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Spotlight

Dietrich is an extraordinary actress in ‘The Scarlet Empress’

Amir Abou-Jaoude
  •  
Oct. 23, 2018

Drake combines success with social media spectacle

Jacob Kuppermann
  •  
Oct. 22, 2018

‘Contact Warhol’ illuminates the artist’s ingeniousness

Amir Abou-Jaoude
  •  
Oct. 18, 2018

Marin Theatre Company’s ‘Oslo’ gives us a piece of narrated history

Olivia Popp
  •  
Oct. 18, 2018

New York Minute: Exploring love, memory and loss in ‘The Things That Were There’

Alli Cruz
  •  
Oct. 17, 2018

‘Drogas Wave’ is the final boss of hip-hop concept albums

Hamza Ali Zahurullah
  •  
Oct. 16, 2018

Bradley Cooper critiques show business in ‘A Star Is Born’

Amir Abou-Jaoude
  •  
Oct. 15, 2018

Enjoying the fall edition of Corgi Con 2018 at Ocean Beach

Olivia Popp
  •  
Oct. 15, 2018

Satyajit Ray muses on movies and money in ‘The Hero’

Amir Abou-Jaoude
  •  
Oct. 12, 2018

Baobab Studios founder Maureen Fan on why you don’t have to know what you want

Chloe Barreau
  •  
Oct. 12, 2018

New York Minute: CRASH Theater Co.’s ‘TaRaRaBOOM’ explodes with absurdity and modernity

Alli Cruz
  •  
Oct. 12, 2018

Lingering thoughts on the Three Books

Arts & Life Reads beat writers
  •  
Oct. 11, 2018

‘On Your Feet!’ contains romping celebration of Cuban and Latinx artistry

Olivia Popp
  •  
Oct. 11, 2018

Powell and Pressburger portray two wonderful worlds in ‘A Matter of Life and Death’

Amir Abou-Jaoude
  •  
Oct. 9, 2018

In ‘The Awful Truth,’ McCarey crafts a comedy about class

Amir Abou-Jaoude
  •  
Oct. 8, 2018

In ‘El Sur,’ Victor Erice contemplates childhood

Amir Abou-Jaoude
  •  
Oct. 5, 2018

ACT’s ‘Sweat’ is a masterclass in contemporary American theater

Olivia Popp
  •  
Oct. 5, 2018

A treasure trove of silver screen riches

Olivia Popp
  •  
Sept. 28, 2018

‘The Alchemist’ is shallow, but inspirational

Shana E. Hadi
  •  
Sept. 27, 2018

It’s not the Space Force but it’s ‘Trump in Space’

Olivia Popp
  •  
Sept. 24, 2018
The Stanford Daily

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