These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
It specifically reinforces that character depth and exposition are not among the show’s strong suits.
This week’s relentlessly bleak Homeland finally catches the audience up on what Nicholas Brody has been up to.
American Horror Story has evolved over the course of two seasons from a reliably lurid soap to a sophisticated work of despairing protest pop-art.
The rage of women is always just below the surface of Coven, and one gets a sense here that it won’t stay buried for long.
It looks toward John Ford’s “print the legend” quote, as the series is less interested in how the apocalypse happened than what happens next.
You can remodel a bathroom, but you can’t remodel a human being; intangible things, like reputations, are not so easily mended.
Blair Underwood’s oppressive, angry portrayal isn’t quite the worst thing about this lackluster reimagining, but it’s the most obvious one.
Breaking Bad’s series finale, “Felina,” fulfills the implications of last week’s “Granite State.”
Like Dana Brody’s storyline, Peter Quinn’s mission is also lazily dramatic and lacks subtlety.
It seems rigidly anchored to its basic premise: Everything revolves around sex, and frankly, the daily grind grows monotonous as time goes on.
The fourth season of Eastbound & Down exudes a somber tone that flies in the face of the show’s typically rambunctious tendencies.
It’s a bumpy ride, but at its best, Hello Ladies understands the demoralizing fear that turns so many men into insufferable jerk-offs.
Tension hums below the surface of each scene of season three of Homeland, the personal stakes for almost every character higher than ever.
As Breaking Bad nears its final episode, viewers have become preoccupied with who will live and who will die.
It’s too busy staging a prosaic cat-and-mouse game to pay much attention to the emotional vulnerability of its subjugated characters.
The setup of Michael J. Fox’s eponymous new sitcom closely mirrors the veteran actor’s real life.
Creator Adam F. Goldberg’s show struggles to turn dysfunction into something more engaging than a series of broadly staged situations.
With its quick-talking, neurotic characters and dull, digressive plotlines, The Mindy Project is both endearing and frustrating.
TV better than movies? Not really, but at least television will let you see Michael Douglas stroking Matt Damon’s leg hair.
Vince Gilligan and company subversively manipulate the familiar narrative contours of the crime melodrama.