SPLIT | SCREEN: Sympathy for the Devil
It’s hard to do TV horror; maybe there’s something about its rhythms of terror and catharsis that doesn’t mesh with hour-long serialized programming. The most well-known examples are long gone but enduringly buzzy, and even these can be tough going. When my sister and I tried to dive into the iconic and fetishistic “Twin Peaks,” the first pair of episodes was so emotionally exhausting that it turned back our best faith efforts. Should’ve checked it out on Hulu before getting her the DVDs for Christmas. Shouldn’t have watched it at night.
And it is surely to their credit
Aaron Sorkin, Mama always warned me about men like you — those sweet-talkers with chips on their shoulders, the arrogant, the fatally undependable. And oh, you’ve done me wrong this time.
Weariness Is Coming
We can’t help but feel that the season three premiere was “Game of Thrones” on training wheels.
Laying ‘House of Cards’ on the table
As if the heavens heard us and felt compelled to answer, Netflix released “House of Cards.” With a $100 million budget, a cast of bona fide movie stars and David Fincher directing, Netflix’s first original program immediately established itself as “serious” television — that is, when it wasn’t being called a very long feature film by its writer-showrunner, Beau Willimon.
Christmas specials: the good and the bad
Since this will be our last installment before winter break, we thought we’d take the time to talk about a special subspecies of television: the holiday episode.
‘Last Resort:’ Almost There
SN: This week, we look at the first installments of “Last Resort,” which seems to aspire to be the next “LOST”: a massively popular hourlong network drama the likes of which we haven’t seen in a long time. “Last Resort” is about the crew of a Navy submarine armed with nuclear missiles and stealth technology: »
The loose ends of J.J. Abrams
GC: We wanted to kick things off with the high-concept drama that’s brought J.J. Abrams back to a small screen near you: “Revolution.” (NB: he’s only the executive producer, but his fingerprints are all over it.) The premise ought to be compelling — the lights have gone out, and they’ll never come back on. The »