The show’s comedy is at its best when it gets a little dark and more than a little pointed.
If there’s one thing I know for sure about David Chase, it’s that he likes surprising viewers.
Scorsese, De Niro, and Paul Schrader buffs will want to check out the documentary The Plot to Kill Reagan.
Veronica Mars at times seems unaware just how much of its energy is bound up in the relationship between the title character and her ex-boyfriend.
Criminals try not to take their work home with them, but somehow it sneaks in anyway.
David Chase and his writers are so cynical about people that they make Luis Buñuel seem like Frank Capra.
From the get-go, fans of classic TV pegged The Sopranos as a series that owed plenty to English playwright and screenwriter Dennis Potter.
Talk about starting with a bang.
Each season, at least one group ostracizes one of its members on the grounds that he or she is “unmanageable,” “mentally unstable,” or “an angry black woman.”
I’ll reserve sweeping qualitative pronouncements until the 12-episode arc has played out.
The Oscar telecast was generally well paced and well judged.
David Milch’s Deadwood is spiritual kin to Presbyterian Church in McCabe & Mrs. Miller.
Mark Twain once said, “I didn’t have time to write you a short letter, so I wrote you a long one instead.”
Miller’s observations have dated in the sense that TV does allow keen stylistic gradations between channels.
Ted Koppel’s post-Nightline career has barely started, and already it’s shaping up to be as valuable as the one he left behind.
Talented filmmakers working on material from genre aficionados, yielding uneven results.
The blogosphere being what it is, I’m sure the expiration date on Golden Globes commentary has passed.
I’ve just been formally relieved of TCA Press Tour duties by my colleague Alan Sepinwall, who will be covering the second half.
Hill suggests that the western’s slow decline was probably due to two factors.
At a Court TV dinner, James Ellroy said he’d seen three hours of unedited footage from The Black Dahlia.
James Ellroy hasn’t seen much of De Palma’s film, but he liked what he saw.