Louisa May Alcott’s “Little Women” is a beloved Hollywood mainstay, and it has been adapted into film for nearly as long as the medium has existed.
“Overcome by events.” That was the phrase photojournalist Renée Jacobs used to describe how a coal mining fire came to decimate the rural Pennsylvania town of Centralia.
Nadia Shanaa is a Palestinian, hijab-wearing, Virgo energy-radiating character from “Elite,” a show that Vulture aptly described as “Netflix’s best horny teen drama.”
How do we responsibly depict marginalized peoples’ narratives, particularly those of immigrants, who by necessity must often remain anonymous?
“Booksmart” sounds like any other teen movie, but its Damien Chazelle-esque visual ambition (including one fantasy musical scene) and its all-encompassing commitment to character are what strip it from tradition.
“Ramy” has the familiar trappings of any other dramedy about any other millennial: Our protagonist, Ramy (Ramy Youssef, who is also writer, director and co-producer), is a 20-something working at a sinking tech start-up, stumbling through the last chapter of his bildungsroman and trying to figure it all out before he hits his 30s.
Students often come to know their professors over the course of a semester-long class, where instructors serve more as mentors and advisors than writers, researchers or filmmakers.
Walking through the Rubenstein Library gallery, one can’t help but be drawn to the photographic portraits now lining the walls, its subjects staring directly out at the viewer as though asking you to approach them.
When I began questioning my sexuality as 13 or 14 year-old, the imperative question was “Why am I the way I am?”
Maya Arulpragasam, or M.I.A., has always been blatant and bold. She was a Tamil refugee to London whose rapid rise in fame and fortune found her in stuck in the crosshairs of power and privilege, where using her influence to e change proved easier said than done.
