Phillip Maciak

Sharon Horgan’s new show on HBO is a triumphant, unexpected follow-up to Motherland.

In Damon Lindelof’s new show, the good guys might survive, but they have to wade through a whole season of disappointment along the way.

Interview shows like Amy Poehler’s Good Hang are taking the place of traditional TV.

In the new Hulu show, both the killer on the loose and the detectives pursuing her are righteously angry women.

AMC’s TV adaptation of Anne Rice’s Vampire Chronicles is an all-consuming spectacle.

Both shows tell the truth about what it means to grow up in an often inhospitable world.

Marjane Satrapi’s inimitable art encompassed revolution and war, education and ideology, repression and rebellion.

There may be a day again when TV executives have the backbone to support a show like Colbert’s. But The Late Show will be gone.

At a time when much TV recycles familiar formulas, the Apple TV series feels like something new.

Steven Conrad’s miniseries on HBO begins like a murder mystery, but turns into something weirder and more beautiful.

An overstretched emergency department and TV network have a surprising amount in common.

Both Netflix’s Vladimir and HBO’s Rooster play into a politically charged caricature of academia.

Love Story explores the corrosive effects of celebrity.

The generative AI series is tailored to a viewer with radically lowered expectations.

The spy show starring Tom Hiddleston is back. But now it feels like Slow Horses.

The show is physical and intimate, surprisingly quiet, and rarely looks beyond the two leads. Somehow it works.

In a year defined by the newly lurid visibility of men’s problems, I was most moved by two series—Dying for Sex and Andor—that offered remarkable performances by women.

Vince Gilligan’s new show imagines a world devoid of any kind of aesthetic experience that isn’t blandly generalizable.

With stars Claire Danes and Matthew Rhys and a strong premise, the new Netflix show should be good. So why does it feel so stale?

Tim Robinson and Zach Kanin’s new show is distinctly more surreal and uncanny than Severance.