Tony Zhou and Taylor Ramos shut Every Frame a Painting down in 2017 at the height of its influence, and stayed mostly quiet for years; this is them back, with the same careful frame-by-frame habit applied to Anderson’s stop-motion film. The essay is interesting on its own — a clean explanation of how Anderson plays comedy through symmetry, blocking, and timing rather than dialogue — and meaningful as a signal that the format that essentially invented modern video criticism is alive again.