Arts and Entertainment

By Kenny Lin

With the new year, hundreds of TV shows and movies are set to air. Genres expanding from adventure to drama to romance to thriller, only a few are among the most anticipated.

The year started strong for anime fans as two popular anime series, "Jujutsu Kaisen" season three and "Frieren: Beyond Journey's End" season two, were released on January 8th and 16th, respectively.

"Jujutsu Kaisen," releasing every Thursday on Crunchyroll with an expected 24 to 26 episodes, is a dark fantasy that tells its story through fast-paced, suspenseful animated fights, blending horror, comedy, and emotional depth. Awarded the "Most In-Demand Animated TV show" by Guinness World Records in 2024, season three continues the massive cliffhanger as the story takes a 180-degree turn.

On the opposite side, "Frieren: Beyond Journey's End," coming out every Friday on Crunchyroll with an expected ten episode release, is high fantasy. The storyline explores the aftermath of a classic Hero's Journey as an immortal elf learns to connect with humans’ short life spans. People watch “Frieren” because of its slow pace and focus on the emotional aspect of its story, driving viewers to remember to cherish the time they have and to appreciate every moment.

For TV shows, award-winning Emmys and Golden Globes for Outstanding Drama, "The Pitt" starts its season two on HBO Max now every Thursday; praised for its intense, accurate portrayal of medical professionals, the storyline focuses on the intense conditions and modern problems faced by healthcare workers in the emergency room like the realistic problem of being understaffed, feeling burned out, and experiencing violent abuse from patients.

Emmy Award for Outstanding Lead Actor and Actress "Beef" season two, coming out on April 16th on Netflix, will shift with a new main cast and storyline but still retain its dark and twisted themes. The new season will focus on an incident that triggers a "chess-like sequence of favors and coercion," according to the official "Beef" logline. 

Other exciting TV shows releasing this year include "The Rookie," season eight, streaming now on Hulu, with episodes coming out every Tuesday; "Bridgerton," season four on Netflix, with part one coming out on January 29th and part two on February 26th; and live-action "One Piece," season two on Netflix, coming March 10th.

Moving on to movies, "Project Hail Mary," "The Legend of Aang: The Last Airbender," and "The Hunger Games: Sunrise on the Reaping" are all set to release later this year.

"Project Hail Mary," coming on March 20th, is an adaptation of the book by Andy Weir. The story begins as Ryland Grace wakes up alone in space with amnesia, as he’s figuring out what to do. The story cleverly engages viewers with science and problem-solving as one problem comes after another.

"The Legend of Aang: The Last Airbender," coming on October 9th, is an animated movie that is a continuation of the popular TV series "Avatar: The Last Airbender." The movie, in contrast to its live-action remakes, will continue the storyline after the TV series ended, with the main characters facing new challenges. Viewers are excited to see the main cast continue in their young adult years after the series concluded in 2008.

"The Hunger Games: Sunrise on the Reaping," coming on November 20th, is a prequel to the “Hunger Games” trilogy. The story will be set back in time to the 50th Hunger Games, focusing on the shaping of Haymitch Abernathy. “Sunrise on the Reaping” is set in a dystopian world controlled by a dictatorship and each year, 24 citizens of Panem play a game where only one is set to be alive. The movie explores themes of political manipulation, abuse of power, and rebellion.

Other exciting movies arriving include "Toy Story 5" on June 19th, "Jumanji 3" on December 11th, and "Avengers: Doomsday" on December 18th.

With multiple past Emmy Award winning shows, 2026 is full of exciting TV shows and movies, fueled by the continuation of series and new exciting entertainment to look forward to.

By Martin Situ

When I watched “Wicked,” I left the theater with a feeling of satisfaction and wanting more. The movie ends with Elphaba, played by Cynthia Erivo, flying away on her broomstick to escape the Emerald City, leaving the audience on a cliffhanger. “Wicked: For Good” came out the following year. However, all I was left with was a feeling of what could’ve been.

The “Wicked” franchise is based on the Broadway show of the same name by Winnie Holzman. The first movie, “Wicked,” covers Act One of the Broadway show. It tells the story of Elphaba, who has been ostracized her entire life for having green skin, until she meets Galinda, the popular girl who introduces Elphaba to a whole new world. The movie has great plot development. It slowly builds up the plot using conflict and despair, making the audience truly feel the intensity. In the final scene of “Wicked,” Elphaba takes control of her life and defies the Wizard of Oz as she flies off into the western skies with “Defying Gravity” playing in the background.

“Wicked: For Good” picks up the story five years later.Elphaba is now labeled as the Wicked Witch of the West. Galinda, now known as Glinda the Good, acts as the Wizard of Oz’s spokesperson. The movie follows Elphaba as she tries to expose the Wizard of Oz’s fraud and bring back animal rights.

I felt that “Wicked: For Good” brought the same high-quality production from the first movie, but with a more rushed and underdeveloped plot. 

At times, the pacing is rough. After Fiyero betrays Galinda to be with Elphaba, the relationship between the two quickly develops, quickly leading to private time , if you understand what I mean. The entire sequence moved very quickly and didn’t allow time for Fiyero and Elphaba’s relationship to properly grow. Following this, Elphaba engages in a duel with Galinda at the site of Nessarose’s death. In order to save Elphaba, Fiyero acts as a human distraction to the police, and ends up getting captured and beaten by the police of the Emerald City. Elphaba then flies over to some mysterious castle, where she casts a spell that turns Fiyero into a scarecrow, saving him from death.

This entire sequence just felt unnatural to me. I was filled with questions. What is that castle? How did Elphaba and Fiyero’s relationship develop so quickly? Fiyero is the scarecrow?

I felt like more could’ve been done to expand the important parts of the story, while cutting out unimportant details such as Fiyero and Galinda’s wedding. The movie is two hours and 17 minutes, while Act Two of the Broadway show is only 60 minutes. How is the movie riddled with plot holes, even with an extra hour of content? 

Even with all my blabbing, I would still watch the movie again. I enjoy the darker and more grim mood that the movie creates, while keeping the characters’ personalities consistent. The production still pulls through with good songs and great visuals, making sure not to slack on quality.

I would recommend the movie to anybody who wishes to watch the “Wicked” Franchise or has just watched the first movie and hasn’t seen the sequel yet. It provides a satisfying ending to the “Wicked” Franchise. Of course, this is my opinion as somebody who hasn’t seen the Broadway show, so I’m not sure how much the movies actually deviate from the musical.  However, it's still good to give it a shot, as you may enjoy the movie more than I did. 

By Quincy Fulton

Over winter break, I saw “Marty Supreme” in a tiny New Mexico theatre with my family, overpriced popcorn in my left hand and overpriced Skittles in my right (the overpriced water was in the cupholder). However, after the film’s two-hour and 30-minute runtime, I left the theatre with my head blanking on the night’s price tag—instead, I was full of awe at the propulsive, traipsing story I had witnessed on the big screen. 

I had no prerequisites; I hadn’t read a synopsis, nor a review—all I’d seen was the abundance of marketing tactics, including the celebrity giveaways of active windbreakers branded with ‘Marty Supreme’.

When I say ‘traipsing story,’ I mean a plot that is constantly moving and changing, so much so that I forgot what the true conflict was until the end. A24’s “Marty Supreme” is the story of Marty Mauser, a world-class ping-pong player, with a devil-may-care attitude and an ego the size of the moon. It is based on the real-life icon Marty Reisman, but in a heightened form, played passionately by Timothée Chalamet. Set in 1950s New York, Mauser is on a mission to become the greatest table-tennis player in the world, and he will do anything to become so, despite the disrespect he receives from others.

At the beginning of the movie, he is working in a shoe store, playing the sport in clubs at night, until he gets a ticket to a championship. After losing to a Japanese player, Koto Endo, played by deaf actor Koto Kawaguchi, Mauser is ignited and vows to rematch the victor in Japan—and win. In this quest for greatness, the American’s ego, narcissism, and self-regard get him and his companions, whom he so rarely regards as anything more than tools in his box, into even further setbacks from his ultimate goal. In the end, he is just proving to himself what he needs to believe, what he’s worked so hard to achieve: he is the greatest table-tennis player alive. 

At first, I found it comical how passionate Mauser was to be dreaming about ping-pong stardom, but over the course of the movie, as I witnessed his pitfalls and constant desperation, then fervor, I gained respect for him. Of course, he’d lose my admiration almost immediately after by screwing over, or screwing, anyone who could be of use to him. 

This is why, where others may think Mauser is yet another unsympathetic, egotistical male protagonist, I won’t disagree. However, I surmise that you don’t need to like a protagonist to empathize with them, or to eagerly want to see what happens when they earn what they’ve been working towards. I also believe that the unsympathetic, selfish nature of Mauser is what really pushes this film along; you never expect where the plot will go next, and like a cat, Mauser seems to have nine lives he just keeps taking.

In the midst of all of the crazy subplots during Marty Mauser’s journey to Japan, including hustles, missing dogs, babies, and revenge, one thing stays consistent: the ensemble cast’s emotional acting. Consisting of celebrity actors like Chalamet, Gwyneth Paltrow, Odessa A’zion, as well as celebrities-turned-actors, like Tyler, The Creator, and first-time actors like Koto Kawaguchi, Mauser’s rival and a real table-tennis pro, the cast provides intense standout performances. Director Josh Safdie chose many public figures who had never acted before to portray the rugged ‘50s neighborhoods. They embody the tense, comedic, entertaining scenarios.

Chalamet, however, as a sort of anti-hero, characteristically stole the show. The actor is no stranger to embodying characters, good and bad, and his controversial “Marty Supreme” performance rightfully earned him the Golden Globe award for male actor in a comedy, as well as an Oscar nomination as producer and star of the film. He also spent years, spanning through the pandemic to 2025, practicing ping-pong to be as good as his character is. 

On divisive filming tactics, I also admired the subversion of common tropes. Where the writers use a lot of foreshadowing to obviously pick up later on, they also subvert expectations, such as in the case of Rachel Mizler, played by Odessa A’zion. When introduced, she seems like a typical starstruck woman used by Mauser, and later by her own husband, but we learn that she is just as scheming and cunning on a level near equal to Mauser. She is not as helpless as she comes off to be, and in a film full of male achievements, I appreciated the chance for her to be selfish. 

Main guy Chalamet’s embodiment of Mauser was not only the result of his performance; the outfits, created for the film in the period of 1950s New York, made the setting and the references to it all the more believable. Makeup designers also added acne scars and a fake unibrow to Chalamet to fit his bedraggled persona.

Where the clothes were period-accurate, the soundtrack was not. 80s New Wave fit the vibe of the high stakes, low reward decisions, but I would’ve preferred if music fitting that same feeling was composed in the style of the mid-century period-piece. 

However, the endmost scene, accompanied by “Everybody Wants to Rule the World” by Tears for Fears, where Mauser finally starts living a life caring about other people was hard to dislike. After burning all of his bridges to get to Japan, Koto Endo, and the point where he could prove to himself that he’s a winner, he holds his son in his hands and sets his game aside. 

Overall, this was a movie about ping-pong, but moreso, unexpectedly, a movie about the ups and downs of stardom and proving to the world that you’re not a failure. “Marty Supreme” was full of surprisingly high stakes, heartfelt moments, bizarre scenarios, and comedy. Through gritted teeth, I just wanted to see what would happen next. 

By Christine Kang

Known best for her 2023 hit "Greedy," Tate McRae released her new single, "Tit for Tat," which debuted at Number 3 on the US Billboard Hot 100 in October 2025. Following this momentum, her deluxe album, “So Close to What”, was released on February 21st, 2025. However, the project deserves more criticism than fame.

Tate McRae is a globally popular artist who rose to fame as a teenager, establishing herself as a Canadian singer, songwriter, and dancer. Born in Calgary, Alberta, on July 1st, 2003, she spent her early years moving between Canada and Oman. Thanks to YouTube and TikTok, her songs and singing skills went viral, leading her to sign with RCA Records. 

Recently, her new album, "So Close to What” has caught the attention of millions of fans. Her songs frequently appear as background music in short-form videos, often garnering millions of views.

However, despite the positive comments and reviews regarding her musical style, I personally believe the album does not deserve the hype. McRae focuses on a mix of pop styles, such as dance-pop, power pop, and alternative pop. While these styles fundamentally share infectious, high-energy melodies and accessible verse-chorus structures, her previous work included heartbreaking lyrics that resonated with the audience’s personal experiences.

In contrast, despite the high energy, the new album feels repetitive and unappealing. In "Greenlight," the lyrics feel less polished and impactful. For example: “Band-Aids and bullet holes don't go / I can't unhear shit I've been told”

These two lines are repeated three times in three minutes. This song, along with others like "It’s OK I’m OK," relies on a single, repetitive loop for its duration. The lyrics fail to build a connection, and the instrumental background is too plain, lacking a catchy melody for the audience.

Furthermore, the visual direction feels disconnected. While the outfits in her music videos are often sexualized, the lyrics are not. Many people, including myself, feel the sound is watered down; repeating the same melody over and over offers no excitement or stylistic innovation. I believe these songs are designed specifically to boost streams and serve as background music for apps like TikTok, rather than to stand on their own.

The harmonies in each song feel stale and dated, sounding like a diluted mix of Britney Spears and Christina Aguilera. McRae’s lyrical themes have also shifted; while they used to focus on angst and heartbreak, “So Close to What” portrays desperation for a new partner and how easily an ex is forgotten. Just like in her older songs, some lyrics do not reflect her message or fit with other parts of the song, creating confusion for the listener.

Ultimately, So Close to What feels less like music for active listening and more like background noise. If she included lyrics that did not constantly repeat, I believe she could reach a higher artistic standard. Currently, Tate McRae lacks originality.

By Camille Chew

“Stranger Things” first aired on July 15th, 2016. The 80s-throwback-themed series immediately caught the public's eyes, launching directors Matt and Ross Duffer on a path to stardom. Originality, charm, genuine tension–it had it all. But when the finale arrived nearly a decade later, I found out the story felt emptier than ever. 

 Spoilers ahead: Yes, the finale has its standout emotional moments–but for me and many other viewers it still falls flat. Previously established plot points are forgotten, characters miraculously disappear, and a majority of the finale is spent on a “sunshine and rainbows” epilogue. It feels like what made the story so appealing has been turned upside down. 

The series follows a Dungeons-and-Dragons-obsessed group of social outcasts as they become entangled in the consequences of human arrogance. Alongside telekinetic girl Eleven, the cast faces alternate dimensions, inequality during the 80s, and villains–both human and monster. 

My main issue with the finale is the lack of weight provided to what should have been the series’ biggest fight. Netflix chose to release the final season on three different days; episodes one through four on November 26th, five through seven on December 25th, and finally the finale on New Years Eve. Netflix did not stop at just streaming however; the “Stranger Things” finale also released in theaters, selling out seats nearly immediately.

Releasing episodes on different days and weeks is a common tactic among streaming services to increase viewership and conversation around shows–but Netflix and the Duffer Brothers took this commonly used strategy a step further by lengthening wait times and aligning releases with major holidays. Consequently, viewer expectations rose; I expected the fights to be bigger and badder, following the previously established linear growth in threats from seasons one through four. 

But this, sadly, is not the case. The main threat the cast faces is the Mind Flayer, a mysterious spider-like being that leads the show’s numerous other monsters. The Mind Flayer is accompanied by Vecna, a telekinetic man turned horrific monster. Together, they plan to combine Earth with their home dimension of monsters, the Abyss. 

The battle parallels a similar battle against a smaller recreation of the Mind Flayer which took place two seasons prior. Just as the cast did previously, they split up and gain high ground on the creature. Make-shift weapons are accompanied by flamethrowers and flare-guns as the cast barrages the Mind Flayer from all angles. The Mind Flayer bares its teeth, all bark and no bite. Compared to season three’s Mind Flayer recreation, which nearly kills Eleven and murders hundreds, the portrayal of the Mind Flayer’s true form in the finale is anticlimactic. It flails its legs and bites the air, but not once does it injure anyone.

Ten minutes after the fight begins, Vecna’s head is cut off and the Mind Flayer collapses. The main cast suffers no deaths and no injuries. In season four’s finale, Max Mayfield is sent into a coma by Vecna following a two hour fight. In season three’s finale, Mayfield’s brother sacrifices himself to save Eleven’s life. In season two’s finale, Eleven goes missing. And in season one’s finale, monsters tear through people and Eleven is lost in an alternate dimension. Yet in the culminating fight of “Stranger Things,” these threats feel nonexistent. 

The main bulk of the finale is emotional scenes. Before fighting Vecna, Hopper, Eleven’s father-figure and caretaker, begs her not to fight, scarred by the loss of his biological daughter to cancer. This was by far my favorite dynamic and relationship in the finale, and from beginning to end their story is engaging. Vecna initially takes advantage of Hopper’s vulnerability, creating an illusion of himself in place of Eleven, causing Hopper to shoot her. While watching this scene, my heart dropped.

Upon returning to Earth, the cast is cornered by the military, with power-suppressing speakers blaring so Eleven has no chance to fight back. But Eleven never intended to continue fighting. She stands at the gate between the Upside Down and Earth, preparing to vanish alongside it. 

Chaos ensues. The cast shouts, trying to break free from the military’s hold and get to Eleven. Only one succeeds: Eleven’s boyfriend, Mike Wheeler. Their relationship has been strained across multiple seasons, plagued by various arguments as well as Wheeler’s inability to tell Eleven he loves her. During their final moments together, this reigns true once again. Eleven gives yet another one-sided “I love you,” and Wheeler cries but still cannot return her heartfelt words.

The scene was emotional, but it left me feeling disillusioned. Out of everyone to say goodbye to Eleven, why choose him? At the very least, why not make him tell her he loves her? Wheeler and Eleven’s relationship was a major plot point during season four, with the culmination of efforts to repair their relationship being Wheeler telling Eleven he loves her. Now, in their final moment together–the most critical moment for their relationship–the words “I love you” still don’t leave his lips. Instead of providing a satisfying conclusion to Eleven and Hopper’s father-daughter relationship, Wheeler steals the show in the worst way possible. 

Cut to 18 months later, and the cast continues to live out their lives in comfort and happiness for nearly half of the finale’s runtime. The longer the epilogue ran, the more I began to question why Vickie Dunne, major side character during season five, is inexplicably absent during the epilogue. Dunne was dragged into the monstrous mess the cast faces, yet she got not a second of screen time during the nearly hour long epilogue. 

Similarly, Dustin Henderson, an original cast member from season one, had a girlfriend during season three–Suzie Bigham. But just like Dunne, Bingham’s existence is seemingly erased. With no prior sign of the two having broken up, Henderson moves on to flirting with another girl during the epilogue. 

The Duffer Brothers previously established themselves as pioneers in originality. The plot was calculated and complex, with one main message: “Don’t be afraid to be different.” But the ending was far from unique, following a cliché format where each character falls into a stereotypical role or job during the epilogue. The storyteller becomes a writer, the “nerd” goes to college, the couple continues to go on dates–the list goes on. 

“Hold on [...] That’s it; comfort and happiness, could you be more trite? I thought you were some master storyteller or something,” Mayfield asks Wheeler during an epilogue match of Dungeons and Dragons that mimics the finale’s final fight.

For many viewers including myself, Mayfield sums it up best. 

By Denise Mai

“Five Nights at Freddy's 2” is a peak example of the tragedies of child possession, the supernatural, and the fear of androids gaining control and the power they hold. FNAF 2 then drags previous watchers back in by adding to Freddy Fazbear’s Pizzeria’s tragic past. The film was released on December 5th and was written by Scott Cawthon, who was the creator of the video game franchise of the movie. Now, after watching the movie, I enjoyed how it expanded the lore and gave more background to the characters and the story of Freddy Fazebear’s Pizzeria, and I can’t wait to watch a third movie. 

In the first movie, Mike Schmidt works as a security guard and single-handedly raises his little sister, Abby. The movie then introduces police officer Vanessa Shelly, who has a secret past that's connected to the animatronics and Freddy Fazbear’s Pizzeria. Mike, unable to find a babysitter for Abby, takes her to the Pizzeria, where she runs off and befriends the animatronics. 

In the end, they find that Vanessa was the daughter of the killer/kidnapper of Mike's younger brother. The movie then ends with animatronics actually turning on who they realize is their killer and killing him. 

“Five Nights at Freddy’s 2”  builds off the first movie but has more intense scares and deeper lore. The film starts by introducing Charlotte, who gets stabbed by William Afton while she tries to save a young boy before she can escape, and, after dying, a trap door opens underground, where she falls in and comes out being carried by one of the animatronics called the Marionette. 

The scene cuts to Vanessa, who wakes up in a cold sweat due to nightmares. Leaving a suspenseful cut off from the tragedy of Charlotte, it pulled me into the Marionette and made me want to know more.

We then get to watch Abby now in middle school, still struggling with the loss of her animatronic friends, and to be honest, this was an extremely hard watch since I thought it was ridiculous how someone of her age was sulking over robots. Mike tries to give Abby false hope by telling her that he will try to fix her “friends” in his spare time, trying to encourage her to be a normal kid and make friends. However, Abby is impatient, and Mike is on his date with Vanessa, so Abby sneaks out of the house to fix the animatronics herself. Mike comes home to a note from Abby, so he rushes to find her at the Pizzeria. He comforts her by telling her they're in heaven and then gives her a “Faz-Talker,” a toy that lets her communicate with her friends from afar. This toy comes in handy later in the movie, where it’s used for the benefit of the Marionette. 

Michael is first introduced as an innocent tour guide for the older franchise of Freddy Fazbear Pizzeria for a group of teenagers who film paranormal activities for the internet. During the tour, the Marionette reappears when one of the teenagers stops a creepy old music box that is playing where the Marionette rests. As the scene goes quiet, the tension mounts, and I remember gripping a friend's hand, anticipating a jumpscare. 

This is then where the Marionette begins its slaughter and murders everyone in the building, but Michael can escape. Eventually, we get to see the Marionette's face after it possesses one of the teenager's white masks and hollow eyes, creating a deeply unsettling effect.

The film briefly steps away from its horror to deliver an emotional yet traumatic scene where Vanessa dreams about her father, and during this scene, I was able to learn how her father was a person she felt trapped and controlled by. However, near the end of her dream, Vanessa shoots her father and wakes up in a sweat, which I felt was an effective way of showing her struggle to take back control from him. 

We are then brought back to Abby, who gets a message from the “Faz-Talker” telling her to help her friends, but in reality is the Marionette using her to escape Freddy’s Fazbear’s Pizzeria since she is bound there. After shutting down the system that traps the Marionette, Vanessa tells Mike that the Marionette has Abby, also revealing that Charlotte has been possessing the Marionette ever since her death. 

I enjoyed how this brought some of the “FNAF 1” movie logic into the second movie, with kids trapped inside and possessing the animatronics, but this time Charlotte is willingly doing it, making her situation new and different.

Reaching the end of the movie, we get to watch Mike and Vanessa being chased by the animatronics, one of my favorite scenes being when Vanessa was being chased by Mangle, a fox-like animatronic, which I was especially able to appreciate after seeing some behind the scenes of the Mangle puppet and how realistic it was. Also, seeing how the scene was filmed just made it so much more realistic than it already was.  

Now, at the end of the movie, I quite enjoyed how it full circled to Vanessa and her tragic focus on her story helped ground the ending emotionally while still building toward what’s next, which then leaves on a cliffhanger that makes me want to know more, and now I can’t wait for a third movie.  

By Leo Le

Despite the decade-long gap between “Zootopia” and “Zootopia 2,” friends and families flooded the theaters on November 26 ready to test the hype. 

In “Zootopia,” the city is in chaos when mammals across Zootopia start disappearing. Judy Hopps, a rookie rabbit cop and Nick Wilde, a sly fox team up to crack a specific case and find Mr. Otterton, one of the mammals that recently disappeared. By the end of the movie, Judy and Nick expose the traitor behind the recent animal disappearances and restore peace to Zootopia.

“Zootopia 2” embarks on another journey with a new mystery that threatens the delicate balance between predator and prey forcing them to act with caution. 

Judy and Nick put their trust in Gary De’ Snake, who was one of the many reptiles forced into hiding due to distrust and discrimination. Gary works with Judy and Nick to uncover the truth behind the supposed creator of Zootopia who is stealing Gary’s great grandmother's blueprints to the city .Similar to the first movie, “Zootopia 2” is filled with humor, action, and emotion along with a similar storyline of conflict involving traitors with high status and power. Although it may feel a bit repetitive, new characters, experiences, and emotions make the movie worthwhile.

In the middle of this mystery, Judy and Nick become complete opposites and shatter their good relationship. While Judy wants to help out Gary despite being considered accomplices to  the supposed criminal, Nick doesn’t want to be involved in this case. 

Having different views of the situation, Judy tells Nick, “Maybe we're different,” and they both split paths by accident, filled with regret. We soon discover in a reunion of the two that Nick only didn’t want to do the case because he was scared to lose her. We also discover that Judy wanted to do the case because she wanted to be strong for the one person who believed in her.

This particular scene drowned in vulnerability from both characters following the action and mystery story line is like the perfect mix of sweet and sour. Rather than telling us a story, it teaches us a lesson as well and I believe is the main reason I suggest watching Zootopia 2. The movie was great and if I could rewatch it,  I would.

Following the underground British rap scene:

“Weekend Rockstar” by Feng

Release Date: February 13, 2026 

As  “Cali Crazy” was released on January 6th, Feng carries his coming-to-age sound—supposedly a teaser for his upcoming album. This album, which is Feng’s debut album, is stated to drop “soon…” according to his Instagram bio. The album follows his house party invitations while telling the tales of a teenager pursuing rock music through reminiscing what life was like in the fruity and upbeat 2016.