Recap: Vinyl ‘Alibi’
“Vinyl’s sense of music history is surface-level and haphazard, and, most damning, it has yet to fully reveal why it needs to exist (over the course of 11 entire hours).”
Recap: Vinyl ‘Rock and Roll Queen’
“‘Rock and Roll Queen’, the ninth and penultimate episode of Season One, is largely a gathering together of ongoing plot threads and weaving them into a runway on which the entire season will land next week, and that’s fine.”
Recap: Vinyl ‘E.A.B.’
“Because, man, when Vinyl sucks, it really sucks. But when it doesn’t suck… it doesn’t suck. Read that back as early 70s Iggy Pop, it’s a better line that way.”
Recap: Vinyl ‘The King and I’
“Is there any point to Richie being an asshole? Is Richie even a character? What is it about Richie Finestra as a protagonist that requires this story be set in the early 70s?”
Recap: Girls ‘Queen for Two Days’
“I know I say this every week, but it must be said again: this is such a good season of Girls.”
Recap: Vinyl ‘Cyclone’
“‘Cyclone’ is the most trying episode of Vinyl yet for anyone less than fascinated with Bobby Cannavale’s Richie Finestra”
Recap: Vinyl ‘He in Racist Fire’
“There was a return this week, in grand fashion, of Horrible Coke Faces.”
Recap: Vinyl ‘The Racket’
“This week’s Vinyl was actually good! Pop some champagne! Cut up some lines of coke on the desk! Cue the orgy!”
Recap: Vinyl ‘Whispered Secrets’
“The thing about Vinyl is that, if it was good, the series would be a lot more fun to watch.”
The Plea’s the Thing: American Crime Story ‘100% Not Guilty’ (Recap)
“Racism is, of course, the defining issue of discrimination in the O.J. case, but the show never lets us forget the misogyny which also haunts its characters.”
Recap: Vinyl ‘Yesterday Once More’
“The pilot’s structure resembled a vinyl record by being circular. The follow-up resembles one because there’s a hole in the middle.”
Recap: Vinyl ‘Pilot’
“Trying to divine the future of a series from its pilot is a fool’s errand, and even more so when so much of the show’s appeal as yet rests in the ‘in nomini patris, et filis, et cinema sancta amen’ passion of its director, the cinema’s most charismatic priest.”
Martin Scorsese’s ‘Alice Doesn’t Live Here Anymore’ and Why His Female Protagonist Matters
“For a legendary director known more for gangsters, hookers, and tough guys, Alice Doesn’t Live Here Anymore stands as a remarkable chapter in the Scorsese canon.”