The series doesn’t conjure fury so much as a sense of what could have been.
NBC’s The Cape feels like a bad adaptation of a comic book.
The fourth season of Californication proves there can indeed be too much of a good thing.
At long last, BBC America has bowed to the reality of the internet and broadcast the Doctor Who Christmas special within hours of its UK premiere.
Terriers recalls an earlier tradition of crime story.
Outsiders are at the heart of the fifth and final season of Friday Night Lights, a show whose tepid ratings have made it a bit of an outsider itself.
Occasionally, when NBC shuts a door, it opens a window.
Modern Family manages to be warm and heartfelt without making you sick to your stomach.
So far, season two has likeably continued to establish Cleveland as the anti-Peter Griffin.
Long live the shameless explosions of dramaction.
What’s most striking about Sarah Palin’s Alaska is its subject’s apparent reverence for Mother Nature.
Be crazy. And by crazy, I mean unhinged, unpredictable and inspired.
As it turns out, this low-profile episode is an apt distillation of a largely low-profile season.
To say that Frank Darabont has kicked his series off with a bang would be a serious understatement.
These episodes are mini-dramas that could work on any theatrical stage and yet there’s nothing theatrical about the way they’re presented here.
It’s impressive that Steven Moffat and Mark Gatiss have chosen such a gimmick-free approach to their series.
Luther is the most absurd and enjoyable police show to come along in a while.
Addiction has played an important role through most of this season, most explicitly through Don’s struggles with alcoholism.
Rather than waiting for a future payoff, Fringe is cashing in with every episode.
Even under blue skies, the windswept fields and beaches of southern Sweden appear bleak and hopeless in the second season of Wallander.
Mommy, do I have to watch this?