That’s What the Money’s For!; or, What Is Going On At AMC?
A little extra Mad Men? Fine. More zombies and lawyers? OK. But it’s starting to seem like the cable phenomenon’s cupboards are bare.
A little extra Mad Men? Fine. More zombies and lawyers? OK. But it’s starting to seem like the cable phenomenon’s cupboards are bare.
One is an appealing, confident police comedy. The other is just a crime.
The straight-up-bonkers pilot of this new series script-doctors Washington Irving for today’s steroid era of supernatural storytelling.
An excruciating, terrific episode cranks up the intensity, but also shows that this drama really is about family. Even if Heisenberg has a funny way of showing it.
The TV producer turned blockbuster director (turned TV producer again) on the Avengers spinoff, Agent Coulson’s return, and what it means for little guys to live in a world of gods and Hulks.
Nuanced and well-reasoned arguments for both sides of this debate
The season premiere’s horrific ending could be exploitative or dramatically fruitful–depending on the consequences.
The return of CNN’s punditry face-off managed to be both snide and stilted at the same time.
The pulse-pounding “To’hajiilee” seemed to set up a certain kind of ending, but Breaking Bad is not ready to give Walt–or freaked-out viewers–the answers so easily.
It’s good to have him back, but this summer proved–thanks to Stewart, his cast, and his writers–that the biggest star of The Daily Show is The Daily Show itself.
The classic CNN argutainment show was based on the idea that every debate has two sides. But Syria, its reason for returning early, is proof that that assumption is wrong.
As Jesse tries to turn on “Mr. White,” Breaking Bad reveals itself as a horrifying, sustained depiction of the psychology of abuse.
David Frost, who died of a heart attack on Aug. 31, was an on-camera natural who gave President Richard Nixon an unofficial public trial