Comedy Central

The line between performance and truth in “The Rehearsal” is delicate, but perhaps all that matters is the series’ verisimilitude. It feels real; all of it, the rehearsals just as much as the purported realities.

There’s an argument to be made that many, maybe even most shows are at their best in earlier seasons, when the magic is still new to viewers. 

From forgettable to boring to downright awkward, very few comics seemed to hit their marks in the constrained, virtual sets. 

Progressive social critique is wide-ranging, and it’s admittedly hard to juggle all of it when considering the growing role of social media in cultural criticism.

Since the festival’s beginning, each year has seen music scaled back a bit more, resulting in what Sampson hopes is the ideal balance.

We are presently in a golden age of television. It would be nearly impossible for one person to sort through all of the television at our fingertips and decide what is or isn’t the best. This is where the Emmy Awards come in.

Step outside of Scranton and into some other series that take place almost entirely at work.

Comedy Central should consider itself lucky that it has connections to such a stellar lineup for the second annual Clusterfest in San Francisco.

Wilmore’s presence was refreshing — his brand of comedy was well-matched for the moments when Lewis veered into uncomfortable territory.

This string of odd jobs served as the guiding lived experience for a script that landed them their 2018 narrative show on Comedy Central: “Corporate.”