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The Grind
In the column "Senior Scaries," Erin Ye delves into the joys and trials of her last year at Stanford. (Graphic: KAYLEE CHAN/The Stanford Daily)

Senior Scaries: Why does everyone hate winter quarter?

Erin Ye
  •  
March 1
The Grind
"There are rarely moments at Stanford when I am reminded of home, and yet everywhere I go, I constantly find myself pondering about home," writes Goswami. (Graphic: CHINYOUNG SHAO/The Stanford Daily)

Aaira’s Adventures: Homesick in hues of red and white

Aaira Goswami
  •  
Feb. 23
Music
Professor Ge Wang experiments with music (Courtesy of Ge Wang).

Counterpoints: Craft, art and AI 

Grace Feng
  •  
Jan. 6
Screen
A movie director's sign with gender symbols on it with text "HER POV."

Her POV: ‘Sorry, Baby’ hits hard, apologizes for nothing 

Blyss Cleveland
  •  
Jan. 5
Reads
Daniel Xu's column, "And So We Thought," reflects on the media ecosystem we live in. (Graphic: MEI KNUTSON/The Stanford Daily)

And So We Thought: There is a universe of ideas in ‘Invisible Cities’

Daniel Xu
  •  
Nov. 11
Arts & Life
A black-and-white production still from "Holiday" (1938), featuring Katharine Hepburn and Cary Grant.

How About Now: ‘Holiday’ (1938) is another wonderful early romcom

Mason Barrett
  •  
Nov. 3
Letters to the Community
A man walks through the arches in Stanford's Main Quad.

Do we need an Opinions section?

Jennifer Xin-Tsu Lin Levine and Zachary Gottlieb
  •  
Sept. 23
Screen
A person holding a camera with a film scene framed in the lens.

‘The Texas Chainsaw Massacre’ (1974) is a cleverly-written horror classic

Mason Barrett
  •  
Jan. 21, 2025
Screen
A movie director's sign with gender symbols on it with text "HER POV."

Her POV: ‘Babygirl’ is all tension with no release

Blyss Cleveland
  •  
Jan. 20, 2025
Screen
A movie director's sign with gender symbols on it with text "HER POV."

Her POV: ‘Madeline’s Madeline’ artfully breaks down the parent-child bond

Blyss Cleveland
  •  
Jan. 12, 2025
Screen
Three South Asian people stand in the middle of a crowd, with the text "In Focus" across the bottom of the image.

In Focus: ‘C/o Kancharpelam’ addresses the small town taboo of love

Srithanya Satish
  •  
Nov. 20, 2024
Screen
A graphic of a person holding a camera pointed at the viewer.

How About Now: ‘Rebel Without a Cause’ preemptively rebels against teen-comedies

Mason Barrett
  •  
Nov. 18, 2024
Screen
A girl stares up at the camera with the text 'Anora' over her face

‘Anora’ mostly avoids tired tropes about sex work 

Blyss Cleveland
  •  
Nov. 11, 2024
Screen
"Talk Horror To Me" is written in bloody letters on a wall.

Talk Horror to Me: Meet ‘Abigail,’ the first pirouetting vampire

Emma Kexin Wang
  •  
Nov. 7, 2024
Screen
Three South Asian people stand in the middle of a crowd, with the text "In Focus" across the bottom of the image.

In Focus: ‘Kumbalangi Nights’ redefines brotherhood and manhood

Srithanya Satish
  •  
Nov. 5, 2024
Screen
A graphic of a person holding a camera pointed at the viewer.

How About Now: ‘Sullivan’s Travels’ spotlights social inequality in America

Mason Barrett
  •  
Nov. 4, 2024
Screen
A graphic of a person holding a camera pointed at the viewer.

How About Now: The true monster of ‘Frankenstein’ (1931) was an unfaithful book adaptation

Mason Barrett
  •  
Oct. 21, 2024
Music
A vinyl with the title of column, "Pulse," and a drawing of two women about to kiss on it

Pulse: Janelle Monáe explores Black queer sensuality in ‘The Age of Pleasure’

Madisyn Cunningham
  •  
Oct. 17, 2024
Screen
"Talk Horror To Me" is written in bloody letters on a wall.

Talk Horror to Me: ‘The Substance’ is all form with little substance

Emma Kexin Wang
  •  
Oct. 17, 2024
Music
a digital drawing of a cassette tape

Made a mixtape, hope you like it: Nick Drake

Amanda Altarejos
  •  
Oct. 14, 2024
The Stanford Daily

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