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(11/26/25 5:00am)
When Stranger Things first arrived on Netflix in 2016, it felt immediate—fresh, small–town, 1980s horror with kids on bikes, Eggo waffles, and monsters in the dark. The episodes came fast, and the show became a pop–culture phenomenon almost overnight. But for a series that had such a remarkable first impression, its pace has changed drastically since. By the time its fifth and final season arrives in late 2025, nearly a decade will have passed since the premiere. The show will have delivered a mere five seasons in ten years. For many fans and observers, the question isn’t just “What happens next?” but “What took so long?”
(11/13/25 4:40am)
Canadian rapper–songwriter–influencer bbno$ seems to have haunted the feeds of scrollers everywhere for nearly six years. Since his 2019 hit single “Lalala” with Y2K, he's built a massive following through both his music and his strong online presence. Although this article is an album review, I will first discuss his digital persona, as the main avenue of promotion for his latest album, bbno$, has been his prolific posting.
(11/11/25 5:50pm)
Picture a girl lying on the floor of her bedroom. Her toy keyboard wheezes out a few wounded chords, her phone is propped up on a half–empty Diet Coke can, and she’s confessing into the mic like God Herself is listening through the preamp—apparently, so is everyone else. A month or so later, her song is released, and the girl’s late–night lamentations become the anthem of a generation just learning how to feel. She is 17, furious, heartbroken, and about to rewrite pop. Her name is Olivia Rodrigo.
(11/10/25 1:24am)
On an especially windy October afternoon, Catherine Chow (E ’26) sits with me on a bench outside Charles Addams Hall, her tote bag overflowing with riso graphs and prints. Surprisingly, there's no rush today—the campus feels briefly suspended, as if the wind itself has pressed pause. It’s somewhat poetic, given how much Chow’s world revolves around finding stillness amid motion. The senior reflects on hosting creative spaces at Penn, leading projects that foster connection over competition, and learning what it means to move through college with intention rather than urgency.
(11/06/25 3:04am)
Soft jazz music flows through a quaint, homey tool shed on 47th Street. A faint woody scent clings to the air, and warm lights illuminative reflective metal. A bicycle hangs precariously from the ceiling and a colorful array of plastic, wood, paper, and more line the walls. It may seem modest at first glance, but slipped between each saw and screwdriver are quiet yet moving snapshots of community.
(11/11/25 6:37pm)
The Holy Grail has been found, and it’s on Spotify.
(11/06/25 8:28pm)
Superheroes used to save the world. Now they’re just trying to survive it. That’s the central theme of the two biggest comic book hits of the last year, Marvel’s Ultimate line and DC’s Absolute universe. These runs exploded in popularity, offering storylines that were easy to jump into and required no prior knowledge of complicated canons and decades of sprawling superhero history. At face value, to any executive, the key to modern–day comic book success seems to be accessibility. But what really makes these books land so well is the way they capture our real–world disillusionment with systems built before our lifetime in stories where fan–favorite heroes wrestle with stolen time, corrupt institutions, and violent extremism. Instead of escape, they offer readers catharsis—forcing us to reckon with the fact that the world we live in was built by forces we cannot change, but can try our best to fix.
(11/24/25 10:41pm)
Marvel’s upcoming slate reads like both a comeback attempt and a confession. After a stretch of uneven projects and shrinking box office returns, the studio’s 2026 lineup looks like an effort to prove it still knows how to build anticipation. But whether these titles function as a genuine reset or a carefully arranged apology will depend on how much of their ambition translates into coherence.
(11/04/25 11:04pm)
Many say that interest in classical music is fading, especially among the younger generations. But wander through University City in Philadelphia, and you’ll hear a different tune. From the rehearsal rooms of Penn’s Fisher–Bennett Hall to the halls of local churches, a new wave of musicians is keeping classical music alive, prioritizing passion, accessibly, and collaborative creation.
(11/06/25 12:20am)
What do Billie Eilish and the Bush administration have in common? An intimate knowledge of shock and awe.
(11/21/25 5:00am)
At 3 p.m. on a Saturday, the bar at Marsha’s is completely full. Killing Eve plays on one screen, Auburn University football on another, and the rest of the TVs broadcast the Philadelphia Flyers beating the New York Islanders 4–3. At the center of all the screaming and chatter is a portrait of Marsha P. Johnson beneath a gay American flag, watching over Philly’s newest sports bar like a patron saint.
(11/07/25 5:00am)
While we were away from Penn for the summer, a Wonder food hall was setting up shop across the street. It opened this past September on Walnut Street, nestled between a Sweetgreen and a Bank of America. The storefront features eight meager white tables, clustered to the left–hand side. The remaining area is effectively a waiting room, featuring a long, lonely expanse of vinyl wood planks. This view is interrupted only by a pair of five–tier shelves for delivery and pickup orders and two counters, where you can order your food from a tablet while discussing your options with a green–aproned staff member. The kitchen is out of sight, out of mind.
(10/29/25 11:53pm)
I don’t know how to drive. In fact, I refuse to learn. Why should I? I was born and raised in New York, and I fully intend to raise my own kids in cities like it.
(11/21/25 2:47am)
It is 9 p.m. I have not slept in more than 24 hours. The sterile, yellow light of Huntsman Hall follows me as I walk to my dorm after a particularly brutal accounting exam that was nothing like the practice tests we were given. Each step I take is equal parts defeat and caffeine, my body still shaking from the too many cans of Peach Vibe Celsius I downed to get through the day.
(11/04/25 4:55pm)
At Lucien E. Blackwell West Philadelphia Regional Library, Max VanCooper is connecting neighbors in West Philadelphia through craft. West Philly Skill Share, an eight–part community arts series, invites participants to learn a new hands–on skill taught by a fellow community member while also meeting others from around the neighborhood.
(11/21/25 5:00am)
As someone nearly 400 miles away from home, I find that it’s not often I can experience the joy of a home—cooked meal full of comfort foods. Dining at Fitz on 4th, however, comes pretty close. “With all the craziness going on in the world, I feel like this is like a nice piece of heaven, honestly, in the heart of Philadelphia and Queens Village,” chef Alison Fitzpatrick, the owner of the cozy vegan restaurant, says.
(11/21/25 5:00am)
Dancerobot isn’t a restaurant—at least, it doesn’t appear to be from the outside.
(11/13/25 9:14pm)
There’s a problem with preppy fashion right now. It’s trending, but toothless—it’s been flattened into Pinterest moodboards, varsity fonts on TikTok hoodies, and nostalgic uniforms worn by people who’ve never touched a lacrosse stick. But at New York Men’s Day this season, Peak Lapel’s Lawn Games collection made a strong case for the genre’s survival, if not its reinvention. Designed by Parsons School of Design seniors Jack Milkes and Ben Stedman, Lawn Games (Spring/Summer 2026) is what happens when two students steeped in Ivy League iconography decide to both honor and rewrite the rules.
(10/28/25 4:55pm)
Everything is ephemeral. Nothing stays the same. As college students, we’re no strangers to phases of drastic reinvention, be it through choppy bangs, Splat hair dye, or a new nickname. For many of us, we’re trying to find ourselves and be who we believe we ought to be. These aesthetic changes are experiments in establishing identity during a seismic period of our lives.
(11/20/25 3:00pm)
They say to dress for the job you want, not the job you have, right? For what feels like an eternity, the corporate world has been recycling the same age–old saying as golden career advice. It assures us that by putting enough effort into our appearance and exuding professionalism at all times—no matter where we stand on the corporate ladder—we move one step closer to obtaining our career goals. Through the rise of the “office siren” aesthetic, young women in corporate spaces are putting their own creative spin on the classic idea of “dressing for success.”
