House of Cards is at its best when investigating the uneasy balance of political performance and personal dogmas, but season three noticeably struggles to keep up the addictive tension.
Empire coasts with the chutzpah of a series that knows exactly what it wants to say and how to say it.
Better Call Saul is a nifty and promising comic noir, but it also allows you to ponder certain missed opportunities.
The Americans locates a stirring balance between brooding, heated familial melodrama and equally taut, often lethal procedures of its infectious spy drama.
The final season of Justified is slow and obsessive, which is a relief from the convolutions that had grown to characterize the series.
The 10th season of It's Always Sunny in Philadelphia doubles down on off-format episodes that tweak the show's trademark formula.
Looking may seem a bit quotidian compared to the current requirements of the weekly series format, but its attention to detail isn't given nearly enough credit.
Togetherness is about breaking out of tired routines, which makes the show's disinterest in depicting new sides of common struggles all the more disappointing.
It's Broad City's exuberant depiction of female kinship as being inextricably bound to the anarchy of daily living that gives the series its unexpected sweetness.
12 Monkeys is another enterprise that uses the notion of time travel as an excuse to alternate chase scenes with prolonged bursts of expository blathering.
Even as the series begins to show its age, Archer's commitment to character ensures that these episodes never feel too familiar.
Episodes is staged more like a drama than a standard sitcom, but its deft dissection of American network TV makes it one of the funniest shows on television.
One of the more consistent and admirable qualities of Girls is its messy, funny, and heartfelt depiction of relationships as fluid.
Part surreal invention and part frat-house juvenilia, the series is that rare species of Hollywood entertainment: the unknown quantity.
If the insights into modern existence on Portlandia never seem as profound as those on Louie, the series continues to brandish a view of gender that's almost casually radical.
Babylon wants to both mock the no-bull crassness of political wheelers and dealers and cling to a moralistic view of government, and fails to find cohesion between these two perspectives.
Though the new season, set in 1924, is livelier than the fourth, it displays a seriousness of purpose to which Downton Abbey has always been ill-suited.
Bob's Burgers indulges in heightened emotions and inanity, but never fails to regard its characters' outsized feelings with affection and understanding.
One Child is a dozen white actors and a Lifehouse song away from being a Lifetime movie of the week.
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.
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