Some break-ups stay contained to the people involved. This one has implications for the next Taylor Swift album, whatever Sabrina Carpenter does next, and possibly the entire emotional register of mainstream pop for the next few years. That is not an exaggeration. It is just what happens when the man who has shaped the sound of a decade’s worth of heartbreak anthems ends up living through one himself.

When the new cinematic DC Universe officially launched its flagship hero back into the sky, the world looked up in awe. Superman was exactly what audiences and critics had been begging for over the last decade: a pitch-perfect execution of the classic superhero mythos. It deserved every single ounce of the hype it received. It was a triumph of modern blockbuster filmmaking that knew precisely what it was. But less than a year later, the skies have darkened over Metropolis.

Kane Parsons' Backrooms is undeniably impressive. It satisfies that craving for nostalgic dread that got my friends and I hooked on the movie and the lore in the first place. What once only existed on our computer screens was finally recreated on the big screen. And there's no arguing it. Parsons, indeed, has displayed a commendable talent in manipulating atmosphere for a first-time feature director. Unfortunately, atmosphere can only carry a film so far before it gets dragge

let me start by saying this outright: olivia rodrigo’s bloomers aren’t indicative of “the rise of fascism” if we’re already there. The woman’s just trying to sing her songs, stomp around the stage, and maybe remind us that the coquette revival on tiktok comes straight from 2014 tumblr.