The newest Spider-Man film sees the superhero making sense of the new timeline he created after wiping everyone's memories of his civilian identity as Peter Parker. A young title character also creates a new reality in & Juliet, where, to the sounds of 30 hit pop songs, Juliet forges her own path beyond Shakespeare’s original play. Both swinging on high-energy pleasure, Spider-Man: Brand New Day and & Juliet imagine the power everyone has to create their own destiny.

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Classical mythology is in right now, as Christopher Nolan’s gargantuan epic barrels into theatres. The Odyssey follows Odysseus’s trials and tribulations on his return from the Trojan War while contending with the gods and, perhaps more frighteningly, his fellow humans.

Hadestown similarly reimagines ancient Greek mythology, blending the stories of lovers Orpheus and Eurydice and gods Hades and Persephone with folk, jazz, and blues music. It's warm, earthy, and gritty, departing from Broadway's traditional razzle-dazzle.

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The buzzy horror movie Obsession, about a man who gets more than he bargained for by wishing for his crush's unwavering love, is part of a long lineage of stories about the complex and terrifying nature of desire.

Just look at Masquerade, an immersive reimagining of Andrew Lloyd Webber’s The Phantom of the Opera. The audience, wearing masks, is plunged into the deep, dark fantasies — or should we say obsessions — of the Phantom and his muse, Christine.

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Jane Schoenbren’s slasher homage Teenage Sex and Death at Camp Miasma follows Hannah Einbeinder as a young queer filmmaker rebooting her favorite horror movie. When she meets up with the original star, played by Gillian Anderson, the two descend into the fantasy world of their beloved franchise.

They're not unlike the two leads of Schmigadoon!, who navigate a fantastical universe inspired by mid-century musicals, with all the genre’s tropes and cliches. While Camp Miasma is lightly comic and sensual, it shares with Schmigadoon! an all-encompassing love for the essential ingredients of their respective genres.

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The so-called “sex purge” movie starring Callum Turner and Monica Barbaro lands on the tamer side of things, privileging genuine connection and emotional intimacy over a roll in the hay. It shares with the two-hander musical Two Strangers a love for New York and the boundless possibilities of the city. Both One Night Only and Two Strangers take the form of an extended meet-cute and imagine Manhattan as a dreamland for lovers who can thrive amid its chaos.

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In the charming coming-of-age dramedy Don’t Say Good Luck, Sophie (Sunny Sandler) balances managing her mother’s cancer treatments with her preparations to star in her high school production of Waitress. Its tender treatment of a teen girl overwhelmed by both anxiety and a desire to prove herself will resonate with fans of The 25th Annual Putnam County Spelling Bee, which takes each of its adolescent characters' ambitions and home lives seriously, with a gorgeous mixture of bittersweetness and humor.

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Anne Hathaway and Ewan McGregor star in this new family adventure movie as parents on the brink of divorce who, while dodging raptors and pterodactyls, realize their neighborhood has been sent 60 million years into the past. The End of Oak Street owes a debt to Steven Spielberg’s unique blend of adventure, suspense, and coming-of-age drama — and so, too, does the '80s-themed Stranger Things.

That includes the Netflix series's stage prequel Stranger Things: The First Shadow, which tracks 1950s-era teenage versions of Joyce, Hopper, and their friends before their own kids got sucked into the supernatural mysteries of the Upside Down.

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The Greta Lee and Wagner Maura-led Netflix thriller about a family that mysteriously become stuck in their house resonates like a post-Covid nightmare. Another domestic horror hitting the stage is Paranormal Activity, set in the world of the found-footage franchise. The play's new, original story is preoccupied with the fear that lurks in the home, both of the supernatural and, perhaps even scarier, human kind.

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New queer cinema icon Gregg Araki (The Doom Generation, Mysterious Skin) has returned to screens with his latest flick, a sex farce about an anxious Gen Z-er (Cooper Hoffman) who begins an affair with his provocateur artist boss (Olivia Wilde).

Araki's lampooning of contemporary sexual attitudes meshes well with Heated Rivalry: The Unauthorized Musical Parody, a sendup of the hit HBO Max show. This goofy romp lampoons the Heated Rivalry fandom as much as the source material itself, parodying the audience's obsession with the gay hockey romance while affirming their adoration for the characters.

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The witches are back! Or perhaps they never went out of style. The sequel to the 1998 cult favorite Practical Magic, starring Sandra Bullock and Nicole Kidman as sisters with magical powers, arrives in theatres in September.

While you wait, you can return to Broadway’s favorite tale of the sisterly bond between Oz witches Elphaba and Glinda, and relish the Stephen Schwartz tunes that speak to this connection, like “Popular” and “For Good.” Catch Wicked live on stage, or rewatch the two-part film adaptation. (Or both.)

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