For 231 reviews, this critic has graded:
  • 37% higher than the average critic
  • 2% same as the average critic
  • 61% lower than the average critic
On average, this critic grades 9.7 points lower than other critics. (0-100 point scale)

Dan Fienberg's Scores

Average review score: 57
Highest review score: 100 O.J.: Made in America
Lowest review score: 0 Beauty and the Beast (2012): Season 1
Score distribution:
  1. Negative: 32 out of 231
231 tv reviews
    • 70 Metascore
    • 60 Dan Fienberg
    The weekly cops-and-lawyers procedural aspect of the show was never going to hook me, but I found the pilot's core case, featuring an abducted girl, to be particularly manipulative and uninvolving. I was also irked by the contrivances that would allow Moynahan's character to be handling a case in which her brother was accused of malfeasance. I was much more interested in the multigenerational family stuff that played out.
    • 51 Metascore
    • 60 Dan Fienberg
    It's not especially fresh material, nor is it all that nuanced, but it's peppy and occasionally clever and it offers ample eye candy for any and all tastes.
    • 67 Metascore
    • 60 Dan Fienberg
    Featuring an enigmatic lead performance by Robert De Niro. ... Wizard of Lies is a much odder thing, a character study without a conclusive answer to be revealed on its subject.
    • 56 Metascore
    • 60 Dan Fienberg
    Mary + Jane feels like a corporate entity, which isn't without its positives. It has money behind it, so it never feels sloppy or cheap or raw or amateurish. And Kaplan and Elfont are trained and experienced auteurs of quippy, poppy female empowerment as fans of Can't Hardly Wait and Josie and the Pussycats know. But it isn't hard to look at the character of Jordan in Mary + Jane, see how much she comes across like Ilana Wexler from Broad City.
    • 53 Metascore
    • 60 Dan Fienberg
    An impressive lead performance by Britt Robertson, freed from what seems like chronic misuse, was enough to keep me watching through too many meandering episodes, but some viewers will surely demand more consistency and less erratic displays of imagination.
    • 56 Metascore
    • 60 Dan Fienberg
    All three actors know what they're doing and could be pieces of what would instantly be a solid ensemble. Around that ensemble, the show has a good, simple backdrop for an old-fashioned watering hole comedy in the Cheers vein, with only a couple of sets and very little unnecessary pretense.
    • 72 Metascore
    • 60 Dan Fienberg
    Confirmation goes for something more dispassionate and even with the fine acting and a great built-in story, delivers something less enlightening and less enjoyable.
    • 66 Metascore
    • 60 Dan Fienberg
    Shots Fired plays too much as predictable plot delivery system that sometimes steamrolls over its bigger ideas. Still, in its passion and in several performances, there is much to admire here.
    • 65 Metascore
    • 60 Dan Fienberg
    In its best moments, Vice News Tonight felt like a string of little amuse-bouches to whet appetites for full meals available online. In its lesser moments, it felt like Full Frontal or Last Week Tonight without the jokes and, honestly, with less on-air depth.
    • 64 Metascore
    • 60 Dan Fienberg
    It's a low-key premise, but not a bad one. And when you have comic actors this solid on-board, you can almost make believe that this flimsiness has substance.
    • 62 Metascore
    • 60 Dan Fienberg
    If you walk away from the Mike & Molly pilot and tell me that you hate it, because the only version you remember is the grating, pratfall-laden "laughing at" version, I can't say you're wrong. I can try to point you to the better parts of the pilot, like Mike's "share" to the Overeaters Anonymous group or his very different "share" to Molly's class of students, but as Chris Farley could have told you, those things don't get cheers like the "fat guy falls down" hijinks.
    • 78 Metascore
    • 60 Dan Fienberg
    Crazy Ex-Girlfriend is a mess, albeit a charming and admirable mess.
    • 50 Metascore
    • 60 Dan Fienberg
    After four episodes ... The Mick has already settled into that frustrating spot of being a comedy designed for cable but forced to play by network rules, too soft and squishy and indecisive but nonetheless consistently elevated by Olson.
    • 62 Metascore
    • 60 Dan Fienberg
    Greek is bound-and-determined to retain focus on its core cast, even if some of the machinations to make that possible come across as slightly contrived and belabored.
    • 75 Metascore
    • 60 Dan Fienberg
    The struggle with Ash vs Evil Dead is reconciling the giddy, maniacal pleasure that Raimi brings to the pilot with the by-the-numbers disappointment that the second episode delivers and knowing that that is more likely to be the series going forward.
    • tbd Metascore
    • 60 Dan Fienberg
    Pretty Little Liars only has a couple more episodes to become a guilty pleasure for me. You might not believe it based on the amount of programming I watch, but I've only got room for so much bad TV.
    • 62 Metascore
    • 60 Dan Fienberg
    So far, there's some laughter in the early episodes of The Muppets and a ton of built-in affection, but the wait for a great show continues.
    • 69 Metascore
    • 60 Dan Fienberg
    For a show going in as many different directions as The Detour does, the pieces of the narrative seem to be connecting well past the half-way point in the first season. The episode-to-episode continuity adds up nicely if you like your comedies heavily serialized and there are hints that some of the elements that feel disparate and chaotic could also tie together.
    • 54 Metascore
    • 58 Dan Fienberg
    Jane By Design is by-the-numbers in its every facet.
    • 66 Metascore
    • 58 Dan Fienberg
    Despite the presence of Nolan (who's co-written most of his brother Christopher's films, including "Memento" and "The Prestige") and producer J.J. Abrams, this is very much a CBS crime procedural, one that could fit comfortably alongside "The Mentalist," et al. But it would help an awful lot if Caviezel had a few Red Bulls first.
    • 62 Metascore
    • 58 Dan Fienberg
    After a lively and appealingly hilarious premiere, Dexter goes entirely off the rails with two episodes hobbled by clumsy victims-of-the-week and then crushed with endless repetition of the core theme.
    • 80 Metascore
    • 58 Dan Fienberg
    You can feel Hardy and his mad energy desperately pushing The Take along, but you can hear the gears grinding.
    • 68 Metascore
    • 58 Dan Fienberg
    While structurally sound, Ted Mann's script lacks the verbosity and filth and, unfortunately, subtext that he brought (with a healthy assist from David Milch) to "Deadwood."
    • 54 Metascore
    • 50 Dan Fienberg
    The performances and the above-average directing team may lure some viewers who will then get irked by the rah-rah "America, hell yeah" bellicosity and those who come for the "America, hell yeah" bellicosity will probably get ticked off by all the pesky feelings, and by the suggestion that sometimes soldiers do bad things in war.
    • 69 Metascore
    • 50 Dan Fienberg
    Through six episodes, the plotlines focusing on men putting the squeeze on each other in the name of profit or justice have already blended into a blur of well-acted familiarity; only the scenes with [co-star Maggie] Siff come to life.
    • 68 Metascore
    • 50 Dan Fienberg
    With the important caveat that Wynonna Earp, premiering on Syfy on Friday (April 1), isn't as sharp, funny, thematically rich and consistently well-cast as Buffy was even in its bumpy opening season, there are enough elements in common to justify a tenuous comparison and enough small pleasures to encourage continued viewing.
    • 56 Metascore
    • 50 Dan Fienberg
    Clay's entry is far from the bottom of this burgeoning genre's particular barrel--Hello, Donny!--and the debut season of Dice actually has some highlights, including a very funny second episode built around an inspired cameo by Adrien Brody, but general unevenness pervades.
    • 66 Metascore
    • 50 Dan Fienberg
    When the filmmakers get to showcase a true personal investment in the subject matter, the episodes really shine. When the directors approach the subject from a distance, what you get is a by-the-numbers NatGeo special, which isn't a bad thing, but plays as really disappointing given the names involved here. From this batch, examples of the latter outnumber the former, with only one installment that's truly worth seeking out.
    • 52 Metascore
    • 50 Dan Fienberg
    Ersatz animation aside, Moonbeam City lacks a clear comedic point of view because several episodes in, its characters remain cyphers.
    • 63 Metascore
    • 50 Dan Fienberg
    If the half-baked subcultural anthropology doesn't grab you, Outsiders starts slow, but begins detonating little pockets of insanity in nearly every episode, proving that audacity without dramatic foundation can be amusing, if not necessarily good.
    • 61 Metascore
    • 50 Dan Fienberg
    Madoff feels padded, but also warped with artificial cliffhangers, corny ad-break musical stings, cheap attempts to add thriller elements and an ending that lurches across nearly half of the second night. Still, working from ABC News correspondent Brian Ross' research and book The Madoff Chronicles, the movie has enough juicy details to remain very watchable, and Dreyfuss is having a great time playing this awful man.
    • 57 Metascore
    • 50 Dan Fienberg
    It's on the fringes that The Son is sometimes smart, nuanced and relevant.
    • 37 Metascore
    • 50 Dan Fienberg
    A&E's Damien joins the franchise, offering spooky and violent moments through its first five episodes, but struggling to find the narrative momentum necessary to work as an ongoing series.
    • tbd Metascore
    • 50 Dan Fienberg
    Fans of Larry the Cable Guy will be happy to see him do his thing in different circumstances, but they probably won't come away with much more knowledge about what makes the United States unique than they had when they started. Meanwhile, those who are Larry-ambivalent will be teased with a couple fertile situations that get thwarted by Larry's need to be Larry.
    • 46 Metascore
    • 50 Dan Fienberg
    The leading man swap produces an uncomfortable sense of either deja vu or just pure repetitiveness and serves to highlight how even though the second season of Wayward Pines is still sometimes spooky, it hasn't been pushed forward nearly aggressively enough.
    • 42 Metascore
    • 50 Dan Fienberg
    Moving past Daniels' sometimes tin ear for dialogue--or insistence on saddling actors with clumsy soap dialogue in scenes that are staged as naturalistic--wouldn't hurt the actors, because it's hard to find praise for Destiny, O'Grady or Demorest, each struggling with broad or inconsistent character introductions.
    • 57 Metascore
    • 50 Dan Fienberg
    This is hog hagiography, pure and simple. It's three nights of American vehicular heroism.
    • 53 Metascore
    • 50 Dan Fienberg
    It's a show that wants to be praised for its realism that can't avoid cheating to yank your strings. The mismatched combination renders Code Black only a step above generic, but for fans of the medical genre, that's all your prescription plan will cover this fall.
    • 71 Metascore
    • 50 Dan Fienberg
    When Downward Dog tries to be a show as funny as the ABC ads try to make it look, it's not very good at all. ... When Downward Dog is about the love triangle or unconventional ménage à trois between Martin, Nan and Jason, that's a show that I mostly enjoyed.
    • 64 Metascore
    • 50 Dan Fienberg
    Life in Pieces has that solid foundation in place, with a superior cast that carries from the established veterans who make up its older generation right down to the newcomers representing the youth. Now Life in Pieces just needs to hone the show around its ensemble until it becomes worthy of its stars.
    • 39 Metascore
    • 50 Dan Fienberg
    Kevin Can Wait is basically Kevin James 101.
    • 68 Metascore
    • 50 Dan Fienberg
    Riverdale is all-in on its gimmick, and I can admire that.
    • 70 Metascore
    • 50 Dan Fienberg
    midst Kirkman's banality-of-evil fixation is the potential for very real banality, and after four episodes sent to critics, Outcast has already fallen frequent victim to the wheel-spinning and superficial characters that have often bogged down lesser moments of The Walking Dead and nearly every moment of Fear the Walking Dead. Directed with some flair by Adam Wingard (The Guest), the Outcast pilot has some promise, but subsequent episodes fail to maintain that momentum.
    • 50 Metascore
    • 50 Dan Fienberg
    Through its first three episodes, Chelsea is a pretty straight-forward talk show with occasional sparks of interest and needless shadings of self-dismissal.
    • 70 Metascore
    • 50 Dan Fienberg
    Lavi is hampered by writing that leaves Maddie intentionally a bit of a cipher and doesn't make her post-Ava character sufficiently flamboyant, but if the entire show hinges on viewers believing that Maddie is a compelling enough spider to lure people into her web, Lavi makes the premise convincing.
    • 58 Metascore
    • 50 Dan Fienberg
    State of Georgia just comes across as a straight-down-the-middle girls-in-the-city comedy that wouldn't have been out of place on ABC or NBC's lineup back in 1987.
    • 32 Metascore
    • 50 Dan Fienberg
    Ghost Shark, in contrast [to "Sharknado"], is probably closer to 75 or 80 percent "great title," with the execution lagging behind. That may not be better than some on the Syfy slate, but it's better than many and there are moments of fun here, even if they come way too early in the movie and set Ghost Shark up for a final act that fizzles.
    • 78 Metascore
    • 50 Dan Fienberg
    The film's first hour focuses on the passage of the Civil Rights Act of 1964 and despite sometimes embellishing and distorting the actual events for no particular reason, it's a fast-moving portrait of legislative brinkmanship, political pragmatism and altruistic ambition. ... In its second hour, though, All the Way becomes an underexamined Wikipedia entry.
    • 68 Metascore
    • 50 Dan Fienberg
    Just because these first two episodes are going for something slower and ostensibly more thoughtful doesn't mean it won't be back on 24 terrain by midseason, and that probably wouldn't hurt, because these early episodes aren't really what Homeland does best.
    • 57 Metascore
    • 50 Dan Fienberg
    Your belief will be strained, but at least for 25 minutes, Limitless is a mindless hoot.... 30-plus minutes into the pilot, Bradley Cooper shows up as Eddie Morra and his scene saps the pilot of all forward motion.
    • 59 Metascore
    • 50 Dan Fienberg
    The six-part event series obscures a reasonably engrossing, science-star-studded documentary about future exploration of the Red Planet with a far less interesting scripted drama about Mars travel that plays as basically The Martian without the personality or poop potatoes.
    • 36 Metascore
    • 50 Dan Fienberg
    Even if Real Rob falls far short of the genre's peaks, and even its midland prairies, moments here work.
    • 48 Metascore
    • 50 Dan Fienberg
    Other than the disorienting night and time period, Maya & Marty was disappointingly easy to pigeonhole. What audiences were treated to in the premiere was basically a not-hugely-funny episode of Saturday Night Live, an hour that occasionally made use of its gifted stars, but more frequently left them in sketches that fizzled out before reaching a real crescendo.
    • 67 Metascore
    • 50 Dan Fienberg
    The series has yet to find any pairings or relationships with any real repartee or comedic chemistry, so the show is a lot of individuals elevating tired material with strong line readings, including guest stars like Bob Gunton, Cristine Rose, Ginger Gonzaga and Patricia Belcher.
    • 76 Metascore
    • 50 Dan Fienberg
    Claire is as bad a person as Frank, but she's not as good at the game, so There's less pleasure in watching Wright, whose greatest achievement the past two seasons has been her admirable maturation as a director. Maybe that's what Kinnaman's character will eventually provide, either a worthy adversary or a rising protagonist? It doesn't matter whether or not Frank returns to talking to viewers, but he badly needs something worth talking about.
    • tbd Metascore
    • 50 Dan Fienberg
    There's no lack of drama to the diamond business, but Ice stumbles over the gap between what you can sense Munic finds compelling and what he could sell and what, in turn, Audience Network could promote.
    • 57 Metascore
    • 50 Dan Fienberg
    An inconsistent, but sporadically effective horror-comedy that often rises to the level of "just fine" and periodically even hits "pretty good," thanks in huge part to the central star turn by John C. McGinley.
    • 65 Metascore
    • 50 Dan Fienberg
    Much of The Expanse will feel familiar because, at least for four episodes, the writers are struggling to maintain momentum across at least three sci-fi-trope-heavy storylines that eventually could coalesce into something unique.
    • 47 Metascore
    • 50 Dan Fienberg
    It isn't badly acted. I don't remember any of the performances at all. It isn't horribly written. I don't remember any of the dialogue or plot machinations. It's actually nicely shot and the art direction in the U.S. Marshals' headquarters was handsome. That's not enough.
    • 51 Metascore
    • 50 Dan Fienberg
    The love between Ronald and Nancy is probably the only thing you'll leave Killing Reagan sure of, which may not satisfy viewers looking for hagiography or iconoclasm, but also probably won't piss off viewers looking for hagiography or iconoclasm. These movies don't aim for passion.
    • 74 Metascore
    • 42 Dan Fienberg
    True Blood returns on Sunday (June 26) night with too many new characters, not enough time with the characters I like, a general evasion of the most prickly parts of last season's finale, some plodding hints at a lumbering dramatic direction for this season and some breasts.
    • 52 Metascore
    • 42 Dan Fienberg
    Many of the erratic and seemingly random acting choices fall on inconsistent written characterizations, many fall on stars too big to be wholly steered and many have to be placed on the "Brink" directors.
    • 61 Metascore
    • 42 Dan Fienberg
    The Whispers is ultimately a frustratingly hollow experience, an assortment of familiar genre cliches and a stubborn insistence that its primary mystery will remain enticing for us even without hints or the gratification of answers that, in theory, would only elevate the stakes.
    • 53 Metascore
    • 42 Dan Fienberg
    The Protector might be worse if it were attempting to do something ambitious and failing. Instead, it's set the bar near the ground, but I guess some viewers will be satisfied to see it succeed.
    • 71 Metascore
    • 42 Dan Fienberg
    American Horror Story is a glorious mess.
    • 51 Metascore
    • 42 Dan Fienberg
    Baby Daddy has no real point of view, no real comedic voice and one very cute infant.
    • 61 Metascore
    • 40 Dan Fienberg
    I don't know whether I wanted The Arrangement to be realer or trashier or funnier, but it needed to be something more.
    • 46 Metascore
    • 40 Dan Fienberg
    Bordertown isn't the racist, xenophobic mess you might fear ... but it suffers from exactly the sort of blurry perspective you'd expect from a show that was originally ordered over two years ago — the kind of tonal and storytelling unevenness you'd expect from a still-settling new comedy and a lack of appealing characters that makes it hard to want to return to see how the show evolves.
    • 61 Metascore
    • 40 Dan Fienberg
    Graves is unquestionably politically aware, but it's neither politically smart nor, despite the hero's arc, all that politically reflective. Nolte has moments of grounded sadness that are nearly effective, but there's no way for those moments to stick when the show keeps undermining both his dignity and whatever dignity Graves once had.
    • 47 Metascore
    • 40 Dan Fienberg
    The pity is that there are aspects of Second Chance that work amidst the nonsense, but the show becomes no greater awareness of those aspects over the four episodes I've seen.
    • 60 Metascore
    • 40 Dan Fienberg
    There is no joke in Nobodies so precious that the joke isn't repeated at least a half-dozen times. It's an uncomplicated show determined to uncomplicate itself further.
    • 55 Metascore
    • 40 Dan Fienberg
    Its unique venue and recognizable names guarantee some interest, but with its underwhelming star, production values and storytelling ambition, Crackle's arrival in this marketplace teases More, but delivers less.
    • 58 Metascore
    • 40 Dan Fienberg
    Shades of Blue is a reminder of what a strong screen presence Lopez has really always been ... but also what a fine actress she can be, shifting between strength and vulnerability with ease. The downside is that Shades of Blue is, as a whole, not a very good show.
    • 50 Metascore
    • 40 Dan Fienberg
    Through four episodes it's still struggling to establish a consistent tone or to settle on the hook of its premise.
    • 48 Metascore
    • 40 Dan Fienberg
    The CW's Containment is an occasionally terrifying, mostly formulaic tribute to the primal unease that comes from watching somebody coughing up blood.
    • 55 Metascore
    • 40 Dan Fienberg
    Let's Do the Time Warp Again suffers from suffocating staging and an utter lack of reflection on the source material--but also from the source material itself, as what little energy it possesses is gone by a second half that turns into a real slog.
    • 57 Metascore
    • 40 Dan Fienberg
    Game of Silence is a show that's almost non-stop plot, but it's plagued by inconsistency that makes nearly every beat clunkier than it needs to be.
    • 49 Metascore
    • 40 Dan Fienberg
    Lucifer arrives with all of the superficial flash you'd expect from a Len Wiseman-directed pilot. But after falling into the Fox "quirky civilian contractor(s) aid law enforcement" rut, this new drama doesn't begin to show sparks of interest until at least the fifth episode.
    • 52 Metascore
    • 40 Dan Fienberg
    Guilt is such a mess of feigned and failed authenticity and feigned and failed vulgarity that it's most uncomplicated pleasure comes from watching Billy Zane basically play a hybrid of James Spader's characters from The Practice and The Blacklist.
    • 58 Metascore
    • 40 Dan Fienberg
    Legends of Tomorrow can't make its characters jell, can't clarify its narrative mission and can't get out of its own way and stop talking.
    • 52 Metascore
    • 40 Dan Fienberg
    [Creator Ben] Ketai can't figure out how to make action-free things like character development, backstory and setting flow within the storytelling, and even the action that felt like it came so naturally to Chosen doesn't flow here.
    • 52 Metascore
    • 40 Dan Fienberg
    The sheer number of underdeveloped or one-dimensional supporting characters after eight episodes is perhaps the biggest frustration of Flesh and Bone, because it leaves the show's whole world feeling underdeveloped and unrealized.
    • 46 Metascore
    • 40 Dan Fienberg
    This is thin stuff and the only actor I'd definitively say is giving a "performance" is Meade. ... In its last third, the telefilm finally kicks into gear. That's when you get the blood-spurting, face-battering, knock-down-drag-out cemetery brawling vampire action that you want.
    • 46 Metascore
    • 40 Dan Fienberg
    CBS' Rush Hour is diluted and fairly charmless, but it's certainly no worse than what the movies already did to the brand.
    • 51 Metascore
    • 40 Dan Fienberg
    In addition to boasting a needlessly wordy title, Cooper Barrett's Guide to Surviving Life is a generally frantic effort, failing to settle on a structure or rhythm over the four episodes sent to critics and, despite some wholly appealing performances at its center, never finding its voice.
    • 46 Metascore
    • 40 Dan Fienberg
    The initial spike of recognition that comes from calling a show Taken rather than, say, Sister-Missing Tough Guy doesn't make up for the irritation that will come from viewers seeing how little of the big-screen Taken's DNA is actually in NBC's drama, and how little of substance has been added to take its place.
    • 45 Metascore
    • 40 Dan Fienberg
    Thorne is not awful on Famous in Love, but she's thoroughly miscast or misused because the show never forgets for a second that she's Bella Thorne, Disney Channel icon. ... A flatly acted, chemistry-lite Tinseltown Cinderella.
    • 43 Metascore
    • 40 Dan Fienberg
    I like the idea of Best Time Ever and would love to see this and Maya Rudolph's variety thing and even live episodes of Undateable encourage more network risk-taking. For that to happen, future episodes will have to be the best time ever for more than just Neil Patrick Harris.
    • 36 Metascore
    • 40 Dan Fienberg
    LeBlanc is on Joey autopilot here, sometimes landing a punchline with his well-honed comic timing, but more frequently unable to commit to exactly how dumb Adam is supposed to be, an obliviousness that varies by scene.
    • 51 Metascore
    • 40 Dan Fienberg
    McHale's gift with sarcasm makes some of the stale punchlines work and he's always willing to look like a fool as long as he simultaneously looks good doing it.
    • 51 Metascore
    • 40 Dan Fienberg
    If Any Given Wednesday were a live show, I'd be much more generous about the myriad points of sloppiness, but this was a pre-taped show that has been many months, or many years per Simmons' narrative about his dream of being on HBO, in the making so expectations of tighter punchlines, more clearly edited film and better spatial awareness aren't unfair. Still, there were elements that had potential.
    • 58 Metascore
    • 40 Dan Fienberg
    The second-chance-at-love chemistry between Bellows and Nicholson and the first-chance-at-love Philip-Lukas pairing are just a couple of the things Eyewitness has to set it apart, but angles it doesn't handle well enough to make up for icky, one-dimensional villains, a humdrum crime story and a tone that defies engagement.
    • 59 Metascore
    • 40 Dan Fienberg
    Time After Time is less utterly hollow than Williamson's CBS dud Stalker and slightly less literarily pretentious than Fox's The Following, but there remains an excess of uninterrogated slasher carnage.
    • 46 Metascore
    • 40 Dan Fienberg
    I never shook the feeling that I was watching something that, from cast to the overall aesthetic, we weren't meant to see on American network TV.
    • 50 Metascore
    • 40 Dan Fienberg
    Turkey Hollow is spending most of the time laying foundation for a plot that really isn't complicated enough to justify the exposition.
    • 45 Metascore
    • 40 Dan Fienberg
    If IFC were to give David Krumholtz a talk show or his own variety series, the Gigi character might work for five minutes per week interacting with unsuspecting citizens. But stretched to 22 minutes per week, even those candid-camera moments don't generate sufficiently passionate reactions. Krumholtz and Mabe both are giving their all, but there isn't much of a series here beyond the concept.
    • tbd Metascore
    • 40 Dan Fienberg
    Ferguson's new History panel comedy comes across as frustratingly unambitious and under-developed.
    • 61 Metascore
    • 40 Dan Fienberg
    There are enough likable actors and easily digestible bipartisan political jabs here for occasional amusement, but it's sometimes exhausting to watch a show trying this hard for such limited returns.

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