The true-crime docs here expose the rot at the core of many of our venerated institutions.
At some point the Season Four finale of Doctor Who, “Journey’s End,” will stand on its own.
For a lot of people, the big reveal about the fate of Peggy’s baby will be remembered as one of the episode’s highlights.
Look, not for a minute do I think executive producer David Simon is trying to kowtow.
“Skin and Bones” is justification for the entire Fear Itself series.
In conjunction with the Museum of the Moving Image’s symposium on HBO’s The Wire, the museum commissioned a series of video essays for its online magazine.
Considering his condition when we last saw Roger Sterling, it was pretty startling to see him carrying on as if nothing had happened to him.
“The Stolen Earth” is a wonderful and sometimes frustrating episode.
I still don’t feel connected toGeneration Kill, now almost halfway through its run on HBO.
Mary Harron brings nothing distinctive to the episode, which looks like the rough cut of a Lifetime Network Christmas special.
Happily, the writers seem willing to exploit their flawed characters, especially their layered leading man.
Welcome to the “Ruediger-light” episode of this season’s Doctor Who recaps.
The first combat episode ofGeneration Kill is analogous to lousy sex.
The plot is surprisingly simple and the story is rooted in concept and character.
There’s an old saying that, in good storytelling, action precedes explanation and commitment precedes realization.
If it all sounds like cliché upon cliché, well that’s what it is.
“Forest of the Dead” is an episode that left me so thoroughly perplexed that I had to see it several times to even begin thinking I understood it.
John Landis directs the whole thing as though it were a pleasant distraction.
The name Steven Moffat has been the stamp of quality on Doctor Who scripts over the past three seasons.
“Family Man” is the third episode of Fear Itself but should have been the first.
I’m sure I read an interview with Russell T Davies some time ago where he referred to “The Unicorn and The Wasp” as “the first comedy we’ve done.”