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Don’t judge a book by its movie adaptation
By
Tyvla Abidin
, Collegian Contributor
November 16, 2023
Welcome (back) to New York: a review of ‘1989 (Taylor’s Version)’
By
Nathan Legare
, Collegian Staff
November 16, 2023
Aphex Twin celebrates 30th anniversary of EP ‘On’
By
Crissy Saucier
, Collegian Contributor
November 15, 2023
Characters in modern media don’t talk like people
By
Grace Jungmann
, Collegian columnist
November 15, 2023
What is the ‘everything shower?’
By
Lucy Postera
, Collegian Staff
November 15, 2023
Take a walk down ‘Shakedown Street’
By
JD Hildreth
, Collegian Correspondent
November 15, 2023
The road from the EP to ‘the record’: Looking back five years
By
Suzanne Bagia
, Collegian Staff
November 14, 2023
Moray Hillary beautifies the ordinary through ‘Selective Memory’ art exhibition
By
Jesena Kalabokis
, Collegian Correspondent
November 14, 2023
The Beatles’ last track ‘Now and Then’ can change how AI is viewed in the music industry
By
Samantha Craddock
, Collegian Correspondent
November 14, 2023
‘The Fall of the House of Usher’: Mike Flanagan’s latest horror series draws inspiration from Edgar Allen Poe
By
Sophie Machernis
, Collegian Contributor
November 13, 2023
‘Killers of the Flower Moon’: the question of Native representation in film
By
Shannon Moore
, Assistant Arts Editor
November 9, 2023
Drop Nineteens return with their first album in thirty years, ‘Hard Light’
By
Crissy Saucier
, Collegian Correspondent
November 8, 2023
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