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The Art of the Two-Person Dance Party
By Tiia Kelly | “[The two-person dance party] becomes a shorthand for the characters embracing comfort in one another’s presence.”
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The Liminal Space of the Remington Party in Heathers
By Sydney Bollinger | “In choosing adolescence, Veronica pushes back on a narrative that asks her to give up her formative years in favor of social capital.”
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We Were Here: An Ode to the Wannabe Dance in One Tree Hill
By Claire White | “I’ll always want to return to these early seasons in an effort to remember what it felt to be that young and together with everyone again. There’s nothing quite like the high school years.”
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Seize the Day, or Rewatching Empire Records in the Age of COVID
By Mahnaz Dar | “[Empire Records’] ability to carve out space for joy, despite knowing that tomorrow may bring just as much sorrow, is stirring.”
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Editors’ Letter: The Turning Point
By Claire White and Odalis Garcia Gorra | “One good party can shift everything you understood to be true. What once was is upturned by the possibility of what could be. There is nothing that showcases that possibility more than teen films and TV shows.”
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On Haircuts and Himbos
By Bailey Herdé | “This is the thing about Cappie that draws you in, more so than the charm, more so than the hair: he cares. And, unlike so many men his age — unlike so many men, period — he isn’t afraid to show it.”
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“Because you saw me when I was invisible”: Clumsy Adolescent Love in ‘The Princess Diaries’
By Rebecca Rosén | “The film is a sweet depiction of the trembling first steps you take as you try to navigate your first feelings of love … [and to] find people who accept and love you as you are.”
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Finding Your Person: Platonic Soulmates in the Films of Greta Gerwig
By Claire White | “By bringing attention to these deep and meaningful relationships, Gerwig’s films show us that these close friendships [are] important and worthy of attention.”
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From Dream Houses to Razzles: An Ode to Matt Flamhaff from ’13 Going on 30′
By Katherine Clowater | “For her to share [Razzles] with him as an adult is not only self-acceptance for Jenna but an acceptance of Matt’s love, and a silent reciprocation of it too.”
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‘The Hunger Games’ and Compulsory Heterosexuality
By Jo Reid | “The first time she outwardly shows romantic affection to Peeta is when she needs medicine, and so she kisses him…Performing romantic love is established as a necessary tool for survival.”
Grow Up 