“Bridgerton” returns this week with a racy third season. Meanwhile, in theaters, “Babes,” with its well-deserved R rating, is worthy of your time.

And then there’s the metaphorical, trance-like “I Saw the TV Glow.”

Here’s our roundup.

“Bridgerton Season 3”

Will that shrewd purveyor of Regency-era gossip — Lady Whistledown (voice of Julie Andrews) —  finally get her comeuppance and be unmasked as the one and only Penelope Featherington (Nicola Coughlan)? That’s the question dangling over Netflix’s extra-spicy third season, which has the audacity of giving us a cliffhanger, albeit one you can foresee from the start of the first episode, before Part 2 resumes June 13.

Luke Newton, left, as Colin Bridgerton and Nicola Coughlan as Penelope Featherington in “Bridgerton.” (Liam Daniel/Netflix/TNS)

Oh, dearest readers, the injustice of that!

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There’s some good news indeed worth sharing that would meet with even the persnickety Whistledown’s approval: That new showrunner Jess Brownell is bringing a bit of tartness to the series’ comfort-food dish, elements that were somewhat absent from sexy Season 2.

The big wedge — there’s always at least one — between Season 3’s two main lovers comes from Penelope not ‘fessing up about her double life as the feared anonymous missive writer Whistledown or her own crush on suitor Colin Bridgerton (Luke Newton, more than fulfilling the hunk and acting requirements). As in previous seasons, much happens away from the fumbling about of its two starry-eyed lovebirds, and proves just as interesting, including the unresolved dustup between Eloise (Claudia Jessie) and Penelope, a welcome love interest (finally!) for Violet Bridgerton (the enchanting Ruth Gemmell), the reappearance of the so-in-love Anthony Bridgerton (Jonathan Bailey) and Kate Sharma (Simone Ashley) from Season 2, and my personal favorite — a cnew character, the introvert Lord John Stirling (Victor Alli), who takes a quite the shine to Francesca Bridgerton (Hannah Dodd). Toss in an invitation to engage in a threesome, and this racier season, which, of course, is resplendent with gorgeous costumes, period details and classical-contemporary music, is just as much of a great escape from wretched reality as, says, a corker of a romance novel.

Details: 3 stars out of 4; four episodes drop May 16, four more drop June 13.

“Babes”

When presented as a comedy and even sometimes as a drama, portrayals of pregnancy and motherhood tend to get sanitized, even idealized. That’s not the case with this hilarious, uninhibited comedy about two New York best friends — single yoga teacher Eden (Ilana Glazer, who co-wrote the screenplay with Josh Rabinowitz ) and married dentist Dawn (Michelle Buteau) — dealing with the pangs and joys of both as their friendship gets tested. Eden is needier than Dawn and overly relies on her to be there every step of her pregnancy since the father of her unborn child died just after conception. Director Pamela Adlon navigates a raucous screenplay that robustly brings up lactation, sexual urges when pregnant and babysitting fails (one of the biggest laughs pertains to “The Omen”). But beyond those laughs and a suspension of belief (a yoga salary could cover the rent of that New York apartment?), there are authentic and beyond-the-standard observations and interactions here. That is particularly true when Eden meets with her casually and conditionally involved father (Oliver Platt). Those revealing scenes and the relatable, anything-goes exchanges between Glazer and Buteau and Buteau and Hasan Minhaj — acing his part as Dawn’s very likable husband — make “Babes” a rather revolutionary comedy that is a big bundle of joy (and lactation) from start to finish.

Details: 3½ stars; in theaters May 17.

“Back to Black”

The short, turbulent life of talented British singer/songwriter Amy Winehouse, who died at 27 in 2021 from alcohol poisoning, remains seared in the public’s consciousness, perhaps due to the incessant paparazzi that hounded and humiliated her at every move. And that’s part of the reason why director Sam Taylor-Johnson’s biopic starring a committed Marisa Abela seems unnecessary, adding little of anything new to the story while holding back even when it addresses the ugly side of being in the public eye. To its credit, “Back to Black” never feels exploitative and regards its subject respectfully. But the storytelling is disjointed and cycles through important markers in life — her ascendancy, her recording sessions, her volatile relationship and marriage to Blake Fielder-Civil (Jack O’Connell, giving his all in a narrowly focused role) and her untimely demise — without accomplishing much more than reminding us of how horribly sad this all is. We knew that going in.

Details: 2 stars; in theaters May 17.

“The Blue Angels”

The aerial acrobatics of the Blue Angels — the Navy’s Flight Demonstration Squadron that’s again set to dazzle Bay Area spectators Oct. 11-Oct. 13 during Fleet Week — are indeed a sight to behold and experience, either firsthand or on IMAX. And those scenes are the high point of Amazon MGM Studios’ ordinary documentary about them. It’s when director Paul Crowder’s salute to this team touches ground that it loses all of its momentum and energy, offering a cursory, one-dimensional look at the service people behind this tireless program. When it’s up in the air, it does soar.

Details: 2 stars; opens May 17 in IMAX theaters and May 23 on Prime.

“I Saw the TV Glow”

A generic synopsis explaining what writer/director Jane Schoenbrun’s unconventional sophomore feature is all about would do it a disservice. That’s because Schoenbrun’s metaphorical genre blender feels like it’s going to stay in the popular coming-of-age lane, and then detours into bold, original directions. Schoenbrun’s trance-like storytelling — their calling card —  centers on two suburban ‘90s teens. There’s  uncertain Owen (Ian Foreman first and later Justice Smith, in his best, most soul-wrenching performance yet) and rebellious teen Maddy (Brigette Lundy-Paine), who bond over an obsessed-about and cheesy TV series titled “The Pink Opaque.” Laden with pop-culture references (from “Buffy the Vampire Slayer” to “Twin Peaks”) and actors/musicians (Fred Durst and Phoebe Bridgers), “I Saw the TV Glow”  captures the awkward, outcast feeling of finding more meaning and context within a TV show than one’s life struggling to break free from an assigned gender and identity that isn’t who one is inside.

Details: 3½ stars, in select theaters,  expanding May 17 into additional theaters.

“Bodkin”

Neither too dark nor too light, this seven-episode Netflix mystery series makes a enjoyable watch and opens the door for a season 2. (I’d walk through it). But by no means does it approach the twisted brilliance of a quirky movie or play from Martin McDonagh (“The Banshees of Inisherin”), which it seems to want to emulate. That Oscar winner juggles humor and tragedy expertly, while this Higher Grounds Production (the Obamas production company) drops the ball occasionally on both. You won’t care since it’s the three central characters and the actors who portray them that pick them up  and put them back up in the air and keep us engaged. Lafayette native Will Forte stars as out-of-his-element American podcaster Gilbert who gets in over his head (no surprise) when he and his assistant Emmy (Robyn Cara) enlist the aid of bullish and under-investigation journalist Dove (Siobhan Cullen) to investigate the disappearance of three Bodkin townspeople during an annual celebration. The town isn’t so happy about them being there. There are numerous red herrings and even nuns doing yoga. Maybe next time – if there is indeed a next time – the case itself will be juicier.

Details: 2½ stars; now available on Netflix.

Contact Randy Myers at soitsrandy@gmail.com.

“IF” may get by. It’s sincere. As the song from “The Music Man” asks: How can there be any sin in that?

It’s also maudlin enough to force you into a defensive emotional crouch for an hour and 44 minutes. I speak for an audience of one here. Others may experience an entirely different set of side effects to a movie with a weirdly groggy and medicinal aura.

As his popular success with the first two “Quiet Place” monster movies asserted, writer-director John Krasinski knows how to balance thrills and miles and miles and miles of heart. He’s a pro at prolonging and screw-tightening a scene where something enormous and potentially scary is about to leap into frame. The same thing happens in “IF,” a lot, this time to mild “gotcha!” comic effect.

The fantasy this time concerns Bea, a wise, empathetic, privately grieving 12-year-old played by the first-rate and periodically movie-saving Cailey Fleming (of “The Walking Dead”). Bea’s mother has been dead for some time. The girl visits her grandmother (Fiona Shaw), while her practical joke-addicted father (Krasinski, seriously misjudging the average human’s tolerance for practical jokes) undergoes tests for heart trouble in the very same hospital where Bea’s mother died.

In Brooklyn, New York, on magically shining streets and in sun-drenched interiors provided by cinematographer and frequent Steven Spielberg collaborator Janusz Kaminski, Bea finds herself beset by a series of imaginary friends, most of them long separated from their human companions of old. “IF” sets up a scenario in which Bea and former clown Cal, now a testy, sullen lost soul played by Ryan Reynolds in a similarly thwarted limbo state, start a matchmaking agency to reunite the IFs with their now-adult companions, or else find suitable new matches. Their IF colleague is Blossom, an animated early Disney-esque creation voiced by Phoebe Waller-Bridge. There are some promising ideas afoot. The IFs, the most prominent being the purple goofball Blue voiced by Steve Carell, reside beneath Coney Island in a magical retirement home. The voice casting boasts plenty of talent and fame, from George Clooney (as an astronaut IF) to Emily Blunt (as a unicorn IF) to the late Louis Gossett Jr., as a wise and mellow Teddy bear, Lewis. It’s genuinely sweet to hear Gossett Jr.’s easygoing delivery one more time.

Krasinski hasn’t overplotted his story, exactly, but it’s heavily padded and dangerously light on actual jokes. Reynolds’ Cal is all impatience with next to no story reason for being, besides one big reason sprung at the end. At its core, “IF” deals with rampant anxieties coated in honey, a one-two combination deployed in countless stories beloved by both children and adults. But whimsy that periodically goes for the throat is not easy to pull off. “IF” reminds us how certain key ingredients — charm, wit, clarity, emotional tact and resonance — cannot be willed into narrative existence, or fixed in post.

At one crucial juncture Bea, promised earlier by her father that he will not die on her, is put through the wringer not knowing if he’s dead or alive, even though the saintly nurse perpetually on call (Liza Colón Zayas of “The Bear”) makes it super clear in the preceding scene that he’ll be fine. I mean, anything’s possible in a health crisis. But I’m not sure Krasinski was clear on his own intentions at this point, other than to jack us around a little for sport.

The larger issue is one of messaging. “IF” caters to a young audience, of course, and to fathers and daughters everywhere, as well as parents and adult guardians who’ve given up on the wonderment of childhood and the sweet innocence of made-up friends and the tonic of pure imagination. Character to character, the script sells everyone’s emotional lives short. It’s a strangely scold-y sort of heart-yanker, calling out the ignorance of grown-ups who ditched their IFs and childhood treasures as they grew up. Pixar digs this idea the most, as we know, and the best Pixar films brake right at the edge of shameless pathos while surprising us with little details and larger, deeper emotional crossroads. “IF” feels like well-meaning guesswork, with an eye toward the suspiciously familiar. When humans and IFs find each other again, it’s the heart-light routine from “E.T.” When the sadness of the abandoned IFs dominates the narrative, it’s like watching “Inside Out” populated entirely by Bing Bongs.

Not that it was written for kids, but millions of us adored the Mary Chase stage fantasy “Harvey” at a young age, or any age, the one about tippler and philosopher Elwood P. Dowd and his undeniable 6-foot invisible rabbit friend. Krasinski loves it, too; twice in “IF,” we’re shown scenes from the 1950 James Stewart film version. The lack of harsh language in “IF” may be reassurance enough for families today, though the general, nattering sourness of the banter in Krasinski’s story is something of a drag.

The biggest surprise? The great film composer Michael Giacchino gives “IF” a cruelly insistent childlike musical theme that may be the first substandard leitmotif he has ever written. By the 90-minute mark, that theme — and the movie it captures all too well — may have you wishing upon a star for a cameo appearance by one of the extraterrestrials from “A Quiet Place.”

‘IF’

1.5 stars (out of 4)

MPA rating: PG (for thematic elements and mild language)

Running time: 1:44

How to watch: In theaters May 17

Ryan Jeffers got the Twins’ offense started on the right note in the first inning on Tuesday night, smacking the first leadoff home run of his career. It would be the only run the Twins would score in 27 innings against the New York Yankees.

Another slow day at the plate on Thursday led the Twins to their third straight loss, this one a 5-0 defeat to cap the Yankees’ three-game sweep at Target Field.

There was almost no offense to speak of Thursday against Yankees starter Clarke Schmidt, who threw seven innings and allowed just three hits while striking out eight.

Until Carlos Correa’s double in the sixth inning, no Twins (24-19) baserunner had even advanced past first base. He was the only one to touch second in the loss.

The Yankees (30-15) had no such issues. Leadoff hitter Anthony Volpe hit a home run on a Joe Ryan fastball, helping set the tone for the day.

The Yankees would collect another two runs in the first inning, one on a ball that Alex Kirilloff got a glove on but could not snag. It was ruled a double, though easily could have been charged as an error. Another run scored on a groundout.

Ryan would give up one more run in his 5⅓ innings of work, settling in after the difficult first inning.

Yankees superstar Aaron Judge was in the middle of things once again, hitting a pair of doubles and walking and scoring once. After he went 4 for 4 with a walk a day earlier, a Twins pitcher, Ryan, finally retired him in the fifth inning.

That out? A flyball that traveled 409 feet out to center and would have been a home run in 18 of 30 parks.

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The serene lake, the towering evergreens and shaded hiking trails — there are plenty of reasons to jet off to South Lake Tahoe. Whether you’re looking to hit the trails or splash on shore, you’ll likely need a meal and a post-hike brew to refuel between adventures. And the South Lake beer and breakfast scene makes it easy to enjoy the lake’s scenic wonders without skimping on what’s in your glass or on your plate.

There are plenty of spots that boast delicious scrambles, Benedicts and other brunchy fare. But head for the Artemis Lakefront Café, and you can enjoy a Mediterranean-inspired menu lakeside. Take in the water views while sipping mimosas and espresso drinks by the giant outdoor fire pit or on the patio. The Greek Breakfast ($17) offers gyro slices sautéed with peppers and onions, topped with feta and served alongside eggs, herb roasted potatoes and pita bread. They’re open for lunch and dinner, too.

Heidi’s Pancake House and its bright yellow chalet are a South Lake Tahoe institution — it opened in 1964 — and a great place to start any pancakes-to-pilsners itinerary. Order a Heidi’s Short Stack ($11.49) with four buttermilk or buckwheat pancakes or indulge in a Bacon Stack ($15), six pancakes with bits of crispy bacon cooked right into the batter.

Meanwhile, the Driftwood Café puts you right in the middle of the Heavenly Village action. Their breakfast burrito ($14) holds a special place in our hearts (and bellies) with its plentiful filling of scrambled eggs, breakfast sausage (or avocado), hash browns, cheese and housemade salsa. And the lineup of “primo pancakes and wacky waffles” includes a loaded waffle ($14) topped with bananas, granola and yogurt.

The beer garden at South Lake Brewing Co.in South Lake Tahoe includes ski lift seating. (Courtesy South Lake Brewing Co.)

And the casual, counter-service Sprouts Natural Café blends fresh smoothies ($7.50 to $8.25) to order, with a morning menu that includes Breakfast Bowls ($12.75), with brown rice, beans, steamed cage-free eggs, melted jack and avocado, and Huevos Verduras Rancheros ($13.50) that pile on the veggies.

Then hit the trails and enjoy the summery outdoor scene. When you’re ready, we’ll be waiting with some craft beer destination suggestions and — oh hello, here you are!

South Lake Tahoe has plenty of bars and restaurants, but if we’re focusing on what’s brewed here, head for South Lake Brewing Company. You can choose the local’s option and head for the brewery, where a taproom, beer garden with picnic tables and ski lift seating (yes, really) and rotating food trucks await. Or opt for the company’s Libation Lodge across the street from Heavenly Village and enjoy beer (and food).

We’re smitten with South Lake Brewing‘s “shot ski” style serves — no, no, not the high-alcohol, quick-consumption shots you find at some bars. The brewery uses skis for its beer tasting flights. Most people opt for the five-taste option which uses a pint-sized ski to serve two-ounce pours of five brews on tap. If you’ve brought a group and want to taste the entire line-up, there’s a 16 taster, full-ski option.

The Marlette Sunrise, a blood orange blonde, and the Fog Nozzle hazy IPA are the two flagships, both delicious but in very different ways. Every beer has a fun name, the artwork aligns with Tahoe vibes, and you’ll find many brews available by the can in the grab-and-go fridge, in case you want a brew on the go. Expert tip: When it’s time to refuel, the oversized pretzel with beer cheese ($16) does not disappoint.

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South of North Brewing Co. is a sweet little outdoor space that offers terrific Tahoe ambience and an impressive collection of beers brewed on-site in a converted hotel room. (Yes, really, and if the brewer is around, you can catch a peek.)

If I had to pick just one of their brews to drink all day, the Explorer Cream Ale comes top of mind. It’s described as a California Cream Ale, but the style is largely European and offers a milky mouthfeel with a touch of vanilla. The Front Porch Pilsner is a great pick too, an easy drinker that’s light on the palate. There’s a large line-up of IPAs and even a double IPA, but as a small-batch brewery, everything is on seasonal rotation and kegs occasionally run out.

South Lake Tahoe’s South of North Brewing Co. serves up an eclectic array of brews in an outdoor space that invites guests to linger. (Courtesy Erin Goody for South of North Brewing Co.)

Plan to hang out awhile so you can enjoy the outdoor area with its picnic tables and giant fire pits surrounded by Adirondack chairs and cafe lights, or head inside to catch a game in the bar. Keep an eye on the brewery calendar, if you’re interested in trivia nights.

Finish your day at Cold Water Brewery and Grill, a full-service pub in the Swiss Chalet Village, where you can grab dinner with your beer flight. You’ll find brews that echo the laidback lake style with names such as Feel Good IPA, Lake it Easy Pilsner and It’s All Pine by Me IPA. If you like darker brews, the Stillwater Stout is a delicious combination of coffee, caramel and chocolate flavors. The crowd-pleasing Mr. Toad’s Wild Rye is a malt-forward amber with a hint of grass and spice.

Or, if you want games along with your drinks, The Hangar is a great outdoor option. This taproom and bottle shop sits on an acre near the Tahoe forest and works with other breweries to curate their list of offerings. There’s space to picnic, food trucks and an adults-only play zone that offers bocce, corn hole and other lawn games. And for the indoor crowd, there’s the Flatstick Pub which offers mini golf, a full bar with beer on tap, and adult-only and family-friendly hours so you can choose your own experience as you…

Lake it Easy.

If You Go

Artemis Lakefront Café: Open from 9 a.m. to 9 p.m. daily at 900 Ski Run Blvd., Suite 111, South Lake Tahoe; http://artemislakefrontcafe.com/.

Heidi’s Pancake House: Open from 7 a.m. to 2 p.m. daily at 3485 Lake Tahoe Blvd.; www.heidislaketahoe.com.

Driftwood Café: Open from 7 a.m. to 3 p.m. daily at 1001 Heavenly Village Way; www.driftwoodtahoe.com.

Sprouts Café: Open from 9 a.m. to 8 p.m. daily at 3123 Harrison Ave.; www.sproutscafetahoe.com.

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South Lake Brewing Company: The Libation Lodge is open from noon to 9 p.m. at 4000 Lake Tahoe Blvd., Suite 26. The brewery taproom and beer garden are open from 2 to 8:30 p.m. Monday-Wednesday and noon to 9 p.m. Thursday-Sunday at 1920 Lake Tahoe Blvd.; www.southlakebeer.com.

South of North Brewing Co.: Open from 2 to 10 p.m. Monday-Thursday and noon to 10 p.m. Friday-Sunday at 932B Stateline Ave.; www.southofnorthbeer.com.

Cold Water Brewery and Grill: Open from 11:30 a.m. to 8 p.m. Wednesday, Thursday and Sunday, and until 8:30 p.m. on Friday-Saturday at 2544 Lake Tahoe Blvd; https://tahoecoldwaterbrewery.com/

The Hangar: Open from noon to 9 p.m. Sunday-Wednesday and until 10 p.m. Thursday-Saturday at 2401B Lake Tahoe Blvd.; www.thehangarlaketahoe.com.