The Harvard Crimson ranks the best movies, TV shows, albums, and books of the year, while writing some not-exactly-serious vanities.
For the 24 percent of America that identifies as evangelical, “religious” music isn’t just popular, but a cultural mandate. Twenty One Pilots’ drummer, Josh Dunn, would know.
The Crimson Arts Board presents its musical favorites of the year, from "Dirty Computer" to "Be the Cowboy."
The night before the 135th playing of The Game — as football players for both Harvard and Yale prepared to do battle on the gridiron — student singers took the historic rivalry to the stage. Relive the evening in photos.
At the Harvard Art Museums, Lee will oversee three curatorial divisions: Asian and Mediterranean Art, European and American Art, and Modern and Contemporary Art.
Though the Boston Ballet’s “The Nutcracker” runs annually in December, it did not fail to impress with its energy and high production value on its opening night on Nov. 29.
"figures;" is the first-ever senior thesis to take the form of a choreographed dance performance. Choreographed and directed by TDM concentrator, Tiffany Y. Lau ’19, the show premieres this Dec. 7 at 7 p.m.
At its core, “Vice” is a biased work.
It’s a genuine toss-up as to which film will take home the award for Best Picture this year, with no apparent frontrunner.
Roupenian insists that we want this, we know we want this. But is it too much to ask for a little bit more?
With so much promise, “The Clockmaker’s Daughter” failed to live up to expectations, instead delivering a story that was not worth the time to read.
“Bandersnatch” lacks the usual paranoia-driven plotline because it’s already fractured by its very structure.
The Crimson Arts Board presents its TV favorites of the year, from "BoJack Horseman" to "The Good Place."
"We Believe: The Best Men Can Be" exemplifies why commodity activism is fundamentally incompatible with movements like #MeToo.
Unsheltered” falters only in moments where its message is perhaps too clear.
We’re all socialized to believe something is the norm, and even if we are attracted to a specific trait because we’ve grown up being told that’s how it’s supposed to be, or seen everyone else acting that way, we can definitely learn to question that norm. Try to unlearn it. To expand our idea of attractiveness by trying to recognize where the damaging ideas of attractiveness come from.
Being a genre movie is a forgivable transgression if done well. Yet it’s quickly clear that "Bird Box" can’t even sketch the contours of its own worldbuilding.
The Time’s Up movement's ribbon bracelets felt inadvertently symbolic: Even the most energized movements, if they lose momentum, can become accessory.
In "Green Book," Peter Farrelly eschews impactful subtlety in favor of a feel-good movie with ultimately little substance.
My skis begin to pick up speed until I am no longer in control. The cool air lashes against my cheeks as I plummet even faster towards the bottom of the Alp. I close my eyes in fear, just as a familiar voice penetrates the alpine air.
"The Favourite"'s assessment of each character feels almost Austenian — if Jane Austen enjoyed lavish lobsters racing and heavy use of the c-word.
At some point in the year, we realized that we weren’t just “Crimson friends,” but actual friends.
The Crimson sat down with Musa Syeed, award-winning filmmaker and Briggs-Copeland Lecturer in the English department.