If you don’t have TikTok downloaded, you might not know what “His Nerd” is. But if you’ve doom-scrolled long enough, chances are you’ve stumbled across an ad for a microdrama. Titles like “His Nerd” and “Loving My Brother’s Best Friend” have become ubiquitous online, enticing viewers with quick romance and melodramatic twists.
Founded by Justine Wiltshire Cohen in 2004 in a church basement in Newton Highlands, the Down Under School of Yoga stands as one of Boston’s most esteemed yoga studios. Cohen’s yoga journey began at a very young age. Her parents, both journalists, worked with the Dalai Lama’s community in India, teaching English to Tibetan monks. Cohen’s own teaching career has now spanned over two decades. Notably, while working in Washington, D.C., as an international human rights lawyer, she combined her passion for law and classical yoga to become the yoga teacher to the U.S. Supreme Court.
Joseph Strauss, chief engineer of the Golden Gate Bridge, said: “Bridges are a monument to progress.” Such is the case of the recently completed William Fenton ‘Bill’ Russell Bridge, named after the Celtics player and civil rights activist, which honors Boston’s past changemakers while innovating for its future. The bridge was designed by Miguel Rosales, a Boston-based architect and president of the architecture firm Rosales+ Partners. Rosales has designed some of the most well-known bridges in the country, including the Zakim and Charlestown Bridges in Boston, the Woodrow Wilson Bridge in DC and the Puente Centenario Bridge across the Panama Canal. Born to a middle-class family in Guatemala, Rosales earned an architecture degree from University Francisco Marroquín before continuing his studies at MIT, earning a Masters of Science in Architecture Studies. Rosales credits his education in architecture, urban planning and engineering for his unique designs saying, “I think I combined all of those disciplines into one person, and I think that makes me special and be able to do the work I do.”
The job hunt is never easy. In today’s world of LinkedIn connections, coffee chats and endless interviews, the search for work can drive even a modest family man to madness — or worse. At least that’s the opinion of Park Chan-wook, the visionary behind “Oldboy” (2003) and “The Handmaiden” (2016), whose latest work, “No Other Choice” (2025), proves to be a hysterical, scathing portrait of modern capitalism.
To understand why Geese’s new record “Getting Killed” — released Friday via Partisan Records — sounds the way it does, you must understand what came before.
A play is isolated from reality, forever fixed in its own little pocket of space and time. “The Hills of California” is distinctly aware of this fact, presenting the house the story unfolds in as both a sanctuary and a prison, where dreams are expressed and reminisced on but never able to come to fruition.
In our dining halls, plates are merely vessels of utility. Students stack them high with Dewick-MacPhie Dining Center fries or Fresh at Carmichael Dining Center pancakes, slam them down on plastic trays beside their friends, and later let them rattle down a conveyor belt to be stripped of ketchup stains and congealed maple syrup residue by custodial staff. For those living off campus, Amazon boxes or Target bags deliver inexpensive, replaceable dishware, valued for durability. Beauty here is an afterthought, or not a thought at all — a convenience that disappears into the dishwasher before a 9 a.m. class.
For decades, American television followed a rigid formula: around 22-episode seasons running from September to May. But in the past decade, this model has nearly disappeared. In its place are shorter runs of six to ten episodes, as well as one-off limited series that feel more like long films than open-ended serials. What changed?
There comes a point in many directors’ careers when making a sprawling passion project seems to be the natural progression. For Francis Ford Coppola, it was the tumultuous “Megalopolis.” For Steven Spielberg, it was the autobiographical “The Fabelmans.” And now, for three-time Oscar winner Guillermo del Toro, that career-defining victory lap arrives with “Frankenstein” (2025). The most recent entry into a canon of adaptations that ranges from James Whale’s 1931 original to Mel Brooks’ 1974 comedic spin, Del Toro’s version is a sturdy yet relatively risk-averse take on Mary Shelley’s 1818 novel.
What does it mean to ‘grow up?’ As a college student, this seems like an essential and painfully pressing question that no one knows how to answer. Does it mean becoming self-sufficient without the support of your parents? Does it mean actualizing a career out of a degree you worked tirelessly to obtain? Is there a marker for it — some event or moment that lets you know you have finally crossed the threshold into the next chapter of your life? Is there even an answer to the question? That’s where Benito Skinner, Rebecca Shaw and Ben Kronengold come in.
In many a school auditorium, a theater kid could be spotted sitting cross-legged with a peanut butter and jelly sandwich, surrounded by peers who had just belted their way through the entire Hamilton soundtrack. Between bites, they sipped water to preserve their voices, already preparing for the next reprise.
Depop was once imagined as the future of sustainable fashion. When it was founded in 2011, the resale platform offered itself as an antidote to fast fashion: a community marketplace where clothes that were already in circulation could be given a second life. Its design looked more like Instagram than eBay, and that was the point. Shopping on Depop felt less like scrolling through dusty thrift store racks in a Goodwill or Savers and more like browsing someone’s curated Pinterest board. For a generation raised primarily on social media, it offered a way to shop that felt authentic, personal and, most importantly, socially conscious.
If you’ve walked around Boston, you’ve probably seen a CorePower Yoga studio. But what exactly is CorePower Yoga? Beyond being an intense workout that combines strength, flexibility and mindfulness, CorePower is a vibrant community of passionate ‘yogis’ across the country and right here in Boston.
Jim Jarmusch has built a prolific career on observing the smallest details. “It’s a lot more exhausting to be looking at Cate Blanchett’s eyelid or Tom Waits’ gestures than to have 15 zombies come out of a grave,” the beat-poet-turned-director remarked at a press conference after his film “Father Mother Sister Brother” unexpectedly won the Golden Lion, the highest prize at the Venice International Film Festival.
“Let them eat cake.”Historians doubt Marie Antoinette ever uttered those famous words. In the original French phrase — “Qu’ils mangent de la brioche” — “la brioche” doesn’t translate directly to “cake” as we know it today, but rather to brioche, a rich, eggy bread. Still, the meaning remains the same: When told that peasants had no bread, the queen supposedly suggested they eat a more luxurious kind. Whether she actually said it matters less than the sentiment it expresses — a willful blindness to inequality while indulging in luxury.
Throughout the nearly 45 stumbling minutes of music, Winter moans, groans and grumbles. Heart-wrenching melodies dance from his meager voice— like your shy, too-sober friend on a dark karaoke stage. There are low baritone dirges and wavering falsettos that sometimes crack with bursts of strange emotion.
Powered by a Dwayne Johnson performance that overcomes an uneven script, “The Smashing Machine” delivers a compelling character study overall.
Across Depop, Frye boots are selling for hundreds of dollars.How can these vintage boots be so expensive and why are they all over your feed?
If you’re looking for the indie genre to be the shapeshifting jewel it was in the ’90s, look no further than the creatives emerging in the 2020s. These past decades functioned as a period of resurgence and re-amplification of some of the most prominent acts of the past. Nirvana and other noise rock groups (Soundgarden, Pearl Jam) piloted punchy guitar tones and lyrically scatterbrained ideas, resulting in abstractions as opposed to the previous, more obvious concept albums. This style seems to be back in fashion with more stitching to the bright, colorful tapestry of what was so widely sought after in the ’90s.
When Monica Lewinsky reintroduced herself to the public nearly two decades after the public reveal of her affair with former President Bill Clinton, she did so on her own terms. In essays and a TED Talk, she positioned herself not as the tabloid caricature of the ‘90s, but as an early casualty of online shaming. She called herself “patient zero,” staking a claim to her narrative.
