This post was updated July 14 at 5:07 p.m.
By the grace of “Charm,” Clairo has pulled off a discography hat trick.
As she warmly hums, “When candles burn out/And the record has faded down/I know you’ve got people to turn to” on “Slow Dance,” Clairo enchantingly captures the tension between yearning and surrender that defines her third full-length album.

I recently came across a photo of myself as an awkward eighth grader with a round smiling face of heavy acne, sweaty hair and a well-worn cornflower blue UCLA sweatshirt.

Dave Grohl has added a new accolade to his musical resume.
On Monday, the Student Alumni Association declared Grohl as the 2024 Spring Sing George and Ira Gershwin Recipient.

Vampire Weekend has rediscovered the key to heaven on its fifth full-length album.
“Fuck around and find out,” Vampire Weekend frontman Ezra Koenig gleefully exclaims on the opening track of the band’s latest album, “Only God Was Above Us.” Born from a Daily News headline, the 10-track album’s title references a 1988 plane crash where when recounting the striking visual of the aircraft’s roof ripping off, one survivor declared “only God was above us.” Fittingly, the genre-bending record is deeply interested in mining beauty from chaos, and for the most part succeeds.

This post was updated March 7 at 9:03 p.m.
At this year’s Academy Awards, Hollywood’s shining stars will vie for statues of gold.
On Sunday night, the Oscars will return to the Dolby Theatre for another year of celebrating the film industry’s astounding achievements.

Snail Mail, the indie rock effort of singer-songwriter Lindsey Jordan, performed at the Troubadour on Feb. 26, joined by openers The Umbrellas and Narrow Head. The tour stop was the first of four West Coast headlining dates, following Snail Mail’s full-length “Valentine” tour last spring.

“Handling the Undead” unearths a new kind of zombie tale.
Adapted from the novel of the same name by John Ajvide Lindqvist, the mystery-horror film follows three families who must reckon with the unsettling, sudden return of their loved ones from the dead.

“I Saw the TV Glow” is breaking through the static of the horror genre.
After making their narrative film debut at Sundance 2021 with their lo-fi horror film “We’re All Going to the World’s Fair,” writer-director Jane Schoenbrun returned to this year’s festival with “I Saw the TV Glow.” The filmmaker’s A24-produced sophomore entry centers on lonely teenagers Owen (Justice Smith) and Maddy (Brigette Lundy-Paine) who find solace in their favorite television show, “The Pink Opaque.”
Smith, Lundy-Paine and cast member Ian Foreman spoke with the Daily Bruin’s Graciana Paxton at the Sundance Film Festival about the ways in which the coming-of-age horror explores media obsessions, isolation and identity.

Female filmmakers are taking revolutionary directing practices from Park City, Utah, to Hollywood.
At this year’s Sundance Film Festival, directors Lana Wilson, Fawzia Mirza, Sydney Freeland and Ally Pankiw participated in “Independent Women: How Indie Filmmakers are Bringing Transformative Approaches to Hollywood,” a panel hosted by Acura and Women in Film.

All that glitters is gold – or pink – in Jane Schoenbrun’s “I Saw the TV Glow.”
The writer-director’s stunning sophomore narrative effort follows teenagers Owen (Justice Smith) and Maddy (Brigette Lundy-Paine) as the two seek to overcome feelings of loneliness and otherness through their shared love for a fictional ’90s late-night program, “The Pink Opaque.” With striking visual language, Schoenbrun fires on all cylinders, maximizing both style and substance through clarity of voice and a deeply original script in the beautifully haunting “I Saw the TV Glow.”
And glow it does, as the neon pinks, blues and greens that inform the film’s vivid aesthetic deliciously ooze from the screen.