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(11/01/22 1:15pm)
Tove Lo has been a silent force in pop music for years. The Swedish star expresses her candor through her self–reflective lyrics and her escapism through club–ready beats, giving pop music the breath of fresh air it sorely needs.
(10/28/22 1:36am)
When the first season of Hulu’s The Handmaid’s Tale premiered in the spring of 2017 to critical acclaim, pundits, critics, and journalists interpreted this dystopian tale through a frighteningly current lens. The show, based on Margaret Atwood’s 1985 novel of the same name, follows June Osborne as she is forced into childbearing labor by an America consumed by religious extremism. Premiering a few weeks after President Donald Trump’s inauguration, the show was backdropped by Trump’s presidency. The show’s villains were often compared to corrupt members of Trump’s cabinet, and even the show’s lead actress, Elisabeth Moss, and showrunner Bruce Miller were vocal on their belief that The Handmaid’s Tale was crucial to resisting the current political moment. The show quickly found its cultural niche as a narrative of feminist resistance. Yet even as much as it abhorred the Trump presidency, the show heavily leaned on the Trump administration and particularly its hard line on abortion for inspiration and relevance.
(10/23/22 8:50pm)
Ten years after his bizarre, stylized neo–noir crime story, Killing Them Softly, Andrew Dominik returns with his newest, almost three–hour long feature film: Blonde. The film, which premiered at the 79th Venice International Film Festival and arrived on Netflix on Sept. 28, has faced heavy criticism over its extreme exploitation and overt simplification of Marilyn Monroe’s tragic life events. The runtime may seem to promise an in–depth, holistic rediscovery of Monroe’s life. Yet, Blonde is not a biopic, and despite the film’s blatant flaws, Dominik’s intention may lie somewhere other than an authentic representation of the blonde bombshell.
(10/20/22 8:30pm)
Warning: this piece contains spoilers and mentions topics relating to suicide and mental illness.
(10/05/22 12:00pm)
2022 may turn out to be a banner year for queer cinema. Not for melodramatic period dramas starring Harry Styles, but for films that celebrate joy and the pleasure of community. Bros, the first gay romcom from a major studio, hit theaters last week. Earlier this year, Fire Island was lauded for its portrayal of queer Asian American identity (as well as being hilarious). While it’s exciting to see how mainstream queer romcoms are finding their own identity, I’ve been reflecting a lot on my favorite movie of the genre. This honor goes to the utterly charming, trailblazing, and in–need–of–a–resurgence indie: Saving Face.
(10/05/22 10:00pm)
Avatar is, by most accounts, a modern classic: a technological masterpiece and the arguable founder of Hollywood’s current CGI era, all while consistently defending its spot as the highest–grossing film of all time. And yet, before last week, I had never seen it. Remaining an Avatar virgin, so to speak, wasn’t a deliberate move; I just happened to miss it when it came out and never felt very compelled to catch up on it. There isn’t exactly a lack of graphics–heavy Disney content these days, after all, and there is much more media touting that the movie’s plot is mostly forgettable than singing its praises.
(09/27/22 11:00pm)
Imagine Disney+ or Kevin Feige doing a Game of Thrones prequel about House Targaryen. There would be more dragons, for sure. An amusing tour of the dragon pit with a flippant guide is warranted in the first ten minutes of the pilot, including several self–referential jokes. They might even have two dragons spew fire at each other, although no one would be harmed by the end of the episode.
(09/27/22 11:00pm)
Don’t Worry Darling, Olivia Wilde’s second directorial film after Booksmart, appears to be a mysterious thriller that follows Alice (Florence Pugh) and Jack Chambers (Harry Styles), who live perfect lives in a 1950s utopian town called Victory until things soon go awry and secrets emerge. The film is meant to be a drama—it tackles serious themes like manipulation, abuse, and paranoia. Yet, ironically, Don’t Worry Darling might be the year’s funniest movie.
(10/07/22 12:00am)
Sissel Tolaas wants you to smell fear. Her exhibition RE__________, newly opened at the ICA, offers a sprawling tour of our shared smellscape; from sandy beaches to dollar bills, the Norwegian chemist–turned–artist has set out to capture the smells—both foul and fragrant—of daily life.
(09/23/22 2:27am)
This summer, Warner Bros. Discovery went on a cost–cutting spree, removing films and shows from its streaming service, HBO Max, and permanently shelving a number of upcoming projects. One of these projects was DC Films’ Batgirl, a $90 million film in post–production that was set to be a part of the DC Extended Universe (DCEU). Originally scheduled to be released on HBO Max in December 2022, Batgirl was shelved to serve as a tax write–off for Warner Bros., according to Variety. DC Films’ handling of Batgirl and its cancellation is one of many problems the studio faces in the upcoming months, as its future slate of films remains uncertain.
(09/16/22 1:13am)
Located just south of City Hall, right on the edge of Gayborhood, sits a small establishment that blends into the vibrant city surrounding it. Don’t mistake Grandma’s Philly for just another restaurant—this Thai spot invites you to enjoy delicious homestyle meals, grandma–style.
(09/30/22 1:51am)
“Amma” means mother. It’s perhaps the most ubiquitous word in South India; in Tamil, Telugu, Kannada, and Malayalam alike, the word “amma” evokes a range of emotions, from love to belonging to warmth. When I think of my own amma, I think of my childhood in Chennai, India: loitering in a cramped kitchen, touching everything, asking her what this ingredient is or what that smell is. I think of slowly counting down the minutes after she shooed me out, waiting until she plated whatever concoction she’d decided on for the day, and then gulping it down before I was reprimanded for eating too fast.
(09/28/22 12:30pm)
Tucked behind the traffic of East Passyunk Ave sits an unassuming sidewalk sign promising tacos. The inside of Juana Tamale, on the other hand, is anything but discreet.
(09/30/22 1:56am)
Prunella is Midtown Village’s new hot spot, serving up creative and tasteful twists on classic Italian and American fare. Amidst much anticipation, the restaurant opened in late March 2022 and is owned by celebrity chef and restaurateur Michael Schulson. Schulson is widely known for his other Philadelphia restaurant, Double Knot, a sushi bar that was named one of Open Table’s top 100 restaurants in America in 2018.
(09/28/22 1:00pm)
Located along the banks of the Schuylkill in charming Manayunk, The Volstead by Unity is Philadelphia’s first zero proof bar. Opened in the spring of 2022, The Volstead is the newest addition to Arielle and Robert Ashford’s Unity spaces throughout Philly—all of which aim to support individuals’ health and wellbeing while creating a sense of community. They serve non alcoholic drinks in order to carve out a safe space for people who are in recovery, choose not to drink, or are just “sober–curious,” and provide delicious, 100% vegan food to support sustainability. They also employ those in recovery and returning from incarceration.
(10/03/22 1:49am)
On 13th Street lies one of Center City’s many long–running success stories: El Vez. The modest yet rambunctious Mexican restaurant, which prides itself on its “Mex–Eclectic spirit” and "bright, boisterous" nightlife, is a Philly classic, having been open for 19 years as of 2022. It’s a place that screams fun, even if it pales in comparison to Philly’s ever–growing Mexican food scene.
(09/23/22 4:00am)
Sprawling green plants—real and illustrated—usher me into the windowed entrance of Hibiscus Cafe. Located on the corner of 49th and Catharine streets, the restaurant specializes in Caribbean–inspired vegetarian dishes and a wide array of fruit drinks. Hibiscus has been open for nearly ten years, offering great options for vegan and non–vegan eaters alike.
(09/13/22 7:00pm)
As soon as you enter Pizzata Pizzeria, a take–out joint just a couple blocks from Rittenhouse Square, its outstanding determination for the craft of pizza–making might not be readily apparent from their simple layout. A small bit of room with a mirror for one wall and a neon pink “Welcome Pizza Lovers” sign and disco ball on the other, the New York–style pizzeria didn’t bear its praise until I got closer to the register. Once I saw articles pinned up to the wall from Thrillist and Pizza Today, I started to understand the hype.
(09/12/22 1:14am)
After decades in development hell, Neil Gaiman’s “unfilmable” magnum opus, The Sandman, has finally reached the small screen as an 11-part television series on Netflix. The Sandman is an ultra-faithful adaptation of Gaiman’s evocative, cerebral, and critically-lauded The Sandman comic book series beginning in 1989. Under Gaiman’s guidance as an executive producer and writer, the show is a near replica, regurgitating precisely what lies on the page of the comic. Yet, the show suffers from its loyalty, as it takes few creative liberties when it should feel free to rework Gaiman’s original words. With all of its consistencies, The Sandman lacks a pulse, as its writing reflects the comics’ own meager pacing.
(08/24/22 1:00pm)
Content warning: The following article includes mentions of eating disorders and can be disturbing or triggering for some readers. Please find resources listed at the bottom of the article.