Hulu’s newest comedy, “Pen15,” created by Anna Konkle, Maya Erskine and Sam Zvibleman, is a relatable depiction of Konkle and Erskine’s middle school experience in the early 2000s, but it’s also a celebration of friendship. “Pen15” gives its audience a new, more realistic take on the coming-of-age genre through jokes that are both endearing and awkward.

When I first started watching, I noticed Konkle and Erskine are clearly a lot older than their middle school co-stars. It is initially strange to watch, but easy to forget when you see them act. Whenever Erskine whines about the unfairness of life, it brings me back to my own middle school days. Konkle and Erskine capture what it is like to be a middle school girl.

The season begins with Anna Kone (Konkle) and Maya Ishii-Peters (Erskine) on their first day of seventh grade. Anna and Maya promise to experience everything together this year. Their promise is sweet and it reminds me of my best friend in middle school. The episodes cover many firsts for these girls, both exciting and sad. In a nutshell: Anna has her first kiss, Anna and Maya get their first AIM accounts and they try on their first thong.

Throughout the entire show, Konkle and Erskine truly capture the phase where you can’t wait to grow up. In Episode 2, Anna and Maya are playing Sylvanian, a roleplay game with dolls. They use the dolls to understand how adult relationships work. Later in the episode, Sam (Taj Cross) and some other kids make fun of Maya and Anna for playing with dolls, so Maya decides not to play Sylvanian anymore because of their comments. The feeling of competing with your classmates to be the most mature or the coolest is something everyone can relate to in middle school.

The highlight of the show is watching Maya and Anna’s friendship grow stronger over the course of the season. Sometimes, Maya focuses too much on her own problems and forgets that Anna has problems too. This is part of what makes their friendship not only work, but also seem more realistic. For most of the season, Anna is unbothered by how their friendship works. Anna focuses on Maya’s problems to distract her from her home life. In Episode 6, Becca (Sami Rappoport) and other girls make racist comments to Maya. Anna tries to do anything she can to help, and though her efforts make things worse for Maya, her intentions are good. Anna and Maya’s friendship works because it brings both of them something they need. Anna encourages Maya and gives her a voice. Maya’s problems keep Anna from thinking about her parents constant arguing.

Unfortunately in the final episode, Anna and Maya are fighting. Anna thinks that Maya does not care about her issues with her parents. In one of the best scenes of the season, viewers can see the importance of the connection between Anna and Maya. In the scene, the rest of the dance falls away as the girls do the dance routine they have practiced in snippets all season. The last episode shows everyone that the most important relationship in the show is between Anna and Maya.

The show depicts all of the feelings of intense self-consciousness and awareness of your body and personality in middle school. The show gives every storyline and every moment the importance it deserves. The comedy hooks you in, but you stay to watch Anna and Maya grow up and learn important lessons together.

All eyes have been on Ariana Grande this year, with her newest two albums: “Sweetener” and “thank u, next.” Grande stays at the top of her game by slaying the charts with her top ten hits, “thank u, next,” “break up with your girlfriend, I’m bored” and “7 rings.” The album “thank u, next” stays true to Grande’s messages of self-love and acceptance through its light-hearted pop sound.

Grande was honored with the Woman of the Year award this past December at Billboard’s Women In Music 2018. Her album, “Sweetener” has been newly awarded a Grammy for Best Pop Vocal Album of the year and the music video for, “thank u, next” has reached over 303 million views since its release in November 2018.

While this has been a phenomenal year for Grande’s career, she has been open to admit the struggles this year has held for her personal life. This is reflected in the album’s tracks “needy,” “fake smile” and “ghostin.”

It is rumored that the track “ghostin” was inspired by her loss of Mac Miller. It has an eerie beginning, captivating you as soon as it starts. The title of the song fits perfectly because it feels like you are remembering a distant, ghost of a memory when listening to it. A lyric from the song reads, “Though I wish he were here instead/ Don’t want that living in your head/ He just comes to visit me/ When I’m dreaming every now and then.” Grande has expressed her hesitation in putting this song in the album, but decided to follow through with it because of the push from her manager, Scooter Braun.

This album is brutally honest and full of emotion, something we are lacking in pop music today.  It is very special that she has showcased her vulnerabilities in this album and in return, created a much greater opportunity to personally connect with her fans. Grande discusses themes of romance and change in this album, which are topics that anyone can relate to in one way or another.

The beauty of “thank u, next” is the message sent that it is perfectly OK to be sad or honest with emotion and remain strong. This is a perfect representation of her past year, as she has accepted loss and is open to showing that to the world, but proves that you can overcome hardship and keep moving forward.

The simplicity of the instrumentals in this album keep you hooked throughout its entirety. They put a greater emphasis on Grande’s vocals without overbearance.

Something to really appreciate in this album are the elaborate introductions each song has. “Fake smile,” is one of my favorites because of this. The introduction has a piece of Wendy Rene’s “After Laughter Comes Tears,” which is really beautiful. It then transitions into an upbeat tone with an underlying sadness to it. “Fake smile,” connected with me in the sense of our use of social media platforms, where we only showcase the highlights of our life.

“Everybody just wants the same thing. Everybody just wants to feel appreciated and loved and snuggled and approved of and celebrated,” Grande said in an interview referring to “fake smile.”

“In my head,” features a voicemail from a friend that makes you feel like you are there with them. This song is underrated and is one of the catchier, more hypnotizing songs on the album. Grande’s voice sounds angelic in this song, showcasing her wide vocal range.  R&B vibes can be found throughout this song as well as “7 rings.”

“7 rings” is an anthem of confidence. The music video for “7 rings” was released Jan. 17 and has already reached over 170 million views on YouTube. The iconic quote from the song, “I see it, I like it, I want it, I got it,” has taken over the internet since its release. This song is a fan favorite, but it isn’t one of my personal favorites. It feels a bit overdone and basic compared to some of the gems on this album.

Grande appeared on the YouTube channel “Zach Sang Show” to discuss the inner workings of her albums and further elaborate on the thought processes behind writing the songs. The interview featured Grande’s co-writers and others who contributed to the creation of the album.

In addition to earning its first two No. 1 tracks on the Billboard Hot 100, the album broke several records in the week after its release. The album debuted at No. 1 on the Billboard 200 with the biggest streaming week ever for a pop album and any album by a female artist, besting both Ed Sheeran’s “Divide” and Cardi B’s “Invasion of Privacy.” The album also debuted with Grande occupying the top three positions of the singles chart, an accomplishment that has only been reached by The Beatles. In the overall top 40, she posted 11 tracks, which is another record for a female artist.

Ariana Grande is going on tour with a combined set list from both albums “Sweetener” and “thank u, next.” She will be performing at the Wells Fargo Center here in Philadelphia, March 26 and June 24.

It’s been a long, arduous journey to the Oscars this year. From the flameout of “A Star is Born” and “First Man” on the awards circuit, to the controversy surrounding the show, this has been the most chaotic and unpredictable ceremony in recent memory. And none of that is getting into the myriad of criticism facing “Green Book” and “Bohemian Rhapsody,” which need their own article.

The Academy announced in August that it was going to create a new category called Best Achievement in Popular Film. This decision was highly criticized and soon taken away. However, the Academy seems to have tried to compensate for the loss of this category by giving nominations to movies that many people saw like “Bohemian Rhapsody,” “A Star is Born” and, most notably, “Black Panther.” The latter film’s nomination marks the first time a billion-dollar film has been nominated for Best Picture since “Avatar.”

Here are some predictions for this year’s Oscars:

Best Picture

Will Win: “Roma”

Once upon a time, this was “A Star is Born’s” prize to lose. Fast forward a few weeks and those prospects have slowly died. “Green Book” could become this decade’s “Crash,” but so far it looks like Alfonso Cuaron’s personal story about a maid could become the first foreign language film to win. Netflix has poured money into it and gained huge success, so for now, I’m fairly confident in predicting a win here. It may not live up to all of the hype but it’s a solid choice.

Should Win: “Black Panther”

Literally anything that isn’t “Green Book” or “Bohemian Rhapsody” (aka, “Driving Miss Daisy 2: Electric Boogaloo” and “What if we made Freddie Mercury’s life a boring biopic that demonizes his sexuality”) would be good at this point. It would be especially galling if Spike Lee lost again to an outdated, unchallenging fable about race. As much as I deeply adore “The Favourite,” I’ll give this one to “Black Panther.” It’s the best Marvel movie to date, and will be the film people remember when they look back on the year.

Best Director

Will Win: Alfonso Cuaron, “Roma”

Cuaron cleared all of the big awards this season, and he looks to be a lock for his second trophy. Interestingly, he’s one of two directors nominated this year for a foreign language film, the other being Pawel Pawlikowski for “Cold War.” If either won, it’d be the first time a foreign language film won the prize.

Cuaron’s famous long takes and lack of score are used to good effect in this black and white film. Though it doesn’t match up to “Children of Men” in quality, it is certainly good enough to garner Cuaron his second Oscar for directing.

Should Win: Spike Lee, “BlacKkKlansman”

Did you know that Spike Lee has never been nominated for Best Director or Best Picture in his over 30-year long career? It’s high time that was corrected, and “BlacKkKlansman” is some of his best work.

Best Actor

Will Win: Rami Malek, “Bohemian Rhapsody”

Both front-runners here have their fair share of controversy: Viggo Mortensen dropping the n-word in a panel interview and giving a bizarre take on black men directing samurai films and the sexual assault allegations surrounding Bryan Singer finally becoming impossible to ignore, tainting the campaign around “Bohemian Rhapsody.” Malek has been able to skate past the controversy, making this the safest way to award the film.

Should Win: Christian Bale, “Vice”

Last year’s winner in this category, Gary Oldman, proved that being unrecognizable can play a factor in bringing home the hardware. Bale disappears into his character in this role as the soft-spoken yet frightening Dick Cheney.

Best Actress

Will Win: Glenn Close, “The Wife”

Once upon a time, Lady Gaga was the front-runner here. Those hopes were dashed when Close unexpectedly won the Golden Globe and gave a heartfelt speech about her mother. She’s been nominated and lost so many times, the Academy will probably give it to her as a make up. Gaga will have to settle for the certainty of winning Best Original Song.

Should Win: Melissa McCarthy, “Can You Ever Forgive Me?”

McCarthy takes a turn for drama here, playing writer-turned-forger Lee Israel, and she’s a revelation. Many of her comic performances end up going into a loud and boisterous territory, but here, she’s charming as the misanthropic Israel, underpinning it with a vein of sadness and anger. Combined with her chemistry with Richard E. Grant (more on him in a bit), she’s a joy to watch.

Best Supporting Actor

Will Win: Mahershala Ali, “Green Book”

Ali deserves better than this, a role where he exists solely to teach a white man that racism is bad. He’s a fine actor, as seen in “Moonlight,” but his performance is good because he elevates the weak material he’s given. If he’s the only award “Green Book” wins, so be it.

Should Win: Richard E. Grant, “Can You Ever Forgive Me?”

As Melissa McCarthy’s partner in crime, Grant is simply a delight to watch. Free from the self-loathing that usually characterizes gay men in the early ’90s, he hustles and schemes, drinks and cavorts and looks great doing it. Not to mention he’s been a ray of sunshine all award season.

Best Supporting Actress

Will Win: Regina King, “If Beale Street Could Talk”

King has been a mainstay on television for her work in “The Leftovers” and “American Crime” (for which she won two Emmys).As the mother of lead Trish, she’s an exuberant, loving woman desperate to secure her daughter’s happiness. She won the Golden Globe for this role as well, and a win here would be perfect.

Should Win: Rachel Weisz, “The Favourite”

My brain logically knows that Regina King should win, and it’s a great performance, but my heart descends into gay shrieking everytime I remember Rachel Weisz’ catty, ball-busting portrayal of Sarah Churchill, Duchess of Malborough, who is taking charge and squaring off. Plus she wears a shooting outfit that is to die for.

Best Original Screenplay

Will Win: “The Favourite”

A deliciously wicked, riotously funny script that never punches down, there’s no script I’ve loved more this year. The reversals that come up with each of our three heroines in their relationships are dealt with subtly but not so much that the audience loses track. It’s a fine line to walk, but it’s one that this movie walks with grace.

Should Win: “The Favourite”

See above.

Best Adapted Screenplay

Will Win: “BlacKkKlansman”

The true life story of a black cop infiltrating and taking down a KKK cell is entertaining and firey, and if the Academy doesn’t want to split Picture and Director, it will probably give Lee his first Oscar here. It would also be an antidote to the presence of “Green Book” in Original Screenplay.

Should Win: “Can You Ever Forgive Me?”

Nicole Holofcener’s adaptation of Lee Israel’s memoir does everything a great adaptation should. The best may be the integration of the main characters’ sexualities: not making it the focus or hiding it, but simply allowing them to exist as characters who happen to be queer. It also makes a wistful portrait of New York and creates some suspense out of hitting a typewriter.

Animated Feature

Will Win: “Spider-Man: Into the Spider-Verse”

Usually, the annual Pixar tearjerker is the shoe-in for this award, but this year seems to be an exception. The unique animation style of “Spider-Man: Into the Spider-Verse” gives the Academy an excuse to give it a win. With a great protagonist, dope soundtrack, tight writing and an overall fun ride, there is no reason that this movie shouldn’t be given honors equal to “Coco,” “Inside Out” and “Shrek”.

Should Win: “Spider-Man: Into the Spider-Verse”

It’s the most visually stunning and experimental movie to come out in ages. And on top of that, it’s hilarious, heartfelt and thrilling.

Though there were some problems with it, I can say with certainty that “Fallout” is the best installment of the “Mission Impossible” series. It is very much in keeping with the things we have enjoyed about its five predecessors, but I enjoyed aspects of it that I didn’t expect it to be strong in. Christopher McQuarrie is the first person to direct more than one “Mission Impossible” movie, and I think the series may have finally been placed in the right hands.

The first three quarters of the film have a plot that is somewhat complex, but not so much that I lost track of anything. It is also finally a plot that is worth paying attention to, where Hunt and the team of agents he works with actually have some kind of concrete connection to their antagonists. Walker (Henry Cavill) contrasts Ethan Hunt (Tom Cruise) in some interesting ways that even the best of Bond villains don’t. Double-crossings are certainly not new to the series, but the betrayals we saw here had an emotional weight that was lacking in the other Missions.

Granted, one or two subplots get sort of dropped to the wayside in an unsatisfying way and  the climax is one that we’ve seen many times before, but to be fair it is a very good version of that sort of climax.

The biggest surprise for me was that there was a solidly developed theme. Throughout the movie, Ethan is faced with choices that will either jeopardize his global-stakes mission or require him to put one of his team members in danger. In some ways, this calls out how things generally work out well in “Mission Impossible” movies and action-adventure movies as a genre, but I’ve definitely seen several movies and even some books do much worse.

I very much enjoyed the action itself, but again in ways that I did not expect. The best scene of every “Mission” movie prior to “Fallout” is invariably the stunt that Tom Cruise does in the middle of the film: see the air duct drop, climbing the Burj Khalifa, and the underwater key card switch. In “Fallout,” I think the filmmakers were intending the skydiving sequence to be the big stunt. I didn’t think it was a fabulous scene, but I didn’t mind that much. The rest of the movie is chock full of very well-constructed action and chase scenes that create some excellent tension, have some great character-based twists, and, oddly, feel grounded in reality.

One could argue that there is a degree of “invincibility mode” in the action sequences, but certainly not as much as in the second and third “Mission” films or other action series like “The Fast and the Furious” or James Bond. Writing is typically not something one considers when thinking about action sequences, but I must give Christopher McQuarrie credit for writing some excellent scenes here without leaving the story to the wayside.

If you like action movies, definitely see this. You should probably watch “Rogue Nation” first to get a little more context on some of the characters. Fallout is not entirely devoid of action cliches, but it avoids them for the most part and disguises them pretty well. If you liked the other “Mission” movies but don’t like keeping track of the plot, I would encourage you to try to follow along here. Most of the time, it’s not worth it to puzzle out the intricacies of the plot in a spy movie, but this is a rare case where you will enjoy the movie a lot more if you pay attention during the dialogue-heavy scenes. It may not be the best action movie of all time, but it could very well be the best one of the year.

Middle school is hell.

It’s a transition period, one fraught with hormonal mood swings and changing bodies. The three years between elementary school and high school are tough, uncomfortable, and often repressed. Eighth grade is even worse. Preparing for the chaos of high school is nothing less than terrifying. It’s a year that everyone wants to forget. But Bo Burnham’s new film, aptly titled “Eighth Grade,” pulls you back into the hellscape in a heartfelt and surprising way.

“Eighth Grade” stars Elsie Fisher as Kayla, a socially withdrawn 13-year-old navigating her final week in eighth grade. Her main way of expressing herself is through a vlog, where she expounds life advice, signing off every video by saying, “Gucci!”

The film is wrought with pain, mostly on the audience’s side. Nearly every interaction with someone is incredibly awkward for Kayla, let it be trying to start a conversation with the two popular girls in school, who only respond with “yeah” and “okay” without looking up from their phones, or explaining to a boy she has a crush on why she is sitting in a room alone while everyone else is singing karaoke in the next room. But beyond this surface level pain is a deeper anguish.

Kayla’s awkwardness is not just due to her own self-esteem issues but from how withdrawn she is from the world. No one really seems to be her friend, and every interaction with someone is a desperate plea for someone to pull her out of her loneliness. Her strained relationship with her father and self-image issues make this a surprisingly heavy film.

The emotional weight behind the film is unassuming as very few people can truly relate to this story. “Eighth Grade” is cemented in the present day, and explores our relationship with technology as much as it does with growing up. Kayla is constantly on her phone, scrolling through Twitter and Instagram or just using it as a way to ignore her single father. This technology infused adolescence feels foreign in memory, but paints an accurate portrait of today’s youth.

What makes this movie work so well is that while the characters themselves aren’t necessarily  that relatable, their experiences are. Everyday social awkwardness, beauty standards and sexual tension are all issues that most people have experienced. Beyond that, “Eighth Grade” explores human relationships through Kayla’s naive eyes. Fighting with your parents, the first time hanging with a new friend, trying to impress a potential romantic partner — each interaction doesn’t feel like a childish romp through adult themes but instead an outside examination of how we connect with each other, with all of the discomfort and beauty woven within.

“Eighth Grade” is almost like a prequel to “Lady Bird.” The stand-out coming-of-age story released last year, also via A24 Films, follows a girl through her last year of high school before moving away for college. Like “Eighth Grade,” “Lady Bird” doesn’t really follow a linear plot, but instead excels at making the audience reminisce and connect to the titular character.

So rarely does a film about kids actually show how kids live. Instead of exploring the complexity of childhood and growing up, most films tie themselves up with child protagonists going on an adventure or fighting some sort of evil. “Eighth Grade” doesn’t bother itself with a convoluted storyline; instead, it focuses on a difficult week in a young girl’s life, something every 13-year-old to 30-year-old can relate to.

Nobody has ever said that Brendon Urie doesn’t have a flair for the dramatic. From the circus-themed live shows that supported Panic! At the Disco’s first album “A Fever You Can’t Sweat Out,” to being covered in paint while playing the piano, to last years’ stint as the lead in Broadway’s “Kinky Boots,” Brendon Urie has always done everything he could to be entertaining. And the Aug. 3 show at the Wells Fargo Center was no different, even more than 10 years into his career.

Panic! At The Disco emerged in the mid-2000s alt-rock craze that brought bands like Fall Out Boy and Paramore to the mainstream. Through the years, Panic!’s sound has changed from more rock influenced to a more electronic and pop-centric sound as band members changed and left. Brendon Urie is now the only thread that connects 2005 Panic! to current Panic!, as it truly is a Brendon Urie solo project at this point. This has alienated some fans, especially those of their earlier work. However,in the overall picture Panic! is more popular than ever today, with their most recent album “Pray for the Wicked” reaching No. 1 of the Billboard charts. This was extremely evident at the Wells Fargo Center, as most of the fans looked like they were barely old enough to have been alive in 2005 when the band started.

Dance pop acts Arizona and Hayley Kiyoko provided entertaining opening sets, really bringing a lot of energy to what can sometimes be a chore of a wait to get to the headliner. In particular, Kiyoko had tons of fans up and dancing, acting as a sort of co-headliner. However, when a 10-minute timer appeared on the screen behind the stage, you could tell who everybody was there to see. Despite several lineup changes and many years on the scene, people still went wild when Urie launched through a trapdoor and started the real show.

Most of the night was dedicated to new songs from Panic!’s last two records, as one should expect from Panic! shows at this point. Even when they did play a song or two from their back catalog, it was certainly clear that Urie was simply going through the motions, playing songs out of necessity rather than actually wanting to. Surprisingly, a majority of people at the show were okay with this. Most of the biggest reactions of the night were for newer songs that I am fine admitting I didn’t really know. Other negatives included generally bad pacing, with strange interludes that served no purpose other than letting Urie get a sip of water, and some awful vocal mixing at points. Finally, there was little crowd interaction other than a moment that had Urie singing and walking through the crowd, giving out hugs, photographs and autographs.

Despite these flaws, the show contained its fair share of highlights as well. Brendon Urie clearly still knows how to put on a show. Some highlights include the various covers performed throughout the night, including a great version of “Bohemian Rhapsody” by Queen. Another great moment was when Urie performed floating above the crowd on a platform with a piano, singing the beautiful ballad “Dying in L.A.” However, the best moment of the night was not a single song, but rather the general message of loving whoever and however you want. Many times throughout the night, whether in song or in speech, Urie and the openers preached ideas of loving oneself and those around you. For an audience of mostly teenagers, this was definitely a powerfully received message, and one that should stick with them through their formative years.

In these times of general unrest, it is good to see such a positive outpouring of support for loving others. I would definitely recommend catching Panic! At the Disco at some point even in the future, even as a jaded older fan like myself. Despite the lack of a back catalog performed, Brendon Urie and his band certainly still know how to put on a wonderful show with a powerful message.

It’s been 25 years since Hollywood has produced a film that wasn’t a period piece that featured an entirely Asian cast. 25 years. That’s longer than most of the people who will be reading this article have been alive, but the wait is now over. “Crazy Rich Asians,” based on the best selling novel by Kevin Kwan, is hitting theaters soon and bringing with it a refreshing take on a tried-and-true romantic comedy formula.

The film revolves around Rachel Chu (Constance Wu), an economics professor at New York University, and her posh British-accented, Singaporean boyfriend, Nicholas Young (Henry Golding). They take a break from their bustling lives to visit Nick’s family in Singapore for two weeks to attend Nick’s childhood best friend Colin Khoo’s (Chris Prang) wedding. What Rachel doesn’t realize is that Nick is actually the heir apparent to one of the most wealthy families in all of Singapore.

When Nick’s mother, Eleanor (Michelle Yeoh), finds out about Nick’s intentions to bring Rachel home, she sets out to make sure that marriage is the last thing on either of their minds, using every resource at her disposal to drive the two of them apart. At the same time, Nick’s cousins, Astrid Leong (Gemma Chan) and Eddie Cheng (Ronny Chieng), is dealing with their own family drama as the Rachel and Nick story unfold around them. Rachel also spends some time visiting her college friend Goh Peik Lin (Awkwafina) and her family, who mostly serve to push the narrative along and provide some hysterical comedic relief.

As a big fan of the book, I was really excited to see how the movie would tackle a lot of the complex mix of themes and tones, as well as the cultural representation that was rife throughout the novel. Most pages of the book are punctuated with comical, often tongue-in-cheek footnotes that explain the cultural specifics and Chinese sayings used throughout the dialogue. The book was a pretty expansive story that utilized the “Song of Ice and Fire” strategy of having different chapters focus on different characters and then occasionally having different plots intersect and overlap. This allowed for Kwan to fit a few deeper narratives into one overall story pretty coherently.

The movie feels like it is sorely missing this, choosing to instead focus on the central plot of Rachel and Nick and Rachel’s interactions with Eleanor. Though I missed the depth of some of the side characters like Astrid, I understand that it’s an almost 500-page book and you can’t squeeze all of that into two hours. Still, Astrid’s plot feels very undeveloped throughout the movie and though Chan gives an excellent performance with some truly heartfelt moments, the narrative is often less compelling. These differences between the movie and book are pretty noticeable, but the movie  manages to sprout some legs and stand on its own. (I would definitely recommend the book if you liked the movie, though.)

Part of the focus of this movie is on the extravagance of the uber-rich families at the center of the story. Brands like Valentino are commonplace and many of the brands most people have to save up to even think about buying, these characters see as beneath them. The price tags on some of the jewelry featured in this movie have more zeros than could probably even fit on a check. While this is a fun whimsical look into that life, there’s also a level of satirical rebuke of that kind of greed and wealth. This satirical aspect is much more prevalent with characters like Astrid’s husband Michael, played by Pierre Png in the film, pointing out the hypocrisy and greed he sees the Young family participate in. I wish this were more present, but it seems like it was sacrificed in favor of making the movie more of a casual, fun affair, which I can understand.

But enough about the book; this isn’t a book, it’s a movie. So how well did it do at being a movie? Pretty great, actually. The performances are all super strong, and though the dialogue gets cheesy occasionally, it moves quickly and never gets caught up in being overdramatic or self-indulgent.

Constance Wu as Rachel and Gemma Chan as Astrid give especially compelling performances, conveying a wide range of emotion and circumstance with apparent ease. There wasn’t a moment I didn’t believe either of them in their roles and the chemistry between Wu and Golding is palpable on screen. They work superbly well together and you could get the feeling they were close both on and off screen. Awkwafina and Ken Jeong, who played Peik Lin’s father, Goh Wye Min, were both hilarious and added a much-needed reprieve from the drama of the rest of the plot.

The pacing is pretty consistent and the movie rarely drags. Any dull moment can usually be overlooked because how beautifully shot the movie is. Normally romantic comedies can end up looking fairly boring and flat, but it’s obvious that cinematographer, Vanja Cernjul, set out to try to capture the natural and man-made beauty of Singapore. Many scenes were also punctuated with colorful graphic scene transitions that added some flair and personality to the film that is much appreciated. The soundtrack is also an interesting blend of some more classic Chinese music, as well as Chinese-language covers of some popular songs.

That being said, “Crazy Rich Asians” isn’t some masterpiece in film-making, and it’s not trying to be. It’s trying to be a fun, culturally infused romantic comedy, and it succeeds. Don’t go in expecting the world. Part of why this movie is so interesting is what sets it apart and what that means. The Asian casting is purposeful and meaningful in that this movie didn’t have to be some Oscar-bait story about how hard it is to be an Asian immigrant. As we grow more and more as a culture and venture into more representation, we need to learn that a big part of that is being able to have a fun rom-com with an interesting premise and setting that authentically and respectfully depicts new characters who don’t fall into Hollywood Asian tropes. This movie is a big step in the right direction and earns its place in the upper echelons of rom-coms.

Pop music is by definition formulaic. A verse, a bridge, a verse, maybe a feature and then an explosive ending. This is due to the same producers and writers creating most of the music that’s on the radio, or pressure from record labels to make a hit or a lack of creativity. That’s why some of the most genre-bending music can come from someone’s bedroom studio. Without any constraints or pressures, unpolished, independently-created music can be more beautiful and meaningful than anything that a collective of musicians and record executives could make. That’s exactly the case with Choker.

The 22-year-old Michigan native created his debut album, “Peak,” last year from his home. Entirely self-produced with no features, “Peak” was a look into Choker’s life. At ten tracks long, the project was a blend of pop, soul, rhythm and blues, electronica, and everything in between. “Peak” was adored by the few fans who heard it, appearing on best-of-the-year lists by many blogs. Choker appeared out of nowhere to release the album and then quietly disappeared. For a year after, he didn’t release any new music, news or posts on social media. That was until the end of July, when he tweeted that his follow-up album would come out in a week. And, on Aug. 3, “Honeybloom” graced the world.

The album artwork for “Honeybloom” is an acid-washed photo of Choker staring at his shadow, his head obscured by shades of pink and green. Spanning 14 tracks, the album is again totally led by Choker, with no features or other producers. “Honeybloom” sounds like the album artwork looks: a brightly colored, bleached soundscape.

What’s so magical about Choker’s music is that you never know where it’ll lead you. Each song is filled with abrupt beat changes, leaving a hook or verse in the middle to include a rap verse or a haunting orchestral closing. Take the middle track, “Rocket,” for example. Over its six-minute length, Choker experiments with moving from explosive singing to a rap verse to an instrumental interlude to a spoken word poem before quietly crooning out the end of the song. These changes don’t feel rushed, but instead play into their respective mood. Explosive electronic screeches are abrupt, but smooth crooning takes its time to build into an entirely different song. “Honeybloom” can switch on a dime or quietly flow. The album feels more like 40 different songs all blended together.

For an independently-produced and released album, “Honeybloom” is surprisingly polished and inventive. Choker uses all sorts of different instruments and sounds to craft the unique project. He may float over lithe guitar strings or shout over booming drums. Some of the sounds are so idiosyncratic that I have no clue what is actually creating them. On the album’s first track, “Drift,” the intro sounds like a robotic waterfall. “Suzuki Peaches” feels like it could fit in a Mario game.

“Honeybloom” isn’t just sonically deep. For his relative young age, Choker’s aptitude for songwriting is impactful. Between spoken word segments, Choker waxes about life and relationships, loneliness and sadness. His subject matter and tone are as diverse as his soundscape. On “Drift,” he confidently raps: “Put my daddy’s plans on hold / I’ma do me, I’ve got my own goals.” Only a few tracks later, he ponders if his relationship will last by musing: “When we run out of things to talk about, will you still listen to our silence?”

There is an obvious parallel between Choker and Frank Ocean, especially on Choker’s first album. While definitely not a terrible artist to be compared to, Choker’s work seems to have been under Ocean’s shadow. This is partly due to Choker’s voice sounding eerily similar to Ocean’s as well as both artists’ knack for contemplative lyrics. But on “Honeybloom,” Choker finds his own sound: it’s eclectic, filled with what sounds familiar but is filtered through a rose-tinted lens and blended to form something completely new. Choker’s absence from the world while crafting music is unfortunate; but, if the product is something so gorgeous, I’ll take it

It’s not very often that artists from down under make an impression in the United States. In the past few years, only Lorde, Flume and Troye Sivan have been able to garner a consistent audience here. But, this year there has been a growing buzz around new indie pop artist Amy Shark.

Shark broke into the industry’s collective consciousness last year with her single “Adore.” The song is a slow ballad to a crush that is simultaneously intimate and anthemic. Shark’s aching honesty and rawness lit a spark among listeners, and quickly became a smash hit.

In the following year and a half, the singer-songwriter would sign to a Sony imprint, release an EP to follow up the single and play stages around the world. She was also chosen as an Apple Music Up Next Artist, and won two ARIA awards. Though she has been branded as an overnight success since “Adore” exploded, she has been working towards this point for 15 years.

Shark released her debut album “Love Monster” July 13. The record is 14 tracks and features work from an interesting mix of talented producers, including Jack Antonoff, Mark Hoppus (Blink 182), Joel Little and M-Phazes.

Many debut albums are filled with tracks that sound like different versions of the original hit that broke them into the mainstream. This, however, is not the case on “Love Monster.” Each song is a unique snapshot story, and the various producers keep the sounds differentiated just enough.

The songs are a mixture of angsty alternative and pop music. It’s glossier pop punk that is guitar driven but isn’t afraid to use synths and programmed beats. It feels heavily influenced by the famous pop punk bands of the ’90s. Best exemplifying this sonic homage is “Psycho” which features Mark Hoppus of Blink 182. The production and writing has also been influenced by rap and R&B artists like “Don’t Turn Around” where she sings in a dripping cadence over stuttering beats.

It is rare for a woman over 30 to be making her debut, so “Love Monster” walks into largely uncharted territory. Instead of forging a new path, Shark plays younger. Though she is 32 and married, the songs are mostly about budding flirtationships and getting over exes. Focusing on this content makes it more easily accessible for the younger demographics. It’s a safe move, but it leaves you to wonder where she could have gone had she taken the risk.

Though the perspective feels younger, the songs all sound like they are genuinely portraying what Amy Shark has lived through. And it’s likely that they are. She started officially working on the album last year, but there are songs on “Love Monster” that Shark wrote over five years ago. These older compositions are able to fit cohesively with her newer songs in ways that not many artists can pull off.

When it comes down to it though, Shark’s voice is really what makes these songs engaging. It’s not like she’s out here belting high notes or technical runs, but she gives strong, raw vocal performances. Her voice is what really cuts through to the emotion of the songs. Her accent and slight twang also make her sound distinct from other female pop artists.

“All Loved Up” is one of the standout vocal moments on the record. Produced by Jack Antonoff, it is one of the happiest tracks on the record. In the chorus, she sings in fragile falsetto with little support from the track. She really shines here.

The album’s closing track “You Think I Think I Sound Like God” is an amazing ending to the album. What starts as a heart-wrenching plea swells to a cathartic scream. It captures the emotional vulnerability and detailed songwriting that makes Shark such an interesting artist.

“Love Monster” is an exciting debut album. Crafting an album is hard, but debuts are even harder. Amy Shark completes the tricky move with simplicity and delivers an album with little to no filler.

One month after releasing her first studio album “Lush,” Snail Mail came to Union Transfer July 14 with something to prove. Snail Mail is the solo project of 19-year-old guitarist and singer/songwriter Lindsey Jordan. After assisting Bonny Doon as a stand-in bassist, it was time for her to take center stage as Snail Mail.

From the moment her fingers gripped the neck of the guitar it was apparent to everyone in the ballroom that if this was sold as an indie rock show she would make sure the second half of that deal was fulfilled. She opened the set with a roaring solo to make sure she had the audience’s attention. That solo led straight into the album standout “Heat Wave,” which was filled with the same kind of high impact energy from start to finish. I can only assume her decision to play “Dirt” and “Slug” off her 2016 EP, “Habit,” was to give the audience a chance to catch their breath. These two showed a passionate side of Jordan commanding the stage with her voice rather than the rock bravado of the opening number.

She returned to “Lush” for the emotional “Golden Dream.” A song which almost reads more of a poem, but believe me when I say it may be a perfect song to be played live. The song’s short two line chorus erupted from the crowd along with Jordan as it went by. During “Thinning” a song which she is arguably more comfortable playing live as she’s been doing so for two years, she again displayed a talent for performance that is even more shocking when taking her age into consideration.

After “Thinning,” and now half way through the show, Jordan still had said very little to the audience. However, it didn’t feel impersonal; it almost felt as though she was letting us experience the music and for Snail Mail the music can speak for itself. “Full Control” was next, a song which should cause a riot in the audience, but maybe the decision was made to play it more softly in order to avoid wearing out the audience too soon. Perhaps Jordan hasn’t gotten the feel for how she wants to play it live yet, but regardless it left something to be desired.

She then rolled into “Stick” a song which has been re-recorded for “Lush” but originally appeared on “Habit.” As she played the looks she gave the audience had a certain intensity to them as though she wanted to freeze you in place.

“This next one is about love” she said, before diving into the lead single off “Lush,” “Pristine”.

It would be hard at this point for anyone in the audience to not feel the personality and stage presence that radiates off Jordan as an artist. Things slowed down again for “Let’s Find An Out.” Jordan lengthened this performance however with the addition of two shorter solos, which broke up her three poetic verses.

The set came to a close with “Deep Sea” and “Anytime”-two very similar slow building songs that feel appropriate as a goodbye, and presumably the reason why these songs play at the end of “Lush.”

As the band exited the stage Jordan invited a guest on stage: Waxahatchee, the solo project of Katie Crutchfield. Together the two women sang a cover of Sheryl Crow’s “Strong Enough.” After the duet came to a close the two left the stage before Jordan and the band reappeared to play a final encore. The final song was 2016’s “Static Buzz.” If I had to guess I would say the buzz of loud music and a good time was felt by the audience long after the show ended.

While the band could have benefited from a few more shows under their belt, Jordan certainly brought everything she had. As I assume she always does, she left everyone in awe of her artistic ability.