The race for American presidential elections has moved from newspaper columns to Twitter trends and TikTok reels in 2024. During this presidential election, it is evident that both candidates, Vice President Kamala Harris and former President Donald Trump, have taken to social media platforms to promote their campaigns.

This summer, as pressure mounted for Harris to replace President Joe Biden as the Democratic nominee, Harris supporters flocked to social media to make videos promoting her, not through statements on her policies, but rather via trends and memes.

As soon as Harris announced her candidacy in July, the responses were mixed; while many were still digesting the Democratic party’s sudden turn, others were wary of this shift. However, Harris quickly caught Gen Z’s attention when her campaign rebranded Biden’s former X (formerly Twitter) profile with a bold neon-green “kamala hq” banner. This rebranding took off after British pop singer Charlie XCX endorsed her with a bold tweet on Jul. 21, 2024, declaring “kamala IS brat.” The “BRAT” album, released in June, represents a summer of rebellion, partying and edgy-fun. This endorsement alone pulled nearly nine million views in just a few hours, positioning Harris as a fresh and relatable candidate for young voters.

Building on this momentum, earlier this year, the Harris campaign shared another TikTok featuring pop artist Chappell Roan’s song “Femininomenon.” The TikTok included pictures of Harris next to former President Trump to argue that “what we really need is a femininomenon,” emphasizing a need for change and suggesting that a woman’s perspective is essential for the future. After announcing Tim Walz as Harris’s Vice President candidate, the Harris-Walz campaign also launched camo hats that mimicked Chappell Roan’s “Midwest Princess” tour merch.

Another viral moment emerged when an old quote from Harris’s speech in 2023 resurfaced. During her speech, Harris shared lighthearted but pointed advice from her late mother, who used to say “I don’t know what’s wrong with you young people. You think you just fell out of a coconut tree?,” reminding people that no one exists in isolation from their history and community. Following this, social media creators quickly transformed this quote into a series of memes, audio snippets and song mixes. 

Additionally, Harris has been actively going live on media platforms such as Instagram and YouTube during her rallies, making her campaign more accessible and transparent to voters online.

While X was flooded with references to coconut trees, Trump was performing his own social media promotion tactics. The former president’s account was reinstated on X by entrepreneur Elon Musk following his purchase of the platform. Trump had previously been banned in 2021 in response to tweets he made related to the attempted insurrection on Jan. 6, 2021.  His first post after the account’s restoration was in Aug. 2023 – an image of his mugshot taken following his arrest in Georgia on election racketeering charges. 

With campaign efforts escalating in the months leading up to Nov. 5, Trump has doubled down on his partnership with Musk. The pair have appeared at rallies together, particularly in battleground states like Pennsylvania. Musk has frequently signalled his support for Trump to his 202.6 million followers on X. Most recently, Musk announced on Oct. 20 that he would be running a sweepstakes, offering $1 million daily to registered Pennsylvania voters who sign his petition promoting free speech and access to gun ownership. The sweepstakes is currently being sued by Philadelphia District Attorney Larry Krasner, who considers it unlawful.

In addition to X, Trump has been heavily advertising on Snapchat, another social media platform popular with Gen Z and youth voters. He has also appeared on podcasts popular with conservative youth, such as the “Joe Rogan Experience.” His recent campaign tactics have also leaned towards viral moments, like the Oct. 20 stunt where he acted as a McDonald’s employee. Videos from the event, which was in response to Harris’s statement that she had worked at McDonald’s, went viral on a variety of social media platforms, including TikTok, Instagram and X.

While Trump has participated in his fair share of social media campaigning, much of these efforts have been in the past several months, following Harris’s nomination and initial virality. The race has narrowed significantly since Biden’s announcement that he would not be pursuing reelection. It is easy to assume that Trump’s social media appeals are driven by a desire to sway young voters away from Harris. 

On Oct. 5, Drexel University hosted its anticipated annual concert, Dragonfly, known for hosting big-name artists. This year’s show packed the DAC with fans eager to see iconic headliner Tinashe and opener Slayyyter. For those who arrived on time, the night kicked off with a high-energy DJ set from Kari, a Music Industry student who opened the show. After the performance, I had the chance to sit down with Kari to get a look behind the scenes and learn more about the rising star himself.

Veronica Pagliaro: Congrats on your performance as the student opener for Dragonfly this year! Your set got the whole crowd moving, and now the people want to know, who is Kari?

Kari: My name is Colin Keenan, Kari is my DJ/production project. I’m 20, and I’m from Madison, Wisconsin. I’ve had a passion for music since I was a kid, watching DJ videos on YouTube from my dad’s iPod, and trying to figure out GarageBand on the family computer. I’ve been more seriously producing and DJing for over six years now and decided to pursue music as not only a passion but a career, so I ended up coming to Drexel for the Music Industry program. So, here I am!

VP: What was the process like for being selected as Dragonfly’s opener? What did being selected mean to you?

K: Dragonfly put on their social media that they were looking for student artists, so I decided to take a chance. I sent them a bunch of my music, and they selected me for an interview. I interviewed alongside a bunch of my really talented friends, so I didn’t really know what to expect, but that just made it all the more meaningful that they chose me. I guess they thought I fit with the headliners, Tinashe and Slayyyter, who are great artists, so [that] meant a lot. Having a setup like [Dragonfly] is really special. Professionally, it gave me a chance to get a lot of new ears on my music. I played a lot of my own stuff, and people responded positively, so it’s just good to know that people like what I’m doing.

VP: Dragonfly is one of the biggest Drexel entertainment events every year. Give us the scoop: what was the behind-the-scenes like?

K: Behind the scenes was so fun. The crew gets there really early [in the morning] to start the process. I got there in the afternoon and brought all of my DJ equipment. I had my own green room which was awesome. The whole Dragonfly team was so kind and helpful. I got to watch both of the headliners’ soundchecks, which was so cool. And then I did my soundcheck and talked to the light and sound crew. My soundcheck was when things got nerve-wracking, because I was finally up on the stage and seeing how the real thing was going to feel. After that, it was just a lot of waiting, eating food in the green room and putting some final touches on my set. Then it was just go-time! As an artist, the work happens in the weeks leading up to the show, but the crew is really putting in the work the day of, which I’m so appreciative of.

VP: Your opening performance really set the mood for the headliners. What was the process like to curate a set that aligned with the vibe of the show?

K: I honestly wasn’t told who the other artists were going to be until a few weeks before the show, so I had already started making my set a month or two before I knew the vibe. So I was just being myself and hoping that it would all come together, and it did. It was really up to the Dragonfly crew; they knew the vibe that they wanted, and they did a great job choosing the lineup accordingly.

VP: How did you prepare for this, or any, live performance?

K: I’ve done a lot of DJ performances, and they never go how you’re expecting them to. I always plan my sets, but have to keep in mind that reading the crowd and seeing what people are responding to can’t be predicted. Like, you might have to make a fast transition to get people amped up again. So, I always have a backup plan, extra songs and am prepared for anything. It’s a lot of work mentally, but it’s worth it. I think Dragonfly went the best it could’ve gone. It was probably one of my best sets yet, and I think it’s because I spent so much time preparing.

VP: Your set was so energetic and engaging. How do you incorporate your audience into your music choices or performances?

K: I try to put my own twist on songs that people already know, like old 2000’s pop songs flipped into the modern underground electronic scene. I want people to be able to sing along and dance while also enjoying a different style of music. Some pop songs just don’t hit the same after a while, so it’s my job to amp them up and make them more energetic. The key is to choose music that people know so that they’re engaged, but make it new so that they’re still entertained by it.

VP: Your music is so unique and versatile. What genre would you characterize yourself in?

K: Music is hard to label, and I try not to confine myself to one genre. The genre that I played on Dragonfly night is like a subgenre of hyper pop called hyperflip or dariacore. It’s where people put a million pop songs into one and just go crazy with the production. That’s what I’ve been playing a lot in my recent sets, because it includes the audience by giving them a new spin on familiar tracks. But I produce so many different genres aside from that in separate projects. Like, I have a band called Sub Mold which is grunge. I’ve produced rap beats, dubstep, hyperpop. I’ve gone through so many phases and just keep expanding.

VP: What’s a typical day like for you, balancing your studies with your music career, as a student-artist?

K: Balancing music and school can be difficult, but it’s rewarding. I go to school for Music Industry, so sometimes making music can feel like a job instead of a passion — music and homework can be synonymous. Both parts of my life are very intertwined, but I try to separate them as best as possible in order to keep my passion projects alive and separate from things that feel like work. What works for me is creating a schedule for myself, like I usually do schoolwork on weekends and personal projects on weekdays.

VP: How do you see your future as a musician?

K: I hope to just keep on doing what I’m doing and get more ears on all the areas of music that I’m working in -– the electronic scene, the rap scene, the grunge scene. I just want to continue to meet and connect with people through my music, and I want to make listeners happy.

VP: Where can we continue to follow your music journey?K: You can find me @kariofficial__ on Instagram, and I post mostly all of my music on soundcloud.com/karimusicc. I’m Kari on Spotify and have new music coming out on there soon. As far as upcoming events, my DJ collective, Helix, is always throwing events in University City. For that information, @helixhelixhelixhelixhelix on Instagram.

As the clock ticks for upcoming spring/summer co-op folks, the dreaded interview phase for A Round sits right around the corner in early November. After recently navigating my own interviews for my current co-op cycle, I am all too familiar with the bundle of nerves and self-doubt that creeps in seconds before the questioning begins. That is why I have compiled a few answers for prospective interviewees for when their turn arrives, so sit up straight, take a deep breath and get ready to put on your best suits.

Right off the bat, what do employers really look for?

It is easy to answer this with what comes to mind first: grades and long activity lists. But the simple answer is not the right answer here. Employers have already tallied GPAs and extracurriculars and chosen to interview you, so what they are really honing in on after is how appealing your skills and demeanor are to the workplace. 

Colin McCarty, a biomedical research assistant at the Lankenau Institute for Medical Research who is experienced in conducting Drexel co-op interviews, describes that a standard resume with “good” grades and activities is only a small part of the process: “Every student has that, so it doesn’t do much because when you look at the whole picture, everyone is kind of the same, so what really stands out is how personable and ready you are to be engaged and ask questions and give honest answers in an interview.” In a sea of candidates with the same major and experiences as you, there can be no shame in being a personality hire, so absolutely take advantage of those soft skills.

How many questions is too many questions?

Walking the fine line between appearing informed and seeming downright unprepared often comes down to this. Personally, a solid range I used was 2-4 questions; any more than that is more likely to appear overly rehearsed or unsure of yourself. Since a large portion of most interviews is the job description, it is best to come in informed by doing some extra digging but also to rely on any questions you might be curious about on the spot. While employers definitely appreciate preparation, the latter is far better in emphasizing engagement and interest, so why not have the best of both worlds?

According to McCarty, asking good questions is also like a tug of war where, instead of just the interviewer grilling you, you now have some of the rope and power and can keep them on their toes as well.

Can you overplay confidence?

Everyone has heard the familiar mantra of being confident if nothing else during interviews, but with too much confidence comes the risk of appearing conceited, and this is the one mistake to be wary of because it can make or break an interview. 

McCarty reflects that people sometimes go in trying to overdo their confidence: “You should go in confident, but sometimes it translates to being pretentious. Do not scoff at something your interviewer says if you already know it because the interview may be tailored to a student who does not, or do not act like you are being put out for getting a couple of minutes of an explanation.”

Even during less interactive moments such as while touring the workplace during in-person interviews, being inquisitive can only bring you up. Otherwise, it can easily be seen as stand-offish if you just stand around and are not displaying eagerness.

And what if an interview doesn’t go well?

It is expected that some jobs will not be as suitable for some of their applicants as for others, which is something that cannot be surmised from a piece of paper alone. You may have to sit through an interview that does not go quite as planned, but that does not necessarily mean that it was a bad interview on your part or the interviewer’s. Rather, it means that it takes time to find a strong match, so if you are not the top choice, remember that that is entirely normal and to not dwell on it.

Every year during the fall season, the city of Philadelphia transforms into a colorful playground for boundless creativity and a mobile showroom of local talent thanks to the DesignPhiladelphia Festival. For Drexel University students, this was a perfect opportunity to be inspired beyond the classroom and network in spaces that lift the pictures and words off your textbooks. This year marked its 20th anniversary, so naturally, expectations were high for an extra-special celebration that would showcase the vast scope of Philadelphia’s art, architecture and design scene. The festival kicked off on Oct. 1 at Cherry Street Pier, where — for the first time — admission was free, making it easy for anyone to participate. Ending Oct. 13, the festival has truly been one to remember, pulling together the most curious minds, designers, architects and art enthusiasts alike.

One of the highlights was the decision to make Philadelphia’s iconic Cherry Street Pier one of its main venues. Located at 121 N Christopher Columbus Blvd., this waterfront venue served as a stunning backdrop for the event and continues to be a living, breathing canvas for some of the city’s top creative minds. In this space, festivalgoers could walk through several immersive installations and do activities that cross between both traditional and modern outlooks in the world of design.

Despite the varied design perspectives, styles and disciplines on display, one of the most prominent themes this year was inclusivity. The festival was commended for providing a platform for a diverse range of artists. For example, installations from local universities such as Thomas Jefferson University and Temple University’s Tyler School of Art were featured, encouraging young talent to shine. Along the same theme, another standout event was the ‘Design is Inclusive Exhibit’ which took place on Oct. 13 at the Center for DesignPhiladelphia at 1218 Arch St. This exhibit aimed to amplify the work of local streetwear designers regardless of race, ethnicity, culture or adversities they may face. Overall, the beauty of this festival was in its inclusiveness — whether you are a professional designer or just someone who enjoys eye-catching aesthetics, there was something for everyone.

 One of the defining elements of DesignPhiladelphia is its dedication to interactivity. From multiple hands-on workshops, virtual reality experiences, immersive installations and the dissolved barrier between the designer and their audience, the festival has never been something to passively observe, but something to experience. A prime example of this is ‘Design Thinking Unplugged,’ a free event hosted by the architecture and interior design firm Ewing Cole at Haworth in Center City. The interactive, workshop-style event encouraged participants to co-create a dentist’s waiting room with features that could satisfy working moms with antsy toddlers, individuals sensitive to light or people coming in with special needs — reinforcing the idea that “design should empower, not hinder,” says Cole.

Another festival highlight that cannot go without mention was the “Have a Seat” exhibition by MillerKnoll — a playful yet inspiring tribute to iconic chair designs that took place on Tuesday evening Oct. 15. This was not your typical “look-but-don’t-touch” gallery. It was fully interactive. Those who attended were encouraged to sit on design classics, pose for pictures and experience firsthand how art and function show themselves in everyday objects. Each piece was not just a chair but a story and slice of design history, and guests had a fun time snapping and documenting the experience, making for the best Instagram-worthy photos.

As the festival drew to a close, it left behind a city buzzing with inspiration and was a great opportunity for Drexel students to use the city of Philadelphia as a resource for learning and networking. The festival was an opportunity to see the real-world application of their formal education and to spark a fresh perspective. By connecting with the local design community, Drexel students can feel motivated to contribute to the city’s vibrant creative landscape, network beyond the screens of their LinkedIn, and picture themselves in a world where they thrive post-graduation. From the Ben Franklin Parkway to Fishtown, this festival reminded everyone that design is more than what we see in galleries and museums but breathes through the very fabric of our streets, furniture and daily lives.

After a summer full of anticipation, musical artist Post Malone released his new album “F-1 Trillion” on Aug. 16. Post Malone got his start in 2016 as a rapper, but later took a chance on pop music as well. Then, he shocked the world by announcing his country album, “F-1 Trillion.” The album was a smash-hit and topped the charts in the United States, Canada and the United Kingdom. 

A few weeks after the album was released, he kicked off his North American tour, which, just like the album, was a success. Venues filled up in states all across America, and Post Malone even played two shows within two hours of Philadelphia, one in Scranton and the other in Hershey. The crowds were electric. With a combination of his older rap music style paired with his newfound country twang, Post Malone did a great job of keeping fans entertained for a two-hour show. Even though the album was only about a month old when Post Malone came to Pennsylvania, the crowd confidently knew all the songs and sang along with the singer. 

While Post Malone displayed his fantastic showmanship, he also revealed what a kind heart he has. When a fan was unwell in the crowd at his show in Bangor, Maine, he stopped the concert and would not resume until security assisted. When a local school teacher who was sitting in the front row said she loved the song “Stay,” Post Malone helped her climb up on stage to sing a verse together. He also continuously expressed his love for his fans and his gratitude that people not only like to listen to his music but care enough to come see him in person. 

Post Malone and his band were noticeably having a wonderful time performing. After he introduced his band to the crowd, they went on to dance around to songs like “Congratulations” and “I Had Some Help.” When it was time for more somber songs like “Two Hearts” and “Yours,” the group conveyed raw emotion that was sure to bring tears to every eye in the crowd. One of the best parts of the evening was when Post Malone expressed to his fans that they have value and can do anything they set their minds to. 

Post Malone and his tour provided a wonderful example of how live music is supposed to bring people together.  Malone’s songs make his audience relate to every lyric as the singer truly means the words he is belting. Overall, Post Malone did a great job of letting his audience feel their feelings while also making each and every person in the crowd feel seen. While Post Malone’s Pennsylvanian portion of the tour is over, there are many music venues across the Philadelphia area that can give a chance for music lovers to enjoy being in a community who share the same passion.

The Triangle covered the advance screening of Amazon MGM Studios’ “My Old Ass” on Wednesday, Sept. 18, at the Regal UA in King of Prussia. Written and directed by Megan Park, the film was produced by Tom Ackerley, Joey McNamara, Stephen Rales and Margot Robbie and distributed by Amazon MGM Studios.

“My Old Ass” presents itself as a classic coming-of-age film, opening with the free-spirited Elliot (Maisy Stella) on her 18th birthday. With her quirky best friends (Kerrice Brooks and Maddie Ziegler), she takes a picturesque boat ride to a remote island, where they plan to take mushrooms. Meanwhile, Elliot ignores calls from her mother, who is at home with her father and two brothers, waiting with a lit birthday cake for Elliot’s arrival at her own birthday dinner. Due to the mushroom trip, Elliot does not go home that night.

Early on, it becomes clear that Elliot has much to learn about balancing friendships, romantic relationships and family life. Instead of growing up through typical mistakes and parental guidance, the perspective that ultimately changes her comes from a surprising source: herself. More specifically, a version of herself.

The film’s unique twist is the introduction of Old Elliot (Aubrey Plaza). While tripping on mushrooms, Elliot encounters her 39-year-old self, who appears on the island. Initially, Elliot is put off by this stranger claiming to be her older self. However, Old Elliot reveals personal details only Elliot would know, and a conversation ensues.

Elliot has many questions for her older self: “Am I in love? Am I married? Do I have kids? Do I love my life?” Old Elliot hesitates to answer, wary of influencing her younger self’s fate. However, she does provide one oddly specific warning: avoid all people named Chad.

After her birthday night, Elliot dismisses the encounter as a hallucination. When she meets Chad while swimming in the lake near her father’s cranberry bog, she remembers Old Elliot’s warning and panics, leaving Chad behind. She checks her phone and discovers a new contact labeled “My Old Ass.” Curious, she calls the number and is shocked when Old Elliot answers, equally surprised by the concept of phone communication across time.

Now in regular contact, Old Elliot urges Elliot to appreciate her life, including her parents, brothers and the family cranberry farm. This leads to touching moments, particularly between Elliot and her brother Max (Seth Isaac Johnson), as they build a deeper sibling bond through a series of trips to a golf course. The film also shows how Elliot’s connection with her mother (Maria Dizzia) develops poignantly, leaving the audience relating to the realities of growing up and exploring the ever-contentious yet beautiful relationship between teenage girls and their mothers. 

As Elliot heeds Old Elliot’s advice, she remains puzzled about the warning regarding Chad, especially as she learns that he is working on her father’s farm. Her frustration grows when Old Elliot suddenly becomes unreachable. Upon her return, Old Elliot is upset with Elliot for ignoring her advice. In a heated exchange, she finally reveals a life-altering piece of information that clarifies her earlier seemingly strange requests.

Throughout the film, both versions of Elliot grapple with the uncertainties of their age while trying to understand each other’s perspective. “My Old Ass” makes the viewer question the realities and challenges of growing up, but also makes them appreciate the journey. As Elliot and Old Elliot both learn to balance thoughtful decision-making with occasional leaps of faith, the viewer is asked to question their own experiences. An audience that likely anticipated a light, predictable film will be pleasantly surprised to leave the theater in tears. The film, led by Aubrey Plaza’s strong performance, is an emotionally impactful and refreshing take on the classic coming-of-age film.

Indie band Good Neighbours hit the stage at The Foundry at The Fillmore on a cool Friday evening, putting on a memorable performance. The intimate venue, with its warm lighting and cozy atmosphere, was the perfect location for the band on Sept. 6, accommodating up to 450 people.

Good Neighbours take much of their inspiration for their style of music from the 2000s American indietronica band Passion Pit, of which Drexel University Assistant Professor Jeff Apruzzese was a bassist for eight years. The band also mimics and draws creativity from rock band MGMT’s euphoric and hallucinogenic style of music.

The size of the crowd grew the closer it got to the headliner hitting the stage. They kicked off their set with “Keep It Up,” immediately catching the attention of the audience. Somehow the lyrics find a way to relate themselves to anyone, no matter the city they live in or the city that they love. Each song flowed seamlessly into the next. The rhythmic beat and lively instrumentation had everyone swaying, establishing an atmosphere of unity and joy. 

Good Neighbours’ stage presence was extremely captivating as they radiated pure joy and energy into their music. The camaraderie among band members was evident as they stepped back towards their drummer to exchange a laugh or grin, putting smiles on everyone’s faces because it truly transformed the concert into a shared experience rather than just a simple performance.

A banner featuring the logo of their single “Home” hung prominently on the keyboard, while their band name was projected behind them. Similar posters of the little home with a subtle face were also spotted earlier in the summer in New York City and Philadelphia. Scott Verill and Oli Fox, two independent vocalists came together for their first hit single “Home,” released on Jan. 17, which quickly became adored over TikTok after they teased the song for months. “Home,” in particular, encapsulates feelings of nostalgia, invoking a feeling of homesickness. 

The opener, Ber, also contributed significantly to the night’s energy. Their unique blend of indie pop and electronic elements set the stage for Good Neighbours, drawing the audience in while telling the stories behind each song. The crowd responded positively, engaging with Ber and her storytelling of moments while she was living abroad.

Midway through the show, the band surprised the audience with their cover of “Espresso” by Sabrina Carpenter.

As the concert progressed, the band returned to their original material with “Ripple” and “Home.” It was clear that many of the audience members were anxiously waiting to hear the songs live after listening to them all summer long. 

Saving the best for last, Good Neighbours performed their third biggest hit “Daisies,” which reached approximately 4.2 million listeners.  The band’s distinct instrumentation brought the song to life, creating a euphoric moment that had fans singing along at the top of their lungs while dancing to the music. 

Listening to such an incredible combination of lyrics, guitar solos, drums and notes from a keyboard, it was comforting knowing that the soloists were sticking together to create more music. Their ability to connect with the audience, coupled with their engaging setlist and dynamic stage presence, created an experience that was both memorable and uplifting. Good Neighbors proved once again why they are growing to become a beloved band in the indie music scene, leaving fans eagerly anticipating their next show.

On July 26, 2024, Faye Webster came out on stage at 8:39 p.m., singing “But Not Kiss” after Minions from “Despicable Me” opened the song for her. The crowd erupted in screams of joy, excitement and the roaring noise of hands applauding. Webster used a live band for the entire set while she herself switched between different guitars and a keyboard. Her setlist included some of her biggest songs, “Right Side of My Neck,” “In a Good Way” and “Kingston.” The night was young with the sun just finishing its daily round above Philly and the vibes throughout The Dell Music Center were electric.

Webster surrounded herself with stacked washers and dryers, pouring light through their clear doors, slowly changing to match the aura of each song. Behind these were racks of hanging blue clothes. Going with the laundry theme, a huge t-shirt on a hanger served as the projection screen, and it changed between shots of full clotheslines blowing in the wind to trippy swirling colors and a video for her song “Lego Ring” with Lil Yachty. The video showed her own “Guitar Hero” -esque game, “Faye Webster’s Singsingorama.” Webster and Yachty may seem an unlikely pair, with Webster being an indie artist and Yachty being an innovative hip-hop artist, but they both grew up in Atlanta and were friends in middle school before drifting apart later in life.

After she finished “Right Side of My Neck,” fans scattered around the venue screamed “I love you Faye!” Webster did not have to do much on stage, as the music creates the vibes, so she opted to slowly swing side to side with the occasional ducking around to emphasize the dramatic guitar riffs. The fans themselves did not do much in terms of dancing either. They  swayed from side to side, and occasionally, the crowd pulled their phone flashlights out to wave. She dressed herself in a baggy blue and white striped short-sleeve button-up shirt with matching shorts. Underneath, she layered a solid blue long-sleeved shirt and pants. Blue seems to be the consistent color Webster uses in her shows and artistic expression. “Underdressed at the Symphony,” her latest album, displays her holding a blue long-sleeve dress, set against a backdrop of a full rack of blue clothes.

The commitment and love from fans was obvious, with many concertgoers having Webster’s “Atlanta Millionaires Club” or “I Know I’m Funny haha” vinyls tucked underneath their arms, hoping to potentially get them signed or just recently having purchased them at the merch booth. One fan wore an “I paused Faye Webster to be here” t-shirt, which she noticed after her brother, who does her graphics, pointed the fan out. Once she realized, she laughed and went over to the fan during the show and signed the shirt. 

After coming back for an encore, Webster came out with her best friend to sing “Feeling Good Today” acoustically. The band also came back out after the song, and Webster introduced each of them and thanked them for playing with her. She thanked the crowd for being at her concert and closed with “Kingston.” The crowd exploded for the second to last time that night, and bubbles shot out from the stage, which fit in perfectly with the theme of laundry and clothes. Everyone sang along to the last line, “Give you everything I have and more.” Webster said thank you one more time, waved and walked backstage with the band. The applause and cheers were the loudest of the night, and people slowly started walking out of The Dell while excitedly talking about their favorite performances of the night.

The Marvel Cinematic Universe is dead. At least, that is the common sentiment echoed time and time again in the current discourse surrounding the franchise. It is an attitude reflective of audiences’ waning interest in the recent onslaught of comic book adaptations. Marvel, in particular, has fallen under intense scrutiny for favoring quantity over quality following “Avengers: Endgame” in 2019. As a result, the past five years have felt akin to watching desperate studio executives hurl a barrage of disorganized projects at viewers, hoping that something, anything, will stick. Aside from a few smash hits here and there like “Spider-Man: No Way Home” or “Guardians of the Galaxy Vol. 3,” not much has. The latest addition to Marvel’s increasingly rare critical and commercial successes, “Deadpool & Wolverine,” hopes to shake the franchise out of its stupor. 

Released July 26, the film is a direct continuation of 2018’s “Deadpool 2,” which saw the titular merc with a mouth, Wade Wilson (Ryan Reynolds) travel across space and time to rectify mistakes of his past. In the latest release, his time-traveling exploits attract the attention of the Time Variance Authority, otherwise known as the TVA. Devoted to maintaining order in the multiverse, the TVA attempts to offer Wade salvation from his supposedly doomed universe. Wade, refusing to sit idly by as those he loves vanish out of existence, enlists the help of the alleged worst Wolverine variant (Hugh Jackman) to save his world and the several others threatened by the TVA’s nefarious operations. 

Despite its multiversal, world-shattering stakes, “Deadpool & Wolverine” is first and foremost a comedy, following in the uniquely witty footsteps of its predecessors. As such, enjoyment of the film is overwhelmingly dictated by whether its sense of humor strikes a chord. Fans of the first two Deadpool entries can expect a strikingly familiar brand of comedy, including the fourth-wall breaks and explicitly crude remarks that are inextricably tied to the title character. In adhering closely to the comedic stylings of the previous films, however, “Deadpool & Wolverine” does little to ward off claims that the humor is often overly reliant on shock value and shallow references to pop culture. For a film so dependent on its incessant jokes, those who sympathize with these criticisms are likely to find the viewing experience generally unengaging or even irksome. 

Regardless of the highly subjective nature of the film’s comedic style, “Deadpool & Wolverine” is profoundly elevated by its slew of infectiously impassioned performances. Ryan Reynolds, as usual, pours his heart into bringing the beloved character of Deadpool to life, from his animated body language to the anarchic charm of his line delivery. Returning to the Wolverine role for the first time since 2017’s “Logan,” Hugh Jackman delivers a surprisingly ranged performance as he effortlessly conveys the tortured ferocity of his character. Reynolds and Jackman especially shine when coupled together, which fortunately encompasses the vast majority of the film’s runtime. The unlikely pair produces a dynamic seeping with onscreen chemistry, further engrossing viewers in their overlapping quests for self-worth. Though given far less material to work with than the two leads, the side characters are similarly imbued with a sense of palpable enthusiasm by their respective actors. 

While the performances work wonders in uplifting the film as a whole, they fail to entirely mask underlying yet prominent issues surrounding its narrative structure and character development. “Deadpool & Wolverine” starts relatively strong in both departments. In the first act, it successfully establishes the past failures and subsequent motivations of its leads in a way that naturally propels the narrative forward, all while gracefully introducing the rules that govern its multiverse premise. Overall, the film’s opening portion is tightly written, consistently entertaining and well-paced. 

This promising start begins to tear at the seams once Deadpool and Wolverine are thrust into the Void, a Mad-Max-esque wasteland at the end of time where the TVA banishes all of its undesirables. The time spent in the Void predominantly consists of the banished pair wandering about and finding themselves in occasional skirmishes or comical interactions. At this stage, the film largely neglects to further develop its two leads and abandons the impending threat of the TVA in the outside world, instead focusing on the perils of the Void. Consequently, the second act feels strangely stagnant and meandering. It is reasonable to suspect this feeling will only intensify upon rewatches, where not even the anticipation of surprise moments and cameos can hold viewers’ attention. The faults that arise here bleed into the final act as well, as the film attempts to resolve conflicts and conclude arcs in a manner that seems slightly unearned given the preceding act’s glaring oversights. Although the shortcomings described result in a partially disjointed narrative, they are by no means disastrous in their impact on the film’s entertainment value. They do, however, hinder it from being a comprehensively robust package. 

Given its explosive release, some have tried to position “Deadpool & Wolverine” as the MCU’s savior: proof that the franchise has reclaimed its throne, so to speak. The film has certainly injected new life into the Marvel Cinematic Universe, being the first R-rated entry and the first to directly incorporate the X-Men series among other Fox-era Marvel films. However, it bears a great deal of the same issues that cripple other MCU entries. As described previously, the script is not the most sound. The cinematography and Shawn Levy’s overall direction lack a distinct voice. The action choreography, though satisfyingly hyper-violent, is not particularly memorable or innovative. In conjunction, these aspects are certainly competent but emerge mostly unsuccessful in leaving a long-lasting impression. So, does “Deadpool & Wolverine” signal a definite return to the glory days of the MCU? Improbable. Rather, the film will more likely provide a brief glimmer of absurdist entertainment amidst Marvel’s turbulent path ahead. 

Back in 2016, up-and-coming rapper Post Malone took the world by storm with the release of his first studio album, “Stoney.” The album was very well received, and by 2018 he was releasing music that was not just popular but topping charts and winning awards across multiple countries. There was a time when one could not listen to the radio without a popular Post Malone song turning on. However, with his past two studio albums “Twelve Karat Toothache” and “AUSTIN,” Post Malone did not receive the attention that his previous albums had garnered. While this outcome shocked many, what truly left audiences stunned was an announcement stating that Post was turning to country music.

The news came out of left field. Post Malone and country artist Morgan Wallen captivated the Internet with a new song, “I Had Some Help,” at the Stagecoach Music Festival on April 28, 2024. The song was an immediate success, with fans asking for the song to be released immediately. On May 10, the song hit streaming platforms and rocketed up the charts. It became practically impossible to scroll through social media without hearing a snippet of the single. With the popularity of the song, many were calling for Post to “go country” full time, and go country he did.

On June 18, Post revealed that he had an album coming out titled “F-1 Trillion” on June 18. The announcement on his Instagram page received over one million likes, and the hype was only furthered when he released the second single off the album, “Pour Me a Drink” featuring Blake Shelton three days later. Fans raved about the fantastic collaborations that were being crafted as Post brought his melodic voice and other stars added their country charm. One of the best parts of his collaborations was the genuine, fun energy that Post and his features seemed to feel.

The fun did not stop there. With an album release date of Aug. 16 and many feeling that “F-1 Trillion” would be the anthem of the summer, Post decided to give the fans an extra treat – a third single. The song, titled “Guy For That,” featured Luke Combs and debuted on July 26. The upbeat song sported memorable hooks and a unique camaraderie between Post and Combs. The final single truly solidified the excitement for the album. 

With catchy country beats along with Post’s familiar sound, the artist has done a phenomenal job uniting two genres in a way many anticipated would never work. For most, country and rap were two genres that could never relate, let alone morph together. Fans are not the only ones excited about this innovative collaboration, as many popular country artists have decided to get in on the new genre. “F-1 Trillion” is set to have some big names on the tracks, including Tim McGraw, Dolly Parton, and Brad Paisley. Luke Combs is even set to be featured on a second song, “Missin’ You Like This.” 

While the album is sure to make a splash, the tour will be even more energetic. The North American leg is set to kick off on Sept. 8 in Utah, and the party is coming to Pennsylvania on Sept. 20 and 25. Fans are already anticipating surprise guests, energetic performances, and maybe even teases of new or unreleased country songs. With the days until the album release flying by, now is the perfect time to stream the first three singles with the volume up and the windows down. Will “F-1 Trillion” be the album to put Post Malone back at number one, or will it redefine the country genre forever?