While we see new perspectives in this episode, there is almost a sense of stagnation with regards to the events of the pilot. Yes, the show does move the story forward, but the central characters from the first episode take a backseat here.
Two years ago, Banks snuck onto the scene with the release of her first full album “Goddess.” On “Goddess,” the singer established her distinctive style, marked by dark, rhythmic house beats, melancholic lyrics and melodically gritty croons.
Last year’s “Lice” EP, a 15-minute collaboration project between Aesop Rock and Homeboy Sandman, was a sign of things to come.
One powerful but simple secret allows Marvel Studios to stay in the forefront of modern entertainment — its larger than life stories appeal to a wide variety of audiences.
Apollo Brown is the London Perrantes of Hip-Hop. Perrantes is insanely talented, knows how to work as a team and gives his teammates great opportunities to deliver a slam.
The loose, slinky instrumental of “Atrocity Exhibition’s” opener, “Downward Spiral,” is as disorienting as it is revealing.
In her third full studio album, Solange offers a refreshingly intimate, yet powerful take on identity and blackness in America.
In spite of what their name suggests, The Growlers’ sound is more suave than snarly. Their fifth studio album, “City Club,” continues the retro-inspired energy of their last release, 2014’s “Chinese Fountain,” but cranks it up to 11.
Raised by Wolves released their highly anticipated collaboration with English heavy metal outfit Black Sabbath.
“Westworld” is a show with many layers — some more effective than others.
Kicking off their fall U.S. tour, “Real Estate” took the stage last Thursday night to a decent crowd at the Jefferson Theater.
Depressingly rainy nights make for fantastic rap concerts. After scrambling to get inside the Jefferson, fans had to push through a flock of eager peers to claim spots in front of the stage.
Imagine if Thoreau emerged from the woods, listened exclusively to Kanye West and Frank Ocean for a couple of years, then wrote the sequel to “Walden.” Now go listen to Bon Iver’s “22, A Million” and imagine no more.
Emerging from New York’s anti-folk movement in the early 2000s, Spektor broke through the mainstream with her quirky turns of phrase, direct and genuine lyrics and gorgeous piano tracks with orchestral backings. She overflows with personality and honesty, which together make it hard not to smile listening to her, even in her darkest moments.
For many, listening to the band Yellowcard releases a wave of nostalgia. A generation of middle schoolers rode the bus home every day, listening to Yellowcard on portable CD players, reveling in the band’s brand of light and catchy teenage rebellion.
Filled with monsters, time loops and peculiar children, “Miss Peregrine’s Home for Peculiar Children” would seem to be another quintessential Tim Burton film — dark, fantastical and fun.
“Bob’s Burgers” is something of an anomaly. It’s certainly not a kid’s cartoon, but it is also nowhere near as profane as shows like “Family Guy” and “South Park.” “Bob’s Burgers” is in a category of its own, and it excels in this uniqueness as it enters its seventh season, which premiered Sunday.
Twice a semester, Arts and Entertainment staffers pick the songs they cannot stop listening to.
There is no denying that Idina Menzel is a dynamic and multifaceted performer. Ask anyone from the six-year-old who has been belting out “Frozen” tunes for the past two years to the avid theater lover who saw Menzel perform on Broadway in “Wicked” and “Rent.”
Unobtrusively set at the end of the Downtown Mall, six photographs comprise an exhibit titled “Landscapes of Slavery and Segregation.”
