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Spotlight
‘Brokeback Mountain’: More than 20 years later, the film and short story redefine queerness
Olivia Popp
•
May 4, 2018
Third annual Silicon Valley Comic Con bridges technology and pop culture
Olivia Popp
•
April 30, 2018
A quick and dirty crash course to Stanford’s major art practice organizations
Olivia Popp
•
April 26, 2018
‘The Effect’ is an empathetic, contemporary cyberpunk exploration of love and science
Olivia Popp
•
April 24, 2018
Looking for space: children of the American West
Mac Taylor
•
April 23, 2018
Q&A: Hasan Minhaj talks activist art, comedy and getting the audience to listen
Alli Cruz
,
Olivia Popp
and
Samantha Wong
•
April 23, 2018
Three seasons in, The CW’s ‘Supergirl’ still doesn’t know what it wants
Olivia Popp
•
April 20, 2018
Earth in Color blends humanity and art into the environmental movement
Claire Miles
•
April 19, 2018
Game on: SF Playhouse’s ‘Non-Player Character’ fascinates in form, fails in function
Olivia Popp
•
April 16, 2018
The magic trick behind Disney’s adaptations
Mark York
•
April 15, 2018
The haunting and the humorous: an exhibition of dioramas in Palo Alto
Chloe Barreau
•
April 11, 2018
Killa Bites: The hunt for the perfect chocolate chip cookie on campus
Blake Sharp
•
April 8, 2018
Recs from the Vault: swampy sounds, Eugene O’Neill and wild Wilder
Carlos Valladares
•
April 5, 2018
Arts & Life
‘Orphan Black’ star Tatiana Maslany talks generosity, collaboration and loving the weird
Olivia Popp
•
March 16, 2018
The Split $ubject: Metaphysical subtleties and theological niceties
Joe Goodhew
•
March 8, 2018
Visions of Elio
Emma Heath
•
March 5, 2018
Art++: Diebenkorn/Cassavetes
Carlos Valladares
•
Feb. 27, 2018
‘The Fever’ aims to make you feel innately human
Olivia Popp
•
Feb. 21, 2018
The Split $ubject: Modern Thought and Literature between gender performativity and psychoanalysis, part 2
Joe Goodhew
•
Feb. 15, 2018
In 2018, celebrity heroes are dead
Zak Sharif
•
Feb. 14, 2018
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