Cannonball is off this week for the holiday. But I wanted to share something with you from our friends over at The Interview. It’s a conversation that my colleague David Marchese had awhile back with one of our biggest stars, Eddie Murphy. I've been thinking about it recently because there's a new documentary about Murphy that just came out on Netflix -- and I highly recommend this conversation as a kind of companion listen over your long weekend. Murphy reveals a surprising side of himself that I hadn’t heard before. Hope you enjoy it, and see you back here next week!

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Netflix has a hit in “The Perfect Neighbor,” a documentary attracting a lot of attention for both its subject and its form. Using police camera footage, the film shows the events leading up to the killing of a Black mother of four by her white neighbor. It’s unquestionably powerful and difficult viewing. But for Wesley and his fellow Times critic Parul Sehgal, it raises all kinds of moral and ethical questions. What does it mean to watch these events through the lens of the police officers involved? Is the movie the filmmakers thought they were making the one that the audience is actually receiving? And should we even be allowed to see this?

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Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. 

For Wesley, the most interesting thing about Taylor Swift’s latest album didn’t have much to do with the music. It was the critical response. Sure, there was plenty of enthusiasm. But there was also some exasperation and weariness. And to Wesley, that felt like a needed shift in pop music criticism. Which has gotten awfully nice lately. A little too nice.

That idea — that pop music criticism has lost its edge — was explored in a recent New Yorker essay by Wesley’s buddy and fellow critic, Kelefa Sanneh. The two get together to trace the history of the form and think about what’s lost when critical punches are pulled.

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Dwayne “the Rock” Johnson’s new movie, “The Smashing Machine,” sends him back to his natural habitat: the ring. But for the first time ever, Johnson finds himself in a role that grapples with what it means to move through the world in a body like his.

Wesley talks to Sam Anderson, who recently spent a day with Johnson for a Times Magazine profile. They think about the line between artifice and reality — in Johnson’s performance, and in Sam’s effort to get to know one of the most famous people on earth.

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Wesley Morris doesn’t go for cheap jump scares or gratuitous gore. Instead, his favorite horror movies fill him with a sense of dread. This Halloween, he invites film curator Eric Hynes to rewatch scenes from some of the scariest movies they’ve ever seen — some you’ll find in the horror section and some you won’t.

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Wesley Morris has been talking about movie stardom with Bill Simmons of The Ringer for as long as they’ve known each other. The actor and director Robert Redford is often invoked in their conversations as the definition of a movie star. In today’s episode, Wesley invites Bill to remember the roles that made Redford a household name and to ruminate on the state of the movie star in 2025. Do we have any true stars left?

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Paul Thomas Anderson is a very rare figure in Hollywood — he’s widely considered to be one of the very best directors of his generation, but he’s never really had a hit when it comes to making money. One Battle After Another might change that. It’s a big budget action movie with a bankable star. And to Wesley’s relief, that didn’t come with any compromises.

Wesley invites The Ringer’s Sean Fennessey to celebrate the merits of Anderson’s films and determine if this is his best.

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