The final season of Californication's most irksome flaw, and there are many, is a vein of self-congratulation.
Wherever Mad Men's American saga is taking us, the getting there is likely to be as exhilarating and thoughtfully rendered as it can be.
FX's Fargo often suggests an alternate world that exists parallel, or perhaps perpendicular, to the dimensions of the Joel and Ethan Coen film on which it's based.
Game of Thrones finally feels liberated from its own extensive mythology and now moves with thrilling fury and purpose.
Veep seems to suggest that political life is so all-consuming that no happy, well-adjusted person would ever choose to be a part of it.
Silicon Valley is driven by an outrage that acknowledges that our culture is being reshaped, with terrifying rapidity, by opportunistic horndogs.
When it directs its crazed energy at imagining all the ways Norman Bates and his mother will end up losing, Bates Motel sings.
The chasm that exists between being a working actress and being a household name is central to the drama of Doll & Em.
The more that The Red Road focuses on its unique aspects and fractious setting, the more intriguing the series gets.
Another series devoted to brilliantly tormented killers and the brilliantly tormented master investigators pursuing them, Those Who Kill emits a sickening charge.
Portlandia is effectively a multi-faceted comedy art project, the unfolding of which is both exciting and hysterical to watch.
The second season of Joe Weisberg's Reagan-era spy drama, The Americans, resets the pieces of its chess game to a precarious status quo.
For its authentic engagement with despair, Hannibal is a great, epic vision of American horror that earns its wrenching nihilism.
The weather in Washington, D.C. continues to be permanently overcast in season two of House of Cards.
Broad City's impossible-to-pigeonhole characters revel in their absurdity and rarely stick to the script.
Fleming is a Bond epic reduced to the most generic of redemption stories.
At its loosest and most inventive, the generally diverting Rake often recalls the one-damn-thing-after-another eccentricity of Carl Hiaasen's comic crime novels.
Looking emerges as a dramedy exploring how gay men clumsily negotiate the appropriate distance to place between the words "friends" and "benefits."
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