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Monday, Dec. 8, 2025

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Scene

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Joan Didion: Keenly seeing the common

By Claire Lyons · Tuesday, Jan. 11, 2022

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In memoriam: Betty White

By Anna Falk · Tuesday, Jan. 11, 2022

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‘House of Gucci’ and the exploitation of the rich

By Joyce Fu · Tuesday, Dec. 7, 2021

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Are the Grammys legitimate?

By Anna Falk · Tuesday, Dec. 7, 2021

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Scene’s Best Albums of 2021

By Claire Lyons · Monday, Dec. 6, 2021

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Scene on the Screen 2021

By Aidan O'Malley · Friday, Dec. 3, 2021

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Stop watching the same Christmas movies every year, try these instead

By Justin George · Thursday, Dec. 2, 2021

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The surprising magic of Netflix’s ‘Arcane’

By JP Spoonmore · Thursday, Dec. 2, 2021

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‘Love Hard’: Predictable and cliche

By Rose Androwich · Wednesday, Dec. 1, 2021

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‘Hellbound’: Fate or something more

By Rachel Hartmann · Wednesday, Dec. 1, 2021

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Hot Lorde summer is over: A ‘Solar Power’ retrospective

By Evan McKenna · Tuesday, Nov. 30, 2021

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Father, son and ‘House of Gucci’

By Olivia Seymour · Tuesday, Nov. 30, 2021

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Drowning in justice: The story of ‘La Llorona’

By Lexi Kilcoin · Monday, Nov. 22, 2021

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Soothing minimalism: A critique of Emilio Sanchez’s Snite exhibit

By Gracie Simoncic · Monday, Nov. 22, 2021

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Scene Selections (Taylor's Version)

By Abby Patrick · Friday, Nov. 19, 2021

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South Bend Symphony Orchestra maestro offers insight after performance

By Marcelle Couto · Thursday, Nov. 18, 2021

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‘Home Sweet Home Alone’: Devoid of sugar, spice or anything nice

By Justin George · Thursday, Nov. 18, 2021

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The beauty of ‘An Evening with Silk Sonic’

By Anna Falk · Wednesday, Nov. 17, 2021

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‘All Too Well: The Short Film’: ‘I might be OK, but I’m not fine at all’

By Maggie Clark · Wednesday, Nov. 17, 2021

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The joys of emo skate night

By Caitlin Brannigan · Tuesday, Nov. 16, 2021

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