Ken Jennings returned for a second stint as guest host. In the episodes that aired last week, he appeared more willing to open up a bit.
More than 14 million viewers tuned in to ‘Yellowstone’s’ season four premiere on Sunday, the most-watched premiere on cable since a 2017 premiere of ‘The Walking Dead.’
‘The Office’ teaches its young fan base that there is dignity in all work, a valuable lesson amid our nation’s massive labor crisis.
Federalist Culture Editor Emily Jashinsky and D.C. Columnist Eddie Scarry discuss ‘American Crime Story: Impeachment,’ by Ryan Murphy.
Think of ‘The Morning Show’ like the Harper’s Letter of television: corporate progressives questioning their illiberalism without conceding the cause is rooted in their own ideology.
As its third season draws to a close, and the stakes keep getting higher, ‘What We Do In The Shadows’ is as good as ever.
‘Squid Game’ is an engaging and violent premise that attracts an audience, shares an unrelenting story, and reinforces whatever view of humanity you hold.
Isaac Asimov’s ‘Foundation’ remains a seminal sci-fi creative property, but there’s a reason it took so long to bring this saga to the big screen.
Alluring and exciting at first, it is ultimately not worth the time expended. It lacks focus and is overreliant on shock value.
On Monday’s program, Bialik was introduced as ‘the host of Jeopardy!’ — not the guest host — and she made no reference to the change in emcees.
From removing the triggering word, “guys” to a storyline of a “transgender pregnant man,” “Survivor” has fallen into the identity politics trap.
Cassius Clay, ‘The People’s Champion,’ left a legacy that athletes can, or should, have an impact on politics and culture.
The last two episodes of ‘Rick and Morty’ season five take a somber turn at times as the pair plumbs some emotional depths across multiple universes.
Perhaps the weirdest week of episodes in ‘Jeopardy!’ history just concluded, but one constant remained — Matt Amodio kept winning.
The long-awaited return of Bravo’s ‘Real Housewives of Salt Lake City’ underscores the creeping true-crimeification of the network’s popular reality fare.
Like Rory, the corporate media sees itself as the golden darling, unfazed by the dumpster fires it’s constantly setting by willful ignorance and brassy arrogance.
Netflix’s ‘Cooking with Paris’ is perfectly on-brand, intentionally over-the-top at times, and the perfect introduction to Paris’s next chapter.
Jordan Klepper is the physical embodiment of cringe Resistance comedy.
The journalists are both in and of the community they cover, showing why the cliched death of local news involves a loss that platitudes can hardly capture.
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