Almost all of these shows—even the most joyfully escapist among them—seemed preoccupied in 2018 with the forces which make us who we are.
The Kominsky Method‘s broad, formulaic humor undercuts any poignancy in the show’s portrayal of men in their twilight.
Homecoming‘s visual ambition is complemented by its intellectual curiosity.
Wanderlust arrives at the underwhelming conclusion that the grass only seems greener on the other side.
Camping focuses primarily on why things happen rather than merely striving toward hijinks.
The Romanoffs, an anthology series co-written and directed by Matthew Weiner, is ambitious but disappointingly inconsistent.
While impressive for its detailed and certainly imaginative world building, Maniac rarely dares to truly confound its audience.
The Haunting of Hill House is a kind of riff on madness in its many forms, a sojourn of loss and regret.
Kidding is a capital-E earnest drama that just so happens to star comedians.
In season nine, The Walking Dead concerns itself with the nitty-gritty of ensuring an egalitarian system of government.