Now that you’re all grown up and in college, your life is going to becoming a hectic, stressful, fun mess. Between parties you think you should be going to (you really shouldn’t unless you want to), 10-week terms, exams from week two to week nine and co-op stuff, it can all get a little overwhelming. One way to get away and let yourself relax if just for a little bit is to make an outing to one of the many movie theaters that Philadelphia has to offer. But movies are pricey, and when you add on popcorn, snacks and the rest of the accoutrements of a night out at the theater, it can add up. Here is a guide to most everything you need to know about the silver screen in Philadelphia.

First things first, where can you see movies? What kind of movies can you see there? Are there recliners? Is there food? Can I reserve a seat?

For the purpose of clarity, I’ll answer all these questions and break it up into a list:

University City Penn 6 — This Cinemark theater is the go-to for a lazy day or late-night plan. The theater is located on 40th and Walnut, just outside Penn’s campus, so it’s a quick walk for a usually wide variety of big box-office movies. In terms of discounts, if you expect to be going here a lot, it might be worth investing in the Cinemark Movie Club, which costs $8.99 a month. It provides one 2-D ticket per month, 20 percent off concessions and no online fees. It has discounted matinee and morning ticket prices as well, and every Tuesday is “Discount Day,” when tickets are $5.50 each. They also offer student discounts for students who bring their ID;s to the theater. No recliners but reserved seating.

AMC Broadstreet 7 / The PFS Theater at the Roxy / Prince Theater — These are the theaters scattered around Center City; if you’re planning a night at the Franklin Institute or El Vez, you can hop over to one of these theaters with ease and catch a bigger film. Each offers a unique experience though. The AMC is your classic big movie theater. It offers the AMC Stubs A-List program which costs $19.95 a month for three tickets a week, as well as the free AMC Stubs Insider program that gives you free refills on large popcorns and $5 Ticket Tuesdays. You can reserve and recline here. The PFS Roxy is the small independent Philadelphia Film Society that shows a mix of current films and does occasional screenings of older, classic titles. It also has BYO Nights every Wednesday. The Prince Theater, also a live entertainment venue, is a small theater that screens a mix of new and old films as well as a variety of special event screenings. There is a bar located in the lobby so you can kick back with a drink if you’re over 21. You can neither reserve nor recline at the PFS or Prince.

The Ritzs — Scattered throughout Old City are the three Landmark Ritz theaters: The Ritz East, The Ritz Bourse and the Ritz V. These are the go-to theaters for your indie movie needs. Each is slightly different but they offer a pretty uniform experience. These are some of my favorite theaters in the city because of the atmosphere of Old City and the intimate vibe of small theaters. Also, supporting smaller or independent movies is great! They offer a $7.75 ticket discount to students (with a valid ID) on Saturdays and holidays and offer e-ticketing with MoviePass, which I will get to soon.

UA Riverview Plaza Stadium 17 RPX & IMAX / Studio Movie Grill Upper Darby — Last but not least we have these two maverick bad boys. I grouped these together because they’re both hikes to get to. The UA Riverview plaza is a Regal theater on the east side of the city. It offers the classic big theater experience but it’s a pain to get to. The Market- Frankford Line doesn’t run close to it and taking Ubers can add up. It’s a nice theater despite offering neither reserved seating or recliners. Regal also has its Crown club rewards membership that can be used at this theater. The Studio Movie Grill is a pretty great theater as well, despite the distance. If you ride the El all the way to 69th Street it’s just a two-block walk to the theater. It screens your typical big movies. The big thing that sets it apart is the bar and food service it offers. It offers a variety of grill and bar food, as well as drinks, to accompany your movie-going experience. It can make for a fun night out. The prices can add up with the food, but there is a $8.75 ticket for matinee showings.

On top of all that, I have one more recommendation: MoviePass. If you don’t already know, MoviePass is a card you can buy with a $9.95 monthly subscription that allows you to see three movies a month, with each additional ticket being discounted $5. It used to be a movie a day, every day, but the company was bleeding money so it was forced to switch up the business model. That said, three movies a month and the following discount still make it a deal worth getting in on, especially as a broke college student. All of the theaters listed above accept MoviePass and the Ritzs, as well as the Studio Movie Grill, offer e-ticketing so you can order your ticket before you arrive at the theater.

I hope this helps you on your journey to watch all the movies you possibly can by spending as little money as you possibly can. Enjoy the popcorn!

Matt Groening, famed creator of “The Simpsons” and “Futurama,” is back with his new animated Netflix show “Disenchantment.” The first 10 episodes were released Aug. 17 to much anticipation from fans of Groening’s previous work and it is safe to say, he has created something special once again.

The show follows Bean (Abbi Jacobson), the princess of Dreamland, as she stumbles her way through a coming-of-age story full of commentary and plays on classic fantasy and Disney tropes. She maneuvers her way through adventures, near and far, with the help of her trusty companions, Elfo (Nat Faxon), an elf who has left his jolly homeland to seek danger and see the world, and Luci (Eric Andre), a cat-like demon who was sent to Bean by some mysterious figures. Over the course of the first batch of episodes, Bean is struggling to come to terms with herself and her abilities to be a leader, while clashing with her father, King Zog (John DiMaggio) and mourning the loss of her mother. Though there are some familiar voice actor cameos like that of Billy West as Sorcerio and John DiMaggio as King Zog that harken back to “Futurama,” there’s a plethora of differences between the shows.

From the outset it’s obvious this show takes more from the “Futurama” book than it does from “The Simpsons.” In the same way that “Futurama” tried to lampoon and satire many science-fiction tropes, this show attempts to do the same with the fantasy genre. The way jokes are written is focused on deconstructing these stereotypes, whereas “The Simpsons” serves as a more broad, open-ended commentary on family sitcoms and pop culture. “Disenchantment” is centrally focused on this one theme,both to its benefit and detriment.

Having such an interesting setting for an animated sitcom is both refreshing and compelling as a viewer. The highest praise I can give this show is about its tone and art style. Some of the backgrounds and art in this series are surprisingly intricate and beautiful. There is frequent use of three-dimensional models for wide, spinning shots that could easily take the viewer out of the experience but the art style is perfectly suited for this. The slightly cell-shaded style of many of the background art and models helps them feel two-dimensional when they obviously aren’t. There is also something inherently funny about seeing the plain, simple art style of the characters juxtaposed with these intricate, ornate settings.

But this is a Matt Groening show and there’s no doubt the number one question surrounding this project is, “Is it funny?” I’m pleased to report that it is. Though it’s nowhere near the heights of “Futurama” or “The Simpsons” yet, the potential is present for it to get there. The humor ranges from deep cut jokes about genre tropes and medieval hierarchy to more simple, but equally funny jokes like all of the elves being named after what they do. For example, one of the only elves to leave the realm before was Leavo and none have ever returned, not even Returno. While these are obviously silly throw away gags, the delivery and performances of this kind of silly humor really help “Disenchantment” land on its feet.

The writing is pretty consistent in quality, but there’s a bit of a slog in the first couple of episodes, but at 20-odd minutes, it’s not too much of an investment to get to the good stuff. The series is also much more serialized than any of Groening’s previous work. In “Disenchantment,” each episode has elements that make it its own adventure, but there is a very obvious and direct through line across episodes. Episodes end on cliffhangers and character relationships undergo significant changes in this first part alone. It’s nice to see this kind of short-term growth explored in Groening’s style and universe.

My one gripe about the show is that some of the sound design is a bit off. Certain sound effects sound too quiet or don’t quite make the impact that they should. I’m not sure if this is a problem on the recording or mixing end but it’s something minor that can hopefully be improved upon in the second part.

“Disenchantment” is a quick watch, and one that I can’t recommend enough to fans of Groening’s work, as well as fans of both fantasy and comedy in general.

Echosmith is an indie pop trio of siblings, headed by vocalist Sydney Sierota. She’s accompanied by her two brothers, Graham and Noah, who play drums and bass respectively. Noah also provides back-up vocals on many of the bands tracks. As the band revs up for their next album, “Inside a Dream,” The Triangle had the opportunity to speak with Echosmith’s Noah Sierota prior to their Camden show on their summer tour with Pentatonix.

The Triangle: What part of the tour are you on right now?

Noah Sierota: We have a day off in Atlanta, Georgia. We’re headed to Charlotte, North Carolina, tomorrow.

TT:  How’s the tour been going so far?

NS: Tour’s been great! We’re about a third of the way through it, and it’s been awesome. The shows have been pretty massive, the crowd’s been awesome. It’s been wild. It’s fun to open up for a band that’s an a capella group. The fans that come to these shows are just so attentive you know, you often have kids that grew up in choir, kids that enjoy music, so it’s like 12 thousand people that are just completely paying attention. All eyes on you — like it’s something you hardly get in a setting this big, so, I don’t know, we’re really grateful for it.

TT: I was going to say it’s a complete 180 from when you guys were on Warped Tour a few years ago.

NS: Oh yes it is. Way different.

TT: What cities on the tour are you most excited to play?

NS: Great question! I really enjoy the Carolinas. I think it’s just so beautiful there, the greenery is really awesome, and you get that sort of southern feel from it. We’re from Los Angeles, so we don’t get much of that back home, so I’m excited for that. We’re hitting up Virginia Beach as well, and we have a friend that lives there. That’s kind of what’s fun about touring is that often, especially when you live in a place like LA, people move in and then they move out of the state often. So we have lots and lots of friends that live all around the country and sometimes around the world, and you get to catch up with people you probably wouldn’t see otherwise.

TT: Out of all of your songs, are you playing mostly new stuff that we haven’t heard, stuff from “Talking Dreams,” or the EP?

NS: Most of our songs in the set, because we’re an opener we can only play about 30ish minutes, most of our songs are from our EP that came out last year. Actually, I think it’s about evenly split. We’re playing three songs from “Talking Dreams,” three songs from the EP and “Over My Head” which is from the EP but it came out as a single.

TT: How do you pick which songs you play when you’re on the road?

NS: Too many conversations. It takes a lot of time because we obviously all have favorites, we all have ones that the crowd will react to in a certain way, and when we play a show, we always try to think of the big picture and create kind of a narrative through the experience for people to follow with us, and that’s hard. Often you’ll have songs you love to play, but maybe it doesn’t fit in this style. For example, there’s a song called “Goodbye” that we have, it’s actually one of our most listened to new songs, but it’s hard to find a place for it in a set that’s 30 minutes. Things like that happen and, mostly that one because I love playing that one, but that’s kind of what happens. It happens to all of us every tour.

TT: Collectively, what is your favorite song to play live?

NS: I think we all really enjoy playing the song “Get into My Car” off of our EP that came out last year. It’s emotional, fun to play, and I kind of get to switch between synthesizer stuff and playing the electric bass, and it’s just a fun song we all really enjoy. We love mid-tempo, upbeat kinds of songs. It’s a good fit for us. It’s not too upbeat, but it’s not too slow either. It’s just, in that space.

TT Currently, are you working on new music? Or just hitting the road and seeing what comes from it?

NS: Both. Literally, before we called you, I was working on some new stuff. Sydney and I have been working a lot on different ideas, kind of trying to pump as much creativity as we can. This tour is a great space for it, because we aren’t headlining, so we have a lot more time than we usually do, so we’re getting that kind of space to work and create and have those outputs to get something new out.

TT: What has been the overall reaction from the fans to your new music? I know the EP came out about a year ago.

NS: You know, music sometimes takes awhile for people to hear it. It’s been fun because every day, there’s people discovering us for the first time, or people being like “oh wait this is the band that did ‘Cool Kids,’” so we kind of get both those quite a bit. It’s really fun to see. I think it’s most fun to see in the live setting because then you get to fully experience with your eyes what people like, what maybe they’re not as into, what translates better in a live setting versus what has more Spotify listens, things like that. It’s a fun thing to study.   

TT: Considering you are all siblings, how does the writing process work? Is there a lot of sibling bickering back and forth?

NS: I think it’s not as much of that, surprisingly. It’s more of just very loose and casual. Twenty minutes ago probably, Sydney you know, she’s at Starbucks right now and she was texting me these lyrics saying “you know, I was trying to write an Instagram caption, but I think this could be a good song lyric so I won’t post it on Instagram but I’ll text it to you!” So I’ve been trying to figure out some ideas with that. It’s often kind of casual, which I like. That’s the thing about family, you just bring up ideas and talk, throw out random ideas and just let things flow naturally.

TT: Do you all try to contribute lyrics and music, or does one person do lyrics while one does the melody? How does that whole process work as a family?

NS: It really depends on the song and the setting. I think those two factors kind of determine what we’re all doing. At times, I can be doing more of the lyrics, while at other times Sydney can or Graham. He doesn’t do as many lyrics but he comes up with a lot of great melodies and arrangements and things like that. It just depends on the day. Most of the time, and what I think we’ve been growing more into, because we are so young, has mostly been that Sydney works a lot on the lyrics because she’s the one singing them, then we’ll work on the melodies and then we’ll kind of make sure all of the arrangements sound right together.

TT: With this tour, what does a normal day look like for the three of you?

NS: Most days, Sydney and I are up early, not Graham — Graham for some reason sleeps like 12 hours a day when we’re on tour. We’ll get up and work out, get coffee and breakfast because of catering. Then we’ll try working on some music, just hanging out, then head down, do a meet and greet and do the show. We fill the day up well.

TT: To wrap things up, if you guys could tour with anyone, who would it be?

NS: I think it’d be fun to do something with a DJ. It’s not something that often happens for bands and DJs to do full tours, but I love the environments they create. You know, someone like Zedd or Whethan, someone like that would be fun. Those environments are all about having fun, enjoying the music. There’s just something about those environments that are so simple and joyful about that type of spirit.

Satire isn’t easy. As Malcolm Gladwell discusses on “The Satire Paradox,” an episode of his podcast, “The Revisionist History,” some satirists like Stephen Colbert have mastered the craft of combining satire and comedy in an effective way, but even he is not perfect. Despite Colbert’s persona on his Comedy Central show “The Colbert Report” being a caricature of conservative news pundits, many conservatives still found Colbert’s ironic lambasting of the left funny in a one-dimensional way. Though the jokes were being made in a satirical way, they still found the jokes in and of themselves funny. Though this helped contribute to what made Colbert a master of comedy, when satire is misused, the point being made can be ineffective and the satire can end up falling into the trap of furthering the ideas it was created to rebuke.

Enter “Insatiable,” the new Netflix comedy-drama from Lauren Gussis, starring Debby Ryan as Patty “Fatty Patty” Bladell. Patty is an overweight teenager who goes through hell as a result of her weight. She gets rejected by her lifelong crush, antagonized as she walks down the hallway and humiliated at every turn. Her life proceeds this way until one night a homeless man makes fun of her weight and she punches him in the face, he punches her back and breaks her jaw, meaning she can’t eat for three months and as a result loses 70 pounds and returns to school with the intent of exacting revenge upon all of those who have wronged her.

If this sounds like a premise that’s rife with controversy, that’s because it is. I went into the show aware of its premise and optimistic that it would be a deeper story about the issues it seemed like it would superficially address in the trailer. The result? It is deeper… kind of.

The show has a long, complicated and constantly changing narrative. After losing the weight Patty and her best friend, Nonnie Thompson (Kimmy Shields), begin to drift apart, Patty almost goes on a murderous rampage and she meets Bob Armstrong (Dallas Roberts), who becomes her lawyer and beauty pageant coach (yes, she starts doing pageants). Bob Armstrong and his wife, Coralee (Alyssa Milano), are rivals with Bob (Christopher Gorham) and Etta Mae Barnard (Carly Hughes) whose daughter Magnolia (Erinn Westbrook) also does pageants. Then of course there is Magnolia’s boyfriend Brick (Michael Provost) who is Bob and Coralee’s son, who is also cheating on Magnolia with Regina Sinclair (Arden Myrin), whose adoptive daughter Dixie (Irene Choi) is also a pageant competitor. On top of all that, Regina has falsely accused Bob Armstrong of being a sex offender and he keeps finding himself in compromising situations with underage women. Sprinkle in a mix of fat jokes, food jokes, demon possessions, unborn twins, drunken murders, three coming-out stories, bi-phobia, a diverse cast, multiple other LGBTQ characters, psychotic breaks, eating disorders and a throuple, and you just about have an idea of what the show is about.

That’s a lot to process. At the heart of it all is a message about body positivity and self-love struggling to fight its way to the surface. In some ways the show tackles some of its heavy subject matter in accessible and relatable ways through humor. The exploration of the difficulties of discovering and exploring one’s sexuality and the initial doubt and self-hatred that can come as a result of someone’s situation is depicted very well. However, in order to achieve that, the show has to depict the unwillingness of characters to accept who they really are. In the process, they say things that may offend some, but the hope is that others will see this and learn that going through this process is normal and okay, and that things can possibly get better.

Then there’s the main topic the show tries to handle, Patty’s weight change and what it means. I think it would be wrong to say at any point that this show supports body-shaming. There is a clear throughline that losing weight did not make Patty happy. She finds very little value in the fact that she looks thinner. This bubbles up in a few surprisingly touching and emotional moments where Patty’s friends, and later herself, explicitly state that their bodies don’t define what makes them beautiful and that Patty was loved and beautiful before she lost weight. These moments resonated with me and hit me as some of the best in the show’s long 12-hour first season. But there are also frequent examples of the show portraying rather uncomfortable scenes of Patty enduring insults and ridicule at the expense of her weight, including a particularly haunting end to an episode where Patty sits in silence and eats a cake with her bare hands. The credits roll in without any music, just the disturbing sounds of someone eating as much as they can. But these moments are rarely used to make the audience laugh. The audience is supposed to be uncomfortable and outraged, and sympathize with Patty.

Is the depiction of these things inherently providing fuel for someone who makes fun of fat people to indulge themselves and laugh, like Colbert with his conservative audience? Potentially. Does that nullify the good things the show tries to do and say? I don’t know. It comes down to the individual experience and what the viewer takes away. As someone who has struggled with my weight and been targeted for it throughout my life, this show resonated with me and by the end made me feel like I was affirmed and allowed to love myself. That may not be everyone’s experience, however.

The show can often get too caught up in its own fast-paced drama to effectively communicate these points and it’s a shame. Overall I would recommend it, it’s a fun but heavy show, and its messages and rhetoric are worth discussing in our  culture.