It was announced Feb. 27 that “Brooklyn Nine-Nine” will return for a seventh season on NBC. “Brooklyn Nine-Nine” has gone through a lot in the past year. In May 2018, it was announced by Fox that “Brooklyn Nine-Nine” would not return for a sixth season. People were outraged on social media and started multiple petitions for Fox to renew it.

“Brooklyn Nine-Nine” was first pitched to NBC back in 2012 by Michael Schur and Dan Goor (both assisted with the development of “Parks and Recreation,” another sitcom hit on NBC.) Fox won the bidding war, and the show aired in the fall of 2013. The series revolves around Jake Peralta (played by the hysterical Andy Samberg,) a highly immature but clever detective in Brooklyn’s 99th Precinct. The supporting ensemble cast features Terry Crews, Melissa Fumero, Joe Lo Truglio, Chelsea Peretti, Stephanie Beatriz and Andre Braugher, who plays the stern Captain Holt. The show is known to be a quick-cut single-camera comedy, and has won Creative Arts Emmy Awards and two Golden Globes (one for Samberg and one for Best Television Series — Musical or Comedy.) The series handles the portrayal of serious issues with an effective blend of humor.

It just didn’t add up why a beloved sitcom would be canceled, and why that would be a smart move for the network. Shortly after there were rumors that Hulu, TBS, NBC and Netflix possibly wanted to revive the show for a sixth season. Hulu passed on the series, but NBC decided to pick it up. Within 32 hours, NBC put it up for 13 more episodes for their sixth season (later boosting it to 18 episodes), after social media outrage by many fans and celebrities such as Lin-Manuel Miranda, Seth Meyers and Mark Hamill, to name a few.

This isn’t the first time a show got changed around networks, and is actually becoming more popular with the plethora of choices in television these days. CBS picked up another comedic sitcom, “Scrubs,” in the 2000s after it hit a bump with ABC. Mindy Kaling’s show, “The Mindy Project,” was canceled also by Fox in 2015, but was picked up by Hulu for two more seasons. A low rated but beloved sitcom, “Arrested Development,” was shifted around for awhile, but soon was picked up by Netflix.

Networks tend to cancel shows that are seemingly doing well, typically for financial reasons. For instance, “Arrested Development,” delivered low ratings and the network believed it was not worth producing it further. It took awhile for a fifth season to finally premiere, and even though it had subpar ratings, like most good shows that get cancelled too soon, it now has a big cult following.

Even though ratings have been a struggle for “Brooklyn Nine-Nine,” declining each season, people have enjoyed it on other platforms such as Hulu, Amazon Prime, Youtube and iTunes.  It currently airs on Thursdays on NBC at 9 p.m.

It has been two days since I first watched Gaspar Noe’s new film, Climax, and to say the least, I am still feeling slightly shocked. This film was by far one of the most artistically inducing, mentally shocking and well-rounded films to hit cinema in the past five years.

This psychological horror/dramatic mystery invites its audience into a satanic experience in the most artistic way possible. The film was nominated for many awards across France and won a series of awards within film festivals, including the “Best European Fantastic Feature Film/Best Feature Film” at the Neuchatel International Fantastic Film Festival, Cannes’ “2018 Directors’,” Fortnight’s biggest prize, the “Art Cinema Award” and “Best Film” at the Catalonian International Film Festival.

This A24 film collaborated with big names in the art film community such as Vice Films and Arrow Films. Many well-known artists in the electronic/techno music scene also worked on the soundtrack of the film, including Aphex Twin, Wild Planet and Soft Cell. All of them came together to enhance the already-enchanting shooting, mixing and editing of the film to create this masterpiece.

“Climax” is about a french dance troupe in the ’90s rehearsing at an abandoned school before their final night of a world tour. After a quick dance rehearsal, the troupe begins to celebrate their last night with copious drinking and dancing to techno music. Halfway through the party, everyone starts to feel weird and soon realizes that someone had spiked the sangria with LSD. Each individual begins to spiral into a state of mania as hellish events unfold around them. Some are shown having the time of their lives, reacting very well to the drug, while most embark on terrifying trips that drive them insane.

Although the film takes time to explore each character, the one that seems to be the focal point of the movie is Selva, played by Sofia Boutella. As the choreographer, she plays a minor leadership role to the troupe. Following her discovery of the LSD in the sangria, Selva spends the entire movie trying to mitigate the situation and help her peers out. Unfortunately, she too loses her mind. Her character stands out amongst the rest because she is the only one who keeps herself from harming others physically and psychologically.

The film uses unique ways of shooting scenes, such as spinning the camera to distort the viewer’s balance, shooting scenes from an aerial point of view and exaggerating light and color schemes in order to make the audience feel certain emotions. It felt as though in the editing room, the order of each scene was purposely shuffled, including the credits. In short, the movie forces you to feel as though you are tripping with the characters, not through showing exactly what they see, but by seeing everything from the point of view of a fly on the wall unaffected by the drugs.

Some have pointed out that there are many alternative interpretations within each piece of the film. The movie also alludes to various biblical stories through the actions the group takes collectively. A character in the movie even points out that there are crosses within each room and that there are satanic vibes coming from the school itself. The entire rest of the movie from the middle on is shot in a red-green light that resembles hell. Alternatively, the entire movie could be explained within the short dance that occurs at the beginning of the movie. The idea in this argument is that each character’s overall arc is demonstrated within this dance.

Whatever meaning you may find in the film, there is no doubt that some messages and foreshadowings are constantly, and subtly, being thrown at the audience throughout. The cast, especially Boutella, fully deserve awards for their acting and dedication to fit their characters. Each actor did a phenomenal job in taking specific traits of their character and either warping or exaggerating them once embarking on the LSD trip.

As much as I enjoyed this film, it cannot be considered an accurate representation of the effects of LSD. As a person who has never done LSD, I saw the film as a lesson. When put in the wrong environment with the wrong people, partaking in any form of intoxication, whether by accident or on purpose, can lead to upsetting, even horrific, events, especially without having someone there to help you.

Even though the film doesn’t represent drug consumption as accurately as it could have, I still believe it to be one of the most thrilling, incredibly shocking horror and mystery films. If you are a lover of psychological horror, “Climax” is an intricate, aesthetically pleasing, modern-indie film that incorporates dancing and good music. It is a must-watch.

MAD Dragon Records released an album Feb. 1 titled “Reflection(s),” an eight- track alternative rock album by Drexel-based band Drift.

The five-person band released their debut EP “Memory” in 2017. Following the release of their EP, the group released their single “The Light” which also appears on their new album. Since the release of their single, Drift has been playing house shows, hoping to increase awareness of the group before their album releases.

MAD Dragon Records is Drexel University’s student-run independent record label, which partners with the Westphal College of Media Arts & Design to help students produce and release their own music from Drexel’s campus recording studios.

“MAD Dragon offers artists and musicians a great home to cultivate and grow their art,” according to their website.

MAD Dragon Records currently has a distribution agreement with Sony Music Partners, The Orchard.

The album opens with “Sorry Isn’t,” which starts with a swell in the music, leading up to the appearance of chanting vocals. The static background track adds dimension to the music, creating layered sounds with vocals that change drastically in tone, which continues to build as the drums and guitar get louder, creating a generally emotional sound, with elements of reminiscence. The song ends on a quiet note, fading into the next. “No Pressure,” the following song, starts with a series of higher, faster notes. This introduction to the album lets the listener know that this will be an exciting experience, with a variance in speed and style.

“Reflection(s)” definitely fits under the alternative rock genre it is categorized under, with several songs including “The Light” being reminiscent of bands like Superfood, a British indie-pop group that also has an alternative funky sound. The use of guitar and bass under passionate vocals, especially in “What’s The Matter” is similar to that of American alternative rock band Remo Drive.

This diversity in style can be viewed as either a positive or negative for Drift, as the difference between styles is evident and can make the shift between and during songs seem less cohesive depending on the contrasts in genre heard. The transition within “Lie to Me” is an especially jarring one. The song employs a more traditional rock sound, with a heavy guitar sound under it, but then transitions mid-song to a jazz-inspired instrumental section.

After this song, “The Light” is featured with its funky guitar and fast tempo drums. The shift can be jarring, but it also exhibits that Drift has skill in many different music styles.

This variance in style does not make “Reflection(s)” much less cohesive as an album, as there is still a general mood and approach to the music that is carried throughout. The diverse nature of the album also ensures that it has something for everyone, especially those who like an experimental combination of genres.

Drift’s style ties together elements of rock, jazz and even metal to create a new sound that is simple yet unique, and this combination weaves together a funky yet melancholic album that leaves you wanting to hear more of what this group will do next.

Growing up, I read as much as I possibly could. Any book that I could get my hands on I would devour as quickly as I could. I read a wide variety of genres that fell under the YA category. Some were cringe-worthy, even as a kid, but others captured my interest and took me on a journey. One such series was the “Percy Jackson and the Olympians” series by Rick Riordan. I fell in love with the world Riordan had built that revolved around the famous pantheon of Greek gods and their demigod children inhabiting a summer camp outside of New York City called “Camp Half-Blood.”

All of that being said, I was intrigued when I heard back in 2017 that a musical based on the property entitled “The Lightning Thief: The Percy Jackson Musical” was doing a short, month-long run Off-Broadway. I kept saying I would get around to going and seeing it but before I knew it the show was gone and I had missed it.

That is until earlier this year when the show announced that it would be embarking on a nationwide tour, including a stop at the Kimmel Center in Philadelphia for a week. As it turned out, lead Chris McCarrell, who plays the titular Percy Jackson, had fallen in love with the role and decided to return for the tour. The rest of the cast was composed of bright, new enthusiastic faces.

I went into the show relatively blind. I had forgotten the general plot of the first book, which the show covers, and I hadn’t listened to the Off-Broadway cast recording.

The show ended up impressing me a lot more than I was anticipating. It kicked off with “Prologue/The Day I Got Expelled” and I was worried at first. I was expecting a show that was somewhat self-aware and tongue-in-cheek but it seemed like it was maybe going to miss that mark. However, as the show played out and we were introduced to more characters and given some more time to let the personality and wittiness of the production and cast shine through, it grew on me quite a bit.

Everyone in the cast aside from McCarrell and Kristin Stokes, who played fellow camper and daughter of Artemis, Annabeth, had multiple roles. Jorrel Javier, who played a half-goat/half-man named Grover and Dionysus, the Greek god of wine definitely left an impression. He especially shone as the grumpy god-turned-camp counselor who hated the campers as much as he needed a drink. Ryan Knowles, who played the legendary centaur Chiron, as well as Hades and Medusa, was the stand-out for the show in terms of comic relief though. His malleable voice allowed him to blend into a variety of diverse characters, selling each one and never failing to bring a roar of laughter out of the audience.

McCarrell brings a lot of energy to the character of Percy, who over the course of the show finds out he is a son of the greek god of the sea, Poseidon, and he should have never been born. On top of that, his mom is missing and presumed dead and he has been framed with stealing Zeus’ great lightning bolt. His personality and vocal range bring Percy to life and it shows this is a role that he cares deeply about and relates to on a sincere level. I could feel the moments when he was having fun on stage and then was hit by the ones where it all came crashing down and Percy was desperate and fearful.

The budget for the show was nothing extravagant and it showed, but the show did a good job of using its cheapness to better its charm. Near the beginning of the show, Percy and his class are touring a museum and there is a single pedestal with a glass case on top containing some artifact. Percy’s teacher asks to talk to him by the sphinx and the rest of the cast scatters as one turned the pedestal 180 degrees to reveal a small statue of a sphinx.

The set design was relatively simplistic with a scaffold taking up the whole backstage with a spray painted concrete wall behind it. The band was split on either side of the stage atop scaffolding as well, which was a fun bit of design. This also served to bring some of the charm of the authentic and stripped down staging.

Though the show didn’t grab me at first, I was sold by the time we reached “The Campfire Song,” which featured the campers lamenting their god parents who they felt had abandoned them. There was something very sincere and relatable about this song. What proceeded was a fun, adventurous show that had many fun and interesting moments. Though the music wasn’t necessarily the strongest, the writing was strong enough to carry the rest of the show between the songs that stood out.

It managed to bring its own spin and stay true to the intent and soul of the source material in a great way and I would say to definitely bring the whole family when it stops in your city.

There are a few codes of conduct to follow at any concert. Don’t record the entire concert on your phone, especially not with flash. Don’t yell out song requests unless the artist asks for them. And although the concert may be packed, do your best to respect people’s personal space. These are fairly easy rules to follow for most people.

Unfortunately, not following these basic guidelines can ruin a concert-going experience for nearly everyone else around you. This was the case at the Mick Jenkins concert at the Theatre of the Living Arts Jan. 24.

Mick Jenkins is quietly one of the greatest rappers of all time. After releasing the critically acclaimed project “The Water[s],” Jenkins has been honing his craft behind the scenes of mainstream hip-hop. In the more than four years since “The Water[s],” Jenkins has released three other commercial projects, two free mixtapes and many loose songs. He’s also collaborated with big names like Ghostface Killah, Chance the Rapper, Kaytranada and Joey Badass. The Chicago MC has focused on more conceptual projects and thought-provoking poetic verses rather than bombastic-pop songs.

That’s not to say that Jenkins does not have range. On “Pieces of a Man,” his album released in late 2018, Jenkins took on sexual consent in the smooth “Consensual Seduction” and confidently stunted on the wickedly addictive “Grace & Mercy.”  

The “Pieces of a Man” tour opened with Stock Marley and Kari Faux. Marley, a member of Free Nation, Jenkin’s hip-hop collective, took the stage first and got the crowd moving to his lyrically dense tracks. Jenkin’s influence was obvious on his performance. Next up was Kari Faux, a female rapper from Little Rock, Arkansas. Faux was more upbeat, mixing her verses with confidence and more R&B-infused hooks. She bounced around the stage, always with a smile on her face. She started her last song, “No Small Talk” when an audience member began rapping the first verse for her, which was much more fun than what was to come later from another audience member.

Soon after Faux left the stage, band members began to take their place and the crowd roared as Jenkins sauntered on stage. Jenkins was dressed in a nice striped button-up shirt that somewhat resembled a prison uniform. This was probably no accident: Jenkins has often referenced police brutality and unfair criminal policies in his past work. The rapper towered over the audience, standing well past 6-feet tall, and his deep voice matched his daunting stature. Jenkins nearly shouting the hook “I stress a lot!” to his opening track “Stress Fracture.”

About this time was when a certain audience member made himself known. A tall-gangly white 20-something pushed himself through the crowd. He was ecstatic to be at this concert, screaming “DRINK MORE WATER” or just screaming in general. His voice was somehow louder than Jenkins and his instrumentation. This was annoying, but bearable.

It’s important to note that while Mick Jenkins is an extremely talented rapper, his concerts would not be described as “hype.” I’ve seen Jenkins twice before this show at the TLA, and the crowd is usually nodding their heads instead of moshing. His music is intricate and thought-provoking, and focuses more on enticing melodies rather than bass-heavy drums.

This audience member must have thought he was at a different concert. He was constantly grabbing everyone around him and jumping into them. He was also loudly rapping to every lyric, including the lyrics that a white person should not be yelling. It got to the point where a woman screamed at him to stop harassing her.

Jenkins ran through the majority of his album, from the dense “Ghost” to the energetic and almost nautical “Understood.” Jenkins broke down the meaning of some of his songs, discussing the difficulties of just living normally and seeing different perspectives that influenced his latest album. He also played some lesser known songs, such as “Piano,” off of his experimental 2015 EP “Wave[s].” Ironically, someone was yelling at the gangly white guy to stop touching his girlfriend as Jenkins played “Spread Love,” the lead single off of his 2016 debut album “The Healing Component”.

After running through the majority of his album, Jenkins wrapped up the show with his most well-known track to date, “Jazz.” The slow tempo track off of “The Water[s]” showcases Jenkins discussing the truth in stories and his concept of “water.” Probably the most often-referenced topic in his music, water represents many things, including healing and truth. He has often championed drinking more water, long before it became an internet meme. He thanked the audience and left the stage.

I kept my distance when leaving to avoid the gangly man, who had been reprimanded by no less than six different audience members (myself included), but never stopped being a disruption to the show. I left the show thinking two things: that I needed to see Mick Jenkins live for a fourth time, and to never be as awful as that gangly guy.

Even though anyone who is familiar with writer/director M. Night Shyamalan knows to expect a twist in his movies, I think that “Glass” will end up differently than any viewer expects it to. Not necessarily in a shocking way, but it’s not an easy story to predict and is better for it.

Although fans probably weren’t anticipating the meeting of Mr. Glass, David Dunn and Kevin Crumb as much as in other extended universe crossover movies, the crossover nature of the movie is handled very effectively. Whereas the Avengers movies tend to just serve the purpose of bringing a bunch of heroes together to defeat a more powerful villain than in the solo movies, “Glass” uses the meeting of its characters to develop them much further and have them play off of each other in interesting ways. Each of the three characters has very different backstories, and even though this crossover movie is largely about bringing them together, it takes a lot of time to deal with them and their unique situations individually.

A major selling point of the movie, as with “Split,” is James McAvoy’s off the wall performance in the role of a character with 24 personalities. While there is less focus on him here than in “Split” we get to see a few glimpses of the other personalities that we didn’t see in “Split,” along with the ones that have more prominence.

Bruce Willis and Samuel L. Jackson have both given better performances, but do their jobs more than adequately. Also returning are Elijah’s mother (Charlayne Woodard), David Dunn’s son Joseph (Spencer Treat Clark) and Casey Cooke (Anya Taylor-Joy).

The main plot of the movie centers around the one new character, Ellie Staple (Sarah Paulson), a psychiatrist trying to convince her three patients that their abilities are not supernatural, and are less potent than they have been led to believe.

This is where I think “Glass” really sets itself apart. Some people could argue that every movie and story is about the hero discovering their true potential in one way or another, and superhero movies are more blatant than most about this. So it was cool to see a story where the heroes begin to doubt their own abilities. In some ways it felt more true to life.

I’ve always loved the scenes where superheroes first discover the extent of their powers, but it’s not an experience that most of us have had. However, I think practically everyone has had to give up on some kind of dream in their life. There was a time when I was little that I tried to convince myself that I had special powers, but I gave up this idea after the adults around me brought me back to reality. I’m sure I’m not the only kid who had that experience, and while it is necessary, it’s still disappointing to be told that you aren’t special in the way you want to be, so I liked that the characters in this movie had to go through that.

I’m still not quite sure how to feel about the movie as a whole. It definitely isn’t bad, but I’m not quite sure how good it is. It definitely does some unique storytelling, which I applaud. It also proves that Marvel has not made the only good version of a crossover movie. Still, there were a few points that felt iffy. I guess it is safe to say that there was room for improvement, but I think that there are lessons that writers and storytellers can take from this movie.

Because the movie is set in Philadelphia, there were a few things that I couldn’t help noticing about it. First of all, it was cool to see a movie that took place in the only city that I’m really familiar with. There was a shot that looked like it could have been taken from the roof of a Drexel University dorm (probably Caneris Hall or North Hall). So that was kind of fun. However, there was a plot device featuring the opening of the new tallest building in the city, and for the sake of consistency the fake building was shown in all of the establishing shots of Center City. As someone who can see the Center City layout from my dorm window, it just looked wrong to see a huge building thrown in the middle of the real buildings. On a side note, the first movie in the trilogy, “Unbreakable,” is the only movie I’ve ever seen that mentions Drexel in any capacity.

I’m not saying that you should see this movie only because it is set in Philly, that would be dumb. But it’s still pretty cool to see our city represented in a big studio movie.

Out of all of the movies released in January, this is the only one that I think is worth seeing. January is a month for people to see the awards season films they didn’t get a chance to see in December and for that reason, it’s notoriously the worst month for new movies . So if you don’t like the look of anything up for an Oscar but still want to go see something, this is a good pick. I will strongly advise that you see both “Unbreakable” and “Split” (in either order) beforehand because “Glass” references them both in a way that assumes the viewer has already seen them.

25. “Searching”

The concept of telling a story from the perspective of electronic devices is something that has been seen before. With “Searching,” director Aneesh Chaganty provides the most compelling take on the technique. “Searching” is an ambitious feat of screenwriting and filmmaking which pays off, creating a captivating mystery unfolding before viewers eyes.

24. “Ocean’s 8”

It was a bold move to pull a gender flip on one of the biggest heist franchises, especially after the failures of similar attempts at gender recasting in recent years. “Ocean’s 8” created its own space, looked at the concept from a slightly different lens and pulled together a star studded cast.

23. “Solo: A Star Wars Story”

If you are a highly knowledgeable fan of the Star Wars series and its lesser-known plotlines and character arcs, “Solo: A Star Wars Story” is almost a perfect movie. If your understanding doesn’t go further than the movies themselves, then “Solo” offers up a different side of the galaxy far, far away that may be a refreshing experience. Be ready for some wild rides, love between a human and a droid, and one hell of a Donald Glover performance.

22. “The Favourite”

The story of an ailing queen and those trying to siphon her power is a visual feast for the eyes with beautiful cinematography. The new film from director Yorgos Lanthimos focuses on the women of the story with excellent performances from Rachel Weisz, Olivia Colman and Emma Stone. This 1700s period comedy manages to connect head on with a modern audience.

21. “Mission Impossible – Fallout”

In a year of so many tentpole movies, this flew a little under the radar. Writer and director Christopher McQuarrie took a franchise that already had good roots and brought it to what might be its maximum potential.

20. “Molly’s Game”

This movie brought us an incredibly cool character who is made even cooler by the fact that Molly Bloom is a real person. It features some fabulous acting from Jessica Chastain and Idris Elba and excellently-paced writing from Aaron Sorkin.

19. “Crazy Rich Asians”

The first all-asian cast for a major Hollywood release in 25 years bears a lot of baggage. But, “Crazy Rich Asians” managed to shine, amuse and succeed at the box office.

18. “Hereditary”

A horror film about the ramifications old family secrets can have on the new generation. Toni Collette stars as a mother who recently lost her mother, a death which unveils some ancestral secrets. The movie delivers on the scare factor, but also hits hard with emotional trauma.

17. “First Man”

Damien Chazelle, the story of the first moon landing, Claire Foy and Ryan Gosling easily make this an “Oscar-bait” movie. Still, it provides a unique take on the path to success that isn’t as pretty as we like to think.

16. “Thoroughbreds”

This movie is weird in all the right ways. Described by many as a sort of spiritual successor to the cult classic “Heathers,” this movie is violent, dark, witty, and unnerving in all of the right amounts and places.

15. “Ready Player One”

When a virtual reality world is more popular than actual life, the creator of such an escape is on par with deities. But when the creator of this escape dies, he offers up his entire fortune to the best player of his game. How do you find the hidden gems in a virtual world? “Ready Player One” offers an answer hopefully worth sufficing.

14. “Isle of Dogs”

Wes Anderson mixes stop-motion animation, Japanese culture and a dystopian future in which dogs are no longer man’s best friend to create his latest film “Isle of Dogs.” A visual masterpiece, the dedication to the intricacies of even the smallest detail is noticeable. With dogs uniting under a common good coupled with a city fighting a conspiracy, this film is guaranteed to keep you watching — and laughing and thinking and gazing — to the very last second.

13. “To All The Boys I’ve Loved Before”

This Netflix-original romantic comedy, based on the teen novel of the same name, follows the story of hopeless romantic Lara Jean as her secret love letters find themselves in the hands of her past crushes. This film is not revolutionary in terms of writing or plot, but it is a lovely rom-com with a strong female Asian-American lead that will leave you feeling warm and fuzzy.

12. “Sorry to Bother You”

A leftist absurdist comedy directed by a rapper with no prior film credits was one of the most critically acclaimed movies of the year. “Sorry to Bother You” didn’t hold back, and used insanity and hyperbole to cast a light on the failings of capitalism in a thought-provoking way.

11. “A Simple Favor”

A thriller/drama film about two women becoming friends and then one disappearing may not sound like the next Paul Feig movie, but it was and it’s surprisingly great. There’s an air of weirdness and quirkiness to this film that makes it stand out a bit and keeps it from feeling like “Gone Girl 2.”

10. “The Hate U Give”

This film is a cathartic and honest depiction of code-switching in modern black America and the police brutality that plagues the community. It reminds us that Black Lives Matter is more than just the names we know from the hashtags, it’s about all of us who are still living too. “The Hate U Give” is funny, heartwarming, empowering and an excellent tool for empathy.

9. “Avengers: Infinity War”

How do you cap off 18 movies spanning an entire decade? With a three hour long movie. “Infinity War” managed to capture the storylines of over 70 characters in one movie and ended with honestly one of the most heart-wrenching and memorable scenes in cinema history.

8. “Incredibles 2”

It had been 14 long years, but finally the sequel to the ever-popular Incredibles landed and it did not disappoint! The work from Brad Bird saw the return of seamless animation with a simple yet chair-grasping plot, showing the timeless effect of the quirky family that we know and love. Kudos to Pixar for making a film, that appeals not just to kids but also to adults filled with nostalgia.

7. “Black Panther”

“Black Panther” managed to bring a relatively unknown Marvel character into superhero stardom. With an unbeatable cast and a hip-hop heavy soundtrack, “Black Panther” was an important cultural moment as well as a stellar movie.

6. “Eighth Grade”

Actor, writer and comedian Bo Burnham directed this coming-of-age film that follows the life of an eighth-grade girl as she attempts to decode the social scene of her middle school. The film is wrought with second-hand embarrassment, realistically reflecting the ways in which everyone remembers their naive middle-school self.

5. “A Star is Born”

“A Star is Born” is a story that has been told many times in Hollywood with the most recent version marking the fourth incarnation. Bradley Cooper stepped into the role of director for the first time bringing a fresh take to the recycled tale and an honest look at the current music industry. Cooper and Lady Gaga shine as they bring the heartbreaking love story to life.

4. “Annihilation”

Director Alex Garland set a high bar for himself with his directorial debut “Ex Machina” back in 2014. He followed up that success this year with “Annihilation,” a fresh, vivid and beautiful science fiction film that confuses as much as it entices. The all-female cast, headed by Natalie Portman, delivers amazing performances as they guide us through the terrifying and tense journey they take into the unknown.

3. “Love, Simon”

“Love, Simon” is a wonderful John Hughes type movie for modern times. An adaption of a young adult novel, it’s one of those rare cases where the film actually elevates the original work. The film is heartwarming, laugh-out-loud funny and a rom-com that dares to contain actual emotional depth.

2. “BlacKkKlansman”

Adam Driver and John David Washington star as two undercover police officers infiltrating the Ku Klux Klan in this new Spike Lee joint. Excellent performances and exploration of nuanced subjects revolving around race and police brutality, coupled with a sleek ’70s aesthetic and soundtrack, make this film a stand-out from this year. It’s a serious yet clever and witty take on the classic buddy cop film and earns its place in Lee’s filmography.

1.  “A Quiet Place”

Even if you are not a huge fan of horror, there is so much good stuff going on in this film that it is worth seeing. There is not a single lackluster performance in this film, even from the younger actors. The film explores some interesting and creative territory in a unique way and adds in multiple twists on the genre to prevent it from falling into the pitfalls of cliche horror.

25. “Voicenotes” – Charlie Puth

This delayed sophomore album finally establishes Charlie Puth as a force to reckon with in the progressive pop scene. “Voicenotes,” solely produced by Puth himself, features experimental sounds and a combination of progressive elements to blend and fuse into a more passionate sound which clearly shows that experience does mature with age.

24. “Safe In The Hands of Love” – Yves Tumor

On “Safe in the Hands of Love” you can find the true markings of the seamless blending of genres in the streaming era. On this record Yves Tumors experiments and creates a borderless album that goes far beyond his previous works.

23. “Invasion of Privacy” – Cardi B

Cardi B’s debut studio album, “Invasion of Privacy” contains her hit singles “Bodak Yellow” and “I Like It”, both of which became No. 1 hits on the Billboard Hot 100. Cardi B combines elements of hip-hop, trap, Latin and R&B genres to create a catchy pop album that has taken the world by storm.

22. “Little Dark Age” – MGMT

“Little Dark Age” is the fourth studio album from hit rock group MGMT. The album builds off of past hits like “Kids,” incorporating a darker tone into their typical synth-pop sound.

21. “I’m All Ears” – Let’s Eat Grandma

With their sophomore album, Let’s Eat Grandma pushed further into their sludge pop sound, creating an album more assured and more breathtaking than their debut. “I’m All Ears” is an album that shows teenagers can make music just as progressive as the 40-something rock band that critics can’t shut up about.

20. “Oil of Every Pearl’s Un-Insides” – SOPHIE

SOPHIE had already established herself as a unique producer, her experimental sound easily identifiable to those paying attention. But with the release of her debut album, we can finally get a full vision of her artistic expression.

19. “Fleurever” – Jazz Cartier

Jazz Cartier is what Travis Scott wishes he could be. The lesser-known Toronto rapper released his debut album, honed after years of underground releases. Polished and explosive production, clever wordplay and intense passion make “Fleurever” one of Cartier’s best projects to date.

18. “7” – Beach House

With their new album, Beach House truly executed the ideas they had been grappling with on their previous albums. The duo has mastered their genre, and have come out quite confidently on the other side ready to experiment further.

17. “Everything is Love” – The Carters

The collaboration album that had been rumored for years still managed to surprise us all. It’s a short body of work, but manages to remind everyone that you can’t beat The Carters at their own game. It pushed both artists out of their traditional genres and established Beyonce as one of the best rappers in the game.

16. “Honeybloom” – Choker

Choker’s sophomore project plays into his strengths. The album is all over the place, mixing rap with pop and R&B, and switches between these sounds at the drop of a hat. For most artists, this would be convoluted and messy, but Choker pulls these eclectic sounds into one of the best albums of the year.

15. “November” – SiR

One of the best albums from the powerhouse label TDE wasn’t from big names like SZA or Kendrick Lamar, but from newer signee SiR. The singer released his debut project on the label ironically in January. SiR’s heart-felt lyricism and smooth productions was unforgettable and made you come back throughout the year.

14. “Camila” – Camila Cabello

Cabello followed up her surprise smash hit “Havana” with an impressive debut album. It focuses on storytelling and Cabello’s enthralling vocals, making a winning case for Cabello’s solo career. It’s an album of crushes, the moments that you want to last for years, and finding yourself.

13. “Pieces of a Man” – Mick Jenkins

Mick Jenkins may not be new to the scene, but he has yet to hit the heights of some of his peers in terms of popularity. But that’s not to say this is for some lack of quality. Featuring a blend of production ranging from silky dreamy Kaytranada produced beats to Kendrick Lamar collaborator BADBADNOTGOOD, Jenkins’ toned down, smooth flows make this an album to just kick back and let wash over you.

12. “I met you when I was 18. (the playlist)” – Lauv

Lauv’s debut album was a long time coming, and he certainly delivered. His first full-length project offers a journey of love and loss through his first real relationship. Lauv not only creates a beautifully sounding album, but shows off his ability as both a singer and a songwriter in the process.

11. “ye” – Kanye West

Kanye’s eighth studio album, crafted over two weeks, was as much of a cultural moment as it was musical. Always a proponent behind the idea that the human voice is the most powerful instrument, Kanye used his to explain himself and open up to everyone. The album overflows with a lot of ingenuity and honest, controversial lyrics: essentially Kanye in a nutshell.

10. “Astroworld” – Travis Scott

Travis Scott topped the charts with the release of the highly anticipated album “Astroworld.” On the album Scott collaborates with a variety of artists, the most prominent being musical legend Stevie Wonder. The hip-hop album’s production draws inspiration from a variety of other genres including trap, psychedelic and classic hip-hop.  

9. “Lush” – Snail Mail

Snail Mail is Lindsey Jordan’s musical project that she created with bandmates Alex Bass and Ray Brown. The group has enchanted listeners with their melancholic tunes since the album’s release in June. Snail Mail should definitely be on everyone’s radar while entering the new year.

8. “Kids See Ghosts” – Kids See Ghosts

Though West has no doubt been a controversial figure this year, his music is as strong as ever. “Kids See Ghosts,” a collaborative effort between West and long-time friend Kid Cudi, features interesting production and compelling vocal performances from the duo, as well as from featured artists like Pusha T. It’s classic Kanye mixed with some experimental elements.

7. “Sweetener” – Ariana Grande

On “Sweetener” Ariana Grande takes the listener on her personal journey, and shows us that even in the most horrible situations someone or something is out there to sweeten the situation and bring us back down. It’s full of odd chord changes, infusion of trap trends and stunning vocal arrangements. It is Grande’s boldest and most honest body of work to date.

6. “Dirty Computer” – Janelle Monae

“Dirty Computer” is an expansive work tackling self-identity, black empowerment and the political state of the country. Monae’s distinct combination of R&B, pop and soul is sexy, playful and unique. She carries on Prince’s legacy, and steps out from behind the character work on her previous albums to reveal herself.

5. “Daytona” – Pusha T

Pusha T returned this year to deliver a much delayed album with “Daytona.” The project is produced entirely by Kanye West who boasts minimalistic, but intricate production. Pusha T’s lyrical performance is at its peak as he explores his classic drug-related themes that come across as poetry. The short and cohesive album fully displays that this is the artist’s greatest solo work to date.

4. “CARE FOR ME” – Saba

Chicago jazz rap and neo-soul artist Saba manages to surpass the heartfelt, witty and thoughtful lyricism featured on his first project with “CARE FOR ME.” The album draws inspiration from the recent death of Saba’s cousin, Walter, and tackles themes like police brutality, depression,  loneliness, love and friendship. The beautiful and masterful production on this album serves as a great vehicle for Saba’s great flows, lyrics and story-telling.

3. “Golden Hour” – Kacey Musgraves

“Golden Hour” is a subtle, but deeply impressive album. Musgraves’ beautiful and sly lyrical wit is the shining star that leads the album forward. It’s expansive, yet focused and a great low-key album to put on and just breathe with.

2. “Swimming” – Mac Miller

On “Swimming,” Mac Miller let everyone know that sometimes only being okay is good enough. Miller’s fifth and final album was about recovering from heartbreak, trying to keep his head above the sea of life, and trying to stay positive in spite of it all. The album’s sound is full, and Miller’s self-awareness of his demons and struggles made you want him to just keep swimming.

1. “Black Panther The Album Music From And Inspired By” – Various Artists

For a movie with as much cultural significance as “Black Panther,” equally significant rapper Kendrick Lamar was a fitting choice to write, produce and curate a star studded track list of hip-hop and R&B songs with a wide breadth of African musical influence blended with modern trap influence. A master of his craft, Kendrick does not disappoint and helped “Black Panther” to hit the heights that it did critically and commercially.

The 1975 seem to evolve with each passing year, and their third full length project marks their latest understanding of the world. “A Brief Inquiry Into Online Relationships” is the first of two works to come from the Manchester-based band, with “Notes On A Conditional Form” set for release in May 2019.

The 1975 are more explicit with their criticisms of society and its absurdity than they have been, and this time they don’t hold anything back.

This confidence and composure that The 1975 have, predominantly coming from lead singer Matthew Healy, make them a force to be reckoned with. They couple sharp commentary and poignant warnings of how the world is heading in the wrong direction for its future.

Healy, who stays true to his open and completely honest self, writes not only about how the world is suffering, but also how he has personally struggled. Take the song “Give Yourself A Try” for example.

In the song, Healy discusses how he’s finally noticing that he’s getting older, and even finding “a grey hair in one of my zoots.” Flipping a metaphorical switch, he criticizes the news today with the following line: “Like context in a modern debate, I just took it out.”

When a fan of his (named Jane in the song) committed suicide, Healy was afraid to go outside. As Healy reflects on what he would tell his younger self, he continues to stay sarcastic yet truthful, creating a conversational feel to the song while he’s explaining how he became a drug addict and trapped by the materialistic world.

Several times before “Give Yourself A Try” was released as their lead single, The 1975 wrote about how going outside and just taking a chance for yourself can be enough to change your happiness. This plea to get away from technology is a chance to see how tied humanity is to our screens.

The song that reaches peak irony regarding technology is “The Man Who Married A Robot / Love Theme,” which is a spoken word track recited by Siri chronicling the story of a lonely man who falls in love with the internet. It speaks volumes about how much data and social media can take over someone’s life, and how materialism and isolationism are inherently intertwined. We seek constant validation and acceptance for ourselves, and can take the internet almost everywhere.

The most popular song so far — and arguably a modern version of “We Didn’t Start the Fire”— “Love It If We Made It” is The 1975’s call to arms for the world. It unpacks almost every section of our society, and the theme of the song is that “modernity has failed us.”

Healy and The 1975 talk about a multitude of things happening in America: the oppression and marketization of black people and their culture, mass media and falsification of fact, meme culture, youth drug addiction, the refugee crisis, the usage of technology for porn, Colin Kaepernick, Donald Trump’s open admittance of sexual assault, Kanye’s coin-flip personality and the the style of living in a post-modern society.

With each song comes an entirely different story, a different experience and a different sound. The 1975 self-produce their albums, and they have the freedom to toy around as much as they please.

Albeit an upbeat, club-like pop song, “TOOTIMETOOTIMETOOTIME” focuses on Healy’s and society’s struggle to maintain a monogamous relationship in the digital age, but also brings into question: “where’s the line between infidelity and normal social interaction?”

“Be My Mistake” and “Inside Your Mind” are two ballads that discuss relationships from a conflicted person’s perspective. “Be My Mistake” is about the guilt you feel about hooking up with someone when you have real feelings for someone else and knowing that there is no connection. That conclusion was reached too late, and only after a mistake. “Inside Your Mind” looks back on a past relationship, as the narrator wants to, in short, get inside his former lover’s mind to see what she was really thinking and feeling.

Tying into that theme is “Sincerity Is Scary,” which really speaks for itself. The opposite is true for “I Like America & America Likes Me,” where Healy expresses his fears of America’s gun laws and how it’s time to listen to the voices crying out for change.

The 1975 have bottled up everything about society in 2018 — especially encapsulating everything wrong — into a work of art. “A Brief Inquiry Into Online Relationships” should be listened to by just about everyone, and the messages that can be taken away should stay with the listener for a long time.

Steve McQueen might sound like a weird choice to direct a heist movie. The director of “12 Years a Slave” has a background as a visual artist as shown in his first three feature films. They’re all serious, sober movies about harsh topics like sex addiction and slavery. McQueen’s latest film “Widows” is a rousing success. The heist movie written with “Gone Girl” and “Sharp Objects” writer Gillian Flynn, was adapted from the 1983 British TV series of the same name; it is a tense, skillfully directed thriller that doesn’t skimp on big ideas. Following four women of various backgrounds, it stakes its claim as the most intersectional Hollywood movie of the year.

In the first of many excellent choices, McQueen cuts between the robbery gone wrong and the introduction of the widows: Veronica Rawlings (Viola Davis), whose husband Harry (Liam Neeson) is the ring leader; Linda Perelli (Michelle Rodriguez), a clothing store owner who finds herself on the verge of losing her store; and Alice Gunner (Elizabeth Debicki), an abused wife who is pushed into being an escort by her mother. Along with them, we are also introduced to the election between Jack Mulligan (Colin Farrell) — the son of a corrupt Chicago politician — and Jamal Manning (Brian Tyree Henry) — a gang leader branching into politics. The two threads combine when it turns out that Harry stole $2 million from Jamal, who wants it back. Veronica turns to Harry’s leftover plans, enlisting the other widows in her plan with the promise of changing their lives for the better, all while Manning’s enforcer brother Jatemme (Daniel Kaluuya), lurks behind them.

There’s a lot of plot in the film, but it never manages to feel overstuffed even with a two hour watch time. McQueen and Flynn skillfully navigate the numerous plot threads, spicing it up with the signature wit similar to “Gone Girl.” Davis is steely perfection as the leader of the group; she tells the widows repeatedly that after this heist, they will never see each other again. Sometimes, she acts downright cruel. She portrays the desperation and drive of a woman conscious of the dangers to her life, while McQueen suggests she’s fighting to keep the upper class lifestyle she now lives. Out of the three, Debicki has been getting lots of attention, and for good reason: she starts the film off as a wounded, timid girl before gathering strength and taking her life into her own hands. Not to mention, she has some of the funnier moments in the film. Rodriguez shouldn’t be ignored though; her performance is a wonderful turn from her past role in the “Fast and Furious” movies. She is grounded in realism and pushing back against Veronica.  The male cast members are no slouches either. Kaluuya seems to have a lot of fun in his role as the violent enforcer who also enjoys a podcast now and then.

Tying it all together is McQueen’s command of the camera. The opening sequence uses the jarring edits to create great effects, which is shown by throwing us from peaceful situations back into the robbery. Additionally, he makes the best shot of the year by juxtaposing background images with a limo traveling from a poorer neighborhood into more gentrified areas. McQueen never leans on his themes but instead allows them to come about naturally and organically throughout the film. The result is the rare blockbuster that’s as thrilling as it is thought-provoking, which is bolstered by the diverse talent in front of and behind the camera. “Widows” should not be missed.