Arts and Entertainment

By Zoe Hong

With complex dialogue and a mint green set that shakes with the anger of ghosts, the Lincoln theater department has worked and practiced late into the night, after school, and during the weekends for the past two months in preparation for the fall play, “Blithe Spirit” by Noël Coward. “Blithe Spirit” explores the life of Charles Condomine, played by Taigh Quarles and Marcus Boyden, after the spirit medium, Madame Arcati, played by Roselani Leremia, accidentally summons his first wife, Elvira, played by Kennedy Byrne who terrorizes Condomine and his second wife, Ruth, played by Angela Gin.

After Elaine Walenta, the director of the school play and Lincoln's theater teacher, picks the show and actors from auditions, the Lincoln theater program begins practicing while the theater tech class begins to build the elaborate set. For four weeks, students are expected to stay until seven after school, even while dealing with school work and college applications, and the hours only increase as opening day approaches. Two weeks before the show, the actors and stage crew start staying until eight. Three days before the show, everyone stays until nine for dress rehearsals in preparation for their first performance on November sixth.

To manage work, Teagan Baer, a freshman who played Mrs. Bradman in “Blithe Spirit” says “I just get done what I need to get done in class, and then if I have homework I need to stay up late.”

“You have to really prioritize things well,” adds Bella Speckhard, senior and prop manager for “Blithe Spirit.”

“Blithe Spirit" not only requires commitment and practice from the actors, but also lots of effort from stage crew, Walenta's Theater Tech class, and volunteers to manage special effects and bring the Condomines’, now haunted, mint green living room to life as picture frames fall, the walls rattle, and glass breaks. 

According to Speckhard, “ We look at the script and we think about what our set is, and what we can do building strings and levers.”

Throughout the play, Condomine and Elvira smash glass cups and vases on the floor startling the audiences. This is thanks to Walenta managing the theater programs finances, buying breakable glasses online, and mixing them in with normal whiskey glasses so they could both amaze the audience and save props for following years.

Under the watch of Tara Hang, the stage manager, stage crew worked to prepare other effects such as mist through fog machines and  books flipping off the shelf, a trick designed by Michael Topham, a theater volunteer and previous Lincoln teacher. 

The “Blithe Spirit" set designed by Scott Cox, an SFUSD district volunteer, required lots of planning, installing holes in the walls for picture frames to drop and preparing extra glasses for Condomine and the ghosts to drop.

Finally after months of planning and practicing, theater tech, actors, stage crew, volunteers, Walenta, and Cox all get to see the fruits of their labor performed in the auditorium in front of parents, teachers, and students. 

By Ariana Lopez

Since the release of the “Black Phone 2” trailer, it was known that this sequel was going to be full of mystery and terror. Released nationwide on October 17th, 2025, with a run time of 1 hour and fifty-four minutes, the film is a sequel to “The Black Phone” directed by Scott Derrickson. “The Black Phone” is a sinister and evil franchise. The first movie in “The Black Phone” franchise tells the story of a thirteen year old boy named Finney played by Mason Thames, who was abducted by a twisted serial killer called the Grabber, who is played by Ethan Hawke. The sequel continues by telling the story from the point of view of Finney’s fifteen-year-old sister Gwen played by Madelin McGraw. She receives calls from a black phone and starts to see disturbing and graphic images of three little boys being stalked at a winter camp called Alpine Lake in Colorado, where Gwen and Finney’s deceased mother worked when she was younger. Alongside her brother Finn and her boyfriend Ernesto, they head to the camp to solve this disturbing and terrifying mystery of three missing little boys. 

The first film set itself in the horror/mystery genre following with “Black Phone 2”. The movie continues to tell the story on how the Grabber not only continues to torment Finney by popping out in his nightmares but continues to haunt his sister, Gwen’s, dreams. In “Black Phone 2,” the Grabber comes back more powerful even after death, with the purpose of getting revenge on Finney after he killed the Grabber in the first movie. The Grabber’s sinister plan for revenge is killing Gwen to hurt Finney and mess with him mentally. 

The second movie was no disappointment. “Black Phone 2” delivered mystery, suspense and what was most expected, thrill. Creepy images of the missing children, the hidden messages in Gwen’s nightmare, and of course, the appearance of the Grabber are what made the movie so spine chilling. Besides the film being horrifying it was in some sense heartwarming. Gwen’s dreams were not only clues about the children that went missing in Alpine Lake but it got her to have more closure with her mother named Hope, played by Anna Lore, and connect with her mother’s death. The dreams reveal that Hope was murdered by the Grabber. A heartwarming feel was not expected from this movie, however, the film still had an emotional touch. Gwen talking to her mother through the black phone was a beautiful yet questioning part of the movie; was she actually talking to her mother or was it some sort of mimic?

By Kevine Liang

Trends are constantly cycling, and the 2010s are back. This year, maximalist styles like indie sleaze, boho chic, and polka dots made a comeback. 

Maximalism is an aesthetic characterized by excessive colors, patterns, and textures. Indie sleaze combines this aesthetic with leather jackets, skinny jeans, and chaotic, grunge inspired garments, while boho chic draws on more tailored maxi dresses and flared jeans, with bohemian and hippie influences. 

Looking back on the trends of 2025 and the new runway cycle of Spring/Summer 2026 during this year’s fashion week, v-necklines, plaid, and slimmer pants are coming back into style—trends that I am looking forward to. 

Many fashion houses have used v-necklines in their collections, including Jonathan Anderson’s debut Dior collection. Anderson has accentuated the shape by deepening the v-necks to the torso, while pairing the neckline with nun-style cornettes—a cap with a soft, rounded crown, typically made of lightweight fabric—, 18th century-inspired sculpted silhouettes, and large bows on the bodice. Anderson mixes lace layered dresses with wired wings on the back, where the v-necks seamlessly blend into the eloquent doll-like prettiness and the ultra-feminine look of Christian Dior that Anderson’s debut draws from. 

On the contrary to Dior’s fantastical showcase, Stefano Gallici at Ann Demuleemester adds a bit of edge to the v-necks with soft romantic Victorian garments. Overcoats are buttoned to make a V that is worn over ruffle shirts and sporty shorts. Satin robes are worn over striped suits, with sheer nightgowns paired with boxing shorts and feathered crowns—a signature of Ann Demuleemester’s ode to free spirit. The v-neck mashes itself with the gothic avant garde pieces that Demuleemester is known for. 

The contrasting spirits of these two brands shows the versatility of the neckline that has left its mark on many other collections, and even on me. The rise of v-necks will hopefully be apparent and I am ecstatic to see it happen. 

With new patterns and prints always trending, I believe that plaid deserves to be next. Plaid has had a spotlight in the western fashion world ever since the nineteenth century, influenced by Scottish culture. Vivenne Westwood is known for her tartan, a type of plaid which is known for horizontal and vertical lines of different colors, which was featured in Andreas Kronthaler’s Westwood. One of the looks has a leopard print t-shirt clashing with an off the shoulder brown tartan top, another has a blue plaid bikini top underneath a deconstructed satin and sheer dress that takes after the late Westwood’s modern punk fashion. 

Even in Coach’s Spring/Summer 2026 collection, the plaid is everywhere. Beige plaid ties contrast a white denim jacket and white slouchy pants with frayed ends, while a coin pouch pendant is slung across the chest. Others wore three-toned plaid pants with distressed sweaters, plaid suits, and a signature neck scarf for the collection. The Coach collection brings a new era of 70s sophistication, yet with a roughed-up vibe. 

Coach and Vivenne Westwood are just some of the few fashion houses using plaid during the S/S 2026 collection. They bring viewers to see the timeless use of plaid is taking place in fashion. And with the rise of maximalism and distinct styles that people look for to express themselves, plaid is the perfect choice for matching personal style. 

As indie sleaze and avant-garde styles are popping up in social media, people have taken a liking to bootcut, flare pants, and even the skinny jeans that were deemed unwearable are now being brought back. 

Much of Maison Margiela Spring/Summer 2026 has more wearable, deconstructive tailoring compared to more theatrical works from the past, and Glenn Martens took imperfection as the center of this collection. While many models were dressed in baggier pants, there were sprinkles of slim leather capris paired under a leather skirt with an elongated buttoned v-neck halter top. Models walk down the runway with Marigela’s signature four diagonal stitches in a rectangle as a mouth piece—a unsettling theme of silence and submission—alongside a vintage-inspired white suit with an undone tie top underneath, black flare jeans, and a classic button up v-neck with a pair of straight pants that perform subtle rebellion and provocation. 

By Kevin Hu

It’s hard not to call “Superman” (2025) successful. This action packed movie was released in theaters this past summer. Directed by James Gunn, the same director of the Guardians of the Galaxy franchise and The Suicide Squad, it has received praise from both critics and fans alike. But is it really deserving of all its praise? Spoilers ahead.

The plot follows Superman as he is defeated by a metahuman known as the "Hammer of Boravia," who is later revealed to be Ultraman—Lex Luthor’s engineered clone of Superman. Badly injured, Superman retreats to the Fortress of Solitude with Krypto, where he watches a partially damaged holographic message from his Kryptonian parents that comforts him. Earlier offscreen, Superman prevents the U.S. allied nation of Boravia from invading Jarhanpur, giving Luthor authorization from the U.S. government to kill him.

Luthor and his ally, the Engineer, sneak into the Fortress, restore the damaged message, and discover its shocking second half: a directive from Jor-El and Lara encouraging Superman, their son, to conquer Earth and repopulate Krypton. Luthor broadcasts the message publicly, turning the world against Superman. Amid growing suspicion by the public, Superman surrenders to the U.S. government, only to be handed over to Luthor and imprisoned in a secret pocket universe.

With Metamorpho’s help, Superman escapes along with Krypto and Metamorpho’s son. Lois Lane and Mister Terrific rescue the group, and Superman recovers with guidance from Jonathan Kent, who reminds him that his choices—not his origins—define him.

Meanwhile, Luthor’s girlfriend Eve Teschmacher exposes his plot to manipulate the Boravia–Jarhanpur conflict for territorial gain. Luthor then triggers a catastrophic rift in Metropolis to lure Superman back. As the Justice Gang stops Boravia’s renewed invasion, Superman battles and defeats the Engineer and Ultraman, sending the clone into a black hole. Mister Terrific seals the rift, while Superman confronts and subdues Luthor.

Lois and photojournalist Jimmy Olsen reveal Luthor’s crimes, exonerating Superman. Luthor and his allies are arrested, and all captives from the pocket universe are freed.

James Gunn is unafraid to put a new spin on the Kryptonian. Gunn’s Superman brings the whimsy and naivety lacking in Zack Snyder’s “Man of Steel” (2013). David Corenswet absolutely killed his role as Superman. Although some may argue that this movie isn’t worth watching because Corenswet is not masculine, is immature, and even has a slight temper, I would argue that this gives Superman the humanity and emotions lacking in Henry Cavill’s stoic portrayal of Superman in “Man of Steel.”

The casting for the main cast was also incredible. Rachel Brosnahan, acting as Lois Lane, was no damsel in distress, and had a crucial role in the film. Her chemistry with Corenswet’s Clark Kent was undeniable. The main villain was no slouch either. Nicholas Hoult embodied the hatred towards Superman in his portrayal of Lex Luthor. From his monologues to him glaring daggers at Superman when Superman spoils his plans, I could just feel his seething hatred through the screen.

In contrast, the side cast was very shallow. It’s pretty clear that the “Justice Gang,” consisting of Green Lantern (Nathan Fillion), Mister Terrific (Edi Gathegi), and Hawkgirl (Isabella Merced), only serves the purpose of expediting the creation of the DC Universe, a shared universe of heroes and villains under the DC branding. If Gunn was really insistent on having the Justice Gang in the movie, I would’ve loved to see them have more character development than just serving as a bailout when Superman is getting his butt kicked.

Additionally, the movie is filled with snarky one-liners that kill all the tension it builds up.  In the scene where the pocket universe begins to engulf Metropolis, Mister Terrific manages to find the time to complain to Superman for bringing his superdog, Krypto.

While Superman and Mister Terrific were busy with the pocket universe, halfway across the world, the Boravian military stands ready to massacre the citizens of Jarhanpur. Luckily, the Justice Gang and Metamorpho arrived just in time to save the day. As soon as Green Lantern arrives, what do you think he should do? Should he immediately start evacuating civilians, immediately engage with the hostile nation, or project an image of casualness in front of a kid saying some nonsense like “Superman couldn’t make it, so you got an upgrade?”

Overall, I give this movie a 7/10 rating. Despite its shallow characters and snarky one liners that ruin the pacing of the movie, it’s ultimately a light-hearted superhero movie where you can turn off your brain and enjoy. I’m excited to see what Gunn has planned next for the DCU. Superman is available for streaming on Amazon Prime, Apple TV+, HBO Max, Hulu, and YouTube TV.

By Sylvia Liu

After a three year wait, a disappointing adaptation of the Korean web-comic, “Who Made Me a Princess” was finally released this year in September after being announced in May of 2023. The name of the adaptation is “Fated Magical Princess : Who Made Me a Princess.” A Japanese voice over version was also released alongside the Chinese adaptation. It’s a disgrace to the korean web-comic, and the studio responsible for creating it is Colored Pencil Animation. It can be seen on Crunchyroll, iQIYI and Muse Asia on YouTube. It follows the character Athanasia de Alger Obelia, the only princess of the Obelian Empire, who is abandoned by her father, Clade de Alger Obelia, after her mother dies in childbirth. Through hardships and countless close calls with death, she gains her father’s affection.

The Chinese adaptation brings to life what readers imagine it will look like, a fantasy world full of luxury and many father daughter moments.  The backgrounds are very detailed, along with the clothing of each character. During the episodes they change into many outfits and each and every outfit is detailed to the point where every single petal of a flower is drawn.

While I enjoy the animation, it leaves out key details due to China's censorship rules. Some changes include the status for Anthansia’s mother from a dancer to empress consort, and the sanitization of characters, especially Clade de Alger Obelia, Athansia’s father, the emperor. Colored pencil Animation made his personality less cruel which is a bit frustrating, since it plays a big part in his character development and how Athanisa grows as a character in the Korean web-comic.

It’s disappointing that this is how they decided to do the adaptation. The original genre for the manhwa includes  fantasy, romance, and reincarnation, but after the changes they didn't focus on the romance with the male lead and sub male lead. It also removes the rebirth aspect that makes it a reincarnation web-comic, leaving only the fantasy genre. It deviates from the original too much.

The main difference in the first episode is that it doesn’t follow the story plot fully. In the Korean web-comic, Athanasia was reborn into a book she was reading in her previous life; in the anime, they don't show that. It’s a bit disappointing since that is a big part of the character, and it shows how she struggles to survive in her new world after knowing she will be killed by her father when she turns 18.

Throughout the webcomic we follow Athanasia through the challenges she faces, but in the adaptation they change the challenges that she faces so she will have an easier time.  An example is the lake scene, where Athanasia falls into the lake while trying to pick a flower. Originally she had to struggle to survive while drowning and we don't know who saved her until the later chapters. In the animation Athanasia struggled but we were allowed to see who saved her and it was less intense than the web-comic

After the first three episodes the adaptation becomes a whole different story and it’s nothing like the original. It’s nothing like how I imagined it. At this point it’s not even an adaptation, it’s a whole different story.

Throughout the anime, they make small changes through each episode that feel like a lot when added up. Overall the chinese adaptation is good, but doesn't follow the plot of the webcomic and it feels like it’s not the same story.

By Zoe Hong

Despite the anticipatory build up over six years for season three of “One Punch Man,” fans compare watching the season to watching a slide show, rather than an animation. “One Punch Man” is a comedy action show that follows Saitama, an overpowered super hero that can defeat any monster with just one punch as he struggles through finding meaning in life. 

For a show that features many fight scenes, it is instrumental for the action to be animated well, and the first season of “One Punch Man,” released in 2015, lived up to the excitement. However, when season two released in 2019, there was a notable drop in quality with inconsistencies in animation style and a lack of action even while being based around a fighting tournament. Season three continues this downward spiral with the few animated scenes featured being highly inconsistent and animated often without proper rendering.

It's disappointing to see a lack of care put into the animation for season three. Eager fans waited with high hopes for this season to return to the former glory of season one, only to be let down.

The first episode of “One Punch Man” launched on Adult Swim and ended with a fight scene between Saitama and a species of monsters called the Subterraneans. This first fight scene shows the dedication the animators had to bringing a loved manga series to the screen and the difference of how much effort was put into the animation in season one in comparison with season three.

Season one, episode one, still utilizes action lines, camera panning across stills, and cutting away from the mouth when characters are talking–all common tactics to avoid animating to save money. But unlike season three, season one doesn't rely on these tactics to distract the viewers. Season one animates consistently with shots in which the camera pans around multiple characters during fights and actually makes the jaw move when characters talk, unlike season three.

Many fans were hoping the animation quality would improve in the new season during fight scenes, but they were mistaken. 

In Season three,  episode six, the heroes all sit around planning their invasion of a monster hideout. The criticism that the new season is more akin to a slide show than an animation shines through as neon color stills are shown with the characters inner monologue in the background. The fight scenes in this reuse images for explosions,highlighting the lack of quality and care put into the new season, disappointing many fans. 

As the season continues to release every Sunday on Hulu and Disney+, fans can only hope the animation will improve. But with every episode being more of a disappointment, it seems unlikely this season will live to up any expectations. 

By Orin Yu

After a string of Marvel movies consistently falling short of expectations, “Thunderbolts*” delivers a much-needed jolt of electricity (almost like a thunderbolt) to the Marvel Cinematic Universe (MCU). As of late, Marvel has been trying too hard to hang on to their old stories, with countless sequels and crossovers, reusing characters and storylines, but “Thunderbolts*” breaks this pattern. With “Thunderbolts*”, it feels like Marvel has finally remembered how to make a good movie: with solid action, high emotional stakes, and fresh characters who make you excited for the inevitable sequels. 

Directed by Jake Schreier, “Thunderbolts*” brings together a group of anti-heroes, who all have various mistakes weighing on them. Yelena Belova (Florence Pugh) becomes the unofficial leader of the team, joined by Bucky Barnes (Sebastian Stan), Red Guardian (David Harbour), Ghost (Hannah John-Kamen), and John Walker (Wyatt Russell). 

This ragtag group of mercenaries are forced to work together, despite animosity, when their shared employer finds them to be a liability and tries to get them to take each other out. 

What’s so great is that these aren’t perfect people; they’re messy, haunted, and all trying to do something good for once. As the asterisk in the title indicates, they are the “New Avengers,” filling the void left by “The Avengers,” after their story ended, but grittier and more personal.

All of these characters have appeared in other Marvel Studios works before: Yelena in “Hawkeye” and “Black Widow,” Ghost in “Ant-Man and the Wasp,” Walker in “Falcon and the Winter Soldier,” and Bucky in a multitude of films. 

Even though these characters are not completely new, their appearance in “Thunderbolts*” gives them their first real opportunity to step out of secondary or antagonistic roles and take center stage. This shift gives the movie a unique edge because the team isn’t made up of the usual perfect superheroes—it’s made up of flawed, complicated people trying to figure out who they are and what they stand for.

Another thing “Thunderbolts*” does really well is explore some surprisingly heavy themes. Yelena is still grieving the loss of her sister Natasha, and the movie doesn’t pretend she’s fully healed. Instead, it shows how she hides her pain behind sarcasm and bravado, making her moments of honesty hit even harder. 

Walker, on the other hand, is wrestling with his own guilt after everything that happened in “Falcon and the Winter Soldier,” as well as how his actions have affected his family life. You can tell he wants to prove he’s more than his past mistakes, even if he doesn’t always know how. 

Florence Pugh, as Yelena, absolutely steals the show. She’s funny, fierce, and vulnerable all at once. Her chemistry with the whole team gives the movie real emotional weight. 

The banter between the characters is sharp, the action scenes are intense, and there’s a sense of rawness that’s been missing from recent Marvel films.

Visually, “Thunderbolts*” looks amazing. It trades bright, over-the-top effects for darker, more grounded action that feels real. The fight scenes are tight and fast. And, unlike some of the recent MCU movies, the humor doesn’t undercut the serious moments; rather, it adds to them.

Even more impactful is the story behind the villain, whose struggle with depression is handled with way more seriousness than I expected from a Marvel film. Even with his massive power, he feels fragile, scared of losing control, and disconnected from the world around him. The way the movie shows the vulnerability of the characters adds a lot of heart to the story. It reminds me that being a hero in the MCU isn’t just about powers or fighting skills, it’s about trying to get back up when everything inside is telling them not to.

While I don’t expect “Thunderbolts*” to have the same culture-shaping legacy as “Iron Man” or “Guardians of the Galaxy,” I can easily see it bringing back fans to the MCU after dismal misfires like “The Marvels,” or “Ant-Man and the Wasp: Quantumania.” 

“Thunderbolts*” reminds me of the early MCU films, before they got too reliant on multiverses and cameos. I am excited to see where these “New Avengers” go. Maybe they really are the heroes that the MCU needs.