State of Affairs holds out the promise of a solid, if unspectacular, network procedural, but it's ultimately as banal and imprecise as its title.
Getting On is farce with a heart, shot through with unlikely moments of grace and warmed by an aura of bemused acceptance.
The Goldbergs seems primed to capitalize on its strengths, namely a terrific cast and snappy writing that exudes warmth while eschewing treacle.
While The Comeback is often boisterous and funny, it's the quiet, more poignant moments, which are too few and far between, that resonate the loudest.
While a uncertainty may be a fitting quality for a series about our fractured political and media landscape, Sorkin's sputtering pen suggests that such imprecision was not his aim.
The Game struggles to stake out new territory, but it emerges as an absorbing portrait of internecine squabbles during an ostensible Cold War thaw.
Olive Kitteridge is an honest tearjerker that treats its characters with respect, according them a great sense of wounded, tattered dignity.
The series has settled into a relaxed middle age, and one of the pleasures of tuning in at this late stage is the comfort of the familiar.
Alex Gibney's Mr. Dynamite: The Rise of James Brown is a strikingly varied and substantial portrait of an intensely complex artist.
Constantine's title character comes off as too cool to be genuinely troubled, and the series similarly feels as if it's putting on airs.
In its fifth season, The Walking Dead juggles its numerous narrative threads and their attendant thematic resonances with a striking delicacy.
The Affair's impressionistic mystery emerges here fully formed, as though it had been waiting to be discovered all along.
Freak Show is an excuse for American Horror Story to literally let its freak flag fly higher and prouder than ever before.
Gracepoint is another entrant into the "small-town murder unravels the ties that bind the town together" tale, but it fails to bring anything new to the genre.
Like a John le Carré novel, Homeland once again grants what feels like an insider's perspective on espionage and the politics behind it.
Though it threatens to come to life as a deliriously cynical camp object, the series is primarily occupied with providing the viewer with a collection of future super-villain Easter eggs.
How to Get Away with Murder bears Shonda Rhimes's imprint by embracing the flawed and the frail, the becoming rather than the being, in the service of its lavish theatricality.
The 50 Year Argument fashions an American cultural hall of mirrors that speaks of the chaotic exhilaration of fostering discourse that might initiate real social engagement.
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