These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
The great expanse of time and episodic nature that partially defines the series format allows Campion to work at once ambitiously and confidently.
Bates Motel suggests what Gilmore Girls would’ve been like if it arbitrarily featured a tormented young Charles Manson.
The characters are so clichéd that episodes begin to feel like dramatizations of TV Tropes entries.
Its saving grace are the moments when Owen sheds his old-dog exterior and justifiably barks at Clark in the wake of his hotheaded antics.
Louis C.K.’s ability to play with comedic perspectives is much more apparent in person.
Even though the series periodically employs less than imaginative plotting, there’s something to be said about its perplexing watchability.
Year four sees the characters preparing for some big adjustments, yet they remain as endlessly idiosyncratic and curiously heartwarming as ever.
The tactical minutiae that elevated Spartacus from simple violence to masterful storytelling is still evident.
After immersing oneself in Zero Hour’s flimsy mythology, it’s hard not to believe that a series this bad must be part of some greater conspiracy.
Dammit, I’m not crying, I just got a Teamster sandwich in my eye.
It asserts that one sublime performance is enough to make the whole toilsome collaborative process worth it.
Do No Harm offers little in the way of innovation to the exhausted Dr. Jekyll and Mr. Hyde formula.
The series loses some of its drive by its dreary fourth episode, when a labored love triangle mars the overall flow of the central arc
Reportedly, people have been living at the Highclere site for roughly 1,300 years.
The second season of Anger Management is mostly a depressing slog, lacking even the calculated urgency that characterized the first season.
Despite all the time spent focusing on the spycraft, subterfuge, and secret messages, The Americans is surprisingly straightforward.
House of Lies is as brash and cocky as the management consultants it follows; it’s also filled with just as much bullshit.
An unbearable assemblage of recycled sitcom plots that aims to spotlight a specific breed of unashamedly mean-spirited witticisms.
“Fugue and Riffs” serves as both an immediately accessible intro to the series as well as a monumental payout for those following from the beginning.
The season’s contrived storyline is a forced and inelegant string of events that tries to come across as serendipitous.