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Sunday, Nov. 24, 2024

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Newly discovered Arthurian manuscripts may change historical interpretation

By Marcelle Couto · Monday, Oct. 4, 2021

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‘Squid Game’: How far would you go?

By Rachel Hartmann · Monday, Oct. 4, 2021

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Marcia Lucas: The woman behind the 'Star Wars' magic

By JP Spoonmore · Friday, Oct. 1, 2021

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The glorious birth of ‘Montero’

By Anna Falk · Friday, Oct. 1, 2021

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Rest in peace Star Ginger (2018-2021)

By Veronica Navarro · Thursday, Sept. 30, 2021

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From Lana to Lorde: Why the internet hates the ‘sad girl gone glad’

By Evan McKenna · Thursday, Sept. 30, 2021

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Harry Styles’ ‘Love On Tour’: A place to feel good

By Alysa Guffey · Wednesday, Sept. 29, 2021

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My evening with Matthew Morrison

By Maggie Klaers · Wednesday, Sept. 29, 2021

Matthew Morrison: Act 1, Scene 1

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South Bend Symphony Orchestra is back in season

By Marcelle Couto · Tuesday, Sept. 28, 2021

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‘The Eyes of Tammy Faye’ is nothing to sing praises about

By Anna Falk · Tuesday, Sept. 28, 2021

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‘The Witches of the Orient’ inspires at DPAC

By Rachel Hartmann · Monday, Sept. 27, 2021

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‘Brand New Cherry Flavor’: Blood, gore, magic, sex and kittens

By Justin George · Monday, Sept. 27, 2021

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Ali on the Boulevard: A tad too pricey

By Rose Androwich · Friday, Sept. 24, 2021

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TikTok gave us ‘Wildest Dreams (Taylor’s Version)’

By Sophia Michetti · Friday, Sept. 24, 2021

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From ‘Peg the Patriarchy’ to ‘Tax the Rich’: Political activism at the Met Gala

By Claire Lyons · Thursday, Sept. 23, 2021

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‘Red at the Bone’ breaks your heart, but builds you up

By Genevieve Coleman · Thursday, Sept. 23, 2021

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‘Cry Macho’: Clint Eastwood’s weakest film yet

By JP Spoonmore · Wednesday, Sept. 22, 2021

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The new home for ‘Earth Kid (Boy)’ at the Snite Museum of Art

By Willoughby Thom · Wednesday, Sept. 22, 2021

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‘Promising Young Woman’ shows at DPAC

By Gracie Simoncic · Tuesday, Sept. 21, 2021

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‘Kate’: Bad acting and the fundamental question of human existence

By Joyce Fu · Tuesday, Sept. 21, 2021

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