These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
“Heads Up” culminates with no less than three cliffhangers.
The episode closes with Carrie finally making the connection that Allison so desperately sought to cover up.
The Knick’s second season has seen Soderbergh turn his camera on different strains of pedagogy afforded by the turn-of-the-century milieu.
The show’s directors speed up Dick’s patient, brainy narrative for our generation of binge TV-watchers.
We chatted with the director about why she decided to sign on to The Leftovers and what it was like to help find the show’s voice.
Jessica Jones is a far more socially aware series than Netflix’s Daredevil, but it lacks for its predecessor’s consistent, enveloping style.
The episode’s found-footage conceit presents several unusual challenges for both writer Mark Gatiss and first-time director Justin Molotnikov.
The episode pauses the season’s forward momentum to engage in a bit of character shading.
The writers either need to relegate Allison further to the sidelines or figure out a way of complicating her.
Steven Soderbergh’s camera seamlessly stitches the hospital’s constituent parts together in what appears to be real time.
While the previous episode had many obvious references to read-world events, such allusions are considerably toned down here.
Throughout, the episode seems almost hell-bent on having audiences eavesdrop on either the least necessary or redundant conversations imaginable.
That desperate need for someone to understand and stand beside us: That’s parabiosis.
“Wonderful Surprises” is so over-stacked as to make each scene work purely as exposition.
Last year the Doctor exhibited an antipathy toward soldiers bordering on the cartoonish, but he’s more restrained here.
The episode abounds in articulations of the choices people make in this world to stay alive and to stay sane.
Homeland is too wrapped up in its own allure to deliver on the story it started to tell in previous weeks.
A clear effort is being made by Jack Amiel, Michael Begler, and Steven Soderbergh to make the new season as dense as possible.
The show is refreshing for how charmingly and giddily scrappy it feels, in both narrative and aesthetic.
The show’s own mythology, and lack of visual rhythm in the editing and compositions, gives it a kind of fatigue.