These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
The best thing about the show’s third season is the addition of Eddie Izzard as psychology professor Dr. Hattaras.
Camelot plays it fast and loose with genre, historical authenticity, and good taste in general.
The offbeat family dynamic is the show’s greatest asset.
The Borgias doesn’t want us to think that it’s only about kinky sex or disgusting violence.
The Killing is both new and old, on-trend and deeply unfashionable.
The Pee-Wee Herman Show is manic, crazy, and ,most of all, a whole lot of, ahem, “fun.”
Is it possible for John Stamos to replace Charlie Sheen on Two and a Half Men?
Todd Haynes’s Mildred Pierce finally seems like the most elaborately produced critical close reading of a novel of all time.
Boring Protagonist Syndrome (BPS) is afflicting more and more television shows every day.
Fred Armisen and Carrie Brownstein satirize their subjects, but there’s always an undertone of sympathy in their portrayals.
The stories aren’t just a voyeuristic peek at famous people’s lives and ancestries, but a look inside the human heart.
The show’s rich vein of gallows humor and convincing sense of place aren’t the only selling points here.
In season two, the show delves more into the characters’ pasts, finding out how they all got to be such emotional train wrecks.
Perfect Couples is as Wonder bread as they come,
The first six episodes of the third season display some of the sharpest writing currently on the air.
Skins wants badly to be noticed.
This season seems to portend a tragic outcome for our beloved fundamentalists.
Downton Abbey isn’t only the best soap opera currently on television, but also one of the most relevant.
Where the show gets a leg up is in its editing, which splices between the main character’s aggressive training and his tranquil family life.
It’s hard to be shocked by a television show when you live in a world where you feel as if you’ve seen everything.