The New Yorker's Scores

For 268 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 0.3 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Fleabag: Season 1
Lowest review score: 10 Ghost Whisperer: Season 1
Score distribution:
  1. Mixed: 0 out of 174
  2. Negative: 0 out of 174
174 tv reviews
  1. There’s an amazing tonal volatility to “Love Is Blind.” Slabs of crass exploitation abut moments of deep sentiment. There are touching scenes of human vulnerability and harrowing sequences of people lying to themselves at length. Vast idiocies of human behavior provoke moments of thoughtful reflection. The warped glass of the show magnifies universal quirks of human behavior into light comic grotesques.
  2. Spectacularly misbegotten. ... Neither the moral deliberations of “Hunters” nor its technical prowess are adequate to its ambitions.
  3. Though the characters are ill-tempered, the show comprises generally good-natured tales of competing egos and angry compromises.
  4. “High Fidelity” has always concerned itself with nostalgia for youthful heartbreak, but, this time around, the mists of memory haze obscure the hero. The show unfolds in some atemporal nostalgia zone; Rob seems like a middle-aged person’s idealized view of a heartbroken young person. The song remains the same, but the playback device is somehow obsolete.
  5. “The Goop Lab,” lowbrow TV with high production values, is the most unsettling kind of sponcon—the soulful kind. ... And yet, when “The Goop Lab” winks at its own absurdity viewers are in more danger of being entertained, even moved.
  6. For the most part, the storytelling in Season 2 continues to be masterly—plot arising from character and observation, almost all of it tremendously satisfying. But as Otis’s behavior deviates farther and farther from what he might advise others to do, culminating in an excruciating scene of drunken public jerkiness, I found myself wishing that the writers had made different choices, my suspension of disbelief pierced. Other elements help compensate.
  7. If the fact that this character literally is named Karen strikes you as either too clever or else somewhat dumb, then this is not the show for you. “Avenue 5” is distinguished by a high-low sensibility in which poop jokes are about waste and entropy and fatal pollution but also, foremost, about tons of poop, the sight of which lightens the mood.
  8. It’s a sharp character portrait and a dreamy mood piece, one style inflecting the other.
  9. Smartly edited, full of odd little montages and visual juxtapositions. It has its own distinctive, salty vibe, driven by McEnany’s simultaneously self-loathing and self-aggrandizing swagger.
  10. The updated “L Word,” it seems, is less concerned with being radical than it is with being inoffensive. “Generation Q” is not without its pleasures—the story lines, in keeping with tradition, are nice and preposterous, and there’s a nostalgic comfort in watching long-dormant characters misbehave again.
  11. “The Morning Show” is less addictive train wreck than glum clunker, symptomatic of peak TV: it’s yet another lacquered, poorly structured ten-episode story, whose sparks are dampened as it becomes more earnest. The best bits just make you miss livelier shows. ... When the show finally looks more closely at the women Mitch has messed with, it’s only to exploit their trauma, mawkishly so. They can’t stay in focus, because the camera has been facing the wrong way.
  12. “Dickinson,” cross-pollinating literary history with adolescent fantasy, is happy to get lost in its own fertile ideas about the essence of this rare flower.
  13. “Watchmen” is to the superhero genre what a revisionist Western is to a basic cowboy myth, with John Wayne in the saddle of the national identity. It’s good enough to warrant repeat viewing. Is it coherent enough to withstand it?
  14. The crimes described here seem heinous because they subvert the founding myths of meritocracy, and this Lifetime movie—with its strokes of low-brow expressionism, its inadvertently funny production values, its clever lead performances—converts the news story into an exhilarating nightmare. You hate these parents and you feel for them, and each feeling intensifies the other.
  15. “The Politician” hits a tone—furiously angry, wistful beneath its bitterness—that is indebted to the disillusionment of the Nixon era, and updated to capture the disorientation of ours. The show doesn’t quite do subtlety, or subtext, but nor do these times.
  16. A challenging work of art about the intractable problem of identity—the struggle of any individual to maintain core values, when the world demands nothing but solidarity based on shared victimhood. The show is unusually fearless about letting moral discomfort linger, and manages to be stirring without ever offering false hope, a rarity for even the best-made dramas.
    • 80 Metascore
    • 80 Critic Score
    What the documentary gets right overwhelms the caveats. Burns’s chief takeaway from his immersion in the genre is spot on: country music is not, and has never been, static.
  17. Season 3 improves as the writers move the characters beyond the roles that they’re stuck in, as wrestlers and as people. The Vegas plot line gives the show a stable setting and an intriguing milieu.
  18. A surprising amount of fun. ... The result is just smart enough to feel clever, just silly enough to feel relaxing, a guilty pleasure by design.
  19. Some fans of the first season took a while to warm to it—a measure, perhaps, of the characters’ loathsomeness. This season digs into their self-loathing. The conversations are hazing rituals.
  20. The mood is dark-humored but not grim, because the show is stuffed with slapstick and sharp quips, slowly building a varied ensemble. ... Even minor characters—like the dead-eyed, constantly texting office manager, Stacy, played with droll lassitude by Salahuddin’s sister Zuri—have their own story arcs and funny quirks.
  21. A joyful Sunbeam Mixmaster of a sketch show, a Spirograph set spinning through decades of black pop culture, finding faintly psychedelic patterns, in the shared tradition of Sun Ra and K-tel. Its premise is pure meta-absurdism. ... For all the show’s self-awareness, it feels warm, organic, and spontaneous, not cold or contrived.
  22. There’s a lot of plot for six episodes. As a result, the Lyonses don’t always feel fully real. ... What grounds the series is a classic love story: the bond between Daniel (the always wonderful Russell Tovey) and Viktor (Maxim Baldry), a taboo attraction that deepens into something lasting.
  23. Both a decadent summit of summertime reality soaps and a glowing ill omen of spiritual rot. ... The new show retains the original’s Warholian purity of inaction and its languid tension: nothing much happens, and it is not happening at a soothing pace, under a glazy gaze.
  24. The quality and the pacing vary—and the political satire, especially, walks a tricky line, as with an ad for ice that boasts free-range children instead of ones in cages. Ugly topics like this are, arguably, the ones that comedy should be taking on, but when the bits don’t work it’s rough. When they do click, however, there’s a satisfying jolt.
  25. Torres and Ciangherotti are magnetic, and Velasco is a treat as the bubbly Renaldo. But it’s Fabrega, as Tati, who feels like the true original. Her performance evokes weirdos like Reverend Jim, on “Taxi.”
  26. It’s a pungent profile of a nauseating figure. ... “The Loudest Voice” sees the behind-the-scenes culture of sexual assault and the onscreen show of Barnum-ized reactionaryism as two curves of the same lens, which is trained on America and not necessarily opposed to airing anything, especially if it did strong numbers in the demo.
  27. Rue and Jules’s relationship is the jewel of “Euphoria.” I’ll keep watching because I desperately want to protect them. Otherwise, the show so far (I’ve seen four episodes) is a highly self-conscious study of ennui, overfull with fancy camera tricks and thousand-dollar designer getups.
    • 46 Metascore
    • 50 Critic Score
    A practiced vaudevillian, [host James Corden] seemed to pitch every comic bit from a defensive crouch, as if convinced that anyone watching the Tonys was doing it by accident or was hoping to see Neil Patrick Harris instead. ... This year, the playwrights themselves gave descriptions of their plays. It may have felt like listening to book reports, but it gave us the chance to see Heidi Schreck, Tarell Alvin McCraney, and, in monster-drag regalia, Taylor Mac.
  28. “Big Little Lies” is a fairly apportioned ensemble vehicle, giving each actor room to shriek, to cackle, to clutch a glass of wine nervously as she stares at the surf. ... But no character propels scenes quite like Kidman’s Celeste. ... Kidman’s nonjudgmental inhabiting of Celeste’s oscillations continues to be exceptional. ... Streep gives Mary Louise a vicious and eerily hilarious maternal edge. She is clearly having a ball. I can’t wait to see how her story line expands.

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