1. Carmen ‘Carmy’ Berzatto (The Bear)

Carmy may be a troubled chef turned sandwich shop owner from Chicago, yet the character makes for the perfect Halloween costume. Not only is he easily identifiable, but Twitter provides countless memes celebrating this year’s hawt new boyfriend for inspiration. Starring the ultra-talented Jeremy Allen White, The Bear follows Carmy as he tries to rebuild his family’s restaurant after the death of a loved one. Unlike Linguini from Ratatouille, you do not need to find a cute little rat to put under your white hat. All you need to pull off Carmy’s look is a plain white tee from Hanes, a blue apron, a bunch of temporary tattoos, and your best smoldering stare.—Phylecia Miller

Total amount: $40

2. A Las Encinas High School Student (Elite)

Move over Gossip Girl because this Halloween, the high school uniform that makes for the best high school uniform costume comes from Elite, the Spanish teen drama series. Making Blair Waldorf’s machinations look quaint, Las Encinas students face wilder mysteries each season. So pretending to be a student at Las Encinas means pushing the school rules, of course. Aim for a tight white button-down with maroon pants or a navy skirt and finish off the look with a red-trimmed preppy blazer. Suggested adjustments include accessories too ridiculous for any real high schooler to wear: chokers, berets, undone ties, chunky belts, signet rings, and hoop earrings.—Ingrid Allen

3. Princess Rhaenyra Targaryen (House of the Dragon)

Lord of the Seven Kingdoms, Viserys Targaryen, once said to his daughter Princess Rheanyra in House of the Dragon, “A dragon’s saddle is one thing, but the Iron Throne is the most dangerous seat in the realm.” Did the reckless princess listen to her father? Based on the last couple of episodes, the answer is no. But, at least she looked good fighting for the throne from her nemesis Queen Alicent. Set 200 years before Game of Thrones, the HBO fantasy drama revolves around the brutal civil war within the ruthless Targaryen Family. For this Halloween, pretend you’re a messy Targaryen with this red renaissance dress and a light blonde wig from Amazon.—Phylecia Miller

Cost: $69

4. An Abbott Elementary Teacher (Abbott Elementary)

Thanks to Quinta Brunson’s delightful workplace sitcom, everyone wants to work at Willard R. Abbott Elementary. Set in an underprivileged elementary school in Philadephia, Abbott Elementary follows second-grade teacher Janine Teagues and her cohorts as they provide the best for their students with little to no resources. Dressing as an Abbott Elementary teacher is easy since all you need to wear is a pleated dress or a pair of khaki slacks. However, suppose you want to go the extra mile or not look corny like Jacob (sorry, Jacob). In that case, you can purchase this unofficial Abbott Elementary staff member T-shirt and notebook at Redbubble.—Phylecia Miller

Cost: $46

5. Ted Lasso (Ted Lasso)

Just because it’s Halloween doesn’t mean you can’t dress a little wholesome. If anything, dressing up as Ted and Rebecca at a Halloween bash will get everyone to talk about you. Ted Lasso is a sports dramedy about a folksy American college football coach leading an England soccer team to success. Though Ted is wholly inexperienced, he wins the hearts and minds of everyone around him. Luckily for you, Ted’s costume is easy to snatch as it’s available at Spirit Halloween, which includes the character’s iconic accessories like his visor and whistle. If you have a friend or partner to join you, they can wear Rebecca’s costume too!—Phylecia Miller

Cost: $52.00

6. The Diamond of the Season (Bridgerton)

Queen Charlotte may have declared Daphne and Edwina the diamonds of their seasons, but nothing is stopping you from stealing their crowns. For the uninitiated, Bridgerton is the hit Netflix historical romance that focuses on the romantic antics of the renowned Bridgerton family in Regency London. Every member of the ton knows that a diamond must have impeccable charm, grace, and frocks. So, you should have all three to impress the Queen. If you need to stretch your budget, check out this affordable satin Regency-era dress with puff sleeves on Amazon. You can also pair the gown with these white gloves and jewelry.—Phylecia Miller

Cost: $50.00

7. Otis Milburn and Ruby Matthews (Sex Education)

Existing somewhere in the modern world with a nebulous 80s and 90s aesthetic, any character from Sex Education makes for a visually appealing Halloween costume. Whether you ship Ruby/Otis or Maeve/Otis, both couples present thrift-friendly couples’ costumes. TYF recommends scouring your local Goodwill for a cropped yellow jacket, red belt, denim skirt, and funky knit crewneck to mimic this look of Ruby’s for under $40. Maeve requires fishnets and a cool fringed jacket paired with layered necklaces. As for Otis, fortunately, his color-blocked windbreaker makes him easily recognizable and can be splurged on here. For the rest of his costume, just wear some jeans and Converse. Cue up “Crimson and Clover” while you’re at it.—Ingrid Allen

Total: $54-$56

8. Misty Quigley (Yellowjackets)

Due to word of mouth and good ole social media, Yellowjackets became the breakout darling of the 2021-2022 television season. It makes sense, as the survival thriller has cannibalism, trippy seances, and murder galore. The teen drama tells the story of a group of high school soccer players surviving a harrowing plane crash in the Ontario wilderness. With its vast ensemble cast, there are many characters to choose from for a Halloween event. However, Misty may be the best one to pull off since she is wonderfully unhinged in the series. All you need to do is purchase these scrubs and these pairs of fake glasses to execute the look.—Phylecia Miller

Cost: $42

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If there was anyone who could calm down Todd’s shadow powers and reach him, it would be Jennie. They have a deep bond as twins and she was the only family he had left. Since his powers were going out of control, the JSA would’ve needed to do something drastic to stop him, or else the world would’ve plunged into darkness. (And we’re not talking about Eclipso this time!) I liked the contrast of how Courtney, a superhero who channels light, figured out that another superhero of light could be what balanced the darkness. Courtney has a skill for knowing how light can save the day and the power of light within people; it isn’t the first time she’s used the good within people to the benefit of the heroes. This balance of light vs. shadow is a consistent theme of DC’s Stargirl.

When all was said and done, Jennie didn’t even need to use her Green Lantern ring. The bond she shared with her brother was strong enough to quell any shadows and find balance in the world again. It’s great that Jennie and Todd (aka, “Jade” and “Obsidian” respectively in DC Comics) found peace; now they can start their next adventure in New York City and help the JSA when needed.

Did anyone else get spin-off vibes between them and The Shade? It felt like Stargirl was setting up a new story for them to pull in new members for the group. The first stop will be bringing in Sandman’s nephew, but there could be other relatives of superheroes out there who need help and could turn to the JSA. It’s early to tell if The CW (or another platform) would want to tell that story, but the group splintering off will expand Stargirl’s story to other parts of the world. If they ever return to Blue Valley, we’ll have more characters joining the team, which is always welcome!

Speaking of teams, do we trust that Helix will stay on the side of good? DC’s Stargirl made it seem like Mister Bones and Nurse Love were on the side of the JSA, but as the DC Comics had shown in the path, the Helix team originally was a group of supervillains. Plus, Nurse Love always seems like she has something sinister hiding up her sleeve. Some of them reformed to join Infinity, Inc., so we’ll have to see which direction the series wants to take with this new ragtag group of powerful players. Maybe we’ll see them again in the future when all the groups reunite to fight the next big supervillain. Having Helix/Infinity, Inc. aid the JSA in battle would be an exciting comparison to see how both teams deal with combat and their abilities.

In the Shadowlands, we were treated to more backstory about Pat and The Shade. I love it whenever a show explores the hidden layers of characters because we learn the complex motivations behind them and what led them to this moment. For instance, Pat always seemed to be the supportive sidekick under Starman and the moral center for Courtney. But when we take into account his toxic father and the berating he received as a child, it made sense why Pat was always so focused on being good and leading the direction of being a hero. His father’s hurtful words would never keep him down; Pat’s path would try to be a noble hero and a good father.

Though, it was interesting how Barbara’s and Mike’s doppelgangers lashed out at Pat in the Shadowlands. Did their words make you look at Pat in a new light? He clearly fears that he’s ignoring Mike and not taking an interest in his son, almost being too focused on his work as a superhero. And Barbara won’t truly be connected to the life since she’s an outsider. Pat is a complex man. Hopefully, he heeds their advice and makes a change because he has the power to bring them in more and take care of them; he’ll never be his evil father.

In The Shade’s case, he got a good redemption from his former evil ways. Sure, he already got redemption during the second season when he helped the JSA defeat Eclipso, but his redemption now was more on a personal level. His finding peace over not being with his sister during her death and his lack of emotions was good character development for who he is now as a person. The Shade won’t ever fully be an emotional and open man, but he acknowledged his faults and wants to be a better person. Dare we say, he found *some* emotions again, which is a start for him.

“Frenemies – Chapter Eight: Infinity Inc. Part Two” was a bright spot and a good ending for the two-parter. A trip back to the Shadowlands is always a fun time as we learn more about the characters and what evils are lurking in the shadows. Though you need to pair this with “Frenemies – Chapter Seven: Infinity Inc. Part One” because this episode isn’t strong enough on its own; both parts work together to tell one big story. And that story is the beginning of a new adventure for many characters in the Stargirl world.

DC’s Stargirl airs new episodes Wednesdays at 8 p.m. EST on The CW and streams Thursdays on cwtv.com.

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Now on their seventh album, the Monkeys sound like they’re waiting for the next phase of their career to start. They’re getting there in a softer, more grand way with The Car, the band’s most luscious collection of music to date. “Luscious” isn’t a word you’d normally associate with the Monkeys, but it’s another clever progression by the band after the woozy lounge trip of Tranquility Base Hotel & Casino. But while their last record had a rougher, trippier edge to it, producer James Ford (Gorillaz, Florence + The Machine) backs all 10 tracks here with gorgeous string sections that mix with more of Turner’s recent love for piano playing and the tight rhythm of bassist Nick O’Malley and drummer Matt Helders. Ford was behind the boards for AM, the 2013 genre overhaul that gave the band a second creative wind, but The Car continues the band’s sonic merging with Ford and Turner’s smoother side project The Last Shadow Puppets. 

The album cruises in with “There’d Better Be A Mirror Ball,” propelled by a carousel-esque organ line and punctuates the end of each measure with a guitar and piano chord mixed together flawlessly. You’ll hear similar musical symmetry all throughout the record, especially on “Big Ideas,” “Hello You” and the title track where the band sounds more cohesive than ever before. Guitar geeks will note the weirder riffs that pop in-and-out of the record, like the creepy funk of “I Ain’t Quite Where I Think I Am” and “Jet Skis On The Moat” where Turner’s guitar is inhabited by the ghost of Jerry Garcia circa “Shakedown Street.” But again, it’s the sweeping orchestral addition to the band that really makes tracks like “The Car,” “Hello You” and “Perfect Sense” truly soar. And it’s not just extra window dressing for the band: the aura of late night lust the band displayed on AM returns on tracks like “There’d Better Be A Mirror Ball” and “Body Paint.” Almost every new sonic idea Ford has for The Car fits the band like a glove.

When we last left Turner at the Tranquility Base Hotel & Casino, he was wallowing away in an empty lounge bar wondering how he didn’t live up to his own hype. With “There’d Better Be A Mirrorball” at the start, someone is finally dragging Turner out of the club with whatever mistakes he made the night before “still leaking from the roof” and him ready to “throw the rose tint back” on his eyes if things get too real from the start. Throughout The Car, Turner’s crooning skills have never sounded as soulful and sincere singing lyrics about trying to shake off whatever’s been dragging him down. That voice also makes the detail of his words truly stick, from the unnecessarily complex (“Formation displays of affection fly over [eyes roll back]” on “I Ain’t Quite Where I Think I Am”) to the pinkies-up witty (“For a master of deception and subterfuge/You’ve made yourself quite the bed to lie in” on “Body Paint”). Much like Tranquility Base, Turner reaches a sobering conclusion by the album’s end on “Perfect Sense.” Stylish and mysterious a rock star he is, Turner relies on the simple pleasures to keep him grounded whether it be “Having some fun with the opening act,” “A four-figure sum on a hotel notepad” or just speeding through life to get to “the final straight.”

The Car is not only a perfect sequel to Tranquility Base, but the most refined Arctic Monkeys album ever released. After their last three records saw them step farther and farther away from their raucous energy, Turner and co. have found a near-perfect blend of their indie rock roots and their artsier ambitions. The band sounds classic and forward-thinking at the same time. And as much as Turner doesn’t want any outrageous expectations, it’s hard to not get excited for whatever road he and his band travel on.

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Maajo has evolved from a sample-based electronic musical project to a full-sized band, including African vocalists and musicians. The addition of two band members, Waina and Gilbert K, as well as featured artists Issiaka Dembele and Ismaila Sané, root the album’s stories in a diverse range of backgrounds, featuring vocals in no less than six different languages.

Water of Life revolves around the three vocalists. Waina hails from Zambia and sings in Nyanja, English, and Finnish. Gilbert K primarily sings in his native Mauritian Creole while comprising part of the percussion line. Gilbert K has played with such legends as Tony Allen, Andy Summers, Diana King, and Suzanne Vega.

Ismaila Sané, who is from the Casamance region of Southern Senegal, sings in Wolof (a widely spoken language in West Africa) on “Ndekete,” and in Jola on “Èwàn.”

Along with dropping two full-length albums and three EPs, Maajo wrote the soundtrack for the 1920s silent film, Lost World, as well as having performed at festivals and venues all over the place.

Encompassing 11-tracks, the album begins with the title track, featuring Waina. The song opens on sparking tones flowing into a dreamy, percolating rhythm as Waina’s exotic vocals imbue the lyrics with vibrant, creamy textures.

Entry points on Water of Life include “Ti Mamzel,” riding a delicious, syncopated rhythm supplied by the finessed percussive talent of Gilbert K. The undulating feel and flow of the harmonics convey coruscating colors and an enchanting dynamism, at once alluring and mobile.

Blending hints of pop and lush Afrobeat flavors, “Better Days” pushes out tasty dance energy, while smooth, captivating vocals give the lyrics posh, tropical savors. Whereas the rippling, throbbing rhythm of “Ndekete,” topped by cashmere harmonics and the bewitching voice of Ismaila Sané, shapes a lusciously mysterious soundscape.

With its blend of EDM-laced rhythm and Afrobeats, “Èwàn” offers irresistible movement and the dazzling, chanting timbres of Ismaila Sané.

A personal favorite because of its sumptuous rolling rhythm, “Lesa Fye” merges the rich surfaces of Waina’s splendid voice and the titillating percussion of Gilbert K into an entrancing tune dripping with gentle flotation.

Full of wickedly luxurious textures, seductive rhythms, and stellar vocals, Water of Life delivers an array of tantalizing music.

Follow Maajo Instagram | Facebook | Spotify

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Helmed by Craig Silverstein and animated by Titmouse, Inc., Pantheon is the first adult animated show to premiere on AMC+. As with many firsts, Pantheon has a lot riding on it, considering many entertainment studios are removing animated works without notice. Fortunately, AMC+ exceeds expectations by exploring how uploading a person’s consciousness to a digital world can have real-world ramifications.

Based on a series of short stories by award-winning author Ken Liu, Pantheon follows Maddie (Katie Chang), a teenage girl from the near future. Like many adolescents her age, Maddie is going through a rough stage of her life. She has no friends, her peers ruthlessly bully her at school, and she has an estranged relationship with her mother, Ellen (Rosemarie DeWitt). To make matters worse, her father, David (Daniel Dae Kim), died from an experiment gone wrong, or so she thought.

Late one night, Maddie receives a mysterious chat message on her laptop computer, which reveals himself as her deceased father. Eventually, the teen discovers that a tech company named Logorhythms secretly uploaded David’s consciousness and trapped him in their servers. Though David’s digital resurrection shocks the teenager, she soon realizes he is not the only one in the Cloud. With the assistance of digital wunderkind Caspian (Paul Dano) and investment manager turned avenged uploaded woman named Laurie (Heather Lind), Maddie attempts to free her dad from his digital prison. At the same time, she uncovers a conspiracy that threatens the world as she knows it.

Plenty of television series explore what happens when humans transform their physical bodies into a bunch of zeros and ones, like the comedic darling Upload and The CW cult teen drama The 100. However, what makes Pantheon a worthwhile experience is that Silverstein and his team do not overwhelm the series with boring exposition and technobabble. Instead, the science fiction drama highlights the relationship between Maddie and David with the utmost care. Within the first two episodes, we witness­­ the teenager and her father bond over their love of open-world video games and wacky conspiracy theories with the utilization of flashback sequences. Thanks to these moments between the two characters, David’s first phone call to his child from the digital realm is earned in Episode 2.

As much as the characters are enjoyable to watch, the voice cast is sometimes lackluster. Pantheon may have a stacked, talented cast with heavy weights, such as Kim and Dano, but they do not bring anything special to their roles. Let’s face it—they sound a little too much like themselves than the characters they are portraying. One can argue that it is a missed opportunity for the series to overlook established voice-over actors for live-action stars as they have the training and experience to produce livelier takes on the characters. With that said, the actors in the show do an admirable job as the adult animated show calls for a more natural performance.  

Trepid voice acting aside, the show’s real star is the animation. With animation production powerhouse Titmouse, Inc. crafting the animation, Pantheon’s real and digital world becomes a visual treat for fans of the medium. The character designs and movement may be more grounded than cartoony fares such as Adventure Time and Bee and PuppyCat. Yet, the scenes become vibrant when Maddie or Caspian transports to the digital world via VR headsets and gloves.

One sequence that shows the animators cutting loose is when Laurie explains to David how he can manipulate his source code in Episode 4. In the scene, Maddie pushes David violently to realize that the true source of his power is his love for his family. Once he evolves past his illusions, the scene transforms into a smorgasbord of data and code. It is a trippy moment emphasizing the power, and perhaps danger, uploads can bring to humanity.

Pantheon is not a groundbreaking animated series by any means. Still, it is the type of science fiction drama that asks big questions about humanity’s place in an increasingly digital world. Thankfully, the series is keen enough to know that as much as its high-concept ideas appeal to audiences of the genre, the elements that will get them to invest in the AMC+ show are the highly developed characters and conflicts. Mark Zuckerberg may have a hard time convincing us of the benefits of the metaverse and virtual reality, but Pantheon makes it look cool.  

All episodes for Pantheon season one are now available on AMC+.

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The D’Amelio Show takes a trip to Connecticut, which brings up some emotions for the entire family. Heidi struggles with an empty nest, keeping Charli’s music from Dixie, and her mother’s declining health. Charli’s hometown dance studio brings up memories of her struggles with eating disorders, and she gets cast as the lead in a new horror movie. Dixie’s album is getting closer to being done, and she and Noah have a heart-to-heart about what they need from their relationship.

At the end of Episode 6, we’re left on a bit of a cliffhanger when Dixie senses something’s off with Charli, hinting that the bombshell of Charli’s new single might be about to hit. We’re also left with plenty of sympathies for Heidi, who is just about to get on a flight to see her mother and mentions the possibility of a funeral in the very near future.

These two episodes packed a punch. There was certainly much more to unpack than in the previous episodes. In particular, the deep dive into Charli’s history with an emotionally/verbally abusive dance coach hit home. It’s extremely common for young girls to be body shamed and pushed into unhealthy habits. It also puts some of the trolling messages online into a new perspective by looking at Charli’s history. There’s a trauma pattern there that deserves to be handled with care by the internet and press.

It’s frustrating that only when Heidi’s emotional stability is pulled into question do we see the toll of Hollywood life on her. It becomes abundantly clear that she’s feeling a lot of pressure on her shoulders, concern for her daughters, and guilt for distance from her family. It’s much easier to see that The D’Amelio Show’s isolation from exterior factors has played a role in making the show so bland.

Not to say that The D’Amelio Show needs more deaths in the family, but there is something about how this tragedy has expanded the show’s world that feels more intriguing to watch. Perhaps if more mundane family relationships participated in the show, it would feel more grounded and easier to relate to. As it is, most meet-ups with friends and interactions with people outside the immediate family feel extremely staged, stiff, and disconnected.

Dixie and Noah’s relationship has been a long-running storyline for The D’Amelio Show. Noah even has his own scenes where he talks to his roommate about his relationship with Dixie. These conversations feel entirely manufactured by producers; they have no flow with the rest of the episodes. Noah’s presence in the show feels a lot more like a contractual obligation than anything. Perhaps if Dixie and Noah can figure their things out, Noah’s presence will feel more natural in the show, but for now, he feels like a time filler.

The D’Amelio Show needs to broaden its horizon and get more characters that actually flow, contribute, and make sense within the storylines the producers push. If Avani is Charli’s best friend, why do we barely see her? And why does it feel like she’s been fed conversation points? If there’s a President of D’Amelio Enterprises, show us what he does. The D’Amelio Show pushes the business side of this family so hard that they might as well incorporate a how-does-this-get-made storyline into the show.

The bottom line is it shouldn’t take a death in the family to make a reality show more interesting and relatable. The D’Amelio Show needs more depth.

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Not that Denji minds – once Makima feeds him on her dime at a rest stop, he’s infatuated. This is also the first notable deviation from the manga. In the manga, Denji has a bit more time to consider things as there is a one-off devil encounter included in this sequence. That fight is an easy cut that makes the rest of this episode flow and should indicate that MAPPA isn’t interested in wheel-spinning.

The 10 must-watch anime of fall 2022

Instead, “Arrival in Tokyo” breaks nicely into three parts: the aforementioned Makima part, which concludes with her bringing Denji into Public Safety and into part two with squad leader Aki, and we’ll get to part three shortly. Aki (Shogo Sakata, Reagan Murdock) is a hardass who immediately clocks Denji for only joining up because of his newfound affection for Makima (Denji making it obvious doesn’t help) and promptly tells him to buzz off. Their conflict makes up the crux of “Arrival in Tokyo” as Aki isn’t wrong. One can make plenty of excuses for Denji’s mentality and behavior – and to Chainsaw Man‘s credit even at his most thirsty Denji never steps into entitlement territory – but as he is now he’s directionless.

Through Aki’s confrontations Denji does at least find motivation in what else but being thirsty for some physical contact. Again, there’s a lesser version of these events that could have easily been an embrace of the incel crowd, but Denji is motivated instead to put forth more effort instead.

This still isn’t healthy, obviously, as evidenced by the episode’s third act that introduces us to Power. Power (Fairouz Ai, Sarah Wiedenheft) is a fiend, a devil that possessed a corpse; as opposed to Denji’s situation somehow that isn’t explained but can be surmised as the reverse. Power is loud, proud, and perfectly portrayed in animation. She’s paired with Denji which first takes him back until he realizes he might have a shot with her if he plays his cards right. That thought quickly takes a back seat as the episode ends with a truly exquisite gone sequence as Power shows off her blood powers to completely liquify a devil, laughing maniacally in a pool of purple guts and Denji wondering if he’s actually bit off more than he can chew.

“Arrival in Tokyo” is still very much Chainsaw Man in setup mode, but the characters we meet are instantly compelling. Each new performance is effective in telling us quite a bit about who they are even as we’re still learning what their deal is. So far, MAPPA’s adaptation has been sleek and at this point it is safe to say this series is in good hands.

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Known for painting dark hues over euphoric feelings, she sticks to her grunge-pop roots that we all know and love. She details the aftermath of falling in love, and the bittersweet nature of the phenomena that often makes us feel alive. However, some of the more intriguing moments are about challenging society’s tendency to put everyone into a box. Even if the confines of said box goes against one’s own happiness. 

Our worth is often treated as conditional given that we live a certain lifestyle and fit the mold. But what happens if you don’t fit? For example, in “Suburbia,” she rejects the white picket fence fantasy. Settling down with a spouse and kids isn’t everyone’s idea of a good time, though it’s what’s expected. Especially if you’re a woman! She persists, “You’re the love of my life / But I-I-I can’t be no Stepford wife.” Making it clear that taking power over your own journey is truly the only way to live.

Lyrically, the album is quite straightforward, but touches on sensitive topics effortlessly. “Grapefruit” details the strain of an eating disorder: “Counting all the calories, not get ’em up.” Again, addressing another facet of conformity (i.e., the concept of beauty) through her own personal experiences.

The synth on “2 Die 4” is a tad brassy, but evokes high spirits. I love songs that seem to embody the artist’s perception of freedom, and this one is essentially about bathing in euphoria. “Drag you out at midnight to dance in headlights and making out in the rain” is just pure joy!

“No One Dies From Love” is a fantastic opener. Her rhythmic flair is engaging and mellow. I imagine it holding hands with “2 Die 4,” as they both represent the dichotomy between the sweet and sour aspects of love. Exemplifying the freedom that comes from giving your true self to someone, even if your heart is on the line!

Tove Lo delivers an impressive soprano performance. Her rasp is prominent and her falsetto is charming on “True Romance.” An ethereal, haunting depiction of a lover ready to draw blood at the first threat to their perfect liaison.

The acoustic guitar (an unexpected pleasure) on “I’m to Blame” complements the slight huskiness in her tone. She sings about feeling responsible for the downfall of her relationship (“Pulling us apart is all I’m good for”).

The collaborations on this album weren’t very striking, but seemed to make up the more lighthearted tracks. “Pineapple Slice” with SG Lewis is a chill, sensual jam (“You gotta taste what’s in front of you”). However, “Attention Whore” featuring Channel Tres proved underwhelming, as it felt like a repetitive filler.

Much of this project is percussion-driven. Among them are my favorite tracks, “Kick In The Head” and “How Long.” Ending with a bang, the rest of Dirt Femme pales in comparison! “Kick In The Head” is an incredibly satisfying change of pace with a funky beat. The “mmm” ad libs are captivating, and the chorus is fun to sing along to. Similar to “Suburbia,” it’s about wanting to forge your own path, except the downside is feeling uninspired or as though you’re falling behind. It can also be applied to the earlier theme of worth, and how society pressures us to be productive by any means necessary.

The closing track, “How Long” sounds like a callback to “I’m to Blame.” She confronts her partner’s disloyalty and acknowledges the lack of control she has over the reality of the situation. “I know the heart wants what it wants / There’s no way to prepare for burning, brutal rejection.” To top it all off, I adore the futuristic synth and crisp cadence!

Dirt Femme is a solid twelve tracks fueled by heartbreak, untamed romance, and the desire to prioritize authenticity is every single way.

The post ‘Dirt Femme’ review: Tove Lo shares her take on the status quo in her latest album appeared first on The Young Folks.

Skullcrusher’s debut album, Quiet the Room, sees her shifting from the sumptuous indie-folk sound inherent in her first two EPs to an ethereal ‘sad-girl-like’ sound that’s difficult to pigeonhole. On Quiet Room, Skullcrusher probes the complexity of childhood.

Quiet the Room encompasses 14-tracks, beginning with “They Quiet the Room,” flavored with soft, gleaming tones topped by Ballentine’s spectral voice, an amazingly evocative instrument, oozing tints of cultural dislocation.

Entry points on the album include “Building a Swing,” opening on a low-slung, strumming guitar and emerging, melancholic violin textures. Almost a murmur, Ballentine’s angelic voice imbues the lyrics with diaphanous tones, at once velvety and crystalline.

“Whatever Fits Together” delivers more conventional washes of indie folk with its gentle rhythmic pulse and mellow banjo savors. Oozing savors of dream-pop, the tune glides forth on gossamer coloration.

A personal favorite because of its drifting flow and the distant feel of Ballentine’s creamy, translucent vocals, “Sticker” echoes with the residual energy of ozone-smelling mists. While the sheer beauty and magical motion of “(secret instrumental),” oh-so exquisitely alluring, conveys listeners to the Empyrean.

The title track travels on a graceful piano enveloped by wraithlike tones. When Ballentine’s elegiac voice enters, the tune takes on chanting, Celtic aromas, infusing the song with ghostly gesticulations.

The last track, “You are my House,” introduces glimmers of hopefulness as Ballentine’s silky vocals give the lyrics saffron and emerald surfaces, transporting points of luminescence as if hearing-secret-harmonies.

Ballentine’s bewitching voice, breathless and hyper-feminine, asserts itself throughout the album, never getting lost in the harmonics.

With Quiet the Room, Skullcrusher offers listeners something simultaneously noun and verb, like a collision between memory and perception.

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Directed by David Gordon Green and starring Jamie Lee Curtis and Anti Matichak, Halloween Ends caps off the modern trilogy with a twist on the long-running franchise.

When audiences back in 1978 first saw Halloween and experienced Michael Myers in all his gory glory, I bet they weren’t thinking that this movie would transform into a series that would still be going 44 years later. In that span of time, we got to watch the journey of Jamie Lee Curtis’s Laurie Strode as she grapples with the trauma of that horrific Halloween night that would change her life forever. And although this series of horror films took many odd twists and turns (and completely went off the rails more than once), Michael Myers has solidified himself as one of the most formidable and classic killers in horror film history. Halloween Ends not only wraps up the trilogy that David Gordon Green began back in 2018’s Halloween, it also brings the story that started back in the original 1978 film to an effective close. Or does it?

Set four years after the brutal events of Halloween Kills, the film begins with Laurie Strode, who now lives with her granddaughter Allyson (Anti Matichak) in relative peace. Although her daughter was unexpectedly killed by Michael Myers in the last film, Laurie has decided to not let her past trauma run her life and make her live in fear like in the previous films. Although Laurie and Allyson are trying to move on, the townspeople of Haddonfield certainly haven’t forgotten and have begun to turn against each other. When Laurie comes across a young man named Corey Cunningham (Rohan Campbell) who is being bullied for his dark past, she decides to help him out and even introduces him to her granddaughter. 

Allyson is immediately intrigued by Corey and the two begin hanging out and realizing they may have more in common than they initially thought. But, as Corey is haunted by his past and repeatedly reminded of what he did (you’ll find out in the opening scene of the film), you begin to feel that his intentions may not be so pure. When Corey stumbles upon a very broken and weak Michael Myers in a sewer tunnel, he sees an opportunity to learn from this legend and maybe use his legacy to take revenge on this town that has cast him aside. As Corey forms this uneasy alliance with Michael, Laurie Strode has a familiar yet unsettling feeling that Corey is going down an unforgivable path. 

While the film does give longtime fans the final fight between Laurie and Michael as advertised, it is more focused on the idea of trauma and how it can affect people, even an entire town, in a more violent way than others. The concept of a tragic character like Corey is sadly too similar to what many people go through in today’s society. He did something awful that was technically an accident, but to those involved it’s impossible to think of him as anything but the person who ruined their life. As Corey tries and fails to live as normal a life as possible, his unresolved pain and anger is far more akin to the descent of Michael Myers than it isn’t. I genuinely didn’t expect this film to tackle such a serious issue in this way while still managing to deliver the familiar Michael Myers kills that fans expect.

The fight itself between Laurie and Michael is shorter than expected. It was an emotional and brutal brawl between these longtime foes that ends in a predictable, yet somewhat satisfying way. However, throughout this new trilogy of films, Michael Myers has been painted as a borderline Terminator, making this final confrontation almost a little too much to accept. In a way, the filmmaker wants you to think that the Laurie vs. Michael battle is what the movie is all about, but it’s really about the harmful, lasting effects of deep-seated trauma and how hard it is to let go of the past. Jamie Lee Curtis gives another great performance as Laurie Strode, making for an authentically enjoyable character journey dating back to the 2018 film and beyond.

The Halloween franchise is divisive among horror fans. While some of the films are silly and odd, every one of them has something unique and memorable for returning viewers and newcomers alike. While I still believe the 2018 film was the best of this new trilogy, Halloween Ends brings something unexpected and fulfilling to the table after the lackluster middle film last year. The story of Michael Myers may be over for now, but his impact on the horror film genre and pop culture in general will live on forever.

Halloween Ends is now playing in theaters and available to stream on paid tiers of Peacock. Watch the official trailer here.

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