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‘She Kills Monsters’: A fascinating portrait of the average woman

By Rose Androwich · Monday, April 11, 2022

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‘Rosencrantz and Guildenstern Are Dead’ proves that theatre isn't dead

By Natalie Allton · Monday, April 11, 2022

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What to expect from the new ‘Game of Thrones’ prequel

By Matheus Herndl · Friday, April 8, 2022

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COIN’s ‘Uncanny Valley’ is surprisingly human

By Kate Casper · Friday, April 8, 2022

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Harry Styles did it again

By Allison Thornton · Thursday, April 7, 2022

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Reading Adichie’s ‘Americanah’ as an Indian in Indiana

By Angela Mathew · Thursday, April 7, 2022

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Weezer’s 'SZNZ: Spring' gave me seasonal depression

By Matheus Herndl · Wednesday, April 6, 2022

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‘Melt My Eyez See Your Future‘: Denzel Curry's personal exodus

By Ayden Kowalski · Tuesday, April 5, 2022

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The romantic pirates in ‘Our Flag Means Death’

By JP Spoonmore · Tuesday, April 5, 2022

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‘Eleven Months of Nuclear Summer’ is girl power at its most lethal

By Amy Lenkiewicz · Monday, April 4, 2022

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Waiting for Arcade Fire’s new music

By Anna Falk · Monday, April 4, 2022

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Is Moon Knight Marvel’s Batman?

By Nicole Bilyak · Monday, April 4, 2022

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Whisk: Notre Dame's best-kept secret

By Claire Lyons · Friday, April 1, 2022

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‘Fresh’: Missing all the red flags

By Christine Hilario · Thursday, March 31, 2022

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‘X’: A grindhouse flick for a modern audience

By Justin George · Thursday, March 31, 2022

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The 2022 Oscars is full of surprises

By Marcelle Couto · Wednesday, March 30, 2022

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In memoriam: Foo Fighters drummer Taylor Hawkins

By Meg Sluzas · Wednesday, March 30, 2022

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'Bridgerton' season 2: The return of Lady Whistledown

By Cecelia Swartz · Tuesday, March 29, 2022

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The fatal flaw of 'Pam & Tommy'

By Isabella Volmert · Tuesday, March 29, 2022

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‘21 Hollow Oak Road’: Exceptional storytelling meets amazing execution

By Rose Androwich · Monday, March 28, 2022

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