Paste Magazine's Scores

For 164 reviews, this publication has graded:
  • 74% higher than the average critic
  • 8% same as the average critic
  • 18% lower than the average critic
On average, this publication grades 11.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 78
Score distribution:
  1. Mixed: 0 out of 140
  2. Negative: 0 out of 140
140 tv reviews
  1. Coulam provides a satisfying ending that doesn’t suggest another season, content to close this story through final (perhaps slightly rushed) revelations tinged with hope. For fans of crime dramas, that is exactly what we come for.
  2. I appreciate that there is an effort, both by Prince and the writers, to make sure that Hilde is more than just some one-dimensional cute or precocious brat, and that there seems to be some serious fire in her veins when police officers initially dismiss her with a pat on the head. And do I indeed want to see—and do I want mine and other kids to see—an intrepid female reporter on the case? Yep. Do I wish that there were more adult versions of her on screen? Of course. But do I also wish the particulars of the job were handled more responsibly, especially in the era of fake news, and certainly if kids were going to watch? Uh huh.
  3. It will be worth it. Mrs. America is dense, worth savoring and discussing throughout. It manages to walk an almost impossible line between reverence and satire, and it also gives clear historical context for the rise of the Moral Majority and the women who have come to rule Fox News, and all who align narrow “traditional values” with being American.
  4. Tales from the Loop is that rare sci-fi show: one that trusts us to breathe in deep the oddities of its world, accept that we aren’t going to know everything, and climb aboard anyways. That trust, built with its tactful scene-setting and human-sized troubles, allows for easy investment in deceivingly simple dramas. If the rest of the episodes are as touching, moving, and casually engaging as what I’ve seen from The Loop, Amazon already has one of the year’s sharpest pieces of sci-fi.
  5. When Run is at its most authentic, it truly shines as a character study, honestly searching for how something so outlandish would really work. In those moments, it never shies away from the truth that we can’t run from ourselves, and Wever and Gleeson plays that sadness with aplomb. But again, once things start spiraling so out of control that it reaches territory that can never be undone in these characters’ lives, it has the potential to lose some of that authenticity as it moves towards bigger and bigger moments.
  6. The show is at once a throwback and cutting edge. The cast is all so strong. They hit the comedic notes effortlessly and with aplomb.
  7. Wonderfully entertaining, and full of sharp portrayals.
  8. The pigheaded optimism and pessimism rampant among this tragic, stubborn political hodgepodge is composed of some unbelievable characters and others all too real. Together, arcs can sometimes seem conspicuously constructed; other times they’re so out-of-control that it’s hard to believe it holds together. ... Uncomfortable as it is, it’s all immaculately crafted. The Plot Against America is another crash course in history, sociology, and political science from The Wire team that has all the power of a waking nightmare.
  9. Something deep? No, not really. But something fun, for sure. ... As for the choices, themselves, series creator Duane Caprizi and his team have managed to come up not just with the right balance, number-wise, but also the right balance in terms of each decision matrix’s ultimate narrative impact.
  10. Despite a few quibbles about its pacing, Belgravia’s sleek six episodes provide the TV equivalent of a beach read romp, one that is engaging and ultimately very satisfying.
  11. Season 3 may have expanded its story to a worldwide class conflict, but it still feels like its scope scaled down for the better as it hurdles towards a conclusion perhaps tragically predestined to reverse the power dynamics of the original park.
  12. On the whole, the documentary combines a number of niche interests: docuseries, true crime, and the Zodiac killer specifically. Its four-episode counts makes it an easy investment, one whose ultimate turn is bizarre but feels like a perfect fit for this strange case’s natural twists.
  13. The show could be set in the present day. Its themes, particularly those surrounding what defines motherhood, are timeless. The conversation around race and privilege are perhaps even more relevant today than the era in which the show is set. Washington is fantastic as Mia. ... [Witherspoon] has perfected the entitled character who is blind to her own entitlement, living a life that is so controlled and carefully cultivated that she may have even lost sight of what she truly wants in life.
  14. While Freeman and Haggard give strong performances, the show often plays out like a comedian who has gone too far in trying to figure out what’s funny without seeing what actually works.
  15. Devs is a very intellectually heavy piece, and one which Garland has done a fantastic job of breaking down into true episodes.
  16. By starting with such a simple premise—Everyone deserves to have a name; everyone deserves to matter—and using richly textured but visually lean photography, Tucker and her team manage to pull it off. Of course, a major part of this team is the excellent cast.
  17. Season 5 is still in America and it does start happily, and in many ways the first few episodes I’ve seen have had that same kind of angst you expect from Outlander. But on the whole, it has felt more like a warm hug of familiarity.
  18. Cherish the Day tries too hard to guide us in how we’re supposed to feel, instead of—like Gently—letting us run headfirst down the path to admire a splendid flower, discovering it on our own.
  19. Though it wanders in its middle episodes, Narcos: Mexico remains a finely written drama that loves to wow us with facts and maps even more than twists born from violent turns (which are, nevertheless, exceptionally effective). It’s smart, dense, and has a flare for the dramatic that keeps each episode interesting (and will have you, once again, running to Wikipedia to compare characters and events to their real-life counterparts).
  20. The first few episodes are so full of smirk-inducing, long-winded bits that stammer on for such prolonged, repetitive back-and-forths that you’d think Judd Apatow let the cast run wild. ... Sometimes Mythic Quest’ll try for romantic or feel-good subplots that just utterly crash and burn, with little blame resting on their actors. ... Not just an unfunny comedy, but an entirely ineffective show that doesn’t seem to know what it is or where it’s going in a second season that Apple has already greenlit.
  21. Locke & Key may mete out its genre goofiness over the course of a slump-filled first season, but if you want more than morsels to sustain you, there are plenty of similarly-toned shows without the barrier to entry.
  22. Overall the first four episodes made available for review plod along. ... But then, just as I’m about to write off this final season, something happens at the end of the fourth episode that pulls me right back in.
  23. It’s no surprise that Falco presides over all of this with aplomb. She’s instantly believable, instantly real. You’ll root for her take-no-prisoners Tommy, be frustrated for her, question her decisions, and admire her decisiveness. She’s everything you need in a lead character. It helps that Falco is supported by a strong cast.
  24. For drama fans (and crime drama fans in particular), The Sinner remains a very underrated anthology that always delivers a solid case with a great cast around it. It’s a good binge watch, but a worthy weekly exploration as well.
  25. While McMillions is a surprisingly fun examination of the con and the con men, it’s also a worthy portrayal of the toll that predatory offers take on those most vulnerable to their poisoned charms.
  26. The series is a love letter to its source material, to the music that plays throughout, to New York City (with a gentrification undercurrent within the season), and even to the rom-com genre.
  27. Odenkirk, as always, continues to find new things to explore about this character he’s now been playing for 11 years, with a notable addition to his repertoire in these early episodes: We’ve seen this man angry, scared, happy, and heartbroken—but there’s a new potential in him to be legitimately scary, which Odenkirk plays here with a sort of raw quiet that brings with it a new kind of terror.
  28. This is a show that is more complicated and mature than what came before, but in the best ways, ways which do not discredit the past, but show it’s always possible to change and grow — whether you’re a 79-year-old man, or a 54-year-old franchise.
  29. A lot of Avenue 5’s issues do boil down to the growing pains of a high-concept comedy and how that hinders the rapid-fire joke machine one would expect from Iannucci. Even if you’re not familiar with his past work, this is still the case: The jokes aren’t king, the setup and the full story itself is.
    • tbd Metascore
    • 82 Critic Score
    The show is still snappy fun in between magical crisis after magical crisis. The Magicians has always been about trauma, grief, and pain, and Season 5 continues that journey in a cathartic and touching way.

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