Television

Film Review: “Framing John DeLorean” – Back to What Might Have Been the Future  

June 10, 2019
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John DeLorean remains an unwieldy figure whose story is difficult to frame — the new film leaves much unreported and unexplored.

Television Review: “Deadwood: The Movie” — History’s Train Pulls into the Station

June 3, 2019
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Of course, history has not come to Deadwood to douse the smoldering embers of the past, but to supply more kindling.

WATCH CLOSELY: “Killing Eve”’s Second Season — Glamorous but Glib

May 30, 2019
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Killing Eve is a smart, funny, and often shocking exploration of the complex psychologies of women leading dangerous lives, for whom killing comes much easier than it ought to.

Television Review: “This is Not Happening” — Standup Comedy Gets Real

May 19, 2019
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This Is Not Happening serves up welcome shots of honestly and reality that hit you in the most ticklish parts of your own amusingly flawed, hilariously stupid humanity.

TV Review: “Barry” Season Two — All Bets Are Off

May 6, 2019
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HBO’S Barry has finally started to hit its stride as a mirthfully dark comedy/drama.

Television Commentary: Martin v. Tolkien

April 30, 2019
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Is it all, from here on out, to be about Daenerys v. John Snow for the Iron Throne?

Television Review: “Crashing” — The Power of Being Earnest

April 9, 2019
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Crashing shows us how Holmes’s innate sweetness and affability carries him through the awkwardness and indignities of being a working comedian.

WATCH CLOSELY: “Chilling Adventures of Sabrina” — Coming of Age Cauldron

April 6, 2019
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The series presents plausible, relatable social situations within a weird, dark, quasi-magical framework.

Television Review: “Shrill” — Fat and Proud

March 30, 2019
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Shrill picks up narrative strength once we see Annie slowly come to terms with the yawning gap between who she is and who she has been told to be by her family, her friends, and society at large.

Television: PEN15 — Middle School Made Uproarious

March 7, 2019
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Maya Erskine and Anna Konkle turn in frequently hilarious but vulnerable performances as their adolescent counterparts.

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