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IDSA’s Women & Design Summit inspires more diversity in creativity

By Diane Park · Tuesday, Oct. 30, 2018

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‘First Man’ a muscular, grounded work of cinema

By Charlie Kenney · Monday, Oct. 29, 2018

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Gregory Alan Isakov at his best on ‘Evening Machines’

By Matthew Kellenberg · Monday, Oct. 29, 2018

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Boy Pablo’s ‘Soy Pablo’ fails to define identity

By Matthew Kellenberg · Friday, Oct. 26, 2018

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'The Romanoffs' is aesthetically pleasing but otherwise unsatisfying

By Sara Schlecht · Friday, Oct. 26, 2018

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‘Solidary & Solitary’ collectors aim to make change in the art world

By Tajae Thompson · Thursday, Oct. 25, 2018

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Garth Brooks takes Notre Dame by storm

By Carlos De Loera · Wednesday, Oct. 24, 2018

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‘Big Mouth’ succeeds in a sweet, shameful second season

By Nicholas Ottone · Tuesday, Oct. 23, 2018

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Jessie Reyez dives in on ‘Being Human In Public’

By Nora McGreevy · Tuesday, Oct. 23, 2018

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Garth Brooks, god of country music, to play sold-out show at Notre Dame stadium

By Nora McGreevy · Thursday, Oct. 11, 2018

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In ‘Sorry to Bother You,’ laughter is revolutionary

By Nicholas Ottone · Wednesday, Oct. 10, 2018

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From ‘Mo Bamba’ to ‘Mudboy’ — Sheck Wes sets himself apart

By Ryan Israel · Wednesday, Oct. 10, 2018

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Scene Selections: ‘A Star Is Born’

By Nicholas Ottone · Tuesday, Oct. 9, 2018

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Scenecast: Fallcast

By Nora McGreevy · Monday, Oct. 8, 2018

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Lauv Concert Review

By Dessi Gomez · Monday, Oct. 8, 2018

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Scene (near) South Bend: Spend a day in Goshen

By Nora McGreevy · Friday, Oct. 5, 2018

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Pop star Lauv to perform at Legends

By Dessi Gomez · Thursday, Oct. 4, 2018

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Art as the critic: ‘Skylight,’ language and the ambiguity of sexual communication

By Mike Donovan · Thursday, Oct. 4, 2018

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Aphex Twin breaks new sonic ground on ‘Collapse EP’

By Patrick Witteman · Thursday, Oct. 4, 2018

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Unsuccessful satire abounds in ‘Insatiable’

By Ahlering Jackoboice · Wednesday, Oct. 3, 2018

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Former players gather to remember the life of Lou Holtz

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