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Liberal Arts Cuts Are Dangerous
Is College Necessary?
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Crypto
Investing
SEC vs Celebrity Crypto Promoters
‘Dark’ Personalities Drawn to BTC
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Eileen G’Sell
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How lipstick became music’s most versatile symbol
Eileen G'Sell
“Mid90s” exposes the violence of boyhood: Teen trauma is a masculine rite of passage, too
Eileen G'Sell
Lessons of “Generation Wealth”: In an age of excess, it’s women who lose
Eileen G'Sell
Robert F. Kennedy and Mister Rogers: Two icons of masculine empathy sorely missed today
Eileen G'Sell
Man up, ladies! How “GLOW” exposes “manliness” as an elaborate, fragile front
Eileen G'Sell
Feminist flamethrowers: Laura Kipnis, Camille Paglia and the modern sex wars
Eileen G'Sell
Posh taste, poor timing: Does Victoria Beckham’s Target fashion democratize luxury or glorify gratuitous wealth?
Eileen G'Sell
A canon round for democracy: The literati’s power in a populist era is limited, but vital
Eileen G'Sell
Lessons from Ronda Rousey vs. Amanda Nunes: What 48 seconds of fighting can teach us about gender, sexuality and race in UFC
Eileen G'Sell
“Dapper” and dangerous: The ugly history of glamorizing white nationalism
Eileen G'Sell
The pop-culture progress myth
Eileen G'Sell
The new “Inconvenient Truth”: Leonardo DiCaprio’s new documentary wants to challenge climate change skeptics
Eileen G'Sell
Rise of the sane and angry woman: “Girl on the Train” is the 2016 rejoinder to “Fatal Attraction”
Eileen G'Sell
The motherhood cure-all: “The Light Between Oceans” illuminates a reckless romance with adoption fallacies
Eileen G'Sell
The Bourne Masculinity: Matt Damon’s hyper-aggressive, emotionally fragile “good guy with a gun”
Eileen G'Sell
A tale of two It Girls: Chloë Sevigny, Greta Gerwig and the generational likability divide
Eileen G'Sell
Your wedding season anxiety antidote: The weird, wild, unlikely romance of “The Lobster”
Eileen G'Sell
“Zootopia” in the Year of Trump: The parallels between a Disney cartoon and the 2016 election continue to surprise
Eileen G'Sell
A “final girl” who gets to get off: “The Witch” proves nothing’s scarier than an unapologetically liberated young woman
Eileen G'Sell
The sinister seduction of “Cherry Wine”: Domestic violence, filtered through a soft Instagram gloss
Eileen G'Sell
The evolution of Leo: His punishing, paternal “Revenant” is the penance that will erase his party-boy past
Eileen G'Sell
“The Danish Girl’s” ersatz Oscar bait: Academy can pat self on back for Eddie Redmayne’s undeserved nomination
Eileen G'Sell
“Joy,” the neoliberal fairy tale: Not even populist princess Jennifer Lawrence could redeem the movie’s toxic brand of lone-wolf feminism
Eileen G'Sell
Cate Blanchett’s cocky elegance: As Queen Elizabeth, Bob Dylan or a closeted ’50s housewife, her on-screen seductions are anything but sweet
Eileen G'Sell
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