The independent news organization of Duke University
There is more to college basketball in North Carolina and around the country than the predominately white institutions (PWIs) that are featured on TV.
The audience may not yet know the how or why, but there is obviously something wrong in Westview.
The season 6 premiere of NBC sitcom “Superstore” captures the frenzy, fear and spirit of working at a big box store during a global pandemic, stocking shelves, keeping aisles clean and breaking up fights, all while being conscientious of personal health and safety.
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Ultimately, we may never know if the “West Wing” reunion achieved its goal of creating more voters, but did it spark hope in the same way that my first binge of the series did years ago?
Each component of the show — romance, comedy, drama, action and suspense — was given the space to flourish, never leaving viewers wanting.
No documentary can perfectly represent its subjects, but “Tiger King” seems to play with some questionable ethics.
What I have only recently come to realize is how much “The Mary Tyler Moore Show” shaped my conception of womanhood.
The language of “optimization,” of constantly bettering ourselves as if we exist on a linear spectrum of quality, is, like Goop’s very existence, embedded in capitalism.
I avoided watching Netflix’s latest season of “The Crown” — not only so I could binge it over Thanksgiving break, but also because I was apprehensive about the major changes made to the cast of the Queen Elizabeth biopic series as it moved into a new era.
John Green’s 2005 teen novel “Looking for Alaska” is one of the few books I actively remember reading outside of the classroom in middle school, and for good reason.
Amazon Prime’s newest anthology series, which premiered Oct. 18, follows a string of New Yorkers in search of one connection to make it all worthwhile.
Several weeks ago, I made the glorious choice to show my friend the very first episode of “Fleabag,” the British comedy-drama written by and starring Phoebe Waller-Bridge as the eponymous Fleabag.
“The Boys” is Amazon Prime Video’s latest contribution to the behemoth that is the superhero genre, a slightly grunge, antihero story that turns what audiences have come to know and expect from action on its head. Based on a comic book series of the same name, the show strikes a balance of amusing and serious critical portrayals of a massive corporation breeding celebrity superheroes.
When “Derry Girls” first came out in 2018, I immediately binged the first season, enthralled by awkward and absurd lead actors finding themselves in the most ridiculous situations. To me, each half-hour episode captured a unique part of the teenage experience, particularly one wrought with the background violence of war and division.
I dropped to the floor in horror and utter disbelief. The bus quaked with the will of the surging masses.
The question, as it always is, is why?.
I would like to preface this letter by acknowledging my association with the greek system through my involvement as a pledge of the Phi Kappa Psi fraternity.
On a still-sunny afternoon at Brightleaf Square, the chatter of drinking buddies spills from Satisfaction Restaurant and Bar.
