Entertainment Weekly's Scores

For 2,617 reviews, this publication has graded:
  • 66% higher than the average critic
  • 12% same as the average critic
  • 22% lower than the average critic
On average, this publication grades 6.7 points higher than other critics. (0-100 point scale)
Average TV Show review score: 73
Highest review score: 100 Twin Peaks: Season 1
Lowest review score: 0 The Witcher: Season 1
Score distribution:
  1. Mixed: 0 out of 2024
  2. Negative: 0 out of 2024
2024 tv reviews
    • tbd Metascore
    • 50 Critic Score
    It’s almost impressive how aggressively obnoxious the first episode is. ... But whenever the show moves away from the Goopers and focuses on actual humans — each episode features “case studies” with everyday folk who have tried the “alternative” treatment being discussed — it’s hard not to be drawn in on a more genuine level. ... One big problem with most of Goop Lab, though: It’s boring.
  1. Incredible cast, dynamite opening, too-leisurely progression, overly familiar execution. Watch with care, but watch.
  2. Putting aside any expectations for another serving of Iannucci’s savage satire, Avenue 5 is still a sharply-written comedy with a strong cast and an enjoyable mix of highbrow punchlines, broad physical comedy, and silly sight gags, one involving a radiation shield of human excrement.
  3. This year’s Golden Globes were the right blend of silly and serious. I felt good, I laughed.
  4. Light-hearted but not too whimsical, starring a heroine who solves low-stakes emotional puzzles with angsty pluck, and delivering entertaining musical numbers that supplement rather than dominate the story, Zoey’s Extraordinary Playlist is certainly worth keeping on shuffle.
    • 53 Metascore
    • 0 Critic Score
    Alas, my destiny is to never watch this borefest ever again.
  5. Much of the new season is fun, and showrunners Greg Berlanti and Sera Gamble nod to YOU’s more ridiculous tendencies by slipping in jokes at the show’s expense.
  6. The first two thirds of this series acts as the opposite of the Godfather line that Steven Van Zandt’s character is always quoting in The Sopranos: Every time I thought I was pulled in, the show kept pushing me out.
  7. The series remains full of magnetic charisma and talent. But a few too many moments left me saying, in the words of Midge and Susie, “That shoulda been something.” They’re gorgeous, but there’s not a lot of there there.
  8. The exact TV equivalent of a good MAD magazine spoof...
  9. Too often, however, Daddio‘s humor is the equivalent of taking candy from a baby — jokes about breast-feeding, telemarketers, and poopy diapers. And the cast couldn’t be more generic.
  10. Producer Gary David Goldberg (the man behind ”Spin City”) infuses ”Park” with plenty of ”City”-esque pacing and ”walk with me” camera work, but he forgot to add the laughs.
  11. The Beat may not be anything new, but it’s certainly the best drama UPN has ever aired — for what that’s worth.
  12. After watching all 10 episodes, it’s hard to imagine the mystery sustaining more than two seasons or so. But it’s far too early to quibble. Right now, Servant is delivering the kind of giddy thrills you want from horror: Things are going from bad to worse for the Turner family, and I can’t help but enjoy it.
  13. The new Mad About You is pretty much the same as the old Mad About You. It’s agreeable, familiar, a little meh. Reiser is an expert at comically charming befuddlement; his cozy chemistry with Hunt remains intact 20 years later. As for the Oscar winner, she’s even allowed to act occasionally.
  14. The clash of tones in this first episode felt cheap in both directions, striving for moral justifications of thrilling amorality. The Mandalorian really is Disney’s Boba Fett, a mercenary safe enough for kids.
  15. The season 4 premiere was outrageously confident, and generally outrageous. Rick and Morty is angrily funny, powered by Rick’s galactic cynicism and a tendency toward hysterical navel-gazing criticism. The self-awareness would be annoying, if there wasn’t so much self there.
  16. It felt like watching The Little Mermaid with regular interruptions for commercials and karaoke. ... The Howard Ashman-Alan Menken tunes are still very catchy, but all the new interpretations were unmemorable.
  17. At its heart, The Crown is a catalogue of the myriad ways Elizabeth must deny her true self out of duty to her country. It’s a theme that’s at once tragic and predictable, which makes the emergence of Prince Charles and Princess Anne as more prominent players all the more welcome.
  18. A smart, showy, and sometimes strained drama about women and control, men and #MeToo, and the evaporating line between news and entertainment.
  19. Though it’s only seven half-hour episodes, Fletcher gives the excellent ensemble substantive subplots about their own search for acceptance. White is a standout as Brendan ... The finale, which omits several of the developments in Perotta’s novel, feels bewilderingly abrupt for a show billed as a “limited series.” If ever a story cried out for another chapter, it’s this one.
  20. A relentlessly clever mash-up procedural, merging psychological medical mystery with techno-crime and spiritual struggle. Its paranoia is far-reaching, and very bleak.
  21. Wilson is riveting as the mysterious Mrs. Coulter. ... Keen easily conveys [Lyra's] cocksure spirit and fragile innocence; she is a rare child actor who is fully believable as a child. A caveat: This review is based on the first three episodes only (out of eight), so it’s impossible to say whether HDM will fill fulfill its early promise. (Either way, the show has a two-season order.) For now, though, HBO’s new fantasy saga feels like a page-turner.
  22. What follows is a propulsive story that encompasses not only Annie Wilkes’ origins, but a haunted burial ground, the Battle of Mogadishu, reanimated corpses, and Tim Robbins growling through a sharp-cheddar Maine accent as Ace’s cancer-stricken father, Pop Merrill. ... Every revelation about the character feels both urgent and canon-correct. ... [Lizzy Caplan] does a remarkable job portraying Castle Rock’s reimagined Annie. Her performance is masterfully physical.
  23. Like The Leftovers, it’s a vividly felt tale of generational sorrow, tapping deeper weirdness and structural experimentation as it goes along. Watchmen doesn’t overdose on nostalgia, like so many franchise extensions in our reboot-soaked decade. It’s dangerous, and invigorating. Like the proverbial Space Squid, it blew my mind.
  24. Living with Yourself is perfectly calibrated for binge-watching. Several of the episodes end abruptly, at the peak of cliffhanger tension, and the eight half-hour installments whiz by in a satisfying rush. We could all use a break from living with ourselves, so spend a few hours with Miles and Miles. You’ll come away refreshed.
  25. Almost Family doesn’t really want to deal with female anger, or the revolting nature of its own premise. Instead, it aims to spin stories about community and family that are just so darn heartwarming, we’ll forget they’re all based on a fertility felony. Like everything else about this show, it just doesn’t work.
  26. The Politician suffers from a combination of Netflix bloat and Murphy’s own tendency to overreach for the hell of it. ... With all of this said, it is absolutely maddening to report that the finale sets up a season 2 that looks utterly fantastic.
  27. The more The Kelly Clarkson Show can indulge its host’s goofy sense of humor, the more connected her viewers will feel.
  28. As offended as some may be, the show's stoner-friendly humor is innocuous.

Top Trailers