Search
SUBSCRIBE
Home Blog Page 109

How to Pick Corporate Gifts That Actually Reflect Your Company Culture

Our Culture Mag & Partners
-
0
How to Pick Corporate Gifts That Actually Reflect Your Company Culture

Anyone can toss a stack of branded water bottles on a table and call it a day. But let’s be real: that doesn’t cut it anymore. Today’s employees, clients, and partners aren’t just looking at what you send—they’re paying attention to what it says about you. Every gift you give tells a story about your brand, your values, and just how much you actually care.

That’s why the smartest companies are ditching the boring swag. A new generation of corporate gifts is here—gifts that aren’t about throwing your logo on a mug but about standing for something real: sustainability, inclusivity, meaning. Brands that get this are building stronger, more authentic connections just by putting a little more heart into what they give.

Let’s break down how to pick gifts that don’t just look nice—but actually feel right.

Why Your Gifts Should Match Your Values

Here’s the thing: a corporate gift is never just a gift. It’s a mini statement about who you are as a company.

Hand someone a cheap plastic trinket, and you might be telling them, “We didn’t really think about this.” But hand them something thoughtful, sustainable, or artisan-made? Now you’re saying, “We’re thoughtful. We’re responsible. We value quality.”

In a world where brand loyalty is built on trust and shared values, getting your gifting strategy right isn’t optional. A good gift doesn’t just say, “Thanks.” It says, “This is what we’re about.”

What Makes a Great Culture-First Gift?

If you want your gifts to actually vibe with your company’s culture and values, look for options that check at least one (or more) of these boxes:

  • Sustainable – Made from eco-friendly materials, with packaging that doesn’t end up in a landfill.

  • Ethical – Products made by companies that treat people—and the planet—right.

  • Inclusive – Sourced from diverse makers, minority-owned businesses, or companies that walk the walk on representation.

  • Meaningful – Something that’s actually useful, joyful, or makes life a little better.

  • Story-Driven – A gift that comes with a story worth sharing—like an artisan’s craft or a social mission.

When you lead with intention, you’re giving something personal, not just ticking a box. And that’s what makes it memorable.

Eco-Friendly Gifts: Because People Actually Care

If you want to align your gifts with what today’s recipients care about, start with sustainability.

More people today are thinking about their carbon footprint than ever before. Sending reusable water bottles made from recycled plastics, biodegradable notebooks, or solar-powered gadgets sends a simple but powerful message: “We care, too.”

And you don’t have to be a full-blown eco brand to show it. Little touches—like recycled wrapping paper or partnering with green-certified vendors—speak volumes.

Pro tip: Include a small card that tells the backstory of the eco-friendly choice you made. People love feeling like they’re part of something bigger.

Inclusion Matters: Gifting That Supports Everyone

It’s not enough anymore to say you care about diversity—you have to show it.

One simple but powerful move? Source gifts from women-owned businesses, minority-owned brands, or makers from underrepresented communities. Whether it’s handmade jewelry from Indigenous artists or craft coffee from a Black-owned roastery, your choice makes a real impact.

It shows that your commitment to inclusion isn’t just a line on your website—it’s something you live.

The Power of Craftsmanship and Storytelling

Let’s be honest: people love a good story.

And artisan-made gifts naturally come with one. A handwoven scarf, a journal made from ethically sourced leather, single-origin chocolate from a small-batch maker—these aren’t just products. They’re experiences. They carry tradition, skill, heart.

And trust us—gifts with a story stand out way more than another random USB stick or keychain.

Personalization: A Small Touch That Changes Everything

Want to take your gift from “nice” to “wow”? Personalize it.

It doesn’t have to be fancy. A monogram on a coffee tumbler, a handwritten thank-you note, or even picking something that’s clearly suited to the recipient’s tastes can completely change how a gift feels.

When people feel seen and appreciated, it sticks.
 (And yep, there’s data on this—employees who feel personally valued are way more likely to go above and beyond.)

Sometimes, the smallest touches leave the biggest mark.

Rookie Mistakes to Avoid

Before you start checking out your online cart, here are a few common pitfalls you’ll want to dodge:

  • Don’t grab cheap junk – It’s wasteful, forgettable, and honestly makes your brand look bad.

  • Don’t overlook cultural sensitivities – Make sure your gift is appropriate and respectful.

  • Don’t slap your logo all over everything – Subtle branding? Awesome. Giant logo billboards? Not so much.

  • Don’t cheap out on packaging – Eco-friendly, thoughtful wrapping is part of the gift experience.

Bottom line: If you wouldn’t be genuinely excited to receive it yourself, don’t send it.

Gift Ideas That Actually Align with Modern Values

Need a little inspo? Here are some culture-first corporate gift ideas people will actually love:

  • Bamboo tech accessories – Sustainable and sleek.

  • Fair-trade coffee or tea kits – Ethical caffeine? Yes, please.

  • Mini plant kits – Because greenery makes everything better.

  • Reusable shopping totes – Especially from minority-owned brands.

  • Wellness gift boxes – Think cruelty-free skincare, cozy socks, and aromatherapy treats.

  • Charity donations – Great for clients who truly have it all.

All these ideas can be mixed, matched, and personalized to fit your brand vibe (and your budget).

Why Timing Matters Just as Much as the Gift

Here’s a secret most companies miss: when you send a gift is just as important as what you send.

Sure, holidays are an easy win. But a surprise “thank you” in the middle of a chaotic project? A gift for a new baby, a promotion, or even a “just because” pick-me-up? Those moments hit different.

They show that you’re actually paying attention—not just ticking a box because the calendar says December.

Small, well-timed gestures can turn casual business relationships into loyal, lasting partnerships.

Bottom line: Great gifts don’t just celebrate seasons. They celebrate people. And that’s the real magic.

Wrapping It All Up

Corporate gifting isn’t just about handing out freebies anymore. It’s a real chance to show people what you stand for—and what you stand against.

When you pick gifts that champion sustainability, diversity, authenticity, and craftsmanship, you’re not just handing out swag. You’re building trust, sparking loyalty, and leaving real emotional impact.

People notice when a gift feels intentional. They remember it. They talk about it.

So next time you’re picking out a corporate gift, stop and ask yourself:

Does this actually reflect who we are?

If the answer’s yes—then congratulations. You’re not just giving a gift.

You’re giving something that actually matters.

The Importance of Timely Prescription Management in Preventing Birth Injuries

Our Culture Mag & Partners
-
0
The Importance of Timely Prescription Management in Preventing Birth Injuries

Birth injuries, which can range from minor bruises to severe conditions like cerebral palsy, often stem from complications during pregnancy, labor, or delivery. While some are unavoidable, a significant number result from preventable medical errors, including improper medication management. Prenatal care plays a crucial role in monitoring the health of both mother and fetus, with prescription medications being integral to managing conditions such as hypertension, diabetes, and infections. However, delays or errors in prescribing, administering, or monitoring these medications can lead to adverse outcomes, including birth defects or developmental issues. For instance, certain medications are known teratogens and can cause harm if not properly managed during pregnancy. Therefore, timely and accurate prescription management is essential in preventing birth injuries and ensuring the well-being of both mother and child.

Understanding Prescription Management in Prenatal Care

​Prescription management during prenatal care involves the careful selection, dosing, timing, and monitoring of medications to ensure the safety and well-being of both the mother and the developing fetus. This process is crucial, as certain medications can cross the placenta and affect fetal development. Healthcare providers must evaluate the benefits and potential risks of each medication, adjusting treatment plans as pregnancy progresses and physiological changes occur. Regular monitoring helps in maintaining therapeutic drug levels and minimizing adverse effects, ensuring optimal outcomes for both mother and child. ​

Common medications prescribed during pregnancy include antihypertensives like methyldopa, labetalol, and nifedipine for managing high blood pressure, and insulin for controlling diabetes, as it does not cross the placenta and is considered safe for the fetus. Antibiotics such as amoxicillin may be used to treat infections, but their use requires careful consideration, especially during the first trimester, due to potential risks. Consistent monitoring and timely adjustments of these medications are essential to address the dynamic needs of pregnancy and to prevent complications, including potential birth injuries. Healthcare providers play a pivotal role in this process, ensuring that both maternal and fetal health are safeguarded throughout the pregnancy.

How Poor Prescription Management Can Lead to Birth Injuries

Poor prescription management during pregnancy can lead to serious birth injuries. Missing or delaying critical medications, such as those for managing hypertension or diabetes, can result in complications like preeclampsia or gestational diabetes, increasing the risk of harm to both mother and child. Additionally, incorrect dosages or inappropriate medications can cause adverse drug reactions, potentially leading to conditions like hypoxic-ischemic encephalopathy (HIE) in newborns. These scenarios underscore the importance of meticulous prescription oversight during prenatal care.

A notable case in Maryland involved a $2.6 million settlement where a baby was born with cerebral palsy due to alleged negligence by hospital staff. The claim stated that both the doctor and midwife failed to monitor the mother and baby adequately after a placental rupture, leading to oxygen deprivation and subsequent brain damage. This case highlights how lapses in medical attention and prescription management can have devastating consequences. ​

Legal Accountability: When Is It Considered Medical Negligence?

Establishing medical negligence in prescription management during pregnancy requires demonstrating that a healthcare provider breached the standard of care, resulting in harm to the patient. This involves proving four elements: a professional duty owed to the patient, a breach of that duty, causation linking the breach to the injury, and resulting damages. Obstetricians, pharmacists, and hospitals are all held to this standard, necessitating vigilant monitoring of medications, accurate dosing, and timely communication regarding any changes in treatment plans. Failure in any of these areas can constitute negligence if it leads to preventable birth injuries. ​

Documentation and communication are critical components in preventing medication errors. Inadequate record-keeping or miscommunication among healthcare providers can lead to serious consequences, including adverse drug events. Studies have shown that communication failures contribute significantly to medical malpractice claims, with miscommunication of patient information and poor documentation being common issues. At Frank Spector Law, we understand the importance of meticulous documentation and effective communication in upholding the standard of care. Our firm is dedicated to helping families navigate the complexities of medical malpractice cases, ensuring that negligent parties are held accountable for their actions.

Signs That a Prescription Error May Have Contributed to a Birth Injury

Prescription errors during pregnancy can result in birth injuries, with signs ranging from immediate to delayed. Newborns may exhibit symptoms such as abnormal posture, bluish skin tone, breathing difficulties, feeding problems, excessive drooling, and weak reflexes. These signs can indicate underlying issues like hypoxic-ischemic encephalopathy (HIE) or cerebral palsy, which may be linked to medication mismanagement during labor and delivery. Timely recognition of these symptoms is crucial for prompt medical intervention and to mitigate long-term effects.

Diagnostic evidence plays a pivotal role in linking birth injuries to medication errors. Medical records detailing the administration of drugs like Pitocin or Cytotec, which are used to induce labor, can reveal if incorrect dosages or improper use contributed to complications. Additionally, documentation of communication among healthcare providers can uncover lapses that led to adverse outcomes. If you suspect that a prescription error has harmed your child, consulting a birth injury attorney can help you understand your legal options and pursue appropriate compensation.​

What to Do If You Suspect a Prescription Error

If you suspect a prescription error, it’s essential to take immediate action to safeguard your child’s health and legal rights. Start by seeking a thorough medical evaluation to assess any potential harm caused by the error. This evaluation will help identify the extent of the problem and the necessary treatment moving forward. Next, ensure you obtain a complete copy of your child’s medical records, including prescriptions, doctor’s notes, and any related documents. This information will be crucial for understanding the situation fully and supporting your case if legal action is required.

In addition to medical evaluations and obtaining records, consulting with legal counsel experienced in medical malpractice or prescription errors is vital. A knowledgeable lawyer can guide you through the complex process of pursuing a claim, ensuring that your rights are protected. Keep in mind that Maryland has strict legal deadlines for filing claims, typically a statute of limitations of three years from the date of the injury. Acting quickly is critical to ensure you don’t miss any time-sensitive deadlines and can seek the compensation your child deserves.

Album Review: Model/Actriz, ‘Pirouette’

Giliann Karon
-
0
Album Review: Model/Actriz, ‘Pirouette’

If Model/Actriz‘s debut album, Dogsbody, sheepishly lurks in the dim corners and questionable bathrooms of gay clubs, Pirouette is the infallible star everyone clamors to see. Frontman Cole Haden talks back to his demons, then transforms them into a public spectacle. Rather than scoring the soundtrack for a balls-to-the-wall fuckfest, he wields his carnal transgressions with control in a death blow to detached coolness. Interrogations of fetish and desire face inward. Drawing sonic and character inspiration from the pop divas who helped him embrace his sexuality as a teen, he’s no longer a spectator. He’s the main act.

1. Vespers

The metallic din that sculpted Dogsbody reappears with the suffocating rush of an anxious heartbeat. Melodic pop collides with hypnotic instrumentals. There’s prowess in filth and depravity, but just as much in restraint. 

Dogsbody was all sex all the time. Insecurities were implied but never revealed. In a wafting falsetto, Haden succumbs to expectations and desires, and even lets us hear his internal monologue. “Claim that look, match that speed, take that room,” he demands with the fierce diction of a Drag Race guest judge.

2. Cinderella

Haden recounts a formative childhood memory – backing out of a Cinderella-themed birthday party over fear of judgement. Long before he could articulate why he felt different, the loss of innocence left a deep psychic scar. Blistering drums lend a necessary brightness. “Despite all of that pain, I still made it through to the other side. And I don’t have to defend myself like I did. I can let the shield down,” he told Rolling Stone.

Part of the band’s allure lies in their live performances, where Haden glides through the crowd in a pair of pleasers, locking eyes with audience members and forcing them to become active participants. With his gentle push, confident facades collapse to reveal pangs of nascent vulnerability.

3. Poppy

At first glance, infectious pop and dissonant industrial rock don’t have much in common. Model/Actriz effortlessly oscillates between the two with the fluidity that only comes from getting to know your craft. The unlikely concoction of theatrics and harsh noise snaps into place on track three, where Haden leads with the indelible composure of Lady Gaga or Grace Jones.

4. Diva

Impassioned vignettes about shame and lust on Pirouette replace the voyeuristic reflections of Dogsbody. They’re two sides of the same coin, one depraved and messy, the other slightly more demure and refined. As the album progresses, more and more debauchery slips and the dichotomy becomes one. “I’m such a fucking bitch, girl, you don’t even know,” he moans. “Just imagine me absolutely soaked, dripping head to toe in Prada Sport.” 

Inspired by true events, this track is an unnerving glimpse of dating fucking while touring the world. One minute he’s cooly migrating from bar to bar. The next, it registers there’s “no home to take you home to.” He bemoans his vices but succumbs to them anyway. Aaron Shapiro, Ruben Radlauer, and Jack Wetmore rearrange the thumping dance floor into a steamy cabaret.

5. Headlights

Pirouette weighs heavy with discomfort and discordance. Saccharine croons accompany guttural moans, which waft atop Shapiro’s pummeling bass. In a spoken word interlude, Haden recounts his first crush, which he was too embarrassed to admit to himself. Exactly halfway through the record, he delivers a sucker punch from which the remainder triumphs.

6. Acid Rain

Wetmore’s delicate finger-picked guitar rests beside equally sweet vocals. Haden’s muscular voice approaches its limit before climbing up even higher. There’s a sliver of room to breathe, but not enough that it’s ever comfortable. Tension is a form of power, too.

7. Departures 

The invigorating tick of Wetmore’s guitar and the racing thump of Radlauer’s drums activate a foreboding sense of doom like a roller coaster climbing uphill, ready to plummet at any minute. “All I want is to be beautiful,” Haden reveals.

Their distinct methodology crystallizes here. It’s what made ‘Crossing Guard’ irresistibly danceable. His droning cadence fuses with distorted pulses and white-hot clashes. The elements swell until they burst, giving way to an explosive break, underpinned by Shapiro’s churning bass. We can still dance even if we’re crying.

8. Audience

Amidst jagged textures, Haden buckles under the weight of conformity. It’s the second of a four-song run that identifies the source of his uneasiness, sets it ablaze, and basks in the freedom of self-discovery. 

9. Ring Road

Too abrasive for pop and too melodic for no wave, Model/Actriz establishes a class of their own that’s inseparable from their live performances. Haden exorcises his demons in the album’s dizzying climax.

10. Doves

“Within the song, I sing from an empty cathedral, but on a broader level, it explores how a place that once felt like a sanctuary can, over time, become a cage,” says Haden. Noticeably lighter, the second single flips the script on comfort, which can feel more restrictive than liberating.

11. Baton

The supernova continues – first the searing blast, now the sizzling aftershock. This dazzling ballad pays tribute to Haden’s twin sisters. Even when they deviate from their off-kilter sound, they expand upon what they’ve already built without sacrificing their quirks. Always campy and transgressive, Pirouette is the mark of a band that’s honed their strengths and given themselves the freedom to explore.

The Best Songs of April 2025

Konstantinos Pappis
-
0
The Best Songs of April 2025

Every week, we update our Best New Songs playlist with several tracks that catch our attention, then round up the best songs of each month in this segment. Here, in alphabetical order, are the best songs of April 2025.

caroline – ‘Tell me I never knew that’ [feat. Caroline Polachek]

caroline exploded back into view with ‘Total euphoria’, which made our list of the best songs of March. Then came an even sweeter surprise: Caroline Polachek features on ‘Tell me I never knew that’, the second single from the UK band’s sophomore album, caroline 2. caroline’s experimental music often teeters on the edge of abstraction, a pattern that’s mirrored not only in the song’s lyrics but its treatment of Polachek’s deconstructed pop melodies. “Maybe I don’t wanna be anyone/ And I don’t wanna be somebody else,” she sings, contemplating not the nature so much as the desire for a static identity. Then Casper Hughes’ vocals soar, impossibly reminiscent of Jonsi, to set the focus on layers of feeling and embodiment. It might as well be coming from a different world, but it hits too close to home. 

Florry – ‘First it was a movie, then it was a book’

What a way to rev things up. Listening to ‘First it was a movie, then it was a book’, the first song on Florry’s upcoming album Sounds Like…, it’s hard not to start paying attention; the single stretches out to seven minutes, but just when things start feeling a little loose, that guitar riff grips you back in. Vocalist Francie Medosch embodies a character on the verge of a breakdown, the only plausible response to seeing your life play out onscreen: “If I wasn’t feeling so empty baby/ I’d give that movie five out of five.” The narrator tries to write a movie, then a song, but it’s only while watching one not based on their life that the revelation strikes: “I saw myself in everyone, how’d they make a movie like that?” Whatever it is, Florry possess the same kind of gift. 

Hotline TNT – ‘Julia’s War’

Raspberry Moon marks the first time Will Andersen has recorded a Hotline TNT album with a full band – guitarist Lucky Hunter, bassist Haylen Trammel, and drummer Mike Ralston.  The lead single ‘Julia’s War’ arrived as proof of that sense of togetherness, owning a “na na na” chorus and pushing Andersen’s vocals to the front of the mix; not so that you can make more of the lyrics, which remain rather cryptic, but as if to nudge you to sing – not just hum (get it?) – along. When it’s this catchy, even the most introverted shoegaze fan won’t have to try so hard to come out of their shell. 

Lana Del Rey – ‘Henry, come on’

I mean, come on. The perfectly fingerpicked guitar – delicate, but not too raw. The lilting melody. The string arrangements. Ultraviolence, but with an extra dose of clarity and defiance. Lana Del Rey has seen this sad story play out a dozen times, and though she has yet to settle on (or at least reveal) the title of her upcoming album, there’s no trepidation in her lyrics, just hard acceptance. “Some people come and they’re gone/ They just fly away/ Take your ass to the house/ Don’t even bother explaining/ There’s no working it out/ No way.” Maybe you can’t chase a ghost when it’s gone. But ‘Henry, come on’ does a damn good job at summoning it. How can that not get to you?

Lorde – ‘What Was That’

“What was that?” is another way of asking, How’d the years whip by so fast? The lead single from Lorde’s new album Virgin is her first in four years, but really, it takes us back to the Melodrama era, and lyrically even further back: “Since I was 17, I gave you everything,” she sings. A gut-punch, but not nearly as important as the following line: “Now we wake from a dream, baby, what was that?” Jim-E Stack and Dan Nigro’s is punchy but curiously muted, as if the realizations Lorde wakes to are just now settling in. “Can’t see myself yet,” she sighs at the beginning of the song, before the memories start kicking in. If the rest of the album materializes that vision, we’ll be left with way more than hard-hitting nostalgia. 

Pulp – ‘Spike Island’

‘Spike Island’ begins, rather innocently, by tracing back the kernels of inspiration: “It’s a guess/ No idea/ It’s a feeling/ Not a voice/ In my head/ Just a feeling.” Jarvis Cocker delights in drawing out the word feeling, letting it lead him towards earnest self-reflection around his time in the spotlight: “I was conforming to a cosmic design, I was playing to type.” As the first glimpse into Pulp’s first album in 24 years, it couldn’t be more fitting. But this being Pulp, Cocker’s stream of consciousness renders the song knottier the more anthemic it becomes. An aside – “And by the way, Spike Island” – becomes the refrain, a complicating reference to a 1990 one-off gig by the Stone Roses that achieved legendary status despite being plagued by technical issues and bad organization. Cocker latches onto not the aspect of fame but the phrase one of the DJs on the line shouted out: “Spike Island, come alive!” The irony, it seems, is that you can’t command a feeling; if you’re lucky, though, you can simply revel. 

Stereolab – ‘Aerial Troubles’

Certain universal anxieties just hang in the air. You could be dancing to the delightfully off-kilter groove of Stereolab’s ‘Aerial Troubles’, for example, and not realize those troubles pertain to “the fear of death” or “an insatiable state of consumption.” The rhythm seems to get going as soon as the group realizes the fact that “the numbing’s not working anymore” is a good thing, actually; critique works, but it’s more about playing with the thin line between reality and a surreal future. Stereolab have always been good at that, yet they always suggest it’s going to be a little different this time. Judging from the song’s outro and the single that followed, it is.

Wet Leg – ‘catch these fists’

If you’ve heard but one song by Wet Leg, you’d expect the first single from their second album to be boisterous and a little tongue-in-cheek. In pretty much every way, ‘catch these fists’ is a natural return for Rhian Teasdale and Hester Chambers. But the duo’s self-assuredness is audibly on a different level; or maybe it’s that their snarky threats feel a little less jokey over the song’s filthy, razor-sharp riff. The singer-guitarists don’t use the newfound confidence of success to scream louder or polish up their sound; they only murmur lines like “He don’t get puss, he get the boot” with greater conviction. Meanwhile, the song gets stuck in your head. Hats off to them.

BAMBII Announces New EP ‘Infinity Club II’, Enlists Jessy Lanza and Yaeji for New Song

Konstantinos Pappis
-
0
BAMBII Announces New EP ‘Infinity Club II’, Enlists Jessy Lanza and Yaeji for New Song

Toronto DJ and producer BAMBII has announced Infinity Club II, the sequel to 2023’s Infinity Club. The 12-track EP arrives June 20 via Because Music, and today’s announcement comes with the release of ‘Mirror’, a buoyant, kinetic club track featuring Jessy Lanza and Yaeji. Check out its self-directed visual below.

Infinity Club II also features contributions from Ravyn Lenae, Jessy Lanza, Yaeji, Sadboi, JELEEL!, Aluna, Lamsi, BEAM, Scrufizzer, Lyzza, Lady Lykez, and £Monzo. Earlier this year, BAMBII joined Shygirl on ‘Flex’ from her Club Shy Room 2 EP.

Infinity Club II EP Cover Artwork:

Infinity Club II EP Tracklist:

1. Infinity Club II
2. Remember [ft. Ravyn Lenae and Scrufizzer]
3. Blue Sky [ft. Lyzza and SadBoi]
4. Mirror [ft. Jessy Lanza and Yaeji]
5. NSync [ft. Beam]
6. Island Criminal [ft. Aluna]
7. In My Mind [ft. Lamsi]
8. Thunder [ft. Jeleel!]
9. In My Mind Again [ft. Lamsi and £Monzo]
10. Bad Boy
11. Spit [ft. Beam and Lady Lykez]
12. Eject

Bruce Springsteen Shares Previously Unreleased Song ‘Faithless’

Konstantinos Pappis
-
0
Bruce Springsteen Shares Previously Unreleased Song ‘Faithless’

Bruce Springsteen shared another previously unreleased song, ‘Faithless’, the theme to a film that was never made. He recorded the “long-lost soundtrack” over two weeks in Florida, between the end of 2005’s Devils & Dust tour and the release of 2006’s We Shall Overcome: The Seeger Sessions. “Well, I work by the rocks of the river/ Faithless, faithless, faithless/ Then I met you,” Springsteen sings. Listen to it below.

The soundtrack is one of seven albums to be unearthed for the new compilation Tracks II: The Lost Albums, which is out June 27. “This was a really unusual collection of songs,” he said in a press release. “You could recognize details and maybe a character or two. But for the most part, I just wrote atmospheric music that I thought would fit.”

The Stolen Girl Season 2: Cast, Rumours & Release Date

Alexandra Pleșa
-
0
The Stolen Girl Season 2: Cast, Rumours & Release Date

To call The Stolen Girl binge-worthy wouldn’t be doing it enough justice. At only five episodes, the series almost forces you to watch it as quickly as possible, so you can get some answers and find out how the story ends.

It’s the kind of thriller with an incredible premise, unbelievable twists, and plenty of drama to keep you hooked. Not only that, but it’s making waves worldwide after dropping on Disney+. The question is: can we expect more?

The Stolen Girl Season 2 Release Date

The Stolen Girl premiered in April 2025. At the time of writing, the show hasn’t been renewed for additional episodes.

Unfortunately, it’s also unlikely that it will. Given the ending of the first installment, we don’t really see how The Stolen Girl season 2 could potentially continue the story.

That said, we would love to be wrong. We’re also sure the creators can find a way to deliver more drama in the future, as long as they have an eager audience.

The Stolen Girl Cast

  • Holliday Grainger as Rebecca Walsh
  • Ambika Mod as Selma Desai
  • Denise Gough as Elisa Blix
  • Jim Sturgess as Fred Blix
  • Bronagh Waugh as DI Shona Sinclair
  • Michael Workeye as Kaleb Negasi

What Could Happen in The Stolen Girl Season 2?

The Stolen Girl revolves around Elisa, a flight attendant who arranges an overnight playdate for her daughter. The next day, however, her daughter isn’t returned – and when she and her husband go to check, they discover that she was likely taken.

What begins as a parent’s worst nightmare then spirals into a complex investigation, over the course of which long-buried secrets and personal traumas come to light. Not only that, but Elisa is forced to confront her own traumatic past if she hopes to ever see her daughter again.

The show is wild and brimming with palpable tension, occasional red herrings, and incredible twists. Additionally, the mystery is compelling enough to keep the audience furiously pressing Next Episode.

Even so, the ending of season 1 provides enough answers to make the conclusion satisfying. If The Stolen Girl season 2 were to happen, it may follow a different mystery or pick up after a significant time jump. For now, we’ll have to wait and see.

Is The Stolen Girl Based on a Book?

Yes, The Stolen Girl is an adaptation of the 2020 novel Playdate by Alex Dahl, who also served as an executive producer on the series. If you want to compare the source material with the adaptation, it makes for a gripping read.

Étoile Season 2: Cast, Rumours & Release Date

Alexandra Pleșa
-
0
Étoile Season 2: Cast, Rumours & Release Date

Dance, romance, and ambition collide in Étoile, the new series from prolific duo Amy Sherman-Palladino and Daniel Palladino.

After delighting audiences with shows like Gilmore Girls, The Marvelous Mrs. Maisel, and Bunheads, the two deliver a ballet comedy-drama truly captivating to watch. From mesmerising performances to fast-paced dialogue, all the hallmarks fans expect are there.

So much so that, at only eight episodes, it doesn’t seem like enough. Is there more story on the way, or will the audience have to make peace with the unknown following that explosive finale?

Étoile Season 2 Release Date

Here’s the good news: Prime Video picked up the show for two seasons from the get-go. In other words, Étoile season 2 is definitely happening.

However, the show just premiered in April 2025, so there’s no official date for when it might return just yet. We’re guessing sometime in 2026, if all goes well production-wise.

Étoile Cast

  • Luke Kirby as Jack McMillan
  • Charlotte Gainsbourg as Geneviève Lavigne
  • Lou de Laâge as Cheyenne Toussant
  • Gideon Glick as Tobias Bell
  • David Alvarez as Gael Rodriguez
  • Ivan du Pontavice as Gabin Roux

What Will Happen in Étoile Season 2?

Étoile delves into the world of professional ballet and takes place in both New York and Paris. To call it ambitious would be an understatement.

The story kicks off when artistic directors Jack McMillan of the New York Metropolitan Ballet and Geneviève Lavigne of Paris’s Le Ballet National initiate an unexpected exchange of their star dancers. All in an effort to rejuvenate their struggling, albeit prestigious ballet companies.

As a result, passionate French ballerina Cheyenne Toussant moves to the US, while American choreographer Tobias Bell challenges norms in Paris. Cue up rivalries, romances, and spectacular dance numbers that will keep you glued to the screen.

Without giving away too much, the first season ends with a passionate kiss that sets up an interesting love triangle. It’s likely that Étoile season 2 will revolve around the fallout from these complicated romantic entanglements, while also allowing the other characters to shine. We can hardly wait.

Are There Other Shows Like Étoile?

If you loved Étoile, there’s a good chance you’ll also like Amy Sherman-Palladino and Daniel Palladino’s other series, especially Bunheads. Unfortunately, that one was cancelled too soon, so it won’t keep you busy for longer than a week.

As a result, you can expand your horizons and sample series with similar themes. The list includes Mozart in the Jungle, Smash, Tiny Pretty Things, and Find Me in Paris.

You Season 6: Cast, Rumours & Release Date

Alexandra Pleșa
-
0
You Season 6: Cast, Rumours & Release Date

Psychological thriller You has an interesting origin story. It was a Lifetime original series before switching to Netflix ahead of season 2. Turns out, the move was beneficial, and the show quickly became a worldwide hit.

Based on the books by Caroline Kepnes, You revolves around Joe Goldberg, a serial killer with a snarky and fascinating inner monologue. Over the course of four seasons, viewers could follow his unhinged exploits, which took him from New York to Los Angeles to London.

In season 5, Joe is back in New York, where the past seems to finally catch up with him. But is this really the end?

You Season 6 Release Date

Unfortunately, the fifth season is officially You’s swan song. Netflix announced that the thriller will end with season 5 back in 2023, and is sticking to that decision. At least for now.

The final installment premiered in April 2025 and climbed to the top of the streamer’s global top 10, proving that viewers are still interested in what kind of trouble Joe gets himself into.

Given the show’s success, there’s always a chance it will make a comeback. Whether that happens in the form of You season 6 or a spin-off, only the future can tell.

But if Dexter is any indication, serial killers have a tendency to crawl out of the TV grave for more.

You Cast

  • Penn Badgley as Joe Goldberg
  • Charlotte Ritchie as Kate Lockwood-Goldberg
  • Griffin Matthews as Teddy Lockwood
  • Anna Camp as Reagan/Maddie Lockwood
  • Madeline Brewer as Bronte
  • Elizabeth Lail as Guinevere Beck

What Could Happen in You Season 6?

You follows Joe Goldberg, who works as a bookstore manager in season 1. Charming but dangerous, he gets obsessed with the women he falls in love with and finds a way to infiltrate their lives.

Before long, the “romance” devolves and takes a bloody turn. Beck, Candace, Love, Marienne – no one who falls into his orbit is safe.

In season 5, Joe returns to New York under his own name thanks to his relationship with Kate, a rich heiress. He also gets his son, Henry, back and attempts to pull off his version of happily ever after. As it always happens, another woman crosses his path and makes him reconsider his priorities.

Without giving away spoilers, the show ends on a high note, with Joe’s skeletons coming back to haunt him. That said, You leaves room for a continuation, so the thriller could easily be resurrected down the line.

If that happens, You season 6 might take place years in the future. While Penn Badgley seems content to part ways with the deranged character, time away could change his mind. Or, the show could focus on one of the other characters, like Henry. When he grows up, will he follow in his father’s footsteps?

For now, fans have to settle for rewatching the episodes already available whenever they crave more Joe.

Are There Other Shows Like You?

What makes You addictive is Joe’s internal monologue, deliciously demented, and the bonkers twists. If you already miss the series, you can compensate by streaming similar titles.

The list includes Dexter, Barry, Dead to Me, Killing Eve, The Flight Attendant, The Fall, Search Party, and How to Get Away with Murder.

Artist Spotlight: Maria Somerville

Konstantinos Pappis
-
0
Artist Spotlight: Maria Somerville

Maria Somerville is a singer-songwriter who grew up in Connemara on the west coast of Ireland. She later relocated to Dublin to attend college and released her first LP, a hushed, ethereal collection of ambient pop songs called All My People, while living there. Her music drew inspiration from the landscape of her youth, and during the pandemic, she moved back to Connemara, settling into a house near where she was raised. While working on her wondrous, illuminating new album Luster, released via 4AD, she also started hosting the Early Bird Show every Monday and Tuesday morning on NTS Radio, and enlisted the help of artists including J. Colleran, Brendan Jenkinson, guitarist Olan Monk, and Lankum’s Ian Lynch. Tim Robinson, a Connemara-based cartographer, visual artist, and author who came up in our conversation, wrote: “Often when visitors ask me what they should see in this region I am at a loss. A curious hole in the ground? The memory of an old song about a drowning? Ultimately I have to tell them that this is a land without shortcuts.” Maria Somerville takes her time, remembering, finding direction, so that when words come up short, her music can still lead the way.

We caught up with Maria Somerville for the latest edition of our Artist Spotlight series to talk about moving back to Connemara, the process behind Luster, her collaborators, and more.

How do you feel now that you’ve started playing the new songs live?

It feels quite cathartic, actually, to play the new songs. They take on new forms every night. There’s a vulnerability to releasing the music; even just releasing singles or song after song, it’s kind of like, “Okay,” and then you can stay hidden. But it’s ultimately so nice, and there’s been such nice audiences so far. It’s been quite emotional.

People have naturally traced a line between your two albums: a feeling of homesickness turning into a kind of homecoming. Listening to Luster makes me feel like that line is actually blurred – like some part of that longing is fulfilled, but there’s also something new created in its place. When you moved back to Connemara, how were things different than you expected? What were some things you appreciated not just about being there, but having grown up there?

That was really special for me. When you’re 17 or 18, you don’t really appreciate things; I just wanted to leave and be anonymous and explore. I met a lot of great people that were formative for music, but when I went back, the stillness and the pace of life were very important. With the people there, as an adult, I was able to be part of the community. Knowledge gets lost along the way, so I was picking up things that I wouldn’t in the city. I don’t necessarily know in terms of music, how to separate the two – personally, maybe subconsciously, how it affected what was coming through me. 

Was there a different kind of anonymity in going back than what you sought in the city?

It’s different in Connemara, because there’s so much space, and the landscape – it’s not just buildings. I had a good group of friends as well who had moved back, who played on the record, like Olan Monk and Roisin Berkley. There’s other groups who are putting on shows. A lot of people in Ireland didn’t quite get the hang of learning Irish, so we have other friends who are kind of spreading that teaching. There were just things that we were doing while I was there, and it felt really good. There’s obviously older people in the community who I would have grown up with, but I also had some peers out there. I’m sorry, I feel like I’m not answering your questions properly. [laughs]

No, that’s something I picked up on, too – even though you may say it’s an inward-looking album, it doesn’t feel lonely to me. I’m curious how separated the process was between workshopping the songs on your own and fleshing them out with your collaborators.

Yeah, I demo everything myself. I would work on that for a long time and have lots of ideas floating that I then come back to and try and flesh out. I did a sound engineering course in Galway many years ago, so I had that basic recording set up as a foundation. It was fun for me being able to do it in Connemara rather than a studio because I got to engineer things like the harp or some of the guitars from my friend Henry Earnest on ‘Garden’. Then Olan, who lives not too far away, I would go to their house and do some sessions there. But it would be kind of after. And then some things stayed the same, like ‘Halo’ and ‘Carrib’ were pretty much the first take, The ‘Garden’ vocals are the demo that came out; I tried to rerecord it, but it didn’t happen. A lot of it is a mixture of my own recordings and stuff that I did with others. 

In terms of establishing a routine and the music you were consuming, did hosting the Early Bird show on NTS feed into your songwriting process?

During the pandemic, it kept me connected in a way, so that was a nice anchor to have every Monday and Tuesday. Getting up at six is a nice part of the morning. I was exposed to so much music that there wasn’t really a break when I was also writing. I mean, some of the stuff on Luster is pretty Early Bird. Some of the stuff was written before, but I’m sure, subconsciously, there’s something in there from being exposed to and influenced by different sounds.

The more time I spend with Luster, the more I appreciate its flow and sequencing. It seems to almost follow the order in which the songs were written, even if they weren’t necessarily. How intuitive was putting together that flow?

There were actually quite a few different sequences. ‘Stonefly’ was always the last on the sequences before the final one. I’d always be happy to take collaborators’ advice on those things. But there was an instinct at the very end – I changed the whole sequencing. The two sides have different feelings and different tones and sounds and frequencies, maybe. But how to articulate that in a way that makes sense, I’m not sure.

In following that instinct, did you feel like the record encapsulated the wave of time in which you recorded the album, between 2021 and 2023?

Definitely, I feel like it’s a capsule of that period of writing and making and feeling and being. 

The title, too, feels like the perfect capsule, and the way it appears on the album cover really sets the tone for it. I love that it’s a different texture on the actual physical copy. What was the thinking behind it?

I’m always leaning towards minimal artwork. The view from my window at home – there’s these beautiful rocks that the light shines off, whenever it was raining anyway. It felt like it also summed up the music and the place. But the artwork, I was working with Nicola Tirabasso, who does a lot for 4AD. He was just sending ideas and saw that font; I’d been asking for something hand-drawn, and that one just felt like it worked. I love the texture and the photo of the insert.

There are varying levels of clarity in your lyrics in terms of how they’re heard in the music. I’m curious how conscious you are about which words peak out in the mix and which drift into it more; ‘Halo’, for example, feels hazier to the point of wordlessness. I understand that intentionality is harder to articulate, but are there limits to what you feel comfortable expressing through language?

With ‘Halo’, it’s probably more similar to some of the tracks on All My People. From a production point of view, it was whatever served the song; I had somebody who was mixing who thought that it was good to clean up the vocals, but it was a purely creative production decision to keep it this way. I recorded it with all of these effects, and it just served the nature of the song, more so than ‘Violet’, I guess, or ‘Spring’. It’s important to hear and have the lyrics or the voice more upfront. But maybe there is something in me that I’m still uncomfortable with expressing certain deeper themes.

Is that something you’re conscious of when it’s just words on a page, before you weave a song around them?

I generally always start with guitar and voice; I wouldn’t start with words. So I’d start first with the guitar melody, and after I’ll work out the lyrics. It just depends on the style of song I’m writing. ‘Trip’ was obviously more of a ballad-y kind of tune. ‘Halo’ was drenched in reverb when I was demoing it. Generally just whatever happens from the start, it kinda ends up going that way. There’s always a magic in the first take that when I try to go back and change it, for certain songs, it doesn’t really work. Whereas things like ‘Projections’ – I’m indebted to people who worked on it with me, like Finn [Carraher McDonald] and Henry, because it evolved from the demo hugely. That was a nice part of the process with Luster – I could only take things to a certain stage, and it was brilliant to work with people to see where things could go. 

One thing that makes the record not feel so insular, but rather inviting, is that you sing about everything that is inviting you to be a part of your surroundings, to dig through the core. That’s a thread that you draw across the album, seeing what’s hidden beneath the surface. What makes you curious about the ways the world is, not just not what it seems, but inexplicably more than that? 

Maybe that’s one thing from spending more time in Connemara. I was definitely reading a lot John O’Donohue, The Invisible World, and those kinds of thresholds. I suppose it was just coming through me from being there and having time.

Is there a part of that perspective that you’ve carried over into your life now, especially as you take these songs on tour?

Just looking, you know, keeping your eyes open. Even if you’re in the city, you can still see something beautiful somewhere. I remember there was a line by this artist, Dorothy Cross, that lives in Connemara. She’s incredible, and there was a quote from her, which came from Joseph Beuys. She said, “To be of it, to be in it, not to be looking at it.” And they were talking about the bug and the earth. And she was saying, “I want to be in it – in it physically,” like, “I don’t want to just paint beautiful landscapes.” She finds things that are washed up in the sea, like shark skin, things that maybe people don’t find as interesting. I remember that stuck with me for a long time. I suppose taking your time – I was feeling that there. I’m trying to carry that. It’s definitely harder for us all on tour, to have that grounding. [laughs] But we’re trying. 

I like that quote. There is a lot of into with this record – I guess that’s the yearning.

And it’s universal, I suppose. It’s not just about one specific place. 

This interview has been edited and condensed for clarity and length. 

Maria Somerville’s Luster is out now via 4AD.

1...108109110...1,720Page 109 of 1,720

Quick Access

Our Culture

Helpful

© 2025 Our Culture Mag Limited. All rights reserved. Use of this site constitutes acceptance of our User Agreement (updated 2/1/2025) and Privacy Policy and Cookie Statement (updated 2/1/2025). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Our Culture Mag Limited.