Sahana Rangarajan

When he entered the The Fillmore for his Sept. 26 performance, Johnny Marr probably knew that the one thing his concert didn’t have to do was win over a crowd of doubters.

Instead of now-notorious critical favorite “Game of Thrones,” the favored contenders were the topical dystopian drama “The Handmaid’s Tale” and contemplative sci-fi show “Westworld.”

Equal parts murder mystery, lurid Southern gothic and claustrophobic family drama, it tracks the return of a journalist to her home in Wind Gap.

The presentation of the films with an audience and a live orchestra to boot allowed the chance to experience “Star Wars” in the most immersive way possible.

Most of the time, the elaborate kingdoms we concoct as children don’t survive the voyage to adulthood; the fantasy worlds soon become mere memories, if that. “Christopher Robin” explores a different fate for these universes.

The album art — a swirly, wistful drawing in cotton candy hues of 2-D playing his guitar — is in line with the mood of The Now Now, which is primarily beachside ennui.

While this density resulted in excellent episodes, it has also proved to be a drawback, as the show’s plotlines have grown increasingly convoluted.

Bad Witch follows in the footsteps of its trilogy-mates in recreating the recognizable aggression of earlier albums such as Broken and The Downward Spiral, but it also noticeably flares into a life of its own

Many questions running through the season are answered, but their answers are traded for new questions about the larger implications of the plot reveals.

“Breaking Big” looks into prominent figures in such varied fields as entertainment, politics, fashion and sports through a humanizing lens.