Andrew Romano

Flawed but fascinating. ... At times it can seem too proud of its virtuous noncommerciality; its slowness can seem shallow, its artiness willful. I'm still not sure what kind of show it wants to be ... But I'm going to stick with it.

The case [ordon and Raff] make on Tyrant isn't particularly convincing, or even all that entertaining. The details are too generic. The conflicts are too simplistic. Abbudin is too unreal.

So how is the Halt and Catch Fire pilot? Surprisingly good in some ways—and fairly typical in others. Surprisingly good in some ways--and fairly typical in others.

Season 4 is just as brilliant as the seasons that preceded it.

The plot itself isn’t particularly complex.... The satire, on the other hand, is exquisite.

It is--and continues to be in Season 4--a total storytelling masterclass.

The Americans is already reinventing itself. Why? Because it has the confidence to know that it's about more than the relationship between two specific characters. Rather it's about the idea of relationships in general, in all their intricacy and weirdness--the secrecy they require, the comfort they create, the confusion they entail, the danger they can unleash. And that never gets old.

While House of Cards has always explored both the personal and political sides of life in Washington, D.C., my early sense is that, in Season Two, it’s gotten better at both.

The performances are fine.... As a Lifetime Television Event--a sanctioned airing, projected into the living room, of some grown-up's version of Flowers in the Attic--that context [of the book itself being contraband] is gone. Completely. And so is most of Flowers’ strange, strange magic.

Judging by the initial installments, it's not only one of the most riveting and provocative series I've seen in the last few years; it's one of the most riveting and provocative series I've ever seen. Period.