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11.7.2025
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“When I walk into a cinema, I want to leave with an experience unrepeatable, unquotable, and indescribable.”
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—Lynne Ramsay
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<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: inherit;" target="_blank">
<img alt="Rosalía’s Dark Room " class="kAw" src="https://inboxflows.com/_/image/https%253A%252F%252Fimgix.bustle.com%252Fuploads%252Fimage%252F2025%252F11%252F7%252Ff3f86c41%252F51e11-17623267362331.webp%253Fw%253D640%2526h%253D360%2526fit%253Dcrop%2526crop%253Dfaces%2526dpr%253D2/?inbox_flows_img_sig=eyJwYXRoIjoiaHR0cHMlM0ElMkYlMkZpbWdpeC5idXN0bCIsInRpbWUiOjE3NjI1NDI1NjkuODI2MTgxfQ:1vHRpx:VhHUnaoSBne5gS-5GmaFAmTpO2M39unoUxeVL_mzhKA" style="border-style: none; -ms-interpolation-mode: bicubic; text-decoration: none; border: 0; outline: 0; padding: 0; display: block; width: 100%; max-width: 700px;" width="640"/>
</a>
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In
</td>
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<tr>
<td align="center" class="fN_" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 400; font-size: 50px;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
Rosalía’s Dark Room
</a>
</td>
</tr>
</tbody>
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</td>
</tr>
</tbody>
</table>
</td>
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<tbody>
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Out
</td>
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<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
Ryan Murphy’s Multisensory Overload
</a>
</td>
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<p class="BBC" style="word-break: break-word; margin-bottom: 0; margin: 18px 0 0;">
<strong>
Rosalía
</strong>
’s new album
<strong>
</strong>
<em>
<strong>
Lux
</strong>
</em>
hit review aggregator
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
Metacritic
</a>
this week with a perfect average score of 100.
<strong>
Ryan Murphy
</strong>
's new
<strong>
Kim Kardashian
</strong>
-fronted content fest
<strong>
</strong>
<em>
<strong>
All’s Fair
</strong>
</em>
debuted on
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
Rotten Tomatoes
</a>
with a rating of 0. These numbers have modulated slightly since, and in some ways, it feels totally unfair to compare the projects. Yet nothing else quite sums up the two extremes of popular culture at the moment. Rosalía’s symphonic, genre-crossing album urgently pushes past the distraction of modern life and limits of social media-ready pop in search of something profound. She urged fans to experience their first listen in a dark room, alone, with headphones.
<em>
All’s Fair
</em>
, meanwhile, feels like it was designed to have on in the background while you play Candy Crush or fire off a snarky tweet (perhaps about the show itself). If there’s anything good to say about the new series, it might be that it's impressive how perfectly engineered it is for the multiscreen experience. (Whether social media is actually enjoying it is up for debate. To quote
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
TikToker
<strong>
Nirupam
</strong>
</a>
, “I thought it was going to be fun. I thought it was going to be campy, but it’s nothing like that. It’s nothing of the sorts.”) Creatives used to take the audience’s full attention for granted. Now, navigating the way their art will compete in the attention economy is part of the process. “Nobody has any time to sit with art and chew on it and engage with anything in a meaningful way,” singer-songwriter
<strong>
Ethel Cain
</strong>
said in
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
an interview in our Originals Issue
</a>
. “We can’t build deep, meaningful relationships with anything, so we just take sound bites and the funniest, most shallow bits of something and run with them. That’s all we’re really garnering from a body of work.” The obvious reply is that people can balance both. There’s theoretically space for mind-numbing background slop and works that require meditative attention in everyone’s media diet—but are those snarky tweets and endless rounds of Candy Crush really worth it?
</p>
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<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: inherit;" target="_blank">
<img alt="INGLEWOOD, CALIFORNIA - JULY 28: (Exclusive Coverage) Lady Gaga performs onstage during The MAYHEM Ball Tour at The Kia Forum on July 28, 2025 in Inglewood, California. (Photo by Kevin Mazur/Getty Images for Live Nation)" class="kAw" src="https://inboxflows.com/_/image/https%253A%252F%252Fimgix.bustle.com%252Fuploads%252Fgetty%252F2025%252F11%252F7%252F37b787b7%252Finglewood-california-july-28.jpg%253Fw%253D640%2526h%253D441%2526fit%253Dcrop%2526crop%253Dfaces%2526dpr%253D2/?inbox_flows_img_sig=eyJwYXRoIjoiaHR0cHMlM0ElMkYlMkZpbWdpeC5idXN0bCIsInRpbWUiOjE3NjI1NDI1NjkuODI2Mjg4fQ:1vHRpx:867d0Z0Q02bvDMyg55XhXHEsz6z9MhNITBVzMCTyT1s" style="border-style: none; -ms-interpolation-mode: bicubic; text-decoration: none; border: 0; outline: 0; padding: 0; display: block; width: 100%; max-width: 700px;" width="640"/>
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<div class="iO8" style="font-family: PilatNarrow, Helvetica, sans-serif; font-size: 10px; line-height: 120%; opacity: 0.75; padding-top: 3px;">
Kevin Mazur/Getty Images Entertainment/Getty Images
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In
</td>
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<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
The 2027 Grammys
</a>
</td>
</tr>
</tbody>
</table>
</td>
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</table>
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Out
</td>
</tr>
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<td align="center" class="fN_" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 400; font-size: 50px;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
The 2026 Grammys
</a>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="YXx" style="border-collapse: collapse; word-break: break-word; color: #000; font-family: Whitman, Garamond, Times, serif; font-weight: 400; font-size: 18px; line-height: 107%; padding: 2px 0; padding-top: 12px;">
<p class="BBC" style="word-break: break-word; margin-bottom: 0; margin: 18px 0 0;">
The Grammy nominations arrived this morning after a recent rush of much-talked-about albums (
<em>
Lux
</em>
,
<strong>
Lily Allen
</strong>
’s
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
<em>
<strong>
West End Girl
</strong>
</em>
</a>
, and
<strong>
Taylor Swift
</strong>
’s
<em>
<strong>
The Life of a Showgirl
</strong>
</em>
) that won’t be eligible until next year. So in some ways, it feels like a game of “Oh, right,
<em>
that
</em>
song… I remember that one.”
<strong>
Kendrick Lamar
</strong>
received the most nominations for
<em>
<strong>
GNX
</strong>
</em>
, his album that came out almost an entire year ago.
<strong>
Lady Gaga
</strong>
and
<strong>
Bad Bunny
</strong>
are up for seven and six awards, respectively. Otherwise, the Grammys went big on songs that seemed to be everywhere even though it’s not entirely clear if they’re necessarily favorites of anyone of legal drinking age (
<strong>
Rosé’
</strong>
s “APT.,”
<strong>
Doechii
</strong>
’s accidental TikTok hit “Anxiety,” and
<em>
<strong>
K-Pop Demon Hunters
</strong>
</em>
breakout song “Golden” each got Song of the Year nomination). Of course, we have to give a special shout-out to
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
recent
<em>
W
</em>
cover star
</a>
<strong>
Addison Rae
</strong>
for securing her Best New Artist nomination. “Diet Pepsi,” however, was robbed in other categories. Beyond the main ones, voters did hand out multiple nominations to critical but not-quite-mainstream favorites like
<strong>
PinkPantheress
</strong>
and
<strong>
Turnstile
</strong>
(the Baltimore band that’s basically redefined and reignited the hardcore genre). It kind of makes you wonder why they didn’t push either into the main categories just to shake things up. All in all, though, the timing leaves us wondering who will take home trophies in 2027 rather than necessarily excited about the upcoming 2026 awards ceremony.
</p>
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<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: inherit;" target="_blank">
<img alt="Jennifer Lawrence’s On-screen Spiral " class="kAw" src="https://inboxflows.com/_/image/https%253A%252F%252Fimgix.bustle.com%252Fuploads%252Fimage%252F2025%252F11%252F7%252Fb37997a0%252Fdownload-22.jpeg%253Fw%253D640%2526h%253D427%2526fit%253Dcrop%2526crop%253Dfaces%2526dpr%253D2/?inbox_flows_img_sig=eyJwYXRoIjoiaHR0cHMlM0ElMkYlMkZpbWdpeC5idXN0bCIsInRpbWUiOjE3NjI1NDI1NjkuODI2Mzg3NH0:1vHRpx:i9fcNM-A_vpLjvqFIk7_Q2IAHSHWQCe2Ulq-LCHLqVA" style="border-style: none; -ms-interpolation-mode: bicubic; text-decoration: none; border: 0; outline: 0; padding: 0; display: block; width: 100%; max-width: 700px;" width="640"/>
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In
</td>
</tr>
<tr>
<td align="center" class="fN_" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 400; font-size: 50px;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
Jennifer Lawrence’s On-screen Spiral
</a>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
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Out
</td>
</tr>
<tr>
<td align="center" class="fN_" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 400; font-size: 50px;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
Crossover Fanfiction
</a>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="YXx" style="border-collapse: collapse; word-break: break-word; color: #000; font-family: Whitman, Garamond, Times, serif; font-weight: 400; font-size: 18px; line-height: 107%; padding: 2px 0; padding-top: 12px;">
<p class="BBC" style="word-break: break-word; margin-bottom: 8px; margin: 18px 0 0;">
<strong>
Jennifer Lawrence
</strong>
worries that audiences will come to her new film with
<strong>
Robert Pattinson
</strong>
,
<em>
<strong>
Die, My Love
</strong>
</em>
, expecting a
<strong>
Katniss Everdeen
</strong>
and
<strong>
Edward Cullen
</strong>
crossover event. In truth, the two generational superstars didn’t come together for box office glory, but rather for a chance to work with the singular auteur
<strong>
Lynne Ramsay
</strong>
, known for her cinematic poems that cycle through nightmares and dreamy hazes. Adopted from
<strong>
Ariana Harwicz
</strong>
’s novel of the same name,
<em>
Die, My Love
</em>
is an examination of motherhood and postpartum depression. Lawrence herself shot her scenes while in the second trimester of her most recent pregnancy. To Lawrence’s delight, the performance isn’t being compared to Katniss as much as it is
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
<strong>
Gena Rowlands
</strong>
</a>
’ legendary turn in
<em>
<strong>
A Woman Under the Influence
</strong>
</em>
. “[Lawrence is] a master at simultaneously playing the truth and the performance in front of it, and this is some of her very best work in that realm,”
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
writes
</a>
<em>
The Independent
</em>
.
</p>
<p class="BBC" style="word-break: break-word; margin-bottom: 8px; margin: 18px 0 0;">
Meanwhile,
<strong>
Elle Fanning
</strong>
has two very different movies in two very different genres out this weekend, but she’s getting Oscar-worthy praise for both. The bigger-budget version is
<strong>
</strong>
<em>
<strong>
Predator: Badlands
</strong>
</em>
, a continuation of the sci-fi franchise that started as a 1980s vehicle for
<strong>
Arnold Schwarzenegger
</strong>
but has since morphed into something more. “Elle Fanning’s extremely winning performance—an awards-worthy marvel of ingenuity, guilelessness, and troubled empathy—makes her the most interesting character this franchise has ever seen almost just as fast,”
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
writes
</a>
IndieWire. The more prestigious offering (and the one that might actually get her nominated) is
<strong>
Joachim Trier
</strong>
’s latest
<em>
<strong>
Sentimental Value
</strong>
</em>
. Here, she costars with a who’s-who of Scandinavian acting royalty as an American actress who finds herself in the midst of some Norwegian family melodrama on a film set. “Truly sublime,” writes
<em>
The Playlist
</em>
. Also worth checking out in limited release is
<strong>
Ira Sachs
</strong>
’s latest
<em>
<strong>
Peter Hujar's Day
</strong>
</em>
, which stars
<em>
<strong>
Ben Whishaw
</strong>
</em>
as the photographer who chronicled the art and queer worlds of ’70s and ’80s New York (if you know him from nothing else, it's his photograph that serves as the cover for
<em>
<strong>
A Little Life
</strong>
</em>
). “Running only 76 minutes, the movie is a veristic and voluble delight, an exercise in eavesdropping on a pair of smart, funny people,”
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
writes
</a>
<em>
The Wall Street Journal
</em>
.
</p>
<p class="BBC" style="word-break: break-word; margin-bottom: 0; margin: 18px 0 0;">
On streaming, you’ll find Netflix’s
<strong>
Jacob Elordi
</strong>
-starring take on
<em>
<strong>
Frankenstein
</strong>
</em>
from
<strong>
Guillermo del Toro
</strong>
. “[A] remarkable achievement that in a way hijacks the flagship story of the horror genre and turns it into a tale of forgiveness,”
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
writes
</a>
<em>
The Wrap
</em>
.
<em>
<strong>
Breaking Bad
</strong>
</em>
creator
<strong>
Vince Gilliga
</strong>
n returns, this time on Apple TV, with
<em>
<strong>
Pluribus
</strong>
</em>
. “This might be the best pandemic-related art we’ve gotten yet, because it comes at those themes from the most unexpected of angles, prying open the lingering trauma from those years to explore the deeper ways that time hurt us all,”
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writes
</a>
<em>
Consequence
</em>
.
</p>
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