I know someone’s going to call “The High Note” (2020) Dakota Johnson’s ode to arrogant, privileged millennials, but I’m not. I’m going to appreciate Tracee Ellis Ross as an aging diva, a performance that sees the character’s caricature and takes a tiny, baby step back from it. Her hapless personal assistant wants to be a record producer and we enter a Masquerade-style plot as Johnson tries to achieve it. But instead of a copout, it’s a solid base supporting some of the more ambitious writing I’ve seen in a while, with twists and layers and surprises I didn’t see coming.