Essays Featured Dec 18, 2023 Paris Bute Marc & Emma: The Minds behind my Favorite Meme Dec 18, 2023 Paris Bute Dec 18, 2023 Paris Bute Oct 27, 2022 Sho Lemerande Feminine Without Objectification in “Nope” Oct 27, 2022 Sho Lemerande Oct 27, 2022 Sho Lemerande Oct 27, 2022 Rosey Howell The Unsexiness of “American Mary” Oct 27, 2022 Rosey Howell Oct 27, 2022 Rosey Howell Oct 24, 2022 Jadyn Graves “A Tale of Two Sisters”: When Guilt Breaks Our Psyche Oct 24, 2022 Jadyn Graves Oct 24, 2022 Jadyn Graves Oct 21, 2022 Jack Hayes You Are The Camera, You Are The Character: Apparatus Theory and Found Footage Oct 21, 2022 Jack Hayes Oct 21, 2022 Jack Hayes Oct 18, 2022 Abbey Heller A Fresh Take on the Horrors of Dating Oct 18, 2022 Abbey Heller Oct 18, 2022 Abbey Heller Oct 14, 2022 Brianna Jackson What’s Hitchcock’s Thing With Blondes? Oct 14, 2022 Brianna Jackson Oct 14, 2022 Brianna Jackson Oct 13, 2022 Lee Lawson Auteur Theory and “One Cut of the Dead” Oct 13, 2022 Lee Lawson Oct 13, 2022 Lee Lawson Oct 10, 2022 Sho Lemerande The Black Gaze in Resistance and Power in “The Demon Knight” Oct 10, 2022 Sho Lemerande Oct 10, 2022 Sho Lemerande Oct 6, 2022 Jadyn Graves This One’s For the Ghouls: How “Perfect Blue” Disturbs Us Oct 6, 2022 Jadyn Graves Oct 6, 2022 Jadyn Graves Oct 4, 2022 Jack Hayes This One’s For the Ghouls: “The Black Phone" Review Oct 4, 2022 Jack Hayes Oct 4, 2022 Jack Hayes Apr 22, 2022 Abbey Heller Fridays of Fright: Buckle In For A Love Story Of The Ages Apr 22, 2022 Abbey Heller Apr 22, 2022 Abbey Heller Apr 15, 2022 Abbey Heller Fridays of Fright: How Lucky Can You Be? Apr 15, 2022 Abbey Heller Apr 15, 2022 Abbey Heller Apr 13, 2022 Abbey Heller True/False Highlights: Fire of Love and I Didn’t See You There Apr 13, 2022 Abbey Heller Apr 13, 2022 Abbey Heller Apr 11, 2022 Morgan McCall The Films That Make Us: St. Elmo’s Fire Apr 11, 2022 Morgan McCall Apr 11, 2022 Morgan McCall