This week, The New York Times hails a memorable Season 3 episode, while Slate is a fan of the entire season in general. Plus, Lee Pace wins CarterMatt's top actor award. Read on for more:

• The New York Times calls "The Threshold" one of 2016's most memorable TV episodes because it built to a "stunning ending" and was "anchored by the committed performances of Mackenzie Davis and Kerry Bishé."

• Applauding Halt and Catch Fire, Slate writes, "When I finished watching the third season, I had to get up and walk around my block, because the story felt so full of possibility and danger and hope. I wish the show could run a million years, but I am happy it will get four, before it can wear out its welcome."

• CarterMatt's readers have voted Lee Pace TV's top actor for the second year in a row: "What makes the work of Pace so spectacular often comes via his restraint. He’s a performer who lives within the moment, and has no problem making many of Joe’s most-powerful scenes poignant within their subtlety."

• Halt and Catch Fire has one of the year's best TV soundtracks, according to The Guardian which says Thomas Golubić, the music supervisor, "might have one of the hardest jobs in TV – assembling a soundtrack for a series set in the 1980s that doesn’t use the tired cues we all associate with the time period."

• Collider names two songs from the show on its list of TV's best songs in 2016: "Velouria by Pixies from "NIM" and "New Morning" by Bob Dylan from "NeXT."

• Halt and Catch Fire is one of the Salt Lake City Weekly's 16 best TV shows, as the "'80s-set computer-revolution saga moved to Silicon Valley in Season 3, amping the startup fireworks between Mackenzie Davis and Kerry Bishé, who overshadowed even Lee Pace(!)."

• Polygon, ranking the year's best shows, talks up "The Threshold," applauding, "Mutiny’s most consequential board meeting was one of the most unforgettable scenes in all of TV this year, with Mackenzie Davis illustrating the shock and pain of feeling betrayed by her own company."

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