Ross Anderson

Some shows, like Game of Thrones, are only great so long as they stick to their source material. Others succeed by respecting the lore and cannon of a beloved novel or comic, but tell an original story in that universe. HBO’s Watchmen is the pinnacle example of this; however, the first season of The Boys may be the only show that succeeded precisely by not being like its source material. The Boys comics shares Watchmen’s premise of exploring an alternative reality where superheroes are real; but whereas Alan Moore considered this premise richly, and opposed the concept of superheroes on philosophical grounds — against the worship of power and great man theory of history —  that isn’t so for Garth Ennis.

On Friday morning, readers of the New York Times were presented with a foreboding headline: “The Chilling Reason You May Never See the New Trump Movie.” For the unfamiliar, the film in question, The Apprentice, is a drama/thriller about the relationship between Roy Cohn and a younger Donald Trump as he pursues glamour and riches in 1970s New York, becoming progressively amoral and self-obsessed in the process. Succession’s Jeremy Strong plays Cohn, Sebastian Stan plays Donald and the film’s most controversial scene involves the now former president raping his first wife, Ivana. (She accused him of “violating” her in her 1989 divorce deposition, only to recant this in 2015.

If you make the mistake of following journalists on Twitter, you would think that Civil War is the most talked about film of the year. It's not — and the over-coverage it's been receiving isn’t because it's particularly amazing or outrageous or riské or inflammatory. It did reach number one at the weekend box office, but on a quiet weekend, competing with third-week tickets for Godzilla x Kong: The New Empire. No, all the attention has come because Civil War is about journalism and there are few things we like talking about more than ourselves, despite few others being that interested. And so, here I am. But more interesting than the film is the release strategy behind it, because it represents A24 taking a punt on far more expensive films than usual.

Only a few short years ago, I was a professional bartender working for Michelin-star chefs in fine-dining restaurants and, eventually, serving the social elite in five-star hotels. Most of the known names were genial. Killer Mike and El-P of Run the Jewels were gentlemen. So too were Thundercat and Anderson .Paak — who were particularly keen on my margaritas. Some night porter friends anticipated trouble when they heard Nicki Minaj was staying, but found her to be extremely down to earth, pleasant and normal. Others, however, were not.

Noir is one of the most difficult genres to get right.   As Richard Brody wrote in his definitive New Yorker piece, “‘Film Noir’: The Elusive Genre”: “Film noir is a peculiar genre. A Western is identifiable by people on horseback in the West; a musical involves singing and dancing; a war movie shows war. Even the so-called women’s picture was a movie that featured women prominently. But the directors who worked in film noir didn’t use that term to describe their work.”  When we classify a “picture” as film noir, it’s usually because it carries the style and tropes of the classics. But hew too close and a new "noir" is either redundant or parodic; drift too far though and what do you have left?

In December, I stumbled upon a new AI tool called Suno. The press release and a few fawning articles claimed that in under 30 seconds, it could a make a catchy, compelling song based on your prompt. It couldn’t.  Sure, it made songs, but they were uncomfortably awkward, the lyrics didn’t make any sense and you couldn’t listen to them without feeling deeply uncomfortable. I tried a country song about gay love, and it’s like a bad mirror of what a real song could be. I logged off Suno and didn’t think much about it again. But this month, Rolling Stone wrote a feature on the company and some of their sample songs using Suno’s new version 3 model sounded eerily real —  namely "Soul Of The Machine.

The greatest show of the "new” TV era is probably Better Call Saul. It’s introspective and cynical and novelistic — and even the “good guys” aren't good guys; they’re just flawed rather than evil. Among those who’ve sold their souls, and others who never had them, our charming lead, Jimmy McGill is working to get his back, having pawned it off. It’s the best storytelling and characterization that the current style of TV can produce, and a triumph for the medium. Masters of the Air is a very different beast. It has the young rising talent of today — notably, Austin Butler and his Elvis voice, alongside Saltburn’s Barry Keoghan and the always excellent Callum Turner — and a bloated 2020s TV budget.

It looked like it was finally going to happen. At last night's Academy Awards, after a fun back-and-forth with Emily Blunt, Ryan Gosling — who stars with her as a stuntman character in this year’s The Fall Guy — said “We’re here to celebrate the stunt community. They’ve been such a crucial part of our industry, since the beginning of cinema.” In a subsequent video, narrated by Gosling, paid tribute to the best of stunts work for the past hundred years, showing clips from Buster Keaton and Charlie Chaplin to John Wick, Fast & The Furious, RRR, Everything Everywhere All at Once, The Matrix, Mad Max: Fury Road and more.