Burgeoning scientists, engineers and technology lovers of all ages will finally get a peek Thursday at The Hive, a development at the Cambridge Public Library centered around science, technology, engineering, arts and math. It was first meant to open in March, some 10 months ago.

The first issue of The Left Bank of the Charles Review arrived with the new year, promised quarterly by Joseph Levendusky – a traveler, lover of music, left-leaning political critic and sitter in cafés.

We promised to use contributors’ money to maintain, expand and improve Cambridge Day – and though it’s still a work in progress, it’s only in progress because of those contributions.

Cambridge Community Television has found its third executive director in Jessica Smyser, the leader of an arts and education nonprofit in Santa Fe, New Mexico, who before that worked in the Cambridge and Somerville music industry.

If ever there was a signal for Cambridge to get over its weird, anti-democratic resistance to letting its meetings be seen and recorded consistently, it came last week when the School Committee failed to make clear if or how residents could watch an evaluation of the school district’s superintendent. 

Cambridge says its public health department has done a superb job reaching people with Covid-19 and their contacts since the pandemic began and urging them to isolate or quarantine, but with little evidence.

What’s remarkable about this doc is the degree of access and trust from the subjects –  a 22-year-old running for mayor of Detroit, a farmer and working mother seeking an Ohio township trustee post and a Korean immigrant running as a Republican among liberal Chicagoans.

Directors Amanda McBaine and Jesse Moss’ immersion into the Girls and Boys State mock political programs, which have for decades turned out leaders of tomorrow such as Bill Clinton, Ann Richards and Dick Cheney, is both an eye-opener and a reason for pause.

The rock magazine Creem in this documentary is packed with the passion of work done for peanuts by hustling journos who’d rather be at a late-night gig and write about it the next day than pull down big dollars as a stolid nine-to-fiver.

Here’s a gift for a time cultural opportunities feel exhausted and the latest Netflix offering feels meaningless: A free, 100-page, sumptuously produced magazine full of voices and images most of us have never heard or considered. It arrives in a surprising way, from a surprising birthplace.