“It’s Us Vol 1” and “Red One” // Dylan Paradise, staff writer
“It’s Us, Vol. 1” is the debut album from Lil Yachty’s new rap supergroup, “Concrete Boys.” Made up of rappers Yachty, Camo!, KarrahBooo, Dc2trill and Draft Day, the group found early success from its viral “On the Radar” cypher. Yachty’s influence in the production and songwriting is extremely evident throughout the album — to the point where it feels more like a Yachty album than a collab album. However, the different sounds from these five rappers mesh well together, complimenting Yachty very nicely. On “It’s Us, Vol. 1,” Camo! establishes himself as the clear No. 2 in the group, delivering great verses on some of my favorite songs from the project. “UP YO STANDARDS” and “POINT ME TO IT” give me strong flashbacks of 2016 Lil Yachty — perhaps in 2025, we’ll see Camo! evolve outside of Concrete Boys as an individual artist. “It’s Us, Vol. 1” could signal the return of rap supergroups, which have faded into obscurity over the last decade and a half.
“Red One” could either age as a timeless Christmas classic or another horrible money grab that, for lack of a better word, flopped. Starring Dwayne Johnson as the head of North Pole Security and Chris Evans as an estranged hacker, the two team up to rescue Santa Claus, played by J.K. Simmons, and save Christmas. The movie also stars Lucy Liu as Zoe Harlow, the director of an organization keeping peace between the real world and the mythological world, featuring characters like Gryla, a Christmas witch bent on punishing the naughty, and Krampus, Santa’s exiled brother. “Red One” is very reminiscent of Dreamworks “Rise of the Guardians,” a 2014 film about an Avengers-esque teamup of mythical, holiday-related characters. While Johnson and Evans form a likable duo, much of the writing in the film falls flat. At times, it is simply just another Christmas movie.
“Brat” and “Short n’ Sweet” // Wendy Moore, staff writer
Charli XCX released her sixth studio album, “Brat,” in June. This served as her long-anticipated push into the mainstream pop world, and the epidemic that was “brat summer.” Is house music coming back, or did people find appeal in the vomit green album cover? Who knows? Despite its upbeat nature, songs like “Sympathy is a knife” and “Girl, so confusing” are rooted in insecurity, which Charli has admittedly struggled with, despite being the coolest person alive. The “Brat” aesthetic even worked as an endorsement for Kamala Harris’s 2024 presidential campaign. It’s no wonder that London lit up Brat-green during its New Year’s Eve celebration.
This year, Sabrina Carpenter established herself in the mainstream pop world, proving that the Disney star to pop icon pipeline is alive and well. Her album “Short n’ Sweet” was predated by its lead single, “Espresso,” which became an anthem of summer 2024, partially thanks to its ridiculously clever lyric, “That’s that me espresso.” Carpenter encapsulates what it means to be a girl in 2025 — fun and really sad. High-energy songs like “Espresso” are paired with the dread of heartbreak in songs like “Don’t Smile” and “Lie to Girls.” She began a tour in September, which blended a vintage aesthetic with modern trends. Carpenter was able to end the year with a well-performing Netflix special, “A Nonsense Christmas,” performing duets with other well-known artists, including Chappell Roan and Tyla.
“Sonic 3” and “Alligator Bites Never Heal” // Maxine Van Nortwick, staff writer
2024 was a hallmark year for children’s movies, with hits like Despicable Me 4 and The Wild Robot, and Sonic 3 served as the perfect grand finale. On a surface level, Sonic 3 is confusing — some of Hollywood’s biggest stars, like Idris Elba, Keanu Reeves and Jim Carrey, voice hedgehogs and evil villains in a CGI children’s movie. I was originally skeptical and only saw the movie to escape boredom, but was astounded at the plot’s complexity, the commitment to the original material and how entertained I was. I think Sonic 3 aligned with similar films from the year signals a positive change in the quality of children’s media and how far good acting can carry a movie, no matter the audience.
“Alligator Bites Never Heal” by Doechii is simply one of the best albums made this year. The lyricism, storytelling, beats, backing tracks, personality and pure excellence radiating from this album will not only cement Doechii’s place as one of 2024’s best breakout artists but as a beacon of modern rap and creativity. I implore readers to watch her Tiny Desk concert and her performance of “Denial Is A River” with Issa Rae to fully grasp the power of Doechii and her once-in-a-generation talent.
“Arcane” and “Challengers” // Emma Meo, staff writer
With films such as “Challengers” and the final season of “Arcane,” 2024 had something for everybody. For some who are not into League of Legends, it could be confusing watching “Arcane.” However, the show does a wonderful job of crafting a complex story that centers around love, family and the importance of holding onto your loved ones.
“Challengers” really showed the dynamics of cinematography and what you can do with a camera. The movie is centered around three main characters — Tashi, a famous tennis player turned coach, her husband Art and his old best friend Patrick. There is also an amazing soundtrack to accompany the movie, helping viewers feel the emotions of the characters and assisting with tackling some of the most heartfelt moments of the movie. Beware — if you plan on watching this movie, do so with either friends or by yourself. Also, prepare to have your jaw dropped.
“Kansas Anymore” and “It’s What’s Inside” // Sage Rosenfeld, staff writer
Those keeping up with the Emma Chamberlain/Role Model love story are likely familiar with “Kansas Anymore.” Role Model’s recent album is filled with adoring love songs. Many songs on this album have trended on social media recently, and for good reason. My personal favorites from the album are “Something, Someday, Somehow” and “Writing’s On The Wall.” If you are looking for something calm and lyrical to listen to, “Kansas Anymore” by Role Model is perfect.
Though 2024 hosted a wealth of memorable movies, “It’s What’s Inside” was certainly one of the top releases from the year. I could not have guessed the plot of this movie before watching it — I have truly seen nothing like it before. This film is one that should be attentively watched with no prior knowledge of what occurs. It is about a group of old friends who play a new game. The relationships between the characters heavily elevate the already juicy narrative. If you are a fan of movies like “Knives Out” or “Clue,” “It’s What’s Inside” is sure to entertain. This movie is best watched with a group of friends and an open mind.
“The Decameron” and “Only God Was Above Us” // Mollie Young, staff writer
What would happen if high society Italians in the 14th century were forced to quarantine during the “Black Death,” just as we all did in the height of the Covid-19 pandemic? In Netflix’s “The Decameron,” we get to see exactly that. The show takes place in 1348 as wealthy citizens of Florence, Italy, escape to the countryside in an attempt to spare themselves as the world’s most deadly pandemic tears through the city.
“The Decameron” is the perfect watch for history lovers and reality TV fans alike, of which I consider myself both, as it seamlessly blends themes of life in the 14th century with the kind of drama that unfolds on “Big Brother” when you lock total strangers in a home together, unable to escape.
After a five-year hiatus, 2024 brought the long overdue return of Vampire Weekend with the release of their fifth studio album, “Only God Was Above Us,” on April 15, 2024. Vampire Weekend’s melodic, globally influenced sound and prep school vibes have remained consistent across all of their albums, and OGWAU only took these themes and dug deeper, revealing an album full of songs not only memorable for their sound, but for the stories they tell. It is a proclamation of the band’s maturity, as they are no longer college students disrupting the class divide of New York City. They take these themes and bring them into the more “adult” space in which they now find themselves. While I will always be partial to the carefree sounds of Vampire Weekend’s earlier albums, OGWAU was definitely a much-welcomed return to music-making for the band that I’m looking forward to hearing more of in the future.
