A world-premiere workshop production being staged at Davenport's Mockingbird on Main from March 24 through April 1, Anywhere but Here tells of a young man from a big city forced, by the advent of the 2020 pandemic, to move back into his parents' rural Midwestern home. It's a situation likely familiar to many. It's certainly familiar to the show's playwright and director Bradley Robert Jensen, who fashioned his own experiences into what he describes as “a family dramedy centered around people choosing each other over each other's differences.”

As a rule, horror sequels aren't supposed to be good. Fifth sequels in any genre aren't supposed to be good. Sequels whose basic M.O. is “Let's do what we've always done … but in a different city!” aren't supposed to be good. And yet, almost preposterously, Scream VI proves to be very, very good – though if that praise seems suspect, I'd be willing to amend it to “very, very entertaining.”

It feels odd to preface a lengthy article devoted to my predictions for the 95th Annual Academy Awards by asking you to not listen to me. But this year? If you want to win your Oscars pool? Don't listen to me.

Of the three showcases to date for Paul Rudd's alternately diminutive and behemoth superhero, Ant-Man & the Wasp: Quantumania is the one I dislike the least. As I see it, credit for that is due to precisely two elements. Compared to Ant-Man & the Wasp, this new adventure has roughly 75-percent more Michelle Pfeiffer; and compared to the 2018 sequel and 2015's original Ant-Man, it has 100-percent more Jonathan Majors.