Sarina Bell

At the group date on Santa Monica Pier, each of the women reveals her deep, undying feelings for Gerry, and each of the women is swiftly but kindly rebuffed. This late into the season, Gerry has mastered his “That's so nice of you to say” schtick.

In his sweeping solos, Wyatt Underhill, an acting associate concertmaster, managed to turn his violin into an oboe, the oboe into a gong, then back into a violin solely through the specificity of his fingers. 

In solidarity with stupid jokes everywhere, The Daily Californian has chosen to join Vulture’s Molly Fitzpatrick on her campaign to popularize a new nickname for Gerry: Gatch.

On a Sunday afternoon outside Zellerbach Hall, concert-goers of all ages dodged stray skateboards to line up for Berkeley Symphony's season opener “American Kaleidoscope.” The question presumably on the crowd’s mind? How would conductor Joseph Young revamp the program’s 100-year-old centerpiece: George Gershwin’s “Rhapsody in Blue?”

ABC’s hotly anticipated offshoot of “The Bachelor” centers the sexiest subgroup on this side of the Berlin Wall’s collapse: women between the ages of 60 and 75.

Witty, topical and brimming with heart, “Come From Away” seeks to “honor what was lost” but also “commemorate what we found.”

On April 15, blazered bookworms from Berkeley and beyond gathered in Dwinelle Hall for the comparative literature department’s 10th annual Undergraduate Research Symposium.

Why the rattails? Why the reemergence of a trend so long associated with safety scissors and Obi-Wan Kenobi? The Daily Californian sat down with four hot, rattail-ed gay students to get to the bottom of this issue.

On Jan. 22, with an asphalt pomp heretofore unseen on the West Coast, Joel Coen took to the stage at Berkeley Art Museum and Pacific Film Archive (BAMPFA) to discuss two films, the first John Huston’s 1987 "The Dead", and the second him and his brother Ethan’s 2013 “Inside Llewyn Davis.”

Netflix’s “Falling for Christmas” follows in the celebrated snow-dusted footprints of the “A Christmas Prince” trilogy and “The Princess Switch” duology. Each film attempts to answer one of Zeno’s lesser-known paradoxes: how can Netflix, an Academy-Award-winning film studio, distribute a hate-bait Hallmark-style Christmas classic?