Entertainment Weekly's Scores

For 1,782 reviews, this publication has graded:
  • 65% higher than the average critic
  • 15% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 7.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 72
Highest review score: 100 Mad Men: Season 7
Lowest review score: 0 Drawn Together: Season 1
Score distribution:
  1. Mixed: 0 out of 1352
  2. Negative: 0 out of 1352
1,352 tv reviews
  1. Very few shows can get away with genuine moments of emotion while also incorporating the phrase "dead-baby tacos." [1 Oct 2010, p.72]
  2. You'll alternate between cooing at 6-year-old pageant queen Honey, gawking at her self-described "redneck" family and pet pig, laughing so hard you cry, and feeling deep shame for not turning it off.
  3. While the show is not yet as boundary-pushing as Chappelle's, it is funny, and that should never be taken for granted.
  4. Mad Men offers a two-hour season premiere that commences with a muted tone and then explodes in different directions. [23 Mar 2012, p.62]
    • Entertainment Weekly
  5. An immensely enjoyable, carefully crafted, well-performed creation. Take it from a viewer who has given every Trek incarnation a try and always come away admiring the concept but disappointed with the execution: Voyager hits pay dirt.
    • 80 Metascore
    • 91 Critic Score
    Sure, watching a trapeze act slowly take form is fun (really fun, actually), but what's fascinating here is the deeply empathetic storytelling. It turns out what happens outside the ring is the most interesting part of Circus. [5 Nov 2010, p.65]
    • Entertainment Weekly
  6. Night One felt almost fully-formed, as if Oliver has spent his Daily Show tutelage making a list of everything that works-- and everything he wanted to do just a little bit differently.
  7. Sure, the new Real World is beating the dead horse of the old one, but its derivativeness carries a fresh sting.
  8. It not only has all the classic sitcom ingredients but also adds a new, more refined aggression to the mix.
  9. Without surging too deep into soapy territory, Kingdom grinds out excellent family drama via lived-in characters and escalating stakes. The cast's chemistry is phenomenal, with Jonas as the standout.
  10. [An] absorbing spy thriller. [25 Jan/1 Feb 2013, p.113]
    • Entertainment Weekly
  11. This is one tasty meal.
  12. The plots are twistier than a fishtail braid and only lag when the conversation turns to energy. [25 Jan/1 Feb 2013, p.112]
    • Entertainment Weekly
  13. Hannibal takes our own fixation on psycho-pop and serves it back to us in a dish full of flavor. Bon appétit, horror freaks.
  14. The most compelling characters in season 3 are the gentleladies.
  15. This series has survived its 15 media minutes as The Hot New Show to become a dependably clever, sexy, sometimes even touching sitcom.
  16. The biggest worry with The Nine is that its mystery will start to crumble after a dozen episodes or so. But for now, it's one smooth, creepy, cool operation.
  17. Any show that can accommodate decadent cruelty, tragic bravery, and political divisiveness is one you ought to be watching, frakkin' spaceships or not.
  18. Host Nate Berkus grounds it all with the real families whose lives are being transformed. [21 Mar 2014, p.59]
  19. Against all odds, Sports Night is a home run, a hole in one, a touchdown — at once the most consistently funny, intelligent, and emotional of any new-season series.
  20. This peter Berg-produced show is filmed in a low-key style that makes Roach's life seem all the more dramatic. [27 Jan 2012, p.68]
    • Entertainment Weekly
  21. It is possible to argue that, although Louis C.K. has created a work of genius with the FX show Louie, what he's really good at is stand-up. Oh My God offers further evidence for the thesis.
  22. King has turned out to be a near-perfect synthesis of Seinfeld and [Everybody Loves] Raymond, recombining many of the best elements of each show into something wholly, delightfully new.
  23. Less action-packed than BSG, but still awash in the familiar themes of life, loss, identity, and big frakkin' robots with guns.
  24. It's a slower-paced, smaller-scale show about the sad reality of sticking it out in Hollywood into middle age. It also veers into weirder territory that would feel impossible outside California. But thanks to the chemistry between Peet and Zissis, it's endlessly engrossing.
  25. As always, Saunders is heroic in her slapstick self-abasement, and Lumley is extraordinary as a pained, haughty beauty gone to glorious seed.
  26. Fringe seems to be going out as alt-world fantasy/sci-fi at its most tough-minded yet humanistic. [5 Oct 2012, p.73]
    • Entertainment Weekly
  27. There are no big sociopolitical statements here, no guerilla-style confrontations, no scenes of squirmy awkwardness, no multilayered pop culture references. It's just a very smart, very funny show.
  28. Sex and violence certainly have their place here, but they're placed in the context of a vivid city that, as dangerous, seamy, and profane as it can be, is a place you want to revisit every week.
  29. The reason for CSI's success is that it combines a few time-tested TV elements in a fresh way.

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