Channels and Networks

I’m one of those insufferable fans of The Last of Us Part II who thinks it’s a work of towering genius, and I’ve done nothing throughout these recaps but moan about all the ways in which Season 2 of the HBO adaptation has made changes to it.

Good news, those few remaining viewers who consume The Walking Dead: Dead City out of choice instead of professional obligation -- Episode 3 isn't quite as stupid as the previous installment was.

It was always going to be difficult to adapt The Last of Us Part II, which is a game that relies on the fundamental expectations of video games as a medium to tell a pretty complex story about grief, revenge, and various other attendant matters, none of them particularly positive.

I've never been on board with the idea of hate-watching something. It seems like a waste of time to me.

Conceptually, The Walking Dead: Dead City was supposed to capitalize on the unresolved and oddly sexually charged relationship between Maggie and Negan.

The Last of Us, as a game and a TV show, is bleak to an extent that borders on parodical, like a social experiment designed to psychologically break huge swathes of people with their so-called entertainment.

There's usually a calm before a storm, but The Last of Us Season 2 provided enough storm in its previous outing that everyone spends Episode 3 reeling from it.

I must confess to being slightly sick of Suits LA. I feel like the writers have grossly overestimated the appeal of the Pellegrini subplot and the impact of repeated Harvey Specter cameos.

Only rarely will you see pre-release hype for a single hour of television as vigorous as what HBO was pushing for "Through the Valley".

Taking a page out of Black Mirror's playbook, Poppa's House tries to tackle a relevant subject in Episode 16. And like recent Black Mirror, it's misguided rubbish.

There seems to be a bit of a pattern emerging now where Suits LA pulls out an emergency solution whenever it starts to sag.

The reason why The Last of Us worked as a live-action video game adaptation is largely because it knew it couldn’t just adapt the game directly.

The point of an ending is, ostensibly, to provide answers and dramatic payoff, which is a concept that for some reason Yellowjackets has never quite...

Now that’s how you do a finale. The Hunting Party caps off a run of great form with a brilliant ending that weaves its case of the...

I mentioned last week that Suits LA felt like it was over. The end of Lester’s trial had a climactic feeling to it.

The White Lotus doesn’t do happy endings, which is by design. Each season begins with the promise of death and ends by delivering it.

I’ve got to be honest; I’m starting to lose track of Yellowjackets a bit. Between the dual timelines, switching perspectives, surreal dreamscapes, dark side alter egos, and flesh-eating past and present, it’s getting harder and harder to tell what’s what.

Call me naïve, but I thought Poppa’s House was onto something. After finally introducing a halfway-compelling new element, it regresses into its default state in Episode 15.