In a recent radio interview between Charlie’s Angels director Elizabeth Banks and KPCC host John Horn, Banks explains that she was drawn to Charlie’s Angels as a young woman because it offered a compelling depiction of professional women on TV. Her mom had a job, she would have a job one day, too, and here were some “fabulous, butt-kicking women working together,” a portrayal that felt “very revolutionary” to her.

Atlantics: A Ghost Love Story, Senegalese and French director Mati Diop’s first feature film, might have also been titled The Dead Don’t Die, if that name wasn’t already taken. For the film, in its vision of what it could mean to fight against the forces of the state and capital, is not just a ghost movie but a zombie movie in which those presumed and left for dead rise once more to eat—so to speak—the rich.

It’s a question that haunts any marriage, especially once anniversaries start to become marked not in years, but in decades. Is there still a spark? When it comes to the revival of the ’90s sitcom Mad About You, launching Wednesday on Spectrum cable’s on-demand platform 20 years after the original series finale, it is the question. But, you see, Helen Hunt and Paul Reiser like each other. A lot. It’s why their marriage works.

It was 11:30 am on Sunday morning, and Dorinda Medley was teaching the proper way to gyrate your hips. She would be, unexpectedly, the first of three different Real Housewives stars to lead a gyration tutorial that day. Medley was dressed in metallic spandex pants and a rainbow bejeweled athleisure blazer with her hair stiff in electrified spikes, as if transported from an ’80s jazzercise video, suggesting that she may have had authority on the matter.

A Beautiful Day in the Neighborhood isn’t a movie about Mr. Rogers. It’s a movie about us. Technically, it’s about Tom Junod, a journalist who profiled Fred Rogers for Esquire in 1998. The resulting article, “Can You Say...Hero?” chronicles the litany of good deeds Junod witnesses Rogers perform throughout their day, often simple acts with seismic effects on the people he encounters.

In director Trey Edward Shults’s third film, Waves, the question of justice looms large. His first film, Krisha, dealt with the deep bitterness addiction can sow in a family.

Something unsettling happens when Maura Tierney appears on screen in The Report. You don’t like her. It’s an unfamiliar position to be in, and quite disorienting after following the actress’s work over the last 30 years in projects like NewsRadio, ER, Beautiful Boy, and The Affair, which ended its series run on Showtime this month after five seasons. There’s something about her essence.

On its surface, the provocative documentary Talking About Adultery, which premiered in New York last week as part of the DOC NYC festival, is a condemnation of marriage. Take, for example, a sequence in which a woman wearing a neon pink apron and chimpanzee mask poses in a brightly lit kitchen, leaning over the sink or tending to a pan on the stove, as a disembodied female voice laments how much she resents being a wife and mother.

First of all, the name. High School Musical: The Musical: The Series. The double colon hurdling you into a spiral of meta madness and grammatical exasperation.

LONDON—At the 80th birthday party of comedian Joey Adams in the ballroom of an upmarket hotel overlooking Central Park in 1991, Donald Trump and Imelda Marcos sat side by side; two vulgar icons of ’80s greed and ambition. Imelda and her husband Ferdinand Marcos had been ousted from power five years earlier by a popular uprising in the Philippines where people had grown sick of their corruption and brutality. Trump was a loud-mouthed but ultimately powerless New York real estate mogul.