How ‘The Bridge’ Solved the Mystery (of How Not to Ruin a Murder Mystery Show)
The serial-killer story is one of the least interesting aspects of FX’s new drama–and that’s how you build a show that can survive its first murder.
The serial-killer story is one of the least interesting aspects of FX’s new drama–and that’s how you build a show that can survive its first murder.
News outlets have been deciding how to refer to the transgender soldier now, but what about her past? Did Bradley leak information to Wikileaks, or did Chelsea? Did she serve in Iraq or did he? It’s complicated.
The misogynist criticism of Breaking Bad’s female lead is both a real problem and an example of how the most obnoxious shouters get to define the discussion.
In a series of wrenching scenes, Skyler (and the rest of us) must stare down the aftermath of last week’s big revelations.
I used to mock parents who used DVDs to quiet their kids in the car. Now I appreciate digital distractions like the 19th-century pioneers appreciated laudanum.
Work-home balance is too often treated as a “women’s” issue. But a new reality show is devoted to the radical idea that caring for your own child does not make your penis fall off.
Netflix binge-watching may have helped double Breaking Bad’s final-season debut. But as Walt knows, distribution means nothing without a killer product.
If you were worried Breaking Bad would take its time getting back up to speed, worry no more. It’s game on
Low Winter Sun, a bleak, bleak cop drama that uses Detroit as an apocalyptic open-air amphitheater, may not be disaster porn, but it’s at least disaster cheesecake.
The calls from right and left for CNN and NBC to drop Hillary projects amount to: don’t make any potentially interesting shows about an active political figure. (And if you do, skew them our way!)
I didn’t want to watch one more moody drama about a child murder, either. But this British drama is excellent, most of all for how it treats the living.
Joss Whedon’s Avengers spinoff may just intend to be a fun time, but it has some (unintentionally?) topical overtones about big agencies and their powers.
If there was a theme of this year’s critics’ awards, it was vengeance for the overlooked