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STROUDSBURG — The stage show HYPROV: Improv Under Hypnosis is coming to the Sherman Theater this September, starring master hypnotist Asad Mecci, Colin Mochrie from “Whose Line Is It Anyway?” and a handful of lucky volunteers from the audience.

Men shouldn’t have friends. Or should they? That is the tagline from the freshest film coming out of my favorite studio, A24, to hit the cinema so far this year. I don’t know about you, but the conundrum I find trying to make friends as an adult in this day and age is most of our interactions come from our work environments. Well, that and Facebook, but we all know that is an alternate reality.

OLD FORGE — With a King Tut coffin and hieroglyphic mural designs, Black Earth Magical Cafe is like being inside a pharaoh’s home — or final resting place. Paintings on the wall depict dogs as pharaohs, just some of the Egyptian-themed restaurant and sanctuary’s decorations.

In this fifteenth part of my retrospective Oscar Outlook, I’ll be eliminating last year’s Best Picture winner, a film directed by one of Wilkes-Barre’s own, and the perfect romantic comedy and disaster films.

In this fourteenth part of my retrospective Oscar Outlook, I’ll be eliminating a pair of films that won Best Picture prizes at the same ceremony, an X-rated masterpiece, and one of the most influential films of the past 20 years.

EDITOR’S NOTE: We partnered with WBRE/WYOU to find out more about the online dating world. Gabrielle Lang teamed with WBRE’s Jason LiVecchi to investigate the story. Here Gabrielle shares in her voice what they’ve learned.

There’s a comedy show coming to Wilkes-Barre on Friday.

Cinematography is cinema. It separates the artform from music, photography and theater. It puts imagery to sound. It portrays the world as a moving, dynamic place. It’s art we can basically return to whenever we want. When a film is literally lost, meaning that no copy of it exists, it means the treasured work of a cinematographer has died, and there is no more upsetting fate for a film. But the Oscars in the year 2023 do a decent job of hyping up their own nominated movies, meaning that the cinematographers nominated this year have likely reached a place of immortality.

The Academy has a habit of confusing most editing with best editing. One of those things is quantifiable and objective, and the other is most certainly subjective. Other than the concept of the Oscars in general, this is perhaps the starkest example of the Academy attempting to bring objectivity into a subjective race. That being said, the Academy does make some fun choices in this category, and all others, and I love them for it.