The Coen brothers’ latest effort, Hail, Caesar, shines not when it’s lambasting showbiz, but when it’s celebrating it. The over-the-top musical numbers are stunning and just as magical as the iconic performances they’re inspired by. These types of displays are the essence of entertainment: an attempt to pull you out of yourself and into a looking glass world that sparkles with song and graceful, effortless movements. They’re dream sequences of the human spirit.

Ariel is grand, but you don’t know the tale of the little mermaid until you’ve read Hans Christian Anderson’s version. His decadent and mournful twist on mermaid lore has shaped our imaginations for centuries, and shines a searing light on the pains of growing up, identity crises, and, of course, unrequited love, which can snap an indescribable place in the heart. Cloaking this particular hurt in a macabre mythological tale gets this feeling precisely right, especially if you throw in the problems of bisexuality in an especially unaccepting time.