Man in the High Castle, House of Cards, and the Value of Dystopian TV in a Dystopian Era
The One Scene This Year That Left Me With Tears Literally Streaming Down My Face
When Will TV Finally Stop Killing Off Its Lesbian Characters?
Why The Magicians Made for Such Compelling Television
Orange Is the New Black’s Season Finale Was the Most Significant TV Episode of the Year
The Shows That Achieved Peak TV Velocity and Became Inescapable Were Mysteries
The Shows That Offered the Most Uncomplicated, Escapist Pleasure This Year
Television Deftly Tackled Mental Illness This Year
Why We Shouldn’t Mourn the Loss of the Big, Noisy, Funny Comedy
Watching the Election Results Felt Like Sitting Through the Finale of TBS’s Search Party
The People v. O.J. Simpson Is the Best Series That Could’ve Emerged from 2016
One Show Explains the World We Now Live In: ABC’s Last Man Standing
How Trump’s Win Re-Contextualized Certain TV Trends
Get Ready for Next Year’s Deluge of Reboots
Shiri Appleby on UnReal Was One of the Year’s Breakout Performances
How Many Episodes Is the Right Length for a TV Season?
Fargo’s Patrick Wilson Gave Us a Totally New Kind of Male Protagonist
What Will the Future of TV Networks Look Like?
Colin Farrell Didn’t Get Enough Credit for His Performance in True Detective