These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
Throughout this season of True Detective, a singular point has been drilled into our heads: “We get the world we deserve.”
The episode is bug-fuck baroque even by Bryan Fuller’s incredibly accommodating standards, and the title is telling and apropos.
Good and evil have often been described as two sides of the coin that is humanity, and “Down Will Come” certainly puts that theory into practice.
In its third season, Masters of Sex continues to exude a feeling of undue self-satisfaction.
BoJack Horseman exudes a tough-love sense of humanity that recalls the later comedy of George Carlin.
The entire world of Ray Donovan feels typified by nothing more than pent-up machismo.
This is an unusually plot-driven episode of Hannibal that nevertheless maintains its surreal, mood-centric aura of erotic dread.
Rectify’s portrait of men and women stuck between their tumultuous inner lives and the public personas is impossible to shake.
Finally, there’s Frank, who’s still in what he referred to as a “papier-mâché” state of being—neither coming nor going.
Repetition has inescapably set into this season’s Italian sojourn, which partially accounts for why last week’s superb American flashback episode felt so sharp.
Ultimately, what gets Frank out of bed is an echo of Leonard Cohen’s sentiment in the show’s theme song, “Nevermind.”
Hannibal is so crushingly, daringly, beautifully lonely, exuding the same sense of idiosyncratic discovery that marked the best episodes of Twin Peaks.
All the central characters have moments here in which they, for all intents and purposes, might well be dead.
The Brink will likely appeal to college and high school kids who just got their first taste of Chomsky and Zinn.
It emerges as an almost wistful hour, to be filed, after a truly disheartening season, under “too little, too late.”
There’s an engaging trashiness to season two of True Detective, but the overall production feels overbearingly self-serious.
This is all growing rather fussily symbolic, occasionally bordering on the tedious, as parallels upon parallels are affixed to the primary thread existing between the leads.
Season three of Orange Is the New Black breaks the cycle the previous two established of creating an obvious antagonist.
Ballers is a behind-the-scenes NFL dramedy that’s built from the spare narrative parts of Jerry Maguire and Entourage.
It’s long been a given on Game of Thrones that “All men must die.” The question, then, is less a matter of whether they will, but how they will.