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What does ‘Mr. Robot’ mean in the age of Trump? And can its fictional revolution possibly compete with the real world?

One of the most compelling undercurrents of the show is how it's developed a kind of “against the grain” feminism with its female characters. This came to a head in Season 6, arguably Game of Thrones' most feminist season yet.

The BET Awards Sunday featured tributes to Prince and Muhammad Ali, and a performance by Beyoncé and Kendrick Lamar. But this year, the actor Jesse Williams commanded the spotlight with an impassioned speech calling for an end to police killings, racial inequality and cultural appropriation.

A brief primer, for those unfamiliar with Penny Dreadful: the show takes place in a fictional Victorian London where gothic creatures of the night exist, seances abound, and famous literary characters (Victor Frankenstein, Dorian Gray) mingle with original characters.

One of Orange Is the New Black's greatest accomplishments in Season 3 was exploring the Litchfield guards' inner lives just as deeply, richly, and with just as much complexity as it has the inmates' lives. Rather than set up a false dichotomy where the prisoners are the "good guys" who just got themselves into a bad situation and the guards are the monsters, Season 3 shows us that the guards have it tough, too. So tough, in fact, that they decide to unionize.

Three showrunners of some of the most influential TV dramas of the so-called golden age of TV shared the stage at the ATX Television Festival Saturday morning at Google Fiber Space, describing the birth of HBO’s original dramas, what it was like to create iconic shows such as “The Wire” and “Homicide: Life on the Street” and why despicable characters still make for great TV.

Why do reality television’s most popular stars so uncannily resemble the heroines of the 19th-century writer’s work?

Kunta Kinte and his family’s struggle to survive is rendered in a sleeker, visually gripping package without diluting the historical vestiges that endure in America.

Robert Schenkkan’s Tony award winning All the Way portrays Lyndon Baines Johnson in his finest hour, and its multi-media staging on Broadway was already cinematic in nature. HBO’s TV adaptation — directed by Jay Roach in collaboration with Schenkkan’s screenplay and airing Saturday — has upped the ante, giving us a leaner, less unwieldy and more intimate rendering.

The CBS drama’s dramatic finale brought a sad but fitting end to a show that has always been a little bit awkward about its female friendships.