Ethel Cain’s “Perverts” and the Sanctity of the Profane
Ethel Cain does not return so much as she resurrects. In her sophomore album Perverts, Cain presents a reckoning—a blood-warm,…
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“Nosferatu” (2024): The Horror of Female Sexuality
Robert Eggers’ Nosferatu is a haunting journey into the depths of gothic horror, where ancient myths and modern themes collide…
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Bob Dylan is Larger than Life in “A Complete Unknown”
Who is Bob Dylan? Not who you want him to be. This is the message of A Complete Unknown, the…
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MUSCO: Fostering a Unified Music Scene
On Monday, February 3rd 2025, the Musicians Collective of McGill hosted their second Open Mic Night at Bar Milton-Parc. With…
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Phone Rings, Door Chimes, In Comes McGill’s Arts Undergraduate Theatre Society’s Company!
Stephen Sondheim’s Company first premiered in 1970 and has been captivating audiences across the world ever since, and Director Anna…
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Live And In Person: Finding Community Through Montreal Techno
It’s a Wednesday at Redroom and the music still shocks me. It’s just that awesome. I can’t help but think…
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Unruly Puppets and Grieving Churchgoers: A Review of ‘Hand to God’
Hand to God redefines the classic notion of a puppet show with a darkly comedic twist. This unique comedy with…
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Christmas in Montreal: Where to Go and What to See
Christmas: the most magical time of the year, filled with toy-obsessed children, decorations covering every storefront, and a warm feeling…
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Disenchanted: How Anora Loses Anora
Sean Baker’s 2024 Palme d’Or-winner, Anora, is as hollow and reductive as it is raw and radiant, setting its standard…
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Untangling the Knots of Reproductive Tragedy: A Review of ‘Yerma’ and an Interview with Director Ruby Isaacs
HER: “It never hurt you like it hurt me” — Yerma, Simon Stone Two halves of a millennial couple, a…
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