Then why does it seem that the shows on these channels are drawing in massive audiences of college students and adults? Clever writing?  Terrific animation? Heavily disturbing subtext?

Sometimes it’s all of the above.

A cartoon with one of the bigger followings is “Phineas and Ferb” on the Disney Channel. The show is about two kids whose adventures consist of constructing grand inventions aimed at a singular goal of having fun that day. They also have a pet Platypus named Perry (pictured above). Perry the Platypus also doubles as a secret agent who must stop the “evil” Dr. Doofenshmirtz, whose round about plans on attaining dominance of the Tri-State area occasionally pose a minimal threat.

It’d be difficult to find a residence hall that didn’t have a poster of Perry the Platypus somewhere inside of it. Phineas and Ferb memorabilia and clothing are constantly selling out, and not just in the children’s sizes.

The reason for this show’s popularity is obvious: it’s a show made for kids with the occasional humor that adults would love. The writing is witty and constantly clever. It’s appealing for all ages.

Other shows are a little more perplexing. Shows like “Adventure Time,” “The Misadventures of Flapjack” and “Regular Show” on Cartoon Network have a darker side, and are experts at getting things past the radar. On paper, “Adventure Time” is the story of a boy and his dog and the adventures they share.

It seems harmless, except that they live in a surreal world where bizarre fantasy death traps are around every corner, lonely witches threaten to swallow people with their butts and the dog can stretch his limbs into infinite space. It’s all very hilarious, but it’s also dark.

Parents might find it a problem when they catch their kids watching a show where talking balloons fly into the sky cheering, “Hooray! Finally we can die!”

In “The Misadventures of Flapjack,” a young sailor boy and his friend Captain K’nuckles go on adventures looking for candy. Except that candy is often used as a metaphor for drugs, and that the show has used a creepy old man dressed as a little boy and an eyeless stray cat for laughs. It’s brilliantly hilarious and more than a little disturbing at the same time.

“Regular Show” manages to subtly be even more horrifying (and hilarious) than both the previous shows combined. In it, a blue jay and a raccoon work for a gumball machine as groundskeepers at a park.

The humor is so dry and offbeat that it just doesn’t seem like a children’s cartoon. The characters regularly drink beer and sometimes get drunk, and words like “pissed” and “screwed” are often used. Not to mention talking hot dogs walk around and occasionally eat humans.

Erik Vesnick, the VP of home entertainment of Cartoon Network has claimed that these shows attract two kinds of viewers. “The 6 to 11-year-olds who typically comprise a cartoon audience,” he said, “and older animation fans who grew up with ‘The Simpsons’ and similar shows.”

What about these shows is attractive to college students? The shows have a fair share of humorous pop culture references and many of the jokes are very YouTube-friendly, allowing them to reach new audiences in short periods.

To put it simply, they’re very funny shows for all audiences. One user comment by a parent about “Regular Show” on commonsensemedia.org stated, “Don’t you dare let your kids watch this show!” Another simply said, “Best. Show. Ever.”

Are you watching yet?

Now, it seems like these competitors could be the least of Nintendo’s worries. As it falls into financial trouble, Nintendo is looking to invest in the future.

The company has been through hard times before. After dominating the market with the original Nintendo Entertainment System, the Super Nintendo faced huge competition in the Sega Genesis, and in the past years, the Nintendo 64 and Nintendo Gamecube both failed to outsell their competitors.

The Nintendo Wii however, has sold almost 98 million units worldwide, and was the most successful console of this past generation. Also, the Nintendo DS has annihilated Sony’s PSP in the portable market. So then why the financial trouble?

A little over a week ago, the company released its quarterly earnings, and it wasn’t pretty. The company reported profits of $631 million for the October to December period, representing a 61percent quarterly drop. Forecasts have been significantly lowered to due these reports as well.

Nintendo has predicted a net loss of $838 million (ending in March 2012). If this holds true, it would mark Nintendo’s first annual loss in a full 30 years.

This is the result of a number of things. Nintendo’s newest portable, the 3DS, was launched with an extremely bloated $250 price tag. Along with that, the system had a pretty pitiful handful of launch titles. Its only two first-party releases were re-releases of classic Nintendo 64 games.

Sluggish sales forced the company to admit defeat and implement a premature price drop. After the system’s price was changed to $170, sales for the 3DS skyrocketed. Unfortunately, analysts have reported that they are selling at a loss.

Another reason for Nintendo’s recent struggles is its inability to support its current console, the Wii. Sales for the Wii have dropped, perhaps because there aren’t many more potential buyers, or maybe because a high quality game hasn’t come out for the system in ages.

Besides last year’s phenomenal “The Legend of Zelda: Skyward Sword,” the new releases for the system have been mostly boring collections of mini games and unsuccessful ports of games from other systems. Added to this, Nintendo has failed to import successful Wii games from Japan that have an audience in the United States.

Lucky for all the rabid Nintendo fanboys out there, the company isn’t worried. According to them, the 3DS will start garnering profit soon enough. New big name releases like “Super Mario 3D World,” “Resident Evil: Revelations” and the upcoming “Kid Icarus: Uprising” are finally drawing large amounts of people to buy the system.

Nintendo’s real secret weapon is that its new system, the Wii U, is going to be a revelution in gaming. The system, which is slated for a late 2012 release, is apparently three times as powerful as the Xbox 360, and boasts an interesting new controller.

Just like the Wii’s innovative Wiimote controller, the Wii U comes with a tablet controller, not unlike an iPad, which also is equipped with the standard controller buttons. The graphics on the tablet screen are just as powerful as they will be on your TV, and if you want, the games can be simply played on the tablet. Have to go somewhere but just can’t bear to tear yourself away from your brand new game? Simply change the setting so your game is on the tablet and you instantly have a portable gaming device.

In addition to that, the company has stated that they are entirely committed to bringing in third-party developers to make solid games, which was something the Wii was severely lacking. So far, feedback has been terrific from companies such as Capcom, Ubisoft and Electronic Arts.

Nintendo has also promised an all new online gaming service, The Nintendo Network. The company has infamously been stuck in the stone age when it comes to online play, and this is a huge step forward for them.

The Wii U’s goal is to win back the “hardcore gamer” audience that was turned off by the Wii’s casual attitude, while still maintaining that casual audience.

The future is uncertain for Nintendo. After being unveiled last year with a few awesome technology demos, the Wii U is said to be officially revealed in its final form at this year’s E3 convention. Nintendo is seriously hoping that after this year’s presentation, Wii would like to play.

Ingrid Michaelson is the folk singer/songwriter behind the many songs featured in commercials and television shows. She has done several collaborations with artists like Sarah Bareilles, has opened for Jason Mraz and has released four studio albums.

Michaelson’s fifth studio album “Human Again” was released last Tuesday and immediately took the number one album spot on iTunes.  Upon releasing the news that she was producing a new album, Michaelson warned her fans that “Human Again” would be much darker than her previous work.  After listening to the 13 tracks, this album indeed touches on darker subjects.

The themes that are present on the album have to do with daily life and relationship struggles. Michaelson’s “This Is War,” “Black and Blue” and “Palm of Your Hand” all contain lyrics that suggest romantic or relationship strains. Also in the track “In the Sea,” the lyrics are about the distress of having a lover or friend let you fall and not pick you back up.

There are also uplifting tracks and light-hearted ballads.  The acoustic “How We Love” is a track that reflects how “we love to love when it fills up the room/but when it leaves, oh, we’re cursing the stars.”

The ballad “Keep Warm” is about having someone in your life that can keep you warm and return your affection.

“Human Again” showcases a much bolder and mature side to Michaelson.  Since her debut as an artist, she has been given a cutesy and quirky persona. But in her newest installment, that persona has dissolved to reflect her growth as a singer and a songwriter.

This new album doesn’t just feature the ukulele or piano ballads. The choices of instruments and new musical elements add more depth and darkness to the album. In some tracks, electronica, a full orchestra and synths are used as a new style that Michaelson has never tried before.

The first track, “Fire,” begins with rapid strings and builds to a full orchestra powerhouse. A later track, “Black and Blue,” uses synths to create different sounds and a new-wave vibe. But she still does include emotional piano ballads like “Ghost” and acoustic tracks like “How We Love.”

This album shows Michaelson’s growth as an artist. But I do miss some of her up lifting quirky songs like “Everybody” or “Be OK.” All artists try different genres and styles to show a different side of their talent.

However, sometimes too much change isn’t a good thing. Michaelson should have included one or two more lively tracks that were similar to her older work. The dark and bold tracks are just as memorable but they dampen the entire mood of the album.

Michaelson accompanies her album release by announcing her “Human Again” spring tour. The concert dates run from April 9 until May 17.  She will be making appearances in cities across the United States and Canada.

“Human Again” is a breath of fresh air in the redundant pop music industry. It is a fuse of love ballads, up beat tracks, and acoustic classics.

There is a familiarity to Ingrid Michaelson’s music. Her amazing  vocals and relatable lyrics make her fifth album one of her best. Some of her songs may just show up in the next commercial or television show you watch.

4/5 Streaks

Steve McQueen’s new film, “Shame,” which is now playing at Cedar Lee Theater, approaches the subject with a jolting seriousness and shines a light on the horrific consequences of an addiction that is as serious as any other.

Brandon (played by Michael Fassbender of “X-Men: First Class”) is a young Manhattan business socialite. He’s bright and charming. He has a successful career and owns a fancy downtown apartment. He goes out with co-workers, exercises regularly and has a fondness for classical music. Unfortunately, he also can’t go a few hours without being sexually active. Brandon is a sex addict, and the barrier between his two separate lives is slowly deteriorating.

He seeks sex from hookers, random strangers on the subway, and cannot even go a full day at work without pleasuring himself in the bathroom. Things are made all the worse when his sister Sissy (Carey Mulligan), who is equally troubled in a different way, crashes at his place unexpectedly and indefinitely.

If anything needs to be said about “Shame,” it’s that Michael Fassbender’s performance hits it out of the park. His turn as Brandon is visceral and unapologetic. You will be disgusted with the things Brandon does, yet at the same time sympathize with him. He is a man who is truly lost.

There is a scene in the film where Brandon goes crazier than usual and absolutely hits rock bottom. During these intensely graphic scenes (the film earns its NC-17 rating), Fassbender perfectly conveys the joylessness of Brandon’s uncontrollable compulsion. When he cries, you feel a black hole in your stomach.

Less impressive is Carey Mulligan’s performance as Sissy. Perhaps it’s the fault of the dialogue, but her character is unlikable for most of the film. She makes bizarre decisions and during their squabbles, you will usually find yourself siding with Brandon. Though, when the stakes are high, Mulligan showcases her character’s desperation for a human relationship with a lack of subtly the performance requires.

The problem with “Shame” is that while much of its nudity is necessary to the film, some of the scenes involving it are done just for shock value.

There are two scenes especially, that elevate the otherwise very believable brother-sister relationship of Brandon and Sissy to just plain bizarre.

McQueen directs with a deserved confidence. Many of the scenes are shot without cuts, giving them a theatrical vibe. There is a stunning scene in which Brandon goes jogging to escape what he would otherwise be doing. The camera follows steadily alongside him for about two minutes. It’s a scene that would be brutally dull if filmed another way, but McQueen makes it absolutely beautiful to watch.

Unfortunately he often overdoes it, and the results are painfully slow, such as a scene where the audience has to watch Mulligan pretend to be a professional singer for four whole minutes.

On the whole, “Shame” is effective and relevant. Its problem is that its slow pace and refusal to give any resolution is a weakness, not a strength.

Brandon’s story ends where it begins, and it’s a shame Fassbender wasn’t given more to do, more depths to sink to.

3/5 streaks

If the Wii had launched with “The Legend of Zelda: Skyward Sword,” things may have been different. Not only does the game finally deliver on the promise of incredible motion controls, but it is one of the greatest, most satisfying games of all time.

The story is pretty much what one would expect from a “Zelda” game. Zelda is in trouble, and the heroic Link must save her from the clutches of some evil entity through completing dungeons and battling bosses. But with “Skyward Sword,” the developers have tinkered with the classic “Zelda” formula. Having to deal with the limited power of the Wii, Nintendo has decided to opt out of a huge open-world area similar to “The Wind Waker” and “Twilight Princess” this time around. Instead, Link travels through the sky on a giant bird called a Loftwing, and can descend down to any of the three areas available: a forest, a desert and a volcano. The result is a tightened, much more streamlined experience.

Gone are overlong fetch quests between each dungeon. Nintendo has instead combined the dungeon experience with the levels before and after them. This may be a disappointment to those who love the sense of open-world exploration and discovery, but the areas in “Skyward Sword” are still gigantic, and an open world would have been more of the same.

In terms of graphics, the game is absolutely gorgeous. The art style perfectly combines the cartoonish charm of “The Wind Waker” and the mature sophistication of “Twilight Princess” into what is the perfect look for the series. The game uses a filter that makes far away objects and landscapes look like a breathtaking watercolor painting. Character models are all masterfully designed and unforgettable, especially the creepy new villain, Ghirahim. The game is visually a joy.

The real game-changer though, is the game’s perfect implementation of motion controls. The Wiimote acts as Link’s sword, and the control is more accurate and precise than any Wii game before it. Most importantly, it feels natural. This has changed the way the series deals with combat. You can’t simply engage an enemy and proceed to button mash or swing the controller wildly. If you do so, you will be destroyed in the game.

Every enemy requires a different strategy from the player, and whacking a goblin in the face has never felt so satisfying. This feeling is exemplified in the boss battles. The sword gameplay enacts a very “mano-a-mano” feel to these fights. There were times I found myself getting so riled up during certain boss fights that I stood up and shouted “bring it!”

The fact that this game can provoke this behavior from a grown man[child] speaks to how undeniably fun it is. The other motion gameplay is fantastic as well. Tilting the Wiimote to control your Loftwing is easy and engaging, as well as aiming with the Wiimote. It all adds to a sense of immersion rarely seen in games today.

The only things that can possibly outshine the motion controls are the characters themselves. Character development has never been a staple of the “Zelda” series, but this time the characters and their relationships are fully realized. By the end of “Skyward Sword,” you will genuinely care about the characters.

This version of Link could be the best of the series. He feels like a real person this time, rather than a vessel for the player. Zelda is absolutely adorable as Link’s childhood crush, and the members of the vast supporting cast all have personalities of their own.

Whether they be singing dragons, treasure hunting moles or pirate robots, you can tell the amount of love that was put into each character; in each little line of dialogue.

“Skyward Sword” is the model for the ideal video game. It looks beautiful, it’s loaded with content, and it’s a blast to play. It’s one of the most charming and stellar games of the year.

Most of all, it is, like every “Zelda” game before it: an instant classic.

5/5

Simon Pegg: It was very new for everybody, even Steven Spielberg because it was his first motion capture film. I think we were all on our first day of school to some degree and it was interesting that every day we were making new discoveries about the technology and about how to perform within it.

It’s different from live action shooting in that you don’t have your real, live sort of props and costumes. You’re working in a very imagined environment.  But you are still acting with other actors and moving around, so it’s different from just doing a voice over. It’s very much a new art form.

It was great fun to feel like we were breaking new ground. I know that Steven [Spielberg] was extremely inspired and energized by the process.

CN: “Tintin” is such a beloved series across the world. What was it like being part of such a beloved story?

SP: I think we all realized what we were taking on with “Tintin.” It’s a beloved story in Europe. It comes from Belgium and was made in France. [Also, it] certainly reached the shores of the U.K. when I was a kid, as I remember it very clearly being a sort of a “Saturday morning serial cartoon.”

Every day we had the whole studio lined with pictures from Herge’s works so we always had the characters in mind.

CN: You’ve done a lot of work with Nick Frost and Edgar Wright in the past.  Are there any current projects that you all are working on?

SP: Yes, Edgar and I are just writing the third film in a series that started with the “Shaun of the Dead” and “Hot Fuzz,” and Nick will be a big part of that. It’s currently entitled “Worlds End” and we’re very excited about it. I feel like those guys are my, you know, they’re my homies and that’s what I’d like to go back to.

CN: Your role in “Mission: Impossible – Ghost Protocol” is quite a bit different from your typical roles.  What did you have to do differently to prepare for it?

SP: At the time of “MI:3,” Benji worked in the research and development department. But since then he’s gone out and taken the field exam and is now sort of working out in the big wide world as an IMF agent. I just thought that was a great idea to see a guy who used to sitting around in the lab coat poking hard drives to actually be out there kicking ass. So the draw of it was just enormous. Also, anytime J.J. [Abrams] calls me I’m like, “What do you want? Where do you need me?” I always know it’s going to be a fun job no matter what it is. But in terms of research, I went undercover in Moscow for several weeks and cracked a ring of nuclear terrorists.

Taking place six years after the last movie ended, Harold and Kumar have moved on from each other to find new friends, new jobs and duller lives.

Harold has done very well for himself, marrying the stunning Maria from the previous films, while Kumar finds himself left without the love of his life, Vanessa, who was last seen in “Harold and Kumar 2: Escape from Guantanamo Bay.”

The journey begins with a mysterious present left outside of Kumar’s apartment on Christmas Eve that is addressed to Harold. Kumar, still smoking his life away, drives to Harold’s house to drop off the package and seemingly ruins Christmas within moments of being reunited with his old partner in crime.

Before Maria and her family get back from Midnight Mass at 2 a.m., the boys set out in search of the perfect Christmas tree after Kumar burns down the tree of Harold’s father-in-law.

As the two set out on a voyage to save Christmas, trouble naturally finds its way into their lives.

Accidental use of hard drugs at a Christmas party leads the crew to even more danger, as they are now in trouble with a mob boss for a misunderstanding with his daughter. On the run from being murdered, Roldie—as he is formerly known—and Kumar come across a couple of old friends, including the infamous and presumed dead Neil Patrick Harris.

Harris, as always, plays a sick and vulgar man who plugs in a few good jokes about “How I Met Your Mother” (the CBS show in which he stars), as well as his sexual orientation, while he also hints at a fourth movie for the series. His return to the movie is a great scene and more than lived up to expectations.

With the film set around Christmas time, movies such as “A Christmas Story” are referenced and used to foreshadow events later in the film. This was a great attribute and was used as classically as “Stay Puffed Marshmallows” in “Ghost Busters.”

Granted, this is not a Christmas movie you want to bring your younger sibling or child to see.

There is no shortage of sex and drugs throughout the movie, the Harold and Kumar go-to themes, and jokes about religion are prominent as well.

As the duo comes to the end of the night, Santa Claus appears in a gory fashion and brings them together. Yes, even Santa is subjected to the scandal of Harold and Kumar. However, he ends up coming to the rescue in an unexpected way.

Although the 3D theme may seem a little overplayed, Harold and Kumar plug in little punches against it and it makes the film just that much better.

As you would expect from these two, the 3D effects include blowing smoke into the audience and throwing eggs that all add to the viewing experience.

4/5 Bolts

The historic Powerhouse building on the West Bank of the Flats in downtown Cleveland went through a $33 million transformation to become the Greater Cleveland Aquarium.

Originally set to open this month, the date has now been pushed back to December.

“We made design improvements, especially around the local freshwater area,” said Tami Lash Brown, the general manager of the aquarium.

Students are happy to see a new attraction in Cleveland.

“It’s great because they are finally renovating the Flats,” said John Carroll sophomore Ben Toth. “At this point, anything to attract people to Cleveland is great, and that is exactly what this aquarium will do.”

Marinescape Eco Aquariums, a company known for its 21 large walk-through aquariums throughout the world, will be operating the facility. Cleveland will be the proud owner of the first Marinescape Eco Aquarium in the U.S., drawing the attention of surrounding states. The company is originally based in New Zealand, and after the challenging logistics, they were able to come to the states.

The hook, line and sinker of this aquarium extraordinaire will be the nearly 150-foot walkway tunnel, called The Caribbean Shark Tank, that allows people to admire sea life in a whole new way, as it provides a panoramic view for visitors and enables them to stand just a few feet beneath beautiful tropical fish and chilling six-foot sharks.

There will be over 40 different tanks, both salt water and fresh water.

“I would go to the aquarium to see the tunnel … Now that I’m older, I can appreciate [an aquarium] more,” said JCU freshman Tyler Takacs.

Much larger than previous tanks in Cleveland, such as the Gordon Park aquarium, the Greater Cleveland Aquarium has much more to offer for families and is expected to be a main attraction downtown.

Over 70,000 square feet of space will be filled with 42 different tanks and aquarium activities. Staffed with experts from zoos and other aquariums, 40 other full-time jobs will be created from this outlet and 400,000-500,000 customers per year are expected to attend.

“The aquarium will have a huge economic impact. The Newport Aquarium near Cincinnati calculated their impact at $60 million in their first year in 2003, but other aquariums have reported impacts in the hundreds of millions,” said Brown.

Inside the complex, a restaurant will be open to the public, while a banquet room will be used for special events.

Also featured in the facility are 10 exhibitions including tropical rainforests, and creatures from Ohio lakes and rivers. This will allow people to learn about the kind of fish that are prominent locally.

Even area residents are looking to get involved. On their first Facebook page entitled Cleveland Aquarium, separate from The Greater Cleveland Aquarium page, a local resident offered to donate his tropical fish to the collection. Depending on whether the aquarist can find an appropriate tank, the fish may be added to the aquarium’s exhibit.

“Neighborhoods” is a pretty big deal. It’s the pop-punk trio’s first album in eight years, and the expectations have been mounting since the band announced that they intended to end their indefinite hiatus.

Fans looking for a return to the good old Blink-182 days of fart jokes, sex humor, and incessant juvenile behavior will be disappointed.

Those days have been over since the band’s 2003 self-titled LP. Unfortunately, those who are hoping for an effective, matured album similar to that one will be disappointed as well.

Mark Hoppus, Tom DeLonge and Travis Barker try to recapture that spirit, but while their efforts in experimentation are admirable, they ultimately fall flat.

While “Blink-182” the album may have been a drastic new direction for the band, it was still undoubtedly Blink-182. Almost every track on “Neighborhoods” is less like Blink-182, noticeable influences by Angels & Airwaves, DeLonge’s side project.

The synthesizers have been over-utilized, and many of the songs open with overly long instrumental introductions that are rarely engaging and usually repetitive.

DeLonge also continues to use reverb on his voice to an unbearable extent. This is especially noticeable on the track “Love is Dangerous,” in which he sings about the negative repercussions of an empty relationship.

Luckily, drummer Barker is just as good as he’s ever been. Easily the most musically talented member of the band, Barker has no problem setting the pace for the other members.

His beats in the album are fast and furious as usual, and their energy pulsates through every song.

“Wishing Well” is typical catchy pop-punk, but it’s a relief when you realize it’s just that. The familiar “nah nah nah nah” chorus will get stuck in your head, and you’ll be singing along if you’re seeing them live.

The album’s first single, “Up All Night,” is classic Blink-182, with DeLonge and Hoppus harmonizing perfectly like old times.

The strongest track, “Natives,” is just plain awesome. Everyone is in full form here, with Barker’s chaotic mosh-pit inducing drum

ming meeting with DeLonge and Hoppus’s guitar riffs perfectly.

It’s a shame that the song is brought down by the biggest weakness of the album: the song-writing has gone down a tier or two since their last album.

“I’m just a waste of your time/maybe I’m better off dead,” Hoppus sings in “Natives.” The lyrics in their last album were mostly downers, but they were well done and mature.

The word “heart” is mentioned at least once in every song, and so are trite clichés of the genre. It’s the most disappointing part of the album.

“Neighborhoods” is still an enjoyable easy listen. Hardcore Blink-182 fans will add a few tracks to their favorites, but no new fans will be gained from this album.

After a hiatus of this length, it could have been a lot worse. Hopefully, the boys are just warming up.

If you don’t know why Paul Simon releasing a new album that is as relevant and powerful as anything he has ever done is significant, stop reading: I don’t have enough words left to appropriately admonish you.

Simon’s latest record, “So Beautiful or So What” was released on April 12.

It serves as a gorgeous reminder of why he has merited as much praise as he has throughout his career.

Simon is 70, and this album shows it in the best way possible.

“So Beautiful or So What” is packed with a sense of ironic reflection that isn’t available to the under-30 set. Put simply, this is not a positive record.

Simon’s unmistakable voice and delivery are voicing the ideas of exhaustion, disillusionment and apathy rooted in dealing with the world, and all of its problems.

“The Afterlife” portrays a bitter and sardonic picture of life after death as a pointless bureaucracy.

The opening puzzle, “I thought it was odd there was no sign of God to usher me in,” is bitterly resolved in the bouncy refrain, “You got to fill out a form first/ and then you wait in a line.”

The inclusion of “Getting Ready for Christmas Day” on an April release might seem strange, but this is no holiday jingle.

Like “Afterlife,” this track approaches a supposedly sacred topic and turns it on its ear to reveal an ugly truth.

Simon warns, “The music may be merry, but it’s only temporary/ I know Santa Claus is coming to town.” Holiday or not, this song’s dark tones definitely fit in on this album.

The most telling song on the album is “Rewrite,” in which the singer pleasantly describes how he is improving a book he is writing by removing all emotion for the sake of action that will sell.

Simon portrays the man to have no concern whatsoever about giving up on what he originally intended to write in order to cash in on car chases and explosions.

It’s this half wise, half naïve irony that is at the center of “So Beautiful or So What.”

The title of the record itself tells the story in short order: living today is overwhelmed by an apathetic existence that is robbing us blind.

The music that Simon plays over these less than hopeful ideas juxtaposes the album’s themes perfectly.

He has always had an ear for the world’s music, and “So Beautiful or So What” is no different.

Lush strings, African rhythms, and straight-ahead pop come together to give the record a bright sound that perfectly contrasts the bleak ideas presented in the lyrics.

Some of the songs are undeniably catchy in a way that makes you question how the music is functioning on the album.

It’s tough to have a song about selling out the dreams politely caught in your head all day.

This combination of serious content with airy sounds has always been central to Simon’s work, and this album is no exception.

Instead of comparing this release to Simon’s past works it makes more sense to consider it for what it is: a masterfully constructed record that demonstrates Simon’s omnipresent relevance in music.

As rare as it is for any sequel to succeed in this regard, it is even more rare for a fourth film – which is why it seems like most franchises are rebooted before they get anywhere near number four.

Wes Craven’s “Scream 4” goes to great lengths to show that there are some grand exceptions to the rule of franchises overstaying their welcome.

Set on the 15th anniversary of the original Woodsboro Murders from “Scream,” Sidney Prescott (Neve Campbell) returns to her hometown after a national tour of her new book “Out of Darkness,” an autobiography which details her story.

The old group – from Sheriff Dewey (David Arquette) to entertainment journalist Gail Weathers (Courtney Cox) – still live there, as well as Sidney’s young cousin Jill (Emma Roberts) and Jill’s best friend Kirby (Hayden Panettiere).

Upon Sidney’s return, a series of traditionally gruesome murders bring the old gang back into action. But this time, things are different. New decade. New rules. So now, the group must join together to match wits with another psycho killer.

This time, even more so than ever, no one is safe and everyone is suspect.

Like “Shaun of the Dead” and “Zombieland,” this film delivers the scares and the laughs with equal care.

While we do see a story playing out like the original, this film is impressive in adding unpredictable originality to established cliché.

The greatest aspect of “Scream 4” is its ability to challenge every preconception we have. It challenges the main characters and audiences; we don’t know for sure who is safe from a knife to the chest. It challenges traditional gender and occupational horror stereotypes.

The film knows every idea we might have every step of the way and somehow – in a completely unpredictable way – does the exact opposite.

The cast that made the original trilogy such a fun ride returns with some welcomed additions. The three original characters – Sidney, Dewey and Gail – are played with veteran style while several newcomers take the reigns and stand with their heads held high amid the iconic actors they share the screen with.

Like most horrors, don’t expect the film to dig too much in adding additional depth to its many characters. A drawback of the genre is we never really get to care about the characters.

Sidney is the most developed. Since we last saw her, Sidney has become even more haunted by her own inescapable hell, which is portrayed with perfection by Campbell.

No matter what she does, she will always be that girl from Woodsboro who survived. The fame attached to the role has made her careworn and distant.

As we hear from another character, she’s waiting for her story to turn into “Final Destination.”

We get her. We like her. We want her to live. This is a huge kudos to Craven’s storytelling ability.

The genre self-awareness that the first “Scream” is known for is bigger and better here. What makes “Scream 4” so fascinating is that these characters have not only watched all the horror movies we have, but onscreen they’ve also watched three “Stab” films from the original trilogy. They know exactly what we do and think like we do.

Living through a horror movie isn’t quite as easy as it used to be, it seems.

While not as original as “Frailty” or as hilarious as “Zombieland,” “Scream 4” is a fun and intelligent horror that takes advantage of director Wes Craven’s sizable strengths:  suspense, originality and dialogue.

If this is indeed the start of a new trilogy for Woodsboro and the Ghostface Killer, you’ll find me first in line for the sequel.

As it stands, it’s the first horror I’ve seen in theaters that’s actually worth every penny of the admission price.

The film manages to be both a heart-warming drama and a laugh-out-loud funny comedy simultaneously.

“Win, Win” centers around Mike Flaherty (Paul Giamatti), a lawyer to the elderly in New Jersey, who is under tremendous stress. He’s a husband and father of two young daughters, who is trying to balance his duties as family man with his side-gig as coach to a below-average high school wrestling team. However, he is also struggling to make ends meet and is close to losing his law practice something he neglects to tell his wife, Jackie (Amy Ryan).

Things turn around for Mike when one of his clients, Leo (Burt Young), an elderly man with dementia is about to be turned over as a ward of the state and put in a nursing home. Mike finds a note in Leo’s file that says whoever acts as guardian to Leo is paid a monthly stipend – just the extra income Mike needs.

Mike asks a judge to appoint him the guardian of Leo, who doesn’t want to be in a nursing home, so that Leo can stay in his own home. The judge grants the request, but Mike puts him in the nursing home anyway. He reconciles this with his conscience, telling himself he needs the money and Leo would be in the nursing home regardless.

Shortly after this, Leo’s grandson Kyle (Alex Shaffer) appears. He’s a quiet, awkward kid who comes from a rough background. Mike and Jackie take him in temporarily and soon discover he’s a wrestling prodigy. Before long, Kyle is a member of Mike’s team and is becoming a member of the Flaherty family.

“Win, Win” has the same predictable elements that many films have: a man is faced with an ethical dilemma that he hides from his family, there’s a complication that leads to the family finding out about the unethical behavior, there’s a fight that threatens to tear them apart, a sport serves as a vehicle to give a juvenile delinquent a second chance, etc.

However, having these elements doesn’t make the film predictable or boring. In fact, it’s entertaining the entire way through.

The characters of this story are a major reason the film is so endearing. They draw you in: Mike, who makes morally questionable decisions for the sake of his family; Jackie, who is first weary of Kyle but then develops a motherly love for him; and Kyle, a kid who was dealt a bad hand in life and is looking for a second chance and a home.

The film is a drama and there are certainly parts that are sad and tug at the heart strings, but the film balances these parts with an incredible, sort of offbeat humor. Mike’s friend Terry (Bobby Cannavale), assistant wrestling coach Vigman (Jeffrey Tambor), and Kyle’s new friend Stemler (David Thompson) add a lot comic relief and memorable scenes to the movie.

While it isn’t an action-packed thriller and it’s not a romantic comedy, if you’re looking for a great movie with a lot of heart, “Win, Win” is certainly a winner.

Now it includes eco-friendly athletic clothing for babies.

Fullback Ovie Mughelli of the NFL’s Atlanta Falcons’ recently partnered with Origany, an organic clothing line that specializes in making clothes for babies and toddlers.

“The Ovie Mughelli Foundation is very excited about partnering with Origany,” said Mughelli.

Clothing Made Organic by Nature is Origany’s tagline that they live by, as the company believes in the importance of going green.

They specialize in 100 percent organic cotton grown in Peru for their infant and toddler lines.

By growing cotton organically, the company has eliminated the harsh chemicals that are normally produced by cotton.

To be considered organic, the cotton must be grown for three years on land that has never been chemically treated.

This idea is appealing to many, especially those with a softer side.

“I think that it is truly amazing that an NFL player is doing something as wonderful as an environmentally friendly clothing line,” said senior Duchess Adjei. “Major accolades should be in order [for Mughelli].”

Sophomore Spencer German agrees. “I think it is a good idea to continue spreading the idea of going green,” said German. “It is a product I think alot of people will buy and use and hopefully it will make a lot of money for its respected charities.”

Mughelli recently founded The Ovie Mughelli Foundation, which provides underprivileged children the opportunity to attend football camp.

His love of football and the environment have now contributed to his newly launched clothing line for Origany.

These outfits will consist of football, baseball, tennis, bicycling and the overall athletic themes.

The clothing line will sell hoodies, dresses, T-shirts, jackets, hats and more.

The website also shows photos of celebrities with the clothing.

For those parents like Mughelli, dressing their children in stylish clothes along with helping the environment is a win-win situation.

“We are very excited to announce our partnership with Ovie Mughelli and his Foundation,” said Origany CEO Raj Sardesh.

“Given his commitment to the environment and to youth, it was natural synergy and inspiration for our eco-athlete line,” Sardesh said. “That encourages all kids to be active and environmentally conscious.”

When the company begins selling this line of clothing, five percent of the proceeds will be donated to charities and 20 percent of the proceeds of the jersey style outfits will go to Ovie’s foundation.

“Origany’s successful track record of creating very beautiful, eco-conscious clothing is a great match with the Foundation’s mission to encouraging greener ways of living to kids,” Mughelli said.

“As tough as I am on the field as a power blocker, Origany reaches the more gentle side of me.”

“I’m confident that parents will find it loveable and perfect for their future all-stars.”

Those looking to purchase Mughelli’s items or to view other products that the company produces can visit Origany’s website at origany.com.

Many young people who would normally help regenerate the region have taken their talents elsewhere.

Too often, the allure of bright lights and big cities has left the North Coast in a constant rebuilding mode.

The old saying goes that it takes a village to raise a child, but Matt Fish believes that in Cleveland’s case, the children are the ones who will raise the village back to glory.

“It’s not a difficult town to succeed in if you grind and put your mind to it,” Fish, the founder of Melt Bar and Grilled said in a phone interview.

“The city is bouncing back because of people who have chosen to stay here, and that’s how we’ll advance this town.”

It isn’t difficult to notice the instantly recognizable Fish, and it isn’t only because of his love for tattoos.

You recognize him because of his passion and enthusiasm for what he does and the area he grew up in, whether it is during an appearance on the Food Network, at the restaurants, or through the phone.

Fish’s dream began as a young man growing up in the Cleveland suburb of Parma, where he found his love for cooking while working at a small pizzeria.

“It made me appreciate what food can do and what it can mean,” Fish said. “I learned the importance of fresh ingredients and care in every dish you make.”

The dream continued as Fish moved out west into Lakewood and opened up the first Melt Bar and Grilled in November 2006.

Soon, he would be putting his experience at Cleveland restaurants such as Johnny Mango’s and Fat Fish Blue to good use, as Melt quickly expanded to a Cleveland Heights location as well.

A third Independence location is planned for fall of this year, and Fish hopes to expand to the Akron area soon after.

“Whether we have 100 units or ten, we will continue to do it the way we always have. “

The “way they do it” defies description. When you open the menu at Melt, a world of grilled cheese possibilities stares you in the face.

Whether it is the pierogi and kraut filled “Parmageddon” or Fish’s personal favorite, the lasagna-stuffed “Godfather,” the choices are staggering.

The spectrum ranges from the basic “Kindergartner” to favorites including blackened chicken, prime rib and chorizo.

Each sandwich comes with a large portion of fries, pickles, and cole slaw. While the emphasis is sandwiches, Melt also offers burgers, desserts, and over 150 beers.

Calling the restaurants’ interior eccentric would be an understatement. Cleveland memorabilia and figurines cover the walls.

It’s the perfect canvas for a native Clevelander trying to share his culinary visions with a world willing to wait two hours to do so.

Even though he has found recent fame, Fish recognizes the need to stay humble and down-to-earth, especially when dealing with the people around him.

Fish calls his workers and frequent customers the “Melt family,” wherein “once you join, you’re a member forever.”

It is this commitment to putting a twist on the simple joys in life that have made Fish a local celebrity and put Melt Bar and Grilled on the national radar.