Angelica Jade Bastién: The Viper Slut

Finding a journalist to look up to can be challenging. For me, I tend to connect with writers who take a more creative and lyrical approach to their work, ones who make journalism feel like an art form.

That’s why I admire Angelica Jade Bastién.

Angelica Jade Bastién, critic at Vulture, is
celebrated for her fearless, deeply personal
writing that challenges conventional narratives
in film and television.

Bastién is a culture writer and film/TV critic, best known for her work with Vulture, where she covers everything from classic Hollywood to contemporary prestige TV. One of the things I love most about her writing is how poetic it feels while still delivering sharp, insightful criticism. Her style is rich and expressive, blending personal reflection with deep analysis.

I wasn't too surprised to find out that she's also a fiction writer, as am I. 

I’ve always been drawn to pop culture and Hollywood when it comes to opinion writing, and Bastién is a great example of how to do it well. She doesn’t just review films; she digs into their lasting influence, the psychology of performances, and the larger issues that shape them. Whether she’s analyzing classic Hollywood or topics like representation and diversity, her work goes beyond surface-level.

For example, in an episode of This Movie Changed Me, Bastién talks about the personal significance of the 1942 film Now, Voyager. She describes how its portrayal of mental illness resonates with her own experiences, showing how film can be both art and sanctuary. I love how she brings such a personal, layered approach to her criticism; it makes her work feel even more impactful.

As a journalism major, it’s no surprise that I love writing, but beyond journalistic writing, creative writing is also a big part of my life. I write poetry and short stories in my free time, which is probably why Bastién’s style speaks to me more than most. She proves that journalism can be both analytical and artistic, and Vulture is the perfect place for that kind of writing.

And you’ll never guess her nickname, but of course, I’m going to tell you. Bastién sometimes goes by ‘Viper Slut,’ calling herself a ‘writer of the real and unreal. A woman of fire and music.’ It’s on the bold side, but honestly, it fits. Her writing is sharp, passionate, and willing to push boundaries, just like her nickname suggests.

Vulture gives writers a space to have strong personal voices, balancing entertainment coverage with deeper, more serious takes. It’s also known for its sharp, sometimes controversial takes, which makes it a great fit for Bastién’s bold and inward-looking style.

Her ability to combine deep analysis with creative expression is something I really admire. In the future, I hope to develop a voice as strong and confident as hers, one that blends storytelling with journalism in a way that feels both meaningful and uniquely my own. 

Jojo Siwa’s Cringe Era: From Kid Star to Try-Hard

Jojo Siwa wants to be taken seriously, but her desperate attempt at reinvention is anything but serious.

Jojo Siwa through the eras.

Siwa built her brand as a child star, and for a while, she owned it. But then, the inevitable child star ego kicked in, and suddenly, making music for little kids wasn’t her thing anymore. A few years ago, I might have said she was an inspiration, a role model for young girls. Now? Every time she pops up on my phone, I feel an overwhelming urge to chuck it across the room.

If you’re wondering why, then you clearly haven’t seen the train wreck that is Siwa’s media presence over the past year.

And if you think I’m being dramatic, just listen to what she has to say about herself:

"I will never claim to be a singer, but I will claim to be an artist. I am giving the world art, and they might not like it, they might hate it, but they're enjoying it," Siwa said on Call Her Daddy. "And it's become a bit of a guilty pleasure for everyone."

Following the end of her Nickelodeon contract, Siwa finally had full creative control over her music and she took it in a drastically different direction. She went from singing about resilience and self-empowerment to releasing raunchy relationship songs, leaning heavily into a newfound (and frankly, unwanted) sexual persona.

Siwa still performs songs for her younger fans, like Boomerang and Every Girl’s a Super Girl, but now, she’s also pushing out tracks like Karma and Guilty Pleasure—songs she performs while grabbing her crotch and grinding on girls for the entirety of the set. And she does it knowing full well that many of her listeners are still kids.

Siwa drinks from a Titos bottle

during a performance.

But according to Siwa, this transformation was all part of the plan.

“I've seen people before me make this transition, I've seen how much I loved it, and I've seen also how much the world has criticized us, so I am ready for that," she said. "One thing that I think no one's done is given the heads-up."

Siwa flooded social media with content leading up to her new music, almost daring the public to believe she could be the next breakout diva. But she was sorely mistaken. Instead of the reinvention people wanted, she delivered a version of herself no one asked for. And yet, the backlash and controversy seem to be exactly what she was aiming for—a moment in the spotlight, whether she stands in it or merely lurks in its shadows.

One thing is certain: the spotlight will stay on her, but not in the way anyone ever expected.