Baz Luhrmann’s movies—even the great ones, like his 1996 Shakespeare-via-Tiger Beat romance Romeo + Juliet, or The Great Gatsby, from 2013, a fringed shimmy of decadence and loneliness—are loathed by many for what they see as the director’s garishness, his adoration of spectacle, his penchant for headache-inducing, mincemeat-and-glitter editing. But in 2022, in a culture where long-form series storytelling reigns supreme, Luhrmann’s devotion to two-and-a-half-hour bursts of excess is pleasingly old-fashioned, like a confetti blast from a cannon at a county fair.