After a long break, we're back with the newest episode of “Reel to Reel,” Recess’s pop culture podcast.
It’s been a busy six years for Ezra Koenig. The one thing missing? Another Vampire Weekend album.
Built in a French Gothic style and consecrated to the Virgin Mary, the Notre-Dame Cathedral was completed in 1345. This cathedral has survived the scenes of battles like during the French Revolution, inspired novels like Victor Hugo’s "Hunchback of Notre-Dame" and galvanized religious individuals for centuries.
“Welcome to beautiful downtown Mossville. Population: one.”
Need any pop culture recommendations? Recess’s weekly roundup is a new series in which our writers and editors discuss what they are listening to, reading, eating or watching in a given week.
“Ramy” has the familiar trappings of any other dramedy about any other millennial: Our protagonist, Ramy (Ramy Youssef, who is also writer, director and co-producer), is a 20-something working at a sinking tech start-up, stumbling through the last chapter of his bildungsroman and trying to figure it all out before he hits his 30s.
In his lone season in a Duke uniform, Marvin Bagley III had some of the best single-season statistics in Duke history, scoring the most points ever by a freshman at the time and posting the first-ever 30-point, 20-rebound game in the Coach K era. But it turns out those aren’t the only records he’s dropping.
Member of Forbes 30 under 30 and Out 100, Jacob Tobia, T’14, is a writer and producer, known for their work as the creator and producer of MSNBC’s “Queer 2.0” and as producer of “Transparent.” They recently wrote the book “Sissy: A Coming of Gender Story,” a memoir that questions societal binaries in gender.
Four presidential campaigns in, Selena Meyer is as power hungry and cutthroat as ever. The same cast of bumbling staffers surrounds her campaign, which predictably struggles from the outset with launch problems, airport mishaps and more.
The Chronicle spoke with the film critic and PhD candidate in the Romance Studies department about his current projects and the mechanics of film criticism.
Nearly 16 years ago, OutKast released “Hey Ya!,” a single that stands as one of the biggest hits of the new millennium. For all its ubiquity today, though, “Hey Ya!” was deceptively revolutionary: Blending an acoustic guitar-driven hook with a funk bassline, rapped breakdowns and an atypical time signature, the song seemed to signal a new dawn for genre — or, rather, the lack thereof.
The 2014 film “What We Do in the Shadows” brought needed fresh energy to the vampire genre through its mockumentary set-up and brilliant deadpan humor. It never received a wide U.S. release, and its legacy is that of a cult classic: a film with a small but devoted following.
I’m fat. When I was younger, I preferred to use descriptors that minimized my body like chubby or curvy or plus-sized, but now I’m 20 years old, five-foot-ten and weigh over 250 pounds. My fatness is undeniable.
After much anticipation and perfect to distract from the onslaught of midterms and papers, the newest season of Queer Eye finally made its way to Netflix March 15. And with a move from a home base in Atlanta to one in Kansas City, Missouri, this season may just be the best one yet.
When Jordan Peele announced he was working on a new movie following the release of “Get Out,” it seemed like the flood of internet conspiracy theories on his first film just took a new shape. And after a $70 million opening weekend that broke the box office record for an original horror movie, fans looked online to help explain the lack of answers provided in “Us.”
Part of a fringe sub-sub-genre lovingly dubbed “The Wave,” La Dispute is a divisive entity with a fiercely loyal following and a way with words.
Movies about friendship are a commonplace in the film world. Yet, many times, these films ignore the platonic relationships between men, instead replacing them with hyperbolic or unrealistic versions.
Weezer is one of the few ‘90s bands still pumping out music today, releasing their jaw-dropping 13th album this week, “Weezer (Black Album).” But it is just another tepid release in the band’s rocky and immensely frustrating discography.
It’s not often that an artist follows a song as big as “Take Me To Church” with four years of relative silence. Sure, Hozier toured extensively in the years following his breakout in 2014, but fans of the Irish multi-instrumentalist had to wait until 2018 for another release.
“It all begins with Viggo Mortensen.”
