Arts & Entertainment

Girl reappearing

Tori Amos celebrates 20th anniversary by revisiting her catalogue

Published

13 years ago

September 27, 2012

Joey DiGuglielmo

Tori Amos (photo by Danielle Levitt)

Tori Amos is straight but has a strong LGBT fan base. The Blade’s Joey DiGuglielmo is a long-time fan, having worn out a copy of “Boys for Pele” in the throes of closeted college-era angst. He talked to her by phone two weeks ago to talk about her new album “Gold Dust,” which features orchestral re-workings of 14 of her songs. It’s slated to drop Tuesday in the U.S.

Blade: Hi Tori

Tori Amos: Hi, how are you?

Blade: I’m good. I’m gonna try to cover a lot of ground really quickly so I’m just gonna jump right in. Tell me a little about the relationship you have going with Deutsche Grammophon. This is your second project with them. Are you under contract or are you just doing things on kind of an album-by-album basis?

Amos: Kind of album by album. … They came up with the idea of the variations on the masters (last year’s “Night of Hunters” album) but when I’d been working with the Metropole Orchestra the year before and they basically said, “We need recordings of this. This is the 20th anniversary of your work and this is how you do it with an orchestra.” I didn’t know, at first, if that made sense, but it seemed to make sense in their German minds. So it’s been very organic.

Blade: I’m just wondering how some of these arrangements came about and thinking back to some of those great remixes you had of your stuff back in the late ‘90s. Obviously I know remixing is a whole different thing altogether, but in terms of crafting symphonic arrangements or reworkings of your songs — where these songs are very much living in an alternate space from their original studio versions — I’m wondering if any of the same artistic considerations or principles apply as would if you’re crafting an alternate version in the form of a remix.

Amos: Wow, that’s a great question. I guess the thing about a remix is you don’t have to retain the narrative or even the spirit of the original work in the same way. So the “Professional Widow” remix, for example, became a very different expression of the song from the original. Some of that narrative was there but not the way it was on the (album version). And yet the remix still clearly did its job. But in doing something like this, you don’t want to lose the song’s story or her narrative in any way, so it was important to really, and sometimes very subtly, make changes. Some of the songs didn’t want a makeover. Some of them said, “Only strings,” or others said, “We’re open to a full orchestra but we don’t want to become completely overtaken.” It was almost like you were changing their outfit, but you were not changing their soul. Some were open to a more radical flavor. Like with “Flavor,” for instance, which was originally recorded with loops, it really stepped forward and said, “I want a completely different approach.” Or with “Precious Things.” It kind of said it thought its narrative could work with a more Prokofiev-inspired approach.

Blade: What was the time frame for this album?

Amos: I was rehearsing (with the Metropole Orhestra) for shows in October, 2010 and then we got back together in early 2011 and began recording some, but then we put it away because we went and did “Night of Hunters” with the octet. So that project came first, even though this was the first idea. Then we put the (“Gold Dust”) reels back on, I’d say maybe January 2012 and … began editing them together. Overdubs and mixing were finished in July.

Blade: Classical musicians can be notoriously snobby. Did you get any vibe from the Metropole players, even if they never said anything, that they were thinking, “Why are we doing this — can’t somebody bring us some Beethoven or something?” You do all kinds of stuff, obviously, but the grand scheme of things, your songs would be considered in more of the pop idiom than classical.

Amos: It was really a collaboration with them and I think the reason Alex (Burh, the Deutsche Grammophon exec who suggested “Night of Hunters”) suggested it is because he could tell there was a real conversation happening during the rehearsals (for the 2010 concert). There was definitely an affinity and a back-and-forth-type thing that was going on and I think that was why the decision was made to document and record it. There was a chemistry.

Blade: You’ve done a few theme projects now — a holiday album, some concept albums, a classical album, now orchestral reworkings of your songs. Do you have a private bucket list of stuff you want to eventually do? I’m not even necessarily asking what all those projects might be, but do you think, “Well, before I hang up my hat, I definitely want to do — blank.” Does your artistic mind work that way?

Amos: Yes, it thinks that way. I think right now I’m really focused on the musical, “The Light Princess.” Nick Hytner is very much a powerful force at the National Theatre in Great Britain and so hopefully the plan or the idea is that the piece will be ready to get put on its feet within, oh I don’t know, a year, maybe a little over a year. That’s what I have on my brain right now. But yeah, I approach things as a conceptualist and there are all kinds of thoughts that have come into my mind. I would love to someday do something where I just stay someplace and perform. I don’t know if you’d call it an evening in Las Vegas or what, but with a story and dancers. I would love to do something at Caesar’s Palace someday. And not just campy, you know, but maybe a bit of camp, but I love the idea of having dancers — not me dancing, I would be playing and singing — but have some dancers onstage and just make it an incredibly entertaining evening. Very much an old-school variety show with great costumes and an old Hollywood feel. Something like from the ‘30s or ‘40s where you get dressed up and come to a show and have dinner and walk away feeling like you’ve had a really glamorous evening.

Blade: Well, I would definitely come see it, that sounds fun. One thing I’ve always really admired about you is that you don’t always make things easy on the fans or present the material in such a way that it’s easy or accessible for the most casual fan, to say nothing of the material itself. I’m talking about things like those Icon or Playlist anthology CDs where they throw them together for all kinds of artists and make them something that’s meant to be a $7.99 impulse purchase in the checkout lane at Target. You never do things like that. And I’m not even saying it’s necessarily a bad thing ….

Amos: (interjects) … It is bad.

Blade: OK, why? Couldn’t you argue that it might pique someone’s curiosity and inspire them to then go dig deeper?

Amos: I’m telling you, it’s sinning against your art. That’s what you’re doing. It’s lazy.

Blade: Do you have business people approach you with these kinds of ideas?

Amos: Well, you know. There are all kinds of ideas that get spun about. But you have to have it in your head whether it’s a good idea or not. How are you going to feel about it in three months, in six months? What kind of statement does it make about you as an artist? And hey, sometimes I understand why they release these anthologies because something like (“Gold Dust”), I mean this takes a LOT of time to do. We started October 2010 so we’re talking two years from inception to this. It started with them inviting me to come play a show but it didn’t matter if it was one show or 200 shows or if we recorded the arrangements or not, the work still had to be done. The arrangements still had to be made for, like, 20 songs. (Arranger) John Philip Shenale and I were in touch everyday about this for one show, which is all I initially thought it was going to be. Not for one second did I think this would end up being a studio album. They invited me for this before the Alex, the German musicologist, invited me to come start messing with the masters. So that was the genesis and the time frame and doing a project like this with an orchestra is really tricky because people have attachments to the original versions. You really want to retain the soul of the song girl and like I said, some didn’t want extreme makeovers. That wasn’t really the challenge. It’s not about trying to shock people or try to decide how different you can make it. That’s almost too easy. It’s easy to shock people that way, to turn something totally on its head. I think what’s much trickier to do is to subtle because subtle changes can also become real banal and lifeless if you’re not careful.

Blade: I interviewed Sophie B. Hawkins a few weeks ago, who has a fabulous new album out by the way. I highly recommend it. I’m wondering if you feel any sense of sisterhood or artistic kinship with other women who came along in the ‘90s about the same time you did. You’ve managed to continue to forge ahead against the odds, while so many artists from that time have seen their audience dry up or move on. What advice would you give to other women who are highly talented musicians and still feel they have something great to offer?

Amos: It is really tough out there and it’s culturally tough because the masses seem to be gravitating to the next people and artists are seen as very disposable. They want to move on to whomever is next instead of growing with them. I have always wanted to grow with the artists and jump on the train with them. I wanted to know what they were experiencing and wanted to be seen as their patron. That’s how I think of my audience — I very much see them as my patrons, the people who come to my shows. Because without them, I couldn’t keep going. Also, philosophically, people seem to be of the mindset often, that it’s OK to just take something. I would never go to a wine show and slip a bottle of wine in my bag when the vendor wasn’t looking but people have talked themselves into thinking that that’s OK. Meanwhile orchestras are shutting down and you have … very accomplished musicians thinking about how they’re going to make a living doing their art. This is what I’m hearing from a lot of musicians. Do I have an answer? No, I don’t. I think it’s a cultural crisis.

Blade: Isn’t it partly short attention spans too?

Amos: Well yes, that and not wanting to grow. I would like to say that eventually people will realize how sad it is and that it will turn itself around but one of the reasons for the short attention spans is these shows where the next crop is waiting in the wings for its 15 minutes. These shows are making a lot of money but they don’t care about these singers. All they care about is the next show. Nobody is nurturing these artists.

Blade: A lot of people tape your shows and trade them around. Are you OK with that as long as they’re not trying to profit off them? Say they couldn’t make it to the show in Denver and you did this new song — which has always been one of the cool things about you, that your set list changes all the time.

Amos: I don’t have a problem with that but please, use good mics! Now obviously, if you’re trying to sell it, then I have a problem. I think my community knows how it goes. They know where I stand on stuff like that. I’ve even had people tell me they knew somebody who fell on hard times and couldn’t go to one of the shows. OK, but one day when you can, give back. I support the arts. Like visual artists — I go to galleries and support artists all the time.

Blade: I have a somewhat self-indulgent question I’m gonna squeeze in here but maybe it will apply to some other fans too. I play in a church so the challenge really becomes digesting so much new music all the time. What advice would you give to a church pianist or organist where there’s never time to polish anything or let it settle into the brain or fingers before you’re onto the stuff for next Sunday?

Amos: I think you should all be revisiting things on some kind of a rotating schedule. So maybe you revisit something, say, three months later and it becomes part of your repertoire and that way you develop a repertoire. I don’t think things just have to be performed one time. People will say, “Oh, I recognize that, I like that piece.”

Blade: I guess the cynic in me thinks they’ll think, “Oh, that again — he must have had a busy week.”

Amos: Well, OK, I guess some might think that but you can’t lie to yourself. The only other thing you can do is carve out more rehearsal time for yourself, but yeah, I can imagine it is tough.

Blade: Are you a keeper by nature? Do you have clothes from old video shoots and, like, all the “Doll Posse” wigs and stuff like that?

Amos: Yes, I have all that. And yes, (daughter) Tash dresses up in them all the time.

Blade: How many pianos do you own?

Amos: Well that’s tough to say because I have a deal with Bosendorfer so I can trade them out.

Blade: I can’t imagine what your tuning bill must be.

Amos: Well, we have different tuners in different countries. The Bosendorfer at the beach house in Florida, we have this lovely lady who has this twinkle in her eye. And then there’s the one where we record in Cornwall. But Ann has gotten the Florida one where it doesn’t need as much because it’s not being recorded. She’s really got it stable right now and it’s not being moved, so it tends to hold its tuning pretty well. When we’re recording, we tune once a week.

Blade: I love the new album, thanks so much for your time.

Amos: You take care honey, thanks.

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Books

Laverne Cox, Liza Minnelli among authors with new books

A tome for every taste this reading season

Published

7 hours ago

March 13, 2026

Terri Schlichenmeyer

Spring is a great time to think about vacations, spring break, lunch on the patio, or an afternoon in the park. You’ll want to bring one (or all!) of these great new books.

So let’s start here: What are you up for? How about a great new novel?

If you’re a mystery fan, you’ll want to make reservations to visit “Disaster Gay Detective Agency” by Lev AC Rosen (Poisoned Pen Press, June 2). It’s a whodunit featuring a group of gay roommates, one of whom is a swoony romantic. Add a mysterious man who disappears and a murder, of course, and you’ve got the novel you need for the beach.

Don’t discount young adult books, if you want something light to read this spring. “What Happened to Those Girls” by Carlyn Greenwald (Sourcebooks Fire, June 30) is a thriller about mean girls and a camping trip that goes terribly, bloodily wrong. Meant for teens ages 14 and up, young adult books are breezier and lighter fare for the busy grown-up reader.

If you loved “Boyfriend Material” and “Husband Material,” you’ll be eager for the next installment from author Alexis Hall. “Father Material” (Sourcebooks Casablanca, June 2) takes Luc and Oliver to the next step. First was dating. Then was marriage. Is it time for the sound of pitter-patter on the kitchen floor?

Maybe something even lighter? Then how about a book of essays – like “The Terrible, Horrible, No Good, Very Bad Gay” bycomedian and writer Eliot Glazer (Gallery Books, Aug. 11). It’s a book of essays on being gay today, the irritations, the joys, and fitting in. Be aware that these essays may contain a bit of spice – but isn’t that what you want for your reading pleasure anyhow, hmmm?

But okay, let’s say you want something with a little more heft to it. How about a biography?

Look for “Transcendant” by Laverne Cox (Gallery Books, June 9), or “Kids, Wait Till You Hear This” by Liza Minnelli (Grand Central Publishing, March 10), and “Every Inch a Lady” by Audrey Smaltz with Alina Mitchell (Amistad, July 14). Keep your eyes open for “Without Prejudice: My Life as a Gay Judge” by Harvey Brownstone (ECW Press, May 26) or “The Double Dutch Fuss” by Phill Branch (Amistad, June 2).

Then again, maybe you want some history, or something different.

So here: look for “Queer Saints: A Radical Guide to Magic, Miracles, and Modern Intercession” by Antonio Pagliarulo (Weiser, June 1) for a little bit of faith-based gay. Music lovers will want “Mighty Real: A History of LGBTQ Music, 1969-2000” by Barry Walters (Viking, May 12). Activists will want “In the Arms of Mountains: A Memoir of Land, Love, and Queer Resistance in Red America” byformer Idaho state Sen. Cole Nicole LeFavour (Beacon Press, May 26).

And if these books aren’t enough, then be sure to check with your favorite bookseller or librarian. They’ll have exactly what you’re in the mood to read. They’ll find what you need for that patio, beach towel, or easy chair.

Music & Concerts

Gaga, Cardi B, and more to grace D.C. stages this spring

Shake off your winter doldrums at a local concert

Published

7 hours ago

March 13, 2026

Evan Caplan

Lady Gaga plays Capital One Arena on March 23. (File photo courtesy of Might Real Agency)

D.C. shakes off its winter blues this spring as the music scene pops off. We all know the big star is coming: Lady Gaga will perform at Capital One Arena on March 23. But plenty of other stars, big and small, will grace D.C. stages, including many LGBTQ and ally artists.

March

3/15, 9:30 Club, St. Lucia – Indie electronic music project known for its synth-pop sound, which blends ‘80s influences with electronic and indie rock elements.

3/31, Lincoln Theatre, Perfume Genius – Indie/pop singer/songwriter Mike Hadreas, also known as Perfume Genius, has toured with a full band, but he is stripping things back for this tour.

April

4/8, Capital One, Cardi B. Cardi B, from New York, unapologetic and proud, is the first solo female artist to win the Grammy Award for Best Rap Album. This year, she’s on her Little Miss Drama Tour, in support of her second studio album, “Am I the Drama?”

4/13, Lincoln Theatre, The Naked Magicians. Australia’s The Naked Magicians are two performers who deliver live magic and laughs while wearing nothing but a top hat and a smile.

4/18, Capital One, Florence and the Machine. Longstanding indie rock back from Great Britain, much-loved for lead singer Florence’s powerful vocals. On their Everybody Scream Tour.

4/16, Capital One, Demi Lovato. Singer/songwriter from Texas, who came out as nonbinary, is traveling on her “It’s Not That Deep Tour.”

4/21, The Anthem, Calum Scott. Platinum-selling gay singer/songwriter Calum Scott released his latest project, Avenoir, last year. Scott rose to fame in 2015 after competing on Britain’s Got Talent, where he performed a cover of Robyn’s hit “Dancing on My Own“.

4/26, Atlantis, Caroline Kingsbury. American queer pop musician from Los Angeles. She released her debut album in 2021, and has two additional EPs. She’s played Lollapalooza 2025 and All Things Go 2025, as well as gone on a co-headlining U.S. tour with MARIS. Shock Treatment is her latest EP.

4/26, Anthem, Raye. This bisexual artist, known for her current chart-topping “”Where Is My Husband!” single, blends pop, jazz, R&B, and more.

4/30, Union Stage, Daya. This bisexual singer/songwriter is on her “Til Every Petal Drops Tour,” touring the album of the same name that was released last year.

May

5/1, The Anthem, Joost Klein. Eurovision comes to D.C. in Joost Klein: Originally a Youtuber, he was selected to represent the Netherlands at Eurovision in 2024 with his song “Europapa.” He released a new album on New Year’s Day.

5/1, Fillmore, MIKA. MIKA is on his Spinning Out Tour. Born in Beirut and raised in both Paris and London, MIKA sings in multiple languages and has co-hosted Eurovision.

5/7, 9:30 Club, COBRAH. Clara Christensen, is a Swedish singer, songwriter, record producer, and club queen, making electronic dance music.

5/19, Atlantis, Grace Ives. New York-born singer/songwriter, known for her high-energy synth/electronic, bedroom-pop-style music.

June

6/2, The Anthem, James Blake. English crooner got big from his self-titled debut album in 2011. He won two Grammys and just released his 7th album,Trying Times, in March.

Television

Spring’s best in queer TV and film

Miranda Priestly the highlight of a slow season

Published

1 day ago

March 12, 2026

John Paul King

Meryl Streep, Anne Hathaway, and Stanley Tucci return in ‘The Devil Wears Prada 2’ opening on May 1. (Image courtesy of 20th Century Studios)

It’s surely a sign of the times that this year’s spring preview of upcoming screen entertainment doesn’t hold nearly as much boldly out-and-proud queer content as we would like – but then again, there are only a small handful of noteworthy titles overall – especially on the big screen, where, just like any year, the top-grade content is being saved for summer.

Even so, we’ve managed to put together a list of the movies and shows on the horizon that offer a much-needed taste of the rainbow; a mix that includes returning favorites, “don’t-miss” events, and a few promising big screen crowd-pleasers, it should keep you occupied until the summer season brings a fresh new crop of (hopeful) blockbusters with it.

Scarpetta (Prime Video, March 11). Proving once again that she’s on a quest to accumulate more screen appearances than any other actor in history, Nicole Kidman returns for another star turn by way of this true-crime-ish mystery series, adapted from the bestselling “Kay Scarpetta” novels by lesbian author Patrica Cornwell, as a “brilliant and beautiful” forensic pathologist who uses her knowledge to solve murders. If that’s not enough to draw you in, her co-stars include fellow Oscar-winners Jamie Lee Curtis (as her feisty older sister) and Ariana DuBose (as her nosy lesbian niece), as well as Bobby Cannavale and Simon Baker.

It’s Dorothy! (Peacock, March 13). Filmmaker Jeffrey McHale first won our attention with his fun and insightful “Showgirls” documentary, and now he’s back with a look at perhaps the ultimate queer icon in popular culture: none other than Dorothy Gale, that Kansas farm girl who taught us all that “there’s no place like home” in L. Frank Baum’s classic novel “The Wonderful Wizard of Oz” and its sequels – and of course, in a certain movie adaptation starring Judy Garland. Charting the journey of the fictional heroine across a century of cultural reiterations – on the page, the stage, the screen, and beyond – with a mix of archival material, artistic interpretations, and commentary from queer and queer-friendly voices such as John Waters, Rufus Wainwright, and Lena Waithe, it’s sure to be required viewing for every “Friend of Dorothy” – and all of their friends, too.

The 37th Annual GLAAD Media Awards (Hulu, March 21). Sure, it’s already happened and you already knew (or can find out with a few quick taps of your phone screen) who and what the winners were – but, hey, we already know that the Oscars aren’t going to offer much in the way of queer victories (since there are only a small handful of queer nominees), so why not plan to watch the GLAAD ceremony (recorded live on March 5 for later streaming)?

The Comeback: Season 3 (HBO Max, March 22). Another returning gem is this inventive “mockumentary” style sitcom-about-a-sitcom, starring Lisa Kudrow as a “B-list” television star trying to revive her own faltering career. Slow to catch on in its first season (which originally aired in 2005), it won acclaim (and new fans) when it was rebooted in 2014 by Kudrow and collaborator/co-creator Michael Patrick King (former executive producer of “Sex in the City,” and now returns after a 12-year hiatus for another installment, which tracks “never-was” has-been Valerie Cherish through yet another attempt to make stardom happen. If you like cynical, sharp-edged satire, especially when it’s aimed at the behind-the-scenes world of show-biz, then you’ve probably already discovered this one – but if you haven’t, now’s your chance to jump on board.

Heartbreak High: Season 3 (Netflix, March 25). Fans of this imported Australian teen “dramedy” series – itself the “soft reboot” of another popular Australian series from the ‘90s – will be thrilled for the arrival of its third and final installment, which picks up where it left off in the lives (and sex lives) of the students and teachers of a suburban high school. As always, it can be expected to push the envelope (and some buttons) with its irreverent treatment of issues of class, race, and sexuality – and to deliver another season’s worth of the colorful and striking costume designs that have been acclaimed as a highlight of the show. And yes, it includes a refreshingly significant number of variously queer characters, so if you’re not already on board with his hidden gem of a streamer, we suggest you should give it a shot – you can probably even catch up on the first two seasons before this one drops.

Pretty Lethal (Prime Video, March 25). Fresh from a March 13 debut at the SXSW Film and TV Festival, this girl-power fueled action thriller from director Vicky Jewson and writer Kate Freund centers on a troupe of ballerinas who, while en route to a prestigious ballet competition, are stranded by a bus breakdown and must take shelter at a remote roadside inn run by Uma Thurman as a ruthless crime boss. Needless to say, the girls are forced to adapt their dance prowess into combat skills before the night is over. With a cast that includes Maddie Ziegler, Lana Condor, Avantika, Millicent Simonds, and Michael Culkin, our bet is that it’s sure to be campy fun with a feminist twist.

Forbidden Fruits (Theaters, March 27). Adapted from the play “Of the woman came the beginning of sin, and through her we all die” by Lily Houghton (who co-wrote the screenplay with director Meredith Alloway), this comedy/horror film about a group of young witches who operate a “femme cult” out of the basement of a mall store called “Free Eden” looks like another campy treat, full of witchy wiles and bitchy rivalries, but something about its theatrical pedigree tells us it will also be more than that. Even if we’re wrong, though, we’ll be perfectly happy; why would anyone say no to a delicious piece of camp, especially when it has a cast led by Lili Reinhart, Lola Tung, Victoria Pedretti, and Alexandra Shipp, with creator/influencer Emma Chamberlain in her film debut and heavyweight talent Gabrielle Union thrown in for good measure? We’re ready to join the coven.

Club Cumming (WOW Presents Plus, March 30). Queer icon Alan Cumming (currently riding high as host of “The Traitors”) takes us inside his NYC East Village gay bar, nightclub, and showplace for a behind-the-scenes reality series that spotlights the talent, fashion, and fabulously queer vibe that makes the establishment one of queer New York’s most iconic nightspots. Cabaret singer Daphne Always, go-go dancer and drag performer Michelle Wynters, Drag queen Brini Maxwell, Drag king Cunning Stunt, and Comedian Jake Cornell are among the many reasons why this little slice of the queer New York scene is reason enough alone to become a subscriber to World of Wonder’s streaming platform – though if you’re a “Drag Race” superfan, chances are good you already are.

The Boys: Season 5 (Prime Video, April 8). Amazon’s violent superhero satire, complete with its divisive and deliciously challenging emphasis on queer storylines and its in-your-face caricature of contemporary American “culture war” politics, returns for its fifth and final season, along with all the thorny issues of racism, nationalism, and xenophobia it has showcased all along, and an ensemble cast that includes Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, and the rest of the usual players. A decidedly queer-informed game-changer in the mainstream fan culture, it’s a show that will be sorely missed – but with several spin-offs already in existence (including the even-queerer “Gen V”) and another (“Vought Rising”) on the way, we can take comfort in knowing that its influence will live on.

Euphoria: Season 3 (HBO Max, April 12). The controversial Sam Levinson-created drama that is HBO’s fourth most-watched series of all time is back after a lengthy hiatus, rejoining the lives of its dysfunctional characters – queer struggling addict Rue (Zendaya), trans teen Jules (Hunter Schafer), abusive sexually insecure football star Nate (Jacob Elordi), and the rest – a full five years later, away from the social traumas of high school and settled into what we can only assume is an equally-dysfunctional life as young adults. Renowned for its cinematic visual styling and its no-holds-barred treatment of “triggering” subject matter, this long-awaited return is likely to be at or near the top of a lot of watchlists – and ours is no exception.

Mother Mary (Theaters, April 17). One of the most promising (and queerest) offerings of the season is this psychological thriller set in the world of pop music, helmed by acclaimed filmmaker David Lowery (“A Ghost Story,” “The Green Knight”) and starring Anne Hathaway (“The Devil Wears Prada,” “Les Misérables”) as a pop singer who becomes entwined in a twisted affair with fashion designer Michaela Cole (“I May Destroy You,” “Black Earth Rising”). Besides its two queer-fan-fave stars, it features trans actress Hunter Schafer (“Euphoria”), FKA Twigs, and Jessica Brown Findlay (“Downton Abbey”) in supporting roles, and to top it all off, it includes a soundtrack full of original songs. With a celebrated director behind it and an award-winning pair of leading ladies, this one has all the potential of a future classic.

The Devil Wears Prada 2 (Theaters, May 1). Meryl Streep is back as Miranda Priestley, need we say more? We know the answer to that is “no,” but we still need to remind you that Anne Hathaway, Emily Blunt, and Stanley Tucci are all part of the deal, too, as this hotly anticipated sequel hits the screen just ahead of the summer rush. Along for the ride are Kenneth Branagh, Justin Theroux, Lucy Liu, B.J. Novak, Conrad Ricamora, Sydney Sweeney, Rachel Bloom, Donatella Versace, and Lady Gaga herself. We trust that will be sufficient to ensure that you will show up on opening day – dressed accordingly, of course.

The Sheep Detectives (Theaters, May 8) Rounding out our roundup with a fun-for-the-family treat that blends live action with animation for an inter-species “whodunnit” with an all-star array of talent, this adaptation of Leonie Swann’s 2005 novel “Three Bags Full” centers on a flock of sheep as they attempt to solve the murder of their beloved shepherd. Boasting onscreen performances from Hugh Jackman, Emma Thompson, Nicholas Braun, Nicholas Galitzine, and Molly Gordon, along with character voices provided by Julia Louis-Dreyfus, Bryan Cranston, Chris O’Dowd, Regina Hall, Patrick Stewart, Bella Ramsey, Brett Goldstein, and Rhys Darby, this one might be just the kind of lightweight entertainment we all need as we move deeper into the confounding year of 2026.

And if not, stay hopeful – the films and shows of summer will be here soon enough.