Star-crossed lovers. Palace intrigue. Mistaken identities. Patricide. A dude turning into a donkey. Just another Saturday night in the realm of William Shakespeare. But on the Saturday night of November 9, these and many other Bard-ian tropes will be affectionately spoofed in the return of Shakespeared!, an hour of long-form improvisational comedy taking place in Moline's Spotlight Studio Theatre.

In director Edward Berger's Conclave, both the narrative and the principal characters are hiding secrets that shouldn't be spoiled to those who haven't seen the movie and didn't read novelist Robert Harris' 2016 source material. But one secret about the film absolutely can, and should, be revealed in advance: This thing is an almost ridiculous amount of fun.

First M. Night Shymalan makes his chanteuse daughter a significant part of his thriller Trap, then Todd Phillips floods his Joker followup with songs, and now this. Is no genre safe from the global Swift-ification?

In the spirit of the five-word pitches each of this quintet requires, here are similarly succinct (if 295-words-longer) takes on what resulted, discussed in order of attendance.

Despite the author's 19th-century output, audiences shouldn't expect a performance of traditional 19th-century dance – not unless folks in the 1800s were also hoofing it to Jefferson Airplane, Led Zeppelin, and Jimi Hendrix.

If you thought the title and genre were initially baiting and galling to die-hard Joker acolytes, just wait'll you get a load of Folie à Deux itself, which is like a big, extended middle finger to everyone who adored the original movie – as well, perhaps, as a giant eff-you to Warner Bros. for making it, the motion-picture academy for awarding it, and the global marketplace for turning it into a billion-dollar smash.

Boasting a company name that suggests mysteries of its own, Ben Gougeon, Alexander Richardson, and the Sound Conservatory are back with Rock Island Tunnel Co.'s The Tapes: An Immersive Revolution. Running October 11 through 26, the production is both similar to and quite different from last winter's The Stacks – partly because, not long after that show closed, the library stacks themselves vanished.

Upon leaving our screening of The Wild Robot, I asked my favorite 10-year-old what she thought of the film, and she answered that it was one of the best movies she'd seen in her life. If I ever choose or am forced to retire from weekly reviewing, I hope this smart kid becomes my replacement, because as family-friendly adventures go, writer/director Chris Sanders' animated outing is one of the best I've seen in my life, too.

No matter the season, we can always stand to have more movies like writer/director Coralie Fargeat's The Substance in area release.

I didn't dislike James Watkins' fright flick because it wasn't frightening, though that certainly didn't help matters. I disliked it because, in a rarity for this genre, its (adult) heroes and villains truly seemed to deserve each other.

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