Picking up right where the first film ends, Culpa Tuya pushes Nick and Noah deeper into infatuation, while their parents, William and Rafaella, attempt to drive a wedge between the step-siblings. Enter Sofia—a seductive and ‘more suitable’ match for Nick—and the tension escalates as Noah struggles with the emotional toll of his long-distance relationship. But the drama doesn’t stop here: lingering personal trauma and vengeful figures from their past add further strain to the couple’s bond.

Despite its label as a young adult romantic drama, the Culpa series seems to grapple with genre identity. Where Culpa Mia leaned into erotic territory, this sequel’s intimate scenes feel less organic, much like Noah’s tenuous relationship with her university counsellor, Michael. The thriller elements, teased in the first film through Noah’s menacing father, expand in the sequel with the arrival of Nick’s obsessive ex-girlfriend and estranged biological mother. Yet, the film never fully commits to any of these genres, opting instead to flirt with each one without anchoring itself in any. Perhaps, in embodying the unpredictability of Gen Z relationships—where infidelity feels almost inevitable—it stays truest to its young adult roots.

With interesting subplots and conflicts being created from all ends, Culpa Tuya errs a little too much on the side of caution. At the end, it still only manages to do what all other romantic dramas do, which is throw a spanner into a smooth-sailing relationship. The lead pair keep doubting each other while fighting their own demons, but not once do they try to understand their respective trauma. The continued use of ‘baby sister’ as a pet name from Nick—despite their long-term relationship—feels uncomfortably cringe. 

Culpable for its predictability, the film still manages to shine through from time to time. A surprising revelation and an unresolved ending set the stage for a potentially more refined and gripping third instalment, expected in 2025. However, rekindling the chemistry between the leads is essential, as their dynamic feels notably less intense here than in the first film. Despite its flaws, Culpa Tuya remains an irresistible guilty pleasure. Sometimes, the fun of watching a film also comprises finding fault with it—and that’s perfectly all right.

Neil Young is back on the bill at Glastonbury.

Three days after announcing that he’d pulled out of a planned performance at this year’s edition of the venerable English music festival, the 79-year-old rock legend said Friday that the gig was “happily” back on his touring itinerary and that he and his collaborators “look forward to playing.”

Young had written Tuesday on his website that he and his band the Chrome Hearts “were told that BBC was now a partner in Glastonbury and wanted us to do a lot of things in a way we were not interested in. It seems Glastonbury is now under corporate control and is not the way I remember it being.”

On Friday, Young updated his post and blamed an unspecified “error in the information received” for his cancellation.

“What a start to the year!” festival organizer Emily Eavis wrote on Instagram shortly after Young’s announcement that he’d reversed his decision. “Neil Young is an artist who’s very close to our hearts at Glastonbury. He does things his own way and that’s why we love him.”

According to the Guardian, Young tussled with the BBC — which the paper said has partnered with Glastonbury for nearly three decades — when he headlined the festival in 2009 over how much of his set it could broadcast.

In March, Young put his music back on Spotify after pulling his catalog in 2022 to protest what he described as vaccine misinformation spread by podcaster Joe Rogan.

Young announced Friday that he’ll issue a previously unreleased album called “Oceanside Countryside” on Feb. 14. The LP was recorded in 1977 and features two sets of songs: one performed solo by Young and one performed with accompaniment by Ben Keith, Rufus Thibodeaux, Karl T. Himmel, Joe Osborne, Tim Drummond and the Band’s Levon Helm.

Rex Reed’s scalpel was particularly sharp in 2024, slicing through 43 films with the kind of ruthless precision only he can wield. This was the year he likened Mean Girls to “cinematic Covid,” torched Longlegs as a “dumpster fire,” and suggested that Cash Out had John Travolta so lost, “somebody stage an intervention.” For those seeking unfiltered truths about Hollywood’s latest offerings, Reed delivered—though not without a handful of pleasant surprises.

His ratings reveal a critic tough to impress: 28 percent of films earned 1 star, while 5 percent received the graveyard of zero stars. Horror films bore the brunt of his wrath—Longlegs and Heretic were sacrificed at the altar of his biting prose. Yet, amid the wreckage, 5 percent clawed their way to 4 stars, with dramas like One Life and Cabrini standing out for their emotional gravitas. Biopics, historical narratives and character studies fared best under his gaze, suggesting Reed still has a soft spot for films anchored in strong performances and rich storytelling.

One of the more controversial reviews? Reed’s glowing praise for Coup de Chance, which he called “Woody Allen’s best film in years.” In an industry where few dare applaud Allen publicly, Reed’s unapologetic endorsement (“unfairly derailed by obvious, headline-demanding personal problems”) was as bold as ever. Interestingly, the most-read review wasn’t the most positive—The Last Showgirl dazzled readers, perhaps more for the spectacle of Pamela Anderson’s Vegas reinvention than the film’s plot. It seems Reed’s audience enjoys his kinder takes, but they revel in his cinematic eviscerations just as much. When Reed loves a film, he ensures you know it—just as he ensures the worst offenders are left gasping for air.