Posted inBooks ‘Maus’ and the irony of banned literature by Hannah Carapellotti and Emma Doettling March 11, 2022March 11, 2022
Posted inDigital Culture The Joe Rogan Spotify controversy shouldn’t surprise anyone by Hannah Carapellotti February 16, 2022February 18, 2022
Posted inB-Side My own Mr. Keating: Why I love ‘Dead Poets Society’ by Hannah Carapellotti February 6, 2022February 6, 2022
Posted inDigital Culture A tale of two TikToks by Hannah Carapellotti February 3, 2022February 3, 2022
Posted inDigital Culture ‘That Girl’ doesn’t exist (well, not in the way you’d think) by Hannah Carapellotti January 30, 2022January 30, 2022
Posted inDigital Culture The future of art(ificial intelligence) by Hannah Carapellotti January 18, 2022January 18, 2022
Posted inTV The beautiful nostalgia of ‘Return to Hogwarts’ by Hannah Carapellotti January 13, 2022January 13, 2022
Posted inTV ‘Emily in Paris’ season two has improved ‘un petit peu’ by Hannah Carapellotti January 12, 2022January 12, 2022
Posted inDigital Culture How Blanks uses social media to craft bopping beats by Hannah Carapellotti December 20, 2021December 20, 2021