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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.
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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.”
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Equal parts murder mystery, lurid Southern gothic and claustrophobic family drama, it tracks the return of a journalist to her home in Wind Gap.
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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.
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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.
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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.
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While this density resulted in excellent episodes, it has also proved to be a drawback, as the show’s plotlines have grown increasingly convoluted.
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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
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Many questions running through the season are answered, but their answers are traded for new questions about the larger implications of the plot reveals.
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“Breaking Big” looks into prominent figures in such varied fields as entertainment, politics, fashion and sports through a humanizing lens.
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