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Episode of the Week

Every episode we've chosen as the Episode of the Week. Check out the archive here.

Disney+’s Star Wars series, The Mandalorian, is a triumph of atmosphere — and little else

By Emily St. James

Mr. Robot’s final season is a brilliant argument for the show’s ongoing relevance

By Emily St. James

CBS’s Evil is one of TV’s wildest shows, disguised as a network procedural

By Emily St. James

How El Camino captures what Breaking Bad did best

By Allegra Frank

Fox’s Almost Family aims to build a quirky family dramedy around medical rape

By Emily St. James

ABC’s Stumptown is the scuzzy private-eye show we need right now

By Emily St. James

American Horror Story: 1984 puts the camp back into teen slashers

By Aja Romano

How Netflix’s Unbelievable turns a true story about rape into challenging, must-watch TV

By Emily St. James

Football is perfectly calibrated to TV. So what happens now that live TV is fading?

By Emily St. James

Bristling with nerdy energy, Alton Brown’s Good Eats is back — and not a moment too soon

By Emily St. James

How FX’s Pose captures the power of queer found families

By Emily St. James

This one scene explains what makes Netflix’s Mindhunter so scary

By Emily St. James

Why Euphoria’s messy season finale could mean great things for the show’s future

By Constance Grady

HBO’s Years and Years immerses us in our soon-to-be dystopia. Until it chickens out.

By Emily St. James

Starz’s The Rook is formulaic to a fault — but it has one storyline unlike anything else

By Constance Grady

CNN’s debate draft special shows cable news has learned nothing from 2016

By Emily St. James

Younger is a great show. One of its love interests, not so much.

By Alissa Wilkinson

Stranger Things 3 cements the show as the YA series of our age. For better and worse.

By Emily St. James

HBO’s Los Espookys is tremendously funny and even more weird

By Emily St. James

HBO’s Euphoria is two shows in one. One is bad. The other could be good.

By Emily St. James

The Bold Type’s giant shock: finally showing what it’s like to work in media

By Alissa Wilkinson

Chernobyl’s stellar finale makes a case for the show as science fiction

By Emily St. James

Ava DuVernay uses real history to damn the present in Netflix’s When They See Us

By Alissa Wilkinson

How do All in the Family and The Jeffersons translate to 2019? Surprisingly well.

By Emily St. James

How the Veep series finale offered (a little) hope for America in 2019

By Alissa Wilkinson

Fosse/Verdon’s latest episode is key to unlocking this fascinating, flawed miniseries

By Emily St. James

HBO’s Barry traces a hit gone wrong in an episode unlike anything else on TV

By Emily St. James

Netflix’s wonderful Street Food focuses on the human aspect of ordinary food

By Alissa Wilkinson

The Magicians’ season 4 finale was frustrating and maybe irresponsible. I kinda loved it.

By Emily St. James

Billions has turned into one of TV’s most ruthlessly entertaining shows

By Emily St. James

You’re the Worst’s finale was the perfect — and perfectly ambitious — sitcom ending

By Emily St. James

How Jane the Virgin’s giant twist sets up the show’s endgame

By Constance Grady

Hulu’s The Act is hard to watch. That’s the point.

By Emily St. James

Catastrophe’s final scene is perfect

By Emily St. James

Comedy Central’s Corporate brilliantly satirizes living in an era of constant tragedy

By Emily St. James

Sitcoms usually get meaner as they get older. Not Brooklyn Nine-Nine.

By Emily St. James

The Magicians paid off 74 years of queer subtext this week

By Constance Grady

Standup comedy’s debate over political correctness, explained by HBO’s Crashing

By Emily St. James

Arrow, a show about vigilante justice, used its 150th episode to argue that vigilantes are bad

By Alex Abad-Santos

The Other Two might be the first comedy about millennials feeling old and obsolete

By Emily St. James