Madison Hammond

Last Wednesday, I went to The Ark as a fan of the opener and left with a newfound appreciation for live music. Singer-songwriter and multi-instrumentalist John Splithoff brought his signature charisma and soaring vocals, filling the venue with energy and soul.

“Freaky Tales” certainly lives up to its name in a genre-bending, horror-comedy-action thriller love letter to the Bay Area in the 80s, which, as said in the tagline, was “hella freaky.”

Science fiction meets satire in an explosive way in “Mickey 17” — but there is simultaneously too much and not enough of either.

Some call it a film for children; others criticize it as lazy and aimless storytelling. Some even find it boring. But after watching the animated film “Flow,” I can see why it has captivated audiences worldwide.

When I picture an art gallery, my mind conjures a quiet, sterile space lined with ancient sculptures or framed paintings, each accompanied by a neatly printed placard. Even trendier collections, like those at the Museum of Modern Art, tend to follow a certain formula: curated, polished, and sometimes intimidating.

Detroit royalty came to Ann Arbor last Wednesday.

Oh, Mikey Madison. What can’t you do?

“Please do not touch the art.”

Before I saw Rude Mechanicals’ production of “Murder on the Orient Express,” I had no idea what to expect. Somehow, despite the source material by Agatha Christie being so iconic, neither the plot nor the ending had been spoiled for me.

It’s Saturday night in the city that never sleeps, and a frazzled Lorne Michaels (Gabriel LaBelle) is trying to maintain his cool in the 90 minutes before the premiere of his magnum opus, a risque and revolutionary live television show. A head shorter than every musical guest, comedian and NBC executive, Michaels is faced with an angry censorship representative, wildly ballooning expenses, a show that is almost two hours too long and grumpy comedian Jim Belushi who refuses to sign his contract.