Tuesday, November 5th, 2024

Spotlight

Tree-Mix, Volume 3: Post-midterm revival

Arts & Life Music Beat writers

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Nov. 4, 2017

‘The Vietnam War’ revisited: Books to counteract historical narratives

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Oct. 30, 2017

‘The Prince of Egypt’ shines artistically but battles with representation

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Oct. 30, 2017

Movies In Conversation: ‘Blade Runner 2049’

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Oct. 26, 2017

No, don’t say ‘boo,’ just watch your wallet at Nobu Palo Alto

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Oct. 25, 2017

SparkNoting the irreducible: Nabokov in translation

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Oct. 25, 2017

On the inner life and the imagination of everyday communication

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Oct. 24, 2017

Margaret Cho’s ‘Fresh Off the Bloat’ champions diversity in the age of Trump

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Oct. 23, 2017

On the impossibility of separating art from artist

Jacob Kuppermann

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Oct. 21, 2017

It’s all aliebn to me

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Oct. 21, 2017

‘Slingshot’ will shoot its way into your geeky heart

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Oct. 21, 2017

With ‘Luciferian Towers,’ Godspeed You! Black Emperor still finds hope

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Oct. 18, 2017

Hope Gangloff’s portraits fuse intimacy and fine art

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Oct. 17, 2017

The geek fan-omenon: Exploring the empowerment and toxicity of fandoms

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Oct. 11, 2017

100 films to watch at Stanford

Carlos Valladares

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Oct. 11, 2017

Following David Bowie’s legendary legacy of consistent change

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Oct. 3, 2017

Marvel’s ‘The Defenders’ falls short on story but fights to be fun

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Oct. 2, 2017

Fall TV series premieres: what to watch and what to avoid

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Sept. 26, 2017

OSF pt. 3: Jiehae Park’s masterful ‘Hannah and the Dread Gazebo’ tackles a multifaceted Korean American experience

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Sept. 25, 2017

At the Stanford: Michael Curtiz’ ‘The Breaking Point’ is a more brutally honest ‘Casablanca’

Carlos Valladares

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Sept. 20, 2017