These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
It’s a yuppie coming-of-age narrative superimposed on a story about the people who end up in prison and the tools they develop to survive there.
It hasn’t been retooled exactly, but there’s a finessing of characters and a shifting of priorities, with most of the changes being for the better.
Camp can be likened to an overenthusiastic adolescent who signs up for too many extracurricular summer activities and fails at all of them.
The FX show doesn’t have the forceful originality of some other socially conscious dramas, but it’s off to a promisingly lurid start.
It blends the vibes of a cool, fast-paced crime caper with those of an emotionally wrought family drama to generally gratifying results.
Its characters are creatures of habit, seeking and constantly rebuffing liberation, and the series similarly depends on its tired rituals to survive.
It will stay encapsulated in the memory banks of allegiant viewers, frozen in time for a thousand years like a certain clumsy pizza delivery boy.
It’s set in a horror realm we might imagine when we indulge our worst fears of the hideous forms the civilized world is capable of assuming.
The show too often disrupts its curiously resonant psychoanalysis with foolhardiness and vulgarity.
Once a fleet-footed and hot-blooded gothic drama, True Blood hasn’t aged gracefully, and instead grown long in the tooth.
Yet another tepid melodrama in which every creative decision appears to have been made in a trendy bid to appeal to the viewer’s crotch.
For a series that deals mainly in touchy transgressions and dubious betrayals, Mistresses is awash in a yawn-inducing flatness.
The AMC drama feels leaner and meaner, quickly recuperating from its needlessly extended and convoluted former storyline.
Transformation is a major theme at the heart of the new season, and this looks and feels like a different show.
Behind the Candelabra is powerful, funny, and emotionally rigorous, and also serves as an uncommonly heartfelt Dear John letter.
It expends lasting suspense by providing us with all the hard facts we need up front, granting us an invitation to leave the party early.
Showrunner Steven Moffat has finally delivered a tremendous resolution to the mystery of Clara Oswald.
It isn’t a sophisticated comedy by any means, but its overall lightheartedness manages to save it from becoming completely dull.
The episode makes good use of the Doctor’s second-most famous enemies, the Cybermen.
Christopher Guest refurbishes the often tedious stunted-male coming-of-age scenario with his distinct, gently despairing, satiric stylings.