The Loving Story's tale of this Supreme Court victory lays out both its legal and moral import, and then turns back to Richard and Mildred Loving in intimate, evocative images.
Damon Lindelof's over-plotted, over-anxious, daring, genre-hopping offshoot of Alan Moore's alternate-history graphic novel, Watchmen, is less a show about hunting down the bad guys than it is about the twisted turns and stubborn legacies of racist trauma in America -- and the resistance to atoning for it.
As Showtime's brutally honest Nurse Jackie showed, there is nothing glamorous about addiction. It is a harrowing experience, and HBO's Euphoria, season one, fails to capture that.
In both The Avengers: Endgame and Game of Thrones, the key conflicts are not between good and evil, as one might think, but between the beginnings and endings of their stories.
HBO's anthology horror series, Room 104, offers glimpses of promise and bizarre insight, but often feels constrained by its half-hour timeframe.
In the fantasy world of AI-populated Westworld, unchecked humankind regresses into violence toward the "Other" -- just as we do in the chaotic real world. Is that the essence of human nature, to always reject its' self as seen in the visage of the Other?
Curb Your Enthusiasm's well-established characters are reacting to their former selves, rather than inhabiting or reinventing themselves. Thus, it loses the rhythms and inflections that once made the show so consistently, diabolically funny.
Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.
The uncanny similarity of scenes in this show to the Hollywood harassment/abuse stories -- up to and including the proposition that suffering can advance one's career -- reveals Westworld to be too content to reenact the mechanisms of systemic abuse.