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Are We Falling Out of Love with Dating Apps? A Look at Changing Online Relationship Habits

Between 2023 and 2024, an estimated 1.4 million people left dating apps. Many of those did so because they saw the apps as ‘a chore’ or ‘like admin’, rather than a way of finding love. 

During the same period, the top 10 most popular dating apps saw a 16% drop in use. Of these, Tinder saw the biggest loss, with more than half a million users abandoning the platform. This was followed by Bumble (-368,000 users) and Hinge (-131,000 users).

Why We’re Abandoning Apps 

It looks like we’re falling out of love with dating apps for a variety of reasons, including a sense of detachment from reality and fatigue at the process (particularly repeated conversations). 

Researchers from the University of Leeds believe that rather than being an exciting place to visit, these apps have actually become tedious, with many users seeing them as a chore. As a result, instead of developing meaningful connections, users instead feel like they’re doing admin. 

But LGBT+ Apps See Growth 

However, although the appetite for straight dating is undoubtedly fading, queer-oriented apps are still going strong. While Grindr and Squirt experienced drops in usership, these drops were much smaller than the ones seen in straight apps. Similarly, the only app that saw an increase in usership was Scruff, an app for men seeking men. 

Researchers believe that, in the queer community, the continued use of dating apps shows that the apps are still incredibly accessible for those who may not feel safe being visible or ‘out’ in physical queer spaces. Similarly, it’s also thought that the apps are very effective at allowing people to experiment with their sexuality and better understand their preferences. 

This is particularly the case for people who are questioning their sexuality and need a space to experiment outside of hetronormative spaces. The same can also be said for gay chat lines, which have also become popular in the last few years, in part due to the sense of anonymity they provide. 

What’s the Future of Online Dating? 

Although the popularity of online dating apps is undoubtedly fading, they retain a strong user base. After all, the 10 most popular dating apps in 2024 were still used by more than seven million people! 

As a result, it’s clear that dating apps aren’t going anywhere. However, it’s also apparent that these apps must reinvent themselves and offer something different to users. Otherwise, their user base will continue to dwindle. 

Looking to the future, these apps need to make the experience they offer feel both different and real to users. Otherwise, they will continue to look elsewhere.

Xiu Xiu Cover Daniel Johnston, Talking Heads, Robyn, and More on New Album

Xiu Xiu have announced announce new covers album, Xiu Mutha Fuckin’ Xiu: Vol. 1, which is slated for release on January 16 on Polyvinyl. Today’s announcement is accompanied by the band’s renditions of ‘Cherry Bomb’ by The Runaways and ‘Some Things Last a Long Time’ by Daniel Johnston. Take a listen below.

This is the band’s third album of covers, following 2013’s Nina and 2016’s Plays the Music of Twin Peaks. It also sees them tackling songs by Glorilla, Robyn, Talking Heads, and more. “We have a long history of doing covers and have done 3 albums of covers,” Jamie Stewart explained. “The enduring and basic throughline with all of them is an attempt to say thank you to those songs. They are all in one way or another pieces of music that have moved us and exploring them in a deep way is a small honorific offering to the muse that created them. We never approach them thinking ‘How can we improve these’ but really “What can we learn from these?’”

Commenting on today’s covers, they added: “Unexpectedly I (forgive this melodramatic admission) cried while singing the Daniel Johnston song. If there ever were a sincere and wounded voice in the world it is his. I love Joan Jett and I love being bad and this song is all about both.”

Xiu Mutha Fuckin’ Xiu: Vol. 1 Cover Artwork:

Cover art

Xiu Mutha Fuckin’ Xiu: Vol. 1 Tracklist:

1. Psycho Killer [Talking Heads]
2. Warm Leatherette [The Normal / Grace Jones]
3. I Put a Spell on You [Screamin’ Jay Hawkins]
4. Hamburger Lady [Throbbing Gristle]
5. In Dreams [Roy Orbison]
6. Sex Dwarf [Soft Cell]
7. Dancing on My Own [Robyn]
8. SPQR [This Heat]
9. Lick or Sum [GloRilla]
10. Some Things Last a Long Time [Daniel Johnston]
11. Triple Sun [Coil]
12. Cherry Bomb [The Runaways]

Ratboys Share New Single ‘What’s Right?’

Ratboys have shared a new single, ‘What’s Right?’, from their forthcoming album Singin’ to an Empty Chair. Following previous singles ‘Anywhere’ and  ‘Light Night Mountains All That’, it comes paired with a video made by the band’s own Marcus Nucci. Check it out below.

“We approached this song like an experiment in the studio, stitching together three different drum performances, in three different-sounding environments, to guide us through some dramatic scene changes within the song,” Julia Steiner said in a statement. “We referenced the tight, yet expansive sonics of The War On Drugs and the desert landscapes of Thelma and Louise. The back half of the song came to me in a dream and remains one of the few times that I’ve had the presence of mind to record an idea immediately upon waking. Most of the lyrics and melody came out in that moment, and for that I’m still mystified and extremely grateful.”

Singin’ to an Empty Chair will be released on February 6 via New West Records. Revisit our Artist Spotlight interview with Ratboys.

Barış Köroğlu Unveils DEJAVU, a New Chapter in Immersive Dining In The West Village

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In an industry often chasing fleeting trends, visionary restaurateur (and soon to be hotelier) Barış Köroğlu (Baris Koroglu) is building an empire on the bedrock of heritage. Last month, he unveiled his latest venture, DEJAVU, a Mediterranean-American fusion restaurant and cocktail lounge in the heart of the West Village, marking the next step in his mission to redefine hospitality through cultural storytelling and immersive experience.

For Köroğlu, the journey to 394 West Street began far from New York, in the ancient, cave-etched landscape of Cappadocia, Turkey. The region’s deep layers of history, artistry, and community forged a creative sensibility that now informs every project he touches. He translates this heritage not as a relic, but as a living inspiration, blending tradition with modern innovation to create spaces that resonate on a global scale.

“Guests today seek more than a meal; they seek meaning, connection, and a story,” says Köroğlu. “My vision is to build bridges between cultures, reminding people that hospitality is, at its heart, about human connection.”

Baris Korogly

Köroğlu is no stranger to shaping NYC’s social scene. Over two decades, he has cemented his reputation as a tastemaker through roles as Promotional Director at Paradise Club, a partner in VirgoPresent, and as co-founder of the immersive nightlife concept The Lullaby. His collaboration with NBA star Carmelo Anthony at 9 Jones further showcased his unique ability to fuse food, design, and celebrity into relevant concepts.

DEJAVU represents an evolution of this philosophy—a holistic destination where the line between refined dining and vibrant nightlife intentionally blurs. The 2,800-square-foot space is designed as a series of evolving experiences. The evening begins in the lively Emerald Room bar, transitions into the cream-toned sophistication of the 40-seat Golden Room dining area, and culminates for some in the Red Room, an intimate, 10-seat speakeasy hidden behind velvet curtains that hosts private tastings and burlesque performances on weekends.

“When guests enter DEJAVU, they are stepping into a narrative,” Köroğlu explains. “Every detail, from the lighting to the music, contributes to an immersive experience that we want to linger in the memory.”

This narrative extends to the plate. The culinary program, led by chefs with pedigrees in esteemed European and New York kitchens, merges coastal Turkish and Italian influences through a modern New York lens. The menu is a journey of refined yet approachable dishes designed to balance familiarity with surprise.

Shareable starters include the DEJAVU Burrata ($19) with Mediterranean herbs, and an homage to New York, the Pastrami Croquette ($19). Hand-rolled pastas reflect Mediterranean roots, such as the Manti Dumplings ($32)—Turkish ravioli in a velvety yogurt sauce. For indulgence, the menu offers caviar service ($95) and a luxurious Lemon Spaghetti with Caviar ($42).

The bar program, a fusion of artistry and science, is equally performance-driven. Utilizing techniques like sous-vide infusion and fat-washing, lead mixologist Turgut creations include the signature DEJAVU cocktail (white rum, lychee, yuzu, matcha foam) and the innovative Truffle Coffee Negroni.

Beyond business, Köroğlu’s vision is rooted in endurance and responsibility. A dedicated philanthropist, he supports cultural preservation efforts in his native Cappadocia, believing that success comes with a duty to steward community and legacy.

With two more projects on the horizon, Barış Köroğlu is poised to broaden his influence as one of the industry’s most forward-thinking leaders. From the mystical landscapes of Cappadocia to the vibrant streets of the West Village, he is proving that the most memorable hospitality is built not just on taste, but on a profound and authentic sense of place.

DEJAVU is located at 394 West Street, New York, NY 10014. Reservations for the Golden Room dining area and the Red Room speakeasy are available now.

Rosie Carney Announces New Album, Shares New Single ‘The Evidence’

Irish singer-songwriter Rosie Carney has announced her fourth studio album, Doomsday… Don’t Leave Me Here. The follow-up to 2022’s i wanna feel happy arrives February 27, 2026 via cool0nline. It was co-written and co-produced with Ross MacDonald of the 1975 and producer Ed Thomas (FKA twigs, Cat Burns, Amaarae) and mixed by Jonathan Gilmore (The 1975, beabadoobee, Biffy Clyro). The shimmering new single ‘The Evidence’ comes paired with a video directed by Cal McIntyre. Check it out and find the album cover and tracklist below.

Doomsday… Don’t Leave Me Here follows the previously released singles ‘Here’ and ‘Fragile Fantasy’. “It’s funny because I LOVE the production of this song, it’s so exciting to me,” Carney said in a press release. “But the song’s theme is very dystopian. It’s about that state of delirium you experience when you’re burning out but resting or being still is out of the question because it makes you feel too guilty, so you end up overexerting yourself mentally and physically. It becomes an extremely difficult cycle to break free from and everything ends up feeling like a complete fever dream. I think this is probably the boldest sounding song on the album. It set various tones for the rest of the production.”

Speaking about the album, she added:

Before Doomsday came about, I’d always wanted to try and expand my musical world. Making a sonic pivot was something I really wanted to achieve, especially as I find it really limiting to be boxed into one genre. I listen to and am influenced by so much music, so exploring a new sound has only ever been second nature to me. I’d always been anxious about creating something bigger and for some reason I wasn’t really open to doing that through collaboration until Ross, Ed and I sat down and began to weave this tapestry of musical worlds together. I learnt so much from working with both Ed and Ross, each of them brought such a grounding and inspiring energy to the studio which gave me a lot of confidence to explore and be curious. It’s funny because although the songs are essentially bigger and louder, they feel almost more personal than anything I’ve created before. The bigger sound almost worked as a shield while I was writing – It felt safer to dig deep and explore themes of grief, heartache and isolation.This album to me is like a body of armour and the softness lives protected within it.

Revisit our Artist Spotlight interview with Rosie Carney.

Doomsday… Don’t Leave Me Here Cover Artwork:

Doomsday cover

Doomsday… Don’t Leave Me Here Tracklist:

1. Everything Is Wrong
2. Here
3. In My Blue
4. Fragile Fantasy
5. Hope Like Hell
6. The Evidence
7. Down
8. Sixteen
9. Love So Blind
10. Tethered

Steve Madden Just Hopped On The Burnouts Podcast: He’s Still That Guy In Footwear

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I spent the last 45 minutes listening to a man call his customers “my girls”, need I say more? The Steve Madden sat down with former Stanford roommates Phoebe Gates (yes, Bill Gates’ daughter) and Sophia Kianni, and went full origin story, dupe culture, Mary Janes, Gen Z, and struggles. Even his tanning girl slid in the Burnouts’ Tik Tok comments section just to bless it all, talk about cult following. Here’s everything.

When Your Career Starts Because Rent Is Due

There’s nothing like a harsh wake-up call. Madden drops out of college, University of Miami, the phone rings. Not a venture capitalist, not a business angel, just his dad, telling him to figure out what he’s going to do next because the family funding was over. Brutal, but hey, we all owe him one I guess? He lands a job in a shoe store and learns everything you could learn really, which if you ask him, started with “waiting on hysterical women selling them shoes”.

At the time, he lives in small-town Lawrence, near Queens, while his friends are 21, getting their first NYC job, taking the railroad, pretending to be grownups, making fun of him for staying behind with a shoe horn sticking out of his pocket. I mean, super practical, but really?

Early Fame: Before Hashtags and Dupes, There Were Mary Janes… or Lous

The first shoe that went viral under the Madden name, was a Mary Jane, sorry, a Marylou. Early on, Madden noticed that nobody paid attention to the youth market, so naturally, he did. He tweaked the classic with some fresh little twists and the phone suddenly started ringing. Inspiration to success at its finest. There’s even a reference in “Wolf of Wall Street”. Jake Hoffman, who hung out last with Madden the day before the podcast was filmed, played him in the movie, but that came with the cost of having shoes thrown at him after 1993’s IPO during broker chaos. Glamorous, right?

The conversation went on with duping, and Madden’s hot takes were hotter than platform sandals in 2014. “I’m a f***ing pirate. In fact, I want to get a tattoo of a pirate.” Gold, literally. When it comes to designing new pieces, Madden “just has a feel for it”. He described the label as “a big stew”, stirring around the hottest luxury designs and making them their own (affordable too). Inspiration comes from the streets, back in the day, he’d stroll through the West Village, soaking in what everyone was wearing. If a shoe is walking three NYC blocks three different times, that’s basically it, but besides design, speed to market is everything to the Steve Madden company. Moral of the story is, if there’s a Gucci shoe taking over SoHo, better be sure a similar one is on the way to get the Steve Madden special.

Real CEOs Get Stress Pimples Too: Prison, Ego, Struggles

“Someone asked me yesterday, ‘What did you do? I want to be like you.’ I said I suffered a lot.” And really, that’s part of the Steve Madden story. From the 1993 IPO with Jordan Belfort’s firm, yes, the “bucket shop” scheme his childhood friends cooked up, he indeed was the product. Lesson learned though, sometimes you raise money you didn’t think you could, survive the chaos, and somehow it pays off.

Prison? Survival first, creativity maybe later. Reputation? Already questionable since 15. Ego? Constant battle. I mean, I get it, having your name tied to a multi-billion dollar empire starting from zero, surely has its ups and downs, I could imagine the fight of detaching yourself from it. I could also imagine late-night self-talks, anxiety breakouts and bad hair days, ouf.
He came back to Steve Madden, after being forced to let go, with a bunch of loyal, trusted and trusting people keeping the lights on. My favorite takeaway from this podcast would be, know what you’re not good at. It’s totally fine to suck at numbers or tech as a creative, it’s a crime not to bring in people who don’t. Hire smart, ride-or-die people. Period. Payoff comes later, and it won’t be money or success, it will be spotting a girl in your shoes in a random shared elevator. That’s CEO validation right there. Luck optional, but highly recommended.

Steve Madden, the man unofficially adopted by Gen Z, who one day just decided to go with it, is the perfect example of what happens when goals, instinct and a slightly delusional level of confidence align. Copying or not, he built an empire by watching people on the street, trusting the right ones, and surviving everything from Wall Street schemes to prison cafeterias. In a world obsessed with overnight success, he’s our proof that the real win is longevity. And let’s be honest, the true reward is still spotting a stranger in your shoes on the way to the 12th floor.

Technical Upgrades, New Features, and the Digital Reward Machines Behind Modern Video Games

Video games grow up fast. One year you are jogging through a fantasy forest punching goblins with a tree branch. The next year you are sorting through layered skill trees, seasonal currencies, prestige ranks, and technical upgrades so intricate they might require a lab coat. None of these additions dropped from the sky. They are the product of a long push toward one thing. Reward design that feels as structured and deliberate as any loyalty program, fitness app, or digital badge system.

And in the same way reviewers at casino.org/canada/ break down which online casino options feature the most innovative mechanics, players now judge games on how well their reward systems work. Not on their volume of shiny trinkets but on the quality of the loops, the pacing, the sense of meaning. If a game offers gear unlocks, skill progression, and event bonuses, it is basically building a reward economy inside the walls of a fantasy world.

What Science Says About Why These Systems Work

Here is where things get interesting. The reward structures you see in modern games line up neatly with established gamification research. A systematic mapping study of gamification mechanics found that points, levels, badges, and challenges are the core ingredients that reliably generate engagement. Nothing mystical here. Players want feedback, goals, and a sense that something new waits behind the next swing or shot.

But timing matters just as much as the reward itself. Some games hand you predictable rewards. Others use variable schedules where you never quite know what the next loot chest will give you. That unpredictability has been shown in gamification studies to increase motivation and attention. It taps into the same behavioral learning principles that drive highly engaging systems outside of gaming.

Yet here is a twist. A study comparing random and non random reward systems in video games discovered that players often prefer non random rewards because they feel more control over their progress. Predictability is not boring if it respects the player’s time. It can actually deepen engagement because players feel they earned their upgrades rather than lucked into them.

And then there is the brain itself. A longitudinal fMRI study found that video game training preserved activity in the ventral striatum. This is the part of the brain involved in reward sensitivity. In plain English, regular gameplay kept people more responsive to positive feedback.

So when players say the ding of a level up feels good, they are not exaggerating. Their neurons are literally firing in ways that agree with them.

Gear Unlocks and Skill Progression are Reward Loops Dressed in Armor

Gear unlock systems are one of the cleanest examples of structured digital rewards. You complete missions or challenges. You gain points, XP, or reputation. You hit a threshold. And then finally you unlock the weapon, armor set, or ultra specific pair of gloves that give two percent more crit damage. Gamification research shows that these systems work because they satisfy autonomy and competence. Players decide which path to take and they see visible growth when they reach the destination.

Skill trees add another layer. You invest in abilities. You watch your character become more capable. You can specialize early or spread your points like an indecisive gambler. Psychologically this creates a state known as flow where challenge and ability match up in a satisfying, occasionally addictive way.

Event bonuses change the tempo of the whole system. Limited time modes or seasonal challenges add urgency and novelty. A gamification study of freemium style reward loops found that time sensitive rewards keep people engaged far longer than permanent ones because the player feels like they might miss out.

Why These Features Keep Players Hooked

The real secret behind reward systems is simple. They work because they are built on behavioral mechanics that have been tested across fields. Daily reward systems in mobile games for example have been shown to boost retention by as much as fifty percent. Not because the rewards are large but because the habit loop forms quickly.

Rewards also change how players interact with each other. A study on incentives and social behavior found that structured rewards shape cooperation and competition in group settings. Players compare gear, chase achievements, and talk about who unlocked what. The reward is doing social work as much as mechanical work.

The surprising part is that the most engaging rewards are not always the flashiest. A predictable but meaningful reward often beats a rare but random one. Consistency builds trust. And trust keeps people logging in even after the excitement wears off.

The Complicated Side of Rewards

Reward systems can backfire. The same study that highlighted the appeal of non random rewards showed that randomness can erode the feeling of autonomy. If a player feels they are chasing luck rather than progress, engagement drops. Another review found that predictable fixed rewards can lose value over time and reduce long term engagement.

There is also an ethical line. Some reward systems resemble gambling mechanics too closely. When rewards become financially loaded or probability based, designers need to step carefully.

Why This All Matters for the Future of Games

Technical upgrades, skill systems, and event bonuses are engineered reward machines with roots in cognitive science, psychology, and gamification research. When they work well they create progression that feels personal and earned. When they are lazy or manipulative players feel it instantly.

Games now compete on the sophistication of these systems. The best systems build meaning and the rewards shape the experience. They make you care about why you are earning it.

Casino Myths That Players Still Believe

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Over​‍​‌‍​‍‌​‍​‌‍​‍‌ the last ten years, online casinos have become massively popular, attracting millions of players to a realm of slot games, roulette wheels, live dealer tables, and never-ending promotions. As this expansion took place, the old brick gambling myths that surrounded physical casinos have migrated online, while new ones have originated from social media, forums, and people’s thinking. The majority of these myths do not harm, yet a few could misguide players into making the wrong choices, incurring losses, or forming fallacious notions about the workings of online gaming. It is quite essential for a person who wishes to enjoy a more balanced and sagacious online casino ​‍​‌‍​‍‌​‍​‌‍​‍‌experience to distinguish the authentic from the mere ​‍​‌‍​‍‌​‍​‌‍​‍‌superstitions.

Myth 1: Online Casinos Are Rigged Against Players

This​‍​‌‍​‍‌​‍​‌‍​‍‌ is the most common belief, and it has been around since the first digital casinos were made. The idea that platforms secretly adjust odds, control results, or manipulate games stems from a fundamental misunderstanding of how regulated gambling works. Best online casinos Solomon Islands use Random Number Generators or RNGs, which are the sources of the most independent and unpredictable result of any spin, card, or roll. These systems are regularly audited by third-party regulators such as eCOGRA, iTech Labs, and GLI. If a real casino is found to be manipulating the results, it will have its license revoked immediately and be liable to pay numerous legal penalties.

However, players sometimes mistake manipulation for variance. Losing streaks can be so close to the skin that one can even feel them as personal, especially when they come up right after depositing money. But randomness does not serve or favor any emotions. If you are on a hot streak or hitting loss after loss, the results are still determined by mathematical probability. The casino already has a built-in house advantage; it does not have to cheat to make money.

Myth 2: Slot Machines “Warm Up” and Pay Out After a Long Dry Run

Isn’t​‍​‌‍​‍‌​‍​‌‍​‍‌ it a fact that one of the oldest myths around casinos is the idea that machines become ‘due’ for a payout? Still, numerous players believe that this concept can be transferred to online slots, hence they keep looking for the game about to burst with a big win in the offline branch. This misconception overlooks the fact of RNG (Random Number Generator) technology.

Every time a slot—whether online or on a land-based casino—is played, the result is totally different from all the previous ones. There is no memory, no buildup, and no internal pressure to release a significant win.

Some​‍​‌‍​‍‌​‍​‌‍​‍‌ gamers even try to find exact patterns, for instance, a slot machine that is said to give more bonus rounds during certain hours or days. Nevertheless, the reality is that it is the number of players that varies, not the machine’s performance. If many people are playing at the same time, then the chance of a jackpot occurrence is higher simply due to a greater number of spins and not because the slot is being ​‍​‌‍​‍‌​‍​‌‍​‍‌’kind’.

It is impossible for a cold slot to turn into a hot one over time, and a hot slot can be turned cold by the very next ​‍​‌‍​‍‌​‍​‌‍​‍‌spin.

Myth 3: Using a “System” Guarantees a Win in Games Like Roulette or Blackjack

Online​‍​‌‍​‍‌​‍​‌‍​‍‌ gamblers are really into strategies, and there is nothing wrong with that as they try to improve their odds. However, the myth that betting systems such as Martingale, Fibonacci, or Labouchère can guarantee profits is still mainly being held. These systems might be instrumental in bankroll management or in creating a temporary streak, but they cannot overpower the house edge that is built into the game.

Casinos determine maximum bet limits in order to stop players from using doubling systems to their advantage. For instance, if a player doubles after every loss in roulette, a long losing streak will either exhaust the player’s bankroll or cause them to reach the table limit.

In blackjack, as card counting will be complicated, if not impossible, online. Random Number Generator (RNG) based blackjack reshuffles the virtual deck after every hand, and live-dealer blackjack uses continuous shuffling machines. The notion that players can use systems to regularly outsmart the house disregards the mathematical reality: one can only make their chances better but consistent wins cannot be ​‍​‌‍​‍‌​‍​‌‍​‍‌guaranteed.

The Miniature Art Trend No One Saw Coming

A new wave of creative expression is emerging in digital culture, and it is arriving in the form of tiny, handcrafted worlds. Miniature art kits, once considered a niche hobby, are now reaching a wider audience of designers, gamers, builders, and creatives who are looking for something more tactile in an increasingly virtual landscape.

One of the brands driving this shift is Anavrin, known for its detailed book nooks. Their miniature scenes recreate atmospheric locations in a way that feels both artistic and immersive, and they have gained attention across online creative communities.

A Return to Hands-On Creativity

Part of the appeal comes from a growing desire to step away from screens and return to hands-on making. Miniature kits allow builders to assemble architectural details, layered textures, and LED-lit scenes that feel like tiny dioramas. The process blends the satisfaction of DIY with the visual impact of finished art.

For artists and hobbyists, these kits provide an accessible way to explore worldbuilding without the complexity of 3D software or digital illustration. Each piece is constructed through focused, mindful steps that mirror traditional crafts such as model building and set design.

Where Art, Gaming, and Design Overlap

Miniature kits have also found a natural overlap with gaming culture. Builders compare the experience to creating environments inside role-playing games, except with physical materials instead of digital tools. The final result feels like something taken straight from a fantasy map, a manga panel, or a cinematic cutscene.

Designers and architects see them as compact studies in lighting, scale, and spatial storytelling. For creatives who enjoy working between disciplines, these miniature scenes offer a unique way to explore visual worldbuilding on a small scale.

A Growing Community

Social platforms and maker forums have played a major role in the trend’s rise. Videos showcasing intricate miniatures attract thousands of views, and creators often share progress shots, mods, and customised builds. The community celebrates both artistic precision and personal interpretation, making it a welcoming space for beginners and experienced builders alike.

What started as a niche interest has grown into a visible movement, supported by a mix of hobbyists, collectors, designers, and fans of storytelling.

Why Miniature Art is Resonating

This trend reflects a broader cultural shift. Many people are looking for creative outlets that feel grounding and personal. Miniature kits offer a blend of nostalgia, craftsmanship, and modern design that aligns with these values.

They also function as decor once completed. Whether displayed on a bookshelf, desk, or studio shelf, these tiny scenes serve as conversation pieces that represent hours of focused creativity.

A Trend With Staying Power

As interest in creative hobbies continues to grow, miniature art kits are well-positioned to remain part of the culture. They offer a balance of challenge and creativity, and they appeal to audiences across gaming, design, craft, and home decor.

For many creators, the appeal is simple. In a world filled with digital noise, there is something refreshing about building a small, detailed universe by hand.

Review: Woman (1948)

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Keisuke Kinoshita’s 1948 melodrama Woman opens with a chorus of dance hall performers professing through song a desire to fall madly in love. Among the dancers is a former salesgirl named Toshiko (Mitsuko Mito), whose criminal boyfriend Tadashi (Eitaro Ozawa) shows up backstage, instructs her to meet him the next day, and marches off with a newly gained limp. The picture ends on a nearly identical note, with the same revue company performing the same number. However, there’s a crucial difference. Before going on stage, Toshiko meets with her cohorts to issue the following advice: “You can’t fall for someone just because he loves you. If he’s a bad person, you must despise him whatever the situation.” Between these bookends is the day that prompted her to make her declaration, a day wherein she underwent the pain necessary to escape the man who’d long brought misery into her life.

Woman was Kinoshita’s ninth directorial effort and his fifth in the postwar era. Like many Japanese pictures of its age, it’s headed by characters responding to the social conditions that spawned from their country’s devastation. At the time of the picture’s release, 2-4% of Japanese lived in “temporary housing” typically comprised of scrap lumber, sheets of metal, and marsh reed screens. Food shortage and unemployment had metastasized, and crime (organized and not) was endemic to the point that a magazine editorial quipped, “The Only People Not Living Illegally Are Those in Jail.” Woman takes this historic framework and sets within it a two-person story—Toshiko’s lover is a war veteran with a history of theft and extortion—and places heavy emphasis on character psychology.

The story, written and directed by Kinoshita, is told almost entirely from Toshiko’s perspective and takes time cluing both her and the viewer into the drama. While on the train to meet Tadashi, our heroine glimpses a fellow passenger’s newspaper and—upon it—a headline regarding a robbery. Thinking nothing of it, she disembarks at Okayama Station and encounters two of her lover’s associates. But it’s not until she rendezvouses with Tadashi and observes the manner in which he studies a copy of the aforementioned news story—about how a wealthy family and two house servants were robbed at knifepoint—that she realizes he’s committed his most barbarous crime yet. We also learn that, in the past, Tadashi persuaded Toshiko to leave her store job and work in a dance hall, and that he’s regularly depended on her for money.

Toshiko gives up her initial plea to end the relationship when the conman insists he can change. Tadashi breaks into the spiel of a man claiming to have been betrayed by society: how he began life as a child like any other; how he was misled into fighting in a war; how he came to feel his country rejected him. But even though Toshiko falls for his speech and promises, director Kinoshita reveals to us—but not to her—that it’s an act. In close-ups, we see Tadashi pause mid-speech to thrust quick sideways glances at his girlfriend, gauging the success of his manipulation. The viewer realizes Tadashi is an immoral person using the war and postwar conditions to excuse crimes he’s not ashamed of. (Incidentally, my only reservation with this scene is that Kinoshita doesn’t round out the postwar theme by attributing Tadashi’s limp to a war injury; instead, it’s implied to be the result of having been shot by a policeman. At the same time, I wonder if the director made this choice simply to avoid repeating himself, as he’d already depicted a disabled veteran in 1946’s The Girl I Loved.)

Only after the couple reaches the seaside community of Atami does Toshiko see through Tadashi’s lies, which culminates in him threatening to stab her. Despite the blade pointed in her direction, Toshiko verbally lashes out. “You’re a pickpocket, a thief, and a liar.” “You’re trying to manipulate my feelings.” Claustrophobically taut shots of Toshiko showcase her eyes: once tear-soaked, now burning with anger. Her voice on the soundtrack—formerly morose—manifests in terse words conveying hatred. No longer does she beg to part ways; she makes it clear it will be so. In addition to close-ups, Kinoshita employs a filmmaking tactic favored by his contemporary Akira Kurosawa: using crowds and the environment to accentuate the mood of a scene. (Our heroine runs from Tadashi while Atami citizens stampede toward the coast to put out a fire—emotional chaos supplemented by literal chaos.) And while Toshiko’s lost faith in her lover, an earlier profession of hers—that postwar society has good people in it—is proven when the authorities and citizens save her from Tadashi.

As indicated in the above synopsis, Woman is a small story with just two primary characters and a limited number of sequences. Such material might seem better suited to the length of a short film but here remains gripping thanks to splendid performances and the efforts of a resourceful, often inventive director. Kinoshita’s wise choices begin with keeping the story brisk (a mere sixty-seven minutes), and he maintains visual interest via witty cinematography and editing: quick cuts, close-ups capturing minutiae (e.g., Tadashi’s hands on Toshiko as they hitch a ride to Atami). Early scenes feature lighting technician Ryozo Toyoshima devising startling images reminiscent of film noir, with shadows plastered on walls and dark figures strolling about corridors. As Tadashi, Eitaro Ozawa even resembles a Hollywood gangster: sneering beneath his fedora and dragging his girlfriend around like luggage. His performance is good, though it’s appropriately Mitsuko Mito who steals the show as a woman crumbling under stress before learning to stand up for herself.

The opening credits state Woman was completed in February 1947, though it wasn’t released until April the following year. I have no insight into the matter, but perhaps Japan’s postwar American Occupation authorities (who for years censored domestic movies in both pre- and post-production) gave Kinoshita’s script a pass but quibbled with the finished product. If so, I wonder if objections stemmed from Tadashi having been a soldier, as the Occupation favored stories about servicemen productively reintegrating into society. (Though, as Kyoko Hirano demonstrates in her sublime book Mr. Smith Goes to Tokyo: Japanese Cinema Under the American Occupation, 1945-1952, the censors were selective in enforcing their own rules.) The picture, to my eye, doesn’t show signs of last-minute excisions—like, say, Kozaburo Yoshimura’s Temptation (1948)—so my speculation is that run-ins with the authorities, if they occurred, simply resulted in a stalled release.

Woman is notably unhappy compared to Kinoshita’s previous postwar movies—Morning for the Osone Family (1946), The Girl I Loved (1946), Phoenix (1947), and Marriage (1947)—the protagonists of whom endured varying degrees of suffering (sometimes also at the hands of tyrannical people) but emerged with some degree of fulfillment. (Phoenix’s heroine loses her soulmate to war but gains the acceptance of a father-in-law; the protagonist of The Girl I Loved doesn’t marry the person he wants but is grateful to remain a part of her life.) By contrast, Mitsuko Mito’s heroine in Woman survives her ordeal, but her attitude at the end is bleak; the story wraps with her marching off to perform a romantic song-and-dance number, but she herself displays no indication of even wanting bliss moving forward. Earlier Kinoshita films looked toward or even presented the future with optimism; Woman ends cynically in the present and, on that note, constitutes an interesting outlier in this phase of the director’s career.

Bibliography:

  1. Dore, R.P. City Life in Japan: A Study of a Tokyo Ward. Berkeley: University of California Press, 1959
  2. Hirano, Kyoko. Smith Goes to Tokyo: Japanese Cinema Under the American Occupation, 1945-1952. Washington, D.C.: Smithsonian Institution Press, 1992
  3. Prince, Stephen. Audio commentary for Stray Dog. (Criterion Collection DVD), recorded in 2003