In the most recent episode of our TV podcast Cut to Black, Gretchen Felker-Martin and I remember the life and work of Michael K. Williams—available here, here, or wherever you get your podcasts.

Go listen!

I’m please to announce the debut of Cut to Black, a new podcast about how we experience television from me and Gretchen-Felker Martin. Our first episode is on our favorite line of dialogue ever, from Boardwalk Empire‘s Richard Harrow. You can currently find us on Spotify and Anchor; more platforms should be forthcoming shortly, so thank you for your patience. Happy listening!

Grappling with the big questions?

Try The Young Pope and The New Pope (HBOGo/HBO NOW)

Here’s the deal: Italian director Paolo Sorrentino’s outrageously bold pair of series take on the iconography and ideology of the Catholic Church with a sly sense of humor and a knack for surreal visuals. The Young Pope stars Jude Law as Lenny Belardo, an “incredibly handsome” American elected Pope by his brother cardinals, whom he comes to rule with an iron fist. The New Pope, which is simply The Young Pope Season 2 by a new name, introduces John Malkovich as Belardo’s successor, the dandyish Englishman Sir John Brannox. Fully loaded with eye candy, both shows grapple head-on with the power of faith and the mystery of love—or is that the other way around? Your jaw will drop even as your mind expands.

I wrote a guide to 10 off-the-beaten-path shows to binge-watch during quarantine for Decider. This one was a long time in the making—I hope you dig it!

It’s been a decade since “Don’t Stop Believin'” cut off in Holsten’s, and The Sopranos cut off with it. June 10 marks the tenth anniversary of the original airing of “Made in America,” the final episode of creator David Chase’s modern mafia masterpiece. Credited (correctly!) with kicking off a new Golden Age of Television, the show ended on an equally influential note: silence. We’ll never know whether mob boss Tony Soprano was killed as he sat down for dinner with his family (as in nuclear, not crime), or if his life simply went on, with the next FBI raid, hitman or plate of ziti always just around the corner. Nor are we meant to figure it out, no matter what you’ve read on the internet. For Chase, the ambiguity and uncertainty speak not only to Tony’s uniquely precarious existence, but all of ours’ as well.

Demanding, divisive and pretty much perfect for the show it concluded, “Made in America” remains the gold standard for finales to this day. In one form or another, nearly all its successors are a reflection of it, whether attempting to right its perceived wrongs or live up to its masterpiece status. Moreover, as one of the first major shows of its kind that was allowed to end in its own time and on its own terms, The Sopranosaccidentally popularized the unfortunate idea that a show is only as good as its final episode, and that if you don’t “stick the landing,” nothing that came before is worthwhile. That’s an extreme overreaction, of course — a bad finale is not a magic eraser that wipes out the hours you spent enjoying the show up until that point — but it’s a concept creators and audiences alike now wrestle with.

With Tony trapped in that diner limbo for ten years (Schrödinger’s Soprano?), we’re taking a look at six of the standout series finales that have aired since: Mad Men, The Wire, Breaking Bad, Boardwalk Empire, Lost and Battlestar Galactica. What did they get right, or wrong, about the shows they’re concluding? What did viewers take away — and what should they have focused on instead? Should we be asking if they stuck the landing, or if they leapt into the unknown? Fire up the Journey and find out.

I wrote about some of the most satisfying and disappointing finales of the past decade, all involving really good shows, for my debut at Mic.

Nor has there been a finer, sadder example of a wounded warrior than Richard Harrow. Introduced by writer Howard Korder during season one while waiting for a psychiatric evaluation at a veteran’s hospital, Harrow (an unrecognizable Jack Huston in his breakthrough performance) makes a knockout first impression with his broken-throated, Gollum-like croak, the unnerving uncanny-valley mask he uses to hide his severe facial disfigurement (a sniper himself, he was shot in the face), and with the black nihilism he cites as the reason he no longer reads novels. “It occurred to me: The basis of fiction is that people have some sort of connection with each other. But they don’t.” I gasped when I first heard this line, dredged from my worst fears about life, love, and their collective lack of lasting meaning. Richard’s capacity for belief in humanity was blown out of him in the Great War, and much of his time on the show chronicled its slow restoration, though dozens of dead bodies dropped behind him on his way. This archetype — the man (usually) who is taught violence in service of an ideal, only to discover one is real and the other a cheap fiction — is a distinctly American one; The Wire’s Omar Little,Fargo’s Hanzee Dent, and Game of Thrones’ Sandor “The Hound” Clegane all share Richard’s table in their sad Valhalla. And though his final scenes were devastating, his greatest contribution to the series is in the teeth-grinding tension of the shoot-out sequence that completes the third season, as he blows his way through a small army of Rosetti men to rescue his late friend Jimmy’s son. The scene weds action to emotion as effectively and movingly as any I’ve ever seen, its resolution viewed through a blood-spattered window, an impenetrable barrier to normalcy for this tragic figure.

On the eve of the debut of Vinyl from the same creative team, I got to write a longtime dream essay of mine, a full-throated defense of Boardwalk Empire as one of the New Golden Age of TV Drama’s hidden treasures, for Vulture.

I’ll be talking The Newsroom, The Comeback, The Walking Dead, and the best shows for a holiday-break binge on HuffPost Live’s Spoiler Alert today at 5:05pm. Tune in here!

I’ll be talking the Boardwalk Empire finale, Homeland, & The Affair on @HuffPostLive today at 4:55pm. Watch it here.

I reviewed the series finale of Boardwalk Empire for Rolling Stone.

Nucky started the series as a crooked politician, but as Prohibition continued he became more of the traditional gangster. Was it the law that unleashed the criminal in him?

People were made millionaires overnight by Prohibition. If you were willing to traffic in illegal alcohol and run the risk of getting arrested or hijacked by other gangsters, you had to be prepared to do things you hadn’t done before — like murdering people. That’s what Jimmy was warning Nucky about.

You know, there was no shame about it. People had been drinking beer their whole lives, and suddenly it’s illegal? It was pretty hard to convince anybody other than the temperance movement that alcohol was this bad thing. It was just illegal, not morally wrong. Your average man on the street had no intention of giving up his daily beer or scotch — he just had to figure out how to do it. So these guys weren’t looked down upon. It’s not like they were heroin dealers or murderers. They were providing a service, a commodity, that most people found innocuous.

There was also a collision of historic events that not only made the gangster world possible, but were tailor-made for it. You had a generation of young men coming back from World War I who spent the last two years in trenches killing people for free. Now, suddenly, all you have to do is guard a truck and maybe shoot somebody, and you could make a fortune. Guys lined up all the way around the block to do that, since they’d basically been doing exactly that for nothing. You had all these disenfranchised, disillusioned young men who were perfectly willing and able to get into that business.

There’s a character on the show who says: “The premise of fiction is that people have some sort of connection to each other. But they don’t.” Is that your conclusion as well?

I think it’s a matter of perspective. I’ve always thought that when they say ignorance is bliss, the converse to that is that knowledge is hell. The more you know, the bleaker things can get. Jimmy once said that all you have to worry about is when you’re alone at night. You run out of booze and you run out of company, and [then] you’re really alone with your thoughts.

I interviewed Boardwalk Empire creator Terence Winter about the upcoming finale, and his next project with Martin Scorsese, Mick Jagger, and Bobby Cannavale, for Rolling Stone.

I’ll be talking The Affair, Boardwalk Empire, and Homeland on HuffPost Live’s Spoiler Alert at 5pm today. Turn on tune in!

“You probably don’t even hear it when it happens, right?”—Bobby Bacala, The Sopranos

“You tell yourself it’s quick, but you don’t know. You can’t know, until it’s you, and then you can’t tell anyone.”—Nucky Thompson, Boardwalk Empire

In an echo of the New Jersey gangster masterpiece that spawned it, Boardwalk Empire‘s penultimate episode ever — “Friendless Child” — walked Nucky Thompson right up to the edge of the great unknown. He’s lost everything now, or close enough not to make much of a difference. His unlikely right-hand man Mickey Doyle and ruthless, loyal bodyguard Archie were tossed on the pile of bodies that’s been mounting around him for years — a levee of corpses designed to protect his kingdom by the sea. But that empire, too, has fallen, traded away for the life of a nephew who wants nothing to do with him to a trio of crime lords who couldn’t possibly intend to honor the agreement. When they break it, they’ll break it with a bullet.

But now that Nucky is alone – now that there are no more plans to hatch, deals to make, wars to fight – what does he see in his isolation? A letter from Gillian Darmody, and the sight of her face staring back, begging for help. Her plea and her gaze are an indictment of the terrible crime Nucky committed by bringing her to theCommodore in order to begin his long road to power. (A decision, we learn tonight, he made knowing full well the fate that awaited her.) By having her direct them not just at Nucky but at everyone watching the show, Boardwalk makes this act’s importance clear in no uncertain terms. That final shot puts young Gillian at the center not only of the frame, but by extension the episode. It suggests that the suffering of the series’ greatest female character is no less important than the moves and machinations of the men fighting for control of the empire she eked out an existence within. It shows that that empire would not exist without the suffering of Gillian and countless other people like her. It’s the series’ gutsiest, and most moral, move to date.

I reviewed tonight’s penultimate Boardwalk Empire for Rolling Stone. I cannot stress enough that if this show were the vapid, self-serious shoot ’em up it’s made out to be, Gillian Darmody would not be where she is in this episode.

I’ll be talking Boardwalk Empire, Homeland, and (god help me) The Walking Dead on HuffPost Live’s Spoiler Alert show at 4:40pm today. Click here to tune in!

And if you missed last week’s show, watch it here!

I can’t really excerpt anything from my review of tonight’s Boardwalk Empire without ruining it for someone. If you’ve seen it, though, please read the review.

I’ll be discussing the season premiere of Homeland, the latest episode of Boardwalk Empire, and the news that Twin Peaks is returning for a new season in 2016 (!!!!!!!! more on that anon) on HuffPost Live’s Spoiler Alert show at 4:50pm. I’ll be talking about Homeland, Boardwalk Empire, and Twin Peaks (!!!) on HuffPost Live’s Spoiler Alert show today at 4:50pm. Click here to tune in!

“You want it to be one way. But it’s the other way.” That’s a quote from The Wire, another great HBO drama of crime and community. But Nucky Thompson – and the Boardwalk Empire viewing audience – would do well to heed the words of the steely-eyed young Baltimore drug lord Marlo Stanfield. When a fictionalized version of a bit player in gangland lore declares war against Lucky Luciano, Johnny Torrio, and Meyer Lansky – the three men who established the most successful organized crime operation in American history – that war can only end one way.

Granted, it may not be as simple as Nucky dying in defeat at the end. Perhaps he’ll find some way to make peace with the kings of New York —”paying Roman tribute,” as he puts it to current crime boss Salvatore Maranzano right before the Luciano/Lansky/Torrio alliance tries to assassinate them both. All we know for sure is that he won’t be sending them to their graves as promised. But with material this varied and rich it hardly matters. The task of tonight’s dynamite episode — “King of Norway” — was simply to show whether a journey to a preordained destination can be worth taking. The answer is yes.

“My life is a fuckin’ shipwreck.” “Well, land ho.” I reviewed tonight’s fine Boardwalk Empire for Rolling Stone.

Power is a performance. It’s a matter of knowing your audience, picking up on whether you should be funny or scary, when to play to the cheap seats or act with awards-caliber subtlety. Isn’t this the obstacle faced by Steve Buscemi in the minds of many viewers? His quiet, hangdog intensity as Nucky Thompson is an outlier in an era of volcanic, Byronic TV antiheroes. But that’s the point: For all his successes before and after Prohibition, Thompson’s decision to become more than “half a gangster” has forced him into a role he can’t quite master. As Boardwalk Empire hits the halfway mark of its final season in tonight’s episode — “Cuanto” — it examines the nature of that performance, and those of other characters who’ve found themselves shoved onto stage.

As a boy, the future chairman of the boardwalk is brought before the Commodore, who offers the young Nucky a glimpse of his grand plans for the Jersey shore (and an unwitting peek at his collection of photos of sexualized young girls), grinning when the kid notes that this is Atlantic City “as you wish it to be.” That wish includes everything from a stronger transportation infrastructure to segregated housing. But Nucky’s ability to follow along does nothing to placate his boss. “You think you’re a smart boy.” “If I say yes, you’ll think I’m boasting. If I say no you’ll think I’m lying.” “Don’t try to parse me.” The boy is trying his best, but this command performance is unscripted, in front of the toughest crowd in town.

So he’s naturally flabbergasted when he and his brother Eli are rewarded for going off-book. After catching them breaking into the Commodore’s hotel for a taste of the good life (read: indoor plumbing), Sheriff Lindsay takes the Thompson boys to his own house for a home-cooked meal with his kind, politically minded wife and smart, friendly family. They eat good food, they tell corny jokes, they negotiate a role for the patriarch in Mrs. Lindsay’s temperance crusade, over which the Sheriff conspiratorially shares a nod and a wink with Nucky. It’s too much for the kid, who breaks down crying at his first glimpse of a life that’s emotionally rewarding — a life where he can simply be himself. Cut to an hour later, when he’s asking the Sheriff to assassinate his own father. The terms with which Lindsay demurs are revealing: “Don’t go where you don’t belong. Don’t take what isn’t yours. Don’t pass your burdens on to others. Don’t make me do my job — because I will.” Know your role, Deputy Sheriff Thompson.

The rest of my review of tonight’s Boardwalk Empire for Rolling Stone continues along these lines.

Ironically, the underworld is the one place where our antihero’s real-life inspiration — Nucky Johnson — made a legacy that lasted. As the host of the 1929 Atlantic City Conference, a multiethnic gathering of crime bosses from across the country whose ranks included such Boardwalk Empire characters as Meyer Lansky, Charlie Luciano, John Torrio, Al Capone, Bugsy Siegel, Waxey Gordon, Jake Guzik, and Owney Madden, Johnson was a pivotal player in the organization of the criminal network known as the National Crime Syndicate. This in turn was a crucial step on the road to the establishment of New York’s “Five Families” and the nationwide governing body called the Commission by Luciano and Torrio several years later, following the bloody resolution of the war between Joe Masseria and Salvatore Maranzano.

But the Atlantic City Conference – like Arnold Rothstein’s murder in 1928, like the stock market crash and the St. Valentine’s Day Massacre in 1929 – falls in Boardwalk‘s seven-year gap between its fourth and fifth seasons. Generally, Boardwalk‘s storytelling instincts are sound, particularly in building to big climaxes, so that’s a decision worth trusting. Lining up the end of the show with (presumably) the final consolidation of power by Luciano and Lansky makes sense — and hey, nothing’s stopping us from deciding that Nelson Van Alden and Eli Thompson were Capone’s St. Valentine’s Day triggermen on our own. But given the fictional Nucky’s envy of Joe Kennedy’s legacy, cutting the real Nucky’s single greatest contribution to American history is a curious choice. However, Nucky’s conversation with Lansky in Havana, in which it’s revealed they haven’t seen each other since 1928, means the Conference never even took place in the Boardwalk universe — so it’s possible that the show’s simply playing with the timeline.

Either way, Nucky’s empire as it currently stands has narrow boundaries, and establishing them cost him everything. His sister and parents, including his abusive father, are dead. His brother Eli is in hiding. His surrogate father and son — the Commodore and Jimmy Darmody, respectively — both turned on him, and both died for it. His closest companion for years, Eddie, killed himself. He lost his first wife, Mabel, in childbirth and his second, Margaret, when she could no longer stand him. His relationship with his nephew Willie is cordial enough, sure, but as Kennedy notes, that’s a very thin reed to hang a life on.

It’s only in talking to Sally Wheat – long-distance love interest, business partner, and the closest thing he’s had to a friend in the entire series – that Nucky feels truly at home. In moment so sweet it’s shocking for a show like this, the two of them listen to “Happy Days Are Here Again” together over the phone. Suddenly a relationship between two Prohibition Era bootleggers becomes recognizable to anyone who’s ever enjoyed a favorite song with a loved one over videochat.

Well, I used my knowledge of mafia lore and close reading of film to try to predict the end of Boardwalk Empire AND compare a very sweet plot point to using Google+ Hangouts in my review of tonight’s episode, so I’ve probably peaked.

Elsewhere, Gretchen Mol demonstrates why she may be Boardwalk‘s MVP as Gillian Darmody. This has always been a show that’s had a hard time with its women, even more so than many of its macho peers. Margaret has often felt tangential to the action (remember that sex-ed subplot?). Angela Darmody’s entire story depended on her not being able to do anything she actually wanted to do. Nucky’s string of showgirl girlfriends (beginning with the delightfully batshit Paz De La Huerta) had little to do but be frivolous and naked. The two women around whom Chalky’s storyline centered last season, his daughter Maitland and singer Maybelle White, were both fascinating — and were each gone by the finale.

Gillian is different. As a character, she’s required to get naked on command as much as anyone — it used to be her job as a showgirl, and her route to continued influence over the Commodore; now, in an insane asylum following her unwitting confession to a murder last season, it’s a condition of her imprisonment. But her nudity has a terrible energy to it, informed by her rape when she was a girl, and her subsequent determination to turn that victimization to her advantage. Here, that energy is reflected in the freakish image of a room full of mental patients erupting out of strait-jacketed bathtubs like aliens from chest cavities. When Gillian herself finally emerges, slowly and deliberately instead of in a panicked fit, her naked body is both a come-hither and a middle finger all at once. That’s part of what made the shaggy-dog-joke nature of her caged-heat storyline in this episode so satisfying. No, her female warden isn’t the queer-predator cliché she seems; she’s just one woman bargaining for a taste of the good life with another woman who fought tooth and nail to taste it herself.

I reviewed last night’s Boardwalk Empire for Rolling Stone.