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Wealth can create vicious cycles. The more money a person earns, the more scared they become of losing it, and, as such, they resort to extreme measures to protect their money. The scandal of the Panama Papers — the leaked documents exposing the offshore businesses of many wealthy individuals, of which some were shell companies used for the illegal purposes of fraud and tax evasion — details such extreme measures, making for an unbelievable chronicle that is the premise for “The Laundromat.”
“Watchmen” seems like HBO’s first attempt at a replacement TV show for “Game of Thrones.” Even before the disappointing finale of “Game of Thrones” which aired this May, it seems HBO has been clamoring to produce a new hit show to keep their subscribers. My verdict on whether or not “Watchmen” has the ability to do just that is — being only two episodes into the season — hard to say, but it’s at least off to a good start.
Nicholas Gutierrez ’20 is involved in anything and everything creative at Dartmouth. Gutierrez, a native of Miami, FL, is a playwright, actor, film projectionist, opera singer and leader. As a film and theater modified with anthropology and geography double major with a minor in linguistics, his passion for pursing diverse interests goes beyond his extensive extracurricular involvements. In his work as a playwright, Gutierrez has staged two of his plays with the theater department. He is also acting in the theater department’s fall mainstage production of “The Living” and is a singer with the Dartmouth Opera Lab.
Last weekend, the Hood Museum hosted its third and final reopening event, a symposium featuring panels and guest speakers composed of Dartmouth alumni. With curators from large, internationally renowned institutions and small, academic-focused museums, as well as directors of memorial museums and nonprofit foundations, the museum hosted alumni from near and far in a celebration of and conversation about the world of museum work.
This evening, dynamic piano duo Sally Pinkas and Evan Hirsch will perform a set of fun and lively dance music in the Spaulding Auditorium. Pinkas is a music professor and pianist-in-residence at Dartmouth, and Hirsch, her husband, teaches piano and chamber music at Brandeis University.
For fans of Kanye West, there is nothing in the world more stressful than when he announces a new album. Kanye’s album rollouts are never anything less than a full-blown spectacle, often containing controversial statements, ill-conceived actions, pushed-back release dates and even major changes made to both the album’s title and content. After scandals like the “Imma let you finish” fiasco with Taylor Swift leading up to 2010’s “My Beautiful Dark Twisted Fantasy,” the numerous name changes to 2016’s “The Life of Pablo” and Kanye’s public embrace of Donald Trump before 2018’s “Ye,” veteran Kanye fans thought that nothing else he could do would surprise them.
Set after World War I, “Peaky Blinders,” the fifth season of which came out this month, is centered around the Shelbys, a Romani family who have made their name as gangsters in the streets of Birmingham, England. At the head of the family is Thomas (Tommy) Shelby, played by Cillian Murphy, a ruthless and overly logical patriarch who, at the end of season four, becomes a newly minted member of Parliament to fulfill his longtime goal of becoming a legitimate business owner and politician who speaks for the people. While the show maintains its focus on the Shelbys’ endeavors to cultivate power and protect their own, the fifth season adds depth to the show in its discussion of mental health and morality.
Shamell Bell, an original member of the Black Lives Matter movement, brings forth her experience as a community organizer and advocate for black activism as a lecturer in the African and African American studies and theater departments. She is currently teaching THEA 1, “Introduction to Theater” and THEA 21, “Race, Gender and Performance.”
A wise man once said, “Come for the music, stay for the message.”
Studio art professor Zenovia Toloudi’s “Technoutopias” series is currently on display in the Jaffe-Friede and Strauss Galleries, located in the Hopkins Center. An architect and artist, Toloudi explores the interactions, or lack thereof, between humans and public spaces in her current exhibit. Her work uses various materials and techniques to show this relationship and the impact of architecture on social interactions and the civil self.
Before coming to the woods of New Hampshire for college, Adam Riegler ’20 found his love for theater on some of the biggest stages in New York. From acting on Broadway to directing at Dartmouth, Riegler’s upcoming show “Red Speedo,” which will premiere on a Dartmouth stage on Nov. 15, will draw on his lifetime of experience with theater.
Everyone can enjoy watching a teenager who’s struggling with an identity crisis on TV. What’s not so fun to watch is a show that itself is struggling with an identity crisis. “The Politician” is striving for the former, but has ended up with the latter. The result is a show having an identity crisis about a gaggle of teens who are similarly confused.
It is not a well-known fact that Dartmouth hosted a small cohort of women exchange students starting in 1968 before its official inception as a coeducational institution in the fall of 1972. In recent years, Dartmouth has nearly equal numbers of women and men, a norm that is in part due to these trailblazers who made the first incursions onto Dartmouth’s all-male campus and shaped Dartmouth into the school it is today.
Fall is the season of change. Musically, Post Malone has changed from a hardcore rap/pop mogul to a gentle sad boy with his new album “Hollywood’s Bleeding,” released earlier this fall. His third album reflects complex emotions of melancholia and regret, differing profoundly from the aggressive, angry lyrics of his past two albums.
“Norman F—ing Rockwell!” is easily Lana Del Rey’s best work to date. Upon its reveal, the cover art of “NFR!” created a considerable amount of controversy within Lana Del Rey’s fanbase. While her previous covers all use similar bold fonts for the title of the album and feature cinematic images of Del Rey alone with a car and wearing white, conservative outfits, “NFR!” goes in a different direction.
I’ve followed Netflix’s animated series “Big Mouth” since it debuted in 2017. I’ve loved every minute of it since, including its third season, which was released on Oct. 4. But I know that it rubs some people the wrong way, and I can see why it does. The sexual jokes are blatant and graphic — which can feel especially inappropriate considering that the characters are middle schoolers — and visually, the show is a tad more grotesque than your typical animation.
It’s strange to say, but I did not notice the narrator had no name the entire time I was reading Nico Walker’s novel “Cherry.” It was only when I sat down to write this review that I realized the person whose deepest thoughts I had been reading was unnamed to me, however fictional or autobiographical he may be.
What is contemporary art? For some, it’s Pollocks and Picassos and Poliakoffs. For others, it is the senseless combination of shape and color. For University of Chicago art history professor Darby English, it’s a conversation.
“Joker” is not the most boring film I’ve seen all year. Nor is it the most poorly made. Nevertheless, “Joker” is probably the worst film I’ve seen in 2019, or at least the one I despised the most.
Welcome to 1969 Hollywood. Retro buildings, vintage cars and neon signs line Hollywood Boulevard. Men dress in bell bottoms, patterned shirts and turtlenecks with blazers. Women wear miniskirts and vinyl, knee-high boots. Flower children don bohemian outfits of the counterculture movement. The Quentin Tarantino-directed movie “Once Upon a Time... in Hollywood” pictures these vintage scenes through rose-colored glasses.