The true-crime docs here expose the rot at the core of many of our venerated institutions.
Not with a bang…not even a whimper…it was more like a wet fart.
It goes without saying that if you’re a newcomer to Deadwood, every article appearing during Deadweek will contain spoilers galore.
Ellsworth thrives in Deadwood’s lethal landscape by peppering his encounters with a self-deprecating wit won over many terrains.
The richness of Deadwood puts every other TV drama to shame.
It’s strange to think of Deadwood as a life-affirming show, but it is.
HBO’s Deadwood, which begins its second season tonight, is the greatest dramatic series in the history of American television.
Often Lost’s greatest failing is the way it shoe-horns in extraneous flashbacks to pad-out the run-time.
Can’t you feel it all starting to crumble around them?
Miraculously, the second season of the show has stepped up to the Herculean task of making sense of so many bombshells
The feeling of déjà vu in “Three Minutes” permeated beyond the recycled footage.
How many amazing James Gandolfini reaction shots can you squeeze into one hour?
Give the producers of Lost credit: They know the pulse of their audience.
The times, they are a changin’. And so is Tony Soprano.
Poor Artie got stuck with the lion’s (or mouse’s) share of clunkers.
ANTM is possibly the best reality show on network television.
The defective ventilation unit illuminated Tony’s present problem and his larger arc.
Are we ever going to see a stand-alone episode of The Sopranos again? I’m not complaining.
Like a lot of ambitious series, ABC’s Lost doesn’t hit a home run every week.
If there’s one thing I know for sure about David Chase, it’s that he likes surprising viewers.
Scorsese, De Niro, and Paul Schrader buffs will want to check out the documentary The Plot to Kill Reagan.