These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
Baskets quickly devolves into a dreadful, if strange and intermittently fascinating, comedy of bleakness.
It’s precisely because of how exaggerated and savagely sophomoric Sunny seems that it’s able to sucker-punch the audience with all its satire.
For a series dedicated to supposed historical realism, it wraps up its network run with a bow of pure fantasy.
The first half of the episode is almost entirely comedic in nature, and the performances are appropriately unsubtle.
The season finale of Homeland lingers almost uncomfortably long on the survivors.
The chickens of gilded-era capitalism come to roost in as many configurations as are possible.
NBC’s Hannibal ran for three seasons, but its concept called for at least twice as many.
Homeland should talk less, and trust that intimate scenes will serve to demonstrate or explain the larger themes.
Just how soap-operatic are Soderbergh and writers Jack Amiel and Michael Begler willing to go?
There’s still something distinctive about Luther and its mix of the chic and the gross.
The year saw TV not only taking on stories that film studios lost interest in a while ago, but starting to create cinematic visions out of these stories.
Coleman excels at showing her character’s horror at what the Doctor has suffered, and what it’s done to him.
Homeland falters when it focuses on the contrivances of its big-picture plotting, but they lead “New Normal” to a powerful ending.
This episode sees its characters ground up especially in the gears of their own patriarchal systems.
Director Rachel Talalay surpasses her work on last season’s finale, providing whole sequences of breathtaking visuals.
In one of the unlikeliest moves of the show’s run, “Start to Finish” completely pushes pathos to the sidelines.
Despite the implication of the title, “The Litvinov Ruse” is no trick.
Visually, the episode’s centerpiece is the Knick’s much-alluded-to charity ball, played at once as a sprawling comedy of manners and a jawdropping pictorial spectacle.
It addresses a fundamentally deeper range of feeling than most Christmas specials are prescribed to explore.
The story is a tragedy in the literal sense, which means that Clara’s end comes about as a direct consequence of a flaw in her character.