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.
Things haven’t been pretty at CNN lately, but Anthony Bourdain and Jake Tapper suggest two ways the network can get interesting without getting dumb.
Sundance’s meditative drama about a man released from death row is pokey, atmospheric, and the opposite of plot-driven. And it’s one of the best things I expect to see on TV all year.
Last night’s episodes of both dramas showed that their firms can be unfair places to work—and some of the same characters we sympathize with like it that way.
Why is fire so important in Game of Thrones? Because it’s like magic: a means through which something material becomes intangible. Also, it’s freaking awesome.
Somehow, in years of post-9/11 terrorist fiction, no one had created a narrative for the American-immigrant, high-school-athlete, Eminem-quoting mass-terrorism suspect.
The annual TIME 100 list of the world’s most influential people is out. And the path to influence in this world being what it is, not a few of those people are involved with TV.