The French-American film Round Midnight, directed by Bertrand Tavernier and starring my late husband, Dexter Gordon, as a jazz musician in Paris in the late 1950s, premiered in New York City 30 years ago today. As I near completion of Dexter’s biography, Dexter Calling: The Life and Music of Dexter Gordon, memories of the film come flooding back. They are bittersweet, as many of the performers have since passed away, most recently Bobby Hutcherson (1941–2016), who died this past summer. Bobby plays Ace in the film and delivers one of its most memorable lines. In the hallway of the Hotel Louisiane, Ace is holding a bowl of jambalaya as Buttercup walks past. He says, about living in Paris, “It would be the best city in the world if I could just find some okra.” Dexter loved that line, and whenever he repeated it to Bobby, they would both burst out laughing.

Arguably the greatest movie musical ever made, Singin’ in the Rain is celebrated as much for its songs and dances as its behind-the-scenes lore: Gene Kelly’s 101-degree fever while filming the title number; Donald O’Connor taking to his bed with exhaustion after filming “Make ’Em Laugh”—only to have to reshoot it days later due to a camera malfunction; Debbie Reynolds rehearsing until her feet bled. But of all the “making of” stories, the most impressive is that Reynolds, only 19 at the time, learned to dance in just three months to play leading lady Kathy Selden.

Pennsylvania’s Bucks County Playhouse has seen two of its world premiere productions transfer to Broadway within the past four years: Terrence McNally’s Mothers and Sons, starring Tyne Daly, and Misery, a play by William Goldman, based on the Stephen King novel. Will the Playhouse’s current production of the new musical Cake Off be the next to move from bucolic Bucks County to the Great White Way? Probably not.

In the title role of director Stephen Frears’s new film, Florence Foster Jenkins, Meryl Streep is more a wonder than ever. Playing a high-society music patron who longs for the operatic limelight but who cannot sing a true note, Streep will split your sides and eardrums even as she rends you in two. Tragedy is wriggling just inside the comic cocoon of this story of a real-life New York City doyenne who, in 1944, at age 76, achieved her lifelong dream of singing at Carnegie Hall—and who brought down the house, though not quite the way she wanted to.

Film buffs have Rotten Tomatoes. Bookworms have Literary Hub. But where do theater lovers go to explore and rate their favorite live shows? Enter Show-Score, a just-under-one-year-old site that compiles and displays basic information, member and critic reviews, and links to ticket sales for all recent and current Broadway, Off-Broadway and Off-Off-Broadway shows. Its comprehensiveness and usefulness is astounding, but it’s the site’s numeric scoring system that makes it truly unique. Show-Score has found a way to quantify artistic quality while simultaneously honoring the diversity in the individual voices of the site’s users. In this way, Show-Score avoids the worst aspects of our culture’s need to pin a number and rank on every experience.

One of the most anticipated movies this summer is Universal Pictures’ The Secret Life of Pets, a 3-D animated feature that’s about, well, exactly what it sounds like. A product of Illumination Entertainment (the ones who brought us Despicable Me and Groo’s adorable Minions), the film provides a solid helping of animation goodness that, while not the tastiest dish on this year’s menu, provides some comfort food for the cinematic soul. Moviegoers are lapping it up.

On October 26, 2013, Netflix chief content officer Ted Sarandos argued before a group of film industry insiders—producers, buyers, directors—who had gathered to hear him give the keynote at that year’s Film Independent Forum in Los Angeles, that the movie business will soon die unless cinema owners embrace the distribution model Netflix has championed. Ideally, Sarandos would like to see all films—from big-budget summer blockbuster hopefuls to small, independent documentaries—released simultaneously in traditional movie theaters and via Netflix streaming. In the nearly three years since Sarandos’s chiding speech, theater owners have still not adopted the Netflix model; but neither has the movie business died as a result.