Futurama will stay encapsulated in the memory banks of allegiant viewers, frozen in time for a thousand years like a certain clumsy pizza delivery boy.
Hannibal is set in the kind of horror realm we might imagine when we indulge our worst fears of the hideous forms the civilized world could be capable of assuming.
While seeing Elijah Wood's wide spectrum of moods and mannerisms is a pleasure, Wilfred too often disrupts its curiously resonant psychoanalysis with foolhardiness and vulgarity.
True Blood, once a fleet-footed and hot-blooded gothic drama, hasn't aged gracefully, and instead grown long in the tooth.
Under the Dome is yet another tepid melodrama in which every creative decision appears to have been made in a trendy bid to appeal to the viewer's crotch.
For a series that deals mainly in touchy transgressions and dubious betrayals, Mistresses is awash in a yawn-inducing flatness.
The AMC drama, now in its third reason, feels leaner and meaner, quickly recuperating from its needlessly extended and convoluted former storyline.
Transformation is a major theme at the heart of the new season, and this looks and feels like a different Arrested Development.
Behind the Candelabra is powerful, funny, and emotionally rigorous, and also serves as an uncommonly heartfelt Dear John letter.
Motive flounders chiefly because it expends lasting suspense by providing the audience with all the hard facts they need up front, subsequently granting them an invitation to leave the party early.
The Goodwin Games isn't a sophisticated comedy by any means, but its overall lightheartedness manages to save it from becoming completely dull.
With Family Tree, Christopher Guest refurbishes the often tedious stunted-male coming-of-age scenario with his distinct, gently despairing, satiric stylings.
Family Tools is a severely undercooked convergence of idiotic plots and botched one-liners, rarely striving to do something the slightest bit original.
Maron presents itself as a fair complement to Louie in that both shows concern themselves with refreshingly substantive masculine types.
If not for the actors, whose talents can't save this lackluster material, Teen Titans Go offers little to even the most ardent Titans nostalgists and completists.
It's the tender, realistic moments where Rectify thrives, distinguishing itself from the bulk of other series with similar subject matter.
Defiance is akin to watching the Cantina scenes from Star Wars indolently re-scripted and reenacted by amateurs.
A frothy mixture of costume drama and soap opera, Neil Jordan's show brandishes moral outrage and a blunt understanding of politics.
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