Model Shop served as a stern reaffirmation that you can’t go home again, and much of “Field Trip” revolves around an inability to notice that resilient adage.
Orphan Black often cloaks the clearest statement of an episode’s theme in an otherwise inconsequential moment.
Showrunner Matthew Weiner and company crafted an episode riddled with allusions to business as a love affair.
The Sansa/Cersei contrast sets the tone of the episode, which focuses on women more than any other hour of the series to date.
On Orphan Black, Tatiana Maslany runs the show, and the episode wrings ample excitements from her incomparable performance.
The BAFICI seems to channel the sheer variety of the Internet, where it seems all movies from all eras are available.
True to the more muted tone of the premiere, the second episode offers minimal indication that anything is wrong.
The purgatorial mood that Matthew Weiner and his crew conjure here sets the stage for Don and company’s final season-long cocktail hour.
Corneliu Porumboiu’s The Second Game is a fine example of an impulse toward meta-narrative that has recently reinvigorated the nonfiction form.
The inter-scene cutting here slightly lingers on every place the camera visits, now searching for someone who appears to know where to go next.
The episode offers insight into why Rick drifted into the background of the show’s main story.
Negotiation is a recurring theme in “Us,” the penultimate episode of The Walking Dead’s fourth season.
It more or less resolves the season’s narrative concerns while simultaneously reminding us that such convenient closure is ultimately an illusion.
The Walking Dead’s characters are fleetingly enticed by the idea of a better future, one that doesn’t involve scavenging to survive.
The episode reminds us that everyone in the Girls universe is still uncomfortable in their skin, per usual.
The framing is overtly prescriptive, an image made to carry more than its maximum weight. When has freedom been undermined, and how?
The majority of Wye Oak’s set did focus on songs their upcoming album Shriek.
If you passed him on the street, you might mistake the Hold Steady’s Craig Finn for a stressed-out dad or high school chemistry teacher.
There’s undoubtedly something a little weird about seeing rock music in a strangely lit, tackily carpeted convention center ballroom.
It’s hard to call to mind another contemporary artist who so deftly employs sheer balls-out guitar skill as St. Vincent.