San Francisco Bay Area designer Jasmine Wang predicts people will start to embrace hand-painted murals in their bedrooms because they add artistry, warmth, and a deeply personal touch.

She said this trend will take shape with nature-inspired scenes, statement accent walls, personalized artistry, and vintage motifs.

Ali Burgoon Nolan, the owner and principal designer of Studio Burgoon, said restorative hues like sage, clay, and soft taupe will help ground bedrooms with calming energy in 2025.

"Drawn from nature, these colors create harmony, offering a tranquil retreat within the home," she said.

Jordan Miranda, the founder and principal designer of JM Living Concepts, also thinks we'll see more muted-terracotta and warm-taupe tones. She also thinks natural materials like wood and linen will be popular.

The bedroom is a place to unwind, which is why Nolan predicts more people will "transform the bedroom into a space for reflection, rest, and rejuvenation from daily life."

She said clients might do this by incorporating relaxing design features like reading nooks or meditation corners into their bedrooms.

Celeste Robbins, the founder of Robbins Architecture, also sees built-in nooks being popular next year.

"There is something intimate and grounding about a built-in nook in a bedroom," she said. "It's a place to curl up, read, or recharge that is not your bed."

In the age of at-home work and smaller spaces, Miranda acknowledges that the bedroom often becomes a multi-use environment.

By visually and physically defining the bed as its own cozy sanctuary, a canopy bed reinforces the boundary between work or activity zones and restful sleep areas.

"A canopy bed is a way to keep the sleeping space sacred, creating thoughtful separation between the rest of the room where a desk or exercise equipment might also live," she said.

"One of the easiest and most cost-effective ways to enhance a bedroom without major construction is using wallpaper to create a feature wall," Kristin Christensen, the owner and principal designer of Mod Earth Studio, said.

She said wallpaper is "in" again because it's an easy way to add personality and flair to a bedroom for much cheaper than construction or custom pieces.

Wang and Nolan both told BI they think all-white, minimalist spaces are on their way out.

Nolan said, they can have a "sterile" look and more people are leaning toward "richer, layered designs that invite relaxation."

"The all-white, ultra-minimalist look is making way for spaces with more warmth, color, and texture," Wang said. "In its place, expect to see more accent-wall colors, layered neutrals, and earthy tones that create a cozy, inviting atmosphere."

Wang and Christensen predict the "bedroom in a box" look will be replaced with a more curated and eclectic approach.

"Designers are mixing and matching materials, finishes, and styles to create a unique, collected-over-time vibe," Wang said.

Christensen recognizes that matching furniture sets provide a convenient solution for creating a polished look, but individuality and self-expression are becoming highly valued by everyday consumers.

"People are increasingly seeking to create spaces that feel more authentic and lived-in," she told BI.

According to Wang, the ultra-industrial aesthetic will exit bedroom spaces next year.

"While industrial touches may still be popular in certain spaces, the overly rugged look with exposed brick, metal, and harsh edges is being traded for softer, nature-inspired designs," she said. "Organic textures, natural woods, and calming colors are now the go-to for a warmer feel."

Christensen predicts that recessed lighting, a round lighting fixture installed into the ceiling or wall, will be replaced for its lack of ambiance.

"For years, recessed lighting was the go-to choice for many bedrooms, promising a sleek, minimalist look and ample light without taking up visible space," she told BI. "However, in recent years, recessed lighting has started to feel outdated, especially in bedrooms."

Instead, she said, people may opt for alternative lighting solutions with things like smart ceiling lights and dimmable fixtures, table lamps, bedside lighting, wall sconces, or pendant lights.

Almost twenty years after director James Mangold gave us the Johnny Cash biopic "Walk the Line," he's returned to the space with a look at Bob Dylan's transition from acoustic to electric.

As much as the music will dazzle Dylan fans, it's the acting that's the highlight. Timothée Chalamet delivers one of the best performances burgeoning career, getting Dylan's voice and mannerisms down perfectly. — Jason Guerrasio

Sebastian Stan gives one of two standout performances this year in "A Different Man." The surreal, twisty psychological thriller follows Stan as Edward, an introverted, struggling actor with neurofibromatosis (a disorder causing facial differences) who is cured through an experimental procedure. Reinventing himself as "Guy" doesn't quite give him the dream life he'd hoped for, though.

The darkly comic film from writer-director Aaron Schimberg also features great supporting performances from Renate Reinsve (who had her breakthrough in 2021's "The Worst Person in the World") and Adam Pearson as Oswald, a confident and charismatic man who also has neurofibromatosis. — Caralynn Matassa

For this latest trek back into the sci-fi world of "Alien," director Fede Álvarez takes full advantage of the IP by weaving a story that touches on the original movie and the world of "Prometheus." The result is a thrill ride that will satisfy fans of the franchise and scare the hell out of the newbies who have never seen an "Alien" movie. — JG

Sean Baker made a name for himself as one of the most acclaimed independent filmmakers, and for good reason. He excels at slice-of-life movies (2017's "The Florida Project" and 2021's criminally underrated "Red Rocket") that spotlight marginalized communities.

His latest, "Anora," centers on the titular sex worker played by "Scream 5" standout Mikey Madison. The film landed the Palme d'Or, the Cannes Film Festival's highest honor, thanks to Madison's subtly powerful performance and Baker's propulsive script. — CM

It shouldn't come as a shock that the most polarizing movie of the year was one about Donald Trump's rise to power as a New York City real estate tycoon.

But take away your political views and opinions on Trump (which, I know, is hard), and this movie from director Ali Abbasi is a fascinating exploration of how those with power and influence move through the world.

And then there are the performances by Sebastian Stan as Trump and Jeremy Strong as Trump's fixer and mentor Roy Cohn, both of which should be recognized during award season. — JG

Nicole Kidman gives one of the best and boldest performances of her decadeslong career in "Babygirl." The erotic thriller, written and directed by "Bodies Bodies Bodies" filmmaker Halina Reijn, puts the female gaze on a distinctly male, often-problematic genre, tackling female sexuality, gender, and power dynamics as Kidman's Romy Mathis, a high-powered CEO, pursues a secret affair with her intern (Harris Dickinson). — CM

I wasn't expecting a "Beverly Hills Cop" sequel made on Netflix to give me some of the biggest laugh-out-loud moments this year, but that's exactly what happened.

Director Mark Molloy certainly understood the assignment: lean in to what made the first two movies so beloved (let's not talk about the third one).

Focusing on Eddie Murphy's jokes, big action sequences, and that memorable soundtrack, the fourth movie in the franchise became one of the surprise delights at the movies this year. — JG

One of the boldest epics made in some time, this three-and-a-half-hour drama shot on VistaVision is an exquisite exploration of one immigrant's drive for the American Dream in post-World War II America.

Directed and co-written by Brady Corbet ("Vox Lux"), "The Brutalist" follows fictional character László Tóth (Adrien Brody), a Hungarian-born Jew who survives the Holocaust and emigrates to the US in the late 1940s. Over three decades, Tóth, a talented architect, struggles to make a living and get his wife (Felicity Jones) to the States. Then a wealthy man (Guy Pearce) changes his life.

With masterful production design, photography, score, and performances, this is a movie that will stay with you long after you've seen it. — JG

Zendaya dazzles in Luca Guadagnino's sporty, steamy drama.

As a former tennis great thrust into a love triangle with two other players, her now-husband Art (Mike Faist) and her ex-boyfriend Patrick (Josh O'Connor), Zendaya delivers one of the most layered performances of her career as she navigates love, lust, and mind games. — JG

Alex Garland's latest showcases a United States that has been ravaged by civil unrest.

Kirsten Dunst is magnificent as a hardened war journalist in an existential crisis who travels from New York City to Washington, D.C. to cover the story. The war scenes are brutal and devastating, but that's the point. — JG

Ralph Fiennes leads a drama filled with Shakespearian-level mystery, backstabbing, and intrigue as the Cardinal-Dean in charge of the papal conclave. In the process, he finds himself investigating scandals and secrets as the choices narrow for who will become the next pope.

Stanley Tucci, John Lithgow, and Isabella Rossellini are also outstanding in supporting roles. — JG

After a bevy of delays that included Fox being bought by Disney, COVID, and the strikes by the writers and actors in Hollywood, we finally got the third "Deadpool" movie. And it was worth the wait.

From the brawls with Wolverine (Hugh Jackman), the endless Disney IP jokes, and a fight with countless Deadpools, the movie is the rare payoff for fans of superhero movies in the post-"Endgame" era of the MCU. — JG

Denis Villeneuve's continuation of his adaptation of Frank Herbert's beloved sci-fi novel takes us back to Arrakis, where Paul (Timothée Chalamet) goes from the hunted to the hunter as he teams with the Fremen to fight his enemies and becomes a Messiah in the process.

Like the first movie, the visuals are stunning, but the sequel also features more Zendaya as Paul's love interest, heightening the stakes by the end. — JG

Though "The Fall Guy" underperformed at the box office, David Leitch's love letter to stunt performers is one of the most enjoyable movie-watching experiences of the year.

A big reason for that is the performances from Ryan Gosling and Emily Blunt, whose chemistry as they navigate an on-and-off relationship while coping with movie-making madness is off the charts. — JG

George Miller's latest trek into the Wasteland may not be as jaw-dropping as his magnum opus "Mad Max: Fury Road," but the auteur of action still dazzles with breathtaking shots of desolate sandy vistas and ultra-violent car chases.

The major highlight is Anya Taylor-Joy as Imperator Furiosa (originally played by Charlize Theron in "Fury Road"). With very little dialogue, Taylor-Joy must use facial expressions and a multitude of stunts to convey her character's origin story and complex emotional arc. It's well worth the ride. — JG

Twenty-four years after the Oscar-winning original, Ridley Scott returns to the Coliseum with a new star (Paul Mescal) and bigger fights. The result is an enjoyable mix of blockbuster thrills and nostalgic callbacks to the first movie.

But what sets "Gladiator II" apart is Denzel Washington, whose devilish, scenery-chewing performance as a gladiator owner with plans of getting his hooks into the Roman Senate elevates the movie whenever he's on the screen. — JG

The song "We Are The World" brought together the greatest musicians in pop and rock, but the story of how it came together makes the song even more remarkable.

This Netflix documentary from Bao Nguyen features never-before-seen footage and candid interviews recounting a single evening in Los Angeles that would become a defining moment for pop culture in the 1980s.

The documentary is replete with fascinating details about how the song and its ensuing celebrity spectacle came to be. From seeing how Michael Jackson created the hook to watching musicians like Cyndi Lauper and Huey Lewis give it their all recording long into the night, "The Greatest Night in Pop" is a must-see for anyone who lived through or loved the '80s music scene. — JG

On a surface level, Pansy Deacon, the lead character of "Hard Truths," isn't someone you'd root for. She's a deeply depressed, angry middle-aged British woman who takes her fury out on anyone and everyone around her, from fellow shoppers at the supermarket to her own browbeaten husband and adult son.

The film starts out almost comically, as Pansy finds every imaginable reason to rant and rave at everything from babies with pockets (what do babies need pockets for anyway?) to the salesperson attempting to help her buy a couch. Marianne Jean-Baptiste infuses Pansy with so much heart and deep-seated pain that you can't help but feel for her, even as you're horrified by her behavior.

Writer-director Mike Leigh's unique filmmaking process (he and his cast start off without a script and collaboratively develop the characters) results in one of the most stunning performances of the year. — CM

Hollywood is still trying to perfect this generation's high school movie. "Incoming" gets pretty close.

Following a group of friends who are the only freshmen invited to a party thrown by a senior, this raunchy comedy uses staples from the high school genre and mixes them with today's culture to concoct a hilarious movie. — JG

After a lot of confusion and frustration within the walls of Pixar over its COVID-era release strategy, the beloved animation house is having a much-deserved big-screen resurgence thanks to "Inside Out 2."

In the sequel to the Oscar-winning 2015 original, we catch up with Riley's key emotions like Joy (Amy Poehler) and Sadness (Phyllis Smith) right when Riley hits puberty. And just like that, new emotions like Anxiety (Maya Hawke) and Embarrassment (Paul Walter Hauser) show up wanting to be in control of Riley's feelings.

The movie is a funny and emotionally charged journey that highlights those impressionable years when we can no longer lean on our parents to make the right choices; it's now on us. — JG

Beyond having the most brilliant marketing campaign of the year, "Longlegs" is also genuinely freaky.

Osgood Perkins channels "Silence of the Lambs," mixed with devil worship and possessed dolls for good measure, for a crazy genre mashup: a police procedural horror movie. Maika Monroe gives an understated performance as traumatized FBI agent Lee Harker, who's investigating a series of murder-suicides that all point back to one mysterious figure: Longlegs.

The eventual reveal of what's going on — and the physical reveal of Nicolas Cage's Longlegs, a noteworthy entry in the actor's list of batshit roles — is disturbing and memorable. — CM

Pamela Anderson gives a career best performance as an aging Las Vegas showgirl who must come to terms with losing her job when her revue abruptly closes.

Anderson holds nothing back as she plays a character who still is intoxicated by the glitz and glamour of the strip of yesteryear but comes to the harsh realization that show business has nothing left for a woman her age.

Ironically, after decades in the limelight, this is the role that is finally getting Anderson the recognition for her acting that she deserves. — JG

Originally planned as a TV series, Disney made the right move by turning this instead into a feature-length sequel to the beloved 2016 original.

This time, Moana (Auli'i Cravalho) must defeat an evil God who controls an island so that all islands across the sea can be reconnected.

The higher stakes, new characters, and catchy songs make the movie a worthwhile continuation of a story audiences couldn't wait to return to. — JG

Some viewers criticized RaMell Ross's bold decision to shoot "Nickel Boys," an adaptation of Colson Whitehead's 2019 novel, in a first-person point-of-view, where we see through the eyes of the character speaking. To that, I politely say: You're wrong, sorry.

The immersive filming style works perfectly to put the audience right in the mix as Elwood and Turner, two Black boys sent to a reform school called the Nickel Academy (based on an actual school in Florida), struggle to survive amid the racist institution's many often deadly abuses.

Ethan Herisse and Brandon Wilson give a pair of breakout performances as Elwood and Turner, and Aunjanue Ellis-Taylor is devastating as Hattie, Elwood's devoted grandmother. It's a tough watch, but a worthy one. — CM

Looking back on the work of Robert Eggers, his obsession with telling stories set long ago has led up to this: an adaptation of the iconic gothic vampire tale.

With exquisite production design, makeup, and effects to transform Bill Skarsgård into the creature of the night, and a tour-de-force performance by Lily-Rose Depp as a woman overcome by a spell that fills her with desire and fear, this is Eggers' masterwork. — JG

Yep, both of Luca Guadagnino's 2024 releases made this list. "Queer" is a very different film from "Challengers" in many ways, but both cement Guadagnino as a filmmaker with an innate understanding of desire and a master at evoking it onscreen.

Based on William S. Burroughs' 1985 novella, the movie follows William Lee, a gay American expat living in 1950s Mexico City, who becomes obsessively infatuated with the much younger Eugene Allerton. Daniel Craig's no-holds-barred performance as Lee, a stand-in for Burroughs himself, establishes him as one of the most talented and versatile working actors today. It's also gorgeously shot, courtesy of Guadagnino's go-to cinematographer Sayombhu Mukdeeprom. — CM

There's always one Netflix movie that comes out of the blue every year and grabs attention. This year, it was "Rebel Ridge."

Written and directed by Jeremy Saulnier ("Blue Ruin"), this impressive action movie gives a jolt to the genre with its gritty take. It's also a showcase for Aaron Pierre, who is on his way to big-screen stardom (he also voiced the title character in Disney's end-of-year release, "Mufasa.") — JG

JT Mollner's thriller "Strange Darling" flew under the radar this year, but boy, is it a trip.

The story is told in a destabilizing nonlinear format; it's a clever narrative trick to make you think the movie is something it's not. Willa Fitzgerald and Kyle Gallner are knockouts as the two leads, keeping viewers transfixed and with our hearts in our throats. It's also beautifully shot by Giovanni Ribisi (yes, the actor) in his feature debut as a cinematographer. — CM

"The Substance" is not for the faint of heart. French filmmaker Coralie Fargeat established herself as a genius of phantasmagoria with her debut feature, 2017's "Revenge," but she takes things up several notches in her follow-up.

The satirical feminist body-horror movie is completely insane, in the best way. It's a disgusting, disturbing, and extremely real fable of female self-hatred that goes off the rails (complimentary) like few movies I've seen before.

Demi Moore grounds it all as Elisabeth Sparkle, a washed-up middle-aged celebrity who's driven to try the mysterious drug dubbed The Substance after being fired from her aerobics show on her 50th birthday. Margaret Qualley is positively demonic as Elisabeth's younger and more perfect self Sue, the product of that black market serum fated to be Elisabeth's downfall. — CM

This summer, we learned that if you mix Glen Powell and tornadoes, you've got yourself a hit.

This sequel to the 1996 hit "Twister" features more GGI-fueled storms and chemistry so hot between Powell and Daisy Edgar-Jones that audiences were bummed they didn't kiss at the end — everything you need from a hit summer blockbuster. — JG

I was prepared to be a hater heading into "Wicked." After all, how could someone successfully adapt one of the most successful Broadway musicals of all time? After being blown away by Cynthia Erivo and Ariana Grande's performances, I'll gladly admit I was wrong.

As the movie's seemingly endless press tour has demonstrated, Erivo and Grande have incredible chemistry as Elphaba and Glinda, two witches who were once best friends before their paths diverged. Erivo is devastating as the lost, deeply lonely but resolute Elphaba, while Grande imbues so many layers into her performance as Glinda. The result is a thoroughly enjoyable movie experience with a showstopping finale, even if it's not the most technically impressive film on this list. — CM

Based on Peter Brown's popular books, "The Wild Robot" weaves one of the most emotional yarns of the year. The movie tells the story of Roz (Lupita Nyong'o), a robot who washes up on a deserted island and learns the ways of the wildlife that inhabits it, leading to her becoming the guardian of an orphaned gosling.

Beautiful to look at, with animation that has a watercolor quality, it's the uplifting story that elevates this movie from an impressive fantasy tale to a work that will be cherished by audiences for years to come. — JG

1. "The Wild Robot"
2. "The Apprentice"
3. "The Brutalist"
4. "The Substance"
5. "Conclave"

1. "The Substance"
2. "Hard Truths"
3. "Queer"
4. "Anora"
5. "Nickel Boys"

Eating protein-rich foods, like this smoked trout, is an excellent way to create an energizing, filling meal.

Trader Joe's smoked trout has become a staple in my home — it's a great shelf-stable item to have on hand when I want to add more sustenance to a meal.

This flavorful fish makes a great addition to a greens-and-feta salad, though the fillets are also delicious simply paired with a cracker.

When I followed restrictive diets, I was afraid to have sugar-sweetened beverages because I felt guilty about drinking my calories.

Now, as an intuitive eater, I know that adding fun drinks to meals can be a great way to enhance satisfaction. When our meals are satisfying, we can move on without dwelling and decrease our chances of bingeing or overeating later.

This tea-and-lemonade beverage has the perfect level of sweetness. I love having it with a turkey sandwich, a hearty salad, or cheese and crackers.

A friend recently shared a recipe for spicy-vodka rigatoni, which called for Calabrian chiles. She recommended using Trader Joe's Italian Bomba sauce, a Calabrian-chile-based flavoring, and it has become an instant favorite.

It adds a flavorful punch to pasta dishes and soups, though it's also tasty when smeared on crusty bread or mixed with mayo.

I've tried many different kinds of goat cheese, but this one from Trader Joe's is my favorite.

It's the ideal mixture of creamy and crumbly, making it a perfect addition to fall salads or a roasted-root-veggie dish. It also adds richness to pasta dishes when I don't have milk or cream.

I recommend spreading this goat cheese on toast and pairing it with different toppings, like walnuts, honey, and sea salt, or caramelized mushrooms and onions.

When a craving for salad strikes, I enjoy using Trader Joes toasted-sesame dressing.

Having a premade dressing lowers the workload of making a salad, which is another reason I love keeping this delicious dressing stocked in my fridge.

Some days, I crave fresh flavors but don't have the bandwidth to cut up lettuce and veggies — which is why I appreciate this broccoli-and-kale slaw with dried cherries, slivered almonds, and sunflower seeds.

Even when I don't have the time or energy to start chopping ingredients, I can almost always find it in me to dump the contents into a bowl and toss them with the kit's premade, sweet slaw dressing.

Sometimes, I'll doctor the salad up with goat-cheese crumbles. I typically pair the salad with a frozen pizza to add a source of carbs and fat and create a more filling meal.

In my opinion, the Argentinian red shrimp tastes so fresh, you'd never know that it comes frozen.

During the summer, I add this shrimp to a simple pasta dish with pesto, pine nuts, and tomatoes for a protein-rich meal with lots of staying power. In the colder months, I make a shrimp scampi with simple ingredients like lemon, broth, wine, and Parmesan cheese.

Like the smoked trout, this frozen shrimp is great for adding a protein boost to my meals.

When I ask new clients which foods they enjoy, many of them have been dieting for so long that they no longer know what flavors they authentically enjoy.

In my intuitive-eating experience, I discovered I love the combination of sweet and salty flavors. In particular, I adore Trader Joe's sweet, spicy pepper jam with savory cheese and crackers.

It's also delicious spread on a grilled-cheese sandwich for that same flavor contrast.

Click to keep reading Trader Joe's diaries like this one.

Brad Smith, CEO and lead designer at Omni Home Ideas, told BI that neon lights, especially in excess, have no place in a bedroom.

"Although striking, neon lights can disrupt sleep patterns and create a jarring visual environment, which is less than ideal for a bedroom," he said. "Instead, opt for softer, layered lighting that enhances mood and function."

Smith told BI that fully carpeted rooms made a comeback in 2024, but that's not exactly a good thing.

Homeowners should be aware of the challenges that come with wall-to-wall carpeted floors before choosing to install them.

"They're not always practical because of maintenance challenges and allergen accumulation," he told BI. "A preferable alternative is using area rugs on hardwood floors, which can enhance the room's aesthetics while being easier to clean and swap out."

Shiva Samiei, interior designer and CEO of Shiva Samiei & Co., told BI that bedrooms aren't the best place in a home for single-tone or all-white color schemes.

"Overly minimalist bedrooms are more like hospital rooms than sanctuaries," Samiei said, adding they can often lack warmth and coziness.

Instead, she said, layer textures and utilize accent pieces to work more personality and color into a space.

Samiei also told BI that although edgy industrial designs with exposed brick and metal finishes look cool, they can make a bedroom feel uninviting.

If you're going to lean into an industrial style, she said, balance out the "toughness" of it by adding warm wood tones, bedding with soft textures, and thoughtful mood lighting.

A bed with a low frame (or none at all) can look really minimal, but Lucy Harrison, senior interior designer at SouthPark Interiors, said this look is rarely ideal and often inconvenient.

"If you place this bed in a large room, it also makes the bedroom very disproportional, which can mess with the overall look and feel of the space," she told BI.

Plus, a low-to-the-ground mattress means missing out on the opportunity to have under-bed storage space.

"Your bedroom does not have to be perfectly curated, and every piece of furniture does not need to match," Harrison said.

She isn't the first designer to tell BI they dislike a matching bedroom set and that a space looks better when the nightstands, dressers, and headboard aren't the same material and finish.

After all, Harrison said, mixing various pieces can make a bedroom feel more interesting and relaxing.

You can see Mickey Mouse at all four theme parks, and when I visit, I stop in and say hi.

I especially love seeing Mickey at Hollywood Studios because he's in his sorcerer outfit from "Fantasia."

You can also catch Mickey at Town Square Theater in Magic Kingdom, Adventurers Outpost at Animal Kingdom, and CommuniCore Hall at Epcot.

Epcot is known for its incredible annual festivals.

The first part of the year brings the International Festival of the Arts, which happens to be my favorite. You can also experience the International Flower and Garden Festival in spring, the International Food and Wine Festival in summer and fall, and the Festival of the Holidays in winter.

I love that the festivals all have food booths where I can try unique items. I also make a point to see the incredible entertainment at the America Gardens Theater, like the celebrity-narrated Candlelight Processional during the Festival of the Holidays.

Disney Springs is filled to the brim with restaurants. Most of them are great, but I tend to find myself dining at celebrity-chef-owned spots more often than not.

A few of my favorites are Chicken Guy by Guy Fieri for a quick meal, Masaharu Morimoto's Morimoto Asia for a snack at the bar, and Chef Art Smith's Homecomin' for incredible fried chicken.

I've planned some visits around chefs' special events and have been lucky enough to accidentally run into other chefs at their restaurants.

In fact, my birthday treat this year was dining at eet by Maneet Chauhan. She and her team curated a special menu of dishes, and she did an open question-and-answer session for the group of diners.

No matter what time of year I go to Disney World, I have a Mickey-shaped ice-cream sandwich.

The cookies-and-cream ice cream is a refreshing treat, and I've found that the sandwiches don't melt nearly as quickly as the equally popular Mickey premium ice-cream bars.

There are hundreds of hotels around Orlando, but I like to stay at a Disney resort when I visit Disney World.

I love the theming of the hotels, how easy it is to get to the parks with complimentary transportation, and that I'm not bursting that Disney-bubble feel.

My favorite budget-friendly hotel is Disney's All-Star Movies, and my favorite splurge option is Disney's Riviera Resort.

The All-Star Resorts are a little farther from the theme parks, but the rooms are well-appointed, and I love the nostalgia. This is where I often stayed as a kid.

Riviera Resort is ultra-luxe, and the Disney Skyliner provides direct service to Epcot. I also love watching the fireworks from the rooftop lounge attached to Topolino's Terrace.

A few new attractions at Disney World, like Tiana's Bayou Adventure at Magic Kingdom and Guardians of the Galaxy: Cosmic Rewind at Epcot, use virtual queues.

I always try to make reservations for these two attractions during the 7 a.m. drop on the day I want to visit the park. If I'm unsuccessful during the morning drop, I try again at 1 p.m. after I've checked into the park.

The virtual-queue option is free, so I'd much rather wake up early to use it than pay extra for a Lightning Lane line-expediting pass.

If I can't get a virtual queue spot, for some reason, I skip the attraction. I visit often enough that the extra cost isn't worth it to me — I'll be able to try again soon.

Click to keep reading Disney diaries like this one.

Rotten Tomatoes score: 69%

Summary: Podcaster Gilbert Power (Will Forte) and his assistant Emmy Sizergh (Robyn Cara) join journalist Dove Maloney (Siobhán Cullen) in solving a cold case in Bodkin, Ireland.

Although many critics enjoyed "Bodkin" and praised Cullen, Cara, and Forte for their infectious chemistry, some viewers had mixed feelings.

"The elements don't quite congeal, but it's intriguing and well-crafted," critic Robert Levin wrote for Newsday.

Rotten Tomatoes score: 65%

Summary: Just as Amelia (Eve Hewson) is about to marry into a wealthy family, her wedding weekend in Nantucket takes a deadly turn — and everyone (Nicole Kidman, Liev Schreiber, Billy Howle, and more) becomes a suspect.

Critics were split on their consensus of "The Perfect Couple," with some calling it a binge-worthy guilty pleasure and others deeming it an overwritten mess.

"Where 'The Perfect Couple' goes wrong — and where 'White Lotus' succeeded — is assuming its audience is watching," Maxwell Rabb wrote for the Chicago Reader. "Instead, everything of note is spelled out so attention to the characters themselves feels secondary."

Rotten Tomatoes score: 60%

Summary: This dramatic series follows fashion designers Christian Dior (Ben Mendelsohn) and Coco Chanel (Juliette Binoche) as they navigate life in Europe during the Nazi occupation of World War II.

Many critics noted the high production value — and the mesmerizing performances from its stellar cast — but couldn't help feeling like the story was lacking.

"For those enthralled with fashion, there's enough entertaining glitz and melodrama to keep one returning week after week," Brian Bromberger wrote for The Bay Area Reporter. "But for people less enamored by haute couture, the whole enterprise might seem sluggish with few rewards."

Rotten Tomatoes score: 57%

Summary: Four journalists — Grace (Carla Gugino), Sadie (Melissa Benoist), Kimberlyn (Christina Elmore), and Lola (Natasha Behnam) — follow flawed politicians' presidential campaigns.

"The Girls on the Bus" had the potential to be a biting political satire like "Veep," but some critics thought it played out like a shallow soap opera.

"It's diversion and distraction," Wenlei Ma wrote for The Nightly. "It has no more insight into politics and the media than 'Younger' had into publishing or 'The Bold Type' into journalism."

Rotten Tomatoes score: 57%

Summary: This British crime drama follows Ember Manning (Jenna Coleman) as she investigates a fire in Lancashire and connects the dots to a cold case that was just blown wide open.

Though many critics appreciated the female perspective in "The Jetty," many felt like the story and pacing fell apart upon closer examination.

"These challenging issues might have been better served by a straight drama rather than an uneven mystery yarn littered with clichés, contrivances, clunky exposition, and thrillerish flourishes," Dan Einav wrote for the Financial Times.

Rotten Tomatoes score: 56%

Summary: In 1969, Maxine (Kristen Wiig) looks to climb the ladder of high society at an exclusive country club in Palm Beach, Florida.

Overall, critics loved the show's attention to costumes and set design, but thought the glamour distracted from the story, which lacked any real intrigue.

"There are plenty of individual elements that suggest a worthwhile final product," Allyson Johnson wrote for But Why Tho? "However, none of these elements come together to become something more than the small, individual highlights."

Rotten Tomatoes score: 55%

Summary: This locked-room murder mystery, set on a cruise ship, follows detective Rufus Cotesworth (Mandy Patinkin) as he strives to prove passenger Imogene Scott (Violett Beane) is innocent.

Critics largely agreed the show had a few too many twists, which kept the story from being believable or having a truly rewarding ending.

"While there are elements of 'Death And Other Details' that have the potential to be entertaining, the show feels overstuffed and too interested in messing with the viewers to sustain what is a very complex whodunit," Joel Keller wrote for Decider.

Rotten Tomatoes score: 54%

Summary: Imogen Salter (Elisabeth Moss) and Adilah El Idrissi (Yumna Marwan) find themselves in a deadly cat-and-mouse game that takes them around the globe.

Critics enjoyed being whisked away to different locations, from Paris to Istanbul. However, they felt some aspects of the show did a disservice to its lead actors.

"…'The Veil' is a lot of style over substance," Liam Mathews wrote for TV Guide. "The show doesn't deeply engage with its characters or the real world around them."

Rotten Tomatoes score: 51%

Summary: Chancellor Elena Vernham (Kate Winslet) ineffectually leads a crumbling autocracy as she presides over a Central European government.

Critics generally felt misled by the advertising of "The Regime," which marketed itself as a dark comedy but decidedly underserved on jokes.

"So there are gags; it's just really going to be in the eye of the beholder how funny they are, not just in the context of this muddled story, but also right now," Tara Ariano wrote for Cracked.

Rotten Tomatoes score: 50%

Summary: Based on Tom Wolfe's book of the same name, this dramatic miniseries follows Charlie Croker's (Jeff Daniels) downfall as his real-estate empire takes a nosedive.

Critics were evenly split on "A Man in Full," with some reviews citing Croker's exaggerated unlikeability as a huge turn-off.

"Over its six episodes, 'A Man in Full' repeats variations on Charlie's plaint that the 'world's gonna make men like me extinct,'" Steve Murray wrote for ArtsATL. "'Man in Full' can't persuade us that that even comes close to being a tragedy."

Rotten Tomatoes score: 48%

Summary: In 79 AD, Emperor Vespasian (Anthony Hopkins) and his sons rule over Rome as tavern owner Tenax ("Game of Thrones" star Iwan Rheon) tries to raise enough money to compete in a life-changing chariot race.

Although many critics felt the unpolished script did the actors a disservice, a large portion of them were entertained by the spectacle and gore nonetheless.

"It ends up as a fairly satisfying binge, not raucous enough to be a guilty pleasure but not in enough control of its characters to be seriously good," Jack Seale wrote for The Guardian.

Rotten Tomatoes score: 47%

Summary: Just as successful tennis moguls Joy (Annette Bening) and Stan Delaney (Sam Neill) announce their retirement, Joy abruptly goes missing, sending the couple's children into a tailspin.

The show, which is based on a novel by "Big Little Lies" author Liane Moriarty, didn't mesh well with many critics — despite the best efforts of the cast.

"Annette Bening gives an excellent performance in the new seven-episode Peacock miniseries 'Apples Never Fall,' but she shows up all the lesser acting around her to a distracting degree," Eileen Jones wrote for the Jacobin.

Rotten Tomatoes score: 47%

Summary: This drama chronicles the lives of Erik (Cooper Koch) and Lyle Menendez (Nicholas Alexander Chavez) and the murders of their parents (Javier Bardem and Chloë Sevigny).

Critics largely agreed that the show, created by Ian Brennan and Ryan Murphy, showed promise but overstayed its welcome.

"Some tonal inconsistency is understandable; how else could a show capture both the ludicrousness of this story and its dire, mortal dimensions?" Richard Lawson wrote for Vanity Fair. "But Brennan and Murphy push past that, into the realm of incoherence."

Rotten Tomatoes score: 46%

Summary: The characters of the animated comedy "Sausage Party" (2016) return to defeat the human race and establish their own civilization.

Despite the return of big-name stars like Seth Rogen, Michael Cera, and Kristen Wiig, critics felt the expanded world-building and characterization of "Sausage Party: Foodtopia" was fruitless.

In a review for RogerEbert.com, Clint Worthington wrote that the show was "an eight-episode series for Prime Video that simply regurgitates the same tired material as the film while adding little to the recipe."

Rotten Tomatoes score: 39%

Summary: Lovers Jack (Domhnall Gleeson) and Alice (Andrea Riseborough) keep coming back to each other, but they never seem to get the timing right.

Overall, the reception for "Alice & Jack" was underwhelming, with critics saying it lacked the nuance and depth of more acclaimed relationship dramas like "Normal People."

"'Alice & Jack' shoots for the vertigo of a star-crossed romance, but does too little work to convince us of the relationship's validity," Angie Han wrote for The Hollywood Reporter.

Rotten Tomatoes score: 33%

Summary: Gracián "Gray" Parish (Giancarlo Esposito) thought he had washed his hands of the criminal underworld until his son's horrific murder sends him hurtling back to the life he left.

Critics were delighted to see Esposito in the lead role but wished the script had been better written.

"The six episodes allotted to 'Parish' require a narrative discipline that simply isn't in play, and Esposito's talent demands original writing that rarely presents itself here," Melanie McFarland wrote for Salon.

Rotten Tomatoes score: 33%

Summary: Journalist Gia Lombardi (Shailene Woodley) follows the lives of three women — Lina (Betty Gilpin), Sloane (DeWanda Wise), and Maggie (Gabrielle Creevy) — in search of what sex means to contemporary Americans.

Critics agreed that the adaptation of Lisa Taddeo's book failed to capture the magic of the source material.

"Buried under all the plot contortions and surplus extensions of 'Three Women' are many beautiful, moving observations," Ben Travers wrote for IndieWire. "If only it was easier to see them."

Rotten Tomatoes score: 32%

Summary: Eli (Billy Crystal) is a child psychologist still reeling from losing his wife when he uncovers a disturbing connection to his next client.

Critics praised Crystal for stepping into a darker genre but didn't think the show was anything to write home about.

"Every comic legend deserves a chance to branch out, the same way Crystal's buddy Robin Williams famously went dark, often," Robert Moran wrote for The Sydney Morning Herald. "But 'Before' is no 'One Hour Photo.' It's barely a blank Polaroid."

Rotten Tomatoes score: 20%

Summary: After brothers Mark and Hank Hoagies (both voiced by Adam Malamut) lose their jobs to automation, a universal basic-income program helps keep them afloat.

Critics said that "Universal Basic Guys" aimed for the familiar comedic stylings of "Family Guy" but fell short.

"While the premise is interesting enough, the show is stuffed with tiresome jokes that fail to pack a punch," Aramide Tinubu wrote for Variety.

Rotten Tomatoes score: 10%

Summary: "Good Times," an animated revival of the 1970s sitcom of the same name, centers on the Evans family as they try to get by in Chicago.

Critics said the animated series seemed fine-tuned to offend viewers, all while banking on the nostalgia for the original "Good Times."

"In a way, it would have been better to just craft this as an original series without all the baggage and expectations of reinventing a TV classic — but then, Netflix wouldn't have gotten all the headlines and attention from the shocked reactions," Eric Deggans wrote for NPR.

When I need coverage that looks like my skin but better, I reach for this Make Up For Ever foundation. It's lightweight, makes my skin tone look more even, and doesn't feel heavy even after hours of wear.

I don't like the feeling of having a ton of product on my face, so this foundation is perfect. It blends seamlessly and provides the right amount of coverage for both my professional and personal use.

The Danessa Myricks blurring balm powder is hands down one of the most innovative products I've used this year. It's like a magic eraser for skin imperfections.

The texture of the balm-to-powder formula, meant to prime, add coverage, or set products, is incredible — it's soft and silky and blurs everything in its path.

Whether I'm prepping skin for a glam look or creating a no-makeup moment, this balm is my secret weapon.

When I want a more dramatic, pigmented cheek moment, the Haus Labs blush in the shade Dragon Fruit Daze steps up to the plate.

Its pigmentation is incredible — a little goes a long way. Though it's intense, it blends beautifully, allowing for both subtle and bold application on various skin tones.

I spent most of 2024 searching for a product that would give me a perfect, natural-looking glow, and the Saie Glowy Super Gel illuminator is exactly what I needed.

This serum, meant to add luminosity to the skin, is lightweight, absorbs instantly, and leaves the most beautiful, dewy finish.

I love layering it under makeup or wearing it by itself when my skin needs extra love. I use the shade Sunglow.

As a makeup artist who doesn't always want to look "done up," this Maybelline skin tint, which lasts up to 24 hours, has become my go-to.

It evens out my skin tone and blurs imperfections, but it's so lightweight that I almost forget I'm wearing anything.

I apply it when I want to run errands or grab a coffee without looking like I'm heading to a photo shoot.

This One/Size mattifying primer has been a game changer in my kit. It creates the perfect canvas for my oily-skinned clients and helps product stay put all day.

I particularly love using this on my brides. I've recommended the primer to countless clients, and it's yet to disappoint.

This Saie product provides the most beautiful flush, so it looks like I'm naturally glowing from within. The formula blends seamlessly into the skin, giving me the perfect "I woke up like this" cheek color.

Whether I'm going for a minimal-makeup look or adding a pop of color to a full-glam moment, this Saie Dew Blush in the shade Dreamy has been my go-to.

As someone with combination-oily skin (meaning only some parts of my face get oily), finding the right primer is like striking gold.

This Danessa Myricks serum is a mattifying product that transforms from water to powder. It's made with kaolin clay to absorb excess oil without leaving the skin feeling dry and tight — a constant struggle I've had with other mattifying products.

The Charlotte Tilbury Magic Cream, meant for smoothing and plumping, has been my skincare indulgence this year.

It's great for priming the skin before makeup, though I also use it as a stand-alone moisturizer on no-makeup days. It's refreshing, hydrating, and luxurious-feeling.

This Topicals balm has been one of my favorite lip-care products.

It's more than just an average balm — this treatment keeps my lips feeling soft, hydrated, and healthy. I spread it on my lips before any makeup application.

When a song resonates so broadly and intensely that it becomes the longest-reigning No. 1 hit in Billboard Hot 100 history, a music critic needs to pay attention. Thankfully, "A Bar Song (Tipsy)" is well worth the focus.

Shaboozey's breakout hit came on the heels of his star-making turn in "Cowboy Carter," an album that knows the value of an unpredictable, well-placed sample. Shaboozey used that strategy to great effect, flipping J-Kwon's 2004 club hit "Tipsy" into a heady pub chant. It was a Beyoncé-level stroke of genius; the hook has shown to transcend both genre and generation.

If you like this, listen to: "Anabelle," "My Fault (feat. Noah Cyrus)," "Vegas"

Just one month before Sabrina Carpenter released "Espresso" and commenced her plan for world domination, she stole the show in "You Need Me Now?" with a cheeky fourth-wall break.

Carpenter presumably crossed paths with Marie Ulven, aka girl in red, the darling of sapphic bedroom pop, while they were both booked as openers for the Eras Tour. At first glance, this feels like an unlikely team-up — but Carpenter's polished vocal shimmer is the perfect foil for Ulven's grittier vibe.

"You Need Me Now?" was released as the third single from Ulven's sophomore album as girl in red, "I'm Doing It Again Baby!" Her unrelenting, feisty tone recalls the fan-favorite track "Serotonin," while the lyrics reveal a scathing kiss-off to an ex, which turns out to be Carpenter's specialty.

"You know what would be really fucking cool on this? Sabrina," Ulven declares in the bridge, turning a solidly good indie-rock song into a lively, interactive experience. Now that Carpenter is as famous as she is, Ulven's epiphany feels slightly prophetic — and Carpenter's enthusiasm is even more delightful.

"Oh my god, you're so right!" Carpenter cuts in, eager and prepared for her moment. "I'm gonna sing now."

If you like this, listen to: "Too Much," "Phantom Pain," "New Love"

Hana Vu is only in her early 20s, and she already has a timeless song under her belt.

The Los Angeles-based singer-songwriter is truly of the millennium (she was born in 2000, making her the same age as Ice Spice and Reneé Rapp), and yet, her single "Care" is not mired in trends or modern touchstones. (Sure, there's a thinly veiled jab at consumerism, but it's not like Gen Z invented existential ire toward the status quo.)

This isn't the case for all of Vu's music; in 2019, she named her EP "Nicole Kidman/Anne Hathaway" after her two favorite actors. But "Care" is an extra special song, anchored by Vu's lush melodies, soulful delivery, and ever-relevant ruminations — about what it means to be human, to love, to hope, and to "find it all too much."

If you like this, listen to: "Hammer," "Dreams," "Find Me Under Wilted Trees"

Katie Gavin is known as the lead singer of MUNA, but in her debut solo album, "What a Relief," she strips away much of the band's arena-sized bravado to make room for more intimate meditations.

"The Baton" is Gavin's masterpiece: stark, folksy, and acutely compassionate. The song pays homage to her mother, who guided Gavin's growth, and the hazy silhouette of her future daughter, for whom she'll follow her mother's example.

"I'd pass her the baton and I'd say you better run / 'Cause this thing has been going / For many generations," she sings, suggesting an optimistic inversion of Fiona Apple's "Relay." Still, Gavin's lens is not entirely rosy: "There is so much healing / That still needs to be done."

Unfortunately, "The Baton" hits way harder post election, now that women and queer people across the US are getting ready to fight for control over their own bodies — and, ideally in doing so, to protect future generations from having to do the same.

If you like this, listen to: "As Good As It Gets," "Sanitized," "Sparrow"

Earlier this year, acting on little beyond a gut feeling, I was lucky enough to catch Fabi Reyna, aka Reyna Tropical, perform in Brooklyn. I found myself hypnotized by her organic production style, her seamless weave of multicultural traditions (Reyna was raised between Mexico, Texas, and Oregon), her tender embrace of queer themes, and, most of all, by "Conocerla."

Now, whenever I return to this song, I have a hard time putting my finger on what it is I love so much — but I always have the same recurring, insufficient thought: "This is the coolest thing I've ever heard."

Luckily, for Reyna, that instinctive pleasure is the whole point. She told Paper that "Conocerla" is about "personal exploration" and creating a space to nurture emotion, not logic. "Through art and music," Reyna explained, "we can hold more than we realize when we don't rely solely on our minds."

If you like this, listen to: "Cartagena," "Lo Siento," "Conexión Ancestral"

Donald Glover's final release as Childish Gambino, "Bando Stone and the New World," is an apocalyptic concept album that follows his character, also a musician, while he navigates doomsday on a remote island.

"Bando Stone" is presented as a holistic body of work, but as with many survival epics, the hero is better off with some company. The album hits its peak when Glover is joined by Jorja Smith and Amaarae for "In the Night," which soundtracks a humid, nocturnal love affair. The women strike conspiratorial tones, singing about lustful dreams and illicit rendezvous; the mini-drama seems immaterial to the end of the world, but it succeeds in infusing the saga with fresh textures and intrigue.

If you like this, listen to: "Lithonia," "Talk My Shit (feat. Amaarae & Flo Milli)," "Running Around (feat. Fousheé)"

Immediately upon the release of "Eternal Sunshine," Ariana Grande's sixth studio album, "We Can't Be Friends (Wait for Your Love)" became the runaway favorite across the board. Fans sent it straight to No. 1 on the Hot 100. Keith Urban called it "audible heroin." Many critics (including myself) compared the sparkling synths and propulsive rhythm to Robyn's "Dancing on My Own," a compliment of the highest order among pop nerds. (Max Martin, who produced much of "Eternal Sunshine," has also worked with Robyn. The pair earned two top-10 hits in 1997.)

"We Can't Be Friends" is patently a reaction to Grande's recent divorce, but subtextually, it confronts the inevitable public fallout — that is, the stigma of being a famous woman with a string of romantic missteps. Still, at least in song, Grande can emerge from the fray with her ecstatic falsetto, unashamed and resilient as ever. "Know that you made me / I don't like how you paint me," she insists, "yet I'm still here hanging."

If you like this, listen to: "Don't Wanna Break Up Again," "Eternal Sunshine," "I Wish I Hated You"

Maggie Rogers has always been an exceptional producer, as evidenced by her famous Pharrell critique (or, more accurately, his lack of critique) that catapulted her from NYU student to indie darling.

In her underappreciated sophomore album "Surrender," Rogers pivoted from folk-electronica to a more organic rock sound as she came into her own as a vocalist. "I learned how to use my lower register," she told The New York Times, "to just sing with my whole body."

When it came time to record her third studio album, "Don't Forget Me," Rogers was already equipped with these polished-up skills. This time, it's her songwriting that comes into clearer focus, totally shorn of self-doubt and pretense.

This is especially true of the title track, in which every word has been chosen with keen precision. Throughout each verse and chorus, Rogers paints miniature portraits of Sally (a vision of domestic bliss), Molly (a besotted portent of mediocre love), and herself (an autonomous woman with a lust for emotional heirlooms).

As Rogers explained in her email newsletter, some of these details were invented for the song. "Pen to paper. Fully formed. There they were," she wrote. But that doesn't make them feel any less lifelike: "I think in this way, some of the deepest truths about my present were able to come forward."

If you like this, listen to: "The Kill," "If Now Was Then," "On & On & On"

Grace Cummings makes music as though she's building a bridge between the old and the new. Her album "Ramona" is vivid and nostalgic, saturated with hues of old-school blues, yet dauntless in a distinctly modern way — the kind of music that a Gen X dad and Gen Z daughter could play on a roadtrip and equally enjoy.

The centerpiece is "Common Man," which juxtaposes vintage instrumentation and familiar pastoral imagery (thunder booming overhead, a sunrise on the horizon) with Cummings' singular, androgynous, anything-but-predictable voice.

Even in this wide-open landscape, her belting easily swells to fill the space. So when Cummings delivers the song's thesis, "I can't stand to be the common man," it's no challenge to believe her.

If you like this, listen to: "On and On," "A Precious Thing," "Help Is On Its Way"

"Too Sweet" is Hozier's highest-charting song ever on the Hot 100, which is kind of a miracle, since he didn't even bother to include it on his latest full-length album, 2023's "Unreal Unearth."

Thankfully, "Too Sweet" didn't get buried forever. It was released seven months later on the EP "Unheard," a brief collection of songs from the "Unreal Unearth" sessions that Hozier had scrapped "for different reasons."

Perhaps Hozier felt the song was too radiant and playful — or, ahem, too sweet — for the album's conceptual journey through the nine circles of hell. That could explain it, although the narrator is certainly at risk of being punished for gluttony (he has a whiskey habit and a 3 a.m. bedtime, so I'm assuming he's not a fan of moderation). Or perhaps Hozier sensed that he had a smash hit on his hands, and didn't want it to overshadow the rest of the project, like "Take Me to Church" did with his debut.

We may never know his reasons for unleashing "Too Sweet" when he did. We can only be grateful that he did it at all — and maybe consider this a learning experience. As his career trajectory has proven, he's a more patient man than most, and something this sweet is worth the wait.

If you like this, listen to: "Nobody's Soldier," "July," "Fare Well"

"Soup," the second track and fifth single from Remi Wolf's "Big Ideas," is a shining example of an earworm done right. Backed by Tame Impala-esque guitar riffs and bright '80s synths, Wolf delivers a series of airtight melodies and just the right amount of quirk.

Like all the greatest top-40 bops, the chorus is ideal for screaming in the car — yet there's no risk of tedium or replay-induced headaches. "Soup" can be played on a loop and Wolf's songcraft stays fresh.

If you like this, listen to: "Cinderella," "Toro," "Alone in Miami"

As with the two singles from "Guts" that preceded it ("Bad Idea Right?" and "Get Him Back!"), I remain aghast that "Obsessed" wasn't a No. 1 hit.

Olivia Rodrigo is at her best when she's a little punk, a little rock, and completely unhinged — and this "Guts (Spilled)" deluxe track about developing a fetish for her boyfriend's ex-girlfriend ("I know her star sign, I know her blood type") may be the most loosely hinged track in her entire catalog.

In polite society, it's rare that women are allowed to express the full spectrum of emotion — rage, envy, lust, self-loathing, and, of course, obsession — without getting labeled crazy. Rodrigo actively bucks against that sexist custom with her songwriting, flinging herself into the deepest trenches of her psyche and emerging even stronger. In her capable hands, "I can't help it, I've got issues" becomes less of a confession and more of a rallying cry.

If you like this, listen to: "So American"

I tuned in to Fontaines D.C. last fall, when I saw them open for the Arctic Monkeys' The Car Tour. The Irish band had already released three albums and won a Brit Award, but it still felt like they were on the cusp of greatness, like they were building toward a true breakthrough.

That catalyst arrived seven months later with "Starbuster," the celebrated lead single from their new album, "Romance." The song is punchy and cinematic, like Kasabian's "L.S.F." meets Gorillaz's "Dare" meets the atmospheric, suburban angst of "Skins" (the original UK series, not the busted US version). But despite its traceable lineage, "Starburster" is no mere imitation; it synthesizes its post-punk and rap-rock influences to craft something new.

If you like this, listen to: "In the Modern World," "Sundowner," "Death Kink"

In Luca Guadagnino's horny tennis drama "Challengers," the thrilling reveal of a young, headed-for-stardom Tashi Duncan ("The hottest woman I've ever seen," in the words of Patrick Zweig) is set to the equally thrilling thumps of "Yeah x10."

The aptly named song is the highlight of the movie's soundtrack, created by Nine Inch Nails maestros Trent Reznor and Atticus Ross. The Oscar-winning duo provides the precise mix of tension, delight, youthful awe, and "unending homoerotic desire" that's needed to match the characters' churning drama.

Tashi (played by Zendaya) struts onto the court, lithe and confident, as her two future suitors (Josh O'Connor as Patrick and Mike Faist as Art) revel in their shared surge of desire. The scene-and-song combo kicks off a riveting chain of events that dominated cinephile discourse this year. "Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah," indeed.

If you like this, listen to: "I Know," "The Signal," "Challengers: Match Point"

In 2022, FKA twigs launched a new era of pleasure with "Caprisongs," an aura-heavy, electro-pop mixtape designed to sweat out the demons.

This year, she doubled down with "Eusexua," the lead single from her upcoming album of the same name. The twigs-invented word seems to be derived from the Greek word "euphoria," modified to reflect something more erotic, something truly ineffable. The song is an intricate choreography of techno beats and cascading synths, the exact kind of soundscape where twigs and her peculiar mystique tend to thrive.

If I had to define "Eusexua" based on how the song makes me feel, it would be "feeling present in one's body." Not the body-positive platitude of "feeling comfortable in one's skin," per se, but a sensation of full aliveness — every hair on your arms standing in salute, your heartbeat thumping in your fingertips.

If you like this, listen to: "Perfect Stranger," "Drums of Death"

Over the summer, shortly before the release of her new single, Raye told me how she's willing to sacrifice profit for her creative vision.

"It upsets me to do a half-assed gig or to do a half-hearted thing," Raye explained. "If I was in this to make money, I wouldn't even be releasing the kind of music that I am."

"Genesis." is proof positive of that credo; the amorphous, seven-minute song is the kind of big swing that artists take after years of hard work and honing their creative vision. During the three-part odyssey, Raye unspools everything weighing on her mind, from algorithmically encouraged envy, self-loathing, and substance abuse to political causes she cares about, like universal healthcare and worker rights. It's a lot to digest in one go, but this song deserves the time and effort.

If you like this, listen to: "Oscar Winning Tears."

The cultural impact of "Not Like Us" is self-evident. By many accounts, Kendrick Lamar was already winning in his rap beef with Drake, largely thanks to his Pulitzer Prize-winning lyrical skill. But then, Lamar did the most devastating thing he could to a chart-topping, best-selling behemoth. He dropped an absolute banger.

It takes a truly remarkable diss track to have consumers, gatekeepers, and corporations alike in a chokehold: No. 1 on the Hot 100 for two weeks; six Grammy nominations, including both record and song of the year; plus a much-anticipated performance at the Apple Music-sponsored Super Bowl in February.

Lamar may be the only artist alive who could've pulled it off — that is to say, the only rapper who's shrewd, ruthless, and respected enough to convince stuffy executives to let him call Drake a "certified lover boy, certified pedophile" on national TV.

If you like this, listen to: "Squabble Up," "Luther (with SZA)," "Heart Pt. 6"

There was a time this summer when I couldn't go on Instagram without seeing "Nissan Altima" shared on someone's story. More recently, videos of Doechii performing the frantic first verse — in which she calls herself "the new hip-hop Madonna" and "the trap Grace Jones" — have taken over my TikTok feed.

Despite the never-ending clips, I have yet to see Doechii botch the lyrics or trip over her tongue. "Nissan Altima" puts her star power on full display; she's a formidable, top-tier rapper with a flair for eccentric phrasing.

Released as the lead single from Doechii's latest mixtape, "Alligator Bites Never Heal," this is the kind of cult-classic crowd-pleaser that, sooner or later, fans will hold up as a turning point in the artist's career.

Although "Nissan Altima" is still relatively niche and has yet to appear on the Hot 100, it has sparked an undeniable groundswell of support, even snagging a Grammy nomination for best rap performance. Don't be surprised when you start to hear Doechii's music everywhere.

If you like this, listen to: "Boiled Peanuts," "Denial is a River," "Beverly Hills"

This time last year, I crowned Chappell Roan's "Red Wine Supernova" as the best song of 2023.

I'm willing to bet Roan wasn't stunned by the praise; "I'm not that surprised people like it because it's really good," she told Dork at the time. But the selection did get some pushback from friends and lurkers online. Back then, Roan was little known by mainstream standards, performing for crowds of a couple thousand at most on The Midwest Princess Tour. Upon its release, "Red Wine Supernova" debuted at No. 75 on the Hot 100 — nothing to sniff at, certainly, but nothing sensational.

Now, "sensation" is just one of many suitable labels for Roan's career. She's become a main character in pop music, performing for massive crowds at music festivals and millions of viewers on network TV. Her rise to stardom has been ferociously analyzed, nitpicked, and gawked at, but as Roan said herself, it should've come as no surprise. She boasts an exceptional, magnetic talent that, once witnessed, makes it impossible to ignore or forget.

This became clearer than ever at Coachella, where Roan performed the as-yet-unreleased single "Good Luck Babe!" with the conviction of a much bigger star. A clip of her singing the bridge while staring down the barrel of the camera, eyes alight with both anguish and clarity, went viral online. There, in the desert, standing face-to-face with "I told you so," she banished every flicker of doubt.

"Good Luck Babe!" is now a top-five hit on the Hot 100, a Grammy nominee for song of the year, and the epicenter of this year's so-called "lesbian renaissance."

In retrospect, it's no wonder that Roan's watershed moment was a song that nods to her own staying power, a magic touch that lingers for a lifetime. She was right all along: You'd have to stop the world just to stop the feeling.

If you like this, listen to: Roan only released this one song in 2024, but keep an eye out for her much-teased sophomore album, expected to arrive next year.

It'll presumably feature unreleased songs "The Subway," which Roan has performed at several music festivals, and "The Giver," a sapphic Shania Twain-esque bop that Roan debuted on "Saturday Night Live."

Charli XCX's "Brat" already earned the No. 2 slot on this year's best albums ranking — but I'm breaking my own rule, which forbids overlap on both end-of-year lists, for two reasons.

First, the "Girl, So Confusing" remix does not technically appear on the standard edition of "Brat." It was released as a single before its inclusion on the remix album, "Brat and It's Completely Different But Also Still Brat," which, as the name suggests, is a completely different thing. Second, the "Girl, So Confusing" remix is a force of nature unto itself and needs to be treated as such.

I can't remember another time there was such a consensus, from critics and fans alike, about the year's most affecting, most visceral pop song — let alone a spontaneous remix like this one.

Lorde had already heard the original "Girl, So Confusing" by the time Charli sent her a heads-up that, hey, long time no see, but there's a song about our unspoken rivalry on my album. Any Lorde fan would've expected her to respond with grace and mercy, but she went several steps further, offering a real-time resolution: "Let's work it out on the remix." She sent her entire verse over text, the same way it appears on the track, to which Charli reacted the same way everyone else did: "Fucking hell."

Cultural observers and political pundits have been asking each other all year, what makes someone or something "Brat"? Even Charli has struggled to articulate it, but of course, Lorde understood implicitly. Their public truce encapsulates the true essence and charm of the album: off-the-cuff, unedited, and vulnerable in the same way that throwing up in the club and letting a friend hold your hair back ends up bringing you closer.

If you like this, listen to: "Everything is Romantic featuring Caroline Polachek," "Apple featuring The Japanese House," "B2b featuring Tinashe"

Listen to BI's complete list of 100 best songs on Spotify.

Rotten Tomatoes score: 99%

Summary: When actor Will Ferrell learns that his best friend — and fellow "Saturday Night Live" alum — Harper Steele has come out as a trans woman, he suggests that they take a road trip across the country together as they reconnect in deeper ways than they thought possible.

The documentary was a critical hit from the day it premiered at the Sundance Film Festival in January, with critics praising the sincerity, humor, and heart at the center of the film.

"Ferrell and Steele have earned their livings by making other people laugh, and their banter has plenty of drollery sprinkled among the truth nuggets," Robert W. Butler wrote for Butler's Cinema Scene. " I believe I'm a better person for having watched it."

Rotten Tomatoes score: 98%

Summary: Estranged sisters Rachel (Natasha Lyonne), Katie (Carrie Coon), and Christina (Elizabeth Olsen) reunite as their father reaches the end of hospice care. However, the reunion devolves into anger as they argue over how to live and grieve.

The family drama earned rave reviews across the board from critics.

"'His Three Daughters' is messy in a way that reflects all of our families," Tina Kakadelis wrote for Beyond the Cinerama Dome. "The way we fight, the way we grieve, and, hopefully, the way we love."

Rotten Tomatoes score: 97%

Summary: Based on the 2016 novel by Peter Brown, "The Wild Robot" follows ROZZUM unit 7134, aka "Roz" (voiced by Lupita Nyong'o), a curious robot stranded on an island.

Over time, Roz learns to adapt to their surroundings, as well as their new animal friends (voiced by Kit Connor, Pedro Pascal, and more).

Rendered with dazzling animation and voiced by a noteworthy cast, the family-adventure film was a favorite among critics.

"Not to be hyperbolic, but this might be DreamWorks Animation's best since Shrek," Cory Woodroof wrote for USA Today's For the Win.

Rotten Tomatoes score: 97%

Summary: During the taping of a Halloween episode in the 1970s, late-night-talk-show host Jack Delroy (David Dastmalchian) finds that old secrets have come back to haunt him.

Critics loved seeing Dastmalchian take the spotlight in this clever horror throwback after decades of acting in supporting roles.

"Dastmalchian conveys the creeping unease Jack feels as his TV career is circling the drain, which is nearly as terrifying as the horrors his show is about to unleash on America," Sean P. Means wrote for The Movie Cricket.

Rotten Tomatoes score: 96%

Summary: After their grandmother dies, cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) take a guided tour through Poland to honor her. As they journey, old family dynamics bubble up to the surface.

Between Eisenberg deftly playing triple duty as actor, writer, and director and Culkin's "Oscar-worthy" performance, critics said "A Real Pain" has the staying power of a modern classic.

"Jesse Eisenberg successfully carves out its niche as one of the best dramedies of the year," Elliott Collins said on his YouTube channel Movie Files. "The film's ability to intertwine humor with profound themes surrounding grief, identity, and historical context leaves you with a lasting impression."

Rotten Tomatoes score: 92%

Summary: In the sequel to Denis Villeneuve's "Dune," Paul (Timothée Chalamet) learns to adapt to life with the Fremen warriors — including the rebellious Chani (Zendaya) — after the downfall of his house.

Villeneuve was praised for making "Dune" his own without falling victim to the pitfalls of other tentpole franchises.

"It almost feels like a miracle that Denis Villeneuve got to make a 'Dune' adaptation this bold and daring in the current studio system," Andrew J. Salazar wrote for Discussing Film.

Rotten Tomatoes score: 92%

Summary: After an experimental procedure successfully removes his facial tumors from neurofibromatosis, Edward Lemuel (Sebastian Stan) is approached to have his life adapted into a play. Soon, however, he finds himself upstaged by an actor with the same condition (Adam Pearson).

Critics called the film unsettling, absurdist, and chaotic — and they loved every second of it.

"Adam Pearson really shows range here," Aaron Neuwirth wrote for We Live Entertainment. "Having this actor, who has neurofibromatosis, arrive on the scene as the most charming, affable character in the film is such a blast."

Rotten Tomatoes score: 90%

Summary: Feeling like a has-been, Hollywood starlet Elizabeth Sparkle (Demi Moore) is persuaded into trying an experimental drug that allows her to revert into a younger, more beautiful version of herself (played by Margaret Qualley).

However, the drug's side effects become increasingly grotesque.

Critics said audiences were in for a masterclass in feminist horror — if they could stomach the film's "David Cronenberg"-esque visuals.

"This is a film unlike any other you will see right now," Stephen Romei wrote for The Australian. "It will not be to everyone's taste. For this reviewer, who craves originality, it is a winner.

Rotten Tomatoes score: 90%

Summary: On the night of her 18th birthday, Elliott (Maisy Stella) takes hallucinogenic mushrooms and finds herself talking to her older self (played by Aubrey Plaza), who tries to give her advice for the future.

Critics said "My Old Ass" could've easily veered into hokey territory. However, writer-director Megan Park kept the film on track, anchoring it with Stella and Plaza's memorable performances.

"The talented cast, paired with a well-crafted and humorous script, creates a delightful time-travel paradox pic that can sit along with other teen comedies as a timeless treasure," Erin Maxwell wrote for Bust.

Rotten Tomatoes score: 90%

Summary: When Riley (voiced by Kensington Tallman) hits puberty at 13, new emotions join the "control panel" in her head. Soon after their arrival, it's clear that Joy (voiced by Amy Poehler) and Anxiety (voiced by Maya Hawke) have different ideas of what's right for Riley.

It was a tall order for Pixar animators to surpass the critical success of the original "Inside Out," but critics said the sequel came pretty close.

"While the original remains the gold standard for modern animation, this sequel more than justifies its existence via its empathetic themes, strong humor, and engrossing animation style," Calum Cooper wrote for Cinerama Film.

Rotten Tomatoes score: 33%

Summary: Reclusive author Elly Conway (Bryce Dallas Howard) is on the brink of finishing the fifth book in her famed "Aubrey Argylle" series when she's drawn into a world of real-life spies, evil plots, and secret identities.

The film had a ton of press leading up to its release — namely due to a misguided rumor that Taylor Swift was behind it — but the story itself failed to live up to the hype in critics' eyes.

"'Argylle' is deeply unpleasant to watch and also deeply sad as a query of what exactly studio executives think audiences are meant to glean from a film like this, other than training us to expect less from our films," Andrew Kendall wrote for Stabroek News.

Rotten Tomatoes score: 32%

Summary: As Arthur Fleck (Joaquin Phoenix) awaits trial for murder at Arkham State Hospital, fellow psych-ward patient Harleen "Lee" Quinzel (Lady Gaga) forms an obsession with him and dreams up an escape plan.

Critics largely agreed that the second installment paled in comparison to the first "Joker."

"Longer than it should be (it clocks in at 138 minutes), 'Joker: Folie à Deux' is toilet paper on the shoe of a film that had a unique rhythm and an original point of view," Bruce R. Miller wrote for the Sioux City Journal.

Rotten Tomatoes score: 28%

Summary: Lucy Field (Madison Bailey) accidentally travels back in time to 2003. Then, she realizes that she might be able to save her older sister Summer (Antonia Gentry) before she's murdered.

Overall, critics said "Time Cut" failed to be truly scary or funny.

"Unlike other horror comedies, 'Time Cut' has nothing unique to say about creating satire about the differences between the past and the present or the tropes of predictable events in horror films," Lindsay Press wrote for Culturess.

Rotten Tomatoes score: 21%

Summary: Maya (Madelaine Petsch) and her boyfriend (Froy Gutierrez) go to a secluded cabin in the woods for their five-year anniversary — only to be visited by sadistic trespassers.

Critics largely agreed that the legacy of "The Strangers" and "The Strangers: Prey at Night" should've stopped at two.

"The latest entry is an uninspired, ineffective retelling of the original, with a narrative that strives to give us answers to questions we never asked for," Emma Vine wrote for Loud and Clear Reviews.

Rotten Tomatoes score: 20%

Summary: Ray (Wyatt Russell), Eve (Kerry Condon), and their children move into a new house and soon discover that the swimming pool in the backyard harbors a deadly presence.

Positive reviews for "Night Swim" were few and far between — with some critics being outright bored by the muted horror.

"'Night Swim' is a shallow genre exercise that goes in one ear, out the other," James Preston Poole wrote for Cosmic Circus.

Rotten Tomatoes score: 17%

Summary: A group of college friends violates a cardinal rule of Tarot by using someone else's deck — and they soon face the consequences.

Critics said it amounted to little more than a movie cobbled together with recycled tropes from better horror films.

"'Tarot' is a creatively bankrupt and passionless horror movie that clearly has studio interference written all over it, from its formulaic and blood-free scares to a surprising cheapness that dilutes any potential it may have otherwise had," Jack Martin wrote for Film Feeder.

Rotten Tomatoes score: 16%

Summary: Based on the book by Scott Westerfeld, "Uglies" takes place in a seemingly utopian future where everyone's worries melt away once they're given cosmetic surgery at the age of 16.

Young Tally (Joey King), however, learns that her world is built on lies.

Critics generally agreed that the Netflix adaptation reeked of low production value.

"'Uglies' is so carelessly made, it feels like an active gesture of contempt toward the readers of Scott Westerfeld's 2005 source novel and to anyone who watches the small-screen result," Steve Murray wrote for ArtsATL.

Rotten Tomatoes score: 13%

Summary: Lana (Brooke Shields) is shocked when her daughter (Miranda Cosgrove) announces that she's getting married in Thailand in less than a month. That shock only grows when she learns that the groom is the son of her old flame from college (Benjamin Bratt).

Most critics said "Mother of the Bride" wasn't even bad enough to be "funny bad" — it was simply forgettable.

"These superficially 'pretty people' are all bland, underdeveloped stereotypes, and each shallow, awkward scene turns out to be more predictable than the one preceding it," Susan Granger wrote for Susan Granger Reviews.

Rotten Tomatoes score: 11%

Summary: After New York City paramedic Cassandra Webb (Dakota Johnson) begins to experience clairvoyant visions, she sets out to save three young women from their certain deaths.

"Madame Web" appeared to lose itself in a fog of bad dialogue and bland acting, leaving critics begging for more original storytelling.

"'Madame Web' is not fun and not entertaining," Ayla Ruby wrote for Loud and Clear Reviews. Most of all, it's disappointing, because it teases you with possibilities that never come to bear."

Rotten Tomatoes score: 10%

Summary: Bounty hunter Lilith (Cate Blanchett) reluctantly sets off on a rescue mission with a ragtag group of misfits to save a teenager named Tiny Tina (Ariana Greenblatt).

Critics didn't have many kind words for the video-game adaptation, which featured goofy CGI and underwhelming acting performances despite the stacked cast.

"This is the worst movie I have seen in years," Julia Swift wrote for My Champlain Valley. "Lots of top talent looking very uncomfortable. I'm assuming they didn't read the script before signing on for this mess."

There is no party playlist you could make that would be better than playing "Timeless" top to bottom. Across 21 songs, Kaytranada proves himself a top-notch curator of grooves, summoning the perfect cast of sidekicks for his mission — put simply, to make you dance dance dance dance — from Ravyn Lenae, Tinashe, and PinkPantheress to Channel Tres, Anderson .Paak, Childish Gambino, and Thundercat.

Best songs: "Drip Sweat," "Do 2 Me," "Witchy," "Wasted Words," "Snap My Finger"

Before Kendrick Lamar surprise-dropped "GNX," Vince Staples had hip-hop heads fully covered. The two rappers share an affinity for intellectual lyrics, an aptitude for tackling complex themes, and a history of critical acclaim — but where Lamar's music is at least somewhat motivated by commercial interests, Staples is unburdened by ego and expectations.

"No one's coming to me," he told Zane Lowe, "looking for a single or looking for a party record, or things of that nature. I don't feel those pressures."

Staples thrives in the album's brooding sonic landscape, which invites the listener to stay fully absorbed. Take 35 minutes to do nothing but listen.

Best songs: "Black&Blue," "Shame on the Devil," "Étouffée," "'Radio,'" "Little Homies"

The Last Dinner Party's much-hyped debut album, "Prelude to Ecstasy," over-delivers on the promise of excitement and novelty. Although several of its highlights were released ahead of time as singles, the album's in-between moments are the furthest thing from filler; each composition is lush and grandiose, never allowing for a dull moment. You may be tempted to accuse the British quintet of melodrama, but you get the feeling that's exactly what they were going for.

Best songs: "Burn Alive," "The Feminine Urge," "Beautiful Boy," "Portrait of a Dead Girl," "Nothing Matters"

"Wilson" is Ashe's third full-length album, completing the trilogy that spells out her real name (Ashlyn Rae Wilson), but it's her first as an independent artist.

After canceling her global tour in 2023, Ashe decamped to Nashville, where she'd planted the seeds of her songwriting career. After a period of tending to her burnout and building a life with her now-fiancé, she was able to be creative again for creativity's sake. "I painted the walls and renovated and gardened. I bought power tools and put up the wainscoting in the bathroom. I got dirt under my fingernails," she told Forbes. "That was a huge part of separating myself from what my entire identity was wrapped up in, which was my career."

Ashe has always made music that breaks with trends and conventions, but with "Wilson," her unfettered approach is more apparent than ever. Throughout the album, she sings quite literally about liberation, autonomy, and shedding her people-pleasing tendencies, backed by spacious, soaring production that sounds as free as she feels.

Best songs: "Please Don't Fall In Love With Me," "Running Out of Time," "Cherry Trees," "I Wanna Love You (But I Don't)," "Ashe"

The third studio album from New York-founded foursome Charly Bliss is the perfect musical sugar rush, packed with fizzy vocals and guitar riffs so candy-coated you'll mistake them for synths.

Charly Bliss has often been described as "bubblegrunge," earning high praise for their poppy takes on '90s indie-rock. "Forever" leans more bubble than grunge, echoing Taylor Swift's "The Archer" in the Jack Antonoff-approved standout "Nineteen" and often evoking Carly Rae Jepsen's beloved "Emotion."

But make no mistake: Even as Charly Bliss' soundscape has evolved, their songwriting hasn't lost its Warped Tour-adjacent angst. "I'm Not Dead" yearns for a life with more fuck-ups and fulfillment ("If I'm a rock star, I'm not doing it right") while "I Don't Know Anything" is explicit about the harrowing realities of the music industry ("You bet on yourself and you lose every day"). But it's the deceptively upbeat single "Back There Now" that contains the album's spikiest turn of phrase: "A boy like you would hang me if I gave you the rope."

Best songs: "Calling You Out," "Back There Now," "Nineteen," "I'm Not Dead," "I Don't Know Anything"

Chinouriri's disarming candor, empathy, and attentiveness come through loud and clear in her songwriting. Listening to her debut album, "What a Devastating Turn of Events," you get the feeling that she walks around with her arms outstretched, ready to engage anyone in conversation. Her best songs are personal but rarely self-serving; she'll narrate tales about a lonely month she spent in Los Angeles ("When you don't belong, the hills will know") or a cousin in Zimbabwe who committed suicide after getting pregnant ("Out of wedlock which her family despised / But if she lost it, it would still be a crime") that double as meditations on racism and reproductive healthcare.

But not all of her songs are heavy. Chinouriri is a proud student of Britpop (Blur, Oasis) and noughties indie-rock (Phoenix, Kings of Leon), though she filters her research through a modern feminine lens (Olivia Rodrigo, Lily Allen circa "It's Not Me, It's You"). "What a Devastating Turn of Events" strikes a tricky balance between being substantial, at times intense, and being downright fun to listen to.

Best songs: "Garden of Eden," "The Hills," "Never Need Me," "All I Ever Asked," "What a Devastating Turn of Events"

Lorely Rodriguez, known professionally as Empress Of, has collaborated with an array of indie-pop geniuses, from Blood Orange to Caroline Polachek to MUNA and toured with Carly Rae Jepsen and Maggie Rogers.

If you like any of those artists — or, better yet, all of them — you'll love Rodriguez's magnum opus, "For Your Consideration." The compact 11-song tracklist sounds like someone put all the best experimental dance music and punchy synth-pop into a blender and sprinkled it with the essence of Rosalía's "Motomami." The result is a treat that's jam-packed with flavor, made to be slurped and savored.

Best songs: "Preciosa," "Femenine," "Sucia," "Baby Boy," "What's Love"

"Bright Future," the sixth solo album by Adrianne Lenker (also known as the frontwoman for Big Thief), is at once haunting and comforting.

Lenker's singular brand of songwriting honors the traditions of folk music while breaking new ground, unfurling scenes of unrequited queer love ("We could be friends / You could love me through and through / If I were him") and the desire for a gentle, patient life ("Do you wanna dance? / Sometimes I think I try too hard") in her signature one-take warble.

There's a palpable melancholy in her reveries — an awareness that nothing is quite so easy or so pure — but still undeniable beauty in the hope of it all. "I have so much nuance and complexity to what I need," Lenker told Crack Magazine, "and I do not feel by any means I've wrapped my mind around it."

Best songs: "Sadness As a Gift," "Fool," "No Machine," "Free Treasure," "Vampire Empire"

Clairo is doing her best Carole King on "Charm," and she could take this role to the bank.

Much like King's seminal work, "Tapestry," Clairo's third studio album is characterized by billowing warmth, a soundscape largely achieved with jazzy piano chords, woodwinds, and humble lyrics that capture basic truths of love, devotion, and heartache: "It's second nature," "You make me wanna go buy a new dress / You make me wanna slip off a new dress," "Honey, was it enough? Is it ever enough?"

Best songs: "Sexy to Someone," "Second Nature," "Terrapin," "Juna," "Add Up My Love"

Tems has already left her fingerprints across the pop landscape, whether listeners realize it or not. You may recognize her voice from Drake's "Fountains," Future's "Wait for U," Beyoncé's "Move," or, most likely, Wizkid's "Essence," which was nominated for a Grammy and became the first song by all Nigerian artists to reach the top 10 on the Billboard Hot 100.

But Tems was not destined to be a featured guest. Her first full-length album, "Born in the Wild," makes it clear that her fate is musical royalty. (Prophetically, her parents named her Temilade, which means "the crown is mine" in Yoruba.)

"Born in the Wild" pulls triple duty, showcasing Tems as a dynamic vocalist, producer, and, in the words of Boutayna Chokrane for Pitchfork, "author of her own lore." Although the album carries traces of her forebears, from Lauryn Hill, Destiny's Child, and SZA to the reggae-fusion legend Diana King, whose "L-L-Lies" is interpolated in "Gangsta," Tems is credited as the lead songwriter on all 18 tracks. Her voice and vision remain at the forefront.

Best songs: "Burning," "Love Me JeJe," "Ready," "Boy O Boy," "T-Unit"

Halsey has long been devoted to concept albums, whether it's the Shakespearean fever dream of 2017's "Hopeless Fountain Kingdom" or the pregnancy-induced body horror of 2021's "If I Can't Have Love, I Want Power."

Their latest album, "The Great Impersonator," both cements and subverts their legacy as a shapeshifter. Across the 18-song tracklist, Halsey adopts different genres, tones, and impressions, but she constantly oscillates between fantasy and sincerity. On the opening track, "Only Living Girl in LA," Halsey takes a cue from Simon & Garfunkel's "The Only Living Boy in New York" — written as a tender farewell to the duo's partnership — while cracking dark jokes about the crowd at her funeral. The PJ Harvey-inspired scorcher "Dog Years" draws a parallel between suicidal ideation and putting down her pet. "Letter to God (1983)" is a convincing Bruce Springsteen pastiche, which nearly distracts from the desperate pleas for divine intervention.

Only by trying on costumes, Halsey seems to suggest, can she feel safe enough to expose her most private fears and urges.

There's a sense of tragedy that pervades this practice, as well as the music itself. "The Great Impersonator" was written during a time of grave physical illness and familial upheaval, or, in Halsey's words, "the space between life and death."

Halsey confronts her catastrophes with emotions scaled to match. She is at turns furious, devastated, resentful, resigned, and wracked with guilt — both of the survivor's and mother's variety. "I don't ever wanna leave him," she sings of her young son, Ender, "but I don't think it's my choice."

More than anything, "The Great Impersonator" captures the never-enoughness of life itself. Halsey is doing everything, saying everything, feeling everything, because it might be their last chance — and isn't that the point?

Best songs: "Ego," "Panic Attack," "I Believe In Magic," "Lonely Is the Muse," "Arsonist"

Thanks to her rich timbre and multi-octave range, Brittany Howard's voice is immediately discernible, whatever style of rock 'n' roll she happens to be commanding that day.

As the frontwoman for Alabama Shakes, it was '60s-flavored Southern soul ("Boys & Girls") and psychedelia ("Sound & Color"). In her second solo album, Howard leans even deeper into her soul and funk instincts, swathed in fuzzy guitar licks and jazz-inflected brass arrangements. "What Now" reveals Howard at the peak of her powers, bending every instrument to her virtuosic will.

Best songs: "I Don't," "What Now," "Red Flags," "Prove It To You," "Power to Undo"

Sabrina Carpenter is a pop star with a capital P and a capital S. She knows exactly what she's doing, and this clarity of purpose and personality is what makes "Short n' Sweet" shine through 2024's deluge of pop albums.

These days, most of the top singer-songwriters follow the Taylor Swift Theory of Pop Music, believing they must be confessional and soul-bearing in order for their music to resonate with fans. Carpenter's sixth studio album (yes, sixth, though she considers it to be her second "big girl" album) offers a rebuttal.

That's not to say Carpenter isn't a skilled lyricist; Jack Antonoff, who produced much of "Short n' Sweet," confirmed that Carpenter wrote every word in "Sharpest Tool," the album's best song. She's just a different kind of lyricist, wielding humor, innuendo, and wordplay as many of her peers might wield their diaristic details.

Even the most generalized, nonspecific songs in the tracklist, like the smash hit "Espresso" or the sexy standout "Bed Chem," manage to feel sticky and memorable. Carpenter delivers each line with vocal flair and charisma, reshaping the broadest phrases to fit her specific persona. On paper, "That's that me espresso" could've been written by anyone, but now that we've heard the song, it could only make sense coming out of Carpenter's mouth.

Best songs: "Please Please Please," "Sharpest Tool," "Coincidence," "Bed Chem," "Espresso"

Magdalena Bay is the indie-pop band that every music critic and chronically-online-cool-girl is obsessed with right now.

If you're not familiar with their surrealist TikTok account or the album cover that inspired Rosalía's Halloween costume, the band is actually just two people: Mica Tenenbaum and Matthew Lewin, both Miami natives with Argentinian-Jewish roots, who met in high school. They're a couple now, though some people mistakenly believe they're related. Think of it like The White Stripes for the digital age — if Jack and Meg White were listening to a lot of early Grimes and doom-scrolling on their phones.

"Imaginal Disk" is the culmination of their 13-year partnership, the fruit of two true creatives who are perfectly in sync. The music is very much of the moment, full of distorted synths and anxious lyrics about "divine digits," warped mirrors, and TV-induced nightmares — but, miraculously, it never strays into the realm of pretentious, patronizing slush. Tenenbaum and Lewin may be preoccupied with the splendors and ills of the modern world, but they're not preaching or speaking down to us because they are us.

Best songs: "Killing Time," "Image," "Death & Romance," "Fear, Sex," "That's My Floor"

Tyla's self-titled is the most impressive debut album of the year, parading an assortment of moods and genres — namely Afrobeats, amapiano, pop, and R&B — with the poise of a seasoned superstar.

Listening to "Tyla," I can't help but remember how I felt listening to Rihanna's "Music of the Sun" in 2005, that flutter in my stomach when I knew something big was about to happen — or, more accurately, someone.

Like most great pop albums, "Tyla" is accessible and versatile with a song for every mood. "Water" may be her "Pon de Replay," but she's also got her independent-girl anthem ("No.1"), her timeless love song ("Butterflies"), her heartbreak memento ("To Last"), and, of course, her party-starters ("Jump," "On My Body"). Through it all, Tyla never sacrifices her signature sound for the sake of mass appeal.

Best songs: "Truth Or Dare," "Butterflies," "On and On," "Jump," "To Last"

Taylor Swift as a concept looms large over her 11th studio album — so much so that it was summarily dismissed by people who've grown tired of "her whole thing." As Swiftian history shows us, this fatigue happens cyclically every few years.

But as Rolling Stone's Rob Sheffield wrote in "Heartbreak is the National Anthem," his new book about Swift's place in music history, "Many people often find Taylor infuriating and exhausting. So does Taylor Swift."

That may as well be the thesis for "The Tortured Poets Department." At 31 songs, the album is instantly overwhelming. It's self-effacing and self-aware to a truly comical degree. (I will never forget where I was when I first heard Swift sing, "I'm having his baby. No, I'm not! But you should see your faces.") It's full of heel turns, hallucinations, and contradictions. She pledges, "I can fix him," then ends the same song with, "Woah! Maybe I can't." Later, she swears she'll forget him — in a song that also swears he's a swindler who deserves jail time. She begs God to send her a soulmate, but three tracks later, she compares the sensation of leaving a man to emerging from a frozen lake. In the album's lead single, she literally casts herself as an asylum patient.

As Sheffield notes, "There's something scary about all her try-try-try energy, but that's the only possible way she could write songs like these." Swift is always erupting, never walking it back, and never playing it cool. It's annoying. It's relatable. It's annoyingly relatable. But for her fellow triers, it's sheer magic. It's a crucial part of her allure as an artist, and it's also what makes the "The Tortured Poets Department" — yes, even the extra 15 songs — such a damned, accursed thrill.

Best songs: "But Daddy I Love Him," "Guilty as Sin?," "Who's Afraid of Little Old Me?," "Loml," "The Black Dog," "How Did It End?," "The Prophecy"

One year after The Marías released their debut album, 2021's "Cinema," the band reached a watershed moment: They were featured on Bad Bunny's 2022 blockbuster "Un Verano Sin Ti." Their duet, "Otro Atardecer," has over 481 million streams on Spotify to date.

Bad Bunny's cosign promised more ears and a much bigger platform; a well-executed sophomore album could change their trajectory forever. It seemed the stars had aligned.

In reality, their path forward wasn't promised. Lead singer María Zardoya and drummer and producer Josh Conway, the duo that founded the band and cowrote the songs, broke up. They'd begun dating shortly after meeting, drawn together by their artistic chemistry. Dousing that spark could've spelled the end of The Marías.

To avoid this fate, the bandmates had the wisdom to impose a six-week sabbatical — the longest they'd been apart in their eight years of knowing each other, Zardoya told Elle. They both took the time to travel. "We were in our 'Eat, Pray, Love' era for sure," she said. "The isolation was necessary for us to heal, then come together and make this project. We overcame a lot to make it happen."

"Submarine" may be the best album written by actively splitting lovers since Fleetwood Mac's "Rumours," though The Marías' version is markedly more serene. Zardoya swaps the righteous fury of Stevie Nicks for soothing melodies and abiding tenderness, sounding more like Selena mixed with Sade. Conway compliments his ex's hushed vocals with glinting synths and waves of reverb.

The effect is all-encompassing, fluid, almost reverent — quite like sitting at the bottom of a pool, watching the sunlight glitter on the surface, as Zardoya does in the cover art. There isn't a single dissonant moment or skippable song to pull you out of its depths.

Best songs: "Echo," "Run Your Mouth," "Blur," "No One Noticed," "Vicious Sensitive Robot"

"Hit Me Hard and Soft" is Billie Eilish's third studio album and her best yet by far. Compared to the lonely visions of 2019's "When We All Fall Asleep, Where Do We Go?" or the self-indulgent soliloquies of 2021's "Happier Than Ever," this world feels richer, more curious and expansive.

Although the tracklist only has 10 songs, every chord, every ad-lib, and every transition has been carefully considered as part of a whole. String motifs and key lyrics resurface across the album, and the eerie and reflective closing track, "Blue," fuses two scrapped songs from Eilish's past into something new.

Eilish's brother and collaborator Finneas O'Connell once described this album as containing "real ghosts" because they resurrected old material. This may explain why its centerpiece, "Chihiro," shares a name with the protagonist of "Spirited Away," a movie about stumbling through a portal to an alternate dimension that's full of strange monsters and spirits. Chihiro is thrust into a great adventure at an extremely young age — much like Eilish when she shot to fame as a teenager. His only options are escape or immersion.

Eilish's previous albums ooze with the itch to escape. In "Hit Me Hard and Soft," Eilish finally chooses the latter.

Best songs: "Chihiro," "Birds of a Feather," "The Greatest," "The Diner," "Blue"

The "best" album of the year is always debatable, but one thing is for sure: "Brat" will go down in history as the main character in 2024's cultural discourse.

The artwork's acid green seeped into every corner of observable life, from statue gardens and brand campaigns to Times Square and the White House. Even NASA hopped on the trend, using "Brat" lyrics in an Instagram caption to describe the lingering glow of a supernova. "Buried at the center is the star's tell-tale heart," the agency wrote, "which beats with rhythmic precision." How very fitting.

After many years of languishing in pop's middle class (justice for "How I'm Feeling Now"), Charli XCX broke into the mainstream with her most idiosyncratic work to date. Ironically, it was her previous effort, 2022's "Crash," that was created with the intention of showing off her pop-star chops — both as a cynical stunt and an earnest bid for attention.

At the time, the experiment seemed to fail. "Crash" was well received by critics but failed to lift Charli into pop's upper echelon.

And yet, it was precisely this kind of failure — or, at least, the perception of failure in the competitive world of "stan Twitter" — that made the existence of "Brat" possible. Throughout the tracklist, Charli is haunted by her own legacy. She frets constantly about being compared to other women in the industry. Do they even notice when she's fixing her hair or snagging her tights? Do they see her standing in the background? Do they also wish they could rewind to simpler times, before they cared about Billboard charts and sales numbers? She even wonders whether her music career is worth putting her personal life on hold for.

Even when Charli is playing her familiar role, the "365 party girl," her brags are still legacy-oriented. "I'm your favorite reference, baby," she insists in the opening track, "360." In the standout single "Von Dutch," she teases, "It's OK to just admit that you're jealous of me." Put in conversation with the album's deep cuts, these lyrics seem more defensive than they do at first brush. Charli is ready to call herself an icon, but she wants you to say it back.

"Brat" is a uniquely Charli album, but as NASA accidentally noted, it's also a tale as old as time: Buried at the center, beneath the neon lights and pulsing synths, Charli's tell-tale heart is beating, keeping her alive, begging to be heard.

Best songs: "Sympathy Is a Knife," "Von Dutch," "So I," "Girl, So Confusing," "365"

"Brat Summer" may have taken over the online lexicon in 2024, but once again, it was Beyoncé who made the most technically impressive and thematically effective album of the year.

Following the footsteps of "Renaissance," the best album of 2022, "Cowboy Carter" is part of an ongoing trilogy that probes the limits of genre — and, crucially, the roles that race and gender play in imposing those limits. Beyoncé is the perfect and perhaps only musician alive who could stage such an experiment with this level of mastery, foresight, and cultural impact.

You could pinpoint pretty much any three-track run on "Cowboy Carter," and you'd find proof why it's the album of the year. Take "Ameriican Reqiuem," a mini-dissertation on prejudice in the music industry, then "Blackbiird," an illuminating blend of young Black voices in country music with a classic-rock song that was inspired by the Little Rock Nine, topped by "16 Carriages," a soulful ballad that draws from Beyoncé's outlaw-esque roots, and you've still only covered the first 11-ish minutes.

Beyoncé has many musical gifts, including (but not limited to) identifying fresh talent, reinventing samples, fine-tuning even the tiniest details, and synthesizing many themes and perspectives to form one coherent narrative. Her range is already well established, but on "Cowboy Carter," each of these skills is deployed to its fullest extent.

The album opens with a pointed set of questions: "Can you hear me? Or do you fear me?" But Beyoncé knows the breadth of her power, so she already knows what the answer will be. She closes the album by asking again, but this time, it's tinted by the shadow of a smirk: "Tell me, can you hear me now?"

Best songs: "Ameriican Reqiuem," "Bodyguard," "Daughter," "Alliigator Tears," "II Most Wanted," "Ya Ya," "II Hands II Heaven," "Sweet Honey Buckiin'"

Alice Moszczynski, an interior designer at Planner 5D, told BI we'll likely start to see more seamless connections between interior and outdoor spaces.

"This goes beyond just large glass doors as designers are integrating retractable walls, natural ventilation systems, and materials that age beautifully in indoor and outdoor environments," she said.

Moszczynski predicts materials like stone, reclaimed wood, linen, and other natural materials that bring warmth, textural richness, and authenticity to a space will become even more popular in 2025.

As people prioritize having unique, personalized spaces, we'll likely see more consumers rejecting mass-produced finishes, too.

"Expect a resurgence of materials that show imperfections, like handmade tiles and unpolished marble," she told BI.

Lucinda Loya, founder and principal designer at Lucinda Loya Interiors, expects to see a resurgence of the art-deco style next year.

The style, which has roots in Europe and boomed throughout the 1920s and 1930s, is characterized by opulence and modern, geometric patterns.

"The updated trend blends the movement's iconic chevron patterns, zigzags, and sunburst motifs with opulent materials like marble, glass, and polished metal," Loya said.

She predicts we'll see neutrals like black, white, gold, and silver paired with luxe textures like velvet to create "vintage and fresh spaces."

In line with the art-deco revival, Loya told BI, mirrored, reflective surfaces will also make a comeback to give spaces a touch of glamour.

"Mirrored surfaces reflect natural and artificial light, adding depth and brightness, which is especially valuable in smaller or darker spaces," she said.

Loya also said we'll see mirrored accents paired with matte textures to create elegant designs that balance drama and restraint.

"More people are leaning into saturated colors — deep greens, dramatic blues, and spicy oranges and golds," Matthew Coates, owner of Coates Design Architects + Interiors, told BI.

Coates expects to see more rooms telling bold, colorful stories as homeowners search for a refreshing break from all-beige interiors.

He anticipates this trend will stick around for a while as more find comfort in creating spaces that reflect themselves.

In previous years, mixed-metal finishes might have been considered mismatched. Now, Coates said, they're becoming a popular option for a versatile look.

"Mixing metals gives a room personality and dimension, and it feels more collected over time rather than overly coordinated," he said. "It's perfect for people who want their spaces to feel relaxed but still elevated."

Biophilic design, which emphasizes connection with nature, has been a popular trend in recent years, but Moszczynski believes the days of faux plants are behind us.

"The trend of artificial plants and green walls to emulate biophilia is losing appeal as people realize these elements fail to deliver the wellness benefits of genuine nature," she said.

Instead, she said, we'll likely see more living plants throughout interior spaces.

"Gray-dominated palettes have overstayed their welcome and feel cold, monotonous, and impersonal — particularly in high-end spaces," Moszczynski said.

She predicts that earthy tones like terracotta, clay, ochre, and sage will continue to replace "millennial" gray.

The battle between maximalism and minimalism in the home continues, but Moszczynski predicts the pendulum will swing back toward a refined level of minimalism next year.

Maximalism was pretty big throughout 2024, but people may not be looking to buy a ton of items and decor in the year ahead.

"People are craving more visual calm and functional flow in their homes," she told BI. "Excessive decor often means unnecessary consumerism, which conflicts with the growing interest in sustainability."

Over the last few years, open floor plans have become less popular, and Coates predicts we homeowners will usher in a new chapter of balancing openness and privacy in 2025.

After all, closing off part of an open space can be really impactful.

"Adding a half-wall and a vintage room divider changed the whole vibe of a friend's open-concept living room, making it cozier and more intentional," Coates said.

Lindsey Bernay, a stylist and the author of "You Can't Leave the House Naked," told BI that pleated trousers are still going to be big next year.

"Pleated trousers add volume and movement while accentuating the waist, making them a perfect choice for those looking to create a refined yet flattering silhouette," she said. "They are perfect if you are going for the quiet-luxury look that is still trending this winter."

Desiree Miranda, a personal stylist, said cuffed jeans are going to stay in style in 2025.

"Cuffed denim is trending right now thanks to its ability to show off footwear," she told BI.

The stylist said cuffed jeans are great for in-between occasions where you want to look put together but still a tad casual.

Leena Alsulaiman, a San Francisco-based stylist and fashion coach, predicts that high-waisted cargo pants will dominate the fashion scene next year.

"Their rise in popularity is due to the perfect mix of nostalgia and functionality they offer, appealing to both millennials reliving their youth and Gen Z discovering the trend for the first time," she told BI.

Plus, the pockets are practical and the waistline is flattering.

There's been a divide about "in" patterns for a while now, but Bernay said pinstripe pants will be trendy in the New Year.

"Pinstripes are back in a big way, offering a sleek, polished look that elongates the legs," she told BI. "Perfect for both professional and casual settings, this classic pattern brings a sophisticated edge to any outfit."

Alsulaiman said wide-leg trousers are here to stay.

"Offering a perfect blend of comfort and sophistication, wide-leg trousers are versatile enough for both office wear and casual outings," she said. "Their popularity stems from the ongoing shift toward more comfortable, forgiving silhouettes."

Alsulaiman told BI that skinny jeans haven't clawed their way back quite yet — and it doesn't look like they will next year, either.

People are still turning toward more comfortable pants and looser cuts of jeans.

"The decline of skinny jeans also signals a change in beauty standards, with fashion embracing a wider range of body types and shapes," she said.

Although we saw a lot of corduroy fabric in the early 2020s, Miranda said its popularity is continuing to decline.

"Fashion right now is gearing more toward minimalism and simplicity while corduroy has a distinct texture and bulkiness to it that conflicts with the sleek lines we are seeing more of," she told BI.

Alsulaiman told BI that the famous, stretchy jean-legging hybrid doesn't fit in with the 2025 trends.

Although they may be a comfort item, there are more structured, quality fabrics that are still easy to move around in.

The stylist also said this follows a broader trend away from overly clingy silhouettes.

If you can help it, Miranda said, steer clear of distressed denim in 2025.

"As trends come and go, this is a style you will not see around in the New Year," she said. "You will see a much stronger push toward classic cuts and styles and nostalgia for clean lines and sleek silhouettes."

The Swissgear weekender tote would be the perfect gift for someone who loves traveling or going to the gym.

The versatile tote features sturdy handles, a removable shoulder strap, and a padded bottom compartment for extra storage. The bags come in black, cream, and pink colors. 

Hello Kitty has been pretty popular this year, so I didn't want to miss my chance to get this pillow-and-blanket set as a Christmas gift for my daughter.

Each bundle comes with a Hello Kitty plush cloud pillow and a reversible, 60-by-70-inch polyester throw. This set would make the perfect addition to a kid's or collector's room.

Costco gets great seasonal homeware items, and this year, I'd recommend picking up the Bellevue luxury candle set.

Each pack has four 12-ounce candles with removable labels and metal lids. The candles, which are formulated with essential oils, come in mistletoe-frost, sapphire-cashmere, heirloom-apple-grove, and cinnamon-pumpkin-chai scents.

I like to split these candles up and give them by themselves or with a gift card in a clear bag with a bow.

Buying Christmas presents can be difficult, especially if you come from a big family like mine. Luckily, these Ghirardelli baskets make gift-giving easy.

The gift baskets contain a selection of the brand's popular items, like chocolate-covered pretzels and signature candies. Each set also comes with a resealable tin that can be used for storage.

This year, my location is carrying two basket sets with different combinations of caramel- and chocolate-flavored treats.

This Skullcandy Kilo speaker-and-case bundle can be split into two gifts for the price of one.

The Bluetooth speakers have aluminum carabiners, a durable design, and a 24-hour battery life.

This electric-tool set could be a great gift for a white-elephant exchange or for someone who loves wine.

The five-piece set has two USB-C charging cables, two bottle stoppers, a foil cutter, an electric corkscrew, and a wine dispenser.

I like this set because the tools make it easy to open a bottle of wine and keep it tasting fresh.

This Stanley workbench tool set would likely make any kid happy. The cute set comes with a workbench, different tools, and wooden-birdhouse and forklift kits.

I like this set, meant for ages 8 and older, because it's a great way to make kids feel included when they want to help with adult-level projects.

Slippers are one of my favorite gifts to give, and lately, my Costco has been carrying lots of men's and women's Dearfoams.

The machine-washable slippers can be worn both inside and out, and come in a few different sizes and colors.

This year, I'm getting a KitchenAid stand mixer as a gift to myself.

The bundle includes five attachments: a flat beater, a dough hook, a six-wire whip, a pouring shield, and a flex-edge beater. The stand mixers themselves are available in red and silver hues.

As soon as I saw this charging pad, I knew I had to get it for my husband. It will help him keep everything in one place while charging his must-have electronics.

This charging pad, compatible with only Apple products, can charge an iPhone, AirPods, and an Apple Watch. Its foldable design makes it compact so you can take it almost anywhere. 

Click to keep reading Costco diaries like this one.

It took 65 years for Brenda Lee's holiday classic to climb the Hot 100, finally reaching No. 1 in December 2023.

As the holiday season came to a close, "Rockin' Around the Christmas Tree" remained atop the chart for the first week of the new year.

"Lovin On Me" originally topped the Hot 100 for one week at the end of 2023, but proved to have staying power when it returned to No. 1 after the holiday surge.

This year, the song collected five more nonconsecutive weeks at the summit, becoming Jack Harlow's biggest hit to date.

"Yes, And?" was released as the lead single from Ariana Grande's latest album "Eternal Sunshine." It debuted at No. 1 in January.

"Hiss" was released as the second single from Megan Thee Stallion's third album "Megan." It debuted at No. 1 in February.

Beyoncé surprise-released a pair of singles, "Texas Hold 'Em" and "16 Carriages," during the 2024 Super Bowl.

The former debuted at No. 2 on the Hot 100, then rose to No. 1 after its first full week of tracking. (Billboard tracks sales and streams from Friday to Thursday.) The song remained atop the chart for a second consecutive week.

"Texas Hold 'Em" also reached No. 1 on Billboard's Hot Country Songs chart, becoming the first song by a Black artist to hold both positions.

"Carnival" was released as a single from "Vultures 1," the first collaborative album by Ye (formerly known as Kanye West) and Ty Dolla $ign. It rose from No. 2 to No. 1 for one week in March.

"We Can't Be Friends (Wait for Your Love)" was released as the second single from "Eternal Sunshine." It debuted at No. 1 in March, becoming Grande's seventh song to arrive in the chart's top position.

Grande is tied with Taylor Swift for the most No. 1 song debuts among women and the second-most ever, trailing only Drake.

"Lose Control" was originally released in June 2023 and debuted at No. 99 on the Hot 100.

The soul-rock ballad gradually gained traction and broke into the top five by the end of January.

In late March, Teddy Swims released two new versions of the song: a Tiësto remix and a radio edit. That boosted streaming numbers, which helped "Lose Control" finally reach No. 1 after a 32-week climb.

It was eventually crowned as Billboard's top-performing hit of 2024, while Taylor Swift was named the year's top Hot 100 artist.

"Like That" was released as a single from "We Don't Trust You," a collaborative album by Future and Metro Boomin. It debuted at No. 1 and remained atop the chart for two more consecutive weeks.

It also ignited an explosive rap feud between Kendrick Lamar, who's featured on the hit song, and Drake, whom Lamar alludes to in the lyrics.

"Too Sweet" was released as the first track and only single from Hozier's EP "Unheard," a small collection of songs that had been scrapped from his previous album.

"Too Sweet" debuted at No. 5 in April and topped the chart later that month, becoming the Irish rocker's first No. 1 song on the Hot 100. (Hozier's breakout hit, 2013's "Take Me to Church," peaked at No. 2.)

"Fortnight" was released as the opening track on Taylor Swift's 11th studio album, "The Tortured Poets Department," and promoted as the lead single.

When the song debuted at No. 1, it was accompanied by every other track from the album — 31 in total, plus "Cruel Summer," a straggler hit from 2019 — setting a record among women for the most songs charting on the Hot 100 simultaneously.

Swift's songs also occupied the entire top 10 of the Hot 100. (She is the only artist ever to achieve that feat, and she's now done it twice.)

"Fortnight" remained atop the Hot 100 for a second consecutive week.

"Not Like Us," a scathing diss track aimed at Drake, was released as a standalone single in May. It debuted at No. 1 on the Hot 100, giving Lamar a clear leg-up in their battle.

After the music video premiere in July, "Not Like Us" returned to No. 1 for a second nonconsecutive week.

"I Had Some Help" was released as the lead single from Post Malone's sixth studio album, "F-1 Trillion."

The song debuted at No. 1 in May and remained atop the chart for five consecutive weeks. After a brief interruption by Sabrina Carpenter, it returned for one more week.

"Please Please Please" was released as the second single from Sabrina Carpenter's sixth studio album, "Short n' Sweet." It debuted at No. 2 in June but quickly rose to the top spot, becoming Carpenter's first No. 1 song.

While massively popular, the song's predecessor, "Espresso," never managed to rise past No. 3 on the Hot 100. It did, however, reign atop the Billboard Global 200 for three weeks (a worldwide tally, as opposed to the Hot 100's US-focused formula) and was certified 3x platinum by the RIAA as of September 6, 2024.

Both songs were joined by another of Carpenter's singles, "Taste," in the top 10 of the Hot 100 for eight weeks this year — the longest streak for three simultaneous top-10 hits in history among female artists.

"A Bar Song (Tipsy)" was released as a single from Shaboozey's third studio album, "Where I've Been, Isn't Where I'm Going."

It became a country-pop crossover smash, topping both Hot Country Songs and the Hot 100 in July — the second song in history by a Black artist to do so, following Beyoncé with "Texas Hold 'Em."

"A Bar Song (Tipsy)" has continued to dominate the Hot 100, accumulating 19 nonconsecutive weeks atop the chart. It's the longest-leading solo hit in Hot 100 history and tied with "Old Town Road" for the all-time record.

"Love Somebody" managed to briefly interrupt Shaboozey's reign when it was released in October, debuting atop the Hot 100 before falling to No. 8 in its second week.

"Squabble Up" was released as the second track on Kendrick Lamar's "GNX" and promoted as the album's lead single.

It debuted at No. 1 in the first week of December, accompanied by four other songs from "GNX" in the chart's top five.

Mariah Carey's "All I Want for Christmas Is You" was originally released in 1994 and didn't reach No. 1 for 25 years.

The song finally topped the Hot 100 in 2019, and since then, it has returned to the peak position for multiple weeks every December.

In 2024, "All I Want for Christmas Is You" experienced another seasonal resurgence and spent two more weeks at No. 1, bringing the song's grand total to 16 weeks atop the chart.

I inevitably need a morning boost at Disney World, especially after spending a few days in the parks. But I try not to buy cups of hot black coffee.

I'm always at a hotel when I visit the parks — usually a resort on the Disney property — so I have access to at least a single-serve coffee machine that makes a decent cup at no added expense to me.

Even better, when I stay at a Disney Vacation Club villa, there are usually larger machines that brew full pots instead of single cups. I can bring my own ground coffee and filters for my perfect cup.

Rain and Disney World seem to go hand-in-hand. When it rains at one of the theme parks, you'll likely see people donning thick, branded ponchos from the gift shops that cost about $12.

I've been guilty of buying these when I've been ill-prepared in the past, but I can get much cheaper disposable ones on Amazon or at Target before the trip.

The thinner, disposable ones are smaller anyway, so it's easy to pack multiple in any bag I have with me. Then, when it's done raining, I can simply throw the poncho away instead of carrying around a wet bundle of plastic.

I like to stay at the Disney World resorts, but I usually skip upgrading my booking from a standard to a preferred room closer to the hotel's front or its transportation options.

I imagine this is a nice feature for families with kids, but the rooms themselves seem to be exactly the same. Plus, it only saves me a couple of minutes of walking.

Prices vary depending on which kind of resort you're at — value, moderate, or deluxe. Sometimes, it's only about a $20-a-night difference between standard and preferred, but I could use that money on plenty of other things.

Disney World sometimes offers dining packages for its bigger shows, but I often find them to be of poor value. I'd rather grab something quick and easy and save my money.

For instance, you can book a dining package to watch "Fantasmic!" at Hollywood Studios. The price includes your meal, a drink, and guaranteed seats to the show, starting at $57 for adults.

That's much more than I'd normally spend on a meal at Disney World, and as long as I get to the theater early, open seats are usually plentiful.

If you're not as familiar with Disney World, all the different ticket add-ons can be confusing — plus, they always seem to be changing.

For now, there are still times when I think it makes sense to pay $15 a person per day for a Lightning Lane Multi Pass that I can use to expedite three lines at certain attractions. However, the individually priced Lightning Lane Single Passes for the most popular rides cost $10 to $25 each.

I understand that some people only have one opportunity to visit the parks and get on these rides, but I'm there often enough that the added expense isn't worth it.

Instead, I just get to the park early or stay late since lines are usually shorter during those times. I also keep my eye out for virtual queues on rides like Guardians of the Galaxy: Cosmic Rewind. When they're open, you can reserve one a day for free on the My Disney Experience app.

Nomundari Uuganbayar, the co-owner of Tokyo Nails in Chicago, said red is the people's choice right now.

Though it's a well-loved color all year, it's extra fun and festive around Christmas.

Uuganbayar recommends shades that have a vintage-red feel, like Big Apple Red from OPI.

Teresa "Tere" Rodriguez, a Chicago-based artist and licensed nail tech who specializes in gel extensions and structured manicures, said they've noticed clients tend to neglect nail maintenance in the winter.

Whether you're too busy or trying to save money, the nail tech recommends planning ahead of time and getting a shorter, almond-shaped manicure ahead of the season.

Compared to other styles — like coffin or stiletto nails — it tends to break less easily.

Uuganbayar suggested looking into dark colors, specifically wine, burgundy, and (especially) navy blue.

Lincoln Park After Dark by OPI is a prime example, reminiscent of the dark winter sky.

Rodriguez also said they've seen clientele trade in pinks and nudes for darker shades.

Jenny Duranski, the founder of Chicago-based salon Lena Rose, said people are still holding on to their glazed-doughnut nails — a trend made popular by Hailey Bieber.

"It's so universal and flattering on everybody," she told BI.

To achieve that pearlescent effect without dealing with tricky chrome powders, Duranski recommends the Heavenly Top Gelcoat from Aprés Nail, which offers undertones of gold, blue, pink, green, and purple.

Rodriguez and Uuganbayar both suggested going short for the winter, especially if you're preparing for holiday parties that require a lot of hands-on activities, like cooking.

Luckily, Duranski told BI that more nail techs are learning to apply fun designs on shorter lengths, offering some inclusivity to nail-art fads.

"There's still a misconception that if you have shorter nails, you can't get nail art, and that's absolutely not true," she said. "With longer nails, you can do a whole storyboard, which is fun. But on short nails, you can have quick hits of nail art."

Winter is a great opportunity to get festive with your sets. Consider ringing in the new year with sparkles.

"Glitter rules the holidays, especially New Year's," Duranski told BI.

Think gemstones, encapsulations, glitter gel, and glitter top coats.

If glitter doesn't fit the aesthetic of your cocktail dress, give gold chrome a whirl.

Uuganbayar suggested a gold-chrome French manicure with a few big stones across the set to make a statement at your next holiday party.

Dark-blue hues are in right now, and Uuganbayar said they make a great backdrop for ombré designs that mimic a snowstorm.

If you want to take your set a step further, try adding textured snowflakes for even more of a winter-wonderland feel.

There was an exception for "Brat" green this fall, but neons have been out of style for quite some time, and they're not coming back this winter.

However, Uuganbayar said the shade may be appropriate if you're going on a tropical destination trip with more summery vibes.

Sweater nails don't really fit in with this season's nail-art designs.

The textured trend incorporates 3D knit-like patterns on autumnal polishes.

"It's been done, and people are looking for something a little bit more artistic," Duranski said.

Line-heavy nail art had its fun in the sun, but now it's leaving the scene.

Uuganbayar told BI that she did a lot of line-work designs in her salon — especially with different shades of neon — this summer, but the technique has faded out of fashion for the winter.

For the first time in years, I've had multiple clients hire live musicians — not just for the ceremony either.

I'm seeing live bands booked for cocktail hour and the reception, too. (Live music is a great way to have a packed dance floor at a wedding.)

Several of my recent clients chose to do their first dance as soon as guests sat down for a main meal.

It's a good choice for a couple who's put some time into practicing a first dance or really just want people to pay attention to it.

If you do this and don't have additional VIP dances planned for later in the reception, make sure you have a way to signal to guests that your dance floor is officially open. (An announcement works great as does a particularly beloved song.)

Flowers aren't going anywhere, but I'm seeing increased interest in couples wanting to incorporate live plants like succulents, ferns, and even potted trees into their decor.

I've noticed an uptick in the number of venues that require vendors to provide proof of business insurance. This is important for couples to know since not all vendors carry it.

Read your venue contract and use my list of interview questions for vendors to avoid a sticky situation.

Many of my clients have begun celebrating the quirky parts of their relationship at their weddings and letting guests in on the fun.

From wearing wings with a wedding dress to using Lego bricks as centerpieces, there are so many unique ways to add whimsy to the big day.

There's no denying that people love photo booths — they combine a souvenir with an activity.

I'm seeing continued interest in these, especially ones with a real person attending them instead of the more DIY ring-light setups.

People seem to be craving more physical mementos from their weddings than ever — especially when they can help create a memorable experience for guests.

I've seen couples hire artists to paint the ceremony as it happens or to create tintypes and flower pressings for guests.

Audio keepsakes, where couples rent a phone and have guests record messages that'll later be turned into a vinyl, are also popular right now.

Mixed-gender and mixed-number wedding parties aren't anything new, but how we recognize the people we love continues to evolve.

Some couples are skipping wedding parties entirely and instead celebrating VIPs through toasts, flower handouts, and other meaningful moments.

Over the past few years, couples just had to have custom drinks inspired by themselves and maybe even each of their pets.

These special cocktails are still cute and fun — but the once-intense desire to have them seems to be dying down.

More of my clients want to magically appear during their reception instead of being formally introduced.

This makes sense for introverted folks, and it's not hard to make a grand entrance into a more casual one. For example, skip the coordinated dance moves and don't have the emcee announce the arrival of every VIP.

Streaming the ceremony and other key wedding-day moments feels like a vestige of a former time.

Folks still use video during a wedding — perhaps for calling loved ones who couldn't attend in person — but I saw far fewer clients send around Zoom links in the past year.

Personal-styling consultant Desiree Miranda told BI that over-the-knee boots are going to be big this winter.

"We are seeing a lot of mini skirts with tights paired with high over-the-knee boots," she said.

The warmth and elegance of the tall boots mean you can brave the colder winter temperatures without sacrificing style.

Leena Alsulaiman, a San Francisco-based stylist and fashion coach, said classic loafers are making a comeback.

"These sophisticated slip-ons add a touch of polish to any outfit, from casual jeans to tailored trousers," she told BI. "Their resurgence is driven by a return to refined, understated elegance and the desire for comfortable yet stylish footwear that transitions seamlessly from day to night."

Miranda told BI that Mary Janes are a major trend this season.

Current styles are keeping the basic foundation of the classic shoe but adding more interesting details to make a bolder statement.

"Think big hardware, thicker straps, glossy or embossed leathers, and stitch detailing," she said. "An elevated version of the classic look is what you want to go for."

Alsulaiman said kitten heels are still trending.

"These low, slender heels offer a touch of height without the discomfort of higher stilettos, making them ideal for long winter days and nights," she told BI.

The stylist said this fits in with the broader shift she's seen toward more versatile, comfortable footwear.

Miranda said animal-print pumps, slingbacks, and boots are making a statement across runways.

"We are seeing more neutral-colored looks in terms of clothing, so to balance that, out add in a fun snake-print boot or leopard slingback," she told BI.

Lindsey Bernay, a stylist and the author of "You Can't Leave the House Naked," told BI that square-toe boots are out of style this winter.

"They're giving a '90s aesthetic, and that doesn't align with current styles," she said. "This year, the focus is on pointed toes, which help to elongate legs and create a more sophisticated look."

There's nothing wrong with a sky-high stiletto every once in a while, but Alsulaiman said we'll be seeing fewer of them.

"This shift reflects a broader trend toward more comfortable, wearable shoe heights that are better suited for everyday life, especially in challenging winter conditions," she told BI.

Alsulaiman told BI that bulky and furry boots are falling out of favor this winter.

"There's a shift toward sleeker, more refined winter-boot styles that offer warmth without the bulk and maintenance issues of exterior fur," she said.

Although they may be fun to look at, neon shoes are on their way out for the season.

"This suggests a preference for rich, saturated colors over shocking neons, aligning with the cozy, warm aesthetic often associated with winter fashion," Alsulaiman told BI.