Going Clear penetrates the nature of faith to confront anxious questions.
When it’s working, SNL captures something about our shared cultural consciousness, reshapes it, and then telegraphs it back into pop currency.
It’s not only not a real talk show, it’s a whimsical inversion of the very idea of what a talk show is supposed to be.
Wherever its American saga is taking us, the getting there is likely to be as exhilarating and thoughtfully rendered as it can be.
It’s effectively a multi-faceted comedy art project, the unfolding of which is both exciting and hysterical to watch.
Creator Adam F. Goldberg’s show struggles to turn dysfunction into something more engaging than a series of broadly staged situations.
The new Andy Samberg vehicle, Brooklyn Nine-Nine, brings a welcome blend of whimsy and heart to the indefatigable crime drama.
It presents itself as a fair complement to Louie in that both shows concern themselves with refreshingly substantive masculine types.
It isn’t a disservice to Louis-Dreyfus to say that her Emmy award for the role is in many ways a reflection of the quality of the supporting cast.
Don’s Hawaiian “experience,” as he calls it, is so intense and unsettling that it creates a noticeable breach in his disposition.
C.K.’s ability to play with comedic perspectives is much more apparent in person.