Adapted from a bestseller, “Daisy Jones” was premium intellectual property. The show never had to be good, just marketable.

The most satisfying—and most frustrating—features of HBO’s hit show are the future of TV.

“Andor” is a show about the moral choices adults are forced to make in a world of adult consequences.

Back for a fifth season, “Yellowstone” glorifies a rural rancher’s war against outsiders and developers.

In Amazon’s take on The Lord of the Rings, the hero is a fanatic, ceaselessly seeking out potential threats.

Over six episodes, “The Rehearsal” becomes a show not about helping people but about its creator’s anxieties and compulsions.

A new Jane Austen adaptation dares to ask: What if “Persuasion” took place not just in the early nineteenth century but at wine o’clock?

What the team behind the brilliant Showtime docuseries learned about relationships from their film about Anthony Weiner.

How movies about the political system fell in love with cynicism and messaging

The show’s new season with Natasha Lyonne at the helm is more honest, more experimental, and more reflective of its maker.

The Hulu series portrays the Theranos CEO as a visionary outcast—just as she saw herself.

Forget crypto. The currency that’s tanking right now is celebrity liberalism. Looking at you, Matt Damon, Reese Witherspoon, and LeBron James.

The new Netflix drama about fake heiress Anna Delvey has much in common with “Billions” and “Succession.”

The “Succession” actor’s autobiography is pleasingly horrible.

As Logan and Kendall go to war, it’s impossible to tell good intentions from cynicism and hypocrisy.

The HBO series written by Jesse Armstrong isn’t often described as a crime show. That’s because its main characters are billionaires.

In the new film prequel to “The Sopranos,” fatally flawed fathers and deluded sons buckle under an enormous pressure to be men.

TNR editor Michael Tomasky talks with the acclaimed filmmaker about his new project, airing Sunday on PBS.

Rather than focus on Bill Clinton or Monica Lewinsky, the show makes Linda Tripp the key to understanding the tangled and toxic politics of the late 1990s.

Bob Ross was the soft-spoken “Happy Painter,” beloved by audiences. When he died, conflict erupted.