FILM Isabelle Cialone (CAS '27) says 'Caught Stealing' is a chaotically comedic good time. B2
TV 'The Paper' is charming and more than just a spin-off, says Grace Ko (CAS '27). B4
TV Grace Ko (CAS '27) claims the Primetime Emmys return with new vigor in its 77th year. B6
SEPTEMBER 19, 2025
Jenny Han's 'The Summer I Turned Pretty' created a season full of swoonworthy moments. B3
Tanvi Gorripati Senior Guide Editor
IMDB
Darren Aronofsky returns with ‘Caught Stealing,’ a fun yet disarrayed flick, says Isabelle Cialone (CAS ’27).
Isabelle Cialone Deputy Guide Editor
Imagine the worst possible day of your life. Then, imagine it all started because you agreed to do one seemingly harmless, but ultimately horrific, favor for a friend. This is the premise of director Darren Aronofsky’s latest release, the dark comedy crime movie “Caught Stealing.”
After agreeing to look after his neighbor’s cat, Hank Thompson (Austin Butler) finds himself entangled in the vicious underground crime scene of New York City in the ’90s. As Thompson is caught in the increasingly violent crossfire between various gangs and an ongoing police investigation, the plot devolves into utter chaos.
Unfortunately, the resulting relentless action scenes feel both predictable and wholly unnecessary. The script uses every plot device — from Bud the cat to Thompson’s love for his mother and baseball to a traumatic childhood memory — to the point of exhaustion. With bloody violence and fast-paced action around every corner, the movie never slows down enough to let the audience truly
appreciate the characters or the gorgeously gritty shots of 1998 Manhattan.
While each death trumped the previous in the caliber of its bloodiness, I grew increasingly disinterested with the violence as it continued. I was certainly disgusted, but I had no real stake in any of the characters’ deaths, and would have been much happier without the constant reminders of my embarrassing queasiness.
The escalation in tension felt completely formulaic, and there came a point in the film where I was truly concerned it might never end. It incessantly regurgitated the same general concept of introducing Thompson to a new conflict that resulted from some unfortunate choice he’d made, ultimately raising the stakes. Given the number of times this happened, the ending should have been devastating, but it felt surprisingly hopeful. However, this was not an entirely pleasant hopefulness, as it made me question whether much of the film (and most of its deaths) had even been important — either to the plot or to Thompson’s development.
Though much of the film is dedicated to action, and some to comedic antics, its best mo-
ments are those in which it delves into addiction and tendency toward self-destruction. Aronofsky excels in depicting Thompson’s internal battle as he struggles to fight his alcoholic urges while his entire world comes crashing down. While the action might purport to be nervewracking, no sequence rivals the sheer tension of Thompson’s relapse. Beyond its incredible forays into the topic of addiction, “Caught Stealing” also excels due to its cast. Butler is a complete powerhouse as Thompson. He balances the emotional subtleties of grief and rage that have long been repressed by the sweet innocence of a golden mama’s boy. Though the constant onslaught of traumatizing events prevents Thompson from ever truly coping with any of his losses, Butler masterfully portrays his troubled character as he navigates his own personal hell.
Thompson’s girlfriend, Yvonne (Zoë Kravitz), perfectly compliments Thompson, and the actors could not have better chemistry. Unfortunately, the lack of development of Kravitz’s character makes her feel contrived and convenient, which is an unfortunate waste of Kravitz’s immense talent.
Matt Smith also delivers a solid supporting performance as the quirky, punk British man who lives next door. The performances from the various criminals — including Nikita Kukushkin and Yuri Kolokolnikov as brutish Russians, and Liev Schreiber and Vincent D’Onofrio as eerily violent Hasidic Jewish brothers — are universally strong. Perhaps the best performance comes from Tonic — Bud the cat. Bud’s presence, though overplayed to a befuddling degree, was greatly appreciated, and Tonic delivered an excellent portrayal of the sweet and occasionally miffed feline.
A complete departure from Aronofsky’s prior filmography, which includes the nail-biting psychological thrillers “Requiem For a Dream” and “The Black Swan,” “Caught Stealing” is surprisingly lighthearted (albeit extremely gory). While it is certainly refreshing to see Aronofsky exploring comedy, the movie ultimately falls flat without his signature penchant for torturous tension.
Despite the plot’s weakness, the stellar performances and the script’s success in handling both comedic and deep content renders “Caught Stealing” an enjoyable watch. And don’t worry — the cat does not die at the end.
‘The Summer I Turned Pretty’ Final Season Made My Summer Turn to a Captivating Show
Tanvi Gorripati
Senior Guide Editor
The third and final season of “The Summer I Turned Pretty” was an event. I literally had it scheduled into my Google Calendar every Wednesday, blocked out as if it were a doctor’s appointment. My friends and I built our nights around whether Belly (Lola Tung) would end up with Conrad (Christopher Briney) or Jeremiah (Gavin Casalegno). And judging by the number of watch parties and TikTok theories, we were not alone. This was a teen drama that people didn’t just stream; they planned for it. And while the season certainly wasn’t flawless, overall it provided exactly what I watched it for: a good time.
Part of what made this season so enjoyable was the acting, which felt like a noticeable level-up from previous seasons. There was a maturity and steadiness to the performances that kept the story from collapsing under the weight of its own melodrama. It finally felt like the cast understood their characters.
Briney’s performance as Conrad was the season’s anchor. The way he portrayed a forced happiness — smiling through the pain and cracking jokes that clearly masked a deeper grief — was the definition of subtle but effective. He made every scene he was in feel grounded, even when the dialogue veered dangerously close to soap opera territory.
Tung matched that energy with a performance that carried the emotional heart of the show. She captured Belly’s contradictions,
her indecisions and her yearning with a sincerity that made the character feel achingly real. Tung has a way of layering vulnerability into the smallest of gestures, and it’s this attention to detail that makes Belly’s love for Conrad not only believable but magnetic.
In contrast, Jeremiah continues to be, well, Jeremiah. He is still, in my opinion, an entitled baby who cannot see past himself. And yet, I actually felt bad for him at times throughout the season. Casalegno was able to find moments of vulnerability that shined through the entitlement, making his character sympathetic to even his harshest critics (myself included).
Supporting performances also stood out in unexpected ways. Isabella Briggs as Denise, for instance, brought a much-needed sense of grounding. Her presence served as a reminder that these young adults don’t live in a drama-filled vacuum and managed to bring a likeability to Jeremiah through their interactions. Benito (Fernando Cattori) was another pleasant surprise, injecting fresh energy into the series and showing how new dynamics can really shake up a story that risks becoming predictable. But as fun as he was, the real heart of the show laid elsewhere.
Because when it comes to chemistry, the crown clearly belongs to Conrad and Belly. Their feelings for each other leapt off the screen, the kind of connection that had me both swooning and clutching my pearls. Every glance, every word, every hesitation carried weight — it felt undeniable and
infinite. Belly and Jeremiah’s relationship, by contrast, was borderline comical in how forced it felt. There was little to no spark between them that showed up on screen. Steven (Sean Kaufman) and Taylor (Rain Spencer), however, were another bright spot. Their banter sparkled, their ease with each other felt genuine and the added backstory with Taylor’s mom, Lucinda (Kristen Connolly), gave Taylor’s character more depth than ever before. That extra layer made her romance with Steven completely believable and actually fun to root for.
Another improvement this season was pacing. The show has always played it pretty fast and loose with time, sometimes stretching a single day into multiple episodes, other times jumping forward by months or even years. In past seasons, this felt chaotic. But in season, it finally worked. Nothing dragged, nothing felt rushed and the timeline shifts actually made sense in context of the storylines.
Equally smart was the decision to release one episode per week. Too many streaming shows burn fast and fade from memory even faster, but “The Summer I Turned Pretty” became a weekly ritual. By stretching the season out, the show created anticipation, conversation and, most importantly, community. People weren’t just passively watching, they were theorizing, planning and marking their calendars. The finale especially felt like an event, something everyone was waiting for in unison. It also raises
‘The Summer I Turned Pretty’ returns for a final hurrah, delivering a satisfying season full of romance and drama, says Tanvi Gorripati (CAS ’27).
a bigger question to the industry: Why are showrunners so committed to dumping full seasons at once when the weekly model so clearly builds hype and longevity?
The music did some heavy lifting this season. It mWade the sad moments that much more devastating and the romantic ones burn even brighter. “Dress” by Taylor Swift turned up the temperature in a steamy moment and “Sign of the Times” by Harry Styles turned an already tense scene into something anxiety-inducing. Practically every track elevated the emotion on screen, making already charged moments unforgettable. With the sheer number of tracks included in the season, it is admirable that each song packed such a punch.
Of course, I cannot talk about “The Summer I Turned Pretty” without addressing the elephant in the Cousins Beach house: the love triangle — specifically, the brother love triangle. It is a trope the show is built around, and it is hardly unique; “The Vampire Diaries,” “My Life with the Walter Boys” and countless others have done the same.
But really, how common is this in real life? I have yet to meet anyone caught between two siblings, and yet pop culture treats it as the ultimate romantic fantasy. Maybe I don’t move in the right circles, but it does feel like writers rely on them because they are dramatic, emotionally messy and guarantee conflict. In short, the trope carries the weight of the writing, meaning writers do not have to try very hard to create a compelling story.
Still, there is something absurd about how often they tear families apart for the sake of romance. And yet, even with the recycled setup, the show made it worth watching. The romance, the dialogue, the stolen glances, the aching yearning between Conrad and Belly revived the cliche, transforming what could have been lazy storytelling into something worth swooning over.
In the end, season three was the best “The Summer I Turned Pretty” has been. The acting was sharper, the pacing worked, the release pattern elevated the experience and while the love triangle trope still strains credibility, it still delivers as a teen drama. Messy? Yes. Occasionally over the top? Definitely. But I had fun. And for a show I literally scheduled into my life, that’s everything.
Grace Ko
Senior Guide Editor
It’s not an exaggeration to say “The Office” has defined a generation of humor. Its traces are everywhere, from Kevin’s infamous chili spill to my overdone references of Dwight Schrute’s “Identity theft is not a joke!” Following in those steps is daunting, but “The Paper” stumbles forward gleefully with such charm and heart that you can’t help but want it to fly.
Documented by the same crew who followed the Dunder Mifflin Paper Company twenty years ago, “The Paper” details the daily happenings of the Toledo Truth Teller, a near-dead newspaper that attempts a revival under newly hired and ambitious, yet naive, Editor-in-Chief Ned Sampson (Domhnall Gleeson). Under his charge, the staff slowly gains their own passion for journalism as they grow stronger together. Created by Greg Daniels and Michael Koman, “The Paper” suffers from the initial
dissonance that plagues the first seasons of Daniels’ previous works, “The Office” and “Parks and Recreation.” It takes a couple of episodes before the series finds its sort of sweetly awkward humor that’s more reminiscent of “Parks and Recreation” than “The Office.” The characters also become their best selves in the season’s latter half, when Travis Bienlien’s (Eric Rahill) initial empty-headedness transforms into a funny sweetness; his character becomes much more compelling than first impressions indicate.
It’s, in fact, the character ensemble of “The Paper” that makes the show so charming. Gleeson, an incredible dramatic actor, is an equally strong comedic actor as Sampson. Awkward, yet sweetly charming, it’s his nervous babblings and stilted physicality (his run is one of the strangest things I have ever seen) that make some of the most hilarious moments of the show. Chelsea Frei is a wonderful straight-edge as Mare Pritti, a once hopeless journalist who regains her passion for reporting in the revived Truth Teller. Prit-
ti feels the most unique to the show in her role as the grounding character amid the office’s chaos — her love for the craft clearly is genuine alongside her quirks and dry humor. Another undeniable standout is Sabrina Impacciatore’s performance as Esmeralda Grand, whose name reflects the character’s very nature. Grand drives most of the action in the show as Sampson’s part-time nemesis, but as much as she schemes and manipulates, it has such a largely flamboyant touch that Grand is ultimately more endearing than annoying. On the other hand, Adam Cooper’s (Alex Edelman) appeal stems from his smaller bouts of absurdity, such as the pure curiosity in “Is that a gang?” to Sampson’s reminder to “remember the five W’s.”
Some characters, though, left more to be desired. Such an example is Nicole Lee (Ramona Young), who has the potential to be a dynamic presence but falters due to the lack of character vision. Lee’s strong aversion to conflict defines her as she puts on a front of naivete to avoid being an active voice. This
IMDB
Extra, extra! Grace Ko (CAS ’27) reviews ‘The Paper,’ a spin-off of ‘The Office’ that, while off-kilter at moments, is ultimately a sweet read.
later contrasts with her vicious ability to manipulate situations to her own will. An example is in the episode “Matching Ponchos”: Lee becomes the face of an apology interview for Softees Toilet Paper — another company owned by the Truth Teller’s parent company, Enervate — thus gaining the approval of company head Marv Putnam (Allan Havey). Lee flips between these two feuding traits for much of the season, resulting in a partially confusing, yet somehow still interesting, character. These characters need more stitchwork to feel truly whole rather than a simple outline of a concept.
A common worry with reboots, spin-offs and remakes is that of meaningless fan service in which references to the original content are made simply to emphasize the connection between the new and the original. However, “The Paper” manages to do so in a way that feels quite authentic to the universe they are creating. The biggest example is Oscar Martinez (Oscar Nunez), one of the major supporting characters in “The Office.” In the first episode, it’s revealed that Martinez has found a new life in Toledo as the Truth Teller’s accountant. Initially wary of the documentary crew, by the end of the season, Martinez becomes almost a mentor to the paper’s staff — a strong presence within the staff as its resident sudoku creator. There are other references to other “The Office” characters, including the short and sweet phone call between Martinez and Stanley Hudson, the puzzlemaster of “The Office,” about Martinez’s first published puzzle. While “The Paper” is not immune to the struggles that come with finding a unique style, there is no denying that the series has the potential to become a new television staple. Within a short 10-episode season, I found myself caring for these characters as the narrative unfolded, wanting to continue on as soon as the episode ended. Sure, it’s no “The Office,” but it’s “The Paper,” and its pages are filled with a sweet, charming awkwardness that you just can’t seem to put down.
Anandita Agarwal Guide Columnist
When I was ten years old, I had my heart broken for the first time. It was 2015, the day of my grandmother’s birthday, and One Direction had just announced via a Facebook post that Zayn Malik was leaving the band. Group chats were halted. The girls were hallway-crying. The collective parasocialism of two hundred tween and teen girls undergoing this significant loss successfully shut down my school in Bangalore, India.
Growing up as a South Asian consumer of Western media meant experiencing a 2010s culture dominated by the “Boyband Summer,” a phenomenon that bonded teenage girls around the world yet was explicitly catered to a select racial demographic. This meant separating your girlhood from your culture despite both being cornerstones of your identity — a cognitive dissonance compounded by the fact Zayn Malik existed.
Since the ensuing fandom wars and the raciallydriven vitriol from the fallout of Malik’s exit, the tween and teen girls of that era, like me, have now grown up and gone to college. From Bill Maher’s inappropriate humor, the Huffington Post’s misplaced imaging and countless fan accounts’ racial profiling to Malik’s 2017 tweet in response to a cultural controversy, the conversation around 1D and Zayn Malik has slowly evolved into a
retrospect on the normalized and rampant racist rhetoric we witnessed and Malik endured as a 17-year-old Pakistani-British singer and celebrity.
Many have speculated whether his exit was caused by his experience as the sole person of color in 1D. In 2015, conversation often devolved into a “Harry Styles or Louis Tomlinson Is Better Than Zayn Malik Because They Are White” polemic — take it from someone who was at the front lines (especially when the Zouis beef happened). This discourse has been reignited in the wake of lyrics from Malik’s new song, released as a sneak peek on Instagram.
With rhymes like “I’m a convert to the concert, and I did that for inflation / ‘Cause I worked hard in a white band, and they still laughed at the Asian,” the song, supposedly titled “Fuschia Sea,” is an intimate and painful exploration of the Islamophobic and racist slander Malik faced in the public eye. Both the fans and the musician have had to reconcile the love Malik received for his representation of diversity in the band with the hate he received for the same thing.
This, along with the rise of K-pop in the West, has rapidly transformed the musical mediascape into a multicultural celebration. Nobody exemplifies this better than KATSEYE, the “global” girl-group composed of six members from around the world, handpicked and managed by BTS’s entertainment label, HYBE. From viral
Explore D.C.’s vibrant culture, history and art by joining a walking tour of the District’s eight wards with WalkingTown. A touted annual event beloved by tourists and locals, the eight-day WalkingTown extravaganza runs from Sept. 13-20 and highlights D.C.’s hidden gems, historical heritage and walkability. Learn more about the schedule, registration and logistics of one of this year’s 50-plus walking and biking tours here.
Tiktoks and VMA wins to breaking records at Lollapalooza, the group has become the band of the summer, hitting Billboard charts in the process. It’s hard not to see the appeal of KATSEYE, with their K-pop-inspired outfits, music videos, choreography and catchy melodies with diverse messaging targeting America’s liberal Gen-Zers.
Lara Raj, the Tamil-American vocalist, dancer and fashionista, has become the face of the group’s meteoric rise to fame. With a solo profile in Vogue India, a Blooming Impact award given by the L.A. LGBT Center and the group’s record of 4.3 million Instagram followers, Raj is undoubtedly the most influential and iconic member of the group.
Growing up the child of South Indian immigrants in Los Angeles, Raj’s pop-star persona is underlined by a distinctly Indian aesthetic, with traditional gold jewellery, bindis, an Om necklace and mehendi incorporated into her quintessential popgirl fits. With much of her artistry influenced by her experience growing up as a queer Indian-American, Raj appeals especially to South Asians. With covers of Tamil songs and Bharatanatyam pieces, adorned in a classical sari or lehenga, Raj’s identity in the limelight is a far cry from how Malik had to disguise his Pakistani culture in a “non-threatening” persona.
The example of Raj demonstrates the progress accomplished in the pop world, but we must examine whether this change is positive. Over
By Anandita Agarwal
Experience the soul music of Washington, D.C., this Friday, Sept. 19th, at 5:30 p.m. Visit Canal Park at the Capital Riverfront for a night filled with rhythm. Hosted by the D.C. Jazz Festival, the concert is set to feature a free performance by the Dan Murray Quartet.
the summer, recent conversation about Raj rested on a KATSEYE x Gap collaboration advert, seemingly meant to celebrate diversity. It received great praise from the South Asian community, cutting a direct contrast to Sydney Sweeney’s controversial and conservative-coded American Eagle advert about having “great genes.”
But is it really honoring your South Asian culture to buy from a brand that has historically been accused of illegal and exploitative labor in South and Southeast Asia and still scores dismally on metrics of ecosustainability? Just because the ambassador for this vehicle of socioeconomic oppression in the Global South is an individual from the community, can we still condone Gap’s unsustainable, unethical practices? And what does this say about Raj and her goal to uplift the community? Is she truly showcasing our culture or is she making it something easy to consume? The Gap advert raises interesting questions about representation in the diaspora and the conundrum of growing up as an immigrant in the West. This, in combination with Malik’s new song, forces us to examine the deep-rooted biases that still govern most of Western culture. It is a culture that, for all its talk about diversity, leaves most immigrant artists to walk the thin line between making a living and staying true to their ideals — between being a sellout and being a trailblazer.
The highly anticipated and critically acclaimed “The Sound of Music” returns to the Kennedy Center Opera House Sept. 18. The musical will return 65 years after its debut. Directed by three-time Tony award winner Jack O’Brien, the show will have a month-long limited run.
D.C.’s fall theatrical season commences with Theatre Week, running Sept. 18Oct. 5. Aimed at increasing the visibility of performing arts in the District, regional theatres and performing companies will feature fan-favorite shows at discounted prices in addition to free events. With 30 productions, seven events and more than 17,000 tickets sold last year, Theatre Week will likely continue the legacy of a popular D.C. event.
Grace Ko Senior Guide Editor
There’s no denying that award shows are a dying breed. Ratings keep dropping, the shows keep dragging and the audiences keep losing interest — so much so that you can’t help but ask who these shows are truly for. Yet, as many serial crime shows have taught me, sometimes a mystery is only solved by going back to the crime scene with fresh eyes.
So, sit down, Benoit Blanc, Grace Ko is back on the Emmys case.
A key part of any award show is its host. A good host means an easy camaraderie is established between the host and both its star-filled audience and its at-home audiences. As evidenced by Conan O’Brien’s successful run at the 97th Academy Awards, a good host can make an award show appear more dynamic than it actually is.
This year’s host was stand-up comedian Nate Bargatze, whose signature style includes his deadpan delivery and sarcasm. Though arguably lesser known, Bargatze recently saw a popularity surge due to his appearance as a host on Saturday Night Live’s 49th season in 2023. Indeed, the awards show began with a sketch shaped after one of the more popular sketches of that epi-
sode, “Washington’s Dream,” in which Bargatze jokes about the many contradictions and strange norms in the landscape of television.
For better or worse, Bargatze’s sketch essentially replaced the traditional opening monologue that hosts give at award shows, causing a strange break where the Best Leading Actor in a Comedy Series award was presented before Bargatze came out again. Despite this slightly strange ordering of events, the idea Bargatze introduced to encourage shorter acceptance speeches waWWs quite funny, yet still peculiar. Bargatze announced he would donate $100,000 to the Boys and Girls Clubs of America, an organization focused on promoting various programs supporting children’s education and extracurriculars. For every second a winner went over the 45-second time limit, $1,000 would be removed, while $1,000 would be added for every second a winner was under the limit. While this plan was less than successful, as the final total was near -$50,000, a donation of $350,000 was announced at the show’s end.
Compared to last year’s 76th Primetime Emmys, the crowd did feel more keen to laugh despite Bargatze’s slightly nervous energy that resulted in a few awkward moments and name flubs. Perhaps my initial conclusions about the Emmys’
death was premature — the biggest piece of evidence still remains: the awards themselves.
There were moments during the ceremony where I was genuinely surprised and excited for the winners. Jeff Hiller took home the trophy for his performance as Joel in “Somebody Somewhere,” a show that was critically acclaimed yet maybe more unknown to the general audience. “Andor,” despite being snubbed in all of the ceremony’s dramatic acting categories, earned a very worthy win in the Outstanding Writing for a Drama Series category, which Dan Gilroy received for his work in the episode “Welcome to the Rebellion.” However, I was by far the most excited for Owen Cooper’s win for his role as Jamie Miller in “Adolescence.” At fifteen years old, Cooper became the youngest winner of the Emmy for Outstanding Supporting Actor in a Limited or Anthology Series or Movie. In his speech, Cooper encouraged those watching to step out of their comfort zone. “Who cares if you get embarrassed?” said Cooper, “Anything can be possible.”
Cristin Milioti also took home a very deserved win for Outstanding Lead Actress in a Limited or Anthology Series or Movie for her performance as Sofia Falcone in “The Penguin.” Having only been nominated during both the Screen Actors Guild Awards and the Golden Globes, it was wonderful to
IMDB
Grace Ko (CAS ’27) argues the primetime Emmys once again captivate audiences.
see Milioti’s absolutely electrifying performance as Falcone finally be awarded.
Additionally, Stephen Colbert received huge support from the crowd in response to CBS’s recent cancellation of his talk show, “The Late Show with Stephen Colbert.” The cancellation came as a part of a wave of controversy during the merger between SkyDance and Paramount Global — the owner of CBS — that required the approval of the federal government. The merger was threatened by a lawsuit from President Donald Trump over his appearance in “60 Minutes,” resulting in a payout of $16 million by Paramount to settle the suit. Colbert criticized this decision and soon after, the cancellation of Colbert’s late night show was announced. Colbert and his team took home the award for Outstanding Talk Series, and Colbert gave a wonderful speech about finding love within loss as the crowd cheered for his win.
Yet, despite these more warming moments of the show, predictability still plagues the Emmys. There is no denying “Adolescence,” “The Pitt” and “The Studio” are wonderful and complex shows. Still, I couldn’t help but wonder if the future wins of multi-season shows, such as “The Pitt,” “The Studio” and “Serverance” would eventually feel banal. These shows swept most of the acting and creative categories at the ceremony, and it felt cathartic given these shows are new players in television. However, so were “The Bear” and “The White Lotus,” before the curse of overexposure at the Emmys built a negative will against these shows.
In many ways, this year’s Emmys was a lot more interesting and dynamic than last year’s show, but old habits die hard. The potential of predictability’s return haunts this year’s ceremony as entire categories were swept again, yet here’s to hoping the Emmys continue to expand and are not lost in the deceptive comfort of commonality that acts to limit rather than open the doors for storytelling. The curtains are down, the show is finished and the case is closed: The Emmys live — at least for now.
Tanvi Gorripati Senior Guide Editor
Sombr, known offstage as Shane Michael Boose, is quickly becoming one of the most talked-about new voices in indie rock and alternative pop at just 20 years of age. Rising through social media, he has built his career not necessarily through traditional industry routes but by consistently sharing himself online through snippets, acoustics performances and humorous videos poking fun at his own music, giving fans a clear picture of his sound and personality. His debut album, “I Barely Know Her,” is a culmination of that journey, and while it may not be groundbreaking, it is a strong, self-assured introduction.
One of the album’s biggest strengths is how comfortable Sombr seems in his own skin. Many debut projects can seem scattered all over the place as the artist tries to understand and show who they are. That is not the case with “I Barely Know Her.” Sombr knows his style as an artist: stripped-down, introspective, bedroom-pop influenced indie music that leans heavily into emotion and relatability. He doesn’t try to do too much, restraining himself to what he knows. This decision works in his favor as the songs are cohesive and the overall vibe of the record is consistent. Even if that consistency sometimes drifts into sameness, ultimately, it is admirable that he has such a well-thoughtout sense of self in his debut album.
One of the album’s most popular and emotionally anchored tracks is “Undressed.” As the title suggests, the song strips down to its simplest self, both musically and
lyrically. Over minimal production, Sombr delivers his lines conversationally as if he is sitting across the room from you. The lyrics touch on the difficulty of truly being seen. It is not a song full of flashy metaphors or clever wordplay, but the simplicity is what makes it powerful. It lets the weight of Sombr’s honesty carry the track, making it feel personal yet universal.
Other highlights include “Back to Friends” and “12 to 12,” which show different facets of Sombr’s style. The former captures the bittersweet tension of moving backward in a relationship -– the attempt at returning to friendship after intimacy. The lyrics are straightforward but relatable, and the song has a brighter energy that makes it one of the catchier songs on the record. Meanwhile, “12 to 12” dives into the mood of long nights and looping thoughts, using the idea of time passing slowly to underline its restless energy.
Beyond these singles, many of the songs on the record follow the stripped-down formula, circling around themes of vulnerability, longing and late-night reflection. They are cohesive and consistent, but sometimes to the point where the album risks blending together. Individually, each song works, but together they can start to feel repetitive, like variations on the same mood.
That is probably my biggest criticism of “I Barely Know Her.” While the album is able to perfectly nail a vibe, it does not vary it enough to keep me fully engaged. I found myself zoning out while listening, waiting for something to shake up the formulaic music. However, I recognize that this sameness may also be part of the record’s appeal; for fans of raw indie pop, the consistency is comforting. The
songs flow into one another, maintaining a mood that is perfect for studying or quiet introspection. Where I want variety, others may find an immersive atmosphere.
Where Sombr really shines, though, is in how he connects with his audience. His marketing through social media isn’t just clever; it feels authentic. He shares his songs, and his life, in ways that invite his audience into his world — a transparency that I believe to be a huge part of his success. While his music isn’t necessarily something I would listen to on my own time,
other artists could definitely learn from his ability to bridge the gap between artist and audience. It is admirable to see an artist so early in his career already understanding not only his artistic strengths but also how to bring them to listeners.
So while “I Barely Know Her” did not fully capture me personally, I can see why it has catapulted Sombr to greater fame. The record showcases his gift for heartfelt songwriting and ability to create intimacy with his listeners. For fans of bedroom-pop-inspired indie music, this album is a definite win.
@SOMBR/INSTAGRAM
Tanvi Gorripati (CAS ’27) finds alternative pop artist Sombr’s debut album a self-assured but too-safe introduction to his indie-pop sound.
Jasmine Criqui Human Resources Director
It takes a small miracle to make Margot Robbie and Colin Farrell unappealing, just as it takes a special kind of confidence to put three adjectives in your movie title only to deliver on almost none of them. In related news, “A Big Bold Beautiful Journey” director Kogonada is both undeservedly confident and one miracle away from sainthood.
“A Big Bold Beautiful Journey” plays it fast and loose with its fantastical elements, allowing the main characters to slip through time and space without worrying about the metaphysics of it all. Instead of elaborate worldbuilding, the film relies heavily on atmosphere, artistic shots, technicolor scenery and just a touch of magical realism to elevate what is ultimately a straightforward story. Sadly, the film falls short on every non-aesthetic metric, with flashes of genuine insight overshadowed by flat characters, tonal inconsistency and distinctly lackluster themes.
At the center of the story are David (Farrell) and Sarah (Robbie), two strangers who have, for the most part, given up on romance. By the time they’re introduced to each other at a wedding, they’ve both had plenty of practice pretending to be happily single. After a stilted conversation that ends in disappointment for both parties, the two figure they’ve missed their chance for genuine connection, but it turns out the universe — and a mysterious car rental agency — has other ideas.
When the GPS devices recommended by the rental agency’s cryptic employees (Kevin Kline and a delightful Phoebe Waller-Bridge) start giving oddly specific directions, David and Sarah are sucked into the road trip of a lifetime with each other, where they must face their past mistakes head-on and break the toxic cycles they’ve trapped themselves in.
It’s an ambitious concept, especially considering the limited information we get about the two leads. Watching the film is a little like going on the world’s least
advisable first date — we don’t learn the characters’ hobbies, careers or even their last names, but we do get a sizable heaping of their childhood trauma, romantic hangups and glaring red flags.
There’s nothing inherently wrong with skipping the small talk, but the lack of other defining details leaves the characters feeling more allegorical than individual, and the script doesn’t do them any favors. Even Farrell and Robbie’s formidable acting chops aren’t enough to salvage stilted dialogue that feels like it would have gone viral on Tumblr in 2014 — an exchange about whether the view from space is “beautiful,” “strange,” “beautifully strange” or “strangely beautiful” is particularly mind-numbing. Another major issue is that despite being billed as a romance, the central love story feels underbaked. Even though they’re played by two otherwise charming actors, the chemistry between Sarah and David is close to nonexistent. I wish I were exaggerating when I say there’s more passion in a scene that doubles as
blatant product placement for Burger King than in the pair’s first kiss.
The most impactful scenes occur when the leads aren’t even in the same room, since the two must split up to confront the root of their guilt and shame. These moments are genuinely emotional and well-executed, and if I were feeling more charitable, I might even praise the subversive decision to have romance take a backseat to self-discovery. Unfortunately, the self-discovery is distinctly less satisfying when it happens to characters I have no good reason to care about.
To be sure, there are bright spots here and there — a quirky musical number, some creative set pieces, the odd bit of wry humor — but they’re few and far between. The final product is a movie that takes itself too seriously to be funny, isn’t stylish enough to pass as avant-garde and has nowhere near enough passion to be a love story. I’m a sucker for a wacky premise, but at some point I start to wonder if what I’m suspending my disbelief for is even worth it.
Madeleine Ott Senior Design Editor
While not as captivating as their stellar sophomore album, The Beaches provide yet another energizing and unabashedly queer collection of indie pop-rock anthems in their third studio album, “No Hard Feelings.”
Originally formed in Toronto in 2009, the all-female group catapulted into stardom in 2023 with the release of “Blame Brett,” based on the breakup of lead singer Jordan Miller and fellow artist Brett Emmons. Buoyed by the single’s meteoric rise on TikTok, the band gained mainstream fame with broader audiences who were drawn to their intoxicating combination of raw vocals, uptempo rhythms and refreshingly candid lyricism. These hallmarks also feature prominently in “No Hard Feelings,” though with slightly less variation in sound.
The album gets off to a mediocre start with the flat vocals in “Can I Call You in the Morning?” –– one of only five new songs debuting in the 11-track album. The second track, however, is one of the standouts of the album. “Did I Say Too Much?” captures the all-too familiar muddle of self-consciousness and blame in the wake
of a fizzled-out connection, lamenting, “Why did I speak too soon? / So real to me, girl, is it real for you?”
“Sorry For Your Loss,” another new release, continues this energetic tempo and audacious attitude. In an empowering message of self-respect, it sends facetious condolences to an ex-lover — “Send my deepest sympathies / Really shit the bed with me” — reminding them of all they are missing out on.
Tracks four and six –– both pre-released singles –– are two of the strongest of the album. Continuing the band’s brand of bold lyricism, “Touch Myself” describes the simultaneously thrilling and terrifying feeling of wanting someone you shouldn’t. Anchored (as always) by an ever-reliable drum beat and sweet guitar riffs, it centers queer yearning with a directness most artists veil with nonspecific analogies and convoluted metaphors. This, in and of itself, makes the track stand out.
Released more than a year ago, “Takes One To Know One” may not be new to diehard listeners, but it remains the memorable, charmingly self-deprecating heart of the album. Innovative cadences, tonal shifts and mildly ridiculous verses chronicle two “Antisocial, maladjusted / Noncommittal, can’t be trusted” partners, who, despite both being “pieces of work,” seem
By Isabelle Cialone
to make their chaotic relationship work.
Sandwiched between these two standouts, the fifth track, “Fine Let’s Get Married,” comes off slightly underwhelming in comparison. Seemingly riffing on the stereotypically fast-paced nature of lesbian relationships, it details the exceedingly questionable response to indecision or conflict in a relationship: doubling down on commitment. Despite the relatively flat lyrics and production, Miller’s extended high note at the end of the bridge — a guttural wail that cuts through the low instrumental thrum — is one of the album’s vocal highlights.
The first of two consecutive tracks with clothing motifs, “I Wore You Better” offers a brutal dressing down of a lover accused of ill intentions: “You fucked me, girl, just to try it / And led me on ‘cause you liked it.” Continuing the revenge theme, “Dirty Laundry” exposes cheaters who expect to get off scotfree, proudly proclaiming the all-too-obvious: “It’s not my job / Holding on to all of your indiscretions / Girls will talk / It’s a constant water cooler confession.”
The ninth track, “Lesbian Of The Year,” provides an unexpectedly welcome shift in tempo and tone, one the album desperately needs. Behind a slow, steady beat and soft synth chords, equally measured vocals reflect on the loneliness of a romantic void
and look back into the past for some kind of cosmic explanation: “Wish I knew my younger self / She could’ve used my help.” Gentle echoes of “better late than never” perfectly complement the melancholy melody, showcasing the group’s artistic range outside of their usually high-tempo comfort zone.
The album wraps up with familiar hits “Jocelyn” and “Last Girls At The Party,” released in September 2024 and April 2025, respectively. The former expresses an admiration bordering on reverence toward the eponymous subject and a deep fear of ultimately disappointing them. By contrast, the latter gives a peppy — if very repetitive –– celebration of a night out and all its revelries.
With the exception of “Lesbian Of The Year,” The Beaches don’t stray far from their established pop-rock sound over the 11-track album. While there is something to be said for staying true to one’s identity, the lack of variety does dim the overall listening experience, especially knowing the kind of range of which they’re capable. However, in an ever-crowded group of alternative queer pop artists, The Beaches strengthen their place in the upper echelon with yet another collection of head-banging, relatable hits.
1. With -er, a reel of funny TV mistakes 6. _____ One, a 2016 Star Wars movie
An Emmy, Oscar, Grammy, etc. 8. See 1-Down
9. “The Pitt” won the most awards of any show in this category
1. With 8-Across, what a season of a show must be for it to get nominated
2. Britt _____, who won Best Lead Actress in a Drama Series
3. Author of “The Memory Police” 4. Determiner indicating possession by multiple people
5. Stone, in Brazil