'Orwellian' is a word understood by millions of people who have never read George Orwell's books; 'Big Brother' and 'Room 101' are television shows that feel like they have been around since 1984; and screens fill our homes which we use to 'interact'.
Tim Norton revisits the gift that keeps on giving, Sherlock Holmes, to imagine his last case - he finds it's typically tricky, but sometimes funny too.
Gary Naylor sees one of his favourite plays from last year now delivered bigger, brighter and just as bungled, as the Cornley Polytechnic Drama Society starts its UK tour.
It's back to the 80s (and the 50s, 60s, 70s, 90s and 00s) with a legend of the screen telling tales about some of the most famous names in entertainment.
Just before she hit it big (Dancin' Queen big) with Mamma Mia! (the Rocky Horror Show de nos jours), Catherine Johnson wrote Shang-a-Lang (revived at the King's Head Theatre until 15 February).
Pantomime, even fairy tales, are not known for their well-rounded characters - and the cookie-cutter bad girls, The Ugly Sisters from Cinderella, are no exceptions.
Though not among Shakespeare's more gory tragedies (competition is pretty fierce after all), Othello is surely his most brutal, a slow motion car crash, in which love and trust go up against cynicism and venality - and lose.
It is (natch) quixotic to stage a version of the mighty chronicle of the unhinged Spanish knight in a North London basement, but what's life (especially theatre) for if not such dreams?
One of the joys of a gig like mine is precisely the opposite of this piece's predicate - I do not look forward to productions at all, simply rolling with the flow and seeing what might come up.
Like a giant teddy bear in a red nose, the Yellow Clown chases a balloon one minute, kicks through snow the next and, occasionally, clambers into the audience.
So, 109 shows reviewed in 2013 (with a couple more to come) - how to choose the best from that lot! Of course, I can't, as the variety and quality of London's theatre make comparisons invidious.