The true-crime docs here expose the rot at the core of many of our venerated institutions.
Its opening credits are not an ordinary credits sequence, but a series of four short films that distill each season’s themes, goals, and motifs.
Studio 60 on the Sunset Strip veers from feeling like one of TV’s best shows to one of its most mediocre, often in the same scene.
Marlo Stanfield has maneuvered to the top of the West Baltimore drug trade, and he’s executing a broad campaign to stay there.
Doctor Who isn’t just a TV show, it’s a way of life.
Yes, for real.
The slippery slope of civilization is already in place on The Wire and Simon is just out to document how each and every person survives.
The challenge of the third season is seeing if Veronica and the gang can operate within the context of a college-based noir.
On The Wire, everyone’s in school.
Varied as the street characters are, their African-American counterparts in the police department are just as individualized.
Joe may still get backed into a corner, but the big guy seems smart enough to talk his way out and get back to business as usual.
In such a world as the one depicted on the show, there is little place for someone like Bubbles.
In the world of The Wire, it’s the story that rules—and that may even get the great Omar in the end.
There is no pop culture equivalent of a historic landmarks commission, but at times like this, I wish there were.
Rescue Me is a series at war with its own worst impulses.
For argument’s sake, let’s say you decide to watch ‘em all. What do you have in store?
Spike Lee’s political statement is one of humanism, and the result is his most potent work in years.
The closing shot of last night’s Deadwood episode was never meant as a series-ender.
There’s been a lot of complaining about the Emmys this year, and with good reason.
Deep down, you just knew that Whitney Ellsworth was too good to live.
Vanished is, if nothing else, a seminar on just how much of a role good casting plays in the success or failure of a modern TV show.