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When I first met Dr. Katie Schuler, I immediately felt a sense of comfort. Her presence radiated genuine warmth and friendliness. I could easily imagine Schuler’s classroom being full of the same energy, creating a welcoming space where even intimidated or overwhelmed freshmen could feel at ease.
In 1878, English photographer Eadweard Muybridge (yes, that is really how his name is spelled) assembled a series of photos depicting the movements of a horse as it galloped across a stage. Though he didn’t know it at the time, these “electro–photographs” would eventually lead to the development of the first movie camera, paving the way for photography to move from capturing moments to telling stories on screen.
It’s hard to maintain critical distance from a film when you keep bumping into its director on the street, but Urchin (2025) made that impossible anyway. I immediately saw it a second time while at Cannes, partly because the film was so good and partly because the universe kept throwing Harris Dickinson directly into my path. I ran into him on the Croisette three separate times like some sort of strangely tailored omen, and then capped off the week by getting a photo with Frank Dillane right after he won Best Actor at the Un Certain Regard closing ceremony.
In Shih–Ching Tsou’s Left–Handed Girl, Taipei glows like a fever dream. It’s a city that never stops selling—night–market snacks, secondhand kitchenware, wholesale jewelry, you name it—but it also trades in the lives of its people. The film’s neon–lit streets and humid night markets form the backdrop for a portrait of working–class womanhood that’s both romantic and devastating.
Located in Southwest Philadelphia, the neighborhood of Eastwick rests on marshland 11 feet below the Delaware River. Residents face a unique predicament when the first drops of an approaching storm paint the sidewalk: As water swells from Darby and Cobbs Creeks and combines with rushes from the Delaware and Schuylkill Rivers, Eastwick is flooded with up to five and a half feet of water. Just miles from the bustling streets of Center City, the neighborhood sits at the crossroads of an intense flooding crisis that will only worsen amidst a shifting global climate and insufficient governmental action.
If you are reading this, you’re probably a little bit of a weirdo. That, or whoever gave you this magazine most definitely is.
Olivia Dean is en route to being the ninth woman in a row to win Best New Artist at the Grammys. Like many previous winners, she’s been releasing music for almost a decade and—by virtue of TikTok’s algorithm—appears to have blown up overnight, boasting over 51 million monthly Spotify listeners as of December. This experience can be jarring—see Chappell Roan’s cynical take on celebrity life—but as she rises in fame, Dean continues to release music, bringing love and soul to the stage.
It is a well–known fact that the scariest moments of Halloweekend occur on Sunday morning, after the festivities have officially concluded. Lo and behold, this Halloween proved to be no different. While making the dreaded walk to the Hill College House communal bathrooms (after scrolling through all forms of social media to check for messages a former version of myself might have sent), I heard what can only be described as my worst nightmare: Christmas music. On Nov. 2.
Every year, new moments enter the cultural zeitgeist—new slang becomes ingrained in our vocabulary and political figures become our little dolls to jerk around. With the increasing pace of online trend cycles, it can be difficult for anyone not chronically online to catch up. Luckily, Street has alarmingly high screen times and endless burner accounts. On the off chance you somehow missed whatever six–seven is, or the momentous Zohran Mamdani win in the New York mayoral race, Street’s got you covered.
We’ve all heard the saying “survive ’til ’25.” And while the entertainment industry may still be asking for more time to heal, there was certainly no shortage of output this year. Whether you prefer the cozy, C418–backed gameplay of Minecraft, you’re a fan of the high–tension lovable ragebait of the Five Nights at Freddy’s franchise, or you adore The Last of Us but find yourself too scared to pick up a controller and play it (though I would encourage you to put on a brave face and try), there is an adaptation for you. Originals also have their moments, with A24 indie darlings putting their stars on the map, family dramas winning the Cannes Grand Prix, and animated musicals about a K–pop girl group topping the film and music charts for months on end. Whatever your preferences, this year had something for everybody—and some of Street’s most chronic Letterboxd users are here to tell you their favorites.
It is possibly the single most windy afternoon of the year when Wei–An Jin (C ’26) and I take our seats at Tea–Do in University City. One would think being indoors would allow us to avoid the sounds of the harsh winds muddying our conversation, but alas this afternoon must also be the busiest in Tea–Do history. Thus, Wei–An and I reminisce on her time at Penn while conversing over the blaring pop music and an overworked boba–shaker machine.
Content warning: This article contains mentions of violence towards children that can be disturbing and/or triggering for some readers.
Earlier this year, The New Yorker pondered whether music criticism has lost its edge. Gone are the days of musicians throwing sandwiches at reporters who diss their lengthy songs. Have art and culture magazines become all bark and no bite for fear of repudiation?
I walked into 2025 convinced I had already seen the musical roadmap. After last year’s cowboy couture and brief national flirtation with “simpler times,” paired with the hot–girl, indie–pop momentum (Addison Rae’s spiritual jurisdiction), I expected the year to bestow some polite sense of continuity—the next step felt predetermined, if not exactly obvious.
If you’re sitting at Penn Commons, there is a good chance you'll hear the sounds of skateboarding all around you—plastic wheels rolling against the paved ground or wooden tails snapping against ledges. But across campus, you’ll find signs prohibiting skateboarding, echoing the city’s larger discontent with the sport.
Most politically active students like myself spent election night reminiscing on the simpler, more hopeful times of the early 2000s—I spent my night reliving them.
There was a point this summer when it felt like every weekend belonged to the same studio. Warner Bros. kept dropping films that opened at No. 1, stacking one hit on top of the next until the run became the biggest win streak in recent memory. At the same time, streaming settled into its own rhythm: Apple TV+ pushed itself into the mainstream for the first time. HBO Max reminded everyone why its brand still defines prestige. And almost every major platform, from Netflix to Disney+, exposed the widening gap between streaming ecosystems and the theatrical market they once tried to absorb. The year didn't yield a single victor so much as a set of overlapping successes—one for theaters, one for television, and one for the industry’s sense of identity.
Does photorealism make for a good documentary?
Every morning, before the tables are set and the open kitchen comes alive with flames licking the air from the frying wok, chef Thanh Nguyen can be found winding through the streets of Philadelphia’s Chinatown in search of the freshest herbs and perfect cuts of meat. If the ingredients she needs aren’t available, rather than compromise, she'll drive anywhere to find them. She has driven all the way to New Jersey just to source ingredients for her patrons at Gabriella’s Vietnam, a restaurant along the lively East Passyunk Avenue. Inside, diners can explore authentic Vietnamese street food and home-style dishes: delicate water fern dumplings, herbaceous fried catfish that sizzles as it is served, fragrant hot pots brimming with fresh vegetables and smokey charred meat.
I never planned on becoming a photographer for Street. If I had it my way, I would’ve stuck with sports photography and called it a day. But for some reason, HBIC Norah Rami—a complete stranger at the time—went to war for me, insisting that I become Street’s multimedia editor. I didn’t ask for it, I didn’t expect it, and honestly, I didn’t even know what Street was.
Solutions by The State News