For 389 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.3 points lower than other critics. (0-100 point scale)

Willa Paskin's Scores

Average review score: 64
Highest review score: 100 Masters of Sex: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Negative: 37 out of 389
389 tv reviews
    • 77 Metascore
    • 80 Willa Paskin
    The new version of Party of Five, which premieres on Freeform on Wednesday night, is a timely reinterpretation of the original, a remix with meaning. ... Sadder and more wrenching then the original. Unlike the Salingers, the Acostas are not awfully, simply without their parents. They are in an excruciating limbo.
    • 84 Metascore
    • 70 Willa Paskin
    Colman intuits that Elizabeth, at the height of her powers and in the middle of a calm stretch, is content. The performance is both believable and emotionally astute: Elizabeth would be settled and comfortable. But this, along with the equilibrium in her marriage, snuffs out some of the little tension there used to be. ... That the show remains appealing through this relatively slow going is largely thanks to the more high-strung characters surrounding Elizabeth.
    • 65 Metascore
    • 50 Willa Paskin
    Stately and extremely boring.
    • 66 Metascore
    • 80 Willa Paskin
    While it’s hard to imagine this Emily is introspective enough to be any kind of poet, let alone Emily Dickinson, the show is unassuming and charming, mixing things up to convey the jarring weirdness of being ahead of one’s time. I think it would be a hit on Netflix.
    • 37 Metascore
    • 20 Willa Paskin
    Violent, grim, and exceptionally silly. It’s Bird Box meets Game of Thrones, but stupider.
    • 61 Metascore
    • 50 Willa Paskin
    It’s not good, but it’s bad in an extremely satisfying (to me) way. Like The Newsroom and Smash before it, it is an earnest, mediocre, insider-y look at an insular entertainment world of extreme interest to New York media types.
    • 85 Metascore
    • 80 Willa Paskin
    He’s packing a punch. Watchmen is a show that will be scoured for clues about yet-to-be-birthed fan theories, even as it’s an intrinsic provocation of the sorts of genre fans who were angered by Star Wars centering women and people of color, or outraged by the suggestion that certain superheroes, James Bond, or Hermione Granger might be black. It’s not just that Watchmen’s main character is a black woman, it’s how the new show reframes what came before it.
    • 66 Metascore
    • 40 Willa Paskin
    A baroquely yet dully overstuffed series that hides what makes it genuinely new for Murphy—the focus on a single character—in a familiar-for-him form: a histrionic teen melodrama.
    • 55 Metascore
    • 70 Willa Paskin
    [Transparent] finishes not with a whimper but a choreographed musical number titled “Joyocaust.” It’s the climax of a movie-length “Musicale Finale” that works its way through various stages of OK-ness to crescendo with something so enthusiastically, earnestly nuts it achieves a kind of transcendence.
    • 68 Metascore
    • 50 Willa Paskin
    For a show that is both thoughtful and appropriately cynical about Israeli intelligence services—the Mossad’s concern for the nation turns even its most effective and devoted citizens into expendable cogs—it is surprisingly gentle to Cohen, a gentleness that becomes indistinguishable from shallowness, a spoiled sort of kindness.
    • 78 Metascore
    • 60 Willa Paskin
    The series doesn’t minimize the internees’ hardships, even if it somewhat underplays them. But it’s also a little strange to see the only major piece of pop culture about Japanese-American incarceration imply that its characters have even scarier things to worry about.
    • 89 Metascore
    • 80 Willa Paskin
    The new season is less funny than the first but more urgent.
    • 64 Metascore
    • 40 Willa Paskin
    There are a lot of spinning plates, and while none of them come crashing down, they wobble, slowly. Watching the first two episodes made me nervous: I kept expecting the whole thing to tip over into catastrophe. Instead, it stays in mediocrity.
    • 49 Metascore
    • 40 Willa Paskin
    Blander, more hackneyed and less memorable, it’s also four times longer.
    • 27 Metascore
    • 30 Willa Paskin
    Dull. ... Everything is fake, except for the part where everyone really is hustling. ... When you think about what’s driving The Hills, its emptiness becomes almost hilarious.
    • 61 Metascore
    • 70 Willa Paskin
    The series begins as full-steam-ahead entertainment, an Aaron Sorkin–ish explication of history, in which the past plays out with the buzzwords of the future. ... It’s packaged as a biopic and not some larger condemnation of “our times.” As I watched it, I kept wondering if something so relatively understated that aspires—unlike Ailes—to come across as relatively unbiased was too subtle for the world that Ailes created.
    • 68 Metascore
    • 30 Willa Paskin
    Euphoria has all the elements of a juicy teen soap, but the high school antics are curdled into their most sickening formulations, the fun sanded off till the skin is raw. Everywhere you look is only sadness and debasement. Euphoria has plenty of antecedents, other teen incitements that push a frenzied kind of emptiness—Kids, Skins, Less Than Zero—but there’s an especial dullness to Euphoria’s provocation.
    • 82 Metascore
    • 80 Willa Paskin
    Streep is the real wonder in this scene, but I did also admire the finesse with which the show has worked out a Streep-time-sharing scheme. ... Kidman’s Celeste would obviously get time with someone playing her mother-in-law, but the actresses and the series’ writer David E. Kelley had to come up with something a little more creative for Witherspoon’s Madeline. The solution, like the entire second season, works better than it has any right to, a compromise—to create more content, to get Reese and Meryl acting together—that doesn’t feel compromised at all.
    • 86 Metascore
    • 100 Willa Paskin
    Impassioned, worthy, and at times very moving. It is also regularly excruciating. A particularly pointed example of a new kind of Must-See TV, When They See Us appeals not to our pleasure centers but to our higher minds, our civic responsibility, our duty to watch for the greater good. It challenges TV’s mandate to be fun.
    • 96 Metascore
    • 100 Willa Paskin
    Fleabag Season 2, which I cannot recommend highly enough, is thrillingly deep, funny, and buoyant. ... The ending is hopeful, but, to my mind, a little rushed. What a joy, for my major complaint about a TV show to be that there is not enough of it—the opposite problem of basically every other show on television.
    • 75 Metascore
    • 50 Willa Paskin
    [A] blandly decent first episode ... Momentum, the idea that we are hurtling toward some conclusion that will explain it all, has been so encoded into the Game of Thrones experience that in the absence of any forward motion, the show is … kind of dull.
    • 68 Metascore
    • 50 Willa Paskin
    Fosse/Verdon is extremely watchable and totally fascinating. ... But it’s full of the shoddy and cruel compromises it purports to be about. It’s a show in which a grotesque man is made to seem less grotesque than he was, and a brilliant complicated woman seems less brilliant and complicated than she really was.
    • 61 Metascore
    • 50 Willa Paskin
    A bunch of perfectly adequate episodes that range in quality from pretty OK to bad.
    • 74 Metascore
    • 80 Willa Paskin
    Wherever Annie is at in accepting herself, she--and the show--is over misery, even as a way to amass sympathy or identification. The show also has a great supporting cast. ... But mostly the show has Bryant, who even when she’s playing self-obsessed--becoming a self-actualized human being may require a wee bit of egomania--is extremely appealing.
    • 88 Metascore
    • 90 Willa Paskin
    Russian Doll is a two-hander, and when it gets to that portion of the series--around Episode 4--the whole thing elevates even further, both emotionally and logistically. Russian Doll is a tightly plotted, high-concept puzzle-TV comedy.
    • 72 Metascore
    • 80 Willa Paskin
    The new season has some of this same incomprehensibility [of season 1 and 2], but a relatively small amount. Everything about it is toned down. The creepy totems left at the scene of the crime seem like a willful echo of the first season’s tangles of twigs, but without their eerie power. Ali is excellent as Hays.
    • 83 Metascore
    • 90 Willa Paskin
    An extremely effective piece of entertainment journalism--though it may be more accurate to think of it as an extremely effective piece of activist entertainment journalism. The series is comprehensively damning and powerfully disturbing--while also being riveting.
    • 45 Metascore
    • 40 Willa Paskin
    Beach House is a bag of Pop Rocks that don’t fizz, a firework that sputters into nothing much. ... Perhaps the cast will come to seem interesting after a few episodes, but if any of them were switched out after the premiere, I wouldn’t notice. Lohan and her business partner Panos Spentzos—who with his matching yellow hat and caftan, outsize ego, and acid asides has a much cannier grasp on how to be a reality star than anyone else assembled.
    • 75 Metascore
    • 80 Willa Paskin
    I found her [Florence Pugh as Charlie] extremely appealing and am looking forward to seeing her in whatever she does next (including Greta Gerwig’s adaptation of Little Women), even though her spirited sanity undermines the tension around her character’s psychological torment. Pugh is helped in all of this by the script.
    • 87 Metascore
    • 70 Willa Paskin
    [My Brilliant Friend] is slavishly faithful to the source material. If this doesn’t make it a particularly inspired or creative adaptation, it does at least restore the books to themselves rather than their talking points.

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