Thursday, July 2, 2026
Thursday, July 2, 2026

‘Mile End Kicks’: A tumblr-coded coming-of-age flick in the 2010s indie rock scene – The State Hornet

Chandler Levack explores the realities of her coming of age through the romanticization of Montreal’s indie rock scene Barbie Ferreira stars as Grace Pine, a young female journalist who moves to Montreal for a summer to experience the indie rock scene in Chandler Levack’s “Mile End Kicks.” Her obsession with an indie rock band “Bone Patrol” leads her through a whirlwind of experiences, causing the neglect of her friends, potential love interests and her delay of her writing goals. (Graphic made in Canva by Janelle Germain) “Mile End Kicks” offers a transportive experience back into the 2010’s indie rock music scene of Montreal’s Mile End district, while following the summer of a 22-year-old music journalist who is desperate for experience. Barbie Ferreira stars as Grace Pine, a young music critic who impulsively leaves her family home for the summer of 2011 in hopes of joining the indie rock scene and finding the peace to write her book, creating pivotal experiences to her coming of age. The film introduces her obsession with Montreal’s music culture through a montage recognizing artists that created in the city, such as Mac DeMarco and Grimes, in addition to naming it the “New Seattle.” Little references

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Watch the public input that the Cobb school board doesn’t want you to see

Home News Education Posted By: Larry Felton Johnson April 26, 2026 By Larry Felton Johnson Since the Cobb County Board of Education decided to censor public comments from its livestream of both work sessions and regular meetings, I’ve been attending the meetings and recording the meetings. At first I livestreamed, but the audio quality of the livestreams were poor, often to the point of illegibility. So I began recording and posting the comments one or two days after the meetings. At this point the sound quality varies by commenter, and is about the same as for a person sitting in the audience. If you like these videos, please put a like or follow on Youtube, Facebook or wherever you’re watching it.

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Watch: Showrunners Victor LaValle and Chris Cantwell Tease “The Terror: Devil in Silver” in …

After a seven-year hiatus that felt longer than a winter in the Arctic, AMC’s prestige horror anthology is finally back to remind us that being trapped in a room is much worse than being trapped in the tundra. “ The Terror: Devil in Silver” officially premieres on May 7, 2026 , on AMC+ and Shudder, with a linear run on AMC to follow later this year. This six-episode descent into madness moves the franchise away from historical shipwrecks and internment camps, landing squarely in the claustrophobic nightmare of a modern psychiatric ward.  One Way Ticket to Hell Based on the 2012 novel by Victor LaValle , the season follows Pepper ( Dan Stevens ), a working-class man whose “bad luck and bad temper” land him in New Hyde Psychiatric Hospital. Pepper quickly realizes that New Hyde is where society sends the people it wants to forget. Between the gaslighting doctors, the hostile patients, and a mysterious entity known as “The Devil” lurking in the shadows, Pepper’s struggle isn’t just about escaping—it’s about surviving a hellscape where the monsters might be more than just metaphors. Meet the Showrunners: Victor & Chris This season’s creative DNA is a high-octane mix of literary

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An Interview with ‘Ready or Not 2: Here I Come’ Composer Sven Faulconer – HorrorFuel.com

Without a score, without music, movies and TV series wouldn’t be the same. After all, it shapes impressions, influences a scene’s vibe, and lends emotion. One great example of that is the killer soundtrack for Ready or Not 2: Here I Come. The composer behind the blend of ’80s and dark instrumentals is none other than Sven Faulconer. He’s also the composer of the soundtrack for Scream VI. I sat down with Sven to discuss the soundtrack, how music shapes emotion and scenes, and so much more. He filled us in on his process and told us some stories. Ready or Not Unless you’ve been living under a rock somewhere, you’ve probably already seen the trailer for the batshit crazy (in the best possible way), brutal movie. A “Must See” Ready or Not 2: Here I Come, a must-see, sees the stakes leveled up from “deadly in-laws” to “shadowy global cabal.” Our favorite bride (Samara Weaving) is back, but this time she’s dragging her sister, Faith (Kathryn Newton), along for the ride. Chained together, the duo must survive a new game of Hide and Seek to win a seat on the “High Council.” Directors Radio Silence (Matt Bettinelli-Olpin and Tyler Gillett) are

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The Filmmakers Behind ‘Dream Eater’ Talk Horror and Parasomnia in Our Interview

We see hundreds of horror films released every year, so when one that shares a fresh story with plenty of scares, I get excited. That’s the case with Dream Eater, which just landed on Digital. One thing (of many) that makes the film stand out is that it is truly a team effort. A trio of filmmakers wrote, directed, and starred in the movie: Jay Drakulic, Mallory Drumm, and Alex Lee Williams. I had the pleasure of interviewing them today. Not only are they incredible filmmakers, but they also seem like really great people who are passionate about the genre. So, Dream Eater follows documentary filmmaker Mallory (Mallory Drumm) and her boyfriend Alex (Alex Lee Williams) as they retreat to a remote cabin deep in the snowy mountains for a holiday. Mallory begins to document Alex’s severe and violent parasomnia (sleepwalking). As Alex’s condition quickly deteriorates, Mallory suspects the cause is something far more sinister than a mere sleep disorder. She begins digging into Alex’s shadowy past, unraveling a decades-long mystery steeped in deep trauma and the occult. As relentless darkness closes in, an ancient evil awakens, plunging the couple into a spiral of madness and horror. The film gets

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Apple Music Exec Talks AI on Billboard’s On The Record Podcast

Trending on Billboard What makes music streaming services distinct from one another? In the early years, the answer was easier. Back then, exclusive releases were common. Jay-Z, for example, made that a core reason to subscribe to Tidal. Apple Music had its own special drops, including Frank Ocean‘s Endless, the visual album he used as a smart tool to quickly fulfill his label contract before dropping the self-released Blonde, also on Apple Music, one day later. Related After that, however, exclusive drops have largely ceased to exist, forcing top competitors like Spotify, Apple Music, Amazon Music and others to search for new differentiating factors. Spotify, for example, bolstered its service with valuable other offerings, like podcasts and audiobooks. It also launched a number of shareable music discovery concepts like Daylist, Wrapped and AI DJ. Apple Music expanded radio shows from personalities, like Zane Lowe. It also leaned into its standing as one of the world’s biggest technology and hardware companies to create features, like Spatial Audio, that encourages both a high quality streaming experience and a reason to try their myriad of headphone offerings. Still, it remains a never-ending challenge for music streamers to find ways to stand out from

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