
Gracie Abrams’ ‘Secret of Us’ Tour: A Declaration of Musical Identity, Connection
By Emily Griffith, Hoya Staff Writer
• October 30, 2024

a.kitchen+bar serves a.magical+meal
By Amber Cherry, Senior Guide Editor
• October 30, 2024

‘The Substance’ May Lack Substance, But It Succeeds in Diagnosing Society’s Nauseating Addiction to Beauty Standards
By Isabelle Cialone, Hoya Staff Writer
• October 30, 2024

On Your Radar: Hoya Halloweekend, Part Two: Performing Arts on Campus!
By Caitlin McBride, Hoya Staff Writer
• October 30, 2024
PHILM AND FILOSOPHY | The Slippery Concept of “Anti-War” Filmmaking
By Luke McMahan, Guide Columnist
• October 24, 2024

‘We Live In Time’: A Bittersweet Journey Through Love, Laughter, Life’s Fragile Moments
By Ethan Hill, Deputy Guide Editor
• October 24, 2024

Everyone Is Wrong About ‘Joker: Folie à Deux,’ I’m Here To Defend It.
By Ethan Hill, Deputy Guide Editor
• October 24, 2024

On Your Radar: Hoya Halloweekend (Part One)
By Caitlin McBride, Hoya Staff Writer
• October 23, 2024

A Quite Perfect Mystery, Netflix’s ‘The Perfect Couple’
By Tanvi Gorripati, Deputy Guide Editor
• October 23, 2024

‘Saturday Night’ Tells the Story of Sketchy Beginnings
By Tanvi Gorripati, Deputy Guide Editor
• October 23, 2024
Is ‘Bram Stoker’s Dracula’ Really His Bloodlusting Beast or Does Coppola Craft His Own Carnal Creature?
By Isabelle Cialone, Hoya Staff Writer
• October 18, 2024

‘Point Break’ Proves A Philosophical Surfing Film
By Caitlin McBride, Hoya Staff Writer
• October 18, 2024
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