The Great Vinyl Reversal

So, can we just pause for a second and talk about this wild world we live in? I swear, every time I think I have a handle on pop culture, it does a 180 and leaves me standing here scratching my head. You asked if vinyl records are really, truly making a comeback, and my honest-to-goodness reaction is: Wait, what? Like, I get that everything eventually comes back—hello, low-rise jeans, which I’m still internally screaming about—but records? That’s a format I personally sent off with a little tear and a “see you never” back in the day.

My Personal Media Journey (Vinyl to CD to Cloud)

I had this monster collection, you know? Probably five hundred or more albums stacked up in those flimsy particle-board shelves that always sagged in the middle. The whole ceremony of pulling out the record, dropping the needle, the little crackling sound as the music started—it was a whole thing. But then, the CD arrived. Suddenly, I had these sleek, shiny discs, and I could skip tracks without lifting my entire arm! No dust! No warping! I spent months converting my entire music life, tossing those big, space-sucking vinyls and replacing them with towering, narrow CD racks that I thought were the absolute epitome of organization. I even convinced myself the “perfect digital sound” was better. I had feelings of superiority, I’m not gonna lie, looking at people still messing with their bulky turntables.

And then, as is the way of the universe, CDs became obsolete, too. Next stop: streaming. Instant access to everything, always. My entire music library now lives in a cloud somewhere, existing purely as ones and zeroes. It’s fantastic for convenience, but you’re right, it feels a little… unreal. It’s like owning a postcard of the Mona Lisa instead of the actual painting.

The Streaming Anxiety is Real

I have definitely felt that little clutch of fear when I’m reminded that my 100-hour-long, perfectly curated playlist of obscure 90s indie tracks could vanish overnight because some licensing agreement went sideways. It happens all the time! We spend all this time building these little digital homes for our music, and they are basically built on quicksand. That’s a serious bummer. It’s a very real concern when you don’t actually own the stuff; it just lives on someone else’s server, like a digital houseguest who could be evicted at any moment.

The Return of Physical Media (Both Kinds!)

But now, the pendulum is swinging back! I was looking on Orville Peck’s site recently—you know I love a good fringed mask—and saw that his new album is being released on both vinyl and CD. A double-whammy of physical media nostalgia! I mean, I genuinely didn’t even know you could buy a new record player anymore, let alone that they are apparently being snapped up by a whole new generation who think the “retro-ness” is cool. I guess the whole ceremony of listening is back. It forces you to sit down, look at the giant cover art—which is a form of artwork in itself, let’s be real—and actually listen to the album as a complete piece of work, not just a bunch of songs shuffled around.

Why CDs Are Staging a Coup

And yes, people are buying CDs again! The cost of a new vinyl release can be seriously steep, and honestly, the sheer volume of old CDs floating around means they are ridiculously cheap to pick up secondhand. It’s physical, it’s permanent, and if you’re one of those people who believes the uncompressed sound is superior—and many audiophiles do feel that deep, resonant sound of the CD can’t be matched by streaming—then it’s a total win. Plus, you get those awesome booklets with the lyrics and the thank you notes. It’s a physical memory of the music you love, and I think that’s what we were missing in the age of all-digital, all-the-time. There’s something so satisfying about holding your favorite album in your hands. It connects you to the art in a way tapping a phone screen just doesn’t.

Full Circle and Ready to Spin

So, here we are: after ditching vinyl for CD, and CD for streaming, we are looping back to… owning things! The human desire for a tangible, holdable object, especially when it comes to art, is apparently hard-wired. It makes me feel a little less crazy for still buying actual paper books. I guess I need to start budgeting for a turntable and figuring out where I’m going to put the racks, because this full-circle moment in music history is actually kind of charming.

I’ve been sitting on this for a while, kind of like when you know you’re going to leave someone but you keep waiting for a sign, or a horoscope, or maybe a nudge from the universe. But nothing dramatic happened—no big betrayal, no yelling match—just this steady drip of “ugh, seriously?” every time I opened another New York Times article over the past year. And now here I am, officially canceling my subscription and wandering off with The Guardian like someone craving better company.

The Slow Fade-Out

I’ll be honest: I hung on to the Times longer than I should have. Partly because it’s the Times, and partly because canceling anything online is weirdly annoying. You know those websites that hide the cancellation button like it’s a national security secret? Yeah. That.

But the real issue was the vibe—this persistent smoothing-over of Trump and the general political mess, like everyone should stay calm and treat the whole thing like a mild policy disagreement instead of…well, what it is. Every time they framed something as “unusual behavior” or “unexpected rhetoric,” I’d squint at the screen the same way I look at a bad Yelp review for a restaurant I know is terrible. You know exactly what’s going on—you just don’t trust the wording.

There’s this term people throw around: sane-washing. And wow, did I start noticing it everywhere. It’s like watching someone try to pretty-up a raw onion. Sure, call it “rustic” all you want, but we both know it still stings your eyes.

My Breaking Point Was… Everything

There wasn’t a single moment when I said, “Alright, that’s it.” It was more like a collection of sensory annoyances: the taste of lukewarm coffee while skimming headlines that tiptoed around what should’ve been bold statements; the feeling of my shoulders tensing every time an article gently massaged a political talking point into a bland, palatable lump; the quiet little exhale I’d make whenever I clicked over to The Guardian and felt like I could actually breathe again.

And then there was the bigger thing—the trust piece. Somewhere along the way, I realized I just didn’t trust mainstream outlets anymore. Not for the stuff that actually matters to me. Everything started sounding…polished in a way that makes me suspicious. Like someone dusted the truth with powdered sugar right before handing it over. I don’t need powdered sugar. I want the weird, slightly lumpy batter underneath—the one that hasn’t been smoothed into a PR-friendly pancake.

Why The Guardian Gets to Stay

The Guardian feels like a friend who shows up at your door with takeout and says, “Okay, let’s talk about this mess.” There’s an energy to it that I actually connect with—sharp, but without trying to scare me; grounded, but not resigned; passionate without slipping into ranting uncle territory.

Plus, they’re not afraid to call things what they are. No tiptoeing. No sugar dusting. No “maybe this is perfectly normal if you squint hard enough.” Just actual reporting that doesn’t make me want to roll my eyes so hard I strain something.

And yeah, sometimes I disagree with them—but I trust them more. That says a lot.

My Move to Indie Media

I’ve been drifting toward indie media for a while now, probably the same way people drift toward small cafés when the giant coffee chains start tasting like burnt cardboard. There’s something refreshing about outlets run by actual humans who don’t have eleven layers of corporate varnish over their words.

The voices feel clearer. The motives feel less tangled. And there’s a sincerity there—sometimes messy, sometimes ranty, sometimes oddly charming—that feels more honest than anything I’ve gotten from the mainstream press lately.

It’s like eating vegetables from your neighbor’s garden instead of the supermarket. They may look a little crooked, but at least you know they weren’t grown in a vat under a fluorescent light.

So… Goodbye, Times

I thought I’d feel guilty canceling, but I honestly don’t. I feel kind of…relieved? Like I cleaned out a closet that’s been annoying me forever and finally let go of a jacket I never liked in the first place.

The Guardian stays. Indie media stays. My sanity stays.

The Times goes.

And you know what? I think this is going to be a much healthier year for me—newswise, at least.

You know I had to talk about this one! I finally caught the sequel to Mascarpone, and while it was definitely worth watching, my brain is still processing that it didn’t quite give me the same rush as the original. Get ready, because we’re talking about Antonio (my swoony boy!) and his messy, messy love life.

Quick Info:

Title: Mascarpone: The Rainbow Cake (Original: Maschile Plurale)
Year: 2024
Directed by: Alessandro Guida and Matteo Pilati
Staring (Main actors): Giancarlo Commare (Antonio), Gianmarco Saurino (Luca), Michela Giraud (Cristina)
Where I watched it: HereTV

Queer-o-Metter

🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈 (Yeah, this one is maxed out. It’s a beautifully, sometimes painfully, gay film about identity and dating as an adult. The chaotic queer energy is strong.)

One Line Summary

The newly self-assured baker Antonio learns that being hot and single is great, but getting over your ex is a whole different type of emotional trauma—especially when said ex shows back up looking amazing and annoyingly happy.

Standout Scene

Okay, there’s this one moment where Antonio and Luca actually talk—like, truly talk—in what feels like forever. It’s not some dramatic fight, just this quiet, desperate conversation about what they used to be and what they’ve become. Giancarlo Commare’s face just melts with regret and yearning. You can almost feel the air go thin. I was like, “Ugh, this is why I need to stop texting people from 2018.” The cinematography was gorgeous, too; the light was all soft and moody. Seriously, that scene is going to stick with me.

Favorite Line:

“For me, loving means choosing, it doesn’t mean collecting.”

Plot Summary

So, we pick up with Antonio living his best life! He’s a successful pastry chef now, running the gorgeous bakery he opened in the first movie, and he’s finally confident in who he is after his big breakup. He’s dating, he’s thriving, you know the drill. But life is never that simple, right? His old flame, Luca (Gianmarco Saurino), the one Antonio was totally obsessed with, shows up again. This brings all the old feelings rushing back, and Antonio, who thought he was over it, completely loses his equilibrium.

The movie then follows Antonio as he tries to figure out if he should fight for the past he idealized or embrace the future he’s building. He’s also trying to navigate his friendships, especially with his straight friend, Cristina (Michela Giraud), who is, honestly, the voice of reason and also the queen of sass. It’s all about second chances—or realizing that some things are meant to stay beautiful memories. It’s emotional, but also funny, because Antonio is just such a disaster sometimes.

Would I Rewatch?

Maybe — with wine.

Review

Let me just say, I had high hopes for this one because I truly loved the first Mascarpone. And honestly? While it was entertaining and definitely worth the ticket price, I just don’t think the sequel had the same unique magic as the original. The first film was about Antonio’s internal rediscovery, and it felt so fresh and personal. This one, while emotional, sometimes felt like it was treading familiar ground, and I missed that feeling of total immersion I had before.

That said, Giancarlo Commare as Antonio is still absolutely swoon-worthy. He’s got this incredible ability to show immense vulnerability without needing huge dramatic scenes. You can see the shift from the confident, stylish baker to the panicked, insecure ex-boyfriend just in the way he holds his shoulders. I truly felt his ache. It’s tough watching a character you love make all the wrong moves because they are scared of being alone, you know?

Gianmarco Saurino as Luca is also fantastic. He plays Luca with this quiet strength. Luca isn’t the villain; he’s just a person who had to move on, and his return forces Antonio to finally grow up. The chemistry between them? Still fantastic. But I just couldn’t shake the feeling that the plot spent a little too much time circling back to old hurts.

Cristina, his sidekick, is the comedic relief and the essential tough-love provider, though. Michela Giraud is just hilarious; every time she’s on screen, I breathe a sigh of relief because I know she’s about to give Antonio a dose of reality. The movie is real—it’s about choosing yourself and your future—but the original just did it better for me.

Final Thoughts

Go watch this! Seriously, it’s entertaining and definitely a must-see for fans of the first film, especially just to see swoony Antonio again. It made me laugh, it made me tear up a bit, and it made me want to bake a giant, brightly colored cake. It’s a solid flick about adulting and emotional maturity, but it’s not the masterpiece its predecessor was. Love the Italian cinema aesthetic, though—everything still looks so vibrant and a little bittersweet.

The Cinema Club Verdict:

⭐⭐⭐ – I’m docking two full stars because it didn’t have the unique magic, emotional punch, or fresh narrative drive of the original. Still a fun watch, though!

If you’ve seen Mascarpone: The Rainbow Cake — or have a film I need to add to my queue — let me know in the comments or yell at me on BlueSky