These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
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.
Veronica Mars at times seems unaware just how much of its energy is bound up in the relationship between the title character and her ex-boyfriend.
Criminals try not to take their work home with them, but somehow it sneaks in anyway.
David Chase and his writers are so cynical about people that they make Luis Buñuel seem like Frank Capra.
From the get-go, fans of classic TV pegged The Sopranos as a series that owed plenty to English playwright and screenwriter Dennis Potter.
Talk about starting with a bang.
Each season, at least one group ostracizes one of its members on the grounds that he or she is “unmanageable,” “mentally unstable,” or “an angry black woman.”
I’ll reserve sweeping qualitative pronouncements until the 12-episode arc has played out.