The Harvard Crimson sends three writers — Allison J. Scharmann '21, Jack M. Schroeder '21, and Shruthi Venkata '22 — to cover Boston Calling Music Festival.
During one of the show’s best transitions, Scott appeared magically on the lower tier of the hanging podium and noted that there was only one more mode that he and the already-riled audience could possibly reach.
Hits like “Primadonna” and Clean Bandit’s “Baby,” on which she is featured, were exciting to see performed live, but the highly edited, quickly changing nature imagery on the background display made little sense with her costume, dance, and overall stage.
After the creative writing program's move into its new Lamont space, Lamont has slowly begun to become a hub for the college creative writing community.
Each year, as spring descends upon Massachusetts and the cherry trees burst into blossom, the Museum of Fine Arts, Boston brings a touch of flora inside the museum, too.
"The role of the puppeteer is exciting because there's always a duality going on," Brehm said.
It was easy to forget at certain points that the marines’ mistreatment of women and hyper-masculine violence is meant to take place half a century ago.
“John Wick: Chapter 3 — Parabellum” — the latest entry in this unapologetically bloody, but increasingly successful action franchise — lives up to its predecessors.
The Harvard Crimson sat down with Adele Lim, co-screenwriter of "Crazy Rich Asians," to discuss representation in the film and Asian stories in mainstream media.
Russell attracted such a large audience that some attendees sat on the floor, stood in the back of the room, and even watched Russell speak from closed-circuit televisions elsewhere in the bookstore
With their quick fire exchanges, the protagonists will certainly demand the reader’s attention.
As Waller-Bridge debuts the second season of BBC America’s hit thriller “Killing Eve” and its first season wins accolades, the second season of her original dramedy “Fleabag” finally comes to American television.
With a world as large as the one in “Game of Thrones” and all the hype surrounding the final episode, the showrunners were ultimately going to leave fans unsatisfied in some way or another.
Lazarus delivered an ultimate tribute to Ailey’s vision for shining a light on racial inequalities and inspiring empathy and hope within viewers.
At Boston Calling, Tame Impala’s slowly changing but still recognizable Saturday night set was nothing short of breathtaking.
Those aspects exist in Big Red Machine, but its unifying sonic theme is that there is no real theme, that different sounds will come together and interact in new ways.
It was utterly disgraceful how Logic could be so openly hostile with his crowd and still seek exorbitant praise.
Familiarity with Hozier made the lights brighter and his melodies more heart-wrenching, but the concert experience would be enjoyable to any.
“Always Be My Maybe” bears the slight, bitter tinge of Netflix Original mediocrity, that banal air of capitalistically motivated art.
Equal parts eccentric and elegant, euphoric and composed, Christine and the Queens let loose its “weird beauty” onstage, and Boston Calling was better for it.
At his Boston Calling performance on Friday afternoon, touring singer Bonzai, now known as Cosha, stole the show with her vivid stage presence.
For noncommittal but appreciative fans of Lord Huron’s style of country-tinged indie-folk music, the concert was unenthralling after the first song.
Mayberry’s electrifying vocals and the band’s refusal to sink into the shadows contributed to a heartfelt and impressive set.