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Critic’s Pick
Moses Sumney’s ‘Aromanticism’ is a dreamy reflection on lovelessness
Jacob Nierenberg
•
Jan. 25, 2018
Sharing Culture, Sharing Strength: a benefit show by Cardinal Calypso, Stanford Talisman and Catch-a-Fyah
Claire Thompson
•
Jan. 23, 2018
Stanford Review 2.0 and ahistoricity
Ben Maldonado
•
Jan. 22, 2018
George Cukor’s 1940 film ‘The Philadelphia Story’ delights audiences, even today
Amir Abou-Jaoude
•
Jan. 19, 2018
‘The Misfits,’ Marilyn Monroe’s final film, is bleak perfection
Carlos Valladares
•
Jan. 18, 2018
The joy of committing (to memory)
Scott Stevens
•
Jan. 17, 2018
Exploring beginnings in Mary Ruefle’s ‘Madness, Rack, and Honey’
Maddie Kim
•
Jan. 16, 2018
Björk’s ‘Utopia’ is full of love
Jacob Nierenberg
•
Jan. 16, 2018
‘The Green Fog’ is a dizzying Hitchcock homage
Rey Barceló
•
Jan. 16, 2018
Wind down with Daniel Caesar’s debut album ‘Freudian’
Nivedha Soundappan
•
Jan. 16, 2018
Carlos Valladares’ favorite movies of 2017
Carlos Valladares
•
Jan. 10, 2018
Dirty realism: Authenticity in the 20th century
Gracie Newman
•
Jan. 7, 2018
Tree-Mix, Volume 5: Songs of 2017
Arts & Life Music Beat writers
•
Dec. 28, 2017
Artist to watch: Dua Lipa
Ugur Dursun
•
Dec. 25, 2017
Stanford Theater Lab’s ‘Angels in America, pt. 1’ sparkles with heavenly life
Lora Supandi
•
Dec. 9, 2017
Sexuality and stanzaic construction in ‘Warming Her Pearls’ and ‘Martha Pt. 2’
Claire Francis
•
Dec. 9, 2017
Comedy’s controversial hero T.J. Miller delights audiences at Dinkelspiel
Olivia Popp
•
Dec. 9, 2017
Album(s) of the Year, part 5: Rising stars
Jacob Kuppermann
•
Dec. 4, 2017
Album(s) of the Year, part 4: Introspective pop
Jourdann Fraser
•
Nov. 30, 2017
Stegner Fellows Graham Barnhart and Yoon Choi share memory in poetry and prose
Claire Thompson
•
Nov. 29, 2017
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