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The following content is purely satirical and entirely fictional.
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The following content is purely satirical and entirely fictional.
The following content is purely satirical and entirely fictional.
Beginning my sophomore spring at Princeton and leaning towards declaring a Politics concentration, I stepped confidently into a familiar choreography: construct course schedule, participate, attend office hours, write, go out, regret it, pull all-nighter(s), receive grades, repeat. Signing up for DAN 208: Body and Language was merely another step in this carefully-constructed choreography; a pass (P) to protect the GPA, a 1:30-4:20 p.m. warmup for 4:30 p.m. fencing practice, and ultimately a course that both interested me and fulfilled the Literature and the Arts distribution requirement.
The following content is purely satirical and entirely fictional.
The following article is purely satirical and entirely fictional.
When the COVID-19 pandemic blew Broadway’s curtains closed in March 2020, artists and audiences hoped the intermission would be counted in days and weeks as a quarantine of months washed over them. Producers and consumers alike had to pivot abruptly: performers had to find alternate forms of employment and audiences had to find alternate forms of entertainment. A trap door opened beneath show business, with no script or choreography available to help it stick a landing.
The following content is purely satirical and entirely fictional.