“All is quiet on New Year’s Day.” Fat chance, Bono.

U2’s wintry hit “New Year’s Day” may kick off the “Billions” episode it shares a title with, but Bono’s opening line certainly doesn’t describe it. Directed with verve and humor by Adam Bernstein and written by the series creators Brian Koppelman and David Levien — always a sign that the game is well and truly afoot — “New Year’s Day” has the feel of a turning point for the season. Nothing shocking or momentous takes place, but the air is electric.

I reviewed this week’s episode of Billions for the New York Times.

I can, and will, write quite a few words about “Billions” this week. For what really matters, however, five words are all it takes.

Dr. Gus is back, baby!

I reviewed this week’s episode of Billions for the New York Times.

This week, “Billions” staged a charity boxing match between its fake-tough traders. I’m surprised that it took this long for the show to get in the ring.

The mano a mano match between Dollar Bill and Mafee on behalf of their overlords, Bobby Axelrod and Taylor Mason, provides the show with a perfect symbol. On the surface the fight is an act of philanthropy, a way to turn competition between rival firms into something productive. And surface is all it is.

The perfunctory noblesse oblige of the match’s charitable component disguises the venal truth. Two rich men who can barely muster the strength to swing at each other enact an absurd grudge match while their colleagues gamble obscene amounts of money. The winning bet, it turns out, is on both competitors losing. On “Billions,” there’s always a way to make money off someone else’s misfortune.

I reviewed this week’s episode of Billions for the New York Times.

Wendy Rhoades really cares about her husband. In spite of his grasping ambition and her position in the crossfire during his now-ended war with her boss, and in spite of how Chuck outed them both as sadomasochists, she wants him to be happy. She hates that he has been made to suffer.

But Wendy is suffering, too, which is one reason she wants to sell their home. When Chuck responded by divulging a story of emotional abuse from his childhood — in which the lesson from his mercurial father was that all women crave domination — Wendy was horrified, of course. She isn’t out to compound Chuck’s anguish by destabilizing his home. She is selling the house not to punish him, but to move beyond her own painful memories. And she’s probably doing it for his sake, as well.

But Wendy’s thoughtfulness does not extend to everyone. Indeed, her mind can be a pretty dark place.

I reviewed this week’s episode of Billions for the New York Times.

It’s funny that “Billions” has moved Chuck and Wendy’s sadomasochism to the forefront of the story. Even though a depiction of that aspect of their relationship opened the entire series, I don’t think I ever appreciated what an effective analogy it is for the behavior of, well, pretty much everyone on the show. No one here seems fulfilled unless they’re giving or taking a beating.

I reviewed this week’s episode of Billions for the New York Times.

This week on “Billions,” revenge is the order of the day. All right, fine: Every week on “Billions,” revenge is the order of the day.

I reviewed this week’s episode of Billions for the New York Times.

When “Billions” is at its best, as it certainly was tonight, recapping is a dicey proposition. Focus on one element and you inevitably give short shrift to another equally entertaining aspect.

And more than any other show currently airing, “Billions” deploys a whole lot of very different ways to entertain you: a satire of extreme wealth and power as well as an alluring recreation of it; a financial and political thriller, tag-teamed with a comedy of manners; a parade of terrific character actors knocking around crisp, reference-heavy dialogue like a badminton shuttlecock; a sensitive and idiosyncratic depiction of a gender-nonbinary character, mixed with a humanizing and nonjudgmental depiction of sadomasochism within the context of a loving relationship.

This week’s episode was all that and more, and it forced a dramatic shift upon the entire series.

I reviewed this week’s episode of Billions for the New York Times.

“I used to try and pretend I was dreaming all of the pain, but don’t you kid yourself: Some things have to be endured. And that’s what makes the pleasures so sweet.”

Whether as shorthand for their feelings, metaphors for their predicaments, or models for their aspired-to lifestyles, characters on “Billions” simply love dropping pop-culture quotes on one another. In fact this week’s episode, “Chickentown,” takes its name from a bowdlerized version of the famous “Forget it, Jake …” conclusion to “Chinatown,” referenced when Bobby Axelrod and Wags Wagner stop their mad-dog lieutenant Bill Stearn, known as Dollar Bill (Kelly AuCoin, delightfully amoral), from salvaging an insider-trading scheme by wiping out a poultry farm. (It’s a long story.)

Still, to the best of my recollection, no one on this quotation-happy show has yet referenced Clive Barker’s sadomasochistic horror film “Hellraiser,” whose undead antagonist Frank Cotton I’ve quoted above. No, not even Chuck and Wendy Rhoades, who can at least attest to the veracity of Cotton’s claim about pleasure and pain as a sexual matter.

Yet after watching “Chickentown” I want to set up a “Hellraiser” screening in Bobby Axelrod’s home theater just to make everyone wake up and smell the suffering. Axe, Chuck, Taylor Mason, even the lovably loathsome Dollar Bill — they all seem to require intense adversity to be at their best, whether they realize it or not.

I reviewed this week’s episode of Billions for the New York Times.

Zugzwang is a delightful word for a dispiriting concept. In chess, zugzwang occurs when it’s your move, but your opponent has cannily set you up to dig yourself deeper into defeat. It’s a useful concept for anyone who needs to outmaneuver an enemy without staging a frontal assault. And as Taylor Mason’s ruthless new right-hand woman, Sara Hammon (Samantha Mathis), realizes in this week’s episode of “Billions,” zugzwang is the name of the game for every player on the board right now.

I reviewed this week’s episode of Billions for the New York Times.

“You win some, lose some, it’s all the same to me,” howls Lemmy Kilmister, the raspy singer-bassist of the heavy metal band Motörhead in their signature song, “Ace of Spades.” As he explains over warp-speed riffing, when it comes to gambling, “the pleasure is to play.”

The metal fandom of the hedge-fund billionaire Bobby Axelrod (Damian Lewis) has been a key trait of that character from the start. It is equal parts enjoyment and self-aggrandizing, bad-boy image-making. But rarely had it been deployed as astutely as when he made his first onscreen appearance this week, in the Season 4 premiere of Showtime’s ruthlessly entertaining financial thriller, “Billions.” As “Ace of Spades” powers the soundtrack, we’re reminded that no matter what game they’re playing, men like Axe aren’t happy unless they go all-in on every hand.

I reviewed the season premiere of Billions for the New York Times. Please note that I’m playing catch-up on posting links to these reviews, so my descriptions will be pretty bare-bones. I hope you enjoy the reviews!

I wrote about 28 Weeks Later… in the context of Bird Box and A Quiet Place and survival-horror films with children at the center for the New York Times’ free Watching newsletter, which you can subscribe to here!

I don’t think I’ve seen “Naked” more than three times. And yet, “Naked” is one of my favorite films. How can both statements be true? Because like Johnny, the human vortex of misanthropy at the heart of this scathing, haunting film from Mike Leigh, “Naked” arrives unexpectedly and does enough psychic damage to mark you for life.

Played by David Thewlis in his breakout role, Johnny is a shuffling, shaggy-haired native of Manchester, now down-and-out in London after fleeing the consequences of the sexual assault that opens the film. (The merciless tone is established from the start.) With his cruel intelligence, dizzying monologues and trademark black trench coat, he upends the lives of old friends, acquaintances and total strangers alike.

The film’s devastating final shot casts Johnny as a sad-sack Satan wandering the world, unwilling to accept either punishment or forgiveness for his sins. When FilmStruck vanishes from the internet, it will take this unforgettable portrait of humanity as a failed state with it for now — but the film will remain lodged in my mind forever.

I wrote about Mike Leigh’s brilliant film Naked for the New York Times’ tribute to the late great streaming service FilmStruck, alongside a murderers’ row of other critics.

And since it’s been a while, I’ll note that I still contribute movie recommendations to the Times’ free streaming-advice newsletter Watching. I think I’ve covered The Love Witch and Eyes Wide Shut since last time. Click and subscribe for free!

I wrote about Jonathan Glazer’s incredible British gangster movie Sexy Beast for today’s edition of the New York Times’ “Watching” newsletter, which features recommendations for streaming shows and films three times a week. If you sign up for it today (it’s free) you can read what I wrote. Enjoy!

SPOILER WARNING

“Everybody’s so crazy,” says Helen Solloway in the final minutes of the final episode of the extraordinary fourth season of “The Affair.” O.K., she employs an uncouth adjective unfit for this publication when she says it, but you get the idea.

And why wouldn’t she think so? The woman her ex-husband Noah left her for has (they all believe) committed suicide, just days after Helen gave her what seemed like a life-changing pep talk. Noah, who attended the funeral, has just told Helen that Alison’s other ex-husband, Cole Lockhart, disrupted the service by stealing her ashes and running away with them.

Helen and Noah are having this conversation outside the hospital where her partner Vik is dying after refusing to seek treatment for his pancreatic cancer, a decision he now regrets. At that very moment he’s being told by their neighbor Sierra that he’s the father of her unborn baby. Helen, whose attempts to have a baby with Vik herself were prevented by the onset of menopause, is less mad about this than you’d think, since she also slept with Sierra. And oh, Vik’s helicopter parents are up there too, excited because the oncologist treating him is a woman he used to date in med school. When it rains, it pours.

Though it’s broken into three different segments — the first from Noah’s perspective, the second from Cole’s and the third from Helen’s — this maddening messiness of adult life is the episode’s unifying thread. Speaking plainly, I adore it.

I reviewed the moving season finale of The Affair for the New York Times. It’s been such a pleasure writing about this show for this publication this season. I remain convinced it’s doing work about actual adulthood few if any other shows have ever dared try.

SPOILER WARNING

I have a confession to make. Why not, right? Confessions are in the air tonight.

My confession is this: “The Affair” just aired the most conceptually ambitious, emotionally painful episode of its entire run, and at the moment of truth it went someplace I could not bring myself to follow.

I was so riveted that when I look over my notes for this episode — a showcase for Ruth Wilson and Ramon Rodriguez, the only two people on camera for the entire hour — they read less like jotted-down thoughts and more like a fully annotated transcript. But when the truth is revealed and the worst case scenario happens, you won’t find that in my notes at all. Ben’s attack on Alison, her collision with the wall, the blood pouring from her head, the light going out in her eyes — it’s just a blank space in the document. Words and words and words, and in the middle, a rupture.

I reviewed tonight’s episode of The Affair for the New York Times. It knocked me flat.

There’s no way to prepare for an episode like this week’s installment of “The Affair.” That’s as true for the audience as it is for the characters involved. Perhaps that’s why so much of this devastating hour of television is spent being not particularly devastating at all.

I reviewed today’s episode of The Affair for the New York Times. It was very hard to do.

Just how bad will Jimmy McGill break this season? That’s the big question for viewers as “Better Call Saul” returns to AMC for Season 4 on Monday, Aug. 6. Created by Vince Gilligan and Peter Gould as a prequel to “Breaking Bad,” “Saul” stars Bob Odenkirk as its title character … sort of.

“Saul” tells the story of Jimmy McGill, a small-time lawyer and part-time con man who devolves into the criminal attorney we first met on “Breaking Bad,” Saul Goodman. Figures from both his past and his “Breaking Bad” future push and pull him toward that grim destination, their own stories playing out in parallel.

Given the fiery, tragic finale of Season 3, can Jimmy pick up the pieces and set a straight course? We already know the answer, but the journey is fascinating to watch. And if you need a quick road map ahead of the season premiere, this character-by-character guide should get you caught up.

I wrote a Better Call Saul refresher/cheat sheet thing for the New York Times. Can’t wait for the show to return.

The sex scene between Helen and Sierra isn’t particularly explicit. But what Sierra says leading up to their liaison certainly makes a lasting impression. She enjoys sleeping with women, she tells Helen, because their shared struggles make the connection more intimate. She feels “primal admiration” for seeing a fellow woman in bed, “naked and confident and hungry for orgasm.” And she feels a greater degree of control — “control is really hot,” she concludes, before they finally kiss. By the time she’s finished talking, the temperature in that yurt has surely risen several degrees.

[…]

While we’re on the subject of Janelle, it has to be said that the chemistry between Sanaa Lathan and Dominic West is considerable. Granted, that’s par for the course on this show, which has yet to serve up a lukewarm sex scene (except on purpose) in three and a half seasons. But when Noah and Janelle finally get into bed together, there’s an easy, joyous intimacy to it — my favorite bit is when she jokingly moans “Does it turn you on that I’m your boss?” and then immediately starts laughing — that’s so convincing I almost felt bad watching. Almost.

In that regard, it’s a lot like the intense buildup to Helen and Sierra’s hookup earlier in the episode, which made their encounter, for all its problems, seem like the proverbial “consummation devoutly to be wished.” Seems to me that if sex were less fun, people wouldn’t risk all these complications to their lives in order to have it with each other. This is yet another aspect of adult life that “The Affair” shows it understands, week in and week out.

I reviewed last weekend’s episode of The Affair for the New York Times.

And now, a brief aside about an outer-space action movie that I provides a useful interpretive framework.

Alison’s father’s latest wife is played by Dina Meyer, one of the stars of Paul Verhoeven’s ultraviolent sci-fi satire “Starship Troopers.” That film, which chronicles a militaristic future Earth’s intergalactic battle against a sentient species of giant insect, has long disgusted some critics and delighted others in equal measure. On the surface, its story of young, beautiful soldier-citizens waging a war of extermination against literal vermin reads as gleefully fascist.

But Verhoeven and his collaborators’ conceit was to make the kind of war movie such a society would make about itself, celebrating the virtues espoused by the fictional society it depicts. The film is positioned as the product of the mind-set of the characters within the film — not a bad way to understand how what we see on “The Affair” is filtered through the perspectives of its main characters.

I reviewed yesterday’s episode of The Affair, which dug right into the heart of Alison Bailey and the show itself, for the New York Times.

The Dream Machine: ‘Superman: The Movie’ (1978)

Where to watch: Rent it on iTunes, Amazon or YouTube

The machinery of the modern-day blockbuster — kick-started by Steven Spielberg’s “Jaws” and thrown into high gear by George Lucas’s “Star Wars” — never operated in a more chaotic, or mercenary, fashion than it did in this big-budget work of art-by-committee. There was its small army of screenwriters, credited and uncredited (including the author of “Godfather,” Mario Puzo); the decision to shoot the film and its sequel simultaneously in order to increase the return on investment; the fortune thrown at Marlon Brando for just a few minutes of screen time as Superman’s Kryptonian father; the conflicts between director Richard Donner and his producers that led to his ouster before the sequel was completed (Richard Lester stepped in): All in all, the process was as industrial as building a car.

But all that fades away the moment the movie begins. The visual effects, most notably the Zoptic front-projection system that made Superman’s flight convincing, won an Oscar. The star-studded supporting cast, with Margot Kidder as a vivacious Lois Lane, Brando as Jor-El and Gene Hackman as Lex Luthor, gave the thing gravitas. Finally, there’s Superman himself: Christopher Reeve, in a performance so effortlessly charming yet rooted in thoughtful physicality, it forever associated him with the role. His instantaneous change in posture and expression when he switches between Superman and Clark Kent remains a wonder to behold.

The Reaganomicon: ‘RoboCop’ (1987)

Where to watch: Stream it on DirecTV Now or IFC; rent it from iTunes, Amazon or YouTube

Despite the success of “Superman” and its even better sequel, “Superman II,” the standard superhero seemed a little superfluous in the 1980s. With President Ronald Reagan telling tales of good versus evil straight out of a comic book, and action stars like Arnold Schwarzenegger and Bruce Willis sculpting their physiques to cartoon-worthy levels, who needed spandex?

Enter “RoboCop,” the sci-fi satirist Paul Verhoeven’s biting black comedy in ultraviolent action-hero drag. In a dystopian future where hospitals are driven by profit and police departments use military-grade weaponry — imagine all that! — a badly-wounded rookie cop (played by the unlikely action star Peter Weller) is fitted by a creepy corporation with cybernetic enhancements that increase his lethality but wipe out his memory. The story of a super-cop literally fighting against his own programming in order to reclaim his humanity — in a city being stripped for parts by the superrich — is as poignant now as it was in Reagan’s America.

Blockbuster Begins: ‘Batman’ (1989)

Where to watch: Rent it on iTunes, Amazon or YouTube

Almost as soon as the TV show “Batman” went off the air, darker material began to ferment in the comic-book depictions of the Caped Crusader and his peers. “Batman” was the blockbuster that brought this grimmer vision roaring into multiplexes and the mainstream consciousness. Directed with confident neo-noir style by Tim Burton, the movie pivoted off works like the cartoonist Frank Miller’s “The Dark Knight Returns” and employed an array of talent — the composer Danny Elfman; the production designer Anton Furst; and Michael Keaton and Jack Nicholson as Batman and his psychopathic nemesis, the Joker — working at or near their career peaks.

While “Batman” remains one of the genre’s best films (the best, if you want my opinion), its industry innovations sometimes overshadow its aesthetic excellence. The movie’s PG-13 rating became standard for tent-pole movies, while its record-breaking box office enshrined opening-weekend revenue as a key measurement of a film’s success. “Batman” was an inescapable last gasp of Big ’80s monoculture; that summer, the bat symbol was nearly as ubiquitous as Coca-Cola.

I’m really glad my editors at the New York Times talked me into writing a cultural history of superheroes on film and television, touching on changing mores, aesthetics, technology, showbiz, and American society in general. I’m very proud of how this piece turned out, especially of the effort we made to give proper credit to the characters’ original creators. And there’s links to where you can watch every single movie and show on the list online!