“13 Fear Is Real,” a fizzled effort at scaremongering that begins Wednesday on CW, reveals just how badly reality television can go astray when the casting fails to get creative.
“The Real World: Brooklyn” the latest version of the reality television progenitor that has aired on MTV for 17 years, places its young cast in a loft in Red Hook.
The “Top Chef” kitchen exquisitely mirrors a certain kind of creative workplace where the obsessively gifted flounder in the face of the coolly confident.
“Brotherhood,” which begins its third exceptional season on Sunday, is yet another Showtime drama featuring main characters who rationalize self-interest as altruism.
Spawned from the 2005 film of the same name, “Crash,” the first original drama series made for the Starz cable channel, isn’t the most original depiction of Los Angeles but it has a noirish appeal.
“The Chef Jeff Project,” a new series beginning Sunday on the Food Network, feels like reality TV giving back and compensating for a hundred prior sins.
“Gavin & Stacey,” which begins Tuesday on BBC America, became a hit in Britain resting on the rather simple premise that no two people come together alone.
Nothing on television matches the freaky calculus of exploitation and good will in A&E’s “Intervention,” which lures dope fiends and alcoholics into confrontations with their families.
A period piece on CBS, “Swingtown” nears the end of its summer run with a dwindling audience despite all the elements that seemed to point to its potential for popularity.
BBC America continues its coverage of time travel with its campy science-fiction show, “Primeval,” which imagines an England threatened by lobster-like creatures.
In the current spate of reality series there is no one for whom we might feel sorry, no one to hate, but a whole lot about which we might feel very bad.
Barbara Kopple’s latest film, an atonal if compact investigation into the life and criminal activities of John Allen Muhammad called “The D.C. Sniper’s Wife,” makes its debut on Saturday night.
The screenwriter Andrew Davies's latest adaptation of Jane Austen proves again that we should all suffer the misfortunes of real estate endured by the downgraded heroines of Austen’s tributes to love and property.