Pedro Pascal

If we are perennially doomed to live in a world where art is advertising and advertising is art, one the best possible outcomes would be a collaboration between Yves Saint Laurent and Pedro Almodóvar. “Strange Way of Life” sets out to scratch this incredibly niche itch — but can’t quite reach all the way.

"The Last of Us," based on the 2013 video game of the same name, is both gut-wrenchingly brutal and beautifully tentative, solidifying the show as a true masterclass in video game adaptation.

Behind the camera and in front of it, Cage is a walking affirmation that Hollywood is the unhinged, glamorous jungle everyone suspects it to be.

It renders everything that made Diana an appealing hero in her solo film — her unapologetic femininity, her compassion, her strength — depressingly inert.

“Chapter 16: The Rescue” opens with a bang, and the energy never wavers. Mando and company are on a mission to rescue Grogu from Moff Gideon, a quest that Mando has made clear will not be impeded by anyone.

Though Grogu is completely absent from this week’s episode of “The Mandalorian,” he is by no means forgotten.

To be sure, Mando has his own heavyweights on his side, but the final two episodes are shaping up to be quite the challenge.

“Chapter 13” wastes no time in placing Ahsoka at the center of the story.

Far be it from “The Mandalorian” to provide us with an easy journey from point A to point B.

The latest episode of “The Mandalorian” puts Mando (Pedro Pascal) and The Child on a clearer path toward The Child’s home world with a little help from some old friends.