These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
Its implicit ability to be at once categorically preposterous and occasionally brilliant has become Archer’s calling card.
It seems impossible to watch Unsupervised and not think of Beavis and Butt-head.
In many respects, the third-season premiere of Justified, “The Gunfighter,” is a difficult episode to love.
The theme of bloodlines newly woven and long-kindred continues to run through Justified like an un-damable river.
Alcatraz is muddled by its own terribly formulaic design.
Why make cartoon characters out of a cast whose greatest comedic virtue is their natural ability to appear cartoonish?
The newest no-good, scumbucket-of-an-antihero on cable TV is House of Lies’s Marty Kaan.
It’s easy to give Shameless the benefit of the doubt, because, at its best, the show is a lot of fun.
Tom Kapinos’s resolve to find a fresh approach for Californication wherever it may be sacrifices some of the show’s consistent strengths.
At the heart of every character that Fred Armisen and Carrie Brownstein portray is a weird, committed, and almost unsettlingly earnest love.
The “romp” nature of this episode is apparent right from the start, as the teaser opens with a bang—literally.
As is often the case, life during wartime proved to be the impetus for some truly great pop culture, and from the fray emerges our first-ever official TV list.
Well, it was nice while it lasted.
Now in its third season, NBC’s Parenthood has settled comfortably into its role as a safety blanket.
The show is at its most watchable not when it’s tackling some hot-button issue via the guise of a Greendale Community College campus event.
If this show’s going to succeed, it’s going to have to figure out how to build a slightly more complex inner-life for its protagonist.
The show seems to exist only to answer the question, “How many unfunny, soulless assholes can be crammed into a half-hour cartoon?”
Grimm borrows liberally from its spiritual predecessor, co-creator David Greenblatt’s Angel, to the point of derivativeness..
The show’s long-term success rests in the hands of at least one anchoring character with which the audience can relate to.
The writers of Modern Family are beginning to rely too heavily on stunt episodes and celebrity cameos.