These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
The episode reexamines the distinctions we draw between offense and defense, between the necessary evil and the greater good.
The problem this season on Game of Thrones continues to be plotlines that seem horrendously out of place.
The notion that one can simply pick up the pieces and move on is the season’s central illusion.
Many of the events in Game of Thrones are developing so quickly that plot, by necessity, substitutes for development.
Maron is one of the few celebrities who successfully scans as an every-person.
The episode is, in one sense, a portrait of a woman on the verge of a nervous breakdown.
It feels like a catharsis for Louis C.K., an announcement of some yet-to-be-defined transition in his art-making.
The episode sees the writers ruthlessly beginning to sew up loose (or underdeveloped) plots.
“The Rat” reaffirms one of the show’s central ideas that all of us are, to a certain extent, hiding in plain sight.
Silicon Valley remains a complicated, heartfelt, and intensely uproarious articulation of the struggle to freely realize one’s creative yearnings.
It typifies American politics with a brand of acidic cynicism that yields big laughs and increasingly unlikable characters.
The last few minutes of the episode are suffused with the potent mixture of love and bemusement.
The episode deals with several kinds of love: romantic, platonic, and that sparkly feeling somewhere in between.
The miniseries sells a romantic view of comeuppance, draining John le Carré’s writing of its wryness and bureaucratic specificity.
The episode establishes the rifts in the show’s key relationships through a series of skillful compositions.
The series dares to locate Steven Soderbergh’s capitalist themes between the sheets.
The show’s minor characters leave vivid impressions while surfacing some truth about the major players.
The Last Panthers pressures one to like it with its power of prestige.
The episode tightens the vise around the characters as if to test their instincts.
Fear the Walking Dead proceeds in its second season as a borderline shrill theater of types.