These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
A mixture of old ideas and new developments straining to hold our attention, an insolvent phantom itself.
“Primavera” plumbs the expressionist fugue state into which the events of last season’s finale have sent the characters of the show sometimes literally tumbling.
The deeper irony here, of course, is that “The Dance of Dragons” refers to the divisive, needless war between two siblings for the Iron Throne.
It fails to suggest much more than madness in the method, as the show resumes its retreat into the realm of pure plot.
Riffing on early portions of Thomas Harris’s novel of the same name, Hannibal is similarly liberated by its protagonist’s unmasking.
More incisively and ambitiously written than the last season, and sporting the most radically expressive imagery currently on television.
If there’s one thing the frenetic White Walker-packed climax of “Hardhome” proves, it’s that at the end of the day, talk is cheap.
Sense8 suggests a night spent watching as the show’s creators channel-surf back and forth through eight mediocre genre films.
The fact that it stumbles so badly doesn’t bode well for this shambolic season’s looming finale.
It makes a classic mistake of trying to summarize an entire decade in America, with all its social tribulations and ideological transitions.
Nightingale is first an intellectualized puzzle, and a portrait of a man losing his mind a very distant second.
As you’d expect from a series with such a dismal track record of successful weddings, its idea of presents isn’t much better, and even the most sincere, like Sam’s, comes with a disclaimer.
It strings together a series of arresting images, but they’re little more than a placeholder for dramas still to come.
Considering that “Person to Person” is the series finale of Mad Men, it’s best to start with its final images.
We may not be able to control the narrative of what happens to us, but we can at least manage how we react to these things.
The final act is an appropriate description for viewers who’ve struggled to connect with Orphan Black this season.
The title of last night’s episode of Mad Men comes from a handbook for hobos written by Nels Anderson.
The problem these men face is that there are plenty of boys who find themselves in positions of power, and that’s not even mentioning King Tommen in King’s Landing.
Focusing on the clones’ familial and romantic attachments, it offers a glimmer of hope for a return to form.
Bessie is remarkably poignant, even if that resonance is somewhat disreputable.