HUNTR/X are three drawings. Golden went to number one on the Hot 100 and won an Academy Award anyway, because the woman singing it had been doing this job in other people's names for years.
Danny Boyle made a film about a boy walking his mother across a dead country, then handed the last reel to a sequel he was not directing. The seam is visible and it is worth arguing about.
Sirāt opens as a father's search for a missing daughter and quietly stops being one. What replaces the search is the reason the film won six Goyas for craft.
Vince Gilligan built a nine-episode drama in which nobody opposes the protagonist. What replaces opposition is the most interesting formal move on television this decade.
Del Toro's Frankenstein is built in two halves that only work if you sit through both in one go. Netflix released it as something you can pause.
Thirty-four minutes and fifty-one seconds, no cool-down, no exit ramp. Lorde's fourth record is the first one that sounds like a body instead of a report from one.
Miguel Gomes tells the same journey across colonial Asia twice, once as flight and once as pursuit, and the doubling turns out to be the whole argument of the picture.
Barry Levinson's mob drama had a Goodfellas screenwriter, a great cinematographer, and Robert De Niro playing both leads. It grossed 9.6 million dollars. Here is why.
Jafar Panahi's Palme d'Or winner is a revenge thriller built on a doubt that can never be cleared, and the doubt is the point.
Netflix reportedly spent around $320 million on The Electric State. The film that came out the other end is the clearest argument yet against frictionless money.
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