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In an era defined by likes, streams, and shrinking attention spans, horror continues to be an example of tried and tested evergreen content—content that stays fresh, relevant, and keeps us coming back for more. There is something timeless and familiar about supernatural spirits, axe–murderers, and the undead—for this reason, they are stories that never die.
Charli xcx just unfollowed the Blue Man Group on Instagram. Don’t repeat her mistake.
In an interview with Apple Music, Harry Styles described his newest record, Kiss all the time. Disco, Occasionally. as a search for music that makes being on stage feel like being in the middle of the dance floor. As it turns out, Styles’ time on Europe’s dance floors in between Harry’s House and Kissco was more contemplative than sweaty—the carefully placed “Occasionally” in his new album’s title should have let us know that it wouldn’t be a full–out dance record. The album is a sobering check–in with Styles, seeing him take inspiration from electronic artists like LCD Soundsystem and Floating Points. But instead of chasing the ecstatic highs of his disco and techno influences, Styles wields them in his simultaneous questioning of and indulgence in self–mythological nostalgia. Though he attempts to interrogate the emotional bankruptcy involved in being a teen girl heartthrob ever since One Direction, Styles seems out of place and unconvincing in his new meditative persona.
What is the point of award shows? To a pessimist, it is a room full of adults deciding which other adults deserve tiny gold statues for pretending to cry on camera—all while wearing outfits whose price tags could fund a small charity drive. To an optimist, it is a celebration of the human race: our ability to create art and make strangers feel emotions they have never experienced. The truth, like most things in Hollywood, probably sits somewhere in the middle.
I don’t tend to think too much about being culturally Chinese. It’s like breathing—it doesn’t require much conscious effort, and it only stops when I die. Recently, however, TikTok, YouTube, and other media channels have pushed me to think about being Chinese a lot. Gua sha, qipao, Labubus: As a full–time Chinese person, it’s astonishing to suddenly find millions of non–Asian people exploring the nation and culture I was raised in. All the more surprising to me is that this surge in interest is happening now, when the United States and China are locked in fierce conflict on technological, economic, and geopolitical fronts. The fight for the “real” China—an implacable Communist police state or lifestyle brand—is no longer happening in the Taiwan Strait, but on TikTok.
Where were you when Clavicular ran into a frat leader at Arizona State University and got brutally frame–mogged by him?
The air inside the Pennsylvania Convention Center is warm in a way that feels suspicious for late winter. Street Photo Editor Connie Zhao and I spill out from SEPTA platforms alongside tens of thousands of other flower enthusiasts, all surging towards the flower show. We step into the constructed spring, and, as I hear Indila’s “Love Story” playing, I feel like I’ve wandered into the secret garden.
The blank white insides of Blah Blah Gallery shine like a star in the late winter afternoon. But inside those tightly bound walls, bursts of color and play erupt as you enter its enclosure of whimsy. Blah Blah Gallery’s juried exhibition, Holding Pattern, shown from Jan. 15 to Feb. 28, encapsulated its theme of transitory contradiction in life while also speaking to the role that art has in our lives, outside the white cube and in our imagined communities.
Over 90 years after Bride of Frankenstein (1935) turned a silent, two–minute performance into one of cinema’s most enduring images, Maggie Gyllenhaal is revisiting the myth from a different angle. The Bride!, which arrives in theaters March 6, stars Christian Bale as Frankenstein’s creature and Jessie Buckley as both Mary Shelley and the titular Bride—an intentional echo of Elsa Lanchester’s dual role in the original film. Where James Whale’s version is essentially about the Bride in name only, Gyllenhaal’s film shifts the emphasis away from horror, instead focusing on autonomy, companionship, and identity.
I got my first tattoo last summer. A simple one, referencing a Walt Whitman poem on the back of my arm, but it’s enough to strike up a conversation anytime it’s hot enough for me to wear short sleeves. And now that conversation will follow me to the ends of the earth, or at least until I get sick of teenage decisions and save up for a coverup.
On January 27th, Arijit Singh announced on Instagram that he was “calling off” his journey as a playback vocalist to focus on his independent career. His retirement does not just signify the loss of one major player in the industry, but the start of a new era for Indian entertainment.
Before checking out the Institute of Contemporary Art’s newest exhibit, my knowledge of the Shakers was limited to whatever morsels of information I had gleaned from my early morning APUSH class in high school … which is, safe to say, not very much. After an afternoon of squatting down next to handcrafted stools to examine the wood grain and squinting at wall text for so long that an elderly lady exaggeratedly cleared her throat at me, I can’t say that my understanding of their lives has much improved. The concept is definitely fascinating, but as I roamed the gallery space, I was left questioning whether it was the best fit for a contemporary art museum … at least in its present state.
I see my roommates naked pretty often.
The trip to visit my grandmother almost didn’t happen. Before we even boarded the plane to Chongqing, China, I came down with an eye infection from my ortho–k contacts and couldn’t be exposed to light for more than five seconds without my eyes watering. Ma and I debated cancelling the trip, but I was firm about wanting to see my grandmother. Eventually, Ma gave in.
Amidst upheavals in Philly’s film scene caused by the rise of streaming and COVID–19, independent cinema screeners in the city have carved out an important role for themselves, one that streaming can never fully replicate. By screening rare, experimental, and topical films, they have managed to foster a sense of community through collective viewing.
By senior year, time at Penn starts to feel fragile—like something you could misplace if you aren’t careful. Stephanie Skinner (W ’26) handles it differently than most. Every commitment lives inside a meticulously color–coded Google Calendar, each day planned down to the minute. On paper (or a computer screen), her life reads like the kind of LinkedIn bio that makes you wonder if you have been misusing your own 24 hours. As a senior at the Wharton School, she finds a way to juggle Quaker Girls practice, mentorship, community service initiatives, and, most recently, being the titleholder of Miss Philadelphia as part of the Miss America Opportunity program.
A doctor, a comedian, and a filmmaker walking into a room sounds like the setup to a bad joke. For Trisha Bheemanathini (C’ 26), that’s just her every day. Between midterms in her three (yes, three) majors and Bloomers rehearsals, we found time to chat over Zoom. And while being pre–med is an accomplishment in itself, it’s by no means the defining feature of Trisha’s life. During the hour we share together, she tells me about everything: her little sister, the ins and outs of screenwriting, and her favorite sketches from Bloomers. From the biggest award to the smallest adventure, Trisha reflects on how she’s changed and who she’s changed at Penn.
Content warning: This article contains mentions of suicide, suicidal ideation, and drug usage.
Bloodlust hangs in the air as Zedekiah Montanez begins his walk into the ring at XFinity Mobile Arena. It’s a homecoming of sorts for him. Last January, in his debut as a bare–knuckle fighter, Montanez squared off against fellow lightweight Brandon Meyer in a fight that would end sooner rather than later. Just 30 seconds into the second round, Montanez took a brutal left hook to the jaw that slammed him down to the canvas, ending the match. But fortune (and the higher–ups at the Bare Knuckle Fighting Championship) had smiled upon him, granting him a rematch with Meyer at Philadelphia’s KnuckleMania VI, the Super Bowl of the bare–knuckle world.
If eyes are the windows to the soul, then lashes are the frame. Dunya Afshar’s (C/W ’27) company Wink Aesthetics is not just a business, but her way of blending technique, entrepreneurial drive, and the human element. Dunya has been perfecting her craft since high school, developing an innovative and deeply personal method of lash work.
Solutions by The State News