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Hollywood’s New Obsession: The Rise of the “Quiet Icons” Changing the Fame Game
Hollywood

Hollywood’s New Obsession: The Rise of the “Quiet Icons” Changing the Fame Game

by jummy84 December 8, 2025
written by jummy84

There’s a new wave sweeping through Hollywood, and it’s not about blockbuster franchises, scandal-driven headlines, or overnight viral fame. This season, the industry’s coolest energy is coming from what fans are calling the “Quiet Icons”  celebrities who don’t need chaos, controversy, or clickbait to dominate the conversation.

From red carpets to social media feeds, these stars are redefining what it means to shine in Hollywood. Instead of loud drama, they bring authenticity, intention, and a vibe that feels refreshingly human in an industry built on noise.

Leading the trend are multi-hyphenates like Lily Collins, who continues to blend classic elegance with modern cool; Barry Keoghan, whose mysterious charm has turned him into the internet’s favorite unpredictable actor; and rising artists like Maya Hawke, who has quietly become the muse of a generation craving softness and originality.

What makes these stars magnetic is simple:
realness is their brand.
They show up to premieres with effortless fashion, post unfiltered behind-the-scenes content, and speak with honesty about their process instead of perfection. No over-curated personas, no performative drama, just vibes, talent, and a sense of grounded confidence.

Even in fashion, the Quiet Icon movement is booming. Stylist-favorite brands like The Row, Khaite, and Tove are leaning into minimal silhouettes and luxe textures that whisper instead of shout. The red carpet has officially entered its “silent luxury with personality” era, and fans can’t get enough.

What’s fascinating is that this shift isn’t accidental, it’s cultural. Audiences are exhausted by spectacle. They want stars who feel real, who make fame look sustainable instead of chaotic, and who bring emotional intelligence to an industry that sometimes forgets what emotion even means.

This new Hollywood energy proves one thing:
You don’t have to be the loudest person in the room to be the most iconic.
Sometimes, the ones who speak softly make the biggest impact.

Photo Credit:
Montclair Film, CC BY 2.0, via Wikimedia Commons
Senior Airman Austin Pate, Public Domain, via Wikimedia Commons
Toglenn, CC BY-SA 4.0, via Wikimedia Commons

December 8, 2025 0 comments
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Cricket in L1
Lifestyle

Are you locked in? Inside gen z’s newfound obsession with focus and consistency

by jummy84 November 13, 2025
written by jummy84

If there’s one thing the internet does best, it’s repackaging old ideas in new aesthetic ways. Case in point: Gen Z’s latest fixation on “locking in.” The phrase has taken over social media feeds, with influencers declaring that they’re “locking in for winter.” According to Google Trends, searches for the term peaked this year, reaching a value of 100, the highest possible popularity rating.

From memes to reels, the ‘locking in’ trend is taking over the internet

The idea is simple: you “lock in” to a goal or habit, block out distractions, and focus on becoming the most disciplined version of yourself. Influencer Manvi Vedwa recently posted a reel captioned, “Are you locking in for the rest of 2025 to meet your goals?” featuring yoga sessions, morning journaling and matcha routines. It’s equal parts inspiring and aspirational, but also a little familiar and reminiscent of other trends like the “75 Hard Challenge”. The difference? “Locking in” is less about transformation and more about vibe management by creating the illusion of control through discipline.

At its core, “locking in” merges productivity culture with aesthetic storytelling that Instagram loves. It’s about achieving your “gym lock-in arc,” “academic lock-in era,” or “winter glow up arc.” Users turn consistency into content by turning their goals into something they can post. As Arpita Kohli, psychologist from PSRI Hospital says, “Gen Z has grown up in an environment of constant digital stimulation, where attention is fragmented. ‘Locking in’ represents a rebellion against this, as a conscious attempt to reclaim agency over one’s focus, productivity, and sense of control. Sharing this online turns personal discipline into a collective experience.”

This sense of collective focus has even inspired new digital tools. One example is Tag Team, an accountability app that pairs users with partners who share similar goals. Co-founder Divij Meh describes it as “mutual encouragement with structure.” He says, “Gen Z doesn’t struggle with ambition; we struggle with consistency because focus has become lonely. Tag Team makes discipline collaborative rather than isolating.”

But as with most online trends, “locking in” walks a thin line between self-improvement and self-performance. Ms Arpita Kohli warns, “It can be both a healthy coping mechanism and a source of pressure. While it encourages structure and mindfulness, when it becomes comparison-driven, it can lead to guilt, burnout, and an unhealthy obsession with productivity.”

In many ways, “locking in” mirrors Gen Z’s relationship with identity itself. As Arpita Kohli adds, “Gen Z tends to build identity through visibility. ‘Locking in’ isn’t just about being focused; it’s about being seen as focused. It reflects a deep desire for stability and purpose in a chaotic, hyper-connected world.”

Ultimately, “locking in” may look like progress to a generation determined to be better. But scroll long enough, and you’ll see its paradox. The beautifully edited montages of productivity remind us of one thing: we’re still scrolling for motivation instead of doing the thing.

November 13, 2025 0 comments
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Raveena Tandon Questions Public Obsession Over Her 1990s Engagement: 'Girls Change Boyfriends Weekly, So Why This One?'
Bollywood

Raveena Tandon Questions Public Obsession Over Her 1990s Engagement: ‘Girls Change Boyfriends Weekly, So Why This One?’

by jummy84 November 7, 2025
written by jummy84

Bollywood veteran Raveena Tandon recently stirred renewed conversation when she addressed the persistence of public fascination around her broken engagement with fellow actor Akshay Kumar—more than three decades after the event. In a candid podcast interview, Tandon briskly questioned why one disengagement continues to attract attention, especially when the very relationships that replace them are often fleeting.

“When people still search about my engagement with Akshay, I wondered, ‘Forgotten it a long time ago,’” Raveena said, referencing the headlining query she received about the 1990s split. She went on, “We made one hit film together, sure. But girls change their boyfriends every week in college, people get divorced, move on. Yet one broken engagement remains stuck to my name. Don’t know why.”

Her tone reflected a mix of bemusement and mild frustration. It’s a reminder of how old narratives linger in public memory—and how some celebrities feel trapped by them. For Raveena—now married to distributor Anil Thadani since 2004 and mother to teenage children—the past engagement feels distant, yet it keeps resurfacing, tethering her identity to a moment no longer relevant.

The engagement to Akshay stemmed from a period when the pair starred in chart-buster films like Mohra, and the cinematic pairing fed speculation of an off-screen romance. The trenchant memory of that era continues to cast a long shadow, even as both actors have charted their own courses since. But for Raveena, the attention feels unfairly fixed.

“I stopped reading anything written about it—why would I raise my blood pressure? If it’s just noise, better not read,” she remarked. The comment suggests fatigue with being asked the same question—a remarkable pressure considering she has had two marriages since and more than 25 years of post-engagement life. Yet just one headline forms the permutation the public returns to.

What makes this moment significant is how it underscores the nature of celebrity in India. The cultural expectation that past relationships remain repeatedly revisited—especially for women—is itself telling. Raveena’s pointed observation that “girls change their boyfriends every week” works as both sharp commentary and social critique. The underlying complaint: the endurance of outdated narratives—and the unequal scrutiny tied to them.

Also Read: Bharti Singh Gets Emotional as Harsh Limbachiyaa Gifts Her a ₹1.5 Million Bulgari Watch! Shared Hilarious Video

Interestingly, the episode also carries career undertones. Raveena’s resurgence in screen visibility—spurred by recent film announcements and renewed public interest—comes at a moment when her past relationship once again bubbles to the surface. For many stars, public interest in personal history enacts a dual function: distraction and brand-refresh. Whether intentionally leveraged or not, the resurfacing of past links often aligns with renewed professional footsteps. In her case, the new film Welcome to the Jungle sees her sharing screen space with Akshay once more—circling back to that earlier era.

From a broader lens, Raveena’s commentary invites a rethink of celebrity memory: why does one event remain in public loops when entire decades of life have passed? Why are some partnerships immortalised in headlines, while others fade? And crucially, why does the inquiry persist more insistently for female stars? The lingering question seems not just personal but systemic.

Her remarks also reflect an evolution in how stars engage with their narratives. While earlier generations might have ducked such topics, today’s stars—especially women with longevity in the field—are more direct about what they see as unfair. Tandon’s blunt response signals that she won’t continue to bear the coverage costs of an ancient headline just because it sells clicks.

For fans and media consumers, this moment offers a fresh prompt: when we dig out old relationship stories, what exactly are we looking for? Nostalgia, scandal, certainty? Raveena’s sharp defence suggests we should ask whether the story still holds meaning—or merely fills column inches.

Ultimately, the actress’s reflection is less about relational history and more about agency. It’s a claim, in so many words: “I moved on. You moved on. Why can’t you?” In that, she signals a shift. Celebrity isn’t just about what happens on screen—it’s also about when you’re permitted to stop answering for it.

In the end, Raveena Tandon’s voice sounds confident—not defensive. She’s not rewriting history; she’s asking us to reconsider why we re-read it. And in doing so, she reminds us that storytelling, especially celebrity storytelling, is as much about letting go as it is about looking back.

November 7, 2025 0 comments
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Anubhav Sinha Criticizes Bollywood's Obsession with "Fake" Box Office Numbers
Bollywood

Anubhav Sinha Criticizes Bollywood’s Obsession with “Fake” Box Office Numbers

by jummy84 October 17, 2025
written by jummy84

Filmmaker Anubhav Sinha has voiced strong criticism regarding the entertainment industry’s excessive focus on the business and box office performance of films, arguing that this obsession distracts from the actual purpose of cinema: the audience experience.

Sinha claims that the financial metrics being discussed are often unreliable and misleading. “The numbers are about what budget films are made on and the business they do. Dono ankdey jhoote hain! (Both figures are fake!),” the director stated emphatically.

He explained that while people in the industry generally avoid discussing this convoluted truth, “a lot of it isn’t true.”

Sinha believes that the audience should be entirely removed from financial discussions, which he feels are irrelevant to their role as consumers.

“Honestly, that is not the audience’s business; it should be whether they liked the movie or not,” he asserted. He drew a compelling analogy to consumer goods: “Do we ask a biscuit company about their ROI (return on investment) before consuming it?”

Also Read: Manoj Bajpayee Slams ‘Fake, Patched-Up’ Video Ahead Of Bihar Election, Denies Allegiance With Political Parties

The director suggested that the public, and by extension the media, enjoys talking about failure too much. “We are discussing too much, and people talk and enjoy discussing failures. As humans, we like celebrating ruins and talking about them.” He stressed that while a film may be broadly labelled “bad,” the individual who saw it may have genuinely enjoyed it.

Facing Industry Challenges and Finding the Audience Gap

Sinha, who recently wrapped up a courtroom drama starring Taapsee Pannu, admitted that the film industry presents significant, even devastating, challenges for creators.

He confessed to facing a major professional hurdle after his 2011 film Ra.One underperformed commercially. “Logon ke ghar bik jaate hain (People lose their homes). Today, people call Ra.One a cult film, but it did not do well. After that I had a very tough three or four years with no work,” the 60-year-old filmmaker revealed.

 

Feeling the need to “reinvent and update” himself, Anubhav Sinha embarked on a journey he called “Chal Picture Chalein,” travelling across cities including Lucknow, Delhi, and Jaipur.

His travels highlighted a significant disconnect between filmmakers and their audience. He concluded that the audience is not boycotting theatres altogether, but they are highly selective. “The audience is willing to go to theatres, but they’re particular about what they choose to watch. If they feel a film is worth spending money and time on, they do watch it,” he observed.

Anubhav Sinha attributes this gap to the geographical reality of many in the film industry. “Most makers are immigrants in Mumbai, uprooted from our hometowns,” he shared. He argues that by living in this “bubble,” filmmakers are failing to witness and understand the changing tastes and evolving expectations of audiences in other parts of the country. His travels were an attempt to bridge this critical gap and reconnect with the real pulse of the nation’s movie-goers.

October 17, 2025 0 comments
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'South Park' Takes On Peter Thiel's Antichrist Obsession
TV & Streaming

‘South Park’ Takes On Peter Thiel’s Antichrist Obsession

by jummy84 October 16, 2025
written by jummy84

South Park returned from another two-week break on Wednesday with some fresh jabs at Donald Trump and Peter Thiel.

During the Season 27 episode ‘Twisted Christian‘, Theil visits the children of South Park to preach against the “satanic numerology shit” going on at the school, as the kids share inside jokes about the numbers six and seven (an actual phenomena taking over schools recently).

“I’m Peter Thiel and I know about the anti-Christ,” he declares in the assembly after his own theme song states the same intro, a nod to the tech billionaire’s recent lectures on armageddon and the possible identity of the antichrist.

According to Thiel’s South Park lecture, the end of the world will happen in six to seven days, as predicted by Revelation 6:7. His obsession with the numbers results in Thiel turning South Park into a surveillance state and commandeering all the students’ data to compile a list of cultists.

“Wait why is there a camera in the girls bathroom?” asks Jesus, to which Thiel declares: “To stop the anti-Christ!”

Meanwhile, Cartman has the most aggressive reaction to the numbers, going full Linda Blair with projectile vomit. This draws Thiel to his door for an Exorcist homage as he is determined to get to the bottom of the numbers’ meaning and how Cartman is supposed to stop the antichrist.

Thiel remains in contact with JD Vance, who is determined to stop Satan from birthing Trump’s demonic spawn, as the POTUS visits Planned Parenthood to try and take matters into his own hands.

Unfortunately, the doctor is unable to help give Satan an abortion, so they instead recommend Trump reach out to Thiel, expert on the antichrist.

Turning its premiere-delayed 10 episode Season 27 into a mega season, South Park airs on Comedy Central at 10 pm ET Wednesdays, and the next day on Paramount+. Unless Parker and Stone hit the wall again this year and run out of time to get an episode on the air, South Park‘s remaining Season 27 shows will land on Oct. 29, Nov. 12, 26 and Dec. 10 respectively.

October 16, 2025 0 comments
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Manoj Bajpayee calls box office obsession a 'monster' created by Bollywood's successful people: 'Soon it will eat them'
Bollywood

Manoj Bajpayee calls box office obsession a ‘monster’ created by Bollywood’s successful people: ‘Soon it will eat them’

by jummy84 September 11, 2025
written by jummy84

Actor Manoj Bajpayee is not a fan of film producers and studios throwing around box office numbers to promote their titles. The actor, who balances commercial and independent cinema, says this obsession with box office is a monster that will ‘eat up’ its own creators.

Manoj Bajpayee talks about independent cinema and box office.

The actor is gearing up for the release of Jugnuma, directed by Raam Reddy. The film has earned acclaim worldwide as The Fable and is finally getting a release in Indian theatres this month. Ahead of the release, the National Award winner sits down with Hindustan Times to talk about the state of independent films in the country and the newfound obsession with the box office.

On the box office monster

Over the last few years, box office numbers have turned into promotional tools to leverage buzz for films. Talking about the phenomenon, Manoj says, “It’s a monster that is created by the producers themselves, the commercial producers, for their own game. Very soon, this monster is going to eat you up. You have created Bhasmasura. Just wait for the day you are going to put your hand on your own head, and you will be ruined. This has been created by our own successful people, and one day it will eat them up.”

OTT’s change of stance

Equating box office success with quality has particularly hurt smaller, independent films, as their low collections are now considered a sign of bad quality. Manoj argues, “The small, independent films always experience struggle. Then came a very brief time when OTT had just entered the country, and they were welcoming. But very soon, they changed their stance, and all of them started focusing on mainstream subjects and faces. One feels sad, because I am of the opinion that if you finish independent movement, your cinema will become just a product and nothing more. If the art is taken out, it has no value.”

He gives the example of Amitabh Bachchan, a rare superstar who also did smaller films during the peak of his stardom. “Mr Bachchan has also done a few fabulous (small) films like Abhimaan and Mili. He has done many more. Only Don, after a point, will be boring. He is Mr Bachchan also because of the kind of films he has done earlier in his career,” says the actor.

The struggles of indie films

He mentions OTT platforms, the streaming giants that occupy a large chunk of India’s entertainment space now, and laments that even they have given in to commercial compulsions now. “Everyone who is more interested in making commercial films or buying commercial films knows it’s a gamble. It does not pay off that often. The producers and OTT platforms are more interested in putting their money into that film because the gain is huge. Agar ye tukka lag gaya toh bahut paisa aayega. But mostly lagta nahi hai, kuch hi lucky hote hain jinka lagta hai (If this gamble works, one can earn a lot of money, but it doesn’t happen mostly. It only works for a lucky few.) They are fine with it. But, we are also fine with our own struggles,” says Manoj.

Jugnuma, directed by Raam Reddy, also stars Priyanka Bose, Deepak Dobriyal, and Tillotama Shome. It is releasing in theatres on September 12.

September 11, 2025 0 comments
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The Rap World's Obsession With Snitching Is Ruining The Atlanta Scene
Music

The Rap World’s Obsession With Snitching Is Ruining The Atlanta Scene

by jummy84 September 3, 2025
written by jummy84

Young Thug’s rise in pop culture stemmed from the “post-verbal” brilliance of his indecipherable yet captivating delivery; he has now plummeted to a low point in his career, thanks to crystal-clear audio clips that seemingly expose him going against his own word. Since being released from jail on a plea deal last year, Thug has repeatedly derided Gunna, his onetime friend and YSL trial codefendant, as a “rat” for his 2022 Alford Plea deal. But, after online sleuths uncovered a two-hour 2015 interrogation where he told cops that his friend Jimmy “Peewee Roscoe” Winfrey gave drugs to Lil Wayne, he’s facing the same “snitch” allegations from rap fans on social media, as well as from other rappers in Atlanta. 

For the past week, Thug’s been the target of rap media figures like DJ Akademiks and Wack 100, who’ve been discussing the audio clips and his street credibility in hours-long livestreams. It will be difficult for Thug and the Atlanta rap scene at large to regain its former standing in the music world, and it’s hard not to feel like the damage is self-inflicted. If Thug had come home from prison and refrained from mentioning Gunna, these clips may have never been released by fan pages like X account @Gunnaupdates.

It’s unclear how the videos surfaced online. When Rolling Stone sent an X direct message to the @Gunnaupdates account, which posted some of the first clips of the footage, they replied that “a few fans have been sitting on these for a while now,” and noted that they are available via a public records request. Days later, they claimed, “Every blog gets [the clips] from here first, but I can’t give my sources.” Via email, a representative for the Cobb County Sheriff’s Office confirmed that individuals can obtain public records, such as jail calls, through an Open Records Request. Last year, some of Thug’s jail calls with his girlfriend, Mariah The Scientist, also appeared online.

It was initially unclear how Thug felt about Gunna after his Alford Plea, where he affirmed to Judge Glenda J. Kendrick that YSL was a gang that “must end.” One of Thug’s associates, YSL Mondo, told Rolling Stone in January 2023 that there were elements of the case that Thug was “disappointed about,” but declined to specify. Soon after Gunna came home, artists like Lil Baby and Meek Mill, as well as Thug’s sister Dolly, unfollowed him on Instagram. In September of 2023, Thug’s father said he loved Gunna, who, in his estimation, “hasn’t done anything whatsoever that can hurt us on this case.” After Thug’s release, the YSL labelhead told GQ, “I know everybody wonders” about their relationship, then said, “I don’t know” where they stand. 

Editor’s picks

However, Thug’s true feelings were soon revealed. Last November, he posted to X, “Gunna stop acting like we friends on the internet, I don’t know u my guy.” In July, he posted, “If u a rapper and a rat, u just gotta go gospel twin.” During the Diddy trial, he derided Kid Cudi as a “rat” for testifying about Combs allegedly blowing up his car. Fans went from wondering when his Uy Scuti album was dropping to pondering why he’s so obsessed with snitching. In August, a track leaked from Lil Baby’s upcoming project, where Thug raps, “Only reason I fucked with you Gunna, it was cause of Troup,” referring to Keith “King” Troup, a late figure in the Atlanta hip-hop scene who united him with Gunna. 

The recently released footage further culled the depths of his ire for Gunna. In one clip, he asked label executives to drop his Business Is Business album the same day as Gunna’s The Last Wun album to “torment” him, adding, “I literally don’t hate nobody in the entire world but him, I literally hate him, I swear to God.” During an extended phone call with 21 Savage, he admitted that at one point he thought about keeping things civil with Gunna publicly, but he didn’t want to contradict Lil Baby and Durk’s previous distancing from Gunna. Elsewhere in the conversation, Thug said that his lawyer Brian Steel told him Gunna’s plea made their defense more difficult; it was previously reported that his Alford Plea would only affect other defendants if Gunna testified, which he didn’t. Thug also claimed that Gunna offered to write a statement for Steel stating he was “tricked” into the Alford Plea, then didn’t “answer the phone” when called to do so. Steel declined to comment on Thug’s claims.

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Many are noting Thug’s hypocrisy in his public frustration with Gunna. While arguing with Atlanta rapper Ralo on X, he posted that he made an “honest mistake” in implicating Roscoe in drug dealing, while Gunna similarly rapped, “Lawyers and the D.A. did some sneaky shit, I fell for it” on his single, “Bread & Butter.” Thug was upset at Gunna’s plea deal, but recently posted on X that he told his brother Unfoonk to take a plea deal right after Gunna because he “ain’t wanna put my mama through that again.” 

The reductive street code has blackballed Gunna in the rap game, with Offset and Roddy Ricch being the sole rapper collaborators on his two post-release albums. In 2021, the last full year before the YSL indictment, he featured on seven songs with other artists. Since his release, he’s done just three features, with Toosii being the only rapper. 

During his jail call with Thug, 21 Savage expressed that while he didn’t like Gunna’s plea, he wouldn’t go public about it because he didn’t want Atlanta to look bad — it’s happened anyway. Thug’s calls are likely to further shake up a scene that was already cratering. He called Quality Control CEO Pierre “P” Thomas a “rat,” and called Gucci Mane “soft” for being cool with him. He told Lil Durk, Atlanta-based before his incarceration, to “shut that cap ass shit up” after he shouted him out online but didn’t clear a verse. He opined that the Migos catalog is “making no munyun,” called producer Wheezy “stupid and retarded,” and talked down on Kendrick Lamar for not giving him a verse for his Business Is Business album, implying he needed to collaborate with him to widen his fanbase; Kendrick’s recent world tour says otherwise.

Last week, Ralo took to social media to call Thug a divisive figure who had previously talked down on Rich Homie Quan and YFN Lucci to peers in a similar manner. In 2016, he began clashing with Future for reasons that were unclear before they squashed things. Today, he posted to X, “Bashing me only goin fuck that rap community up more, I’m the [glue] to this fake ass game.” He might be better served by taking his own advice before dissing so many of his fellow rappers on publicly retrievable jail calls.

During a 2012 Reddit AMA, Thug revealed a pragmatic approach to his career: “I make a product for a certain audience and I’m good at it. Supply and demand, simple economics. I don’t do this because I love the attention, I do this because I have a certain skill set that now allows me to get paid without the threat of doing federal time.”

However, over the past decade or so, street rap has sought to become “bigger and better” for consumers. It wasn’t enough for artists to merely depict the streets. Black death is a rising commodity, and fans eager for the most potent hit of vicarious awe want artists to give them a frontline glimpse of nihilism. That encourages too many artists to portray the most ignorant images they can to rap fans and media personalities who’ve collectively cultivated a fandom of rap as a criminal racket. Talented artists are being goaded to risk their freedom, embodying a lifestyle that terrorizes communities and corrupts young minds to devalue human life — and if the worst happens, they’ll be called fools for giving onlookers what they ask for.

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In the eyes of many fans, discussions about musical quality have given way to conversations about who snitched; pondering an artist’s potential has been replaced by RICO speculation. Even though artists make their fortune as musicians, they flex that their adherence to the street code supercedes any desire to grow beyond petty street politics. That‘s led to an artist like Thug wanting to be perceived as a gangster more than a savvy businessman, even with a precarious 15-year probation over his head.

Gangster rap and all its variants have flown way too close to the sun. Thug and Gunna could’ve come out of the YSL trial together as a stronger-than-ever unit. But instead, the justice system, public perception, and ego drove a wedge through one of Atlanta’s last great rap movements. During his call with Thug, 21 noted that the city doesn’t feel the same after so much death and incarceration; more infighting isn’t the remedy. We don’t need Thug or any of his peers to be the most street artist in the world, because we don’t need the streets. Hopefully, the Atlanta rap scene can realize that and prioritize the music before it’s too late. 

September 3, 2025 0 comments
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Doc Will Not Inspire Obsession
TV & Streaming

Doc Will Not Inspire Obsession

by jummy84 September 1, 2025
written by jummy84

“Kim Novak‘s Vertigo” has one of the more heartwarming and, frankly, historically significant, codas to a film-focused documentary in recent memory. It’s such a special moment that it mostly justifies the way the film has been assembled before it.

Until then, it’s quite an uneven and unstructured cinematic portrait, and one of the weaker efforts from its director Alexandre O. Philippe. The Swiss-born cinephile has become a kind of cross between Laurent Bouzereau and Mark Cousins with his succession of documentaries about iconic films and film subjects.

Novak is certainly a worthy subject for a documentary. She’s not only the last survivor of the film that many consider the greatest ever made, Alfred Hitchcock’s “Vertigo,” but she is the nexus of obsession in a film about obsession that has inspired so much obsession in the 67 years since its release itself. At 92, her star power is as grand and magnificent as ever. But more than commanding your gaze as any great star does, and as Hitchcock certainly did in that ultimate film about “the gaze,” Novak also holds your attention as a uniquely thoughtful artist in her own right.

Jesse Plemons stars as Teddy Gatz in director Yorgos Lanthimos' BUGONIA, a Focus Features release. Credit: Courtesy of Focus Features © 2025 All Rights Reserved.

Philippe takes us on a journey through her career. Born Marilyn Novak and assigned the name Kim by the tyrannical Columbia Pictures head Harry Cohn, Novak existed in a constant state of tension in Hollywood. She bristled against what she calls the “overdone” acting of ’50s movie stars and prized naturalistic “reacting” instead. And she wanted meatier, more substantive roles that the industry simply would not give her at the time: Having worked as a model, Novak, to the powers that be, embodied glamour above all else, and the moguls had no use for other types of meaning she could create and represent. They wanted to focus on her surface appeal, on her mystique. That she was a source of desire rather than a subjective force in her own right.

If anything, Novak herself added depth and dimension that the suits didn’t want or ask for in their desire to make her the industry’s number-one box office star — which, in the late ’50s, she indeed became. The number of great films to her name, then, is arguably limited: Joshua Logan’s “Picnic,” Otto Preminger’s “The Man with the Golden Arm,” Richard Quine’s “Bell, Book, and Candle,” and of course, “Vertigo.”

“Kim Novak’s Vertigo” shows some of the misogynistic indignities she had to endure onscreen, with clips from “Pal Joey” and “Kiss Me, Stupid” that probably added to Novak’s ultimate desire to leave Hollywood altogether, which she had mostly done by the late ’60s. The documentary is most interesting when it doesn’t linger on clips from her movies, but when it focuses on her in the present at her home in Oregon. An avid painter for decades, Novak is seen at her easel putting brush to canvas and creating paintings of extraordinary swirling, whirlpool-like complexity. One definitely thinks of the spiral motif in “Vertigo.” And in several works, she’s outright created her own version of “Vertigo” fan art, recreating images of her Madeleine and Judy from the film.

“Vertigo” has clearly haunted her the way that it has generations of film lovers. Aside from its reputation and its inherent artistic greatness on many levels, it’s the one time in any movie that Novak was able to interrogate the very thing that frustrated her so much about her Hollywood career: That the industry was unable to see beyond the surface of her. And so she talks at length about how the characters of Madeleine and Judy speak to her deeply and remain with her and part of her. She talks about “Vertigo” as if both an insider and outsider — yes, she’s in the movie and the very heart of it, but, perhaps because of Hitchcock’s way of moving actors around like chess pieces, as objects for him to control, the way she talks about it is still somewhat removed, like that was another person onscreen and her at the same time.

That means that, when she speaks about “Vertigo,” it’s not that different from what any diehard obsessive of it would have to say, even as her experience is fundamentally singular. It lays bare the gulf between what’s onscreen and what’s real life, quite potently. Between the surface and what lies beneath. Between Kim Novak the movie star and Kim Novak the person.

She’s articulate and searching throughout, the movie even opening with narration that you might think had come from Jonas Mekas more than from Novak — because of course at the height of her fame she wasn’t allowed to be expressive like this. “I hesitate to even be recording this because I don’t know what’s gonna come out of what I say, what I mean,” she began. “What do I mean? Is that what it’s about: What do I mean? What do I think? What do I feel? I don’t know what’s expected of me to feel, or to think, or even to be, for that matter.”

In every sense, what’s most interesting about “Kim Novak’s Vertigo” comes from Novak herself. Philippe’s filmmaking seems especially rudimentary here, far more than in his William Shatner portrait “You Can Call Me Bill.” It’s powerful and compelling that Novak can occupy the role of fan of “Vertigo” the way she does — less interesting is Philippe’s own fan gushing. He has abandoned the close textual analysis of his other Hitchcock study, “78/52,” which precisely dissected how the “Psycho” shower scene achieves its effect, in favor of choosing not to give much perspective here at all. He just wants to revel in the feeling of “Vertigo,” the feeling of knowing Kim Novak, this time around — not examine what’s at the root of those feelings.

As a film then, “Kim Novak’s Vertigo” is disappointing. It feels like a beautiful portrait without a frame. A worthy companion to her receiving the Golden Lion for Lifetime Achievement at the 2025 Venice Film Festival, but not much of a cinematic achievement in its own right.

And yet, just as “Kim Novak’s Vertigo” appears to occupy that space of 2024’s “Merchant/Ivory” documentary — another doc made by a fan without much to say other than gush — it features a coda of jolting consequence. Novak goes through her belongings, collected over decades and in boxes for all that time, and comes upon what may be the most iconic suit-dress in movie history. The grey suit that Madeleine had worn and that Judy wears at the end of “Vertigo” in the moment that she’s revealed to have been Madeleine all along. It’s been sitting in a box in Novak’s possession for 67 years.

She pulls it out, and it’s still soft and totally unfaded as if it were 1958 all over again. She sniffs it, to make it that much more a part of herself. And cries in gratitude over seeing it again and being with it again. Suddenly, film history is so very alive in that moment. Immediate and eternal all at once. Just like “Vertigo.”

Grade: B-

“Kim Novak’s Vertigo” premiered at the 2025 Venice Film Festival. It is currently seeking U.S. distribution.

Want to stay up to date on IndieWire’s film reviews and critical thoughts? Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers.

September 1, 2025 0 comments
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Check out Oliver Sim's playful new single ‘Obsession'
Music

Check out Oliver Sim’s playful new single ‘Obsession’

by jummy84 August 27, 2025
written by jummy84

Oliver Sim has shared a playful new single titled ‘Obsession’ – check it out below.

The brand new single marks the first from the artist in three years, following on from his debut solo album ‘Hideous Bastard’, which arrived back in 2022.

Where that album took a deep dive into themes of shame, fear, and masculinity, the latest single takes an alternate approach; harnessing more chic, irreverent, and playful qualities.

It was produced by Bullion and Taylor Skye, and recorded by Sim – who is one third of The xx – between London and Los Angeles. It was given a premiere on BBC 6Music by Nick Grimshaw this morning (August 27), while also saw Sim reveal how he wanted the song to tell a story of lust and infatuation.

Check it out below, along with a new music video directed by lauded photographer and filmmaker Sharna Osborne. The visuals star Sim alongside British fashion icon Erin O’Connor.

This is the first new music from Oliver Sim to not be produced by his longtime best friend, collaborator and bandmate Jamie xx.

That being said, the two are still on great terms and are currently underway with work on their long-anticipated fourth album. The two of them also reunited recently when Jamie xx took to the stage at the 2025 edition of LIDO Festival in London.

In his time outside of music, Sim has been working on the rebooted JW Anderson Resort lookbook – starring in the project alongside the likes of Saltburn actress Alison Oliver, director Luca Guadagnino, and actors Joe Alwyn and Ben Whishaw.

The last time all three members of The xx – Oliver Sim, Jamie xx, and Romy – teamed up was on Jamie’s 2024 single ‘Waited All Night’ from his album ‘In Waves’.

Previously speaking to NME on the red carpet at the 2024 BRIT Awards about The xx’s new music, Romy shared: “We’re just keeping it really open and we’re up for trying new things, but it sounds like us. That’s all I can say right now.

“We’ve learned a lot from our different solo projects and it’s cool to learn from each other again. We grew up together and we had a lot of experiences, but to then have time apart and learn new skills, get new musical ideas and experiences and compare them… it’s been a healthy break.”

August 27, 2025 0 comments
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Archie Madekwe Shines in Tale of Obsession
TV & Streaming

Archie Madekwe Shines in Tale of Obsession

by jummy84 August 24, 2025
written by jummy84

Editor’s Note: This review was originally published during the 2025 Sundance Film Festival. “Lurker” opens from MUBI in select theaters August 22.

A transfixing morality tale cleverly turned on its head, “Lurker” opens with an overture: its protagonist, Matthew (Théodore Pellerin), goofing around for a camcorder wielded by a friend. When the person holding the camera jokingly asks Matthew where he sees himself in five years, Matthew replies sincerely. “I already have everything I want,” he says, stealing a glance into the lens.

Rewind to the before times, when Matthew is living with his grandma and working as a retail employee at a hip clothing store in Los Angeles. In walks Oliver (Archie Madekwe), a pop music artist famous enough to cause a murmur among the store patrons. Matthew, abuzz with anticipation, pops on a track that impresses the VIP, and the next thing he knows he’s being folded into the small, sycophantic entourage of not-quite friends and not-quite collaborators fortunate enough to accompany Oliver on his excursions.

'Good Boy'
'Eden'

So begins a parable of obsession and loneliness related with such immediacy that even its relatively low stakes start to feel like life or death. In his debut feature, the writer/director Alex Russell (who has written for the series “Dave” and “The Bear”) viscerally captures the complex dynamics of hierarchical friendships, in which a fear of alienation and craving for belonging can drive people to the brink. The movie’s greatest feat is its attention to the nuances of how these men use mocking or scorn to ascend a rung on their narrow social ladder — and if “Lurker” eventually succumbs to certain genre tropes and a handful of story bumps, it makes up for its limitations in perspicacity and the overall strength of its filmmaking.

After Matthew catches Oliver’s attention in the store, he ingratiates himself quickly. Soon, he’s making himself useful around the star’s Los Angeles pad, performing chores and sucking up to his circle of buddies. At this point, Matthew is still at the bottom of the pecking order, an appendage and acolyte who understands the delicacy of his station. We witness his wild desperation to maintain his status in scenes at home, where he screams at his grandma not to interrupt him while he’s on the phone and replays Oliver’s videos to study his taste and habits. There’s a derivative feeling to these latter moments; we’ve seen portraits of blind obsession before, and at this point in the movie, you may wonder where Russell will take the relatively familiar tale.

Lurker
‘Lurker’Courtesy the filmmakers

These social hierarchies shift in a strong scene set in a pasture. Oliver’s crew has gathered to make a music video, but soon into the shoot, the group’s videographer Noah (the talented up-and-comer Daniel Zolghadri), realizes that he’s misplaced his camera batteries. Sensing an opportunity, Oliver whips out his grandma’s old camcorder and suggests that he attach it to a sheep’s head for a point-of-view shot. It’s a middling idea at best, and the composition is entirely off. But that’s no matter to Oliver, who takes to the idea and whose approval is the only one that matters. Darkly funny and effective, the scene proves a point that Matthew seems to intuit: any power structure is flexible if you’re willing to challenge its shibboleths.

Throughout, Russell and the cinematographer Pat Scola (“Pig,” “Sing Sing”) demonstrate a keen understanding of where to position the camera to best calibrate perspective and emotion. One memorable example occurs after Matthew has ascended to the position of Oliver’s righthand man, and has even invited his own pal, Jamie (Sunny Suljic of “Mid90s”), to a music industry party. A relative innocent, Jamie ends up winning over Oliver’s entourage, much to Matthew’s chagrin. As Oliver and his friends fawn (rather ridiculously) over Jamie’s ugly handmade sweater, Scola trains his camera on Matthew’s face, capturing shades of envy, quiet rage and panic. These aesthetic flourishes find an auditory corollary in Kenneth Blume’s swelling, spectral score, which toggles between sinister and ecstatic.

Oliver — a Gen-Z-cusp singer-songwriter a la Dominic Fike — begins the story as a rather straightforward character. He enjoys the influence he exercises over those around him, which explains his tendency to hand-pick fans and convert them into lackeys. Yet as the story unfolds, Russell shows how Oliver’s fame is an alienating experience. Through small looks and line deliveries, Madekwe shines as he imbues Oliver with the genuine vulnerability of a young man who tends to doubt himself and his work, and who distracts himself from unease through incessant pleasure-seeking.

Pellerin, perhaps best known for his memorable turn in “Never Rarely Sometimes Always,” is a worthy match for Madekwe. He is a gifted physical performer, with his gawky frame and large, fidgety hands useful tools as he shifts from anxiety to anger and back again. Matthew and Oliver’s alignment as characters is thrown into sharp relief once the film reaches a rather far-fetched turning point. The events — which the film all but skips through, lest the viewer start to question its plausibility — turn the tables such that Oliver becomes beholden to Matthew’s whims, rather than vice versa. In an on-the-nose flourish, Russell scores this about-face with the James & Bobby Purify song “I’m Your Puppet.” Later, the filmmaker takes the literalization trend even further when Oliver and Matthew’s jockeying for dominance is made visual in a homoerotic wrestling match.

These later scenes of power struggle suffer from some unevenness compared to their earlier counterparts, which capture the subtleties of social maneuvering better than most. Still, when the third act finally arrives, Russell deserves credit for making the audacious decision to deny his characters their comeuppance and instead end the film on a cynical note. “Lurker” is a movie about lonely young men who know that, at the top of their social ladders, more emptiness awaits them. Yet they keep climbing them all the same.

Grade: B+

“Lurker” premiered at the 2025 Sundance Film Festival. MUBI releases the film August 22.

Want to stay up to date on IndieWire’s film reviews and critical thoughts? Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers.

August 24, 2025 0 comments
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