O.K., the painting was actually called “Girl With Balloon,” and it wasn’t meant to stay a painting. Not after it was sold at Sotheby’s for $1.4 million. Banksy’s plan was for the frame to feed the piece through a hidden shredder, leaving a pile of canvas ribbons and landing him a most lucrative moment of Tim Burton-era Batman villainy. But something went wrong with the shredding, so a prank metaphor for art-world excrement managed to look, gloriously, like art that actually was having an accident.

Billy Porter, ‘Pose’

Everything about this show — set in New York City’s gay ball scene of the 1980s — leaps over the top. The clothes leap, so do the music, décor and names (Billy Porter’s ballroom M.C. goes by Pray Tell). But Porter does something huger than leaping. When he isn’t blasting out runway themes (“The category is: Executive Realness”) or smart-bombing errant contestants, he trades flamboyance for angst (medical, personal and existential). He becomes the living embodiment of what the racists and rock snobs could never hear in great disco: the blues.

[Why I love the soundtrack to “Pose.”]

Sandra Oh and Jodie Comer, ‘Killing Eve’

This is a cat-and-mouse show that’s either about two cats or two mice. It’s a thriller. But it’s also a comedy, and these two women are inventive about how to be funny in a thriller. Oh is a sociopathically neurotic intelligence agent. Comer is a whimsically psychopathic assassin. And in at least two or three scenes, the comedy is the thrill, like when Comer wants Oh to unlock her phone at gunpoint. Oh has to perform mortified stress in mumbling the password and Comer has to s ummon judgy exasperation after she hears it: “1, 2, 3, 4.” They make run-of-the mill embarrassment seem more lethal than any bullet.