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While every episode is chaotic and wild, they’re also predictable, consistent and reliable — something we all need in a show we can trust, no matter how closely you’re paying attention.
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None of these ideas are thoroughly chewed on — they are sloppily swallowed whole without enough time spent to fully indulge in the juicy flavors each could provide.
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We are presently in a golden age of television. It would be nearly impossible for one person to sort through all of the television at our fingertips and decide what is or isn’t the best. This is where the Emmy Awards come in.
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The second season has no concrete source material, and it’s often challenging for series based on novels to maintain the focused narratives they began with.
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These women challenge the altar of systemic expectations. I know the women whose red kisses leave unwashable stains on the tapestry of society.
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Whether on our laptops or in our living rooms, television has always been a space of escape, in which our ideologies are reflected back to us.
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The Emmy Awards, much like their film, theater and music counterparts, are annually greeted with both excited buzz and exhausted indifference.
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“Anything could happen anywhere, given the circumstances,” Atwood writes. Both the novel and the series serve as a chilling wake-up call.
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The Daily Californian’s got you covered with binge-worth TV shows.
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“Rocky” gave audiences an underdog story for the ages, “Chuck” serves as a reminder that not all champions are larger than life. Philippe Falardeau’s biopic examines an episode in the life and career of Chuck Wepner (Liev Schreiber), the professional boxer from Bayonne, New Jersey, rumored to have been the
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