These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
After last week’s remarkable season premiere of Game of Thrones, “The Night Lands” is a bit of a letdown.
Nurse Jackie is still a collection of strong performances in search of a worthy show.
There’s something to be said for 30 Rock’s unrepentant adherence to formula.
If Justified feels plot heavy of late, it’s out of necessity given the premise of the third season.
The most exciting thing about the season-two premiere of Game of Thrones is its refreshing sense of focus.
The Killing is a mystery show whose mysteries agitate and bore rather than mesmerize and astound.
The new season introduces an assortment of fresh environments, expertly visualized by the show’s tremendous production values and adept crew.
An episode like “Measures” seemed inevitable at this point in Justified’s third season.
Go back to the first episode of Luck and you’ll see how much is made of a little goat (known for his giant testicles) that hangs out in Turo’s barn.
Don is a character that allows us to safely indulge, with little in the way of moral inconvenience, our vicarious inner amoral shark.
It’s fitting that the title of this week’s installment of Justified is the classic joke lead-in “Guy Walks Into a Bar.”
It’s like Cops, only less contrived and without the racism.
Sopranos director Allen Coulter gives us a taste of what the darker Luck many of us had been wishing for might have been like.
Writers are often told that, when it comes to the act of artistic creation, one should “write what you know.”
When the show titles an episode “Loose Ends,” you can bet it will be all about tying up, well, loose ends.
Gregory Poirier’s Missing is little more than a one-line elevator pitch with some fancy choreography and flashy scenery.
As in creator David Milch’s previous HBO shows, one of Luck’s central themes concerns the building of a community.
Bob’s Burgers possesses an unmistakable love for underdogs and odd ducks, but its themes still trend toward the familiar.
For two episodes with very little action, they wind up revealing quite a bit about Justified’s representation of violence.
Game Change lives in the reaction shot: in capturing the eyes of mute staffers on the sidelines witnessing the clashes of personality.