Phillip Maciak

@pjmaciak

The new FX show captures fear and confinement better than any on-the-nose pandemic drama.

Julian Fellowes’s ode to nineteenth-century wealth has decided it has a story to tell about organized labor.

Mike Flanagan’s latest Netflix show is an exhausting mashup. Even worse, it’s not scary.

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.

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

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

Scientists disagree about what life on other planets even means. Would we know it when we saw it?

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

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.

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.

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

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

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

Keith Gessen’s memoir, “Raising Raffi,” embraces the embarrassment and vulnerability of fatherhood.

Don realizes he's not the leading man

Sally is the secret protagonist of 'Mad Men'