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- ‘Aftersun’: Parenthood and grief
by Claire Lyons
- Whatever people said they were, that’s what they’re not: Arctic Monkeys in retrospect
by Anna Falk
- Will the new Open Gaming License be the death of ‘Dungeons & Dragons?’
by Nicole Bilyak
- ‘Pokémon Violet:’ A dream still working out the details
by Ayden Kowalski
- I’ve seen ‘Puss in Boots: The Last Wish’ three times and counting
by Natalie Allton
- The mutated adaptation of HBO’s ‘The Last of Us’
by J.P. Spoonmore
- ‘Emily In Paris’ season 3 is a dazzling showcase of character assassination
by Matheus Herndl
- ‘Break Point’ is good, but doesn’t win any grand slams
by Claire McKenna
- Black Mirror’s vision of ChatGPT
by Liam Price
- ‘The Menu’: When your passion becomes a burden
by Gabriel Zarazua
- The creativity of ‘Velma’
by Rose Androwich
- ‘The Fabelmans’: Spielberg in the factory of dreams
by Marcelle Couto
- ‘Avatar: The Way of Water’ is a cosmic lesson in humanity
by Ayden Kowalski
- 2022 was the year of Pinocchio
by Andy Ottone
- Observer Spotify Wrapped 2022: In our Taylor era
by Aidan Thomas
- Scene’s Top 22 Albums of 2022
by Observer Scene
- Best of 2022: Scene on the screen
by Observer Scene
- Gay love laid ‘Bare’ in PEMCo’s fall show
by Claire Lyons
- How does Arctic Monkeys’ ‘The Car’ fare after a month’s journey?
by Anna Falk
- ‘DUM-de went my trochaic heart’ after watching the ‘My Policeman’
by Ananya Dalmia
- ‘Glass Onion’: A layered mystery
by Andy Ottone
- ‘The True Cost’: A powerful critique of the fast fashion industry
by Rose Androwich
- ‘The Rabbit Hutch’: ND alumna Tess Gunty’s celebrated novel
by Angela Mathew
- Animation Nation: ‘Surf’s Up’
by Gabriel Zarazua
- Winter Scene Selections
by Observer Scene