Andrew Schulz

It is the best of times and the worst of times in Hollywood, where the phenomenal success of Barbenheimer elevated both movies to soaring box offices even as virtually the entire entertainment industry is on strike. But the success of these two films — one backed by the branding power of nostalgia and the desire to wear the color pink, the other by one of the last mainstream auteur directors with the power to do whatever he wants — also contrasts with the big problem facing the strikers. We know how many people saw these movies. We don't know how many people see much of anything else. The great cord-cutting has led us into a world with unprecedented opportunities to make all kinds of content.

He's officially back. The past month has seen the quiet return to public life of comedian Louis C.K. as the incredibly popular — but very much canceled — creative genius has gone on a podcast tour promoting his latest film, Fourth of July, which is available to stream at his website starting August 6. His path to a comeback was made possible not just by his stature as a member of most comedians' Mount Rushmore of comics, but also by his innovative approach to connecting with his fans — an approach that was ahead of the curve at the time, and signals the path comedians may increasingly take in an era where their jokes can cause headaches for streaming services. C.K.