The episode closes with Carrie finally making the connection that Allison so desperately sought to cover up.
The Knick’s second season has seen Soderbergh turn his camera on different strains of pedagogy afforded by the turn-of-the-century milieu.
The episode’s found-footage conceit presents several unusual challenges for both writer Mark Gatiss and first-time director Justin Molotnikov.
The episode pauses the season’s forward momentum to engage in a bit of character shading.
The writers either need to relegate Allison further to the sidelines or figure out a way of complicating her.
Steven Soderbergh’s camera seamlessly stitches the hospital’s constituent parts together in what appears to be real time.
The Club isn’t content to present a simple litany of crimes connecting the church with the Pinochet dictatorship.
While the previous episode had many obvious references to read-world events, such allusions are considerably toned down here.
Throughout, the episode seems almost hell-bent on having audiences eavesdrop on either the least necessary or redundant conversations imaginable.
That desperate need for someone to understand and stand beside us: That’s parabiosis.
“Wonderful Surprises” is so over-stacked as to make each scene work purely as exposition.
By setting up two temporalities, Karolina Bielawska sets up a dramatic tension that extends beyond the sex change, yet is intricately connected to it.
Last year the Doctor exhibited an antipathy toward soldiers bordering on the cartoonish, but he’s more restrained here.
The episode abounds in articulations of the choices people make in this world to stay alive and to stay sane.
Homeland is too wrapped up in its own allure to deliver on the story it started to tell in previous weeks.
A clear effort is being made by Jack Amiel, Michael Begler, and Steven Soderbergh to make the new season as dense as possible.
“The Woman Who Lived” is actually a sequel to “The Girl Who Died” rather than a simple continuation.
Tomorrow, around water coolers the world over, the conversations will be about whether The Walking Dead’s most cherished character is in fact dead.
“Why Is This Night Different?” feels like an overly complicated table-setting episode, especially given the way Homeland merges its other two subplots.
The festival has more in common with its mega-corporate Coca-Cola sponsor than it might like to think.