Maisy Menzies

This week’s episode, directed by Patrick Brice, is a light-hearted bizarrity that emphasizes the personal connections forged within the room rather than the horrors that often unfold there.

But in the folds of Ma, Banhart’s theatrical indie rock is less temperamental and vastly more refined. In short, vulnerability looks great on Banhart’s music.

To viewers' pleasure, Comer and Oh never shy away from delivering the alchemical magic, born of skill and what sometimes feels like what must be pure luck, that it takes to breathe life into the characters.

The 71st annual Emmy Awards finds television’s best shows at a crossroads.

What has become readily clear is that audiences are becoming more and more committed to shows that reflect the tone-shifts that reality does

Emmy nominations in all categories are awarded to season work, not series accomplishments.

In its season three premiere, the chillingly supernatural realm of HBO’s “Room 104” comes as close as it ever has to delivering an origin story. 

The words we collect expose parts of us — parts of us we want to share, but can’t in such specific terms.

On GINGER, Brockhampton meshes all that it has developed over these seminal albums into a record of mellifluous earworm tunes and immensely reflective lyrics that demonstrate to listeners just how much it’s members have learned from each other and from themselves.

The UC Berkeley ethnic studies department and multicultural major programs have historically struggled to maintain their funding in the face of campus budget cuts.