Over the course of its run, Game of Thrones has explored the relationships and conflicts between those who have power, those who want it, and those who will never have it. But after several seasons of these characters being ground under the wheel of the old hegemony, season five marks a change.
Marvel kicked off its multi-series deal with Netflix last week with the premier of Daredevil. Without hyperbole, this is the best thing Marvel has ever done.
At the beginning of season five, I was ready to bail on The Walking Dead. After so much narrative dithering, and the crushing nihilism week after week, I was sure I’d had enough. Credit to Scott Gimple for convincing me to stick around. This season was a strong offering that benefitted from more focused storytelling.
The new anthology drama by John Ridley, the Oscar-winning screenwriter of 12 Years a Slave, is an intense, poignant look at issues of race and class in contemporary American society.
House of Cards spends so much time trying to prove its importance that it forgets to actually do the work. For all its moody cinematography and (executive producer) David Fincher sheen, it’s just a campy soap opera whose sum falls far short of its pretty, pretty parts.
Pre-Heisenberg Saul is a far cry from the slick, confident shyster we’ve come to know. Here he’s a disheveled, sad sack public defender just barely scraping by with an office is in the back room of a nail salon and a canary yellow Suzuki.
The Walking Dead is a show that works best when the characters are on the move, and there is a clear objective. So far, season five has given us both.