By Darren Franich
Updated February 06, 2015 at 12:00 PM EST

Now that we’ve officially made it through the entertainment dry spell that kicks off every new year, EW is looking forward to what 2015 really has to offer. And in order to start your year off right, we’re rounding up our staff picks for what we’re most looking forward to this spring.

New things! Old things! New things based on old things! Because it’s so early in the year, we’re in that magical phase where everything we’re looking forward to could be awesome. Here’s the stuff arriving this springtime that currently has me anxiously checking the calendar, wishing February were even shorter so we could just get to the good stuff already.

The Academy Awards, Feb. 21: I don’t always love the movies that Oscar nominates—I recommend everyone check out our Nominated for Nothing series for a list of adventurous cinematic wonders that aren’t just about handsome British guys—but I always love the Oscars. How can you not? Besides the pure star factor, it’s the one night of the year when everyone becomes a movie nerd. I can’t wait for my mom to complain that Eddie Redmayne was robbed! And I’m most excited for the Visual Effects Oscar showdown—a four-way megablockbuster showdown between Marvel Studios, Fox’s X-Men franchise, Christopher Nolan, and Andy Serkis.

It Follows, March 13: There’s been an incredible mini-Renaissance of low-budget horror flicks lately—like, when I want to teach my grandchildren about the state of things circa now, I might just show them The Babadook, You’re Next, The Guest, Blue Ruin, and Insidious, films that wear their retro-influences on their sleeves while also carving deep into the weird black heart of postmillenial Americana. But the genre of Movies That Vaguely Resemble John Carpenter Movies hits a new high with It Follows, a start-to-finish freakout filmed by newcomer David Robert Mitchell with a mixture of relentless tension and dreamy synth-scored suburban ennui. Without spoiling too much, I’ll just say that It Follows is about a kind of sexually transmitted demon; that it stars Maika Monroe, so good as the Final Girl in The Guest and flat-out stupendous in this movie; and that, after I saw a screening of It Follows, I spent a few days scared to turn around, out of fear that something might be behind me. Let me repeat: I WAS SCARED TO TURN AROUND.

Community, March 17: I fell into an existential grief wormhole when I heard Community was canceled. Wonder of wonders: It’s back, now on Yahoo, for a sixth season of meta-hijinks. Last season had a few of my all-time favorite episodes, and I’m intrigued to see what the show looks like now that Yahoo has given the show all the support that NBC never did.

Daredevil, April 10: I roll hard for Daredevil, a superhero who has inspired three of the best story sequences in the history of mainstream superhero comic books. And the cast of Marvel’s new show is intriguing—I’m especially intrigued by the casting of Rosario Dawson as Night Nurse. But I’m also anticipating Daredevil with some trepidation, since Marvel’s TV efforts have felt a little limp and uninspired compared to their bigscreen stuff. Here’s hoping third time’s the charm.

Max Max: Fury Road, May 15: The Road Warrior is one of the great pure action movies, a car-chase opera powered by bare-essentials storytelling and ornate auto-punk art-direction. Over three decades later, George Miller’s newest Mad Max films looks like the same, except much much more.

David Letterman’s last Late Show, May 20: The inflated hyperbole of internet culture—created by the demonic Illuminati cabal of savvy publicists and desperate bloggers—can make it feel like an era ends every day. But when David Letterman leaves his CBS late night show, a whole long chapter in the history of whatever Television is now will come to a close. Here’s a guy who first hit late-night back when TV was three networks and a smattering of cable shows; who presided over the splintering of the late-night universe; and who has lasted long enough to see his competitors reconceive the whole notion of a Late Night Show.

Letterman’s an influence on many contemporary comedians, but there’s really nobody else like him in the late-night landscape—Jimmy Fallon can barely keep a conversation going for more than a minute. And despite his acerbic history, Letterman’s show also feels oddly personal. (The host curved a recent visit from Dr. Phil into a long digressive tangent about parenthood.) So I’m anticipating some end-of-history thrills as Letterman’s show winds down.

Batman: Arkham Knight, June 2: You can drive the Batmobile. You can drive the Batmobile. Rocksteady’s Arkham series produced one of the best games ever, full stop. I don’t know if the final act of their trilogy can live up to that. But I do know that you can drive the Batmobile.