Arts Reviews

If there is one thing that the rescheduled Emmy awards from this year will be remembered for, it is comforting predictability. Succession swept the board in the dramatic stakes, as The Bear did a similarly imperial job in the comedy categories. There is, of course, something of an arbitrary nature about the way that both shows have been designated; Succession contained more laugh-out-loud scenes, characters and storylines than most comedies — and The Bear alternates between humor and serious dramatic heft with aplomb. Yet the powers that be decided to designate them thus, and I doubt that Jesse Armstrong or Christopher Storer, the creators of the two shows, will be complaining too vociferously today.

After a long break, Lil Nas X announced he would be releasing a new single. As usual, the song would get hyped, the publicity would be multifaceted and designed to cause controversy — and it would climax with a hit music video that would turn the song platinum. It worked before, with the devil lap dance video for "Call Me By Your Name," and for "Industry Baby" and its prison video (tied to Nike’s legal action against his collaborative Mschf shoes). Why shouldn’t it now? His new single is titled "J Christ" — and the music video has over a million views on YouTube in under twenty-four hours. And yet, it feels empty. The music video is exactly what you’d think it would be, showing Lil Nas X dressing up as various Christian figures, from Moses to Jesus.

“I have always conscientiously tried not to do the same thing twice,” American composer and song-writing legend Stephen Sondheim once told the New York Times Magazine. In his final ever musical, conceived over a decade ago and executed after his death aged ninety-one in 2023, Sondheim has once again, like a magician, conjured surprise. Here We Are is many things and it isn’t always successful. But this maverick musical is wildly original — not least in suspending the songs themselves almost entirely for the second act.

Teresa Mull, assistant editor A Cat in the Rain by the Turnpike Troubadours The Turnpike Troubadours are back with a new album that sounds a lot like their old ones, which is why I like it so much. A Cat in the Rain has been heralded as “a triumphant comeback,” and indeed, as a fan who’s followed (or tried to, anyway) the Red Dirt band’s ongoing drama, I was surprised and delighted to welcome the return of Evan Felker’s rustic voice singing some fresh, but still familiar-feeling, songs. The lyrics have a gentler, humbler feel to them — overcoming alcoholism by laboring on a cattle ranch and rekindling with the wife you divorced to produce two kids will do that to a man, apparently.

Amber Duke, Washington editor Talk to Me John Carpenter made some of the best horror movies of all time because his work did more than just try to scare the audience — it explored what really drives fear. Halloween toyed with the nature of evil. The Thing is a commentary on human isolation and the psychological effects of distrust and suspicion. That’s why Talk To Me, a 2023 horror flick from the much buzzed about studio A24, is so good. Yes, it’s about demonic possession and conjuring spirits, but at its core it’s a story about grief. Namely, the poor choices we can make when we miss someone so terribly and we just need a respite from the pain.

Ross Anderson, life editor Silo, Drops of God and Hijack As I wrote early this year in our pages, Apple TV+ is probably the most under-appreciated streaming service available, with a very high batting average for its output. Bad Sisters was far funnier than I expected, The Super Models was just fantastic, and Boom! Boom! The World vs. Boris Becker is almost as long as its title, but is also the best sports documentary I’ve seen in years. But the three best shows I watched though it were Silo, Drops of God and Hijack.

The year was 1991. Actress Sean Young was trending — which in the Nineties means tabloids were dumping on her. The scandal: she barged onto the Warner Bros. lot dressed as Catwoman for an audition for Batman Returns. Two years earlier, Young was set to play Batman’s love interest in the first film, but she fell off a horse on set, fracturing her shoulder, so director Tim Burton replaced her with Kim Basinger. Young believed she deserved an audition for the sequel’s villain. After all, she was Sean Young. She played Chani in David Lynch’s original Dune (a role a not-yet-born Zendaya would reprise in a remake). She made love to future Yellowstone star Kevin Costner in No Way Out.

Film bros have long had their list of sacred-cow directors who can apparently do no wrong: Scorsese and Fincher and Nolan, of course, but also the likes of Denis Villeneuve, Paul Thomas Anderson and — as of this year — Greta Gerwig. To their number should now be added Paul King, a filmmaker whose name may be less familiar than some of his peers, but whose flair and ability to make apparently risky projects not only work but succeed admirably and hilariously was demonstrated by his two Paddington films. It is now confirmed by the critical and commercial success of his Charlie and the Chocolate Factory prequel, Wonka, which triumphantly overcame mediocre pre-release buzz by being a marvelously sweet confection.

After a year in entertainment dominated by the Barbenheimer phenomenon, it wasn’t hugely surprising to find that Barbie and Oppenheimer were similarly garlanded when it came to today’s Golden Globe nominations. The adventures of Mattel’s finest and most lucrative product-turned-icon are up for nine awards — in large part because it has no fewer than three nominations for Best Song, including my own favorite “I’m Just Ken” — whereas Christopher Nolan’s atomic bomb epic is just trailing behind slightly with eight, including recognition for Best Picture, Best Director and, as expected, actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.

Well, it had to happen. Taylor Swift has been the most talked-about person in the world for some time now. After 2023 saw her conquer both stadiums and the world’s cinemas with her Eras Tour film — which, with a current gross of $249 million, is now the highest-earning concert movie ever made — her remarkable year has been capped off both with the enormous success of her re-recorded album 1989 (Taylor’s Version) and now, the news that TIME magazine has awarded the thirty-three-year-old musician the accolade of Person of the Year. She follows in the footsteps of everyone from Josef Stalin and Adolf Hitler to Mark Zuckerberg and Elon Musk. There are several noteworthy features of the accolade.

Netflix’s royal saga The Crown has been one of its biggest hits of the past few years. Sacrificing subtlety for big, dramatic arcs, with award-winning performances by a cast that has, in a stroke of genius on the part of its creator Peter Morgan, changed every two seasons, it’s been the most gripping and rich account of the post-war British royal family ever put on screen. It has been helped both by an enormous budget and the useful way in which the present-day battles between Prince Harry and Meghan Markle and the rest of the Firm have come to mirror The Crown’s increasingly eventful power struggles among the various branches of the family.