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.
Madam Secretary shoehorns the vast complexity of geopolitics into the most blandly centrist Americanism imaginable.
It appears that Sons of Anarchy is going down in the same manner it started: as a tragedy of Shakespearean proportions.
In its final season, Boardwalk Empire seems determined to follow up on the show's early tag line, "You can't be half a gangster."
Uli Edel's Houdini miniseries comes across as a mere cataloguing of the magician's exploits rather than an actual inquiry into the man.
Steven Soderbergh's The Knick is informed by a hypnotic sense of old newness that's reminiscent of Deadwood.
Outlander seems to want to use feudal highland politics as a place to comment on contemporary issues, but so far the series only hints at this potential.
For a series that had to switch networks just to provide closure for the galvanizing, open-ended third season, there's no grand expressive sense of ending.
Partners is bad even by most lawyer-joke standards, and the writing's falseness and laziness carries over to the performances.
Resolutely timely, The Honorable Woman spins a series of nested mysteries around that most impenetrable of subjects: the Middle East.
The Strain knows it's a fantasy, and embraces poetic hyperbole in an aesthetic fashion similar to the more sophisticated Hannibal.
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