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The beautiful and the terrible: Carmen Maria Machado reads queer horror and sci-fi
Cate Burtner
  •  
May 8
Arts & Life
‘Solar Opposites’ is lighthearted, gory alien fun
Michael Espinosa
  •  
April 1, 2021
Arts & Life
The strange and sterile food art of the future
Emily Zhang
  •  
June 3, 2020
Arts & Life
‘Black Mirror’: Top 10 Episodes
Matt Hsu
  •  
July 29, 2019
‘Altered Carbon’ is visually radioactive yet as decaying as its name suggests
Abe Thompson
  •  
May 25, 2018
‘Pacific Rim: Uprising’ doesn’t one-up the original
Noah Howard
  •  
May 14, 2018
‘A Quiet Place’ is silently scary
Hamza Ali Zahurullah
  •  
May 10, 2018
Movies In Conversation: ‘Blade Runner 2049’
Elaine Kim
  •  
Oct. 26, 2017
Intimate and grandiose: the genius of Vangelis’ ‘Blade Runner’ soundtrack
Hamza Ali Zahurullah
  •  
Oct. 17, 2017
The geek fan-omenon: Exploring the empowerment and toxicity of fandoms
Olivia Popp
  •  
Oct. 11, 2017
Shane Carruth’s headscratcher sci-fi ‘Primer’
Olivia Popp
  •  
May 18, 2017
The original ‘Planet of the Apes’ is innovative and refreshing
Olivia Popp
  •  
March 9, 2017
Film review: “High-Rise” deals capitalism a pseudo-low-blow
Connor Huchton
  •  
May 12, 2016
Director William Eubank discusses his film “The Signal”
Alicia Hamar
  •  
June 2, 2014
Cannes closes with “The Salt of the Earth” and “Maps to the Stars”
Alexandra Heeney
  •  
May 30, 2014
The Stanford Daily
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