These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
The series is primarily occupied with providing the viewer with a collection of future super-villain Easter eggs.
It bears Shonda Rhimes’s imprint by embracing the flawed and the frail, the becoming rather than the being, in the service of its lavish theatricality.
For a few moments at the beginning of the episode, Sons of Anarchy doesn’t take itself too seriously.
It speaks of the chaotic exhilaration of fostering discourse that might initiate real social engagement.
Not for a long while has there been an episode with so little connection to the ongoing season arc.
Director Steven Soderbergh’s handling of the meningitis case is both technically and dramatically virtuoso.
Madam Secretary shoehorns the vast complexity of geopolitics into the most blandly centrist Americanism imaginable.
Cagey strategies occasionally play a role in taking out enemies foreign and domestic, but SAMCRO prefers all-out blitzkrieg.
Appropriately for an episode called “Listen,” sound design plays an important part.
The Knickerbocker Hospital’s putative mission to help New York City’s neediest gets its most interesting stress test yet in “They Capture the Heat.”
The show’s seventh and final season will be a reckoning for the countless sins of its lead character and Hamlet stand-in.
The season finale features a series of reckonings, not all of them as satisfying as one might have hoped.
Tom Riley’s portrayal of Robin dances dangerously close to pantomime at times, particularly in the first half.
“Where’s the Dignity?” doesn’t lack for drama or tension; it’s just much better stacked than its predecessors.
It appears that Sons of Anarchy is going down in the same manner it started: as a tragedy of Shakespearean proportions.
In its final season, Boardwalk Empire seems determined to follow up on the show’s early tag line, “You can’t be half a gangster.”
Writer Phil Ford provides a tale that gives Peter Capaldi the opportunity to show how different his Doctor is from Matt Smith’s.
Uli Edel’s miniseries comes across as a mere cataloguing of the magician’s exploits rather than an actual inquiry into the man.
In the whimsical early scenes of “Deep Breath,” Peter Capaldi gets to have fun with the Doctor’s traditional post-regeneration wackiness.
The episode is, principally, a reconsideration of characters we believe we’ve come to know.