Everything about "Horace and Pete"—its seriocomic ambivalence, performance aesthetic, production values—seems calculated to knock viewers out of their comfort zone.
"Downton Abbey" has been vivid, suspenseful, and often funny, but it has always remained a soap opera with pretentions, a show obsessed with the passage of time.
To judge by the pilot, the TV version of "The Magicians" will be a fast-paced and workmanlike distillation of Lev Grossman’s enthralling and often moving trilogy.
Pope Francis kicked off the Jubilee Year of Mercy with the opening of the Holy Door at St. Peter’s. I started my observance with a brilliant black comedy from HBO.
By focusing on cultural and institutional microcosms, a documentary paints a picture of an entire society whose various activities are all embedded with chaplains.
The series presents a view of medieval Catholicism as the realm of cranks and fanatics, while Thomas Cromwell is shown as distinctly rational and reasonable.
As Francis plans to overhaul the Holy See's media management, a bishop-psychotherapist is assigned to help remove "playboy priests" from an infamous Italian diocese.
From "Mad Men"'s central narrative vision—a conjuring of 1960s advertisers at work and play—some plotlines meandered this way and that, only to hit a dead end.
Tight-lipped officials reveal details of Jubilee year. Serra's canonization is almost complete. And for the first time, a woman bishop visits the Apostolic Palace.
As mainstream news organizations were losing their claim on authority and trust, Jon Stewart used smarts and comedy to establish his own journalistic credibility.
"Grantchester," part of PBS’s Masterpiece programming, is soothingly old-fashioned, falling comfortably within the bounds of the cozy mystery genre.
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