DragCon’s expansion to New York City seemed like the perfect way to continue establishing drag’s legacy in pop culture.
“Arrested Development” is a cult classic that critics love, fans worship and everyone questions a little bit.
The third season kicks off with a dose of optimism and an examination of the fractured reality of human existence.
Without feeling forced, it does great work to show that there is no one “type” of single parent and also highlights the bond their situation has created for them.
Yes, there are endless possibilities when it comes to basing a show off an airplane. “Manifest” takes advantage of none of them.
It presents suicide as romantic or necessary or beneficial to other people, when it’s none of those things.
Ironically, what makes the show so original is part of the reason why it fell so flat — it’s as almost as though they had HBO-level ideas with a Freeform-level action plan.
The slap bass aside, “Seinfeld” has an almost musical quality to it, a soundscape of sorts that’s kind of mesmerizing.
Despite a massive budget and star-studded cast, “Maniac” offers little of note.
Every show has its kinks to work out in its first season, and “I Feel Bad” isn’t immune to that.