Our blue-ribbon, supersized panel: Hugh Acheson, Carrie Baird, Maneet Chauhan, Nina Compton, Dana Cowin, Melissa d'Arabian, Harold Dieterle, Joe Flamm, Nancy Fuller, Gina Keatley, Melissa King, Spike Mendelsohn, Sara Moulton, Hosea Rosenberg, Dale Talde, Jess Tom and Jonathan Waxman.

In late 1947, in the Regional Court of Amsterdam, one of the most unique stories to come out of World War II was put to rest. The trial of artist Han van Meegeren had come to an end. Accused of collaborating with the Nazis during their occupation of the Netherlands, the painter had been inca…

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There’s a timely message or two to be found amid the carnage that is Eshom and Ian Nelms’ “Fatman,” a would-be dark comedy that attempts to skewer the commercialization of Christmas as well as the uptick in violence seen in our youth.

Worst year ever? You might get a convincing counterargument from American historians without them even having to go further back than the 20th century. For some pandemic perspective, we asked them to finish this sentence: If you think 2020 in the U.S. has been rough, let me tell you about ...

The 2020 Don Moyer Boys & Girls Club’s Dancing With Champaign Urbana Stars virtual fundraising event was presented in a livestream format from the I Hotel on Nov. 6.

I’m fully booked. My social calendar remains open, but my bookcases are packed like the rush hour Dan Ryan Expressway. Books are a passion, and we buy them faster than we can read them.

There’s a tattered dignity about Madame Rosa. Life has been hard for her. Circumstances have forced her to compromise herself from time to time. As a survivor of the Nazi death camps, she’s learned the hard way that living another day can come at a steep price. And she knows not to criticize…

Not as sharp as his previous efforts in the meta-horror genre, “Happy Death Day” and “Happy Death Day 2U,” Christopher Landon’s “Freaky” has nearly enough going for it to warrant 100 minutes of your time. A pastiche of horror genre tropes, all set up to be skewered through a post-modern lens…

I was about halfway through Thomas Bezucha’s “Let Him Go” when in my notes I wrote, “Let’s see how this ends…” At that point, I had many mixed feelings about the film – many things I liked, yet there were almost as many that I didn’t – and I knew that how I would ultimately feel about it wou…