Each John Oliver monologue takes a different weighty and urgent political issue and deconstructs it with wit, clarity and moral purpose.
The men are portrayed as comically irrelevant — and this is refreshing given the phallocentric alpha-male angst that has been TV fodder so often before.
Louie is a difficult show to advertise because it is the only example of art-television at the moment.
I love Saturday Night Live as much as the next guy, but Kids In The Hall did much more with much less than Lorne Michael’s comedy fiefdom.
One of the most remarkable features of Cosmos — and possibly its greatest public service — has been its matter-of-fact, understated championing of the scientific method.
The creator of the series, Mike Judge, and his team have gone to great lengths to sweat the details of the corporate landscape of San Jose and its environs. Right from the start Silicon Valley rang true.
It’s sort of like someone snatching the epic novel you’re a few chapters from the end of out of your hands and subsequently run off cackling into the sunset, only to allow you to finish it in a year.
Most of HBO’s “The Normal Heart” is a pretty decent adaptation of the 1985 stage script, with some good things added, including an effective pre-credit section set on Fire Island in 1982.
Louis C.K.’s “Louie” is a master class in straddling highbrow and lowbrow.
The complete “Hill Street Blues” is a godsend for those eager to venture beyond “Law and Order” and “CSI” dynasties.