consequences. Ultimately, the most powerful message the series could have delivered is also the simplest: that much of this division could be prevented if people, regardless of gender, were met with kindness, empathy, and, most importantly, the willingness to listen.
  • Adolescence is an undeniably vital series, one that boldly confronts the dangers of incel ideology with some of the most innovative and unsettling filmmaking of the year. Its raw intensity and technical mastery make for a gripping viewing experience. Yet, for all its ambition, the series stops just short of true greatness. There remains one crucial, unspoken piece of the puzzle, one that few are willing to examine. And without it, Adolescence falls just shy of being a masterpiece.
  • My Rating: A-

• Film Review: Electric State – By Elizabeth Mulloy
  • If you haven’t heard of Netflix’s latest feature film, The Electric State, consider yourself lucky, you’re not missing much. For those unfamiliar, it’s the latest effort from the Russo Brothers, adapted from Simon Stålenhag’s novel. Set in an alternate, technology-ravaged 1990s, the film follows a teenage girl and her robot companion as they journey across the U.S. in search of her long-lost brother.
  • I haven’t read the book, so I can’t speak to how well this adaptation holds up, but I do know that the source material is a bleak, thought-provoking meditation on the dangers of technology and capitalism. Which makes it all the more baffling that the Russos decided to strip it of its depth and transform it into a generic, uninspired road-trip action comedy—one weighed down by every tired, cynical hallmark of corporate filmmaking. And somehow, this misguided vision came with a staggering $320 million price tag.
  • If The Electric State had only cost around $100 million, I’d still be deeply disappointed because I know that every single person involved in this production is capable of delivering something far better. But the fact that this movie had an absolutely obscene budget of $320 million, a number so outrageous that it practically begs for a money-laundering investigation, makes me outright furious. This isn’t just wasteful spending; it’s an insult to both the industry and the audience. How do you justify pouring that kind of money into a film this lifeless, this uninspired, this utterly devoid of anything remotely worth that price tag? The sheer excess on display here is maddening, and the result? A movie as stale as it is infuriating.
  • The Electric State is the kind of film that feels less like a creative endeavor and more like an algorithm-generated checklist of tired blockbuster tropes. It’s a cookie-cutter action-comedy with a splash of road-trip banter, but so devoid of originality that it borders on insulting. Every narrative beat is predictable, every character feels ripped from a template, and every attempt at humor lands with a hollow thud.
  • Bald, one-dimensional corporate villain? Check. Angsty teenage protagonist? Check. Chris Pratt playing yet another grizzled yet effortlessly charismatic antihero? Check. A quirky, wisecracking robot sidekick designed more for merchandising than storytelling? Check. A bombastic, CGI-heavy third-act battle against faceless, disposable enemies? Check. A barrage of unfunny, self-aware quips and painfully forced needle drops? Check and check.
  • It’s not just that The Electric State plays it safe, it doesn’t even attempt to carve out an identity of its own. The film exists in a creatively bankrupt space, where spectacle is mistaken for substance and familiarity is valued over innovation. It is, in essence, the worst kind of corporate filmmaking: soulless, lifeless, and entirely forgettable. And somehow, that’s not even its greatest offense.
  • The most egregious failure of The Electric State is its misguided attempt to position itself as a serious cautionary tale about the perils of technological dependence and the loss of human connection. From what I’ve gathered, the original novel serves as a sweeping metaphor for the impact of social media, illustrating how it erodes our humanity. This thematic core, so integral to the book’s message, is almost entirely discarded in the film adaptation—aside from a few fleeting, half-baked attempts at profundity that clash awkwardly with the film’s otherwise generic blockbuster sensibilities.Whenever the movie does try to engage with its supposed themes, the execution is so shallow and clumsy that it borders on parody. These moments arrive sporadically, jarring in their tonal dissonance, as if the filmmakers suddenly remembered they were supposed to be saying something meaningful. Instead of provoking thought, these half-hearted stabs at social commentary only elicited eye-rolls. And by the time the credits rolled, I found myself entirely indifferent. For a film that ostensibly encourages audiences to disconnect from their devices and embrace the present, The Electric State is, ironically, one of the most disengaging, background-noise experiences in recent memory.
  • Even the performances in The Electric State are as lifeless and uninspired as the film itself. Millie Bobby Brown, unfortunately, continues her streak of delivering some of the most uninspired performances of her career in these Netflix productions. Her portrayal here is wooden and emotionally vacant, making it increasingly difficult to overlook the possibility that she simply lacks range as an actress.
  • Chris Pratt, as expected, plays yet another variation of his usual persona—but this time, it feels like a tired, disinterested version of even that. Meanwhile, Ke Huy Quan and Stanley Tucci, both immensely talented actors, are completely wasted in roles that give them nothing to do. Giancarlo Esposito, typically known for his gravitas, instead veers into unintentional comedy with an over-the-top Southern accent that feels more cartoonish than menacing.
  • Yes, The Electric State was undoubtedly an easy paycheck for its cast, but was there not a single actor in this ensemble willing to rise above the material? The performances here don’t just feel uninspired, they feel indifferent, as if everyone involved knew they were stuck in a film unworthy of their efforts and chose to coast accordingly.
  • In the end, The Electric State stands as one of the most egregiously wasteful projects in recent memory. It fails to justify its astronomical budget, squanders a potentially strong ensemble cast, and, worst of all, reduces a compelling story to a hollow, formulaic spectacle designed for maximum consumption with minimal effort. This is corporate filmmaking at its absolute worst, safe, uninspired, and utterly devoid of artistic ambition. If there’s any takeaway from this debacle, it’s that the Russo Brothers should be kept far away from the director’s chair for the foreseeable future.
  • My Rating: D

Screenshots – We Scrolled So You Don’t Have To…