fleabag

Like Phoebe Waller-Bridge in Fleabag, I turn to an invisible camera to give my unsolicited commentary. Some people talk to God — I talk to an audience that isn’t there.

The show’s well-made and thoughtful script offers much to enjoy in the series’ first half, despite it often being bogged down by poor visual presentations. 

Substituting class for cringe, “Persuasion,” rather than enticing a protraction of the Regency drama economy, is a master class in forging secondhand embarrassment.

Dogs share our world, and in “Stray” — and Istanbul — it’s as much theirs as ours. Lo leaves us with a final question: How come they have it better than people?

The 2010s may have been the best decade ever in terms of television produced.

In a night seemingly meant to be ruled by Netflix, Netflix came up short at the 77th Golden Globe Awards.

Shows such as “Big Little Lies” and “Fleabag,” presented as standalone stories in their first seasons, came back with fascinating new characters and plotlines for their second seasons.

The surprising success of “Fleabag,” along with a historic win for Billy Porter, made this year’s Emmys ceremony a pleasantly entertaining affair.

I find that I deeply resonate with a thought from “The Marvelous Mrs. Maisel” lead Rachel Brosnahan: She is tired of hearing the word “strong” as an adjective to describe female characters.