These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
Dawn is ultimately only standing up for herself when she shoots Beth, protecting only her sense of respect at Grady Memorial and nothing else.
When it’s working, SNL captures something about our shared cultural consciousness.
The entire episode hinges on how one is to approach kindness and care in the world of the living dead.
In short, Homeland functions as a closed system in which American might fosters radical resistance.
The episode is intended to remind audiences who Freak Show’s denizens precisely are before a break for the Thanksgiving holiday.
The slow-moving guillotine that’s been hovering over the heads of so many characters in the final season starts to speed up in this episode.
The show holds out the promise of a solid, if unspectacular, network procedural, but it’s ultimately as banal and imprecise as its title.
Whether she’d really like to believe it or not, Carol is drawn to chaos, to madness and violence.
“Halfway to a Donut” is the most focused episode of Homeland so far this season.
Adam West and Burt Ward are antipodal to every subsequent incarnation of Batman and Robin. The dynamic duo are blithe fuddy duddies turned billionaire scions in spandex.
“Bullseye” sports a tempo that’s decidedly slow, obsessive, and damn near ponderous for Freak Show.
It’s been a while since Sons of Anarchy has unleashed a parade of carnal images like the ones that begin this episode.
For all the sound and fury it expends to propel this season’s narrative in new directions, “Redux” sends Homeland hurtling into history.
After hovering around the fringes for most of the season, Missy finally takes center stage.
The showrunners utilize a chilling series of flashbacks to build a quick yet effective portrait of Abraham as a man of violence.
Getting On is farce with a heart, shot through with unlikely moments of grace and warmed by an aura of bemused acceptance.
With the series belaboring the freaks’ theoretically unexpected likability at every possible turn, it’s the villains who stand to walk away with Freak Show.
It seems primed to capitalize on its strengths, namely a terrific cast and snappy writing that exudes warmth while eschewing treacle.
It’s the quiet, more poignant moments, too few and far between, that resonate the loudest.
At 50-plus minutes an episode, The Newsroom brings to mind Jeffrey Jones’s words from Amadeus: too many notes.