In the third episode of the latest season, the boys head into Sephora and eventually the Backrooms in a story that makes fun of app-mutated self-care

Trey Parker and Matt Stone have always been pretty upfront about how South Park, like all animated sitcoms from the past 35 years, lives in the shadow of The Simpsons. There are plenty of ways that The Simpsons, even in its more uneven recent seasons, still outshines South Park: greater depth of ensemble, stronger emotional moments, even in the sheer number of episodes.

Something that South Park often does better, though, is react to contemporary social trends. Kyle, Stan, Cartman, Kenny and the rest are more or less the same age as Bart (and have been for decades); but The Simpsons has never been as adept at riffing on trends, tech and social issues as South Park, which has always been more immediate and responsive. Perhaps this is why it doesn’t feel like a betrayal to see the boys dealing with, say, looksmaxxing and aura farming, which is exactly what the third episode of South Park’s 29th season addresses.

South Park is streaming on Paramount+ in the US, UK and Australia.

Aaron Sorkin’s attempt to return to the success of The Social Network is a strangely dated and incomplete look at a world that needs a sharper eye

In retrospect, David Fincher’s 2010 film The Social Network was a landmark for a quiet, even counterintuitive reason. Before the film was released, some questioned whether Aaron Sorkin, a writer not exactly known for his mastery of, nevermind obsession with, the technical sphere, was the right man to tell the origin story of Facebook. And while Sorkin may well have converted Mark Zuckerberg into terms he could better understand – namely, a motormouthed wiseass who deep down wants to impress a smart, serious-minded girl – he and Fincher also made one of the first internet-centric movies to treat online life as a natural extension of IRL dynamics, rather than the otherworldly tech portal seen in so many 90s internet movies.

Granted, that’s the whole deal with Facebook: its viral spread of social networking, something so simple and addictive that aunts, grandpas and coworkers everywhere could understand it. Yet understanding its simultaneous extension and distortion of the real world wasn’t a given; four years later, for example, 2014’s Men, Women and Children was widely derided for taking an alarmist approach to the internet as a haven for adults seeking an affair, teenagers nursing porn addictions and fame-hungry strivers of all ages. The Social Network, on the other hand, is remarkably nonjudgmental about the basic mechanics of Facebook, rooting its nascent flaws in the human weaknesses that birthed it. In retrospect, the movie only feels outdated to the extent that it underestimates Zuckerberg’s grasping for power and the potential for grim carelessness that his online kingdom was built on.

Actor-director’s listless LA-set crime thriller makes for a surprisingly anonymous effort and one that feels very similar to many other, better films

Ben Affleck has pushed through multiple Hollywood comebacks, at least one predicated on his facility behind the camera, directing Boston-based thrillers both artistically ambitious (Gone Baby Gone) and juicily crowd-pleasing (The Town). So now that his acting career seems particularly stable, as he works steadily and produces movies via the company he founded with longtime friend and collaborator Matt Damon, why does his directing career remain in what seems like post-Oscar doldrums? (Though he has never been nominated for a best director Oscar, his film Argo won best picture in 2013.) His new movie Animals appears perfectly situated within his wheelhouse: it’s a Los Angeles-based crime-and-politics thriller to match his earlier east coast work. The real surprise, however, is just how listless it can get.

Affleck himself plays Mark Kimball, a Angeleno running for mayor of his home town. His status as an independent non-party-affiliated candidate (and one who scarcely exhibits a trace of a platform in what little we see of his stump speeches and interviews) is only one element of his unlikely backstory, which also includes history as a teacher, a lawyer and a veteran of the first Gulf war. (Not sure the math on all that checks out, but let’s allow it as evidence of a fusion between Mark’s dedication to service and a rapacious ambition.) He’s leveraged his family’s wealth to take him through the home stretch of a close campaign, and tensions are medium-high with his wife, Abby, (Kerry Washington), who’s hiding some problems of her own. Things get considerably worse when, on Halloween, he receives a phone call: Kidnappers have taken his preteen son Denny (Christopher Woodley). They’re demanding $7m that Mark doesn’t have to get him back safely.

After a windier road than expected, Paramount and Warner are now one, under the banner of Skydance, and the film industry is set for a shake-up

Hollywood’s big five have officially become the big four. Following a twist-filled saga that saw the century-old studio Warner Bros nearly acquired by the streaming giant Netflix, only to be outbid by Paramount owners Skydance, the company led by billionaire scion David Ellison. After facing legal opposition that ultimately crumbled, Warner Bros and Paramount are officially under the same corporate roof. They are divisions of Skydance, which joins Sony, Disney and Universal as the remaining major-studio players in Hollywood.

The merger goes beyond film production. Eventually, the streaming services HBO Max and Paramount+ will merge into a single entity, though a timeline has not been disclosed. The television channels HBO, Showtime, CBS, MTV, Comedy Central, Cartoon Network, Nickelodeon, TNT, TBS and CNN are among many now owned by a single corporation. The presence of CNN on that list has brought particular scrutiny, given the post-Skydance meddling with the once-respected CBS News, resulting in a rocky stewardship from Bari Weiss, who has overseen a dip in both ratings and prestige for the flagship program 60 Minutes. Weiss isn’t expected to add CNN to her purview; current chair Mark Thompson will remain in place for now, and Skydance has insisted that CNN will remain editorially independent. But given Ellison’s chumminess with Donald Trump, who has long ranted incoherently about CNN’s supposed biases, the presence of an oversight board with Ellison appointees has been cold comfort.