These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
With Derek, Ricky Gervais has fashioned a series that forces him to suppress his gift for sharp, curt verbal punchlines.
Much like its titular bumbling patriarchs, Dads never aspires to be more than an unmannerly time-waster, devoid of inspiration and purpose.
The new Andy Samberg vehicle, Brooklyn Nine-Nine, brings a welcome blend of whimsy and heart to the indefatigable crime drama.
FOX’s Sleepy Hollow is 45 unapologetic, overexcited minutes of clichéd, hyperbolic, tackily frightening adventure.
A becoming narrative cleanness is settling into Breaking Bad as it nears its conclusion.
In the realm of the show, a man’s worth isn’t determined by how much money he has, but how skilled he is at acquiring more of it.
FX’s Sons of Anarchy seems more intent on pushing the envelope with more and more exploitive violence than anything else.
“Rabid Dog” explicitly broaches a question that Breaking Bad fans have probably been pondering for a while.
The series may have switched venues, but not much has changed about It’s Always Sunny in Philadelphia in its ninth season.
It’s in desperate need of a dose of unruly transgressive energy, perhaps a metaphorical dildo trident up its square ass.
The season ends on several notes of potential finality for the series as a whole, the last of which is a superficially happy ending.
“Confessions” returns to the theme of the dangerous fragility of crushed American masculinity, the show’s grandest concern.
The episode is a beautiful collection of tense duets of varying configurations between the major players.
Suits’s semi-smart, buoyant originality has been largely replaced with predictable dialogue and broadly painted personality types.
“Blood Money” kicks off the second half of the final season with probably the most startling pre-title sequence in the show’s history.
It too often lingers on Detroit’s colorless evil more than its spirited righteousness, resulting in an overwhelmingly bleak narrative.
Breaking Bad has always been adept at handling its big reveals, or lack thereof, and the second half of its final season is no exception.
Golubic sees similarities between the live music space and the work of synching sound to image.
In Lisa Kudrow’s best roles, her face expresses with exquisite exactness the predicament of the high-functioning narcissist.
“The Perfect Batch: Breaking Bad Cast Favorites” is part of FSLC and AMC’s week-long celebration of the series.