I first came upon what I have now dubbed the “New York Transfemme Indie Scene” when I found myself stumbling into a humble church in Queens, otherwise known as the Stone Circle Theatre.

A few months ago, a tour announcement stopped me in my tracks.

In some cases, sinister intentions lurk beneath Pride celebrations, as countries like the Netherlands and Israel embrace and then weaponize queer rights to serve their interests.

My Heart Is A Room With No Cameras In It, the sophomore record by Brooklyn-based band Victoryland, feels like a breath of fresh air packaged into a raw, scrappy pop rock exploration of the love, social connection, and frustration we have all experienced with existing in this modern world executed to near perfection.

The fairies remain firmly in the mouse’s grasp. It represents a bigger problem in modern media: large corporations rarely support strong, female-led stories.

With Starbucks transitioning to pumpkin spice lattes, you may be looking for a calm movie. If this is the case, might I not recommend Run Lola Run...

Unified Field (2026) by Emperor X is the underrated standout album of the summer.

“Anonymous Armadillo,” former group-project member on hiatus, shares the key to revolution: ghosting.

The beauty of our pasts can make the present seem dull. Massachusetts chamber folk band House Once Ours tackles this theme on their album No Beauty Can Move Me Now, one of the most exciting, emotional, and truly human debuts to come out this decade.

Horror films are rarely my first movie night pick; I’m usually far too scared to venture anywhere near the genre. However, the imaginative, yet devastating, premise of Adrian Chiarella’s Leviticus (2026) allured me enough that I summoned the courage to watch.