These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
It allows us to leisurely soak in the considerable atmospherics of Elsa’s financially imperiled Cabinet of Curiosities.
Throughout, labels of race often express the long-gestating tension between different gangs, especially when there’s a drastic shift of power on the streets.
It successfully strikes a balance between telling a suspenseful story in its own right and further exploring the tension between the Doctor and Clara.
Much like Rick, Tyreese is given a trial to see how far his empathy and trust in others will go, one that ends in a fatal, bloody beating.
“Shalwar Kameez” is a story in three smiles: one knowing, one exhilarated, and one conspiratorial.
Director Steven Soderbergh’s gift for unfussily blocking The Knick’s scenes is made awesomely apparent in the opening.
In its fifth season, the show juggles its numerous narrative threads and their attendant thematic resonances with a striking delicacy.
It’s clear that creators Ryan Murphy and Brad Falchuk have returned ready to play.
If it weren’t for all the bloodstains and gaping wounds, the eerie opening shot might seem like the beginning of a party sequence gone wrong.
The Affair’s impressionistic mystery emerges here fully formed, as though it had been waiting to be discovered all along.
Freak Show is an excuse for American Horror Story to literally let its freak flag fly higher and prouder than ever before.
It ends with a wrenching emotional development that should be a major turning point in the relationship between the Doctor and Clara.
It succeeds in establishing the psychological state of play with much the same straightforwardness that “The Drone Queen” traded in politics.
The reset that follows Nicolas Brody’s death in Iran at the end of season three may save Homeland from ignominy.
The change in seasons is a terrifically smart maneuver, even if it allows for some fairly obvious hopscotching.
Directed by Guy Ferland, it’s a nasty and sleek episode that plays off the striking tonal juxtaposition between calm and chaos.
Another entry into the “small-town murder unravels the ties that bind the town together” tale that fails to bring anything new to the genre.
The episode is another mostly light-hearted script from Gareth Roberts.
Like a John le Carré novel, Homeland once again grants what feels like an insider’s perspective on espionage and the politics behind it.
“Get the Rope” may mark the first time Soderbergh’s dazzling, inventive shooting style just can’t support the dramaturgy.