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Like many precocious middle schoolers in the old days of 2017, I would spend a lot of free time reading questionable fanfiction on Wattpad. Now, I don’t remember the name (or I actively chose to block it out) but there were a few pieces in which the writers would make a female character seem like she “was not like other girls” by having her wear a T-shirt with the words “Death to Barbie”. As a child reading that, I was shocked. Why would anyone want Barbie to die? Why did this person hate her so much? What is so wrong with her? Now, it seems like nobody can get enough of Barbie. After photos of Margot Robbie and Ryan Gosling dressed as Barbie and Ken for Greta Gerwig’s much-anticipated movie were released, guys, gals, and nonbinary pals switched out their usual color palettes for the doll’s signature hot pink. The trailers for the movie showcased Barbieland, a campy-looking playhouse-esque world where even the oval office is pink. Twitter feeds are flooded with “she’s everything, he’s just Ken” memes. Margot Robbie will henceforth be seen as Barbie herself. Everything we hated about Barbie, her pink clothes and made-up look, are now what we love about her. But why did we hate her so much in the first place? The  first trailer for the movie depicts little girls haphazardly playing with baby dolls until a giant Barbie (Robbie) steps into the scene. After seeing this tall, beautiful new figure, the little girls go feral and smash those baby dolls to bits. As adorable and kind of silly as this scene appears, it’s actually based on some truth. Before Barbie, little girls were typically pushed to play with baby or toddler dolls. These dolls were something that the girls could pretend were their own children and take care of them. Basically, it was “practice” for motherhood and the trailer shows these girls, who must only be around 4-6 years old, already as tired, bored mothers mechanically rocking baby dolls to sleep. In an article from Insider, Susan Shapiro writes “Ruth Handler realized that many little girls simply didn’t want to play ‘mommy’”. Unlike the baby dolls whose play was limited to maternal duties, Barbie could be dressed up, drive her own car, and go places by herself. Baby dolls required little girls to be mothers, but Barbie asked them to be her best friend. But all was not well in the dreamhouse. As we all know, when little girls get older they get more insecure. TW: Mention of Eating Disorders and related topics One particularly problematic doll had a diet book that simply said the words “DON’T EAT” in very visible letters and a scale that touted Barbie’s weight as being 110 pounds. Suddenly, Barbie went from a girl’s best friend to her worst nightmare. Barbie was seen as a symbol of unrealistic beauty standards and everyone, including Gloria Steinem, condemned the doll as any kind of role model. This isn’t without some merit though, Meera Navlakha writes for Mashable that  “A 2016 study conducted in Australia found that exposure to Barbie had the potential to encourage young girls to internalize seeing thin bodies as an ideal”. There’s also the fact that Barbie was always a thin, blonde, white woman. While the doll Christy was released in the 1960s, she was just a “friend of Barbie” not Barbie. In response, Mattel, the company that manufactures Barbie dolls, began releasing dolls with a wider range of body types, skin tones, and hairstyles. Each of these dolls would be Barbies in its own right. In another article from Mashable, Natasha Pinon writes, “Thanks to these changes, more and more young kids looking to play with Barbie might end up with a doll that actually looks like them.” While these changes are significant, by focusing on Barbie’s body and appearance we dismiss her accomplishments. Barbie is a happily unmarried woman who has had many careers, including ones in traditionally male-dominated fields. According to Charlotte Alter for Time Magazine, “Barbie has worked every second of every day since she was invented in 1959...Sure, she started off as a teen fashion model, but quickly worked her way up to fashion editor, then decided…to get her doctorate in astrophysics so that she could be an astronaut by 1965”. Barbie did start out as an alternative for little girls who were tired of playing mother to their baby dolls, and her impressive resume served to encourage young girls to pursue multiple career paths. Susan Shapiro writes about Barbie’s influence on herself stating,  “I also learned you could wear a hot bathing suit and lipstick while having multiple professions” For so long, Barbie has been seen as a symbol of toxic femininity, but the recent Barbiecore trend celebrates the way that she has maintained her all-pink wardrobe while winning a Nobel Prize in physics. It’s not just women embracing this trend, men and nonbinary/gender non-conforming persons are also channeling their inner Barbie too. In the same article, Meera Navlakha writes, “The aesthetic crusade urges people to embody the feminine and find joy in its playfulness– regardless of gender, race, or any other categories used by society to define a person”. Written By J.D. Valdepenas

The fourth and final season of HBO’s Barry kicked off last Sunday with two tightly crafted, high-energy episodes. The titular hitman-turned-actor was finally caught red-handed in the finale of the past season and every character’s life was turned upside down in an instant. While there are two shows in their final seasons led by former SNL cast members, with Bill Hader’s involvement (he’s directing every episode this season) in addition to the show’s excellent performances and writing, I think there is a clear winner. Sorry, Ted Lasso! This past week, the first two episodes “yikes” and “bestest place on the earth” were released, so here is a quick recap to catch you up! "yikes" S4 E1 Season four begins with an ode to Los Angeles. As a barely visible Barry is dragged into a prison in cuffs, two cops begin to fangirl. “He was just on that screen and now he’s in our cell block, dude, that’s awesome!” From the first episode, Barry, like all of his fellow actors, has craved being known. Despite a stint on Laws of Humanity (which I keep hearing is a great show), Barry (Hader) is more famous than he’s ever been. This extends to the people in his life, as both Sally (Sarah Goldberg) and Gene Cousineau (Henry Winkler) have new attention drawn to them. For Cousineau, this is the best-case scenario after the murder of his cop girlfriend. For Sally, it is another pitfall in her rapidly deteriorating career. In the season three finale, she stabs and bludgeons a biker from the Taylor Gang. Barry discovers the aftermath, saying he’ll take care of the body and take the blame for it. This experience, coupled with her cancellation after becoming the subject of a viral “Karen” style video, leads her to return home to Joplin. There, her parents (who have never even seen her show) are apathetic and inhospitable. This nightmarish yet highly naturalistic home is a stark contrast to the idyllic New Mexican Airbnb that NoHo Hank (Anthony Carrigan, pictured above in an incredible outfit by designer Tiffany White Stanton) and Cristobal (Michael Irby) have retreated to. While this peaceful landscape is a much-needed escape from the horrific treatment of the couple in the season 3 finale, it’s too pleasant to last long (despite Bill Hader’s original wishes which included the two of them “just going to art museums”). Their Airbnb host’s mention of the sand industry inspires Hank and Cristobal to go back to LA and start a new powder-based trafficking ring. This rush back to reality inspires Hank to reach out to Barry, who he only just realized is imprisoned. Speaking of the titular character, Bill Hader continues to impress both as a director and an actor. This episode features a classic “man gets angry at a mirror” scene which normally bores me but this scene is elevated by the distinctly Barry inclusion of a meek cop telling him everything’s going to be ok. While Bill Hader has played this character as depressed and detached for seasons, Barry Berkman has never been so much of a shell. Although he is still unable to feel guilt for murder (a trait that has gone on since his season two relapse into killing), guilt for hurting those close to him overwhelms him. He calls Gene, asking if it was a mistake and reminding his former acting coach of his love. He apologizes to Fuches, also imprisoned, not for killing but for trying to be an actor in the first place and abandoning his violent and selfish father figure. Meanwhile, the ever-desperate (and ever-entertaining), Monroe Fuches (played by Stephen Root, above) decides to work and stop working with the FBI within the span of this one episode. As much praise as I have for the other genius actors in the show, Stephen Root’s manic energy feels dialed up this season and I can’t help but watch his every move in awe. It looks like this season will be exploring the beginning of Barry and Fuches, and if it means more stunning desert flashbacks and screen time for Root, I couldn’t be more pleased. "bestest place on the earth" S4 E2 What this episode lacks in action, it makes up for with gripping visuals and tense character evolutions. This episode features an impressive dream sequence that is sure to be only the second of many. As Barry sits slack-jawed, he begins to daydream about being a child and being with his father and a friend, Monroe Fuches. This memory is interrupted by a wedding procession moving through the desert, which seamlessly transitions into an indoor wedding where an older version of Barry and Sally slowly dance. It’s a gorgeous sequence, sure, but not as exciting to me as the technically simpler Dave and Buster’s pitch that comes earlier in the episode. Anthony Carrigan as NoHo Hank and Michael Irby as Cristobal (both pictured above) are always delightful to watch and this scene proves to be no exception. After returning to Los Angeles, Hank and Cristobal are trying to get two rival gangs to work together to start trafficking sand for construction projects. In classic Barry fashion, this collection of criminals and gangsters gather at a Dave and Busters. Hank and Cristobal take turns delivering their tightly scripted pitch, moving in opposite directions around a circular table and rotating the camera. This uninterrupted two-minute shot highlights Hank and Cristobal’s absurd interest in hospitality and presentation, showcases the technical prowess of cinematographer Carl Herse, but most importantly, it’s really funny. Barry as a whole does an incredible job of finding humor in severe circumstances. While the tableau of tattooed criminals holding stuffed animals they won is an amusing image, it doesn’t distract from the threat of Hank’s attachment to Barry and the consequences it might hold. Gene Cousineau is another highlight of this episode. Henry Winkler (above) is impossible not to love as he fails at executing a mysterious scavenger hunt for a Vanity Fair reporter. His incredible one-man show recreating his relationship with Barry takes many liberties (as most of Cousineau’s stories do) but I cannot help emulating the completely engrossed reporter eating a bag of Skittles in disbelief. Since Gene rebuked his role as a father figure to Barry in the last season’s finale, Fuches has stepped up again to help the man he’s always treated like a son. Stephen Root continues his deranged overconfidence by quickly ceasing his collaboration with the FBI to regain Barry’s trust by any means necessary, as long as everyone will still call him “The Raven.” However, this trust is shattered when he discovers that Barry has now begun working with the FBI. Why is Barry working with the FBI when one episode ago he was too depressed to care about being assaulted by a police officer? His newfound lust for life and freedom is the result of a terrifying and engrossing conversation with Sally, who comes to visit him. Asking about a “dog” she left behind with him, Sally arrives to get peace of mind over the murder she committed. However, after hesitating to leave, she confesses to feeling safe with Barry. Latching onto this, Hader gives a frighteningly committed performance as she departs, fixating on this comment and telling her that he still loves her. This episode is full of captivating scenes. However, the most shocking moment of this episode comes in its final moments. When NoHo Hank discovers Barry’s involvement with the FBI, he decides to kill Barry. Bill Hader has promised a major early season surprise, but I find it hard to believe that HBO’s Sunday lineup would kill a major character early in its final season twice. This doesn’t mean a major character death won’t occur soon, and frankly, it doesn’t look good for anyone this season. From Fuches to NoHo Hank, anyone could be a target. This season has not fully devolved into chaos yet, but its first two episodes have done an excellent job establishing the beginning of the end. Who knows what the future holds, all I hope is that we get to see more of D’arcy Carden as Natalie soon. Written By Mary Leer [ Stay tuned for more "Barry" review articles each week! ]

(light spoilers follow, as well as references to incest, violence, and sexual abuse) When I was a high schooler who’d just seen the horrific and thrilling 2018 film Hereditary, I immediately poured through the internet to watch writer and director Ari Aster’s entire collection of published short films. On a sketchy Vimeo page, I watched 2011’s Beau. In this short, a man leaving his apartment to visit his mother is horrified to discover that his keys have been stolen from the door. This incredibly simple, yet effective premise has now transformed into A24’s most expensive production and resulted in the 3-hour epic, Beau is Afraid. Beau is Afraid is a proudly self-indulgent and absurdist tale of an anxious man traveling to his controlling mother. While overstuffed and openly ridiculous, fans of Aster’s previous work and those in search of an oedipal spectacle will likely enjoy A24’s newest film. Littered with accoladed actors, this new film from the director of Midsommar, Ari Aster, explores the anxiety-inducing environment of 47-year-old Beau (played by Joaquin Phoenix) on a journey to visit his mother (Patti LuPone). Larger in scale than his previous works, Beau is Afraid feels like a classical odyssey and poses the question, what if 40 Year Old Virgin had more beheadings? While I’ve received skepticism from friends for this comparison, Aster himself has called the film a comedy. And while drastic tonal contrasts might make an audience hesitant, opportunities for laughter are frequent. Sure, this film has all the hallmarks of an Aster movie: beheadings, falling off cliffs onto rocks, uncomfortable yet humorous male nudity, mothers with badass monologues, etc. However, other elements like fecal smoothies, drug sequences, vulgar puns, enraged teenage girls, and even certain cast members feel straight out of a Judd Apatow flick. Even the first wordless appearance from Nathan Lane’s Roger prompted serious laughs from the two screenings I attended. Additionally, Beau is Afraid features a hilarious and barely visible cameo that rivals any MCU reveal. Although the film is confidently self-indulgent and may overstay its welcome at a 179-minute runtime (its animated sequence is gorgeously crafted by Cristobal Leon and Joaquin Cosiña but is noticeably lengthy at 20 minutes), its first hour is particularly impressive. After an immediately stressful pre-title sequence, we are thrust into a carefully crafted and gleefully violent interpretation of New York that only Aster and nervous grandmothers could imagine. Automatic rifles are sold at stands on the street, eyes are gouged out in front of unbothered police officers, and the titular protagonist lives in a building with a nonchalant attitude toward the deadly brown recluse on the loose. In this chaotic atmosphere, it’s barely shocking that Beau narrowly avoids getting shot by a police officer only to get hit by a car and stabbed repeatedly while completely nude. This car accident leads to another highlight of the film, the eerily tranquil home of Grace (Amy Ryan), Roger (Nathan Lane), and their daughter Toni (Kylie Rogers). The casting of this film is one of the key components of its strength. Every character is perfectly cast and delivers an amazing performance. The comedic abilities of Lane, Ryan, and Parker Posey are utilized to the greatest extent. Phoenix plays Beau with the hesitant cowardice of a terrified child and although 30% of his dialogue is just “What?”, he delivers it with nuance and great emotional range. He also follows the trend of Ari Aster characters with unique and horrific sobs (the cries of Toni Collete in Hereditary and Florence Pugh in Midsommar still haunt me to this day). Armen Nahapetian who plays the younger version of Beau gives such a convincing performance that most of the internet is still convinced he’s CGI. Finally, it goes without saying that Patti LuPone gives an incredible performance as Beau’s vindictive and controlling mother (also complemented beautifully by the performance of Zoe Lister-Jones). If there’s one subject Aster loves to explore in his work, it’s a dysfunctional family. Ari Aster’s first true claim to fame wasn’t with his feature debut Hereditary, but with his viral and deeply disturbing short film, The Strange Thing About the Johnsons. The film details a son’s sexual abuse of his father and these uncomfortable themes make themselves unspokenly apparent in Beau is Afraid. At the least, Mona Wasserman (LuPone and Lister-Jones) is an emotionally abusive and controlling mother with an unprecedented skill for passive aggression. However, signs from nightmares about baths, to a fear of sex and genitalia that manifests itself in let’s say… pretty large ways may be indicative of something even darker. Regardless of Aster’s specific intent, he ensures that audiences will be squirming with discomfort just like Beau does. Beau’s deep-seated anxiety and fear of adult independence are the result of the constant demands and more importantly, surveillance from his mother. !! Major spoilers for Beau is Afraid below !! Even before the final reveal of the film, both Beau and the audience are vaguely aware of his feeling of being surveilled and controlled. Beau lives off his mother’s credit card, eating frozen meals (with the flavors of Hawaii and Ireland!) from his mother’s company, while fearfully living in the rehabilitative housing his mother created. He is completely isolated aside from the homeless population which threatens him. While being hit by a car may seem like a coincidence, being strapped to an ankle monitor doesn’t come as a shock and a close inspection of the employees printed over Mona’s portrait in her home reveals a familiar mustached surgeon. Even Elaine (played by Parker Posey and Julia Antonelli) is revealed to have been planted by Mona all along, furthering the uncomfortable oedipal nature of her abuse. While I found the Truman Show-esque finale jarring at first, it appropriately concludes the absurd and larger-than-life preceding events. It is a tragic yet fitting end for a man that could never change or escape the control and submission of his domineering mother. Beau is Afraid, is certainly not for everyone. Its shocking runtime, phallic imagery, and violent humor are sure to turn many away. But for those wishing to hear a hilariously ominous Mariah Carey needle drop, Aster’s detailed construction of this film ensures a visually impressive and anxiety-inducing journey for all viewers. Written by Mary Leer

In a darkened stadium, stands full of people wait with bated breath. Leslie Gore’s “You Don’t Own Me” plays over the speakers before the show begins. After a few moments, the music stops and the silhouette of a woman appears. She holds up a microphone and says the words that are all too true; “It’s been a long time coming”. And the show begins. As multiple sources will tell you, Taylor Swift’s Eras tour is truly a sight to behold. With 3 hours, 44 songs, and 16 beautifully bejeweled costume changes, the 11-time Grammy winner makes sure to give her fans their money’s worth. As she struts across the stage and sings the “Lover” deep cut “Miss Americana and the Heartbreak Prince '', she tells everyone who showed up, that for those 3 hours “It’s you and me, that’s my whole world”. Wearing a sparkly pink and blue bodysuit with matching knee-high boots, Ms. Swift picks up right where she left off. When she sings the title track of the album, we are greeted with the dollhouse from the “Lover” music video. Each room is lit a different color (something that fans have taken to believe represents the order of her re-recorded albums) and Swift performs the wedding band-sounding song with a pastel blue guitar. “Lover” is a song that is about two people sharing life and the house represents the beauty of simple domesticity. Leaving Christmas lights up, letting passed-out friends sleep on your couch, and saving seats for each other are little moments that mean everything. In the “Evermore” era, Swift takes us out of the house and into the woods. Performing with a moss-covered piano surrounded by twisting trees, we are invited to gather around as she tells the tale of heartbreak and loss in “champagne problems”. In “Reputation” backup dancers dressed as Swift from each of her different eras are locked in cages during “Look What You Made Me Do”. This is a clever, meta-reference to the music video but also a recurring motif in Swift’s most recent work. If you have a Swiftie in your life, you know that the reason Swift is re-recording her songs is that her old label sold her masters, without her permission, to her rival Scooter Braun. With each distinct set piece, Swift builds little worlds for each album. The golden stage of “Fearless” takes us right back to 2009 and we get to relive the glory days of “1989” with the projection of a car being destroyed. For the 3 hours that the audience has with Taylor, they travel through time with her. In addition to the sets, Swift serves some memorable looks throughout the night which serve to complement each different era. One signature of Swift is changing her style to correspond with the theme of the album. The fringe dresses for “Fearless” are the perfect callbacks to her sophomore album along with the appearance of the sparkly guitar. While some of us may cringe at the fashion choices of our younger selves, Swift fully embraces her past costumes with open arms. During the “Speak Now” set, which strangely only consists of the song “Enchanted”, she takes a break from bodysuits and wears a pink, princess gown. The kind that she would often don during the “Speak Now” world tour back in 2010. My personal favorite is the white t-shirt bearing the words “A Lot Going On At The Moment” paired with a black fedora during the “Red” set. 2012 was something of a dark time in fashion (why did we put mustaches on everything?), but Swift plays into it with love. Of course, she also uses clothes to welcome her newer albums to the Eras family as well. The beauty of the Eras tour is that we get to see how she envisioned performing her latest work in concert before the pandemic. During the “folklore” set, Swift leads a group of dancers in all-black ensembles; a group of mourners. She stands out in a flowing lavender nap dress while singing the solemn anthem “my tears ricochet”. Swift looks like the spirit of the deceased who is giving the eulogy at her funeral. As she belts out the line “cursing my name, wishing I stayed” the song illustrates the complexity of grief. Despite what some of us had hoped, the set list is devoid of any mashups between eras. By doing this, Swift gives each era room to breathe. We stay in that period for as long as she wants us to stay and we move on, never going back. Although I would give anything for a “Maroon”/”Wildest Dreams” mashup, the Eras tour is meant to be a celebration of Swift’s past work and a way of looking forward to what she’s doing next. As she closes out the night with a “Midnights” set, she exits the stadium through an orange door. One fan theory is that the color orange was supposed to be the theme of a scrapped album called “Karma”. Swift has never confirmed this theory, but the image of her leaving “Midnights” through an orange door implies that anything could be possible. Written By J.D. Valdepenas

We’ve all had our share of Beef with someone. Whether it’s having a road rage battle with strangers, which everyone knows must end with middle fingers greeting each other, or defacing property. It’s not an overstatement to say that this series is among the best complex story Netflix has picked up alongside the work of the acclaimed production company A24. Relatable stories have always had the greatest impact on audiences and Beef is the exception. Multilayered with topics on trauma, dishonesty, decision-making, class, and nihilism; this show gives an insight into the massive misunderstandings between hurt people which leads to self-destruction because of the absence of connection. Beef is the story of two people getting into a road rage incident and trying to plot revenge which causes difficult character development and storytelling. Steven Yeun who plays Danny Cho was phenomenal and Ali Wong as Amy Lau was brilliant. Every scene they had together was magic. When Amy and Danny accidentally crack open something inside of one another, they compete to see who can hurt themselves or the others more. This is an amazing story about revenge and karma that is unnaturally executed. In the finale, Danny and Amy are left to fend for themselves. They have zero trust in one another but in the worst-case scenario that they find themselves in, they are each other’s best hope to survive. They set aside their beef and have deep conversations which help them understand they are not dissimilar at all. They are the source of their downfalls. They set aside the rivalry to learn more about their morals and flaws. The ending leaves the audience questioning our individualism and how that reflects on living fulfilled lives that the main characters struggled to navigate. The directors Hikari, Jake Schreier, and Lee Sung-Jin take us on an intense journey that is beyond unpredictable. The need for love and the inability to offer and receive it. Both the Yin and the Yang. As well as a banger at the end of each episode and the art for the title cards are beautiful. This show is the official new definition of revenge. Written by Daniel Rojas

Once Upon a Time, in a faraway land of electrifying R&B music and captivating Afrobeats, three sisters create a refreshing fusion of musical enchantment. Keisha, Fiorella, and Fiona are the sisters of MUSAS. What is MUSAS, you may ask? Well, MUSAS is the sister band that is here to shake up the music industry, and with rapidly growing momentum. This band is guaranteed to inspire individuality and encourage connectivity all the same through sisterhood and song. Their newest single, “Fantasy” is a prime example of fluid talent and ever-growing glamor. For these sisters, the importance of expression starts from the beginning. “Glam for me is what you’re born with, like how you present yourself in your own personal style,” says Fiona, the middle sister as well as the bass player and songwriter for the band. “In the music videos, we all have our own style in movement, hair, fashion, and everything,” says Fiorella, the youngest sister, who also writes, sings, plays the piano, and produces for MUSAS. This is very clear in the music video for Fantasy, where elements of shining show biz, elegantly crafted fairytales, and graceful acrobatics are shown in the explosive visuals. The middle sister, Fiona, chimes in by adding, “When we match colors or themes, we all have our own style and interpretation for that theme. For example, Fiorella likes the Y2K, Kiesha likes the grunge, and I’m with the Baddie aesthetic.” Fantasy isn’t the only song and video that represents each of the sisters’ complementing yet distinguishable personalities. Patience (released this past November) and Destino (released in Summer 2021) are also powerful songs that give MUSAS their sense of glam and sparkle in the music industry. Although all of the songs from MUSAS have their own specific style and message behind the lyrics, it’s assured that MUSAS is refreshing and they are passionate in their talents in music. As Kiesha, the oldest and arranger, songwriter, and singer for the band states, “We’re doing something that is not in the industry right now.” Which is very true. No one is doing it like MUSAS, and certainly not as glamorous. Follow MUSAS on Instagram: @musas_official_ Watch Fantasy on YouTube: Written by Celeste Wolf

I wanted to do something simple yet stunning for this month's shoot. Encapsulating the parts of glamour I found the most interesting, we took those topics and turned them into art within photography. Enjoy! Victorian Glam Model: Jaden Rittweger Hollywood Glam Model: Vaughn Broderick Influencer Glam Models: Jake Pranian , Amy Kapel Photography and Editing By Mark Bluemle

Illuminated by artificial light All eyes are on me Watching, waiting Noticing the slightest quiver in my lip The shake in my hands A puppet to the melody I’m lost Deep within myself Tearing my heart from my chest Watching with a smile on their face Their eyes consume me, raw and bloody Finding the beauty within my pain Glitter cakes my face Hiding who I am Underneath the blinding mask Allowing me the freedom If only for a minute Trapped within me Ugly and wretched It pours from my veins Drowning out the silence My lips ache from the pitiful smile Plastered upon my face Shining in the spotlight They clap only when I have gone When the red curtain falls And the seats fill with emptiness Walking away from my heart Bruised and bleeding Lying before their feet Written by Grace Bugin

The genius sitcom, Abbott Elementary, knows exactly how to show off top-tier product placement. Janine, just like her coworkers, dresses in mixed-matched clothing with different patterns and other accessories. It is a very accurate representation of how many educators would normally dress. The teachers, Janine especially, are oftentimes made fun of by Principle Coleman. Janine’s educator style reflects her perky and abundant personality. During the fourteenth episode, Maurice, who is dating Janine, gives her a silver Telfar bag for Valentine’s Day. When receiving the bag, Janine pronounces the brand name saying, “It’s a Teflon.”, remaining not impressed by the bag. She proceeds to open the bag expecting to find her gift within the bag, not realizing the bag is the gift. Janine not recognizing the bag is very on-brand for her character. She doesn’t realize the importance of the bag until Maurice expresses, “That bag is expensive”. This episode continued to introduce mixed signals between Janine and Gregory. Hopefully, this burning romance will sort out towards the finale and Janine gets educated on Telfar. Speaking of Telfar, the founder happens to be a Pace University Alumni. The Lubin School alumni, Telfar Clemens, majored in Business and graduated in the class of 2008. He created this genderless fashion line and in 2017 he was awarded the CFDA. The rise of veganism in 2020 led the famous bag to become at the top of people’s want list of that year. To keep up with the brand you can follow them on Instagram @telfarglobal Written by Daniel Rojas

A playlist to help you feel your most glamorous self this spring season. Enjoy! Created by Lily Greenberg

Ummm, so like…who’s your favorite artist??? Amazon Prime’s new limited series called “Swarm” created by Janine Nabers and Donald Glover has been on the rise over the past couple of weeks. The genre is described as horror, comedy, and drama all into one. The amazingly star-studded cast includes Dominique Fishback, Chloe Bailey, Damson Idris, Rickey Thompson, Paris Jackson, and Billie Ellish. Swarm follows the character Dre who is an obsessive stan of an artist called Ni’Jah, who may allegedly be loosely based on Beyoncé. There are plenty of crazy fan bases in our culture today, and “Swarm” sets up someone who goes past that mindset to murder. The series dives into the dark side of what it means to glamorize someone's life and get themselves trapped into developing a parasocial personality. !! Spoilers Ahead !! In most cases when someone is obsessed with a celebrity, it’s shown there are some qualities in celebrities that are not in their lives presently but wish they were. People that are delusional like the protagonist or antagonist, Dre, need to remind themselves that celebrities are showing the world whatever type of persona they want. Fans or in this case, “stans”, develop antisocial traits and isolation - which is displayed well throughout the series. Dre has tendencies to lash out at anyone who speaks negatively about her favorite artist and it seems that the love Dre has for Ni’Jah overpowers any other love connection she can form with anyone else. While the horrific series comments on the obvious psychotic effects we know about “stan culture”, it simultaneously gives these stans a backstory instead of a hectic Twitter profile many have seen and even dealt with. The complexity of this story is amazing because it makes the audience pay attention to every single detail the show provides, which makes room for different perspectives and interpretations. This shows an accurate reenactment of an obsession with how stan culture is in real life. Every interaction you may have with someone can leave a long-lasting effect on them, and the audience may be careful with things they say and do on the internet. The series accurately reflects the current space of stan culture and the state of society as these online spaces. Written by Daniel Rojas

For the longest time, women have been criticized for their femininity. Since pre-k, the “girly girls” have been made fun of for choosing pink as a favorite color, because “all girls like pink.” We’ve pushed to differentiate ourselves from the so-called “other girls,” because there we’ve found some inherent weakness in natural femininity. This push for differentiation caused a mass of women to put down other women for doing the things that they enjoy, just because these things are stereotypically girlish. But things have shifted to change. The first instance - at least that I can recall - is Elle Woods in Legally Blonde. She proved that a woman can be smart, strong, and worthy of greatness, while still embracing a divine feminine; adorned head to toe in pink, and utilizing her knowledge of both cosmetology and law to solve a case. She broke the mold, befriending the girl who initially put her down for her femininity, proving herself as both feminine and strong. Elle Woods was before her time teaching young women to embrace themselves as “like other girls,” and feel no shame or weakness in the things that they love. Since then, we’ve made slow steps toward finding power in femininity. Music and movies have been geared more towards female empowerment - with artists like Doja Cat and Cardi B creating masculine styles of rap with feminine lyrics that empower women. Female artists as a whole have started to acknowledge that other women aren’t the root of their problems and that we all deserve to experience love and celebration. In Taylor Swift’s new release All Of The Girls You Loved Before, she thanks her current lover’s exes, acknowledging what they were able to teach him instead of putting them down. The overall mindset has changed. We are being taught by each other to uplift, instead of convinced by the male-dominated media to bring each other down. The body positivity movement has been largely important to this change, as we’re taught to see beauty in everyone instead of latching onto insecurities and bringing other women down because of them. We’ve learned that we find strength and greater accomplishment in a web of women who are empowered by what connects us, instead of all using our differences to separately tear each other apart to try to get ahead. Written by Lily Greenberg