Author: studiobypines

October is the music industry’s gift that keeps on giving. It’s the time when artists are ready to release their “most personal project yet” and jet all over North America before the winter season freezes the tour routes. Well, this notion would exclude Blackpink’s ROSÈ as her debut album, “ROSIE”, is out December 6 following her new distribution deal between THEBLACKLABEL and Atlantic Records. With the incoming releases of LISA (“Moonlit Floor”) and JENNIE (“Mantra”), the solo activities of all Blackpink members are pretty much known now, except for JISOO, who penned a deal before everyone else.

While JENNIE’s “pretty girl” comeback is a canon It girl event in the making, Shawn Mendes’ return to music after a four-year mental health break is flying too under the radar for comfort, especially when album excerpt “Why Why Why” sounds that good. Machine Girl’s comeback was expected as the New York City duo steadily released deconstructed rave bangers over the years, but the first listens of “Until I Die” and “Motherfather” allude to a cleverly dark melodic comeback unlike their past work. Similarly, Charli XCX takes to the hyperpop stage for one last hurrah for her long-awaited remix project for “Brat”, with Bon Iver, Bladee, Tinashe and Shygirl as the recently announced A-list features thus far.

This season, Bree Runway and GloRilla are holding down the hip-hop front with bar-for-bar double and triple entendres that will get the hot girls feeling like it’s summer all over again. October is also a big time for indie acts, with MUNA’s Katie Gavin leading the pack with her stripped-back, back to basics masterpieces on “What A Relief”. However, Lizzy McAlpine‘s breathtaking acoustic honesty will always be a close second place. Halsey’s genre-shifting album, “The Great Impersonator”, and Country superstar Jelly Roll’s “Beautifully Broken” are also projected to be huge wins for the culture.

Ahead, explore other buzzing music releases coming this October and get to know a few rising stars in the process.

“Shawn” by Shawn Mendes
Releases on October 18

The “Señorita” singer makes his long-awaited return to music after nearly five years and one canceled tour, now to release his self-titled fifth album. With Zach Lowe, Mendes said, “2 years ago, I felt like I had absolutely no idea who I was. A year ago I couldn’t step into a studio without falling into complete panic. So to be here right now with 12 beautiful finished songs feels like such a gift.”

“Every Night Fantasy” by Omar Rudberg
Releases on October 18

After signing with Elektra, the Venezuelan-Swedish “Young Royals” star has released music worthy of the “pop’s next It boy” title. Stepping into a more mature image following 2022’s debut album, Redberg prepares for his debut EP, with an accompanying sold-out tour thanks to candy-lacquered tracks like “Red Light” and “Talk” released earlier this year.

“The Epilogue” by Dean Lewis
Releases on October 18

I feel like it’s the culmination of a sound I’ve tried to create over the last seven years”, the “Be Alright” singer-songwriter says about his junior effort, an intimate treasure trove of stand-still confessionals and acoustic-driven romance.

“Music For People Who Believe In Love” by Joe Jonas
Releases on October 18

Fifteen years after his debut solo record, “Fastlife”, Joe Jonas is now a father and ready to birth his sophomore album. During his episode of “Therapuss with Jake Shane”, Jonas shared that this album is “the most personal music [he’s] ever put out” and is both sonically and lyrically “all over the place”, featuring “real beautiful ballads” and songs about fatherhood, love, and self-betterment.

“Fantasy” by JADE
Releases on October 18

Out of her contemporaries, Jade of Little Mix has been accepted by the “brats” of the world, with “Angel of My Dreams” sounding like the long-lost sister to Addison Rae’s “Diet Pepsi”. Since releasing “Midnight Cowboy”, co-written by RAYE, Jade’s next single continues her glittery foray into house music.

“MG Ultra” by Machine Girl
Releases on October 18

The New York City electronic hardcore duo have announced their sixth studio album and their first in half a decade, and share the “sad” news that it’s a bit more polished compared to their apocalyptic and cathartic punk work seen on the gritty 2014 debut “Wlfgrl”.

“The Gift Of Love” by Jennifer Hudson
Releases on October 18

Gospel-singer-turned-TV-host Jennifer Hudson is gearing up for her first album in 10 years, which happens to be her first-ever holiday album, which features seasonal classics like “O Holy Night” and “Winter Wonderland,” along with original songs such as “Almost Christmas,” featuring Grammy Award-winning rapper Common. The album was executive produced by Ryan Tedder, and it includes collaborations with notable producers like David Foster and Kirk Franklin.

“Tension II” by Kylie Minogue
Releases on October 18

The iconic Grammy-winning Aussie’s sequel to her chart-topping sixteenth album features nine fresh dance-ready anthems with features from The Blessed Madonna, Orville Peck, Bebe Rexha, Tove Lo, and Sia.

“Assembling Symbols Into My Own Poetry” by Alice Longyu Gao
Releases on October 23

“I have a fountain inside of my heart, and that’s where my art is coming from. It was blooming for many years until it had a drought,” the Chinese-born visionary storyboards the end of her debut trilogy. Her recent tastemaker with Danny Brown, “Bird W/O Nest”, is a tame version of Gao’s trademark neon Harajuku-styled hyperpop, but the tender ballad slowly unfurls with explosive mood-shifting feelings.

“The Great Impersonator” by Halsey
Releases on October 25

Described as a “confessional concept album,” Halsey’s fifth effort delves into themes of time and fate, posing intriguing questions about identity and how Halsey would navigate different decades as an artist. Beyond her recent genre-bending singles like modernizing Britney Spears’ “Lucky” with the harsh realities of Halsey’s recent Lupus diagnosis, filibustered by the sharp-tongued rocker “Ego”, she took to Instagram to say she made the record “in a space between life and death”.

“What A Relief” by Katie Gavin
Releases on October 25

After 11 years exclusively with indie-pop band MUNA, frontwoman Katie Gavin will release her debut solo record via Phoebe Bridgers’ music label, Saddest Factory Records. Gavin described the bluegrass lead single, “Aftertaste”, as“Lilith Fair-core,” while viewing predecessors like Alanis Morissette, Fiona Apple, and Ani DiFranco as a “North Star” for the album as it journals the obstacles that come with finding meaningful connection, even patterns of boredom and isolation.

“Mirror Starts Moving Without Me” by Pom Pom Squad
Releases on October 25

Frontwoman Mia Berrin introduces fans to “mirror world”, the next evolution of the Brooklyn-based indie rock band. Featured singles “Downhill” and “Spinning” zero in on the band’s signature edgy grunge with introspective conversations about identity, ambition, and self-destruction.

Sean Ellmore is the furthest thing from a starving artist; if anything, after working with the world’s biggest stars, he wants more. “I see myself as a paparazzi with a paintbrush,” the now LA-based illustrator tells Beyond The Pines about his portraits– a mixture of pop culture milestones and a travel-sized Winsor and Newton watercolor palette– which can be seen covering (one of) Miley Cyrus’s glam room walls in an Architectural Digest feature from 2020. Though Cyrus is a recurring customer of Ellmore, the 28-year-old has also worked with the likes of Doja Cat, Charli XCX, Lorde, Kim Petras, and once received a funny commision request from Chrissy Teigen.

“She [Teigen] commissioned me to create this hilarious piece of Reba McEntire and a baby elephant hugging, holding wine glasses,” said Ellmore. “It was an inside joke between her and her friend Yashar Ali. Chrissy had it printed on a dinner plate, and that was one of the weirdest commissions I’ve ever had.”

However, Ellmore is better known as TikTok’s pop culture encyclopedia under @seansartaccount, with his informative paint lessons attracting nearly 500,000 followers and millions of likes. Whether he wants to recreate a professional photograph or put his own spin on a low-quality 2000s TMZ scene, his game is mastering the iconic, making sure people know that Justin Timberlake did not directly apologize for ripping off Janet Jackson’s chest plate during the Super Bowl XXXVIII halftime show. Ellmore’s secret weapon, a black blow dryer, also makes numerous cameos, which caps his entire painting process to just over an hour.

“I’ve always loved watching deep dives on literally anything. For example, so many iconic historic [read iconic] events came from Lindsey Lohan calling Paris Hilton the C-word, which is my favorite pop culture moment ever!” Sean details the origins of his Pop Culture Paint Lessons on TikTok. “I thought, ‘Why not paint it and tell the story behind it?’ No one else was doing that kind of long-form content on TikTok.

“The script and research came together really easily. When I posted it, the video got a million views within a few hours,” Ellmore continued. “People were like, ‘Oh, we love this.’ So I kept dusting off the pop culture history books for each video, and each one kept getting more views”. The ongoing series has attracted brands like the NFL, MTV, and Spotify to create similar content.

Ahead, Beyond The Pines catches up with the LA illustrator, delving into Ellmore’s personal inspirations, pop culture beginnings, and favorite celebrity happenings.

BEYOND THE PINES: What drove your interest in pop culture?

Sean Ellmore: I don’t know the exact moment, but I remember being very aware of Britney Spears during the “Blackout era” in middle school. I was so absorbed in the celebrity gossip of the Paris-Lindsay-Britney era and wished I was ten years older so I could actually be a part of it. I would see all the headlines and read the magazines in grocery stores or snoop on my parents’ computer to follow all the celebrity news. I’d look at sites like Perez Hilton and thought it was all so juicy. It’s weird that I was so young trying to figure all this out.

BTP: Has celebrity portraiture always been the focus of your art?

SE: I was really drawn to movies; my big thing when I was little was “Alice in Wonderland” and “The Wizard of Oz”. I would ask my mom and grandmother to draw things from those movies for me when I was two years old because I wanted to carry the pictures around. But they weren’t good enough, so I started doing it myself.

The first time I tried to take art seriously and learned how to shade things was in 2009. It was a portrait of Lady Gaga [from MTV’s Video Music Awards], and from then on, it’s basically been portraits. I never strayed away from that.

BTP: How do you go about selecting reference images for your paintings?

SE: Sometimes I’ll see a picture and immediately know, ‘That’s it.’ Other times, especially with older moments like from the early 2000s, there might only be low-quality photos or videos, so I have to create my own version. I’ll take reference photos of people’s faces and recreate the scene using different elements. I try to pick the most famous or recognizable image when it’s a more iconic moment. But there’s not always a rhyme or reason—I just know when I see it.

BTP: Can you walk me through your art process from start to finish?

SE: I always start by sketching on my iPad because if you sketch directly on watercolor paper and erase, it ruins the surface. I transfer the sketch to watercolor paper using my computer screen as a lightbox. Then, I start with a base layer of pink or red tones to lay down the shadows. After that, I build up the flesh tones layer by layer.

I don’t mix colors on a palette; I mix them directly on the paper. I also use a travel watercolor palette because I hate using tubes and mixing colors. I use a blow dryer between each layer to speed things up because I’m very impatient. Once I’ve finished the painting, I scan it and digitally add highlights to make it pop more.”

BTP: Who have you enjoyed working with most?

SE: Miley will always be a favorite. Her projects are always fun and random. One of my favorites was also Charli XCX: I did a bunch of work for her “How I’m Feeling Now” (2020) album and booklet. That was super cool, especially since we got close during the “Pop 2” era.

Another favorite was Chrissy Teigen. She had me paint this bizarre illustration of Reba McEntire and a baby elephant hugging as a joke for her friend Yashar Ali. That commission was hilarious because it was printed on a dinner plate.

BTP: How did your friendship with Miley Cyrus begin, and how did it lead to the wallpaper in her bathroom?

SE: I’ve been a Miley fan since the first episode of “Hannah Montana”. When I started getting into art, which I’ve always done, I started getting into fan art, specifically drawn to painting her. I would always do art from the “Bangerz” era and post it on Twitter. Many Miley fans and big fan accounts would repost it, but I never got her attention. But all of her fans followed me and were like, ‘Make prints, and we’ll buy it,’ so I started making money from it. I got invited to Miley’s events, and all of her team knew who I was. In 2019, she finally started liking my stuff, and I was like, “Oh hey, finally! After ten years!”

Then COVID happened, and she reposted one of my paintings on her Instagram story. I had open DMs with her, and when she was doing her “Bright Minded” live show on Instagram, she posted that she was looking for artists and animators to collaborate with for the intro. I sent her a DM with animations I had made of her before, and she responded with, ‘Holy shit, this is amazing!’ Then she followed me, asked for my email, and hired me to do some work.

She later asked me to create wallpaper for her house. She wanted it to feature every iconic hairstyle she’d had throughout her career, from “Hannah Montana” to “Plastic Hearts”. We collaborated, and I made 32 portraits for the wallpaper that was part of her house renovation for Architectural Digest. It was all very collaborative, and I got to play with so many details. I gagged when I saw the final result.

BTP: Is there anyone you’re still dying to work with?

Sean Ellmore: Lady Gaga is definitely on my list. She was the subject of my first fan art, so working with her would be a full-circle moment. I’d also love to do more work with Madonna. I’ve done some advertising for her, but I’d love to do something directly for her. I also love the whole pop music scene, so I’d happily work with any of the pop girls—except maybe Dua Lipa. I’d still do something for her if she asked, but she’s not at the top of my list.

BTP: What does pop culture mean to you, and what does it mean to capture it in your portraits?

SE: Pop culture is the ultimate escape. Growing up as a closeted gay kid in a small town in Pennsylvania, I couldn’t relate to people the way I wanted to, so I’d escape into the glamorous lives of celebrities and the fantasy lands of some classic films. Now, it’s crazy that I can walk into a room, and those people I once idolized can be there. It’s still an escape, but it’s also something that’s much more tangible now.
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BTP: Have you considered opening a gallery in LA for a few months to showcase your work?__

SE: Yes, I’ve been talking about doing a solo show for a while. The issue is paying to frame and hang everything because I have around 300 paintings. I’ve done gallery shows before but want to do a solo exhibit with more locations. I’d love to have it in LA, then take it to New York, Philadelphia, and maybe other places. It’s something I’m super excited about.

October is the black sheep of cinema, where it’s too early for Disney’s year-end spectaculars and film festival favorites to be enamored by the public. Still, there are plenty of reasons to take a trip to the theaters. With the announcement of Lady Gaga’s self-proclaimed “six point five” companion album, “Harlequin”, it makes her starring role in filmmaker Todd Phillips’s “Joker: Folie à Deux” simply irresistible. Out of all of October’s scares, “Smile 2” is expected to be an audience favorite, with trending actress Naomi Scott commanding the screen.

Sometimes blood is a squeamish topic, though, in which “We Live In A Time” would be a smitten alternative with Hollywood favorites Andrew Garfield and Florence Pugh nose to nose in a decade-long whirlwind romance of love, loss, and rebirth. Even if Autumn isn’t a transformational time, it is just as vibrant, much like the Lego-ification of Pharrell Williams’ biopic, which guest stars the 51-year-old producer’s many A-list music collaborators in a “block by block” musical.

Ahead, spooks aren’t the end-all-be-all of this film roundup, so here are nine October releases coming to theaters (and streaming services) that span romance, music-driven storytelling, action, and, of course, horror.

Joker: Folie à Deux
Releases on October 4

Besides getting an eight-minute ovation at the Venice Film Festival, Todd Phillips “Joker: Folie à Deux” sees double the publicity thanks to Lady Gaga’s companion record, “Harlequin”, out September 27 because, as Gaga said during the film’s London premiere, “When we were done with the movie I wasn’t done with her.” The dark musical sequel finds Joaquin Phoenix reprising criminal Arther Fleck (better known as The Joker)— now in an asylum while he awaits trial— navigating his newfound love Harlequin (Gaga) and unearthing “the music that has always been within him”.

White Bird
Releases on October 4

Following the events of 2017’s Julia Garner-led “Wonder”, its heartfelt follow-up continues to expand on characters in R. J. Palacio’s best-selling collection of stories, namely Julian, who is struggling to fit in at his new school after being expelled for bullying Auggie Pullman. When Julian is visited by his grandmother (called “Grandmère”), the film transforms into a touching war drama about her attempts to escape Nazi-occupied France during World War II, saved by a boy she and her classmates once shunned.

Piece by Piece
Releases on October 11

Lego animates legendary recording artist Pharrell Williams’ life story— a first of its kind. The Lego-fied biopic enlists voiceovers from RIAA platinum and diamond-selling artists such as Jay-Z, Gwen Stefani, Kendrick Lamar, Snoop Dogg, Justin Timberlake, and more as the trendsetting icon produced many of their beloved radio hits.

We Live In A Time
Releases on October 18

Andrew Garfield and Florence Pugh front the bill on John Crowley’s latest romance, one that chronicles the past and present. A decade of young, foolish love, childbirth and family life, and an unforgiving diagnosis that changes everything.

Rumours
Releases on October 18

Cate Blanchet puts on her best German accent for this satirical political horror, executively produced by “Midsommar” director Ari Aster. On a mission to draft a statement on a global crisis, seven leaders of wealthy democracies find that tea time has been interrupted by zombies, who are conveniently mistaken for protesters by the French and German representatives. As more hilarious dangers (and witty comebacks) arise, the crew ventures into the woods in search of rescue.

Smile 2
Releases on October 18

“Aladdin” star Naomi Scott transforms into global pop sensation Skye Riley, who is touring the world when her grinning deceased friend haunts her reality. As fame heightens her traumatic dark past, Riley’s quest to “discover what hides behind the smile” becomes death-defying as the psychological smile horror turns into a physical fight for life.

Venom: The Last Dance
Releases on October 25

Marvel’s latest superhero victory comes with Tom Hardy reprising his role as both Eddie Brock and Venom one last time. The comedic anti-heros are on the run in the trilogy’s finale, and as their worlds close in, the duo prepares for an action-packed last dance.

Conclave
Releases on October 25

Following the thriller’s premiere at Telluride, Edward Erger’s “Conclave” has been praised for its witty, intellectual study of one the world’s most secretive and ancient events. After the pope’s unexpected death, Cardinal Lawrence overtakes the covert process of selecting the new Catholic figure. As 118 Cardinals gather from across the globe to cast their votes, Lawrence discovers that being holy doesn’t outbid ambition nor rivalry as a conspiracy threatens the Church’s sacred foundations.

Don’t Move
Releases on October 25

Long are filmmaker Sam Raimi’s “Spiderman” (2002) days. If anything, he returns to savage, low-budget horror films, a la “The Evil Dead” (1981), with a new twist. In this executive-produced project, a grieving woman battles a paralytic agent, only having 20 minutes to outrun, fight, and hide from a seasoned killer before her body shuts down.

I’m digging through the Sunday pile at Jet Rag on La Brea, a LA vintage stronghold. My gaggle of sapphic friends are contemplating their latest find: a stunning but dusty pair of boots; steel-toed, heavy, with buckles all up the sides. My mind wanders. They’re really motocross boots, for riding dirt bikes and motorcycles. The Rick Owens store next door, for example, has some shorts to match them: leather with an exposed zipper for a fly — another motocross detail. We compare finds in the car — an elaborate white petticoat, a slim black tie, a Bass Pro Shops t-shirt. These pieces, really cultural artifacts with historied functions, are referenced and cross examined on an operating table. Redrawn with a twist, they become Pharell’s Louis Vuitton, the new old Silverlake cool, September’s Grailed rare finds, sirens of the modern age, best-dressed on your Erewhon smoothie run. And do they make for a compelling dialogue between tradition and innovation? You be the judge.

An example of the fluidity of extant fashions where the lines between different types of attire—athletic, casual, formal—are increasingly blurred, athleisure has grown into familiar foliage in the American landscape. Originally designed for athletic performance, items such as leggings, zip-ups jackets now emerge as loungewear, as ready-to-wear and even in some cases, as evening wear. “Gorpcore,” for example, takes the “athleticism’ of athleisure a step further: inspired by the functionality of gear made specifically for the great outdoors. Imagine earthen primary colors, one thousand pockets, Yes, it’s perfectly mundane to wear your Arc’teryx on a date and your salomons to the trendiest of coffee shops.

Characterized by its embrace of practicality—think technical fabrics, multiple pockets, and weather-resistant materials, these details are a celebration of utilitarian design. But these qualities are embraced for more than just the functional; they are above all, “drippy.” Gorpcore reflects the desire for authenticity and for connection to the outdoors, even in urban settings. It says, “I’m so active sitting in this cafe right now,” or “the smell of rain and mulch is very appealing.” Whether the wearer actually enjoys the summitting of a mountain and how many hours they clock on a trail has been deemed irrelevant. It’s about the spirit of the thing.

Similarly, motocross gear has always been synonymous with extreme durability and bold stylization. Be it Louis Vuitton’s articulated texture trousers, or the rise of Alpine Reserve’s clout, or the casual wearing of riding and boxing boots in FIDM students’ fitcheck TikToks, extreme sportswear is undoubtedly encroaching upon classic “streetwear.” Inspired wearers are offered a sense of adventure and ruggedness, dirt bike and boxing experience irrelevant. Designers reimagine a cowboy— intricate stitching, luxurious materials, incongruous silhouettes.

Traditionally designed for life on the range— sturdy riding boots with spurs, hats wide-brimmed for the sun, durable denim reinforced by metal rivets at points of stress. The utilitarian design of Carhartts, Dickies, even denim itself as a textile, are rooted in the working-class ethos of durability and practicality. Once purely functional, denim and leather have long since become classic canvases, as neutral as muslin. These garments, once reserved for factory floors and construction sites, have been reinterpreted through the usage of the everyday non-laborer. Now central to both streetwear and high fashion, they retain the vintage, worn feel of legacy without sustaining a speck of dust. The ruggedness is emphasized yet softened with styling choices that make the concept of the clothes suitable for someone who does not own power tools, or in some cases, is far removed from the realm of everyday dress altogether, á la Diesel’s denim wedding dress.

Western motifs such as bandanas and bolo ties are now integrated into the wardrobes of many, offering a narrative on wild west traditions. This refocusing of cowboy culture through a perspective at once “gen z” and “heritage” not only pays homage to Americana roots, but also allows for an exploration of identity, particularly within the context of queer dressing. The fluidity of more recent cowboy-inspired expressionism disrupts the rudimentary play, making it a colorful statement. Workwear, originally designed for the rigors of intense manual labor, has evolved into a staple of the chic crowd. The rise of workwear reflects a societal shift that values the aesthetics of simplicity and practicality. Though derivative, these pieces maintain their functional appearance while being elevated as pieces whose only function is style. On the other hand, this movement resonates with the broader cultural movement of authenticity and sustainability, as consumers increasingly seek out clothing that is vintage, high quality, and genuinely built to last.

Drawing inspiration from video games, movies and the professional world, the trend of dressing “office siren” explicitly outside of the office uses skeuomorphic reinvention to transform the standard 9-to-5 into a personal philosophy statement that blurs the lines between professional and provocative. The “Office Siren” challenges the boundaries of what is considered appropriate and what can be romanticized in a modern working life. Why wear that lumpy blue sweater, for instance, and resign yourself to a mundane cubicle existence eating sad chowder when you can paint yourself instead slaying the girlboss monologue and serving cunt in a sensual silky blouse and the most arresting kitten heels? Bayonetta glasses, blazers fitted and oversized, pencil skirts with daring slits, and skinny heels that command attention are central to this genre.

The Office Siren redefines “sexy” by blending traditional office attire with elements of allure and seduction, subtle or otherwise. Through its sleek, tailored attitude, it can utterly transform one’s day-to-day experience inside or outside of office culture. This also poses interesting questions of what is considered a desirable lifestyle and the influence of outsider perception. By empowering women to exude confidence and authority in unexpected ways, the look plays with the idea of femininity and autonomy, tradition and repetition, freedom and corporate slavery. By recontextualizing classic office wear, the Office Siren opens up new possibilities for self-expression and empowerment through a lens half homage, half fetishization.

As we look to the future, it’s clear that the fusion of function and form will continue to drive innovations of style and of design. As cross-pollination between different subcultures of taste grows exponentially, the emergence of new and hybrid trends awaits us. As designers and consumers alike embrace the blending of tradition and innovation, the future of fashion promises to be as dynamic and diverse as the cultures and subcultures that inspire it. A reference of a reference of a reference, obscurity becomes scarcity becomes derivative. The lineage of certain design details and practices might become impossible to trace. A bouquet of evolving complexities in the crystal goblet of modern life.

Recent social media-borne trends of influence such as the dolly and angelic “coquette,” the commanding and mysterious “mob wife,” or the playful and flippant “y2k” are really aesthetics-based at their core, built and maintained by integrated object motifs such as bows, fur jackets, and blinged-out flip phones. These trends are easy to understand and have a relatively easy buy-in: they are archetypes of a closet, a makeup style, hairstyles and accessories. You can become a y2k mcbling queen for a day easily. Start with a pair of extreme lowrise denim booty shorts, add a crystal-flooded big buckle belt, donn a busty top— perhaps in hot pink with an elaborate fleur de lis or cross applique. Add oversized sunglasses or hoop earrings, slap on some frosty lip gloss and lastly, and slip put your feet into a pair of fluffy furry boots. For extra credit, one could go so far as to track down a Von Dutch or Ed Hardy baseball cap, or snag a fake piercing ring from Alibaba to adorn the corner of your bottom lip.

A similar regimen can be summoned for its peers in the same class of “aesthetics” — Balletcore, mob wife, dark academia, cottagecore. These are genres of dressing and filters of tonality that a typical girl scrolling through social media might inspiredly cherry-pick jewelry, perfume, hairstyles or other wardrobing details from. They don’t explicitly require lifestyle adaptations. You can wear ballet flats and legwarmers without a rigid twice-daily stretching routine. One can indulge in their mob wife fantasy, harmlessly sipping champagne from a crystal flute, without ever actually needing to consider the ethics of hush money cargo or study the ins and outs of criminal organizations and the specific benefits of compartmentalized morality. A college student studying communications at Penn State is free to cast their public relations powerpoint deck in a more romantic light, with the power of some candles, a crisp white dress shirt, and a select “dark academia studying playlist” during their Thursday night cram.

However, what happens when aesthetic and lifestyle develop comorbidly? Cottagecore, the “-core” that spawned the current age of aestheticization, grew from the seed of some mushroom earrings and a milkmaid dress or two. Picnicking and crocheting might be cottagecore activities, but a full involvement within the aesthetic doesn’t necessarily include a change in lifestyle. Conversely, the “-girl” pre-cultures, such as “clean girl”, “soft girl”, or “coconut girl” are slightly more encompassing. Your typical “clean girl” aesthetic doesn’t only mean slick back buns and understated hoops. A lover of this aesthetic might want to drink green juice, go to pilates, keep an immaculately organized Google calendar, and never put off answering an email as they sip from their ever-present hydrating vessel (almost undoubtedly branded Hydro, Stanley, or Lululemon). The uniform of the aesthetic implies an idealized daily life, habits, or schedule. The archetypes of being encapsulate an attitude towards life; an aspirational and conceptual occupation, without a dictated, inherent thought philosophy.

Unlike heritage “subcultures”— such as the punks, goths, skaters— the “-girls” weren’t established around a music genre or specific activity that sustains generational continuity. “Soft girls” don’t quite yet have social customs or collective ethos that are continuously fostered by the soft girl community, and without a niche gathering point of interest only time will tell if the microbiome could survive and maintain traction long enough to develop its own ecosystem. A “coconut girl” doesn’t yet have a strong system of beliefs (beyond a love of beaches, relaxation, coconuts) she could instantly identify with a self-proclaimed peer she’s never met before. Will longevity for the “clean girl” see a new age of health-conscious girl bosses that rally behind political-adjacent movements and protest against lack of organizational literacy en-masse? I’d sure like to see that.

A most recent sweeping phenomenon, the “tradwife” “movement” benefits vastly from the implication that it is actually not a new movement in its infancy, á la the aforementioned, but instead, a harkening back to some ancient, tried-and-true way of being. The retrofitting of neocolonialist nuclear family ideals onto the concept of “tradition” gives the movement the provenance. One figurehead of the movement with 9.6 million followers on TikTok and a staggering 9.9 million followers on instagram, Hannah Neeleman (of Ballerina Farm fame) was swarmed with concern from internet bystanders as the details about her life behind her prairie dress beauty queen online persona were revealed in the infamous Megan Agnew article this July. Nara Smith has an astonishing 9.2 million following on tiktok, and an impressive 4 million on instagram. Her from-scratch kitchen laboratory projects, soothing voice overs, and closet of Frankie’s Bikinis dresses, Lirika Matoshi gowns, and avant garde Selezza London is to be repeatedly complimented but not imitated— she remains entertainment; a public figure more celebrity or figurehead than blogger or youtuber. In contrast to the massive audience appetite for tradwife content, new member participation seems dwindling. The two creators mentioned are also both of mormon faith, perhaps a contributing factor to their almost oppressively unattainable lifestyle, unrelenting presentation of perfection, young marriages, and partialness toward plentiful procreation.

Monica Ainley of British Vogue tried the “tradwife” lifestyle for a week (dismissing her nanny, cooking every meal, taking a leave from work, “serving” her husband), complete with fabulous skirts and dresses, pointed toe shoes— declaring relief as it came to a close, vowing to steer her daughter away from tradwifery. Harriet Walker of the Times felt similarly about her week-long stint. Head of Poshmark’s Merchandising and Curation, Chloe Baffert sheds some additional light: “Viral trends often influence shopping behavior, but the Trad Wife aesthetic has yet to gain significant traction on Poshmark. The Trad Wife uniform is notably synonymous with muted tone prairie dresses and demure style elements, […] a unique and nostalgic charm that appeals to those who appreciate its polished look.” Their data as of July 2024 indicates a “downtick” in related items: sales of cat eye sunglasses decreased 17% compared yearly; sales of wiggle dresses decreased by 14%; prairie dresses sunk 13%; knee length skirts by 9%; cardigans by 9% and aprons —2%. The “tradwives” community on reddit currently stands at a bit over 1.3 thousand members.

Ultimately, the “tradwife movement” is called a movement for a reason. An aspiring Nara Smith, Hannah Neeleman, or Esteec Williams wouldn’t only aim to purchase elegant gowns, put on a full beat, and style their hair. They would surely pin recipes for white chocolate lemon zest brownies, save videos for how to maximize laundry efficiency, take notes on blog entries touting the best rituals for welcoming their spouse home after a work day, and perhaps prepare mentally for a large family. The transformation wouldn’t be complete without a full indoctrination into the role of traditional, home-making wife and all the accompanying intricacies and rules. The level of requisite fanaticism is high at baseline entry: you must not only be a fan, you must be devout; you can’t just wear the band tee, you have to know every album; it’s not casual participation but an entire committed course. Maybe if the tradwife life were less demanding in its conversion process, it might be more popular amongst young women— but the subtle but definite tones of religion, politics, and even fetish outweigh even the most idyllic imagery of perfect body, kitchen, family, and closet.

When it comes to fashion, the journey from idea to execution can be as intricate and textured as the fabrics that grace the skin and compose the garments. For one LA-based fashion designer, this journey began not with a traditional path through design school but with a passion for creation sparked in unexpected places. From the snowy slopes of Utah to the bustling streets of Los Angeles, Eleanore Guthrie has crafted a brand of knitted denim that reflects her unique vision but also challenges the conventions of the clothing industry: Knorts.

Born and raised in Pasadena, Los Angeles was always home for Eleanore, but it wasn’t where her story began— her path to building a fashion brand began with a different first love, a passion that consumed her during her college years in Utah. “I used to really be into snowboarding,” she recalls. “I had so much fun, it was like winter camp… I wanted to be a pro. “ It was in the world of snowboarding that she first became captivated by fashion. The world of snowboarding has its own distinct culture, characterized by articulated silhouettes, dynamic utility, and an undeniable style. She found herself drawn into the aesthetics of the scene, altering her snowboard pants to create shapes that she found visually appealing. “I loved it,” she explains. “I’d alter my snowboarding pants to achieve a certain silhouette. I was like, I think maybe I like fashion… Let me see what I can do with that.”

The leap from snowboarding to brand development may seem like a giant one, but for her, it was a retrospectively natural progression. “Growing up, I always wanted a business,” Eleanore confesses. She had chosen to study accounting— a strategic choice, driven by her early entrepreneurial ambition. As college was coming to an end and a professional snowboarding career had failed to materialize, Guthrie was struggling to find a job in her field, a challenge compounded by her self-described difficulties in job interviews. “I’m a really bad interviewer,” she admits with a laugh. “So bad that I was like, I guess I have to go back home.”

She began by working with hand loomers, creating her own genre of fabric by putting indigo dyed thread (traditionally woven into denim) into the knitting process instead. Since its inception Knorts has utilized the unique qualities of knitwear by making clothing the fully fashioned way. This means that each separate piece of material making up the finished garment is knitted to that exact shape instead of being cut from a rectangular piece of woven cloth. Eleanore’s first collection manifested this way in 2016, with simple designs that highlighted the unique textures and patterns she could achieve with her kind of denim.

Her brand began to gain traction, particularly with her signature flare pants—a letter to a first love. It wasn’t as easy to get to the mountain as it was in Utah. “Thinking about it, looking at it, seeing it can really depress me,” Eleanore recounts. “I had to give it up to pursue my brand.” The pants were directly inspired by her love of snowboarding. They hugged the legs and flared out at the ankles, mimicking the silhouette of snowboard pants when worn over boots. This design quickly became a hallmark of her brand, embodying the blend of functionality and style that had drawn her to fashion in the first place.

How does a person go from the creation of a product to getting people to buy that product, to then living off of the money from selling that product? “It’s been a mystery I’ve wanted to solve,” Eleanore says. “As my brand was growing, I was like— I might actually be able to figure it out.” As her label grew, so did her ambition. She realized that in order to scale her business, she needed to make a bold decision: she purchased industrial knitting machines and set up a live-work studio space in her home.

“I was really overwhelmed with how fast my business was growing,” she reflects, “So I got one machine […] and another machine one about a year later.” The machines, which she had transported into her garage with the help of a specialized knit machine mover, allowed greater control over the production process. The machines break and need troubleshooting often, but Guthrie even has a third spare machine just for parts. “I’m an expert mechanic now,” she beams.

The decision to bring production in-house maintained the integrity of her design language— the yarn she used, particularly the indigo-dyed yarn, was notorious for a phenomenon known as “crocking,” where the dye would rub off onto the machines. Most local factories refused to work with her yarns for this reason, but she knew that the color transfer was manageable. By keeping production in-house, she could continue using the materials she loved without compromising her vision. “I often switch,” she relays, “between my cream and indigo.”

Despite the challenges of learning to operate the industrial knitting machines—a process she described as a “fun nightmare”—she found that this move paid off in more ways than one. Not only could she produce exactly what she wanted and oversee the entire process, she also had more flexibility to take on custom orders and last-minute requests, something that wouldn’t have been possible if she relied on external factories. This ability to be nimble and responsive became a key advantage as her brand continued to grow. “It definitely was a lot to learn,” she explains. “But now I can move faster.”

With success came new challenges. As her designs gained popularity, she began to notice that other brands were starting to imitate her approach. Knitwear was becoming more prevalent in the fashion industry, and lower-priced brands were creating designs that looked similar to hers. This influx of similar products threatened to dilute her brand’s unique identity, forcing her to continually evolve. “In order to stand out,” she says, “I need to innovate beyond that original aesthetic. What I’m always working on is how to reinvent myself.”

Rather than being discouraged by the “saturation of her aesthetic”, Eleanore saw this as an opportunity to push her creativity even further. She began experimenting with more original yarn recipes, ways of combining different yarns, knitting techniques, and washes to create new textures and patterns that set her designs apart from the competition. She also learned to adapt her designs to better suit her customer base, moving away from the oversized tops that had been popular in snowboarding culture and towards more fitted silhouettes that her customers preferred. “I learned from stylists,” she adds, “watching them pull outfits that take off inspires me too.”

While it can be tempting to follow trends or chase after the latest fashion fads, she has found that her most successful designs are those that come from a place of authenticity. “Any time I’ve ever tried to include trends into my brand, or design around trends that I see, it’s never served me well” she says. “So I try to stay within my own brain and the yarns and my traditional design process.” Eleanore’s “traditional” process is far from traditional— it changes with each iteration of designs. For her latest season, she’s trying something new for her— a return to Knorts classics. Rather than emphasizing brand new designs, she’s excited to approach silhouettes beloved by Knorts customers with new experiments in forms, finishes, and materials.

Swarmed by collaborations, helming a movement, and fighting off inspired imitators all while still managing the design, production, and finances of her expanding brand, Eleanore approaches the ten-year mark in her fashion journey. One of the most important lessons learned has been the value of maintaining the balance between staying true to her vision and leaving room for flexibility and growth. Her newest collaboration with Urban Outfitters, for example, involves cut-and-sew techniques—a different focus on craftsmanship from the defining fully-fashioned feature of her brand. Another upcoming collaboration (September 19th!) with vintage LA stronghold American Rag further elaborates on the mixing of woven clothes and Knorts knit.

Eleanore’s journey is a testament to the power of perseverance and the importance of staying true to one’s vision. From her early days of hand looming to the acquisition of industrial knitting machines, every step of her journey has been guided by a passion for creation and a desire to bring something new and unique to the fashion world. As she continues to evolve her brand, she remains committed to the principles that have brought her success: innovation, craftsmanship, and an unwavering dedication to her goals.

In the ever-changing world of fashion, where trends come and go with the seasons, Eleanore’s story is a reminder that true success comes not from following convention but from daring to follow your own path. As she looks back on her journey, she can see how every twist and turn has led her to where she is today—a place where her ideas are not just a dream but a reality, woven into the very fabric of the fashion industry.

Looking forward, Eleanore Guthrie is excited about the future of her brand despite an “unclear future” for the industry as a whole. She envisions a world where knit denim is as ubiquitous as traditional denim, a staple in wardrobes around the world. Whether through her own brand or through consulting for other labels, she is committed to continuing to innovate and push the boundaries of what’s possible with denim and with knitwear. “I’ve got a lot of ideas,” she says. “I really, really hope to get those ideas out.”

Film festivals are feared for their standing ovations, where a short applause is worse than a film critic ripping it to shreds. The 2024 Venice Film Festival is no exception, as Tim Burton’s much-anticipated return-to-form, “Beetlejuice Beetlejuice,” newly starring Jenna Ortega, received nearly four minutes of praise. In cinema-nese, that’s like throwing tomatoes compared to the Julianne Moore and Tilda Swinton-led drama, “The Room Next Door,” which pooled in 17 minutes of continuous clapping—that’s pretty much five stars!

Angelina Jolie’s triumphant comeback as the accomplished American-Greek opera diva Maria Callas in the psychological drama biopic “Maria” earned an eight-minute standing ovation. Both Luca Guadagnino’s steamy romance “Queer” and Todd Phillips’s “Joker: Folie à Deux” with Joaquin Phoenix and Lady Gaga both received eight minutes’ worth of praise, respectively. It’s worth noting that Brady Corbet’s historical tale, “The Brutalist,” starring Adrien Brody and Felicity Jones, one-upped the more commercial crowd-pleasers with a 12-minute standing ovation, reminding chronically online folk that not all must-sees and artful films are as heavily publicized as Nicole Kidman’s beaded Schiaparelli number for the red carpet of “Babygirl,” but are as meaningful and deserving of the same recognition (cough, cough, “And Their Children After Them”).

As the Venice Film Festival ends, here are ten must-watch movies that deserve some applause regardless of in-person appreciation:

“The Room Next Door”

Julianne Moore and Tilda Swinton star as two estranged friends—an autofiction novelist and a war reporter—who reconnect in an unexpected and bittersweet situation. This emotional reunion is director Pedro Almodóvar’s first English feature film, who was equally on the verge of tears with the production crew, watching the actresses’ powerhouse dialogue-driven performance of friendship, time, and rediscovery.

“Leurs Enfants Après Eux” (And Their Children After Them)

French filmmaking duo Ludovic and Zoran Boukherma adapt Nicolas Mathieu’s 2018 coming-of-age novel, which follows Anthony over four transformative summers against the gritty backdrop of a decaying French valley. A stolen motorcycle, teenage rebellion, and first love intertwine, creating a melodramatic and raw exploration of youth, identity, and societal decay.

“The Brutalist”

This epic drama begins in 1947 and follows Hungarian-Jewish architect László Tóth, who, after fleeing Europe with his wife Erzsébet, rises from poverty to prominence in post-WWII America. Transformed by enigmatic industrialist Harrison Van Buren’s commission for a grand modernist monument, László’s journey spans three decades, exploring ambition and resilience through a 70mm lens.

“Queer”

Luca Guadagnino releases another period queer romance, only this time it’s not set in the Italian countryside like “Call Me By Your Name”. Set in 1950s Mexico City, “Queer” brings William Burroughs’ tantalizing novel to life—a life goal of Guadagnino’s since turning 20—which tells the poignant story of William Lee (Daniel Craig), an isolated American expat who finds a glimmer of hope for connection through a relationship with a young student (Drew Starkey). Mexican-American singer Omar Apollo infamously teased a bit of the sex-driven plot, saying he shared a steamy scene with Craig before its official premiere.

“Horizon: An American Saga” (Chapters 1 & 2)

Actor-director Kevin Costner started developing “Horizon: An American Saga” in 1988 before fleshing the western into four parts, now anchored by himself and Sienna Miller, within the past two decades. The heart of “Horizon” depicts the harsh realities of 19th-century New Mexico Territory, where The Great Migration entangles the lives of settlers, soldiers, Indigenous peoples, and migrants on a quest for promised hope and a new future, all while telling an “unflinching ground-level story” about the birth of a nation and its foundational sins.

“Maria”

Set in 1970s Paris, “Maria” poignantly chronicles the final days of opera legend Maria Callas. Through a tapestry of memories, friendships, and her iconic performances, the film captures the beauty and tragedy of Callas’ life, offering a deeply moving tribute to her enduring legacy.

“The Order”

Adapted from Kevin Flynn and Gary Gerhardt’s novel “The Silent Brotherhood,” the Justin Kurzel-directed thriller retells a series of violent crimes across the Pacific Northwest in 1983, revealing a chilling plot by domestic terrorists inspired by radical ideologies. Starring Jude Law and Nicholas Hoult, the film explores the ominous echoes of historical extremism in a contemporary context.

“Joker: Folie à Deux”

Lady Gaga matches Joaquin Phoenix’s freak in Todd Phillips’ long-awaited sequel to 2018’s “Joker,” where Arthur Fleck (Phoenix) is institutionalized at Arkham and wrestles with his dual identity as the Joker. As Fleck awaits trial for his crimes, not only does he stumble upon true love with a woman named Harley Quinn (Gaga), but the criminal also unlocks the music that’s always been within him in this unexpectedly brilliant dark musical.

“Campo Di Battaglia” (Battlefield)

Two Army doctors confront a troubling epidemic of self-inflicted wounds among soldiers in this World War I medical drama. Before the obsessive doctor and his mildly hemophobic colleague can unravel the patients’ extreme combat-avoidance measures, disaster strikes as the Spanish flu ravages the city’s soldiers and civilians alike.

“Babygirl”

High-powered CEO Romy (Nicole Kidman) risks her career and family when she embarks on a passionate affair with her younger intern, Samuel (Harris Dickinson). As Romy navigates her midlife and inner demons, the affair forces both participants to confront their confusion around societal power hierarchies and primal instincts while finding liberation and healing in the forbidden act.

With Labor Day come and gone, and summer lull over, a slew of must-see September films are here to jumpstart the final leg of the year, and cinephiles are in for a treat. With the lineup comes a vibrant mix of cinematic delights that promise to thrill, chill, and, most importantly, captivate audiences. Whether you’re ready to dive into the eerie whispers of pre-Halloween horror such as “The Front Room” and “Apartment 7A,” or opt for something more family-friendly such as the highly-anticipated sequel to 1980’s “Beetlejuice,” this month’s film lineup has something for everyone.

From Hollywood A-list animations “Transformers One” and “The Wild Robot,” to sci-fi adventures like “Uglies” and Francis Ford Coppola’s “Megalopolis,” the comical “My Old Ass,” and even R&B legend Usher’s Paris concert film, no movie genre was left unchecked from this year’s fall film calendar. Besides the “Beetlejuice Beetlejuice” buzz, perhaps the second most popcorn-ready watch is “Lee,” the Kate Winslet-led biopic of Lee Miller, the model-turned-war-correspondent for Vogue magazine during World War II, closely followed by Coralie Fargeat’s “The Substance.”

Ahead, grab a seat and get ready to explore 15 must-see genre-spanning films hitting theaters (and streaming services) this September.

Beetlejuice Beetlejuice
Releases on September 6

“We were waiting for Jenna [Ortega] to be born,” says Winona Ryder, as she and Catherine O’Hara reprise their mother-daughter shenanigans and include a new generation in the spooky-fun sequel, made more than 30 years later since the first installment. Netflix’s “Wednesday” actress Jenna Ortega expands her campy horror portfolio by starring as rebellious teen Astrid Deetz, daughter to Lydia Deetz (Ryder), for the Tim Burton-directed follow-up, where the now-female trio returns home to Winter River after an unexpected family tragedy. Upon returning, the whispers of Beetlejuice still haunt Lydia, while the portal to the afterlife is as intriguing as ever to Astrid.

The Front Room
Releases on September 6

Acclaimed R&B singer-songwriter Brandy Norwood makes her long-awaited return to the silver screen with this physiological thriller from “The Egger Brothers”– the directorial debut of Max and Sam Eggers’ joint pseudonym. Brandy co-stars alongside Andrew Burnap as an expecting couple who takes in the man’s estranged mother (Kathryn Hunter), who turns their peaceful home into a sinister battleground of paranoia and fear. When dark secrets are revealed, can trust keep the family together?

Usher: Rendezvous in Paris
Releases on September 6

Another R&B legend enters theaters this fall. This time, Super Bowl halftime performer Usher took his Las Vegas moves to Paris Fashion Week at La Seine Musicale, and now he’s bringing the experience via a concert film for “My Boo” lovers to sing all over again. The film features chart-topping hits, including “Yeah!”, “Omg”, “Love In This Club” and more from Usher’s 30-year career performed with never-before-seen costumes and state-of-the-art lighting and special effects.

Speak No Evil
Releases on September 13

Director James Watkins transforms James McAvoy into a hungry killer for his latest horror film. What first appears to be a weekend getaway to an idyllic country house soon becomes a family’s psychological nightmare when their seemingly friendly host family– commanded by McAvoy– tries to slaughter them all.

Uglies
Releases on September 13

With the help of former child prodigy Joey King and “Orange Is The New Black’s” Laverne Cox, director McG (Charlie’s Angels: Full Throttle) brings this sci-fi dystopia to Netflix. According to this futuristic society’s rules, everyone is considered an “ugly,” but are turned “Pretty” by extreme cosmetic surgery when they reach the age of 16. The film tells the story of teenager Tally Youngblood (King), who rebels against society’s enforced conformity

Subservience
Releases on September 13

Subservience is what Hollywood is calling Megan Fox’s return to film. In a parallel universe to 2009’s “Jennifer’s Body”, Fox plays an equally bonafide (and domestic) SIM named Alice, who assists a family household in this new sci-fi thriller. Once she turns on, there’s no off switch– only blood awaits.

My Old Ass
Releases on September 13

During an off-kilter mushroom trip, free-spirited Elliot (Maisy Stella) comes face-to-face with her 39-year-old self– played by “White Lotus’s” Aubrey Plaza– aka “the old ass” who delivers warnings to her younger self. This weird coming-of-age Sundance favorite also features “Dance Moms” alum Maddie Ziegler.

Transformers One
Releases on September 20

Yes, another “Transformers” arc is upon us. This time, the film deploys an A-list roster for its voiceover credits, leading with Chris Hemsworth and Scarlett Johansson, with support from Keegan-Michael Key, Jon Hamm, Steve Buscemi, and more. “Transformers One” is the untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once, they were friends who bonded like brothers and forever changed the fate of Cybertron.

The Substance
Releases on September 20

Featured previously among our “Most Anticipated Horror Films of 2024” listicle, “The Substance” follows a fading celebrity (Demi Moore) who uses a black-market, cell-replicating drug that temporarily creates a younger, better version of herself (portrayed by Margaret Qualley). Dennis Quaid also stars in this bloody feminist horror.

Never Let Go
Releases on September 27

Academy Award-winning actress Halle Berry plays a distressed mother of two who has secluded her household from a mysterious evil that has terrorized their woodland surroundings for years. When one child begins to question the legitimacy of this outside evil, chaos ensues as they all discover its true terror.

Apartment 7A
Releases on September 27

Set in 1965 New York, Emmy-winning “Ozark” actress Julia Garner bills this prequel to 1968’s “Rosemary’s Baby”, which explains what happened in Apartment 7A before Rosemary. The franchise’s third film follows a struggling dancer (Garner) who has suffered a terrible injury; however, she is offered a shot at fame by a peculiar older couple, which becomes darker than at first glance.

Lee
Releases on September 27

From the director of “Eternal Sunshine of the Spotless Mind,” Kate Winslet stars as American photographer Lee Miller in the eponymous historical biopic about the fashion model who became an acclaimed war correspondent for Vogue magazine during World War II. Horror movie favorite Alexander Skarsgård and “Challengers” heartthrob Josh O’Connor also star in the prolific drama.

The Wild Robot
Releases on September 27

Lupita Nyong’o voices Roz, an intelligent robot stranded on an uninhabited island after a shipwreck. Among the animation’s noteworthy talents, “Heartstopper’s” Kit Connor portrays an orphaned goose named Brightbill, who helps Roz acclimate to the island’s harsh environment while bonding with its animals, including a fox voiced by Pedro Pascal.

Wolfs
Releases on September 27

What happens when two professional fixers are hired to cover up the same high-profile crime? Well, Brad Pitt and George Clooney will find out as the two “lone wolves” are forced to work together on Apple TV’s latest effort. Soon, the duo finds out they will not only have to make one crime scene disappear; they must get away with so much more to survive the night.

Megalopolis
Releases on September 27

Originally written in the early 1980s, Francis Ford Coppola’s “Megalopolis” is finally here, featuring many Hollywood greats like Adam Driver, Shia LaBeouf, Aubrey Plaza, Grace VanderWaal, “SNL’s” Chloe Fineman, and more. Set in the glamorously fake city of New Rome, this sci-fi epic revolves around utopist artist Cesar Catilina (Driver), who conflicts with greedy mayor Franklyn Cicero (Giancarlo Esposito). However, his daughter Julia Cicero (Nathalie Emmanuel)– also Catilina’s love interest– could be the key to ending this age-old conflict and starting a new era for New Rome.

By now, “Brat” summer is in full effect, with Charli XCX already dropping hints of more club classics, rave rat anthems, and indie sleaze lore. On all accounts, “Brat” is a mainstream resurrection of late-2000s electronic: streaks of dystonic Limewire raves with the XCX world of Hyperpop – the one the British musician has reinvented continuously since 2016’s razor-sharp Jodie Harsh and the late SOPHIE-produced “Vroom Vroom” EP, now dubbed a magnum opus within the eclectic genre.

So, what is Hyperpop? Ex-Girlpool member and budding fixture in the genre, Harmony, feels her solo foray is easily passed off as “absurd pop,” even though the bombastic sound also verbalizes her current philosophical and cultural obsessions. LA-based illustrator Sean Ellmore, who works with artists such as vixen Brooke Candy, also imparted “juicy” words of wisdom that encapsulate Hyperpop. He defines the subgenre as “taking pop music and throwing it in a blender, putting it on ‘pulse’ and recording it. Master it, make it sound wet and juicy.”

Contrary to popular belief, Spotify didn’t invent Hyperpop. However, they were the first popular streaming service to dedicate a playlist to championing undersung trailblazers long before anyone cared. On a deeper level, Hyperpop is a community love affair that hypothesizes the future of popular music – not pigeonholed to a singular sound – where pushing the extreme is both its norm, and the ultimate mainstream turn-off.

English producers A.G. Cook and SOPHIE are among the figureheads atop the Mount Rushmore of Hyperpop, popularizing the subgenre throughout the 2010s, partly through Cook’s prestigious label PC Music and its holster of innovative, underground talent and the latter’s landmark 2017 debut album, “OIL OF EVERY PEARL’S UN-INSIDES”. Since befriending Charli, the mastermind trio ditched her “Boom Clap” innocence to craft a Mona Lisa caricature within music. However, Charli’s label, Atlantic Records, admitted they didn’t know how to market her cutting-edge, experimental new sound. Instead, the music industry seemingly tested Hyperpop’s dissonant synth harmony a different route, with bigger artists, namely on the SOPHIE-produced 2015 Madonna single, “Bitch I’m Madonna,” and avoided the connection altogether.

“The point is that we wanted to change pop culture,” SOPHIE, whose posthumous album is set to release September 27, once told Office Magazine about her intention with Hyperpop, “make it more real, make it more weird-sounding, make it more authentic like Missy Elliot did in the past, like any decent pop star has done.”

Still, Charli’s almost-decade-long commitment to collaborating with underground royalty – including Dorian Electra, 100 gecs, Slayyyter, Rico Nasty, Rina Sawayama, and many more – matching nuanced visual aesthetics to her dynamic soundscape, and being a full-time “365 partygirl” raised a new generation of music disturbers. Since “Vroom Vroom”, she has been preparing society for something different, soft-launching lush synths and industrial hard-ons in small doses with Charli’s 2022 sellout record, “Crash”– the necessary prerequisite for 2024’s clubbier, “Brat”, aka Hyperpop’s trojan horse into mainstream domination.

However, it’s a healthy reminder that the juggernaut genre was a term first coined by journalist Don Shewey while describing the Scottish band Cocou Twins. In conversation with music manager Noah Simon, he also expands on the genesis of Hyperpop, a topic he thoroughly demystified via his many multi-part YouTube deep-dives that wormed their way into stan Twitter (now known as “X”)-virality during the pandemic lockdown. “The roots and soundscapes of Hyperpop roots sorta belonged to “early internet” music, the MySpace scene, and that existed outside of Charli XCX or A.G. Cook,” Simon said. The Connecticut native enjoyed some free time before meeting emerging artist RYL0 in the studio. “Microgenres like Nightcore and ‘non-stop pop’, music played at [the online music venue] SPF420 snowballed into each other, landed on SoundCould, and somehow got the ‘Hyperpop’ label. Hyperpop was all these different, earlier internet community cultures that didn’t necessarily begin with A.G. Cook or [his label] PC Music.”

If anything, Ellmore, who is better known for his pop culture painting lessons on TikTok, which have amassed nearly 500,000 followers and 27 million likes on the platform alone, looks to Black Eyed Peas as an inaugural Hyperpop awakening. “I genuinely think we wouldn’t have hyperpop if we didn’t have The Black Eyed Peas’ ‘The E.N.D’ (2009) because of the amount of autotune, synthy sounds and just balls-to-the-walls experimenting,” Ellmore said, who was coincidentally among the insanely cool crowd at Charli XCX’s 32nd birthday party, alongside the likes of Lorde, Billie Eilish, Sabrina Carpenter and more. Other pop culture relics have influenced the many colors of Hyperpop: for example, Cook credited his production work on Charli’s “Number 1 Angel” (2017) as directly inspired by Britney Spears’s “Femme Fatale” (2011).

Since the rise of TikTok, Hyperpop has been synonymous with “scene” music – more categorized as My Space’s dark-electronic pop sound a la Spears’s 2007 cub hit “Gimme More” – and became one of the platform’s long-living trends that turned profitable. Spanish performer Rosalia notably cashed in on the trend with her 2022 junior album, “MOTOMAMI”, which made many year-end lists thanks to the fresh commercial edge from acclaimed Venezuelan-born experimental producer Arca.

However, as many mainstream talent tuned into the “now” moment, such as Camilla Cabello’s recent album “C,XOXO”– a predominately hip-hop-influenced record with Hyperpop flares– it became evident that labels were half-empty attempts at understanding the latest “buzzword”, according to Simon. “In my video on Hyperpop origins, I predicted that as Hyperpop became a major label buzzword and got absorbed into the mainstream, it would lose its subcultural edge and popularity. Once something becomes too popular, it’s no longer seen as cool, and people—especially the younger generation—move on.”

“In 2020, Hyperpop was defined by loud, abrasive sounds, metallic snares, distortion, and pitched-up vocals. It was at its cultural peak, with a dedicated Spotify playlist highlighting its prominence,” Simon continues. “But four years later, that specific sound has largely faded; it’s more abstract and falls under the umbrella of experimental pop music. Even these glossy, Y2K-inspired visuals were a big part of Hyperpop five years ago and have now been adopted by more prominent artists in the music industry and are somewhat disconnected from their beginnings.” Ellmore even echoes Simon’s sentiments, saying it’s “cool” that the mainstream is catching on to what the kids want to hear; however, Cabello is “just trying on the aesthetic for fun” compared to Katy Perry’s newest song dance album, “143”, enlists producers “who make the Hyperpop sound” like Slush Puppy (Kim Petras, Brooke Candy).

During its half-decade ascent, Hyperpop had many faces to fit into “pop” music, acclimating audiences at large for something bigger. With “Brat”, Charli pulled back the fillers, delivering an unapologetic and bold tour-de-force record that is HyperPop with a capital “P.” Though it didn’t top the Billboard 200 album chart, it went No. 1 in the subculture’s heart, longtime synth-loving acolytes who prayed for the subgenre’s worldwide acclaim even without the “cool” stamp-of-approval. Hyperpop isn’t important now because of Charli. Hyperpop is important because Charli’s record popped the lid on an underrepresented genre that made avant-garde music and its dedicated community, who always had the power to make “brat green” a cultural phenomenon since 2018.

Sabrina Carpenter calls “Short n’ Sweet” her sophomore album, even though she’s been releasing music for nearly a decade. The “Espresso” starlet likens the new release to “a companion [to 2022’s “emails i can’t send”],” but tells Variety it’s not the same — meaning pop’s princess finally has “full creative control being a full-fledged adult.” Most of that is, in fact, true: when inside the Disney machine — as was Carpenter as a star in the 2014 ‘90s sitcom reboot, “Girl Meets World” — the network’s breakout stars sign their soul away to Hollywood Records where they endure a grueling limelight cocktail that, oftentimes, end with a stint in rehab.

Luckily, that wasn’t Carpenter. She stuck to acting long after Disney, with roles such as Netflix’s “Tall Girl” duology, even while still chained to her former employer’s music entity. Or that was the case up until “emails i can’t send,” Carpenter’s self-proclaimed debut album, fifth overall, released under Universal Music’s Island Records label, and a masterful pop clapback at ex Joshua Bassett, who wrongfully painted Carpenter as the other woman in an unwarranted love triangle alongside fellow Disney breakout Olivia Rodrigo. More importantly, the 2022 release jump started the “Nonsense” singer’s metamorphosis from the scarlet “Disney ex-act” monogram towards pop superstardom.

Aside from making herself a household name while opening for Taylor Swift’s Eras Tour during its international legs earlier this year, Carpenter’s “emails i can’t send” was pop genius. It was a 23-year-old’s flirty tell-all about being in love at the wrong time, brimming with chicken-scratched ramblings that are hypothetically poetic, and brewed with enough emotional turmoil to keep pop culture junkies awake unpacking not only its soft pop production, but the correlation between each lyric and tabloid headlines.

Needless to say, its follow up had to be more than a home run — it needed to be a grand slam — and as it would have it, Carpenter’s “Short n’ Sweet” is an instant and undeniable knockout. Upon its first listen, it feels like a cosplay of Kacey Musgraves if Musgraves broke into Dolly Parton’s songwriting vault, yet still, Carpenter effortlessly manages to find a youth-centric flair that lends just enough sexy intrigue for limitless radio airplay — a knack of the singer’s as of late.

Summer blockbuster singles “Espresso” and “Please Please Please” are not only Billboard chart-toppers; they are the glittery centerpieces of “Short n’ Sweet.” Together, they make album opener, “Taste” (also the latest album single), an equally dazzling concoction of indie pop production spiked with “Jolene”-isms and a campy horror video treatment from legendary music video director Dave Meyers (Taylor Swift, SZA, Ariana Grande, etc.), which stars “Wednesday” actress Jenna Ortega. Compared to the album’s promotional singles, “Taste” is an accurate measure of Carpenter’s growth from 2022’s shy, doe-eyed snapshot to today’s kiss-stained siren.

“Good Graces” and “Bed Chem” also fall into modern pop perfection, where Sabrina’s sexual innuendo is more smoldering flirty than overcooked pandering. Though fun in their own right, these two tracks are polar opposites on the danceability spectrum: where “Good Graces” employs a bubbalicious phone synth that sages the space of indecisive lovers, “Bed Chem” is an underrated “softburn” that pulses between the sheets, the song’s groovy guitars, and Carpenter’s dreamy falsettos and oo-ahh adlibs.

The first half of “Short n’ Sweet” is perhaps what pop perfection is all about, entertaining listeners with a variety of late summer sunset melodies, namely on “Sharpest Tool,” where its dark love-stricken candor doesn’t necessarily bite the dust. The “we never talk about it” refrains bubble with the last bright remnants of summer love, and it’s a pure treat to witness the serendipitous moment when genius storytelling and beautiful acoustics rewrite a traditional sad song into something better than an album cushion.

However, Carpenter boxes herself inside the carefully curated “Short n’ Sweet” sound too soon. Every fresh pick-up line or disarming love-life detail past the 15-minute mark feels tired, no matter what order the album is played. By the time ballad-y tracks like “Dumb & Poetic” and “Slim Pickins” start playing, the nostalgic rays of “Sharpest Tool” have long dissipated. Instead, the lyrics shine like first-place trophies until they rub away green, pumped with fodder toxic relationship-isms, an uninventive Leonard Cohen comparison, and other predictable “red flag” behaviors that should’ve better smithed by the four-person songwriting team, compromising of Carpenter and Julia Michaels, before belting out situational hardships that were not only heard word-for-word on “emails i can’t send,” but better said by other (bigger) singer-songwriters.

Unfortunately, the repetitive nature of “Short n’ Sweet” also bores the naturally fun and horny nature of “Juno.” Lyrically, the buzzy track offers nothing different from “Bed Chem” or the album’s radio-candy singles, save for a few out-of-pocket explicits that make it an immediate fan favorite. However, aside from the track’s edgy soft-rock production, the album track isn’t all that memorable in the grand scheme of “Short n’ Sweet”, where brighter moments ultimately take the spotlight.

Perhaps the unclear inspiration surrounding “Short n’ Sweet” is part of the dilemma. Though it’s common for artists to put each other on their mood boards, they usually express such music connections as a selling point during press. Carpenter sold herself as the main attraction, which is a huge wager: although she is today’s pop princess, she’s a superstardom newbie and lacks the notoriety of influential figures like Dolly Parton, who clearly inspired this record’s coy lyricism.

Still, Carpenter takes another bold step forward and presents another modern pop masterpiece with “Short n’ Sweet.” She’s transformed from innocent promiscuity, to a mature adult who now has the final say in her love life: when things go right, she’s on a roll; when things fall through, Carpenter knows how to pick up the pieces. While “emails i can’t send” has a better lyrical grasp on sad songs, there’s no denying “Short n’ Sweet” is deserving of praise for promoting boy-optional love and fun, especially with the great “Sharpest Tool” spearheading the record’s retrospective relational turbulence.

Carpenter not sharing her album’s musical inspiration can be viewed as an industry no-no, but positioning herself main attraction ultimately safeguards Carpenter’s chance at becoming a pop music beacon for the new generation. For some clarification, “Short n’ Sweet” isn’t her ticket to pop stardom so much as it’s her victory lap, thanks to last year’s hyper-successful singles “Nonsense” and “Feather,” and recent summer hits “Espresso,” and “Please Please Please.” Every accolade from here on out is another cherry red-lipped kiss of success that was ten years in the making.