Captivating Sounds: Highlights From THE THING's Live Residency

Photo: Veronica Anaya

The best way to pregame the weekend is by going to a Thursday night show. That’s exactly what I did on July 17th–spent the night in an intimate East Village venue, seeing some awesome rising NYC rockstars. A band like The Thing makes a lasting impression just from one show, but if you were lucky enough to go, they had three residency shows at Night Club 101 in July! 

Same town, same school, same love for music: Zane Acord (bassist/vocalist), Michael Carter (guitarist/vocalist), and Jack Bradley (guitarist/vocalist) found one another in middle/high school with the same dream to start a band. Formed in 2022, a year later, Lucas Ebeling (drummer) joined to complete the NYC-based rock quartet. Each member integrates unique elements of music from various generations that seamlessly blend. With a lengthy discography on Spotify to explore, there is proof of the growth in their sound and image. People only hope to get better the harder they work. The Thing is succeeding at that. Their new material exudes authenticity, giving the impression that they are consistently evolving with each new release.

Influences range from The Who, The Kinks, Led Zeppelin, The Beatles, and so on, but all blend to create a sound uniquely their own. Art influences art, and music is inspired by music. It can then be turned into something special and new. There is beauty in compiling ideas from varying artists to make something distinctive, but still be reminiscent of the time it was inspired by. Sonically, The Thing does exactly that.

To know The Thing is to love The Thing. As an avid local music lover, journalist, and concertgoer, all I’ve ever heard is praise about the band live. I’ve personally been listening to their music but had never seen them live. You and I know that seeing a band perform in person completely changes the listening experience, for better or for worse. When I got the opportunity to see them in concert, I was excited to see for myself what the hype was about. 

Spoiler: the hype was valid.

To set the scene, Nightclub 101 instantly filled as the band entered to set up the stage, with eager fans chatting, band members curating their space, and personal space becoming less and less. A dim red light shines, and the room silences. Drums and a deep bass start the song, “Above Snakes,” which has an imminent sound that entices you. Ebeling on the drums draws you into a darker atmosphere with Acord's strong vocals. This being a newer track, there is a slightly elevated switch in sound compared to their older stuff. While their influences range from differing icons in rock, the kick-off to the show felt like true 70s rock. The way each member immersed themselves in the performance, perfectly in sync, was mesmerizing.

The second song of the night was an older track, “You’re The One,” with perfect harmonies and a repeating guitar riff; the crowd fed off the high energy from the stage. Loud, energetic, and lively instrumentals explode through the venue while everyone on stage and in the crowd is dancing. The red light faded into a spotlight where you could see the members' stoic faces as they ripped insane guitar riffs and thundering drums. There is truly something intriguing about the way they all cohesively play together. 

Photo Credit: Veronica Anaya

Transitions from song to song during live shows are important, and The Thing has made theirs so good you almost don’t realize they're onto the next song! Instrumentals are filled with passion and flawlessly blend into the next track, continuing the excitement from the crowd. 

I’m highlighting the third song, “I Wanna Go To The City,” because of how many notes I took. Commanding vocals by Acord consistently set the tone, retaining the audience's attention. That catchy guitar riff by Carter and the smooth harmonies together are invigorating. Bradley, on guitar, has a spirit like no other; you can see how he feels the music physically by his energy and the way he moves on stage. And Ebeling on drums completely takes the crowd's attention as he hammers on. It’s electrifying rock that you truly can’t help but move to. 

Fog entering the stage furthered this edgy, mysterious look, which seemed to be achieved with ease. Performing and being on stage come so naturally to the band, yet they all have star-like qualities. It truly is a show you can’t look away from.

A release from earlier this year, “Dave’s TV” features a repetitive drum line alongside a heavy bass as Acords' deep, echoey vocals create an alluring effect. Bradley has a way of commanding the stage during his guitar solos, lost in the music yet still in unity with his bandmates. Behind a blue fog, you dimly see Ebeling attacking the drums, demanding the room's attention.

Photo Credit: Veronica Anaya

The transition to “Ana De Armas” was noteworthy, something difficult to put into words. You just had to be there. From the intense bassline by Acord and the guitar solo by Bradley, each song has a new characteristic, distinct from its previous performance. They come together musically in a special way during each instrumental break. Of course, they know they’re on stage performing, but it also feels like it is just them in the room, connecting through playing music. As the bassline slows, the lights go red, and the lyrics hypnotize you, while you are being engulfed by an eruption of instruments. 

The familiar guitar riff in “Dixie Queen” gets the crowd excited for more. Acord knows how to keep the attention of the audience on him; the stage is a natural place for him to be. As he delivers the song's vibrant lyrics, the rest of the band keeps the energy up in the room. The next song begins, and Carter steps to the center stage, singing “No Thing.” Earlier, when I said they all have their star-like qualities, I meant it! No matter where they are on stage, what song they're playing, or who’s in front, they all have a big stage presence while allowing each other to show off their skills. Carter brought an eccentric energy to this one, as harmonies carried through his demanding vocals.

Next, we have Bradley take center stage with “Wanted War,” an aggressive, punk rock performance, having everyone in the crowd jump and dance even harder. Watching each member take on different roles on stage showed the dexterity they all have in performing, such coordination with what they do on stage.

Closing out the show, there was a stellar cover of “My Generation” by The Who. Not only did it have the crowd going wild, but it also showcased how artists can honor a song while still making it their own. They truly put all their energy into the performance of this, with Carter and Bradley headbanging while shredding, Ebeling pounding the drums, and Acord’s theatrical performance. The encore, “Can You Help Me?” had the biggest reaction, with everyone in the crowd jumping and singing along with the band as they danced onstage. A special moment between artists and the listeners, knowing how to engage with them through the power of music. 

Overall, The Thing is a band you want to know about before they make it big. An earnest performance demonstrating skill, professionalism, and care to put on a great show. With the three residency shows all being sold out, they have added another show on August 15th at Baby’s All Right! It’ll serve as an album release for “The Thing,” out August 6th. This is your chance to see them for yourself! If you couldn’t tell, I highly recommend it.

Pre-sale the album and follow The Thing’s socials to keep up with any future releases and/or shows!

Written by Amy Kapel

Photography by Veronica Anaya

Superman (2025) Review - James Gunn’s Man of Steel Swoops In to Save the DCU

After seeing James Gunn’s interpretation of Superman, I am glad to say good riddance to Zack Snyder’s reign of dark, hard-to-see, gritty “realistic” movies. For a long time, the Snyderverse seemed to be the only hope for DC to break into the mainstream, but they always fell short. The issue with Snyder’s films was the fact that they were always so grim and gloomy compared to Marvel’s free-spirited, comedic, action-filled fun (and star power). Sure, the point may have been to show how this world is “dark,” but who wants to see a superhero movie like that? Superheroes were meant to be stories of fantasy, escapism, and aspiration.

Gunn dives headfirst into embracing the science-fiction, fantasy world that Superman inhabits. Creating an otherworld filled with vibrant colors, a slight 60’s aesthetic, and regular alien invasions that have to be stopped by the Justice Gang (the Justice League still in its startup era, complete with scattered furniture and a single computer in the Hall of Justice). At any moment of the film, you could pause, and it would look like a panel from a comic book. Practical effects and CGI alike are tools used to create visual works of art that bring the Silver Age of Superman comics to the silver screen. Superheroes are not forced into our world, but we are immersed in the fantastical world of Metropolis, letting us know that this is a movie that is ultimately meant to be fun while paying homage to the source material. 

When the trailer showing Clark Kent/Superman’s (David Corenswet) interview with Lois Lane (Rachel Brosnahan) was first released, there were a few commentators quick to point out the way Corenswet alters his cadence and body language when going from Clark Kent to Superman was a similar choice that Christopher Reeve made during his iconic run in the ‘70s. He sits up straighter, his voice is deeper, and he generally looks more confident than Clark Kent, but instead of simply serving as a cover for Superman, Corenswet plays them as one and the same.

What won me over right away was the fact that we open with a brief textual exposition, immediately invoking the feeling of flipping through a comic book or

graphic novel, even down to the font, which was delightfully bright and bold while still complementing the snowy landscape where we open the film. Colors are much more saturated, allowing for everything to stand out and literally light up the screen. Even in scenes that take place at night or in dimly lit settings, there is constantly a light source that illuminates the actors and highlights the colors that they are wearing.

Costume designer Judiana Makovsky leans into the campiness that has always been inherent in the design of superhero costumes. The Superman suit is a refreshing break from the trend of superhero costumes always needing to look like a weird combination of military-grade uniforms and Nike sportswear. Instead of darkening the blue and red color scheme of the suit, each part is highlighted (but not too much) in a way that immediately pulls your attention to Corenswet every time he enters a scene. The costume leans away from trying to appear smooth by adding some texture as well. There are visible panels and geometric seams on the suit, which give it a sci-fi appearance but don’t appear to be made of anything overwhelmingly solid or hardy like Marvel supersuits, and the cape looks curtain-like in the way that it billows in the wind as Superman takes flight, creating a cool flourish. 

It’s also nice to see superhero costumes that aren’t ridiculously right. It adds up to a practical look in the sense that these costumes appear lived-in, resulting in these heroes looking more natural. This aesthetic continues in the costumes of the Justice Gang as well. Guy Gardner/Green Lantern (Nathan Fillion), Michael Holt/Mister Terrific (Edi Gathegi), and Kendra Saunders/Hawkgirl’s (Isabela Merced) outfits similarly appear very tangible, almost animated in the best way possible. Lois Lane is one of the few characters who mostly dresses in darker colors such as blacks, browns, and earth tones, which makes sense given her roots as a “punk rock” kid. It’s also a great contrast to the brighter color scheme of Clark Kent/Superman.

Moving away from costumes, the cinematography deviates from what is typical of action movies. Rather than constant hard cuts between characters during fight scenes, the camera actively moves around either in a 360-degree motion or from the perspective of another character. The best use of this dynamic camera work comes when Mister Terrific and Lois venture to rescue Superman from the pocket universe where Lex Luthor (Nicholas Hoult) is holding him prisoner. Terrific keeps Lois safe in a force field while he fights off soldiers attempting to keep them from accessing the portal to the pocket universe. Instead of a rapid-fire series of quick cuts at various angles showing Terrific kicking and punching bad guys inexplicably coming at him one at a time, we are placed in the position of Lois herself. Throughout the whole ordeal, we observe Terrific from a distance, but by staying inside the force field, we are immersed in the center of the action. 

Identity is a major theme of the movie, but instead of a push-pull between Clark Kent and Superman, it’s between Clark’s identity as a human v. alien. At the very beginning of the film, when Superman recovers from injuries in the Fortress of Solitude, Superman Robot #4 (Alan Tudyk) requests that the message from his Kryptonian parents play to soothe him as they assess the extent of his injuries. The message is delivered in Clark’s native Kryptonian language (because why would an alien race be speaking English in the first place?), which he translates to himself as he is carried to a stretcher. The message starts to glitch towards the end, which Clark explains is due to it being damaged in his ship upon arriving to Earth.

At first, the message appears to be a last farewell from loving parents reluctantly sending away their only son to another planet in hopes of a better life, but after being stolen by Luthor and translated by linguists, the message becomes something much darker. It turns out that Clark’s biological parents sent him to Earth because they viewed the inhabitants as “simple” and would therefore be easy to rule over, his father encouraging him to do so “without mercy.” His mother even urges him to “take as many wives as [he] can” so that he could repopulate the Earth with a new generation of Kryptonians.

When Clark hears this message, he is still wearing his suit and presenting himself as

Superman, but once he looks around and sees the looks of fear, betrayal, and disgust on people’s faces, everything falls apart. In that moment, he is no longer Superman nor Clark Kent, but he feels himself being labelled and reduced to an alien sent to destroy Earth rather than protect it. Corenswet channels Lena Headey during her famous Walk of Shame in “Game of Thrones,” staring straight ahead as the angry crowd surrounds him. His suit is still covered in dust and ash from an earlier battle with a kaiju unleashed by Luthor to distract him. Superman never acknowledges the crowd, even as one person throws a metal can at his head, quietly walking into the lobby of a building before allowing himself to feel the weight of this revelation.

The film frequently plays with blurring the lines between Superman and Clark Kent, the divide becoming nonexistent during his interview with Lois. During Lois’s questioning, we see that Clark/Superman is imperfect; He grows frustrated when being confronted with the recklessness of his diplomatic interference, he tries to come up with punchy soundbytes, and he tries to turn some questions back on Lois. But for all his flaws, he genuinely wants to do good for the planet he has come to know as home. 

Another standout performance of the film that is not nearly spoken of enough is that of Nicholas Hoult’s chilling yet grounded interpretation of Superman’s arch nemesis. Hoult is no stranger to taking on dark or villainous roles, from the damn near sociopathic Tony Stonem in “Skins” to fellow rich asshole Tyler in “The Menu.” Hoult’s Luther hides behind his money and walks through danger without a care in the world. When walking into the Fortress of Solitude, he doesn’t flinch even as sharp debris flies in his direction while the Engineer (Maria Gabriela de Faria) attacks the Superman Robots. 

However, fitting with the rest of the movie, Hoult still maintains a sense of humor. After taking Krypto hostage, Superman angrily bursts into his office, interrupting a meeting and ripping the door off its hinges in the process. Luthor is hilariously unbothered, simply taking another sip of coffee while Superman flips his desk over and his girlfriend Eve (Sara Sampaio) films the disastrous confrontation on her phone. 

On the other end of the spectrum, Luthor is the epitome of terrifying indifference. In the film’s darkest scene, Luthor loads a pistol with a single bullet and engages in a scarily fast-paced game of Russian Roulette with a pro-Superman civilian as he questions Superman about his true intention for coming to Earth. With Superman weakened from Kryptonite exposure, Luthor heartlessly shoots the man in the head without a second thought. It’s no question that Lex Luthor is meant to be a stand-in for the tech billionaires of today who endlessly pursue wealth, power, and prestige by profiting off of warfare, controlling the media, and unnecessary involvement with government powers while disregarding the ways that they are putting innocent lives at risk. 

Hoult has a talent for finding the emotional core of even the most evil characters, and Luthor’s is his deep-seated insecurity, which he openly admits to feeling at all times. He wants to be recognized for his intellect like Einstein and Tesla before him, while resenting Superman because he feels as though it is unfair that he was born with power,s while Luthor had to find ways to make his own. Unfortunately for Luthor, as soon as his involvement in international conflict is revealed, everything he has built crumbles around him. As he watches every news station report on his illicit activities, Hoult’s bright blue eyes tear up, and the supervillain Lex Luthor is reduced to a sad little man.

I don’t say this often, but this is a superhero film that is practically perfect in many ways. Most of all, it does what many other similar films have failed to do: genuinely inspire hope. The scene that drives this point home is one where Superman is absent. The people of Jarhanpur are on the brink of war, and a group of children is seen putting something together. As soldiers attempt to scatter the crowd, the children hoist up a flag with Superman’s “S” painted on and begin calling for him. The adults begin to join in, the call becoming less of a cry for help and more of a chant showing their refusal to give up hope. 

Superman is not and should not just be viewed as a vehicle to launch an action movie career, but he is meant to show the ways in which we can continue to persevere and do good in dark times when everything around us seems to be telling us to give up or give in. There is this earnest optimism and heart that has so long been missing from the current slew of DCEU films. Sure, there may be critics who try to argue that this film is “preachy” or guilty of not being subtle in its commentary on the complexity of the human condition or condemnation of government corruption and capitalism, but the time for subtlety is over, and the time for outright condemnation and inspiration is now.

Written By J.D. Valdepenas

Mid-20s Crisis: A Gen-Z Coming of Age

From a young age, we are asked what we want to be when we grow up, and our minds are filled with endless possibilities. As the years pass, those dreams slowly fade, until one day we are left with a pervasive sense of panic. Having no clue of who we are and what we want to do with the rest of our lives. Some people look back at their 20s, often through rose-tinted glasses, calling them "the best years of their lives", but in truth, they might just be the scariest, often filled with immense pressure and uncertainty.

Mid-20s Crisis offers a fresh take on the timeless challenges of being in your 20s. Following four roomates, Iris, Amy, Rex and Danielle, trying to navigate their careers, dating, and figuring out how to be a functioning adult. All while crammed into a 3-bedroom apartment in New York City. The series follows these girls through these treacherous years, and how you can get through all the chaos and joys of adulthood with friends struggling as well by your side. 

Amid her own mid-20s crisis, Rucci found inspiration to write from conversations she shared with friends. "I started writing because I was with my friends, and always would spiral because XYZ is moving, traveling around the world, and got engaged. Things were happening in my life that I don't know what to be doing right now, so let's write about it." Rucci went on to explain how she was watching Girls at the time, a timeless series about trying to make sense of life after college from the early 2010s. She wanted to create a show capturing this generation, post-pandemic young adults." 

Originally filmed as a proof of concept, it was screened at numerous film festivals earlier this year. Then this past May, Rucci hosted a live table reading at LA MAMA Theatre to showcase the the first 8 episodes of the series. She assembled a stellar cast that brought the script to life. The four lead actresses' chemistry made it feel as if I was watching a real friend group unpack their day with each other.  They weren't afraid to get messy, from breaking out into a complete dance party to letting out demonic screams, capturing the array of emotions that come with being a young adult. Displaying the vast freedom of lack of responsibility and living with friends, while on the other end, feeling the frustrations of adulthood.

Throughout the series, each of the girls faced a variety of struggles and hardships, from the challenges of dating to going celibate, trying not to lose their job due to their digital footprint, and the journey of being a free spirit (as well as free loading) with the IRS on their tail. No matter the scale of these problems, the show highlights that you can get through any challenge with the right friends by your side. For some it may be experiencing your first heartbreak like Rex, or like Amy getting her pap smear with Iris by her side. Rucci shares how her own friendships contributed to the series. "My initial inspiration was the conversations I was having with my friends at the time, but also the conversations we had that we wouldn't talk about with other people, like what birth control we're on, a weird ex-boyfriend. Things that I found interesting but could be fun." Among all the silliness, Rucci balances these comedic beats with darker moments. Not shying away from the unsaid dangers of dating, such as grooming and sexual assault. 

What is most unique about this generation’s experience compared to previous ones is taking place in the digital age. The series perfectly captures the current reality of being a young adult with the world wide web, taking a timeless problem, such as trying to establish a career or working odd jobs, and displays the creative ways to make money online. Of the four girls, three use the World Wide Web for various jobs, from selling feet pictures, hosting online holistic workout classes, to trying to become an influencer. 

With today's hyper consumption of content, it is a slippery slope to include internet trends or viral moments. They easily make a film or movie feel outdated as they attempt to be on trend. Rucci expressed her distaste for current Gen-Z shows that mark themselves as too timely and how cautious she was when writing this series. "My friend Anna, who helped me produce it, played Iris in the reading. She said I should watch [censored] because there are a lot of jokes in there that would've worked 3 months ago if it came out then. After all, it was relevant then. If you go through your script, make sure you don't include jokes that cover one viral TikTok everyone in the world watched and got over. Then your show comes out and it's not funny anymore…"

As I left the theater craving for more, in the lounge area, I found myself in the midst of an

immersive experience. Walls decorated with posters, Polaroids, or interactive boards to share your own mid-20s crisis. What left me speechless was the mural of memorabilia that perfectly captures the inner mind of a current 20-something woman. With pictures of heart-throbs such as Pedro Pascal and Josh O'Connor, to romance books such as Normal People and A Court of Thorns and Roses, to a hot pink vibrator and quotes from the script, such as "Fame is the American Dream".  

If you are craving to see this show on the big screen like I am, follow Mid-20s Crisis on

to stay up to date on the show’s development and see clips from the live table reading.

Written By Ashley Murphy

Photos By Cat Washington