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Arts & Life
‘Orphan Black’ star Tatiana Maslany talks generosity, collaboration and loving the weird
Olivia Popp
  •  
March 16, 2018
A.C.T.’s ‘Vietgone’ shines in its story and unadulterated authenticity
Olivia Popp
  •  
March 15, 2018
At the Stanford Theatre: In ‘A Farewell to Arms,’ Frank Borzage finds love in war
Carlos Valladares
  •  
March 12, 2018
‘A Wrinkle in Time’ is Disney’s dizzying failed attempt at creating a trippy sci-fi/fantasy dream
Olivia Popp
  •  
March 9, 2018
The Split $ubject: Metaphysical subtleties and theological niceties
Joe Goodhew
  •  
March 8, 2018
Clickbait Philosophy: Can cursing KILL YOU?
Cameron Hubbard
  •  
March 7, 2018
Imperfect reflection in Modigliani
Sasha Landauer
  •  
March 6, 2018
A very Virginian Stegner session with Courtney Kampa and Michael Sears
Claire Thompson
  •  
March 6, 2018
A Night with the Bumper Jacksons
Chasity Hale
  •  
March 5, 2018
The hyper-connected brilliance of Sidney Gish’s ‘No Dogs Allowed’
Jacob Kuppermann
  •  
Feb. 22, 2018
‘The Fever’ aims to make you feel innately human
Olivia Popp
  •  
Feb. 21, 2018
‘Black Panther’ steps up Marvel’s game
Noah Howard
  •  
Feb. 20, 2018
A guide to King Gizzard & The Lizard Wizard’s absurdly prolific 2017
Jacob Nierenberg
  •  
Feb. 20, 2018
Movie adaptations: Fraudulent or faithful?
Arts & Life Reads beat writers
  •  
Feb. 13, 2018
February’s Stegner Reading: The millennial brilliance of Richie Hofmann and Darri Farr
Claire Thompson
  •  
Feb. 13, 2018
‘The Last Five Years’: A gorgeously staged musical about falling in and out of love
Chasity Hale
  •  
Feb. 12, 2018
Poet’s work: Destroyer brings wry, thoughtful indie rock to the Fillmore
Nick Burns
  •  
Feb. 11, 2018
Sundance 2018, part 6: Olivia Popp’s favorite (and award-winning) films
Olivia Popp
  •  
Feb. 9, 2018
The ugly and the glorified: Fitzgerald in retrospect
Claire Francis
  •  
Feb. 6, 2018
NO_ONE EVER REALLY DIES: When a great album overstays its welcome
Hamza Ali Zahurullah
  •  
Feb. 6, 2018
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