Marc Cherry and his cohorts intend to say something profound about suburbia with their outmoded view of womanhood and the places they call home.
For the last few seasons, the creators of Will & Grace have stopped at nothing to boost ratings.
Like Lost, the show seems predicated on an unsustainable premise.
Mercifully, with so much going on in the script, the series takes a decidedly simpler tack with its visuals.
G.I. Joe. Transformers. Thundercats. He-Man. Voltron. If you were a little boy in the ‘80s, chances are you liked some combination (if not all) of these shows.
There’s a sense that the writers of Weeds are as lazy as their main character, that they understand her as little as she seems to understand herself.
Over There lays on the melodramatic relationship unravelings and personal confessionals thick.
It’s entertaining to watch the self-dubbed “Anti-Nicole Kidman” do the kinds of unglamorous things the glamorous Kidman would never do.
The actors possess their characters with a shrill, childlike exuberance and overstatement that comes to define them.
Elisabeth Hasselbeck of ABC’s The View proposed this morning that child molesters should be put “in the ground.”
Andy Milonakis’s brand of humor is particularly daunting because so little of it has a context anyone living outside of his head can seriously relate to.
Dock a star from Bravo’s Blow Out for stealing the title of one of the cinema’s great political thrillers.
The show is predicated on a concept, rather than a plot, that has never allowed a fully realized exploration of its many devices.
Bravo’s Being Bobby Brown purports to chronicle the former New Edition member’s return to the music world.
The transcendent Reno 911 doesn’t fall on references to the week’s banner headlines to incite laughter.
Lisa Kudrow keeps a safe distance from Phoebe Buffay, her trademark character from Friends, while retaining all of her comedic quirks.
The romantic setups and symbols of wealth and male domination in Entourage feel as though they were dreamt up in a lonely singles bar.
If the show is remotely watchable it’s because the hands involved in its making always manage to sink to heretofore unknown lows.
The show’s extreme shooting style makes it especially hard to stare at what is—no more no less—a totem to the pop singer’s narcissism.