Reviews > TV
Empire: Season 2, Episode 5 - “Be True”

This week’s episode was full of the kinds of antics expected in the Empire universe; however, Lee Daniels and company showed with this week’s episode that there are any number of relationship dynamics still left to be explored.

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Agents of S.H.I.E.L.D.: Season 3, Episode 4 - “Devils You Know”

“Devils You Know” offers new insight into the season’s arc, while visual effects supervisor Mark Kolpack shares how to balance special effects and narrative.

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iZombie: Season 2, Episode 3 - “Real Dead Housewife of Seattle”

“Real Dead Housewife of Seattle” continues to expand and connect all the different threads that run through iZombie.

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The Blacklist: Season 3, Episode 4 - “The Djinn”

“The Djinn” offers a shocker on par with Pedro Almodóvar; The Blacklist definitely got its groove back.

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American Horror Story - Hotel: Season 5, Episode 3 “Mommy”

This episode closely examines the theme of death through the scope that not all killing is murder, nor all murder is bad, while introducing Angela Bassett as the foxiest blaxploitation star, ever.

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Blindspot: Season 1, Episode 5 - “Split the Law”

What writer/creator Martin Gero lacks in originality, he makes up for borrowing from the best.

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The Flash: Season 2, Episode 3 - “Family of Rogues”

In this week's episode of The Flash, the superhero asks "Do you trust me?" Once again, this series earns that trust.

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Once Upon a Time: Season 5, Episode 4 - “The Broken Kingdom”

Many things are broken in the kingdom of Camelot. How badly do we want them to be repaired?

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Arrow: Season 4, Episode 2 - “The Candidate”

Great action, but peculiar character development make for an uneven second episode.

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The Good Wife: Season 7, Episode 3 - “Cooked”

The finer nuances of perception and deception lie at the heart of this season's third episode. Who's lying? Who cares?

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Doctor Who: Series 9 Episode 5 - “The Girl Who Died”

The real problem with the enemy -- with the whole first half of the episode, in fact -- is that he’s a colossal red herring.

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How to Get Away with Murder: Season 2, Episode 4 - “Skanks Get Shanked”

Interpersonal strife abounds, both in and out of court, and Team Keating begins its slow decline.

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The Word of the Day Is Legacy, As in Pee-wee Herman’s Legacy

In an era of TV antiheroes, of irony, grittiness, postmodern sensibilities galore, a character like Pee-wee Herman, emphasized in Pee-wee’s Playhouse: Christmas Special, is cutting edge.

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iZombie: Season 2, Episodes 1-2 - “Grumpy Old Liv” and “Zombie Bro”

A strong opening that reminds viewers of the darkness so central to the series, while also emphasizing the relationships and humor that make iZombie so engaging and watchable.

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Empire: Season 2, Episode 4 - “Poor Yorick”

As Lucious' legal troubles are put to bed, things within the family get even more complicated.

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Agents of S.H.I.E.L.D.: Season 3, Episode 3 - “A Wanted (Inhu)man”

Messy lives, bad decisions, and poor outcomes plague nearly everybody in this week’s episode.

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The Blacklist: Season 3, Episode 3 - “Eli Matchett”

The Blacklist is at its best when it sticks to complex characters and stories over simplistic twists.

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Gotham: Season 2, Episode 4 - “The Strike Force”

A disappointingly uneventful letdown after last week’s exciting and bold developments, "The Strike Force" uses bland exposition to introduce new but clichéd characters.

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SyFy Miniseries ‘Ascension’ Is a Promising Thought Experiment Canceled Too Soon

Ascension plays with the range of pleasures associated with the detective story, but framing it within the claustrophobic environment of a spaceship puts quite a spin on the old formulas.

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Real Time with Bill Maher: Republican Nouns/Democratic Verbs, Misguided Narratives

"In an impersonal and often anti-personal world, the individual name cannot compete with the power of corporate hierarchies, which, even more than gods, are invested with unearned prestige."

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More Recent Reviews
//Mixed media

Because Blood Is Drama: Considering Carnage in Video Games and Other Media

// Moving Pixels

"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.

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