Happyish is the TV equivalent of a rich, materialistic smartass who's obnoxiously insisting that they're sensitive inside.
In Silicon Valley, even the most progressive form of capitalism hinges on a want to sublimate personal feelings, desires, and opinions.
Daredevil's fight scenes are infused with the struggle of the poor and lower-middle class, and choreographed with thrilling uncertainty.
Veep has become a vulgar, merciless satire of the emptiness of power itself, as funny as a knife in the side.
Season five of Louie refocuses on Louis C.K. as a lonely, divorced, ostensibly well-off New Yorker.
There's plenty of death in the fifth season of Game of Thrones, and those deaths are understood as cautionary symbols of power.
The new Billy Crystal and Josh Gad comedy The Comedians boasts razor-sharp performances, but is ultimately toothless.
American Odyssey aspires toward ideological complexity, but its simplistic notions of good and evil undermine those ambitions.
Going Clear penetrates the nature of faith to confront anxious questions about why any of us believe the things we do.
Bloodline suggests Cat on a Hot Tin Roof if it were stretched out and updated for broadcast as a prestige cable TV series.
Bates Motel is set to double down on the madcap delights that made A&E's Psycho prequel one of last year's most improved series.
The Returned is little more than a nimble translation, but the material is strong enough to reward its staunch fidelity.
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.
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