In 2003, a man created a movie so fascinatingly awful that his best friend and co-star, Greg Sestero, wrote a bestselling memoir about the making of it. It was called The Disaster Artist.
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I did two things as soon as I got home from seeing She Kills Monsters: I unpacked my bag of colourful, multi-sided dice from storage and I bought another ticket to see the show again next week.
When the cast and crew of She Kills Monsters met for the first time, they were not themselves. With the help of five Dungeon Masters, two pounds of multi-sided dice and dozens of character sheets, they become paladins, mages and heroes in the fantastical world of Dungeons and Dragons.
In the age of the Resist and #MeToo movements, the adage of the pen proving mightier than the sword rings truer than ever, especially for women-focused narratives.
A showcase of animated short films from around the world, the night was both entertaining and thought-provoking. It successfully brought together visually diverse pieces that each convey a different message and mood. The show was cohesive, and the films flowed into one another well.
The actors cheer. Within seconds, the team of theatre students become a squadron of medieval-age knights with a mission. Swords appear out of thin air; someone brandishes an absurdly huge battle-axe.
While UBC is now home to over 60,000 students, the campus that we know today is far from what it was 100 years ago. It is this that Sheldon Goldfarb tries to highlight in his book The 100 Year Trek.
From November 30 until December 2, the UBC Museum of Anthropology hosted an exhibit entitled Transformation Mask, showcasing a piece of art that was crafted through a collaboration between Heiltsuk artist Shawn Hunt and Microsoft.
You're walking down East Mall late one evening and feel someone watching you. You glance over your shoulder and swear that Buchanan Tower is a little closer than it was before. You walk faster.
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