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This summer was a big one for lovers of love triangles. Amidst the weekly releases of The Summer I Turned Pretty’s final season, the entire second season of My Life with the Walter Boys was dropped onto Netflix, allowing fans who miss the coastal vibes of Cousins Beach to escape to the scenic landscapes of Colorado and indulge in an equally complicated rural love triangle.
As the weather starts to get marginally cooler, it’s never too early to start preparing for Halloween. Here are ten of Street’s favorite horror flicks to take the guesswork out of celebrating spooky season.
In most queer TV shows, the performance of straightness is merely a phase. A queer character might be in denial about their sexuality or reluctant to share details about their sexuality with others. They hide parts of themselves, presenting themselves in ways they think will be acceptable, and eventually come out—a moment of revelation framed as liberation.
There are some superhero movies that you forget the moment the credits roll. And then there’s Matt Shakman’s The Fantastic Four: First Steps, a retrofuturistic elegy that doesn’t just redeem Marvel’s long–misunderstood “First Family,” but imbues their story with a new emotional weight.
There’s a scene from The Summer I Turned Pretty’s recent Entertainment Weekly shoot that stays with me, from the beach where the cast reunites just days after wrapping up the final season. Lola Tung, Gavin Casalegno, and Christopher Briney all stand in the sun doing the same thing they’ve done for years: pretending not to be pretending. Tung laughs. Casalegno stares. Briney, off to the side, skips rocks. He waves. They wave back. It’s not scripted, but it might as well be.
I didn’t think I could still feel anything watching a superhero movie. Not in 2025 after capeslop became a term. Not after watching two decades of men with god complexes punch each other across cities while monologuing about loss, legacy, and their inability to cry.
Season seven of Love Island USA came and went with the wind, which means summer is also nearing its end—and no, I’m not ready for it. This season, much like all of the others, was a roller coaster: chaotic, dramatic—and as always, quite entertaining. Others may use their screen time to consume media with deep meaning and real sociopolitical perspective, but if you’re anything like me, TV time is best served sun–drenched and overproduced; an escape from real life and into a multimillion–dollar Fijian villa.
After another grueling 24 hours in the villa, Love Island USA season seven has hit its home stretch. In just nine episodes, 10 islanders are sent home, couples are broken up, and some are brought together, and one lucky pair wins a whopping $100,000 prize, along with the coveted title of America’s favorite couple.
This summer, superhero fans are faced with an impossible choice—should they watch James Gunn’s Superman (2025), DC’s attempt to reboot their cinematic universe with a seemingly comic–accurate Clark Kent, or Matt Shakman’s The Fantastic Four: First Steps (2025), a fresh take on Marvel’s first family?
Although there were no new bombshells this week, don’t worry, plenty of bombs were still dropped. Let’s start from the beginning: Tuesday’s late–night escapade. What the hell happened in that G–Wagon? Why did Olandria Carthen pick Nicolas Vansteenberghe up from the villa after their dumpings? Ride–share to the Fiji airport? Better. Heads–up trip to a secret, romantic garden date.
Week three of Love Island USA was truly a roller coaster of emotions, and from the looks of it, next week won’t be any calmer. From Megan Thee Stallion herself to a seismic Casa Amor shake–up, this week had viewers laughing, crying, and screaming (for some of us, all three at once). So if you’ve been lying incapacitated from heat exhaustion somewhere under this sweltering East Coast sun, here’s the lowdown on everything you missed.
Movies are consumed by many as a form of escapism—they close the blinds on daily stressors, provide entertainment during moments of boredom, and spark conversations between viewers. A movie set in the 1950s, however, strikes as an exception. For contemporary viewers, it might come as a surprise just how much the film’s thematic elements carry into the present.
Horror films have always reflected society’s deepest fears and anxieties. From monster films like Frankenstein and Dracula to iconic slashers such as Halloween and The Prowler, horror has shifted in waves that reflect the artistic climate of its time. Yet, historically, the genre has had a bad reputation for being cheap, lowbrow, and repetitive. Within the last decade or so, however, a new, semi–controversial type of horror film has emerged—elevated horror.
When most people think of Celine Song, they likely think of her breakthrough hit film Past Lives. The movie, an achingly tender chronicle of love and migration, which mirrors Song’s own life, has garnered an almost cult–following—in addition to glowing reviews and two Oscar nominations. Following on the heels of this success, Song recently teamed up with production studio A24 once again to write and direct Materialists, a romance starring Dakota Johnson, Pedro Pascal, and Chris Evans. However, what seems like overnight directorial success doesn’t come out of nowhere. Long before cementing herself as an acclaimed movie director, Song first made her way as a playwright. Beyond the big screen, her writing credits span the theaters of Off–Broadway and even The Sims 4.
If you were too employed to spend over an hour of your week nights watching Love Island USA, don’t worry, I’ve got you covered. This week was nonstop drama, as usual, and some fans are already claiming that this week was messier than all of season six. I tried to keep count of Huda Mustafa’s crash outs, but somewhere around Monday night, I gave up. If that’s not a glowing endorsement of this week’s standout reality television at its most unhinged, just keep reading.
In Bohemian Rhapsody, Rami Malek’s prosthetic teeth do a lot of heavy lifting. They must—they’re tasked not only with helping Malek channel Freddie Mercury, but with chewing through a script so sanitized it could’ve been written by a public relations team for the Mercury estate (because, well, it was). Queen emerges from the film not as the messy, electric, and debauched band that defined a generation, but as stock characters in a series of triumphant montage sequences that culminate in Live Aid.
Within the first ten minutes of Wes Anderson’s The Phoenician Scheme, Anatole “Zsa–Zsa” Korda, an enigmatic industrialist played by Benicio del Toro, shows the audience exactly who he is. Reclining in his private jet, he hears a faint clicking outside the fuselage. Moments later, his assistant’s torso explodes in an absurd display of gore—a failed assassination attempt, one of many in his high profile life. Unfazed, Korda strolls into the cockpit, violently unseats the pilot, and crash lands the plane into a Midwestern cornfield. As with each of his previous assassination attempts, he miraculously survives.
Pavements opens on an army of Santa Clauses hunting a rotisserie chicken with bows and arrows, and only gets more confusing from there. Viewers should expect no different from a hybrid documentary–biopic about Pavement, the messy, sardonic ‘90s rock group that is perhaps the California Central Valley’s most important export besides almonds. While the group’s explosive career only spanned about a decade, the depth of their impact on the modern indie scene is immeasurable. In one of the few moments where the band’s music is allowed to speak for itself, the film’s first few minutes simply showcase the music videos for the group’s songs “Gold Soundz” and “Cut Your Hair.” While on its surface a display of just how ridiculous Pavement can be, this opening section is also sincere in its appreciation for the band’s sonic and visual artistry, even as it appears outwardly absurd. If the experimental documentary can be said to have a “point,” it is precisely this—a celebration of both the enduring brilliance of Pavement’s music and the tongue–in–cheek spirit that made them the patron saints of a generation of burnouts.
After ten grueling, celibate months without the crown jewel of televised delusion, Love Island USA—the reality–TV equivalent of Daylight Savings—made its way back to our screens on June 3. Following an agonizing 40 minute delay, the season seven premier aired on Peacock at 9 p.m. EST, and goodness, did it not disappoint. I watched with the sort of fervor usually reserved for breaking news or sports finals. So, in case you’ve been too busy to devote an hour of precious time each night to watch emotionally unavailable strangers rank each other by kiss quality, here’s what you missed on week one.
I still remember when I first sat down to play The Last of Us Part I, not knowing that it would change the way I viewed video games as a storytelling medium. Created by developer Naughty Dog in 2013, the two–part game is set in a post–apocalyptic world where a fungus called Cordyceps has infected most of the population, leaving it a desolate, zombie–infested wasteland. What set the game apart, though, was the depth of its characters Ellie and Joel, whose bond forms the emotional core of the narrative.
Solutions by The State News