
Deadwood Is a Play About How Speech Builds a Town
Deadwood's profanity gets the attention. Its structure is the more radical thing: a camp that becomes a polity because people keep talking their way into agreements.
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Deadwood's profanity gets the attention. Its structure is the more radical thing: a camp that becomes a polity because people keep talking their way into agreements.

HBO's The Leftovers began with a mystery and spent three seasons refusing to solve it. That refusal was the argument, and the finale is the only ending it could have had.

Craig Mazin and Johan Renck's five hours of television are remembered for the reactor. Their real subject, and their real structure, is a trial, and the audience is seated in the jury box before it knows it.

The complaint about the Thailand season was that nothing happened for weeks. That was the design. Mike White built a season about people who cannot move, and then made the form hold still with them.

Brad Ingelsby's seven-episode HBO drama looks like a crime series about armed robbery. Its actual subject is who gets to keep which child, and every storyline is a version of that question.

A year after Industry's third season brought Kit Harington and a green-energy IPO into the show's London trading floor, the season looks like the moment the show became the best finance drama in TV history.
The eight-episode prestige-TV season has become the default format. It is also, for most shows, the wrong length. An essay on what the episode count is costing us.

A year after The Penguin finished its run on HBO, the show is a strong argument for what the superhero universe can still do on television when nobody makes it wear tights.

Issa López's anthology season was the most divisive prestige TV of the year. Eighteen months out, the things it got right outweigh the things it did not.
Nathan Fielder returned in April 2025 with six episodes about cockpit communication and commercial aviation safety. The premise sounds like a joke. It is not a joke.

HBO's six-episode Bene Gesserit prequel arrives with a specific set of inherited problems and a few genuine pleasures. The question is whether the pleasures can sustain a second season.

House of the Dragon's second season ended earlier this month. After eight episodes that often circled material without advancing it, the season is a specific diagnostic.
Park Chan-wook's HBO adaptation of Viet Thanh Nguyen's novel is the most formally audacious prestige TV of the spring. A show about duality delivered by a director who specialises in it.

The Regime, the six-episode HBO political satire starring Kate Winslet, finished airing earlier this month. The show is a specific tonal experiment, and it is worth taking seriously.