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.

In the Hulu show, everyone is struggling to get by in a hostile city.

Max is stripping back its prestige offerings and going big on shows like “House Hunters”—a shift decades in the making.

How a style steeped in American elitism took over the world

“Justified: City Primeval” questions a lawman’s anger.

A spate of documentaries produced by athletes and leagues are more interested in settling scores than in the game.

The team behind the Netflix show says it “strongly disapproves” of the presidential candidate’s anti-LGBTQ campaign ad.

The FX show is a raucous, romantic meditation on what it means to teach and to be taught.

The Netflix documentary about Arnold Schwarzenegger doesn’t know quite what to do with his disturbing rise in politics.

No other show better understands the slippage between who we are in private and who we are in public.

Just not in the way you might think.

The show’s final episodes reject the cynicism and exhaustion of our moment.

Stories from the last strike can’t explain the current action. Nor should they necessarily give us comfort.

The new Peacock series is a testament to human originality.

The Amazon Prime show starring Rachel Weisz is oddly suspicious of new technology in reproductive health.

Hollywood writers are striking in part to preserve an endangered profession. The studios’ response? Quit whining.

In the new FX adaptation, Dickens’s England is crass, vulgar—and thoroughly tainted by Empire.

A growing array of shows hype up the feel-good drama of modern sports—while tuning out the controversy.

At the start of its third season, the show’s plucky underdog premise is wearing thin.