FAIRFAX, Virginia—The Marist men’s track and field team raced on Sunday, day one of the ninth meet of the 2025 outdoor season, the IC4A Championships, which occurred at the GMU Field House in Fairfax, VA.

Amari Mathis placed second in the 100-meter dash prelims with a time of 10.62, qualifying him for tomorrow’s finals.

Miles Chamberlain (11th) raced a PR of 3:55.46 in the 1500-meter run.

Gabriel Rodriguez brought home a silver medal for the men’s team with a time of 32:02.13 in the 10000-meter run, also earning him All-East honors.

ECAC Outdoor Championships

Sunday, May 17, 2025

GMU Field House

Fairfax, Virginia

400-Meter Dash: 19 – Easton Eberwein, 49.26

100-Meter Dash Prelims: 2 – Amari Mathis, 10.62

1500-Meter Run: 11 – Miles Chamberlain, 3:55.46, 18 – Logan Schaeffler, 4:04.89

3000-Meter Steeplechase: 9 – Kevin Cannon, 9:52.13

10000-Meter Run: 2 – Gabriel Rodriguez, 32:02.13

ARLINGTON – On a terribly muggy day in Arlington, the Wildcats had a strong start for Day 3 in the field events as Kailey Roskop topped off her ACU career with a 4 th place finish in the discus (to go with her 3 rd place finish in the hammer). Donovan Ramirez finished 5th in the triple jump in his first outdoor championship after missing the entire 2024 with a medical redshirt. Ja’Dasia Sims completed her stellar ACU career with a 2 nd place finish in the high jump. Stone Smith finished his ACU career with a 5 th place finish in the discus. Luize Velmere just made the finals in the triple jump on her 3rd jump and she went on to finish 2nd in a huge personal best (PB) of 41-5.75/12.64 – moving her into the #8 all time on the ACU performance list.

On the track the premier performance came from Kenan Reil, who finished 3 rd in the 400 hurdles with a time of 52.52 in just his 2 nd time to run the event. Placing 6 th were Miguel Hall in the 110 hurdles with a time of 13.91 and Benjamin Cortez in the 800 in a time of 1:53.02. Notching 7 th place finishes were Ethan Krause in the 200 with a time of 21.31 and Andruw Villa in the men’s 5K with a time of 14:59.02. Finishing in 8th place were Hana Banks in the 100 hurdles in a time of 14.27 and Emma Santoro in the 400 in a

57.98.

Note: Late on Friday night, after a 4-hour weather delay ACU had 2 athletes score points in the steeplechase – Peyton Bornstein placed 6 th in the women’s race in a time of 11:18.08 and Mark Barajas finished 7th in the men’s race with a PB time of 9:19.38. To finish up the meet, the men placed 5th in the 4×400 with a time of 3:14.58 – a quartet

composed of Landon Gary, Canaan Fairley, Benjamin Castro, and Ethan Krause. That will give ACU a 5 th place finish in the team race with 56 points. The women’s team finished 5 th in the 4×400 relay with a time of 3:52.38, with Ja’Kaylon Record, Emma Santoro, Gracee Whitaker, and Jess Reyes running. The women’s team finished 6th with

59 points.

The idea of adolescence as a horror story is not new, but it’s given a splashy workout in Charlie Polinger’s queasily stylish debut feature, in which the swimming pools, lockers rooms and bunk-bed dormitories of a boys’ water polo camp are a puberty petrie dish livid with sinister bacteria. Drawn from experience and benefiting from some standout performances among its well-selected young cast, “The Plague” has a familiar coming-of-age narrative, but stranger, subtler undercurrents of creeping dismay at the men these boys will become when, at this formative age, cruelty chlorinates the water they swim in.

Sensitive, 12-year-old Ben (Everett Blunck) comes to the Tom Lerner Water Polo Camp in the summer of 2003 as an outsider twice over. He’s not only joining after the second session has started, he’s also a new arrival to the area. And, as we understand from an early conversation with his affable but ineffectual coach (Joel Edgerton, who also produces) a reluctant one: there’s hurt in the studied neutrality of his tone when he describes how his mother uprooted their lives to be with her new lover. Perhaps the wrenching change-up of father figure fuels Ben’s anxiety to fit in, but also maybe that’s just the way he is. When one of the kids’ endless games of would-you-rather makes him choose between “not fucking a dog but having everyone think you did, or fucking a dog and no one knows,” Ben opts for, well, screwing the pooch.

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In any wolf pack, the Alpha is obvious and even among these cubs, Jake (a superb Kayo Martin) is easily identifiable as the ringleader. Deceptively cherubic beneath a shock of tousled strawberry blonde hair, and wearing a surprisingly adult expression of skeptical watchfulness, Jake is initially friendly enough to the newcomer — at least once Ben begins answering to the nickname “Soppy,” devised after Jake picks up on his very minor speech impediment.

There’s an easier target for Jake’s lazy but keen-eyed ridicule. Eli (Kenny Rasmussen) was presumably already an oddball — into magic tricks and solo flailing dance moves and lurching non-sequitur conversation — even before he developed a disfiguring skin complaint. The angry-looking rash that covers his arms and torso is probably some sort of eczema or contact dermatitis, but the boys are still of an age to be fascinated by lepers and curses and so Jake declares it “the plague.” Eli is ostracized, to the point that all the kids dive for another cafeteria table if he so much as pulls up a chair.

Good-natured Ben, in the throes of a panicky uncertainty that from the outside is sweetly poignant, if only because it will be gone in a year or a month or a minute, feels for Eli’s predicament— possibly more than the quite contentedly peculiar Eli does for himself. But as he barely has enough social capital to guarantee his own acceptance into Jake’s circle, Ben befriends the outcast cautiously, away from prying eyes. It’s fine to make taboo transgressions if nobody knows about it.

DP Steven Breckon punctuates “The Plague” with interludes of woozy underwater photography, in which the boys’ bodies dagger into the pool and then tread water, resembling so many headless sea horses. Sometimes, while Johan Lenox’s excellent, ’70s horror-inflected, nightmare-choir score reaches a bombastic crescendo, the girls of the synchronized swimming class who share the pool and fire the boys’ crude erotic imaginings, are shown inverted, so they appear to be dancing floatily across the water’s underside surface. These subaquatic symphonies give a touch of the phantasmagoric to a milieu that’s otherwise cleverly recreated from the banal remembered details of an early noughties childhood: the Capri-Suns, the pop tunes, that brief phase where kids believe that smoking kitchen-cupboard nutmeg will get them high.

Perhaps too the subjective nature of Polinger’s memory of a time when the peer-group dynamic was so much more influential than any peripheral authority figure, accounts for why these kids are so often unconstrained by adult supervision. Jake naturally takes advantage of that freedom to continue his offhand reign of terror, one he can maintain without ever really lifting a finger. Almost all of the violence in “The Plague” is self-inflicted and therefore easily disavowed by this tweenaged tyrant – a character so vivid that it’s tempting to imagine a more provocative movie told from the bully’s perspective. But as “The Plague” ramps up to an impressively eerie, body-horror-styled finale, it takes a rather more expected turn toward a significant, if hardly triumphal moment of personal growth for unhappy camper Ben. Teetering on the brink of adult society with its own bewilderingly insidious notions about masculinity and conformity, you can dive in or you can be pushed, and it’s only then you can know if you’ll sink or swim.

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