Caroline and Anna discuss the final episode of Girls, the black cabbie documentary The Knowledge and the true crime podcast My Favorite Murder.
Very few landmark police series stand the test of time. Between the Lines is an exception.
To have seen at least part of a time when popular entertainment has become so substantial is a great privilege, and I bless it without reserve.
Every episode is crammed with story, side to side and top to bottom.
In The Wire, meaning catches up as you watch.
Very little screen entertainment nowadays is made with an adult audience in mind. Bloodline is for grown-ups - with the savage family dynamic to prove it.
Far from being the uninhibited, free-speaking woman we had imagined at the advent of the new feminism in the mid-1960s, Sarah is overburdened with worry.
The series is exceptional because it features a predominantly female cast who exist in a micro-universe of woman-centredness. But that's not the only boundary it breaks.
Deadwood is about uncomfortable things: the birth and death of capitalism, the queasy insistences of greed and ambition and the orgiastic sex charge of ultra-violence.
“It was a delightful visit;—” as Jane Austen wrote in Emma, “perfect, in being much too short.” In seven episodes, Generation Kill delivers.
It's been a difficult year, but there were still a few reasons to smile.
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