Phillip Maciak

@pjmaciak

The Apple TV series, now in its fourth season, may be the best, least watched show on television.

Robert and Michelle King’s show fits an enormous story about the fallibility of humankind inside a network procedural.

Sure, “The Sopranos” is art, but “Real Housewives”?

The prequel inherited the “Games of Thrones” empire—but doesn’t know quite what to do with it.

When streamers “dump” whole seasons instead of releasing weekly, they strip away some of TV’s most reliable pleasures.

Park Chan-wook’s new miniseries on HBO takes American imperialism to task.

The new FX series is not an attempt to make a “new” Game of Thrones or a “new” Mad Men or even a “new” Shōgun.

Larry David crafted a show about mortifying social encounters that somehow left us feeling comforted. 

The new Netflix show faithfully adapts Liu Cixin’s bestselling novels but lacks imagination.

Rather than project a cool, comforting exterior, these comedians have each built a show out of their unease.

The Apple TV+ show starring Juliet Binoche wrestles with Coco Chanel’s work for the Nazis.

If the 2005 film relied on explosive star power, the new TV version works harder for its payoffs.

A decade ago, the series turned viewers into sleuths, hotly debating plot details and clues. That era of TV is over.

Benny Safdie, Nathan Fielder, and Emma Stone take social awkwardness to the most painful levels TV has ever seen.

Many of this year’s most notable shows swam in a sea of raw trauma and psychic violence.

The new FX show captures fear and confinement better than any on-the-nose pandemic drama.

Julian Fellowes’s ode to nineteenth-century wealth has decided it has a story to tell about organized labor.

Mike Flanagan’s latest Netflix show is an exhausting mashup. Even worse, it’s not scary.

The FX show could have been a near-perfect hangout sitcom. It did something much more interesting.

Apple’s horror series loses sight of the drama and grief at its center.