"According to 'For Madmen Only' Director Heather Ross’ rewarding documentary spelunking expedition into the life and career of the erstwhile fire-swallower from Manhattan, Kansas, Del P. Close was as insanely complicated as any legendary theater mentor should be. Of course, some would say he was just plain insane." Kelly Vance writes in this week's review.

"An Oakland guitarist and composer with a rigorously conceived and wide-open aesthetic, Evangelista is a creative force at the sonic frontiers where the Bay Area’s new music scene bleeds into jazz. Deeply informed by traditional music of the Philippines, he designed Apura by drawing on folkloric melodies, though the musical conversation unfurled with the roiling ebb and surge of a jazz colloquy," writes Andrew Gilbert in this week's music section.

Lou Fancher interviews Yoshi's Oakland's General Manager and Artistic Director about the reopening of the beloved Jazz venue this month after over a year of uncertainty. "Surviving the 16-month lockdown was incredibly tough for Yoshi’s,' she writes, "even with nearly 50 years of notable popularity in Oakland to its name."

"Widowed mother Patience Portefeux (Huppert) works in the intelligence section of the Paris police as a translator, interpreting the wiretap recordings and social media posts of Arabic-speaking drug dealers, and occasionally assisting in street busts. In an ordinary, fish-out-of-water cop movie, someone like her would face on-the-job sexism, and disarm with charm, en route to a station-house romance. Patience’s story is a little more complicated," writes Kelly Vance about 'Mama Weed'.

“‘Little Wheel’ is one of my all time favorite songs,” [Spellling] said. “[Sainte-Marie] does everything I wanted to do on this album in that one song. The theme of ephemerality of time and how special it is to be here, on this planet, as a human. Trying to grasp these big moments we get to share with each other while here and trying to hold onto them. She can speak to grandiose concepts, but the words are so detailed. My album is about that.”

"No acting-prize hopefuls here," writes Kelly Vance in this week's review. "Frequent TV actor [Savannah] Whitten, in the title role, exhibits a lot of exaggerated energy in her sex scenes, each of which climaxes with the mutilation of her unlucky partner. Otherwise, her most notable achievement is to satisfy the prime requirement for playing Lillith in the first place—plenty of room in her mouth for the demonic dental appliance."