These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
The Oscar telecast was generally well paced and well judged.
David Milch’s Deadwood is spiritual kin to Presbyterian Church in McCabe & Mrs. Miller.
Mark Twain once said, “I didn’t have time to write you a short letter, so I wrote you a long one instead.”
Miller’s observations have dated in the sense that TV does allow keen stylistic gradations between channels.
Ted Koppel’s post-Nightline career has barely started, and already it’s shaping up to be as valuable as the one he left behind.
Talented filmmakers working on material from genre aficionados, yielding uneven results.
The blogosphere being what it is, I’m sure the expiration date on Golden Globes commentary has passed.
I’ve just been formally relieved of TCA Press Tour duties by my colleague Alan Sepinwall, who will be covering the second half.
Hill suggests that the western’s slow decline was probably due to two factors.
At a Court TV dinner, James Ellroy said he’d seen three hours of unedited footage from The Black Dahlia.
James Ellroy hasn’t seen much of De Palma’s film, but he liked what he saw.
Also check out Armond White’s column, in which he beats down Woody Allen.
And now I must go. I am late to an E! press conference featuring Ryan Seacrest.
The credit card company and the bank should have been a Marx Brothers routine.
At times, it’s difficult to determine if Arrested Development is good or just really fast.
Curb Your Enthusiasm is not unlike an absurdist comedy riff on Henrik Ibsen’s An Enemy of the People.
While Extras doesn’t follow the documentary format of The Office, Merchant and Gervais do rip themselves off a bit.
With scripted shows making even more of a comeback this season, viewers might be better off switching to My Name is Earl.
Supernatural’s shortcomings could have been mitigated were its plotlines authentically scary.
The show wishes to say something profound about suburbia with its outmoded view of womanhood.