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Monday, Dec. 2, 2024

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Arts & Life

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Year in Review: Museums Are Changing, Not Dying

By Zimra Chickering · Monday, Jan. 4, 2021

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Students Take Advantage of Empty Campus Over the Holidays

By Claire Fenton · Monday, Jan. 4, 2021

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‘Wonder Woman 1984’ Fails to Bring Much Wonder

By Aayush Gupta · Sunday, Jan. 3, 2021

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Goizueta Student Turned One of Atlanta’s Top Innovators

By Ulia Ahn · Tuesday, Dec. 29, 2020

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‘Lovers Rock’ Is the Best Party 2020 Has to Offer

By Caleb Jones · Saturday, Dec. 26, 2020

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Visualizing the South: The House that Malick Built

By Stephen Altobelli · Saturday, Dec. 26, 2020

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Year in Review: COLORS Studio’s Best Releases

By Zimra Chickering · Friday, Dec. 25, 2020

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‘Nomadland’ Is a Human Exploration of What It Means To Be Home

By Saru Garg · Friday, Dec. 18, 2020

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‘Hillbilly Elegy’ Regurgitates Tired Stereotypes of Appalachia

By Anastasia Knudsen · Friday, Dec. 18, 2020

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More Than a Restaurant, ‘Mangrove’ Is a Movement

By Noah Whitfield · Thursday, Dec. 17, 2020

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How the Emory Whig Has Succeeded

By Martin Shane Li · Tuesday, Dec. 15, 2020

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Netflix Original ‘Mank’ Lacks Its Rosebud

By Rhett Hipp · Tuesday, Dec. 15, 2020

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How to Survive the Holiday Blues

By Madeline Bryce · Tuesday, Dec. 15, 2020

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With Spring Sports Canceled, Student Athletes Seek Alternatives

By Jack Hudson · Tuesday, Dec. 15, 2020

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One Virtual Semester Down, One to Go: Students Brace for Spring

By Matthew Chupack · Sunday, Dec. 13, 2020

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‘Dragnet’ Remastered Is a Bust

By Jeffrey Rosen · Sunday, Dec. 13, 2020

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You Knead to Watch Season 11 of ‘The Great British Bake Off’

By Zimra Chickering · Sunday, Dec. 13, 2020

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In Defense of Language GERs

By Sienna Nordquist · Thursday, Dec. 10, 2020

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‘Plastic Hearts’ Embodies Miley’s Genre-Defying Potential

By Cailen Chinn · Saturday, Dec. 5, 2020

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‘My Psychedelic Love Story’ Colorfully Presents 1960s Counterculture

By Jeffrey Rosen · Saturday, Dec. 5, 2020

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