Everybody wrote about the Predator becoming the protagonist. The genuinely dangerous decision was the rating, and it returned $184.6 million on a $105 million budget.
Paul Thomas Anderson's Pynchon adaptation took six Academy Awards and $213.1 million, and the reason it works is a running joke about a man who cannot remember a phrase.
Brad Ingelsby's seven-episode HBO drama looks like a crime series about armed robbery. Its actual subject is who gets to keep which child, and every storyline is a version of that question.
Zach Cregger spent a decade writing sketch comedy and then applied the sketch runner's structure to a film about seventeen missing children. It made $270 million on $38 million.
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.
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