Old City’s latest art exhibition is playful, dreamy, and modernist, featuring Aitor Lajarin–Encina’s Flora, Fauna, and Furniture and we call the moon the people’s wife, in collaboration with Vox Populi.
Jules Lingenfelter reflects on a summer spent on the final frontier, her encounters there, her revisions of self, and what she fled from in the first place.
If you’re anything like Street writers, you already have a lineup of predicted winners you’re ready to bet on; our roster features Bad Bunny, Lady Gaga, Olivia Dean, and more. Read to find out why, and drop us a line if you disagree—we’re ready to battle it out.
Who would have thought? No phones make a show–going experience so much better. Gregory Alan Isakov delivered a captivating, all the more resonant performance at The Met in Philadelphia.
How Eastwick residents grapple with changing federal priorities, health consequences, and more in the face of frequent flooding.
A social investigation into Philly’s most popular square.
Notes From a Cuckoo Editor–in–Chief
Graphic design is former Street Design Editor Wei–An Jin’s passion, Penn preprofessionalism be damned.
Words from the man behind the camera.
Marvel’s Wonder Man on Disney+ is a surprisingly low–key MCU entry, swapping the multiverse chaos for sharp, character–driven Hollywood satire. With minimal marketing and almost no larger franchise stakes, it ends up being one of Marvel’s best recent shows: small, funny, and refreshingly unconcerned with saving the world.
Paul Feig adapts Freida McFaddenu's The Housemaid into a spectacle; one with just a little more shock value.
Hollywood keeps running the same tired script about Asian American life: strict parents, culture clash, identity crisis, rinse, repeat. This pattern reduces such characters to struggle and excludes stories about adulthood, romance, work, or ordinary life. If we want real range, Asian American characters have to be allowed to exist outside the family–conflict starter pack.
Wicked: For Good closes its story without awards recognition but with clear creative conviction. The film’s reception reflects a mismatch between its intentions and critical expectations. Designed as the second half of a continuous narrative, it prioritizes character depth and long-term emotional payoff over accessibility. In doing so, For Good succeeds less as a crowd-pleaser and more as a film made for those already invested in the world of Wicked.
Unable to stick to its roots or build a new sound, Joyce Manor’s latest album is painfully mediocre. Nishanth Bhargava reviews the band's identity crisis—where half–formed experimentation loses its youth in a sonic limbo.
What recent category changes reveal about the limits placed on Black artistry.
Tim Burton would be disappointed.
Street Film & TV editor Henry Metz analyzes 2025’s comic sales charts, which reveal an industry built on relaunches, familiarity, and one unbeatable brand.
Josh Kline’s approach to political art is not what you’d expect.
Marvel’s Ultimate and DC’s Absolute universes abandon superpowered fantasies for broken systems and the pursuit of meaning in a hopeless world.
From White House state dinners to global summits, political wives and first ladies have long used fashion to shape public perception—but a new generation, including Michelle Obama and Rama Duwaji, is rewriting the rules.
Arts beat Aaron Tokay asked ChatGPT, Gemini, and Claude to give him dating advice. They all said yes—and that’s the problem.
Staff writer Jessica Tobes evaluates the weighing decisions of politics inside campus matchmaking services, its conflicts and biases.
Addison Saji analyzes the evolution of the cult classic brand, Juicy Couture, from adorable trend to abomination.
Solutions by The State News
