The series is a polished genre exercise with characters that feel like predigested tropes.
A damn good slice of cherry pie plays a pivotal role in several storylines from the latest episode.
In war and through violence, Game of Thrones is as clear and compelling as it gets.
The Sinner recedes from a grisly opening into an examination of one woman’s complicated history.
“How do we get ahead of crazy if we don’t know how crazy thinks?”
Even apologists for deep-seated perversity will have a tough time justifying long stretches of the latest episode.
Three episodes into this truncated seventh season and Game of Thrones is spiraling toward a preordained place.
The episode sees the three main characters moving away from stagnancy and toward action.
The episode divides its time between domestic drama, overarching mythology, and seriocomic pop surrealism.
The episode manages to set up future conflicts without interrupting its rapid pace.
The premiere of Insecure provides the bones and plotlines upon which the season will stand.
There’s something remote and stiflingly preordained about Mark and Jay Duplass’s series.
One can’t help but wonder if The Last Tycoon is hiding anything beneath its surface at all.
As of the latest episode of Twin Peaks: The Return suggests, the darkness seems to be winning.
Even after six seasons, Game of Thrones still doesn’t know what’s most important to its own story.
When the series isn’t bogged down in relationship drama, it’s focusing on ill-defined backroom deals.
The episode’s frequent matched pairs and expository repetitions seem to draw attention to themselves.
The series often suggests a more ensemble-oriented epilogue to The Graduate.
The season’s final episodes transcend the sum of the show’s initially uneven parts.
Snowfall serves as a well-researched yet banal history lesson on America’s war on drugs.
Showrunner Steven Moffat caps off not one, but two story arcs which have run through the entire season.