To the average thinker, the song “Just a Girl” by the band No Doubt is a classic piece of satire. When Gwen Stefani sings “I’m just a girl / I’m just a girl in the world,” she intentionally belittles herself. By writing this song, Stefani shows she is not only aware of the infantilization of women, but she also criticises it. As a woman in the face of the music industry, it would be very impressive not to be patronised, belittled, talked down to, or condescended to. This is especially well known in the alternative rock/pop-punk scene Stefani was in. All of this indicates that she knew exactly what she was talking about and, more importantly, does not genuinely see herself as “just a girl.” The song conveys a strong message, albeit perhaps veiled by a layer of irony.

The reason why this song deserves reflection even nowadays is how it’s used as a trending sound. While it’s true that the trend passed, its influence has stuck around. You can still hear a woman on the street saying that she doesn’t know how money works because she’s just a girl. While most of the women who followed the trend thought of it as just a joke or a phrase, but its association with the song gives it an eerie, dystopian feeling. They’re just girls, so why should they think? Even the song says so! “Oh, I’m just a girl, all pretty and petite / So don’t let me have any rights.” Why should we have to worry about things reserved for men, like politics and the right to vote? Why should we have a say in the government? Why should we have a say over our bodies? We’re just girls after all! We’re idiots who can’t think for themselves! Anyone with opinions on what is going on in the world around them shouldn’t dismiss themselves. If you think critically about literally anything, you deserve to speak out. If we continue belittling ourselves, we allow others to belittle us as well.

Subscribe now

In a similar vein of satirical misinterpretation, there’s Mary Harron’s American Psycho (2000). While “Just a Girl” ironically allows women to participate in their own patronising, the misinterpretation of American Psycho allows men to put themselves on a pedestal. Following in the footsteps of the book that preceded it, American Psycho is a satire on the social hierarchy of upper-class businessmen. It portrays the downfall of Patrick Bateman, depicting all of the characters so similarly that they get confused between themselves throughout the film. It is a critique of the shallowness that thrives off of this culture of men in suits, shown most prominently in the famous business card scene: The characters fixate on trivial matters like font and paper type. How have men taken this satire and transformed it in their minds into an aspiration story about the perks of being on top? It’s hard to tell whether these people truly don’t understand the intricacies of this film, or whether they do, and just decide to ignore them to believe in their own narrative. Furthermore, the ambiguous ending of the movie makes it seem as if the murders that take place during its duration never even happened. Perhaps this is one of the perks of status that idolizers enjoy. Imagine being so rich and powerful that you can get away with murder! To scholars, this is dystopian; to the indoctrinated, it sounds heavenly.

The most disturbing aspect of the misinterpretation of media is the consequences that follow. People convince themselves that social status is the most important thing or, conversely, that they are just silly girls unfit for adult responsibilities. It’s scary, really. It is fascinating that these are the messages that people retain from satirical media that are meant to say, frankly, the opposite of what is idolised.

The last season of Stranger Things may have landed on Netflix to close a story. Instead, it ended up sparking fierce debate among viewers.

Almost a decade into watching, one thing became clear – the cast of childhood pals means something special for fans. Starting with strange lab tests, then jumping into hidden worlds, the show mixes old feelings with constant danger. What grows between each character isn’t only action – it’s emotional weight that’s carried through each scene. By late 2025, after the previous seasons aired, crowds of fans logged on hoping for answers that would stick. Instead, their favourite stories ended without many loose ends being tied tight.

This quiet openness sparked wild debates across social platforms with fans fiercely discussing the series. Right off, a movement called ‘Conformity Gate’ popped into view. Unlike usual guesses about buried messages or shadowy masterminds, ‘Conformity Gate’ claimed that the streamed series ending wasn’t the actual one. People who backed the idea said that Netflix's version felt like a polished, safe finale – one shaped to follow rules. Yet tiny clues, like what characters wore, what was painted behind them, or how they spoke, hinted at something else entirely. The real ending was buried but alive. People started studying each picture closely, searching not just for answers but for clues – odd shapes, hidden messages, even gaps that might hint at truths beyond the final cut

What sparked ‘Conformity Gate’ wasn’t so much a scandal than audience suspicion: the conclusion felt too clean, too controlled, as if it had bent to story conventions instead of following the chaotic rhythm fans had grown accustomed to. What looked like secrets hid in shifting colors during crucial parts. Odd placements of objects drew attention too, along with whispers of hidden signs during intense scenes. Many believed a secret episode existed – an episode never mentioned but said to be ready. This unseen ninth installment was expected on January 7, 2026, shocking everyone at once. Online spaces such as TikTok, Reddit, and X (formerly Twitter) filled with close comparisons of final clips. Fans studied exact moments, shared timing notes, while guessing loudly about what lay beneath. The last episode felt like a lacking conclusion, so it became something you had to figure out.

Still, those behind the scenes – the creators, Netflix workers, even those who speak for the show – kept saying what we saw was real: that the last episode stood as the final word. No hidden scene lurked around the corner, no buried plot was tucked someplace quiet. We’d watched a finish that let go gently, yet stayed heavy enough to matter. The unclear parts hadn’t come from errors or a secret message – uncertainty was chosen on purpose. Stranger Things asked us to linger on silence as an outcome.

‘Conformity Gate’ may be disproven, but its presence showed something real. The stories of modern television live across our screens, yes, and also inside the living rooms where fans debate every frame. When shows drop without networks, viewers interact differently. We’re less passive, and more active. We challenge the unspilled secrets by piecing together new ideas by the evening. Discussions that happen away from the screen matters just as much as the stories that live within.

Stranger Things may have finished, but its response keeps shifting. Talk persists – with fans nudging each other with new thoughts on story habits and feelings. Some fans may believe that Stranger Things wraps up neatly, and others venture into theory territory by creating new concepts that stretch the series' ending. This back-and-forth discussion reveals something quiet but deep: that Stranger Things has run beneath the surface of a modern fandom. Audiences have proved that their reactions don’t fade when the episodes end. Instead, our thoughts ripple forward, adding new pages to a growing bond between stories and viewers.

Nothing impresses us anymore. Not because nothing is good, but because everything is everywhere, all the time. The moment a song drops, a trailer premieres, or a celebrity posts a glimpse behind the curtain, it is already gone, replaced by a scroll. We’ve traded anticipation for accessibility and wonder for instant gratification. Icons no longer feel larger than life; they feel like someone in our notifications list, endlessly available. Every secret is revealed before it can take hold, every story exhausts itself in previews, and every spectacle becomes white noise in the endless stream.

When did we stop being amazed? When did a film trailer stop feeling like a promise and start feeling like a report? When did the unveiling of a song feel like a leak instead of a revelation? We scroll through lives, plot twists, and premieres with the same detached rhythm, eyes glazed, thumbs restless. Every behind-the-scenes video, every Instagram story, every “exclusive” interview chips away at the possibility of being swept off our feet. Is it even possible to feel wonder anymore, or have we simply trained ourselves to consume everything and move on before it has a chance to haunt us?

We are drowning in beauty, and yet, paradoxically, nothing feels beautiful anymore. Every day, we scroll past perfectly composed photographs, flawless faces, and art at the click of a finger, and it all blurs together into a monotonous parade. A hundred years ago, seeing someone striking might inspire a sonnet, a painting, a fevered letter; it was rare, fleeting, and unforgettable. Today, we can open our phones and encounter a thousand “perfect” people before breakfast, each curated, filtered, and endlessly reproducible. Rarity once made the extraordinary remarkable; now, oversaturation has numbed us, turning awe into white noise, and wonder into something we can only simulate with double taps and heart emojis.

And it’s not just art or beauty; it’s the people behind it too. Celebrities used to hover on the edge of imagination, distant and unknowable, like stars whose cold light reminded you of your own smallness. Now they live in our pockets, in our notifications, in our group chats, and in that constant proximity, they’ve lost their gravity. We know their morning routines, what they ate for breakfast, how they feel about avocado toast, and yet somehow we feel less moved, less inspired, less…awed. The soul can only tremble before the rare and the fleeting, and we have offered it an entire world all at once.

Maybe wonder hasn’t disappeared. Maybe it’s just waiting for us to slow down enough to notice it. We can’t help the flood of images, the endless scroll, the constant chatter of lives we can peek into with a swipe. But we can step back. We can pause. We can look at a song and let it linger. Watch a film without reading every spoiler. Listen to someone’s story without comparing it to ten others. The extraordinary still exists. Now, it’s just quieter, hidden between the noise. And maybe, if we give it a chance, if we make room for it in our days, we’ll remember what it felt like to be surprised, to be moved, to be truly impressed.

Taylor Swift’s induction into the Songwriters Hall of Fame is more than just a personal milestone – it is a cultural statement that emphasises her influence and truly defines song-writing in the 21st century. For decades, the Hall has celebrated acclaimed lyricists who have captured generations with both pen and melody. Swift joins that lineage not just in replicating their past, but by redefining the future of the music industry. The Hall has long honoured renowned lyricists whose songs have resonated across generations. Swift now joins this tradition, not simply by echoing the past achievements of her predecessors, but by fundamentally reshaping the future direction of the music industry.

What separates Swift from other artists and musicians in the industry is that she is the central architect of her own work and songs. From the diaristic clarity of Fearless to the narrative ambition of folklore and evermore, her songs read like short stories complete with character arcs, emotional tension, and resolution. This is song-writing at its most traditional, even when wrapped in modern production. Unlike many of her peers, Swift stands out in the music industry as the sole creator and architect of her songs. Her work, spanning from the confessional sincerity of Fearless to the complex narratives of folklore and evermore, functions like meticulously crafted short stories. These songs feature fully realised character arcs, sustained emotional tension, and clear resolutions. This approach to song-writing is deeply traditional, even when paired with contemporary production techniques.

Critics once dismissed her early work as too confessional or “teenage,” a criticism historically aimed at women who write honestly about their inner lives. Yet those same qualities are precisely what give her catalogue its endurance. Songs like “All Too Well,” “Clean,” and “My Tears Ricochet” prove that specificity is not a weakness but a strength. Swift understands that the more personal a song is, the more universal it becomes. Moreover, her evolution across genres also underscores her song-writing skill. Country, pop, indie folk, these shifts were not driven by trend-chasing but by narrative need, as well as the changes in her life. From Fearless to The Life of A Showgirl, the lyrics may have changed, but the voice in these melodies remained unmistakably hers. That consistency of perspective across changing sounds is a hallmark of great songwriters, not just successful performers. Swift’s early work was once criticised as overly confessional or “teenage,” a common dismissal for women who express their honest inner lives through song. Paradoxically, these very qualities are the root of her catalogue’s enduring power. Her songs, such as “All Too Well,” “Clean,” and “My Tears Ricochet,” demonstrate that powerful specificity is a major asset, not a flaw. Swift masterfully proves that the more intensely personal a lyric is, the more universally resonant it becomes. Furthermore, her willingness to traverse genres from country and pop to indie folk is a testament to her songwriting prowess. These shifts were driven by the evolving narrative of her life and the needs of her storytelling, rather than by chasing trends. Though the lyrical content changed from Fearless to The Life of A Showgirl, the unique voice guiding the melodies remained unmistakable. This consistent perspective across a dynamic soundscape is the true mark of a great songwriter, surpassing the achievements of merely a successful performer.

Beyond the music itself, Swift’s advocacy for songwriter rights further cements her place in the Hall. She has publicly challenged industry norms around ownership and compensation, using her platform to remind the world that songs are not disposable content; they are labour, craft, and intellectual property. In doing so, she has become a spokesperson not just for herself, but for writers who came before and those who will follow. Swift’s impact on the Hall extends past her musical output to include her steadfast advocacy for songwriter rights. By publicly challenging accepted industry practices regarding ownership and fair compensation, she has emphasised that songs are valuable intellectual property resulting from labour and craft, not merely disposable content. This stance has made her a powerful spokesperson, representing not just her own interests but those of past and future songwriters alike.

Recognising Taylor Swift’s song-writing legacy is not about popularity or charts; it is about impact. Her work has shaped how a generation understands storytelling in music. She has made listeners care about bridges, verses, and word choices again. She has made listeners ponder and analyse her lyrics and sell out spots in a concert venue. In an era dominated by speed and virality, she reminded us that a well-written song can still stop time.

The measure of a songwriter lies in words that outlive trends. Taylor Swift’s songs already have, and that is why her legacy feels not only deserved but inevitable.

Elf appears to exist solely in the realm of comedy – at least initially. It is a loud, over-the-top, and ridiculous film that can easily be passed off as a shallow holiday flick. Yet, Elf contains more substance than it is given credit for. The movie and its book counterpart deal with the themes of identity, acceptance and, most crucially, the choice to remain kind and optimistic in a world where these values may not always prove fruitful.

The Elf movie successfully captures its character’s situation by fully adopting his point of view. Buddy does not perceive reality the same way as the rest of the characters, and the movie emphasises this practically. His brightly coloured clothes are matched by his ridiculous facial expressions and reactions, which are starkly at odds with the drab and frantic pace of New York City. This dichotomy not only provides the bulk of the laughs but also illustrates how happiness and wholesomeness are perceived to be out of place within a jaded world that values habit.

Although the film is clearly a comedy, it also has a strong emotional centre. Buddy’s pursuit of his father is not simply a comedic one. Rejection, confusion, and loneliness are large elements of the journey he undertakes – even if they are tempered with humour. Buddy’s optimism really takes on significance as it does not come from a place of ignorance. It is a choice he makes in the face of disappointment.

The book version of Elf develops this theme in a way that gives the reader more insight into the mind of Buddy. Without the use of visual humour, the book delves more into how Buddy perceives the world around him: his misunderstanding of the way the world works, his need to fit in, and his unshaken optimism about the nature of goodness. These themes that the film touches upon become more in-depth and introspective in the book. As a result, Buddy is presented less as a comedic character and more as a person trying to adjust within a strange environment.

An additional strength of this book is pacing. As the book is relatively slower, it allows for a further development of Buddy's life at the North Pole and his integration into human culture. This serves to show that it is not only difficult for Buddy to find his place in human society, but it is also difficult for him to understand who he is. This book illustrates the awkwardness of identifying oneself and that there is no immediate feeling of belonging.

The movie and the book are complementary. They both convey the same message, but the change in form gears the story toward a goal of entertainment or reflection. Through fast pacing and physical comedy, the movie is more geared toward entertainment. These elements make it more memorable and easily understood by viewers. In contrast, the book is geared toward reflection. Its in-depth perspective expands the idea that belief, kindness, and sincerity are able to change others who have lost contact with happiness.

Ultimately, Elf reminds us of a common experience. Many of us feel that we do not belong, as if we have been misunderstood or forced to change who we are to fit in. These feelings that so many of us share are placed within the framework of a fun and light experience in Elf. The movie and book remind us that being who we are is an incredible way to make a difference. This is why Elf is a Christmas classic.

When one hears the word ‘emo,’ a certain G-note stings in their ears: the often-clichéd beginning of the song “Welcome to the Black Parade” by My Chemical Romance (MCR). This introduction has become a frequently cited, if somewhat clichéd, point of entry into discussions of the genre.

Although ongoing debate remains within alt-music circles regarding whether MCR should be classified as emo, pop-punk, or rock, there is little dispute about the band’s profound influence on the alternative music landscape. To the average person, MCR is synonymous with the idea of a person clad in black crying to a poster of several men equally outfitted in black. Would they be wrong? Not entirely. My Chemical Romance’s influence on a significant portion of the alternative crowd cannot be overstated.

Consequently, when the band emerged from their indefinite hiatus to announce a 2025 — and later, a 2026 — tour, many were overjoyed at their return. This enthusiasm, however, was soon tempered by widespread frustration.

Fans logging into Ticketmaster were confronted with ticket prices exceeding $150 for the lowest-tier options, assuming any tickets were available at all. The line was full of bots and ticket scalpers who grabbed anything they could to sell for a profit. Many, despite being willing to pay over $150 for their tickets, ended up with no such option, losing the “Ticketmaster war.”

This is because MCR, like many artists now, sells its tickets through Ticketmaster’s use of so-called “dynamic pricing,” a model in which ticket prices fluctuate in real time according to demand. While increasingly common in the contemporary live music industry, this practice often renders concerts inaccessible to average consumers during periods of high interest.

Now… why does this really matter? Doesn’t every artist do this? Don’t they all sell their tickets and merch for the highest price possible to earn as much as they can? Sure, but this development horrified alternative fans everywhere.

The reason for this outrage was that the emo genre was born out of punk, which emphasises the rejection of popular culture and often the shortcomings of capitalism. In alternative culture, the message is almost, if not, as important as the art itself. Punks and alternative people value integrity, which is why seeing MCR using “dynamic pricing” was such a slap to the face.

This sense of contradiction was further amplified by reports that the tour’s narrative and stage performance centred on critiques of fascism, authoritarianism, and the dangers of blindly following a leader.

This was a second, perhaps worse, stab in the back to the fans who could not afford or obtain tickets, as the irony could not escape them. The band openly reject assimilation, capitalism, and taking the path assigned to them, yet seemingly betray their fans by going against the principles blatantly displayed in the message for their tour.

It seems highly contradictory to advocate for the rejection of capitalist systems while simultaneously barring access to one’s work based on affordability.

The television show The Summer I Turned Pretty concludes with a breathtaking and emotionally charged ending, filled with heartbreak, personal growth, and the journey of following one’s heart. Belly’s story reaches its turning point in Paris — a city that symbolises liberation, self-discovery, and courage. Each choice she makes there challenges her strength, tests her understanding of love, and pushes her to take control of her own destiny. After impulsively ending her engagement to Jeremiah, who is left overwhelmed and heartbroken, Belly escapes to Paris in search of clarity and renewal. More than just a backdrop, Paris transforms into a sanctuary of self-realisation — a place where she can reflect on her past, rise above the fleeting desires and nostalgia of her summer romances, and begin to define who she truly wants to become.

In Paris, Belly begins a relationship with Benito, a warm and light-hearted young man who offers her a love that feels brighter and simpler. Their moments together are full of laughter, adventure, and intimacy — joyful and liberating, yet entirely different from the deep, trusting bond she shares with Conrad. Benito becomes essential to her personal growth, helping her rediscover herself through his presence in her life. With him, she begins to see herself as independent — free to explore what she truly wants and to experience a love that feels safe yet exciting. Yet despite the happiness Benito brings, Belly cannot stop thinking about Conrad, a love she cannot forget. This conflict between her new beginning and her unresolved feelings for Conrad creates the emotional tension that keeps the audience invested as Belly continues her journey.

The tension between Belly and Conrad builds until he finally arrives in Paris. Their relationship remains emotionally complex, and the show portrays it with nuance and sincerity. At first, Belly suppresses her feelings and communicates with Conrad only as a friend, hiding her lingering passion and memories behind polite smiles and casual words. Their lingering glances, hesitation, and unspoken undertones speak volumes, revealing both the depth of their bond and the inevitability of their downfall. When Conrad admits he still loves her, Belly hesitates but tells him that he must choose between his own feelings and his mother’s expectations. This moment reflects her growth and maturity — Belly is no longer willing to love blindly; she now seeks honesty, clarity, and the security of a real partnership.

The tension heightens further when Conrad prepares to leave for a conference in Brussels. Belly lets him go, showing restraint and patience even as her heart aches with desire. This moment contrasts sharply with her impulsive decisions earlier in Paris, demonstrating how far she has come in understanding herself and her emotions. But as Conrad departs, the weight of everything unsaid becomes unbearable, and her longing finally turns into action. In a striking scene, Belly runs across Paris’s bridges and crowded streets, driven by the urgency of her feelings and the clarity of her heart. When she finally reaches Conrad, the reunion feels raw, unapologetic, and deeply earned. It is the peak of her journey — where hesitation turns into courage, fear into vulnerability, and longing into action.

Belly’s story — escaping the wedding, finding a new partner in Paris, and confronting her feelings for Conrad — is both thrilling and deeply satisfying. Her relationship with Benito is not a mistake but an essential phase of exploration that helps her discover independence, freedom, and self-confidence. Conrad embodies the past — the intensity and completeness of first love. Through these relationships, the show reveals the fine line between exploration and commitment, showing that maturity and growth come from reflection, honesty, and the courage to act when it matters most.

The Paris and Brussels sequences are visually stunning and emotionally charged. Paris mirrors Belly herself — its crowded streets, sunlit bridges, quiet cafes, and vibrant energy reflecting her fear, desire, and sense of adventure. Conrad’s presence adds dramatic tension to every scene, where even a touch of the hand, a glance, or a pause in conversation carries the weight of history, passion, and emotion. Through lighting, framing, and pacing, the show amplifies these emotional beats, ensuring that every moment resonates with the viewer.

The show concludes with a happily ever after that celebrates courage, self-discovery, and self-love. The story highlights that love is never simple, personal growth is rarely straightforward, and courage often means acting despite fear and uncertainty. Belly’s declaration of love is not only a romantic gesture but also a testament to her maturity, self-awareness, and desire to live and love fully.

The finale leaves the audience breathless and emotionally satisfied. It captures the chaotic, unforgettable nature of first love, showing that love requires courage, honesty, and a willingness to face consequences. The final payoff comes when Belly opens up to Conrad, emphasising that this story is as much about personal growth as it is about romance. The show evokes elation, suspense, and joy as the audience witnesses a character who has matured and chosen to act on her deepest emotions. The finale lingers in the viewer’s mind, a reminder that love pursued without fear and with honesty is always worth it.

There’s something special about the bond between sisters. With a brother, all you have to deal with is mischief and mayhem, but sisters? They constantly keep you on your toes. She will steal your things, copy your every move. From your wardrobe to your vocabulary, she will steal it all. A sister will tear you down with words that spark an existential crisis within you, only to build you back up with laughter and unspoken consolation because, at the end of the day, they’re your best friend. The built-in partner in crime, gossip buddy, safe place, and the one who’s always around the corner when things fall apart.

Tina and Louise Belcher from Bob’s Burgers are the perfect example of what it’s like to be sisters. At first glance, they couldn’t be more different. Tina is an awkward teen going through puberty with an intense horse obsession and a knack for writing. Louise is an over-the-top troublemaker, ready to stir up mischief and chaos wherever she goes. They couldn’t be more different, right? At first glance, they seem like the north and south poles - distant, distinct, yet bound by the same world.

But beneath their differences lies the deepest bond, one that never breaks. Tina strives to be a role model for Louise and always tries to lead her in the right direction. She can see beyond the tough exterior and walls of her younger sister, which the elder one gently tries to ease away whenever she can. Louise is fiercely protective of Tina, making sure no one messes with her, and if they do try, well… Good luck surviving Louise’s wrath.

They fight like normal sisters do and say things that they don’t really mean, but at the end of the day, they remember that they’re family and how much they mean to each other.

The connection I share with Tina resonates deeply with my own experience. I also have a younger sister who has evolved from an irritating sibling into my closest companion. This transformation from rivalry to a strong, supportive friendship has been gradual yet unmistakable. While we occasionally have disagreements, I am confident that we will always stand by each other. Together, we complement one another perfectly, much like Tina and Louise —the Yin to my Yang.

Regardless of any challenges, whether it be the disruption caused by Tammy taking Tina’s private fanfiction or the predicament of being confined in a cardboard fort on Halloween, one thing remains constant: their bond endures unbroken through every trial.

Jenny Han, a favourite among many for a good coming-of-age story, is notorious for representing the awkward and complex nature of girlhood. Although her writing is especially popular with younger readers, women of all ages can relate to her witty and layered characters. While Han has many popular works, this year boasts the final season of the screen adaptation of her hit series: “The Summer I Turned Pretty”.

In case you are not familiar with the series, “The Summer I Turned Pretty” (or “TSITP” as it is lovingly called) follows Isabel “Belly” Conklin as she spends summers alongside her family and friends, including two brothers, Jeremiah and Conrad Fisher, on the East Coast. Belly grows up with the Fishers, also forming a close bond with their mother, Susannah. As Belly, her brother Steven, and the Fisher brothers grow, complexities arise within their dynamic. Belly has harboured a long-standing crush on Conrad, but after Susannah’s tragic and sudden death, Belly and Conrad–after a short-lived relationship–grow apart. Fast forward to college, and Jeremiah and Belly are now the couple of the year, and Conrad is across the country in California. However, the couple shocks the family by announcing their engagement. As the summer ends, the wedding is called off, and Belly flees to Paris.

Though this is quite a shortened version of the tale, the main focus here is Belly as a person, not her romantic endeavours. Over the years of the show’s existence, many fans have voiced their dislike of Belly, as they feel she only exists to entertain men. However, I believe Belly is much deeper than that. Yes, she has a romantic history, but that does not discredit who she is. From the first season or book, she can be seen struggling with her own self-image, much like nearly every young girl. As she sets off for another summer in Cousins Beach, she is seen talking to her best friend, Taylor, about how she does not feel comfortable in her own body or with her sense of self. Another example occurs when she is with her mother, Laurel, and Susannah, and they begin to talk about her beauty and coming of age. Though she is praised, Belly is seen feeling uncomfortable in her skin. Early adolescence is an awkward period for everyone, and Belly’s experiences subtly reflect these difficulties.

Later, Belly defies her mother’s wishes to participate in a debutante ball. This creates a rift between the two women and shows a strained mother-daughter relationship that resonates with many. The teen years are hard enough, but often come with the added difficulty of complex parental relationships, too. Though everyone insists the debutante ball is uncharacteristic of her, Belly decides to chart her own course. It is a rocky path, but she ultimately shows her own courage and serves as an example for girls watching that it is okay to try something new. Further, Belly’s relationship with her best friend, Taylor, highlights the ebb and flow of female friendships. The girls are seen experiencing hardships that drive them apart, yet they ultimately come back together. This is not an isolated incident; rather, their friendship acts like a wave, serving as a recurring cycle of conflict and reconciliation. Even so, they continue to show up for each other and rebuild time and time again.

The omission of the Fisher brothers and Cam Cameron from this discussion underscores that Belly’s story explores broader aspects of girlhood and growing up beyond boyfriends and romance. Ultimately, Belly presents herself as a complex female character that shows the simultaneous triumphs, challenges and beauty of coming-of-age. Though the Fisher brothers do take up a sizeable portion of her story, the rest of her experience is not lost. Rather, it provides a relatable outlet for girls of all ages.

Fanfiction isn’t just about escaping into a fantasy world; it’s about exploring what makes a story powerful in the first place. It’s about taking the foundation laid by an author and building on it, often adding your own voice, experiences, and creativity. Think of it like remixing a song or putting your own twist on a piece of fashion. You’re adding a unique flair to something that already exists.

Over the last decade, fanfiction has exploded, especially with platforms like Wattpad, AO3, and Tumblr, which give writers a place to share their stories with the world. It is no longer just a niche hobby; it’s gaining recognition and respect as a part of the creative process. Many well-known authors and filmmakers have begun recognizing how important fanfiction is in shaping their own work. Writers and directors often draw inspiration from their fans, sometimes even borrowing ideas from fan-created content.

But what’s truly exciting about fanfiction is its power to give everyone a voice. Anyone can pick up a pen or keyboard and start creating stories for themselves or others. For a long time, a clear divide between the ‘professional ‘writers in the publishing industry and ‘amateurs’ writing in their spare time. Fanfiction is one of the few places where that gap starts to disappear, allowing an everyday person to be recognized globally in a fandom. A writer’s talent isn’t measured by their status or credentials; it’s measured by their passion and creativity.

Another reason fanfiction has gained so much attention is its ability to bring people together. For fans, it’s not just about stories; it’s about the community built around them. Whether you’re discussing the latest chapter in a series or fan-theorizing about a character’s motives, fanfiction thrives on its ability to connect people who share a love for a particular world or character.

This sense of community is crucial for young writers, especially those who’ve felt somewhat different or out of place. Many young people feel like they will never quite fit into the normal mold. In a world of fanfiction, they can be themselves while exploring ideas, expressing their feelings, and connecting with fictional characters they see themselves in and with the community around them. Young writers have the opportunity to explore their creativity, find their voice, and improve themselves without fear of outside criticism.

Fanfiction can push boundaries, challenge norms, and offer a fresh perspective on existing stories, like the Marauders fandom, which has evolved into something completely different from Harry Potter. The feeling of connection to the world, even if it’s through a niche, is vital in fighting off loneliness and isolation that kids may feel. Isn’t that more important than burning out young people trying to fit into STEM fields? So what’s the next step? Fanfiction might have a reputation for being something private or controversial to discuss, but it continues to gain traction every day. The more we support it, the more it will grow. We need to recognize the value of fanfiction, not just as a way to find community and see characters in alternate universes, but as a legitimate form of creative expression. After all, some of the most talented writers got their start in fanfiction communities.

When people think of Gossip Girl, the first names that come to mind aren’t just Chuck or Nate — they’re Serena Van Der Woodsen and Blair Waldorf. They are the “it duo” of the Upper East Side: inseparable since childhood, always photographed arm in arm, and the epitome of glamorous best friends. But beneath the gowns and headbands lies a much darker truth. Serena and Blair’s friendship, though iconic, was far from healthy. It was built on a foundation of rivalry, betrayal, and a co-dependency that caused more harm than healing.

At its core, Serena and Blair’s relationship was shaped by a silent, yet quite noticeable competition. Serena was the effortless “It Girl,” the blonde who could walk into a room, turn every head without trying, and dazzle everyone with her charm. Blair, on the other hand, was meticulous and calculated —working tirelessly to maintain her reputation as queen bee. Instead of celebrating each other’s strengths, they constantly measured themselves against one another. This is the complete opposite of what friendship should be. While ideas of a ‘perfect friendship’ may be subjective, the truth remains: friends should provide safety, support, comfort, and a space free of judgment. Their friendship rarely embodied these qualities — perhaps only on the rare day when the sun shines a little brighter.

Yet we constantly see posts and reels on Pinterest, YouTube, and Instagram romanticizing their friendship and even encouraging people to aspire to it. But in reality, Serena and Blair broke every rule of friendship — dating each other’s exes, badmouthing one another, and even having affairs with each other’s boyfriends. “Just because you can, doesn’t mean you should ” is a quote they could have stood to hear more often.

There’s much to learn from Serena and Blair — both as individuals and through the complexities of their friendship. Fans of Gossip Girl often pose the question: Serena or Blair — which one should we aspire to embody?

Rather than choosing between Serena and Blair, one might strive to embody aspects of each character. They were each unique in their own ways, with different approaches — Serena, effortlessly charismatic, could impress the dean without perfect grades, while Blair would conspire and do everything in her power to win the prize. It’s essential to have wit, spontaneity, magnetism, and charisma, while also possessing strategy, planning, determination, and drive. In other words, you need the charm and eloquence of Serena, paired with the discipline and focus of Blair.

A simple formula sums it up: Serena’s charm + Blair’s ambition = the version of ourselves we should aim for. This blend of qualities mirrors a concept found in both philosophy and psychology — the balance of masculine and feminine energy. Masculine energy reflects structure, ambition, discipline, and competitiveness, while feminine energy embodies intuition, emotional openness, and magnetism. Masculine energy is structured, ambitious, controlling, competitive, disciplined and feminine energy is more to do with flowing, magnetic, intuitive, emotionally open, and more laid back. It’s easy to see which traits each character embodies — and why having both in balance matters. Ultimately, we don’t need to be Serena or Blair — we need to take the best of both — and that’s one secret worth spreading.

Taylor Alison Swift is more than a pop star — she is a global icon and a cultural phenomenon hailed for her hits around the world, who has redefined the music industry entirely. From her debut as a teenage country singer to an accomplished, award-winning artist whose songs consistently top the charts, Swift has shattered records and inspired millions, setting new standards for music along the way.

Her music journey had a rocky start, as she struggled with finding a record label at the age of 11. She wrote her first song, “Lucky You”, when she was 12 – a glimpse of the lyrical talent that would later define her career. However, it was not until her family moved to Nashville when she was 14 that she began performing at cafés, festivals, and bars — one of those being the Bluebird Café, where she was eventually discovered by Scott Borchetta, who signed her to a record deal. Her rise to fame began in 2006 with the release of her self-titled debut album. At just 16 years old, she showcased a rare blend of lyrical experience and musical talent, which captured the attention of both country fans and mainstream audiences. Hits such as “Tim McGraw” and “Teardrops On My Guitar” revealed a storytelling ability that would become a signature trait in her future albums.

Another pivotal moment in her music journey was her transition from country to pop in her album “1989”, which was released in 2014. Debuting at No. 1 in the Billboard 200, the album sold over a million copies in its first week, and also won the Grammy Award for Album of the Year— a feat she would achieve again in later albums. By blending pop hooks with introspective songwriting, Swift effectively redefined what it means to be a crossover artist.

In 2019, she began to re-record her first six albums as she claimed ownership and paved the way for other artists to advocate for their creative rights. This occurred after Taylor entered a dispute over the ownership of her albums. Alongside this, her outspoken stance on fair compensation through royalties, ownership, and industry reform from streaming platforms has pushed important conversations about the value of music in the digital age, proving she is as much a business advocate as she is a musician.

Beyond her commercial success, Swift’s artistry invites deeper analysis… Much like literature, Taylor Swift’s music is based on her own observations and emotions. Fans all over the world continuously analyze her music as they do literary texts, finding symbolism, intertextuality, and thematic consistency across albums. Her 2020 album “Folklore” is known for its storytelling elements, like the trilogy of songs “august”, “betty”, and “cardigan” that focuses on a central love triangle. Other examples of Swift’s continuities include the recurring themes of unrequited love, complex romantic relationships, and much more. This influenced a generation to connect and engage with words more deeply, as young fans explored poetry, fiction and journalism after listening to her music, demonstrating that the importance of literary techniques and devices can also be found outside of your own bookshelves, and showing that narrative art exists as powerful in a song than on the page.

By blending both music and literature, Taylor Swift paved the way for music as a form of storytelling, bridging the gap between songs and literary works. With her recent achievements, including several record-breaking tours and music awards, she has truly cemented her place as one of the most influential and successful female musicians of the 21st century, being the first woman to win “Album of the Year” at the Grammys three times. She is not just any woman— she is a trailblazer who paved the way for the reform of music, culture, and most importantly, art itself. Through her artistry, lyrical mastery and fearless advocacy, she has redefined what it means to be an artist in the 21st century. Her influence extends beyond charts and lyrics, sparking creativity and empowering fans worldwide. She is not just a global icon but a living example of how art, courage, and vision can leave a lasting mark.

Warner Bro’s hit “One Tree Hill” was known for its dramatic depictions of teenage romance, small-town rivalry, and the importance of confiding in family and friends. However, one of the most important storylines features a young and nerdy tutor, Haley James, and Tree Hill’s ultimate jock, Nathan Scott. In early seasons, they come together when Nathan needs a tutor. Of course, Haley steps in, and despite all odds, their sessions turn into something more. When their relationship began, fans all over couldn’t get enough of the shy, lonely girl and popular guy trope. What many viewers cherished most was seeing the way Nathan and Haley shaped each other’s lives and grew together, as they each were able to balance each other out and bring out their best parts. Their romance moves quickly, and while unlikely at first, it is clear that they are meant to be.

By the end of Season One, the two are inseparable, ready to take on what life in small-town North Carolina has to throw at them. Season Two begins with a shocking flashback: the two exchanging rings and marrying. They are seen asking Haley’s parents for permission, and shockingly, they agree. Fans were taken aback; the two are only juniors in high school. What on earth could they be doing getting married? Either way, the two tie the knot and begin living the married life. While this may seem like a fairytale ending, one prepared for the kind of girls who have had a wedding Pinterest board since age 9, hardship arises, and Haley and Nathan are brought back to the realities of teenagehood.

It is revealed that Haley is a budding musician, toting a powerful voice and captivating stage presence. When she gets the opportunity to start producing her own music, she meets the one and only, Chris Keller. Chris and Haley begin working together, and at first, their collaboration runs smoothly, but it soon becomes evident that Chris is developing feelings for her. While Haley realizes this, she grapples with her current marriage. She hasn’t experienced much outside of Nathan, so Chris’s intentions come as a surprise. Soon, Chris begs Haley to go on tour with him, stating that it is her only way to make it in the industry, and the two share a kiss before departing into the night. Nathan is stunned to his core, unable to fathom Haley’s decision to walk away, and their marriage grows apart quickly. Even when Nathan visits Haley on tour, she pushes him away, and the two feel that their problems will never be resolved.

Flashforward, Haley returns from tour, begging Nathan to work on their marriage. Both parties feel betrayed. Nathan was left behind, meanwhile Haley felt she had no other option but to pursue her dreams. It is in this moment that reality strikes with full force: had they leapt into marriage too soon? What follows are agonizing weeks apart, a painful distance that compels them to wrestle with their deepest fears and to question what—and who—they truly desire.

This is not only a reality check for them, but for viewers too. Maybe a hasty relationship isn’t all it has chalked up to be. However, the two, after much discussion and hardships, come back together.

It is difficult, especially at such a young age, to enter any relationship. There is often heartbreak, emptiness, resentment, or even a breakup or two. And marriage is a whole other playing field. When caught in romance, it can be easy to rush things, especially when you think you have found the one. Yet, let Haley and Nathan be an example: love takes hard work. While many young viewers of “One Tree Hill” likely idolized the relationship between the two, it is important to remember: their journey was not easy. While it may have started smoothly, many pitfalls came to light, and many issues had to be resolved before they could truly get their happily ever after.

Marina Diamandis, known by the stylised mononym “MARINA” and formerly as “Marina and the Diamonds,” is a Welsh singer-songwriter I discovered through the TikTok algorithm. “Bubblegum Bitch” and “Hermit the Frog” were two of her songs that were quite popular on the platform. I was really intrigued by their unique style and proceeded to fall in love with every single one of her albums, which spanned, at the time, from The Family Jewels (2010) to Ancient Dreams in a Modern Land (2021)

I loved each album for its completely different sound and theme. The Family Jewels (2010) is a raw and quirky-sounding record with awkward and deep-cutting themes, Electra Heart (2012) is a concept album following female archetypes and relationships, FROOT (2015) is more adult and reflective, Love + Fear (2019) has a more experimental sound, and Ancient Dreams in a Modern Land (2021) is a political and feminine critique of our modern society.

Each album portrays something completely different, but each achieves its goals; the lyricism is consistently compelling, and the melodies help tell the story of every song.

Of course, I was very excited when she announced a new album in 2025. I couldn’t wait to see what she had been preparing. However, as the singles rolled out before the June 6 release… I started to become less optimistic.

The first single, "Butterfly," shattered confidence in the upcoming album. Known for clever, meaningful lyrics, Marina instead delivered lines that lacked emotional depth: ‘Yeah, I'm a butterfly / You just never see my energy / I'm already high / Floatin' on a breeze, yeah / Butterfly / Fly high’. Not only were the lyrics disappointing, but the voice delivering them was a sort of robot-baby autotune that couldn’t help but be hated.

After “Butterfly” came “Cupid’s Girl,” which I must admit, I hated less than the former. The sound of the verses was more reminiscent of the Electra Heart era (2012), which slightly relieved me of the hate that this album was evoking in my heart.

Though the song echoed the sound of my favourite album, the content was shallow: ‘Cupid / You're so stupid / Trying to resist / My kiss / But you know I'll never miss’.

Once the third single, “Cuntissimo,” came out, it became clear what was bothering me. Marina is pivoting towards club music, likely influenced by the success of Charli XCX during ‘Brat Summer’ in 2024 and a sense of pressure to shift in the club direction to match.

“Cuntissimo” discusses the messy life of a star through idealism. Marina conveys this by describing different aspects of the character’s life. While this could be read as a nod to the iconic Electra Heart (2012), the song’s structure — naming one thing after another — feels empty. It’s clear that compared to her previous songs discussing similar themes (like “How to Be a Heartbreaker” or “Valley of the Dolls”), the song is lacking the imaginative, figurative language and playful, inventive imagery that are so intrinsic to her older music.

The same issue persists throughout Princess of Power (2025): it feels empty. The album is a stark difference from Marina’s origins as an artist on MySpace. Her first album was filled with unique concepts and quirky songs, like “Hermit the Frog”, which used familiar imagery to explore past relationships, and inventive music videos such as the one for “Mowgli’s Road.” This is no longer present in her music.

There’s disappointment amongst fans in the direction the artist is heading, and a hope that she might revisit her original roots and reconnect with the passion that first drew her to songwriting and performance.

K-Pop Demon Hunters spends over an hour emphasising the strong relationship between women, but ends the movie with a man being the saviour… What?

The phenomenon that hit Netflix has just about everyone in a chokehold . . . literally. However, the ending raises questions from a feminist perspective, particularly in how Jinu’s actions shift the focus away from Rumi finding her strength and trying to build a stronger Honmoon.

Generations of Demon Hunters, all women, risked their lives to seal the Honmoon, trapping the demon lord Gwi-Ma and his lackeys forever. When it comes to the women of Huntrix: Rumi, Mira, and Zoey, the Honmoon has never been closer to sealing. The strength in their bond has allowed gold to spread throughout the Honmoon, showing them how close they are to achieving their purpose.

Then comes Jinu and his crew. Gwi-Ma grows increasingly frustrated by his inability to control Rumi, as she is half demon, so it’s up to Jinu to exploit her shame and bring her to her knees in submission. I think not!

After betraying Rumi and exposing her marks to her friends, she becomes stronger than ever before. Instead of shame, she embraces who she is and realises that her friends would always have her back, becoming sisters and creating a family that loves unconditionally. Together, the group breaks the hold placed on them, and begins creating a new Honmoon.

Then the story pivots: the inclusion of a male saviour figure reframes the resolution, complicating the film’s feminist trajectory.

While viewers – myself included – love the chemistry between Rumi and Jinu, the necessity of his actions remains questionable… The entire time the movie has built up feminist qualities and strengths, only to suggest that Rumi’s strength alone isn’t enough to take on Gwi-Ma. Rumi’s strength – and the unwavering support of a team who would be willing to die for, and even with her – had already been established. Jinu’s sacrifice felt narratively unnecessary.

I am positive Rumi had the strength to defeat Gwi-Ma and seal the new Honmoon without the help of Jinu. On the surface, it looked like forgiveness, but when you dig deeper, he took away her strength and suggested to the audience that a woman’s strength alone is not enough to defeat her demons.

Despite the ending, many viewers remain invested in the women of Huntrix. When the sequel hits the screen, I’ll continue to defend them – because in my own story, I know they’d defend me.

“She only writes songs about her exes.” It’s a claim that’s commonly made about female artists, criticising their musical ability and lyricism.

Her music is “boring” and “repetitive”. It “lacks originality”. It “lacks substance”. It’s about love, so it must suck. When do we hear this said about men? The answer looks something like never.

The inherent sexism that lies underneath criticism of popular female artists is undeniable.

Misogyny has existed in music for decades. Joni Mitchell and Alanis Morrisette faced similar scrutiny throughout their careers for writing personal, emotional songs. This pattern is not new and it’s not clever: it's repackaged and reused in every generation of female artists.

Taylor Swift has faced this kind of criticism for her entire career, from Debut to The Tortured Poets Department. Her songs about her exes are brutally honest and lay out her feelings for all to hear. They also happen to be her biggest hits, with Shake It Off, Blank Space and Love Story being her top three chart-topping songs in the UK.

Criticism hasn’t just come from the public; even Swift’s exes have had critical comments regarding her writing about them. John Mayer, the likely subject of Dear John (of Swift’s Speak Now album), has previously described it as “cheap songwriting”. The irony of this is that a large part of Mayer’s discography is about his exes, from his 2002 track Your Body Is A Wonderland to the 2017 release Still Feel Like Your Man. In an episode of the Call Her Daddy podcast, Mayer further claims, “I don’t write them for people or about people,” but admits that, “I might use a relationship that inspires me to write something”.

Swift’s most popular tracks are as popular as they are for the fact that they resonate with people. Her witty lyricism sticks with the listener and tears at their hearts as they sense recognition of their own thoughts and feelings that they otherwise weren’t quite sure how to express.

This pattern applies to female artists across generations and is still heavily present in the industry today. Olivia Rodrigo and Sabrina Carpenter have faced the same criticism in recent years. Olivia Rodrigo is criticised for only writing songs about teenage love and her ex-boyfriends, while Sabrina Carpenter’s music is deemed too overtly sexual.

People claim that a lack of variety is the problem: that writing songs about love repeatedly isn’t acceptable for an artist. Love is clearly the most common topic for music; it’s a universal and timeless concept, and it’s been a topic in music for decades. Women writing about love isn’t new, and it shouldn’t be criticised.

Where do men face this same criticism? It’s a question that needs to be asked because Ed Sheeran has written Thinking Out Loud, Shape of You and Perfect, and Bruno Mars has written Just The Way You Are, Marry You, When I Was Your Man and Grenade, yet neither of them seem to face the same comments.

Why is it that men can build a career on love songs and heartbreak, but women can only be torn down for doing the same thing?

Let’s return to the favourite critical phrase of many: “She only writes songs about her exes”. However, these women aren’t just writing about their exes; a simple list can refute this claim.

Swift has written about sickness in Soon You’ll Get Better, ageing in Never Grow Up and 22, homophobia in You Need To Calm Down and media criticism itself in Mean, amongst other topics. Rodrigo has spoken about insecurity in jealousy, jealousy and pretty isn’t pretty. Both have written about expectations of women, in Swift’s The Man and Rodrigo’s all american bitch. Carpenter has written about breaking free from societal norms in Thumbs and female empowerment in Sue Me.

By claiming that pop artists only write about their exes, society undermines the beauty of musical expression and the ability for people to find themselves in music. Regardless, love songs are important to the music industry, and they’re encouraged. Not only are love songs marketable, but essential to storytelling.

To criticise the commonality of love songs, we would have to dismiss the function of music itself: that authentic storytelling about love can help both artists and listeners process their emotions. Instead, we must acknowledge that criticising female artists for writing about love is steeped in misogyny.

It all started when I was watching booktuber Haley Pham back in 2023. She mentioned an author I’d never heard of before, and a book that sounded like it was made for me. Of course, I bought it almost immediately, and somehow read all 349 pages in the space of three days. Concerning? Maybe. But Better Than The Movies was my introduction to Lynn Painter, and it remains one of my favourite books of all time. Maybe that makes me biased when I talk about the Lynn Painter Effect, but maybe it also makes me highly qualified in explaining how her works have impacted a generation of readers.

My journey into Painter’s work isn’t just a personal one - it’s a collective experience felt by countless readers.

Lynn Painter has written a collection of YA romances that feel like films. They’re cinematic masterpieces on paper. They’re heartbreaking and fun in equal measure, and they always leave readers with a resounding feeling of hope and the comforting concept of being understood. Rom-coms have always had a universal appeal, pulling at the heartstrings of audiences to remind us of our first experiences of falling in love, falling apart, and piecing ourselves back together again. Painter’s writing is a cultural experience, not because it redefines the rom-com genre, but because it embraces its essence and speaks to the hearts of those who love it.

Lynn Painter's Mission

Her writing amalgamates everything that makes a rom-com work: personal growth, second chances and unexpected connections. She takes classic tropes and intertwines them into something new - enemies to lovers and fake dating commonly making appearances in her novels.

Lynn Painter's YA books are tailored for rom-com lovers, Taylor Swift enthusiasts, the playlist makers and those searching for happy endings. She provides a safe haven with relatable characters that reflect parts of our personalities. Painter's protagonists often reflect the relatable quirks and values of her readers, allowing her to create an emotional connection to her audience. Her books serve as therapeutic healing for every girl who has been told love never happens like it does in films.

Connection to Classic Rom-Coms

Painter’s stories are rooted in classic rom-com traditions, drawing inspiration from the literary canon and the late-90s to early-2000s “canon” of romance films.

• Better Than The Movies, draws inspiration from the classic Austen tale Pride and Prejudice (even down to names - ‘Elizabeth’ Buxbaum and Wes ‘Bennett’). However, it also has the most obvious connection to rom-coms. Each chapter opens with a quote from a different beloved rom-com, making readers feel immediately at home.

• The Do Over is your classic time loop romance, a la Groundhog Day. However, Painter portrays an important twist, emphasising the beauty of imperfection, as opposed to striving for the ‘perfect day’.

• Betting On You celebrates the beloved ‘betting’ trope popularised by 1999 films 10 Things I Hate About You and She’s All That, though it has also been dubbed a spin on When Harry Met Sally, offering a nod to their dynamic friendship turned romance.

Lynn Painter draws inspiration from the classics that her readers know and love to create stories that remain in your heart even after you’ve finished reading. Her ability to modernise these classic tales makes her novels feel simultaneously nostalgic and remarkably new.

Share

The Musicology of Literature

A soundtrack makes or breaks a good rom-com. The best rom-coms have unforgettable soundtracks - think Bridget Jones’ Diary, Clueless and 10 Things I Hate About You. Painter draws on the emotional impact of music to enhance her work. Each of her books is accompanied by its own soundtrack (listed at the back), with memorable songs that define the stories.

In Better Than The Movies, Paradise by Bazzi reflects the story’s tone and is perhaps the most important track, making an appearance twice. The song still holds a place in my heart. I can’t listen to it without thinking about Liz and Wes. Mac Miller’s Up All Night accompanies an unforgettable chapter of embarrassing moments at a party: moments which truly define the beginning of Liz and Wes’ story. Taylor Swift’s New Year’s Day is also an extremely memorable track, reflecting the fear of losing someone you love because of something you did to hurt them.

In Betting On You, All Too Well holds the most important musical memory, perhaps with one of the most memorable moments in the novel being Bailey and Charlie singing All Too Well (10 Minute Version) at karaoke. However, a subtle reference to Karma in the line “Karma was supposed to be a cat, dammit, not this” certainly made me laugh, highlighting how cleverly Painter inserts musical allusions into her work.

Of all the Lynn Painter books, perhaps the most Taylor Swift inclined is The Do Over. While its most blatant reference is to The Last Great American Dynasty with protagonist Emilie Hornby’s “I had a marvellous time ruining everything” tattoo (in stark contrast to her original perfectionist personality), the soundtrack of Emilie and Nick references nine Taylor tracks in total.

In the acknowledgements section of The Do Over, Lynn Painter explained the Taylor Swift obsession in her novels, stating “thanks to Taylor Swift - for writing songs that feel like books”.

That’s what is so special about Lynn Painter’s work: her books are interspersed with music. The songs dabble with the emotional resonance of the reading experience, intrinsically interlacing the experience of reading certain sections with songs, in the same way that we often link songs to our memories of love, heartbreak and happiness. Music and memory go hand in hand, even in literature.

The Lynn Painter Effect touches the heart and soul of her readers. It makes you grateful for the little things - for songs that explain exactly how you’re feeling and characters in fiction that make you feel less alone. Her writing explores the teenage experience and a love of love itself. We’re all “confused little love lovers” as Better Than The Movies puts it - but maybe that’s the best way to see the world.

“Men written by women” refers to men who are nuanced, emotionally intelligent, respectful and defy stereotypical gender roles. They embody the female gaze, with a lens of emotional depth, presenting an idealised vision of masculinity that is more commonly aligned with characters written by women.

The term was coined through internet discourse on social media sites, especially on TikTok, with users sharing male characters alongside the hashtag #menwrittenbywomen. Modern examples include Four from Veronica Roth’s Divergent and Peeta Mellark from Suzanne Collins’ The Hunger Games. However, this is not a recent concept, with fictional men from the early 19th century exhibiting the qualities associated with this idyllic archetype.

In the 1800s, throughout six novels - genre-melding tales of romance and drama embroiled in social criticism - Jane Austen pioneered men who personify this concept.

Most notably, Mr Darcy of Pride & Prejudice, Captain Wentworth of Persuasion and Mr Knightley of Emma each exhibit qualities of men written in the female gaze. By entangling these tales of men who reflect evolving ideals of masculinity and their enduring appeal, we can begin to create understanding for the “men written by women” trend.

Mr Darcy is often described as the brooding romantic at best or aloof, cold and arrogant at worst. However, there's so much more to his character than these two dimensional assumptions.

Darcy, though socially awkward, was unafraid to express his emotions - something that was incredibly rare of men of his social standing in Austen's era - even if his expression comes off the wrong way sometimes. If we take a look at his first proposal to Elizabeth, for example: "In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you”. Swoonworthy, without a doubt. However, his attempts to express his love becomes overshadowed by his subsequent misguided comments regarding social class.

Nevertheless, he is devoted to Elizabeth. His second proposal, six months after the first, goes much better. Yet, even before re-proposing, he shows the genuine nature of his love in other ways. For example, Darcy helps Elizabeth's family in the face of the Wickham and Lydia marriage purely out of love for Elizabeth - he doesn't expect anything in return. He cares deeply for her and is emotionally aware enough to recognise his own feelings. Surely emotional intelligence isn't too much to ask for in a relationship?

In Darcy, we see a clear model of emotional growth. He is written evidence that self awareness can exist alongside devotion in male romantic heroes.

Captain Wentworth is the perfect symbol of romantic determination, unwavering in his love for Anne Elliot, despite her breaking his heart eight years before the novel’s start. His enduring love contrasts with the typical idea of men moving on immediately in response to rejection.

He is honourable and passionate, and cares about the people around him. A primary example of this is staying to attend to Louisa Musgrove for much longer than the others, highlighting an innate sense of duty and responsibility for other people. His care extends to people aside from Anne, which massively adds to his appeal.

Subscribe now

Wentworth is respectful and kindhearted, and even though he is clearly hurt at the beginning of the novel, he overcomes his wounded pride, and deeply felt heartache, to be with Anne.

We can't forget about his letter. Perhaps one of the most romantic love declarations in history, Wentworth's assertion that Anne has “pierced [his] soul” proves even further just how deeply her cares for her. It further serves as a reversal of Anne’s previous rejection, highlighting his patience and emotional growth.

Captain Wentworth is yet another primary example of devotion to love, showcasing the importance of emotional integrity. However, he also shows that kindness, honesty and honour can extend beyond a male character’s feelings towards his love interest.

Mr Knightley is arguably the most emotionally mature of the three Austen men. He acts as the moral compass of the novel, perpetually acting with kindness regardless of the thoughtlessness and social missteps of those around him.

Knightley wants to help Emma grow; even when his comments seem harsh, they are born out of a genuine concern for her as opposed to malice. He also has a strong sense of justice, and respects those who are vulnerable in society, calling her out for being rude to Mrs Bates.

He also, like the other two Austen men, wholeheartedly cares for the woman he loves. Knightley's confession to Emma shows the integrity of his love for her, showing emotional vulnerability, quiet sincerity and the profound depth of his love.

Throughout her written works, Jane Austen created men who recognised the intelligence of the women they loved and cared for them no matter what. She wrote into existence men who expressed their love romantically and beautifully, despite stereotypical gender norms relating to emotion. Austen imagined men who are determined in the face of love, and are steady and honest about their feelings. Jane Austen’s heroes set the foundation for the “men written by women” archetype. It's clear why the internet loves and admires characters like this: her characters serve as proof that emotional sincerity, devotion and growth resonate with readers across generations.

Gilmore Girls is the show you watch on repeat - a warm mug of coffee brewed with laughter, drama and comfort. It’s a time capsule of Autumn. It’s study motivation. It makes you feel at home. Then you reach the end of season three, and everyone collectively hits the off button on their remote.

It makes sense, why would we as viewers want to see her ruin her life?

By season four, the glow of earlier seasons begins to fade, and the golden girl of Stars Hollow starts to unravel.

But what if I said that Rory’s downfall is realistic? Or at least part of it is…

THE DISTINCTION NOBODY MAKES

Rory Gilmore’s downfall is usually viewed as a single collapse, but it is more nuanced than that. There is a distinction that people do not typically make concerning Rory’s downfall, likely because both halves happen simultaneously, culminating in her ‘failure’ in a Year In The Life.

During our flashforward Gilmore Girls experience, Rory has transformed into a disillusioned journalist, entangled in an affair with the man whom she previously rejected in a pivotal moment in her character arc.

Viewers wince as they see the contrast between the ‘old’ and the ‘new’ Rory.

However, by untangling Rory’s academic struggles from her moral missteps, we can see how each thread unravels (despite being knotted together in several places) to reveal a character that is multifaceted and much more human.

Subscribe now

THE ACADEMIC DOWNFALL

Rory’s academic downfall is arguably realistic for her character. It makes sense that a teenager who has always been praised and was perpetually seen as perfect would break down eventually.

Rory is the epitome of the ‘burnt-out gifted kid’.

While many viewers wanted Rory to retain her status as an exemplary student, it would be unrealistic to expect her to never burn out. Her desperation to have amazing grades, to meet the weight of the expectations of everyone around her, ultimately led to her breakdown.

Imagine being told you aren’t good enough at the one thing you’ve spent your whole life working towards. I think you’d agree it would hurt you.

It’s no wonder that she crumbled upon hearing Mitchum Huntzberger acknowledge her worst fear: that she wasn’t good enough, and that she didn’t have what it takes to be a journalist. She was under an insurmountable amount of pressure from herself to live up to her perfect status.

I think it’s important to recognise that Rory’s entitled background does not play a role in her academic downfall - the main problem is her lack of exposure to constructive criticism.

THE MORAL DOWNFALL

While Rory’s academic downfall can be easily charted and reasonably explained, Rory’s moral downfall is much more complicated, rooted in choices that shock viewers, her friends and her family.

As Lorelai points out, it's completely out of character for Rory, the girl who always makes pro-con lists, to jump into bed with a married man (or, I might add, to steal a yacht).

Hearing Rory say the words, “He's not a married guy. He's Dean, my Dean”, left audiences feeling off-kilter, unsure of why Rory’s moral compass was no longer pointing north in the way it previously had. However, it doesn’t start there…

Rory’s moral failures can be traced back to her first relationship with Dean. Be it compromising her beliefs about the roles of women for fear of breaking up with him, or her infidelity with Jess at Sookie’s wedding, Rory has all of the moral failings of a confused teenager entering romantic relationships for the first time.

While it’s understandable to mess up as a teenager, these actions hinted at a pattern of moral ambiguity that would frantically grow in adulthood. Rory’s second relationship with Dean is unforgivable, a glaring misstep that foreshadows her repeat of the same mistakes with Logan years later.

But even if we are to excuse the relationship problems, it can’t be ignored that Rory’s moral downfall doesn’t just relate to her relationships. From stealing a yacht to making fatphobic comments like “The redhead has fat thighs”, her other actions show a pattern of questionable morality that shows a disregard for her previous values.

Subscribe now

A MIRROR TO US ALL

While her actions may feel out of character, I would argue that Rory Gilmore holds a mirror to the audience. Her actions make us reflect on our own mistakes, though they are not always as extreme as Rory’s.

Morally, Rory has a lot of problems in later seasons. However, as viewers we cannot criticise without reflecting on the commonality of our own mistakes. Everyone, whether intentionally or inadvertently, says or does things that harm others.

Academically, Rory’s arc remains entirely realistic. Though her trajectory may disappoint many viewers, it serves as a sobering reminder that even the most flawless plans can falter. It’s a testament to the fact that perfection cannot always be attained.

Whether you’re a staunch Rory hater or defender, I leave you with one question: What if her downfall isn’t a betrayal of her character but simply serves as a reflection of the imperfections we all try to hide?

The Marauders Fandom defies the natural state of fandom culture. Within the realm of the spiderweb of links, clicks and likes, fandoms have been born, have been nurtured and have been destroyed. Typically these fandoms follow a particular mould: by focusing on canon events, characters, and relationships between said characters, more art, writing and wonder is born. However, the Marauders fandom is unlike any of its predecessors or any fandoms being born today. Though its characters were once residents of the world of Harry Potter, in the eyes of the fans they are no longer bound to the confines of their original character archetypes (and their minimal development) as provided by writer J.K. Rowling. The internet has created a fandom renaissance - a rebirth of the characters who were originally solely there as ancestors and side characters to the so-called Golden Trio.

With this rebirth comes a subversion of what people think they know. James Potter (the father of Harry Potter) and his friends are no longer the distant memories of a forlorn, mistreated young boy. Through headcanons, fanfiction, edits, and fanart, and the "fanon" versions of these characters, they are given substance, personalities and backstories much richer than those that were scrawled into the pages of the Harry Potter series. From All The Young Dudes by MsKingBean89 (the most-read fanfiction on Archive Of Our Own) to Crimson Rivers by bizarrestars, formerly known as zeppazariel, these characters are given new life.

A queer utopia - perhaps that is the best way to describe and define this fandom. As it has settled into its cozy corner of the web, the fandom has become more bold and outlandish in their ideas. Debates have run riot over romantic pairings and sexual orientations projected onto any and all characters clawed into the cast that is beloved by this ever-growing group of people. Is Remus Lupin "as gay as the day is long" (as he was described in the original print of Casey McQuiston's Red White and Royal Blue) or is he a bisexual man (as unfortunately rare as they are in the literary world)? That is just one of the many questions thrown around from tongue to tongue, from text to text, in this fandom. The importance of queer representation has been established again and again in our modern world, but it has existed and prevailed within the world of the Marauders Fandom.

The pairings in this fandom range from canon, sensible and strongly backed up with evidence from the original books (like James Potter and Lily Evans), to wild, wacky and completely obscure (like James Potter and Regulus Black). However, the fandom has decided to take their own route, no longer caring what words the creator Rowling has to say about her characters. On numerous occasions, J.K. Rowling has stated that Sirius Black and Remus Lupin do not have romantic feelings for each other, and yet 'Wolfstar', as they are so-lovingly nicknamed, is one of the biggest ships in fandom history. Alongside this, after the proclamations of Rowling's transphobic views mid-2020, the fandom took a stand declaring many of the characters (especially Regulus Black) to be transgender in their eyes. Through this, the Marauders Fandom has made these characters even more relatable for those who read about them. Even more notably, they have used these characters to take a political stand - to make it clear that we must stand up for those in our society who are shoved aside and discriminated against.

Fandom culture is taking art and making it into something even more beautiful, making it something that people relate to and adore even more than they did before. While the art originally belongs to the person who creates it, once it is put out into the world it becomes open to interpretation. People project onto songs, onto books, onto art and it helps them to escape the trials and tribulations they face within their realities. After all, isn't that what entertainment is truly made as - an escape? As a result of the Marauders Fandom, we can look towards a future where fandom is no longer defined by its canon, where it becomes a group of people who love something and share creative ideas together. As a result of the Marauders Fandom, fans have the ability and the opportunity to have a sense of more artistic expression, which ultimately leads to more media and literature for us to enjoy. The Marauders Fandom is a fundamental and quintessential part of fandom history - it is a story of its own, born and bred of minuscule threads and mere sentences about interweaving characters. It shows just how we as people are powerhouses of creativity and that, as is said in Dead Poet's Society (1989): "poetry, beauty, romance, love - these are what we stay alive for".