NBC is using family sitcoms, genre dramas, and a lot of familiar faces to try to do what it tried to do a year ago.
There was a menagerie of zoological references in an episode that showed how people could be animals—sometimes, literally.
The Late Night show was once a place for experimentation. Now it seems to be becoming another rung on an established entertainment-corporate ladder.
Having spoofed dog shows, heavy metal, and community theater, Christopher Guest turns to another odd , more bittersweet obsession: genealogy.
For the longest time, I told myself I would believe an Arrested Development reunion when I saw it. Then I saw it.
The Office hasn’t been great in a while. But it can have a great finale if it remembers its core theme: the compromises and adjusted expectations that come with adult life, at work and in relationships.
The beauty of Sunday’s Mad Men: it appealed to viewer’s fascination with swaggering, confident antiheroes while also questioning it.
More interesting than the individual elements of the Howard Kurtz controversy was seeing a TV host answer for them on his own show.
Like HBO’s The Wire, “The Climb” showed how individuals get sacrificed by organizations: not bureaucracies and drug gangs, but royal houses and religions.
In its first three episodes, the abrasive, often funny Maron is a deep dive into the bottomless reservoir of neurosis as a font of comedy.
Elizabeth and Philip play a game without frontiers in a confident ending to one of the best debut drama seasons in recent years.
Winning the Iron Throne is the Targaryens’ and Lannisters’ and Baratheons’ and Starks’ problem. But Westeros’ problem is that it’s had a lot of really crappy kings.
Like big networks and premium channels, streaming programmers need a brand. So far, Amazon’s involves raw, cable-style laughs and something for the kids.