Margaret Lyons

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For 95 reviews, this critic has graded:
  • 26% higher than the average critic
  • 4% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 12.7 points lower than other critics. (0-100 point scale)

Margaret Lyons' Scores

Average review score: 53
Highest review score: 100 Transparent: Season 2
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Positive: 35 out of 95
  2. Negative: 23 out of 95
95 tv reviews
    • 94 Metascore
    • 100 Margaret Lyons
    Everything that was a big part of the first season is back, but more: The show's loose fantasy boundaries are even more permeable, the Judaism is more present, everyone's worst trait is more squarely front-and-center, the primacy of the sibling bonds more exclusionary. The winky pokes at academia poke harder. The flashbacks flash farther back.
    • 91 Metascore
    • 100 Margaret Lyons
    Transparent's major achievement is putting itself on the map.
    • 88 Metascore
    • 100 Margaret Lyons
    Sherlock (and Sherlock [the show]) is that good, we do forgive his callousness, and yeah, we'll wait for two years for his return and never let our fervor flag. In exchange, when the miracle happens and he (and the show) come back, he's as good or maybe better than ever.
    • 84 Metascore
    • 100 Margaret Lyons
    It's as engrossing as they come, impactful and devastating, and it left me with a hollowed-out despondence generally treatable only with alcohol and ranting.
    • 91 Metascore
    • 90 Margaret Lyons
    If Master of None isn't perfect, it's awfully damn close. Along with recent shows like Catastrophe, Transparent, and Broad City, Master feels like the point of contemporary half-hour narrative television.
    • 74 Metascore
    • 80 Margaret Lyons
    It's a prequel in which actors now in their 40s portray teenagers. And in the oddest move of all, it's actually good.
    • 78 Metascore
    • 80 Margaret Lyons
    Lifetime has one of the most aggressively interesting dramas in recent memory. There's borderline sociopathy, true human frailty, workplace strife, family drama, romance, social commentary, and a shred of satire.
    • 71 Metascore
    • 80 Margaret Lyons
    Don't let [Dr. OZ's] presence dissuade you from enjoying what's otherwise an almost freakishly absorbing series.
    • 71 Metascore
    • 80 Margaret Lyons
    YM&TA is actually a charmer--smart, original, oddball, and probably the best show on NBC's current roster.
    • 59 Metascore
    • 80 Margaret Lyons
    There are so many background jokes and one-liners and silly animals that the show's emotional depth caught me by surprise.
    • 79 Metascore
    • 80 Margaret Lyons
    Yes, the conspiracy is well-crafted, and yes, it's an engaging critique of society in the way that lots of cool speculative fiction tends to be.
    • 83 Metascore
    • 80 Margaret Lyons
    A powerfully charming rom-com in all the best ways (including being British).
    • 77 Metascore
    • 80 Margaret Lyons
    In addition to being a terrifically solid ten episodes, Narcos feels like the most of-its-moment show that any show has ever been--a distillation of the best, or at least the trendiest, aspects of contemporary television and film.
    • 78 Metascore
    • 80 Margaret Lyons
    The show is savvy and hilarious and I was completely sold on it, but I'm also not surprised that NBC ultimately decided not to air it.
    • 72 Metascore
    • 80 Margaret Lyons
    For a show that shouldn't really work at all, Last Man works pretty well. A lot of that is Forte, who makes Phil kind of dumpy and sad and gross, but also clever and resilient.
    • 59 Metascore
    • 80 Margaret Lyons
    Heroes Reborn and Scream Queens are both good. They're both dead-on in doing what they've set out to do, and both two-hour premieres (Scream today, Heroes Thursday) are voice-driven, exciting, and very much themselves.
    • 53 Metascore
    • 80 Margaret Lyons
    Heroes Reborn and Scream Queens are both good. They're both dead-on in doing what they've set out to do, and both two-hour premieres (Scream today, Heroes Thursday) are voice-driven, exciting, and very much themselves.
    • 72 Metascore
    • 80 Margaret Lyons
    It's a refreshingly un-miserable show, and while it covers a range of human emotions and identities, none are "murderer" or "super murderer."
    • 63 Metascore
    • 80 Margaret Lyons
    The 100 is better than it has to be, a little more exciting and surprising and intense.
    • 80 Metascore
    • 80 Margaret Lyons
    The early arc of season two is as interesting as anything on TV in ages--absorbing, complicated, textured. The composition of the show feels more stable, too.
    • 78 Metascore
    • 80 Margaret Lyons
    Crazy Ex-Girlfriend has a very difficult to-do list in terms of maintaining its tone while finding a little more character clarity than the pilot managed--plus the musical numbers. Rebecca's self-absorption is almost thrilling, but the show itself falls prey to it, so we don't quite get a clear read on the supporting characters in the first episode.... The craziest thing about Crazy Ex-Girlfriend is how boldly itself it is when so many other shows are attempting to be each other.
    • 80 Metascore
    • 80 Margaret Lyons
    This is my dream for all shows: that they have a clear idea; a way in which that idea is uniquely theirs; a cast that can give a rich, full life to those concepts; and the savviness to use both comedic and dramatic elements to explore and enrich those characters and the articulated world they inhabit.
    • 70 Metascore
    • 80 Margaret Lyons
    We're left with just a sense of promise. And Quantico is a hell of a promising pilot.
    • 75 Metascore
    • 80 Margaret Lyons
    The show is perfectly cast, and it certainly seems like there's plenty of story to be had.
    • 67 Metascore
    • 70 Margaret Lyons
    Corden did a perfectly solid job. Last night's premiere went about as well as a premiere can go.
    • 75 Metascore
    • 70 Margaret Lyons
    There's a sweetness to the series, an almost admiration for the various crummy behaviors.
    • 79 Metascore
    • 70 Margaret Lyons
    The biggest change is that the show is a half-hour, not an hour. Still, it's close to business as usual, or at least as usual as in the last several years. Still, it's close to business as usual, or at least as usual as in the last several years: It's still incredibly Elmo-centric, to the chagrin of those who preferred the more Big Bird–focused early years, though our fuzzy red friend grates less than the lavender fairy Abby Cadabby, introduced in 2006, whose true purpose remains unclear.
    • 77 Metascore
    • 70 Margaret Lyons
    Over its first season, Casual breaks no new ground. Many of its scenes could swap in to any number of indie movies about bougie ennui, and many of its conversations have been had better elsewhere. That said.... Casual is often smart, and it's well paced, and it addresses its to-do list head-on.
    • New York Magazine (Vulture)
    • 66 Metascore
    • 70 Margaret Lyons
    The show's passionate aberrance can be charming and sweet, menacing and creepy, sometimes enchanting and sometimes deeply off-putting.
    • 74 Metascore
    • 70 Margaret Lyons
    A lot of the strong moments on the show resonated because of how much they reminded me of stronger moments on stronger shows.

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