BY ERIKA HARWOOD
Wright recently sat down for a phone interview with The Michigan Daily to discuss his life in comedy and his upcoming performance at Royal Oak Music Theatre this Saturday.
BY KARSTEN SMOLINSKI
While Webb certainly deserves the redemption “Kill the Messenger” provides him, I don’t think he deserves the ‘based on a true story’ character flaws meant to make the film more entertaining.
BY MATTHEW BARNAUSKAS
There is a general necessity in many comedies to use the status quo. It’s what characters live in and try to restore when mishaps occur, and usually when the episode ends the characters more or less return to this default and reset for the next
BY CHRISTIAN KENNEDY
Many would not consider themselves a fan of folk, but after listening to Moore and Green’s harmonious duets, music fans will be begging for less bass and auto-tune and more banjos.
BY OMAR MAHMOOD
The film should be appreciated not for the arcs of its individual characters, but for its color and the breathtaking scope of its storylines and themes. It should be read for what it is: a Hispanic in the mold of the Cervantine novelas.
BY HAILEY MIDDLEBROOK
In the CW’s new show, newcomer actress Gina Rodriguez plays Jane Villanueva, a 23-year-old girl whose character stands in stark contrast to all of the Samanthas and Serenas on TV.
BY MELINA GLUSAC
Tired, familiar, boring — that’s the sophomore slump. Many artists fall into it and can’t get back up. But that stigmatic phrase is nonexistent for British techno diva Jessie Ware, as if she’s never heard of those words strung together.
BY CHLOE GILKE
The most confusing thing about “Scandal” is how one little musical motif makes me accept (hell, even actively love) an abusive and dangerous relationship.
BY ALEX BERNARD
In a book with a defined ceiling, it’s refreshing to find an author accepting his limitations who only delivers where he can. Sundquist writes a simple book with simple sentences, but stories produce an unexpected sincerity and depth.
BY COSMO PAPPAS
Théâtre de la Ville’s performance of one of Pirandello’s theatrical masterworks will not disappoint in its prompting of questions that strike to the very heart of understanding oneself as a self that lives among others.
BY MAYANK MATHUR
It’s pretty evident that “The Disappearance of Eleanor Rigby,” directed by newcomer Ned Benson, could have done with a lot less beating around the bush and more of beating the shit out of it.
BY CHRISTIAN KENNEDY
Coming from someone with a fresh tattoo and rook piercing, country group Little Big Town’s sixth studio album, Pain Killer lived up to its name. It certainly numbed my pain.
BY KATHLEEN DAVIS
In a way, it’s the timelessness that’s the draw, allowing us to get absorbed into the drama, or the comedy, or the sadness, yet when the curtains close we’re eased back to reality, taking the influence of art back with us. And that in and of itself is a beautiful thing.
BY DREW MARON
“The Knick,” as of right now, is the best new show on television, and certainly the only new show that can join the ranks of “elite” cable programming such as fellow newcomer “True Detective.”
BY AKSHAY SETH
In the first 15 minutes of “There Will Be Blood,” there is only silence.