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Spotlight
Tree-Mix, Volume 3: Post-midterm revival
Arts & Life Music Beat writers
•
Nov. 4, 2017
‘The Vietnam War’ revisited: Books to counteract historical narratives
Ben Maldonado
•
Oct. 30, 2017
‘The Prince of Egypt’ shines artistically but battles with representation
Olivia Popp
•
Oct. 30, 2017
Movies In Conversation: ‘Blade Runner 2049’
Elaine Kim
•
Oct. 26, 2017
No, don’t say ‘boo,’ just watch your wallet at Nobu Palo Alto
Chris Wang
•
Oct. 25, 2017
SparkNoting the irreducible: Nabokov in translation
Emma Heath
•
Oct. 25, 2017
On the inner life and the imagination of everyday communication
Maddie Kim
•
Oct. 24, 2017
Margaret Cho’s ‘Fresh Off the Bloat’ champions diversity in the age of Trump
Olivia Popp
•
Oct. 23, 2017
On the impossibility of separating art from artist
Jacob Kuppermann
•
Oct. 21, 2017
It’s all aliebn to me
Alli Cruz
•
Oct. 21, 2017
Arts & Life
‘Slingshot’ will shoot its way into your geeky heart
Olivia Popp
•
Oct. 21, 2017
With ‘Luciferian Towers,’ Godspeed You! Black Emperor still finds hope
Damon French
•
Oct. 18, 2017
Hope Gangloff’s portraits fuse intimacy and fine art
Shannen Torres
•
Oct. 17, 2017
The geek fan-omenon: Exploring the empowerment and toxicity of fandoms
Olivia Popp
•
Oct. 11, 2017
100 films to watch at Stanford
Carlos Valladares
•
Oct. 11, 2017
Following David Bowie’s legendary legacy of consistent change
Nick Burns
•
Oct. 3, 2017
Marvel’s ‘The Defenders’ falls short on story but fights to be fun
Olivia Popp
•
Oct. 2, 2017
Arts & Life
Fall TV series premieres: what to watch and what to avoid
Olivia Popp
•
Sept. 26, 2017
OSF pt. 3: Jiehae Park’s masterful ‘Hannah and the Dread Gazebo’ tackles a multifaceted Korean American experience
Olivia Popp
•
Sept. 25, 2017
At the Stanford: Michael Curtiz’ ‘The Breaking Point’ is a more brutally honest ‘Casablanca’
Carlos Valladares
•
Sept. 20, 2017
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