jackaz15

Season four of Fargo is its darkest yet -- it's more inspired by other Coen flicks such as Miller's Crossing and Barton Fink than the original film. Admittedly, it seems impenetrable to casual viewers due to uneven pacing, verbose storytelling, and some serious sound mixing problems. However, devoted fans should instantly be enamored with its ambitious themes, terrific cast, dark atmosphere, astonishing cinematography, and memorable characters.

I was really looking forward to this series. I love the concept because what black people lived through in the 50s is the closest you can get to real-life horror. However, the two episodes so far have been abolute trainwrecks. Every shot looks absolutely stunning; there's plenty of eye candy for horror and sci-fi fans. But with such weak storytelling and such paper thin characters, it's very obvious the writers are not capable of organically adapting the novel into a show. The characters are not fleshed out in the slightest and have no discerning qualities other than that they're victims of racism, and the show's blunt, cartoonish depiction of racism leaves zero room for depth or subtlety. I know there's only been two episodes, but even HBO's Watchmen already served as a fantastic criticism of white supremacy by this point. I think the show is just trying to do too much all at once, because the end result is much less than the sum of its parts. It's really bad at exposition, and the writing is no better than any given episode of Scooby Doo or Goosebumps. I'm going to keep watching because the special effects are next level, but there's nothing else going for it. It doesn't work as a horror story, or as a story about racism in the 50s because of how cheesy and poorly written it already is. There should not be this many plot holes after only two episodes....

In Season 3, Game of Thrones comes into its own and cements itself as TV's strongest and most addicting fantasy with more supernatural elements and unpredictable twists than ever, while earnestly doubling down on its sumptuous production and refined character work.

Game of Thrones' rushed final chapter lacks intricate and organic storytelling, leaving behind wasted opportunities and squandered goodwill in its fiery wake; however, it coherently wraps up (most) character arcs and twists the knife in enough unexpected ways to end on a reasonably satisfying note, all while providing the cinematic entertainment fans have come to expect.

Game of Thrones returns to form with high stakes tension and visually splendid thrills as meticulous power plays help its disparate plot threads coalesce, resulting in long term payoffs for its lovable characters -- particularly the female ones -- in the show's best stretch of episodes.

Easily containing Game of Thrones' worst narrative decisions, Season 6 is, at best, a slowburn that culminates in the best two episodes of the entire series; at worst, it's a plodding and uneven transitional season.

Complete with a host of exotic new locations, Season 5 of Game of Thrones delves deeper into uncharted TV territory in its darkest, most sharply plotted, and most thematic installment thus far, but it must do right by its female characters if it wants to continue its upward trend.

Game of Thrones keeps getting better in a surprisingly focused fourth season that boasts a less convoluted narrative without sacrificing the show's trademark blend of top tier character development, mind-blowing twists, and spectacular set pieces.

In its debut season, Game of Thrones brilliantly weaves a medieval web of its own that is, though occasionally perfunctory, instantly gripping and complex, grounded by a diverse slew of deeply crafted characters.

Game of Thrones adopts a slower pace in Season 2, which is mostly fueled by worldbuilding, exposition, and political intrigue; but it's peppered with enough bloody action and intrinsic sexuality to maintain the show's singular charm.

American Horror Story: Asylum had a morbid and tightly constructed plot consisting of unexpected twists and disturbing scenarios, supported by fleshed out characters and audacious cinematic elements. (10/10)

American Horror Story Freak Show’s bizarre elements and unique cast were squandered by monotonous characters and lethargic writing, which relied on themes rather than genuinely chilling narratives. (5/10)

AHS: Hotel was so comically inept that its addictive glamour and B-movie cheese prevailed over its brutally boring gore, unfocused storytelling, and ostentatious sexuality. (4/10)

AHS Roanoke had an original approach and plenty of grisly diversions, but its misguided new format produced a snafu stuffed with contrived narratives, cluttered execution, and incompetent acting. (3/10)

AHS: Cult blundered through its pretentious and desultory story line to a tasteless conclusion via banal horror tropes, implausible characters, and bland cinematography, despite a structural improvement over recent seasons. (3.5/10)

Apocalypse crutches on lousy characters, corny melodrama, and an inconsistent tone, but the show’s eighth installment does not disappoint once crossover aspects are introduced with AHS’s most compelling story in years.

American Horror Story: Coven’s unwieldy plot was easily forgiven due to its brilliant production, original characters, creative thrills, and anomalous spirit. (9/10)

Despite tiresome characters and muddled plot threads, Murder House was unique and macabre thanks to its enticing direction, campy tone, and atmospheric tension. (8/10)