Friday, Nov. 19

THEATER | The Physicists

The Harvard Radcliffe Dramatic Club takes on nuclear physics this fall with student director Mike Donohue’s production this Cold War comedy by Friedrich Dürrenmatt’s. During a stay at a mental hospital three men who claim to be (and may in fact be) physicists Newton, Einstein, and Mobius, become involved in a web of murder, madness and feigned identity. Not to mention international espionage. Tickets $12, $8 for students available at the Harvard Box Office. Friday and Saturday at 8 p.m., Thursday and Sunday at 7:30 p.m. and Saturday at 2 p.m. Loeb Main Stage. (JET)

THEATER | Albanian Softshoe

This unsettling production by Raja G. Haddad ’05, directed by Greg J. Gagnon ’06 and Austin S. Guest ’06, enters its second weekend at the Loeb Ex. The play, by alternative American playwright Mac Wellman, is a labyrinthine tale of multiculturalism, an interstellar road trip and a challenge to our knowledge of identity. Free. Friday and Saturday at 7:30 p.m. Loeb Experimental Theater. (BBC)

MUSIC | Harvard-Yale Football Concert

Don’t miss Harvard Glee Club facing off against the Yale Glee Club in their annual pregame musical showdown. As usual, the glee clubs will be singing football tunes as well as others from their repertoire, so if you feel like some early celebrating, join Harvard schoolmates in supporting our school with song. $14 - $19, $7 - $9 seniors and students available online. Friday Nov. 19 at 8 p.m. Sanders Theater. (MCB)

OPERA | Monteverdi: L’Orfeo

The Harvard Early Music Society presents Montverdi’s famous opera, L’Orfeo, featuring Libretto by Alessandro Strigglio. Often referred to as the “first great opera,” Montverdi’s musical tale of the classic Greek tragedy of Orpheus and Eurydice will be performed by a group of Harvard faculty and undergraduates, along with early music professionals from the area. Tickets $20, $9 for students, available at the Harvard Box office and online. Friday, Saturday at 8 p.m. Horner Room, Agassiz Theater. (MCB)

MUSIC | Solo Concert of Ghanaian highlife music

Be sure not to miss the only concert of Ghanian highlife music to hit Harvard this year. Blodgett Distinguished artist Daniel Amponsah, who goes by the title Koo Noo is scheduled to perform this highly anticipated concert. Free. 8 p.m. Paine Hall. (MCB)

ART | Fabulous Histories: Indigenous Anomalies in American Art

This exhibit curated by VES graduates explores the relationships between self-taught, marginal and mainstream art practice, tackling questions of authenticity and legitimacy in the art world. The show is a rare chance to see masterworks by nine important artists, both mainstream and lesser known. Free. Monday-Saturday 9 a.m.-11:30 p.m., Sunday noon-11:30 p.m. Last day of showing is today, Nov. 19. Carpenter Center. (JET)

Saturday, Nov. 20

MUSIC | The Krokodiloes Fall Concert with The Yale Whiffenpoofs

In honor of the Harvard–Yale football match this Saturday, the Krokodiles, Harvard’s prestigious a capella singing group will be holding a concert featuring the acapella singing group of Yale, the Whiffenpoofs. Despite the peculiar names of their groups, the tuxedo clad singing undergraduates are sure to please even the sorest of loser after the day’s game. Tickets $12, seniors $10, students $7 available online. 8 p.m. Sanders Theatre. (MCB)

MUSIC | Under Construction Fall Concert

Proud to call themselves Harvard’s only Christian a capella group, Under Construction will be holding their annual fall concert. Two hours of Christian music should keep the rowdy post–game students out of trouble. Free. Tickets available online. 8 p.m. Lowell Lecture Hall. (MCB)

Sunday, Nov. 21

MUSIC | BPO Concert - Ravel, Gershwin, Stravinsky

World renowned Boston Philharmonic Orchestra will be presenting Ravel, Gershwin, and Stravinsky for the Harvard Community. Specifically Ravel’s La Valse, Gershwin’s Concerto in F, with Kevin Cole on piano, and Stravinsky’s Petrushka are to be performed. Ticket holders will be treated to a private discussion with conductor Benjamin Zander before the show at 1:45 p.m. Tickets $69, $53, $39 and $26, subject to discounts, available online. 3 p.m. Sanders Theater. (MCB)

MUSIC | The Boston Conservatory Orchestra with Christopher Wilkins

For those classical music connoisseurs attending the BPO performance, stick around for an extra treat as the Boston Conservatory Orchestra will be performing that same evening. Guest conductor Christopher Wilkins and the orchestra will provide an uniquely phenomenal performance of Gershwin’s Cuban Overture, Mozart’s Sinfonia Concertante, and Rimsky-Korsakov’s Scheherezade. Tickets $12. $5 students and seniors, $10 for Boston Conservatory alumni and WGBH members are available online. (MCB)

MUSIC | Bob Dylan

‘The Freewheelin’ Bob Dylan’ is blowing into Harvard, playing to a sold-out crowd and channeling the music that made him a legend and continue to establish his acoustic, edgy presence in the world of folk and rock and roll. The concert is sponsored by The Harvard Concert Commission. No tickets available for sale. 8 p.m. Gordon Indoor Track and Field Center. (JAB)

Monday, Nov. 22

MUSIC | Cambridge Society for Early Music

Specializing in the music of the classical period, the Cambridge Society for Early Music presents a tribute to the 18th and 19th century works of Mozart, Haydn and Beethoven. The one-night concert will feature guest instrumentalist Kenneth Drake on the fortepiano. Tickets $25, $20 for students and senior citizens. Call (617) 495-9400. 7:30 p.m. Adolphus Busch Hall, 29 Kirkland St. (JAB)

BOOK READING | Han Ong, Elif Shafak and M.G. Vassanji

World-renowned writers Han Ong, Elif Shafak and M.G. Vassanji gather to read excerpts of their celebrated novels The Disinherited, The Saint of Incipient Insanities, and The In Between World of Vikram Lall. Ong, a Filipino-American, Shafak, from Turkey and Vassanji, from Kenya via Tanzania and Canada, all focus their recent novels on stories of exile and love, and the emotional attachments of one’s culture. No ticket necessary. 6:30 p.m. The Harvard Book Store, 1256 Mass. Ave. (JAB)

Tuesday, Nov. 23

MUSIC | Minnie Driver with Gingersol and Rusty Truck

The British actress finally returns to Cambridge after her Good Will Hunting days, this time to promote her burgeoning singing career. See for yourself whether an actor’s temptation to cross over into music is ever a good idea. Tickets $15. 7 p.m. The Paradise Rock Café. 18+ show. (VMA)

Friday, Nov. 26

CONCERT | The Jane Monheit Quintet

Sanders Theater will be hot with the cool music of jazz sensation Jane Monheit. Monheit, discovered in 1998 at the age of 20, has reached a level of international success in the past six years that she will share with a Harvard crowd for one night only. Instrumentalists Miles Okazaki on the saxophone, Michael Kanan on the piano, Orlando LaFleming on the bass, and Rick Montalbano on the drums will accompany Ms. Monheit during the two-hour exhibition. Tickets $22.50 and $27.50, available at the Harvard Box Office. 8 p.m. Sanders Theater. (JAB)

Sunday, Nov. 28

MUSIC | The Pro Arte Chamber Orchestra

Honoring the 200-year anniversary of Lewis and Clark’s trip across the continental divide, composer Philip Glass, in the Pro Arte Chamber Orchestra’s upcoming concert, “A Musical Feast,” crosses a boundary of his own and presents Piano Concerto No. 2 to its first East Coast audience. Also on the program are Ibert’s Hommage a Mozart and Mozart’s Symphony No. 31 in D Major. Kevin Rhodes will be conducting the orchestra and Paul Barnes will accompany the orchestra on the piano. Tickets $45, $29, $19, $9, $2 off for students and senior citizens, $5 off for WGBH members, available at the Harvard Box Office or online. Rush tickets available the day of the concert for students only. 3 p.m. A free, 30-minute opening act precedes the concert at 2 p.m. Sanders Theater. (JAB)

Monday, Nov. 29

MUSIC | The Ying Quartet

The talented classical band of siblings, the Ying Quartet, will be performing a quarter-past ‘noontime concert’ entitled “Dean’s Noontime Concert: The Ying Quartet.” 12:15 p.m. Faculty Room, University Hall. (JAB)

Wednesday, Dec. 1

MUSIC | Unite For Arts

Performances by Nnenna Freelon, Underground Railway Theater, and Snappy Dance Theater will highlight the upcoming charitable concert “Unite for Arts.” Sponsored by the Cambridge Arts Council Grant Program, all proceeds of the concert will benefit the council and its numerous artistic programs. Tickets $50 and $25, available at the Harvard Box Office or online. Tickets reduced to $10 for students after November 24 if available. 7 p.m. Sanders Theater. (JAB)

Thursday, Dec. 2

THEATER | The Pirates of Penzance

The Harvard-Radcliffe Gilbert & Sullivan Players are at it again—this time bringing to life one of Gilbert & Sullivan’s brilliant comic operetta, The Pirates of Penzance, that follows the hilarious story of one pirate as he attempts to give up the pirate life. Matinee Tickets $4. Night show tickets $8-12. Showing through Dec. 11. 8 p.m., Agassiz Theater. (VMA)

THEATER | The Compleat Works of Wllm Shakspr (abridged)

Bringing Shakespeare, or Shakspr, to new heights, the Winthrop House Drama Society has squashed years worth of Will’s hard work and several hours worth of comedy, tragedy and history into a two-hour spectacle ‘compleat’ with backwards recitations of Hamlet, a rap of Othello and a football game summary of the histories. Tickets $8, $5 for students and seniors, $3 for Winthrop House residents, available at the Harvard Box Office. Thursday, Friday and Saturday, Dec. 2-4 at 8 p.m., Sunday, Dec. 5 at 2 p.m. Winthrop House Junior Common Room. (JAB)

Ongoing

VISUALS | Feed: Artists + Digital Influence

Here digital technology and art converge as multi-disciplinary artists exhibit their work that is cutting-edge in more ways than one. Call (617) 879-7333 for more information. Through Dec. 11. Massachusetts College of Art, 621 Huntington Ave. (VMA)

FILM | Lions of the Kalahari

Escape to the deserts of Botswana and for a moment enter into the jungle world of the Kalahari lion. Brought to you very realistically thanks to the 180-degree dome film screen at the Museum of Science. Daily through Feb. 17. Science Park. (VMA)

VISUALS | Dependent Objects

The Busch-Reisinger Museum presents an exhibition of sculpture by artists who were ambivalent toward the media. “Dependent Objects” presents the works of German artists beginning in the 1960’s including works by Franz Erhard Walther, Hans Haacke, Charlotte Posenenske and Gerhard Richter. Through Jan. 2. The Busch-Reisinger at the Fogg Museum. (JSG)

VISUALS | To Students of Art and Lovers of Beauty

The Winthrop collection has traveled around the world and is back at the Fogg in the exhibit “To Students of Art and Lovers of Beauty: Highlights from the Collection of Grenville L. Winthrop.” The exhibition features painting and sculpture by such artists as Blake, Degas, Gericault, Ingret, Monet, Pissaro and Renoir. Fogg Museum. (JSG)

Films

Alfie

Alfie presents a glimpse of the dizzyingly fast-paced social life of a serial womanizer. Jude Law has the clothes, the car and the looks to get any girl—and he does, with an endless string of paramours ranging wildly from an aging cosmetics empress (Susan Sarandon) to a flighty, semi-psychotic teenager. But the car is borrowed, the suits were on sale and beneath Law’s charming smirk is a calculating mind. Alfie has no warmth or romanticism, despite his British charm. The movie captures his gradual comprehension of that emptiness surprisingly well. His self-discovery is aided by the stylistic device of Alfie’s narration directly to the audience; in his self-absorption, Alfie considers his life to be the constant focus of a camera. But his ostentatious posing for the camera also reveals Alfie as childish and even innocent—he doesn’t think his actions affect anyone. Jude Law’s acting, on the other hand, has just the right touch of joviality and supreme confidence with which Alfie begins the movie. The film is utterly realistic in demonstrating that understanding mistakes is not always enough to rectify them. (MAB)

Around the Bend

The redemption of a long-estranged parent is hardly a novel plot in contemporary cinema; it has congealed to the point where every hug, tear and clumsy montage seem carefully choreographed. Refreshingly, Around the Bend, reveals an organic push and pull that approaches the mostly shapeless narrative of real relationships that is only reinforced by the subtle performances of screen legends Christopher Walken and Sir Michael Caine. (WBP)

The Forgotten

The Forgotten has the makings of an intelligent paranoid thriller, but I found nothing spectacular or terrifying in it, only government agents scrambling to hide a conspiracy and scrambled plot lines trying to hide a lack of creativity, despite the guarantee a seemingly competent cast should offer. Julianne Moore’s Telly Paretta is a likeable everywoman. Her therapist (Gary Sinise), is appropriately authoritarian, while her husband (ER’s Anthony Edwards) appears to be phoning in his support from another planet. They are too hampered by the product they’ve been asked to deliver to hope to redeem it. (ABS)

Friday Night Lights

The clichéd line is never uttered, but without listening very carefully, you can hear its echo throughout Friday Night Lights: In Odessa, football is a way of life. And, as is quickly shown, it is the only way of life for residents of this small Texas town, where state champions become legends and those who fall short become mere pariahs rejected even within their own families. Though American society worships successful professional athletes, the cult following earned by 17-year old high school seniors is for the most part less widespread. Director and co-writer Peter Berg rightly devotes more time to te Panthers’ trials in their daily lives—how they survive in the face of such intense scrutiny—than their gridiron exploits to underscore that this isn’t just a game but a profession. (TJM)

The Grudge

The camera stumbles upon a door, it bursts open, the hand of the dying woman drops, a guttural boom blasts from the sub, and that four-dollar bucket of flat Diet Coke resting patiently at your side becomes fizzy and fresh on your lap as you jump—hard. It’s these moments—when some random horrific element comes from nowhere—that make the first act of The Grudge, Hollywood’s latest attempt at remaking a foreign blockbuster, extremely enjoyable. Yet tension gives way to torpor as the first act crawls to a close: the slow reserved pace that initially generates bloodcurdling moments soon begins to retard the motion of the film. Even the supposed surprise ending becomes an “Oh, okay” moment instead of a “Wow, no way, that’s his father?” one. The movie, then, becomes a woeful drudge of cinematic excess: it’s cool for the sake of cool. (BJ)

I Heart Huckabees

Albert is unhappy and he isn’t sure why. Sadly, we never care. The root of Albert’s malaise, I think, is that he has sold out. He has entered into a partnership with Huckabees, a chain of K-Mart-like stores, to throw some muscle behind his coalition to save a local wetland. Russell’s sly appropriation of American corporate-speak provide the best moments in the Huckabees script: therapy would be unbecoming for a corporate executive, so Brad rationalizes his sessions with “existential therapists” by insisting they are “pro-active and action-oriented.” While all of the characters in Huckabees seem primed to arc from ironic distance to grand, tragic catharsis, Jude Law alone provides the emotional proximity the film coaxes you into longing for and then so cruelly denies. (DBR)

The Incredibles

Pixar, the ingenious powerhouses of animation that brought the world personified toys, monsters and phosphorescent fish, has taken on a PG-rated action adventure for its latest premise: the story of an average superhero family. In his glory days, Bob Parr (Craig T. Nelson) was known to the world as Mr. Incredible, a superhero capable of foiling a bank robbery, stopping a runaway locomotive and coaxing a kitten down from a tree all on the way to his wedding. Segue to 15 years later and Mr. Incredible and his wife Helen, formerly known as Elastigirl (Holly Hunter), and their three children are attempting to live a normal suburban life under the Witness Protection Program. Bob juggles a potbelly and a mind-numbing job as an insurance claims specialist while longing for the old days; Helen is not willing to give up the peaceful life they have earned. Everything changes when Bob receives a communiqué calling for Mr. Incredible’s help in a top-secret mission on a mysterious island. The mission eventually pulls the entire Incredibles family into a battle to save the world from their nemesis, Syndrome (Jason Lee). Writer-director Brad Bird (Iron Giant, The Simpsons) has created a film that skillfully blends the excitement of a superhero movie with a carefully-measured dose of family film sensitivity. (JYZ)

The Motorcycle Diaries

The Guevara characterized in Walter Salles’ seductive new film The Motorcycle Diaries is a far cry from the iconic figure, sporting beard and beret, found in so many dorm rooms and poetry lounges. This is Ernesto Guevara de la Serna (Gael García Bernal) in his mid-20s, before he was Che. The film picks up Guevara’s life in 1951 as he embarks with his compatriot, Alberto Granado (Rodrigo de la Serna) on his travels—powered, initially, by the namesake motorcycle, of course—bound for the southern tip of South America. He is a far more accessible figure, and his journey radiates a certain lost-soul aura to which even a hardened capitalist could relate. (ZMS)

Primer

Primer, the directorial debut of Shane Carruth, lacks any narrative thread, but essentially is a story about four broke, 30-something engineers who create a mysterious box in their garage that defies scientific rationality and seems to give them inexplicable control over life. Two members of the group, Aaron (Shane Carruth) and Abe (David Sullivan), decide to probe what potential their creation might have: They explore the commercial possibilities of time-travel for a few hours each day, encounter dreadful mishaps in a Scooby Doo-esque fashion and finally, things end quite badly, with the audience, plot and characters in a state of sheer confusion. (KMM)

Ray

There is something like ashy molasses in Ray Charles’ voice: dripping syrupy sweet with southern charm yet charged with gritty, unhewn candor, it resonates with a sense of immediacy and emotional clarity that is nothing short of divine. And yet somehow, even after 17 tedious years of development, Ray, based on Charles’ life, does not muster any semblance of the splendor within his music. The film lacks emotional attachment on any level and fails in every way as a meaningful addition to his life and legacy. With a mix of deceitful, manipulative Hollywood story telling techniques masquerading as artistic strokes and tacky, unfocused, pop-filmmaking, director Taylor Hackford, manages to turn an amazing story of sheer will triumphing over adversity into a two-and-a-half hour mess that will damage Charles’ memory, even with Jamie Foxx’s almost perfect portrayal of Ray Charles. (BJ)

Shall We Dance?

Director Peter Chelsom’s new movie, Shall We Dance?, has a dance card full of big-name actors but leaves its audience with little other than bruised toes. A remake of Japanese director Masayuki Suo’s 1996 film of the same title—from which it imports most scenes and some dialogue—the movie ultimately seems as bungling on its feet as many of the characters it portrays. John Clark (Richard Gere) wants to ballroom dance. In Suo’s Japanese film this is understandably mortifying because, as a voiceover tells us at the outset, “In a country where married couples don’t go out arm in arm…the idea that a husband and wife should embrace and dance in front of others is beyond embarrassing.” Chelsom never explains what makes ballroom dance equally taboo in 21st-century Chicago. He tries to plug this plot hole subliminally instead by making Miss Mitzi’s look a lot like a brothel, but it’s hard to salvage a bungled plot with neon lighting and sweaty-palmed patrons. (NJH)

Sideways

Writer-director Alexander Payne and co-writer Jim Taylor seemed on a winning streak with Election and About Schmidt: both were inventive and quirky, two qualities their newest collaboration, Sideways, unfortunately lacks. The film follows Miles (Paul Giamatti), a burned-out teacher and struggling novelist, and his best friend Jack (Thomas Haden Church) on a road trip through California’s wine country organized to make the most of Jack’s last days of bachelorhood. Despite their somewhat incredible friendship—they have completely opposing interests, outlooks and goals—the acting is exceptional and Giamatti and Church exude a chemistry that makes their friendship believable and oddly charming. But sadly, the movie is ultimately worthwhile only for its fine performances. Sideways’ structure is painfully episodic, never allowing audiences to become fully engrossed in its obnoxious characters. (GRD)

Stage Beauty

The film suffers from a haphazard and disorganized structure; the shaky cinematography is positively migraine-inducing; and the “mood” lighting simply worked to obscure any attempt to discern what was happening. Stage Beauty opens with Maria (Claire Danes) standing wistfully in the wings while watching a performance of Othello’s Desdemona by her employer, London’s “leading lady” Ned Kynston (Billy Crudup). She mouths his lines with practised passion, for despite a ban on female actresses in public theater, Maria—surprise, surprise—harbors ardent aspirations for thespian glory of her own. The filmmakers missed a golden opportunity to exploit the subtle human side of a fascinating historical moment, creating an unconvincing hodgepodge of hackneyed aphorisms. (JHR)

Team America: World Police

The new Trey Parker and Matt Stone production Team America: World Police is a delirious send-up of the international save-the-world action genre spoofing every movie from the Star Wars trilogy to Knightrider and unsympathetically mocks every public figure from Michael Moore to Kim Jong-Il to, curiously enough, Matt Damon. And they do it with puppets. Unlike most politically-motivated comedies these days, there’s no clear slant towards either the left or the right. Team America is a throwback to the kind of movie that casts the establishment as the good guy and everyone who goes against them are either evil or woefully misinformed. While, to many, such a theme may seem ironic, what makes this movie so pertinent and vital is the fact that this unthinking good-vs.-evil mentality may be more widespread than we’d like to believe. On the other hand, this movie also tells me that beating the hell out of puppets is funny. (SNJ)

Vera Drake

An intimate film about the lives of a small cast of characters, this simple masterpiece by director Mike Leigh manages to be at once philosophically expansive and physically claustrophobic. Personalities too large for their surroundings compound the effect of poverty on spaciousness—there is merely too little room to accommodate everyone, their needs for privacy and their individual desires. Imelda Staunton gives a tight performance as the title character, a mid-century London mother who tests light bulbs in a factory and keeps house for the wealthy to provide for her children and aged mother. In her spare time, she performs simple abortions to “help out young girls,” as she conceives of it, in a British cultural climate in which doing so is almost unthinkably wrong. The pendulous arm of justice, too, presses down on Vera Drake. By the end of the film, it is not just women as a social category who must live without freedom but Vera herself, forced to exchange liberty for captivity and the ultimate sort of crowdedness—that of a prison. (ABM)

Woman, Thou Art Loosed

Woman Thou Art Loosed is a misnomer. Titling this film Movie Thou Art Disturbing, Depressing, Not Very Uplifting Nor Powerful At All! would be far more appropriate. The main character, Michelle, played by Kimberly Elise, is raped by her mother’s boyfriend at the age of 12, and cannot reconcile her painful past with her spiritual quest for God. To Elise’s credit, she does as much as possible with such a weak script. On her time in jail: “I was getting raped in the shower and a woman was pulling my leg, just like I’m pulling yours.” This movie should be overnight Fed-Ex’ed to Lifetime, where they can show it over and over again in their next “Girl Has a Troubled Childhood, and Her Life Is Filled with Rape, Drugs, Prostitution and Murder Movie Marathon.” (TBB)

Bridget Jones: The Edge of Reason

Bridget (Renee Zellweger) is back and this time she’s counting carbs, not calories. There are some other surface changes in the life of the world’s favorite singleton: she’s shacked up with the dreamy Darcy (Colin Firth) and is no longer, well, single. But the script is furnished with the same jokes from the first movie, except the second time the “watch Bridget fall flat on her face in a very short skirt” routine is less vaudeville and more ritual humiliation. The movie seems to perpetuate, rather than poke fun at, the ridiculous conventions of the Hollywood romantic comedy. There are some glimpses of the old Bridget: smart, funny, wholly lacking in decorum. But these moments are outnumbered by the formulaic structure of the narrative, to the point where we’re not sure whether this is Notting Hill, Love Actually, or just some hideous amalgam of all the other resolutely WASPy, sickly-sweet Richard Curtis creations. (AEL)

After the Sunset

It’s difficult to understand how this project actually made it through production, when the actors, screenwriters, director and cinematographer are so obviously phoning in their work. Sunset begins with two master thieves, Max Burdett (Pierce Brosnan) and the luscious Lola Cirillo (Salma Hayek), completing the heist of a one-of-a-kind diamond and then jetting to a tropical island paradise to enjoy their retirement. Unbeknownst to them, FBI agent Stanley Lloyd (Woody Harrelson), still simmering from his botched attempt to prevent their robbery, has tracked them down and means to nab them with a brilliant scheme. There are a few decent comic moments thanks mostly to Harrelson, who seemingly takes on the daunting task of playing himself. But the sad truth is you would be better served catching up on some sleep than finding out what happens in this mind-numbing dud. (TAO)

—Happening was compiled by Vinita M. Alexander, Jessica A. Berger, M.A. Brazelton, Theodore B. Bressman, Mary Catherine Brouder, Ben B. Chung, Julie S. Greenberg, May Habib, Nathan J. Heller, Steven N. Jacobs, Bryant Jones, Amelia E. Lester, Timothy J. McGinn, Kristina M. Moore, Tony A. Onah, Will B. Payne, Geneva Robertson-Dworet, David B. Rochelson, J. Hale Russell, Zachary M. Seward, Julia E. Twarog and Julie Y. Zhou.