Entertaining and informative, High on the Hog disrupts the Eurocentrism entrenched in the culinary world that tends to devalue so-called ethnic foods.
Nida Manzoor’s punk rock comedy We Are Lady Parts beautifully captures that the performance and expression of Muslim identity are complex and multifaceted.
As viewers have come to expect from co-creator Michael Schur, Rutherford Falls uses sly humor and flawed, lovable characters to tackle serious issues.
Can food alone undo centuries of anti-immigrant policies that are ingrained in the fabric of the American nation? Padma Lakshmi's Taste the Nation certainly tries.
Society is reckoning with Clinton-era "tough-on-crime" policies, law enforcement is no longer seen as the unambiguous good guys, yet true crime television thrives in Netflix's Unsolved Mysteries.
The story of how structural inequalities have shaped Los Angeles can be found in Penny Dreadful: City of Angels but it needs to be in the forefront of season two.
Tuca & Bertie is decidedly female-centric and bold, featuring -- among other things -- a plethora of boobs: boobs on pastries, on plants, and boobs shaking on buildings.
Ramy's representation of the Muslim-American experience, the first-generation immigrant experience, and the bilingual experience, is a necessary and welcome addition to the millennial dramedy genre.
HBO's anthology horror series, Room 104, offers glimpses of promise and bizarre insight, but often feels constrained by its half-hour timeframe.