Once a small-town movie house that navigated the local market with bumbling charm, the Garden Theatre has grown into an exhibit of Old Princeton nostalgia under its new management. This is all well and good for Princeton’s polished and intellectual reputation, but I’ll miss the old Garden’s cozy modesty.
I was also intrigued by what a 21-year-old Cruz had to say about the Ninth and Tenth Amendments of the U.S. Constitution, the focus of his thesis and, to his credit, a rarely discussed topic in the academic literature. Because it’s clear that Ted Cruz is — and always has been — a pretty smart guy.
When I visited the Woody Allen papers before winter break, the allegations against Mr. Allen of sexual abuse had not yet resurfaced. Those accusations, presented by his daughter Dylan Farrow in the New York Times on February 1, have reignited an age-old debate about the relationship between an artist’s personal life and the content of his artwork.
In September 1940, Japan’s prime minister, Konoe Fumimaro, concluded the Tripartite Pact with Germany and Italy, committing the three countries to support each other against the United States in the event of American entry into World War II.
Included among the objects displayed in “Myself, I Think We Should Keep Collecting Titles,” the Lewis Center for the Arts’ sharp new exhibition of work by Dean of the Faculty and professor of computer science David Dobkin, are: snow globes, popsicle sticks, water bottle caps, Snapple lids, compact discs, keyboards, mother boards, paper tubes, credit cards, safety rings, fasteners, postcards, and pennies.
Steve McQueen’s 12 Years a Slave is tense and unflinching. Its relentless intensity and graphic brutality has been the defining feature in the media, but it is also an essential part of the film and the primary reason it could become the most important portrait of American slavery yet on camera.