New York Magazine (Vulture)'s Scores

For 694 reviews, this publication has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Rick & Morty: Season 3
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 401
  2. Negative: 0 out of 401
401 tv reviews
  1. If you’re a comedy nerd or happened to read GQ’s oral history of The Dana Carvey Show a few years ago — you’re not going to learn anything terribly new. But if you know very little about the button-pushing ABC sketch-comedy series built around the former Saturday Night Live MVP and featuring a murderers’ row of writing and performing talent, the 90-minute film will be a revelation. And no matter which category you fall into, you’ll probably be entertained regardless, because it’s funny to listen to very funny people talk about making a piece of television that was an immediate, abject failure with the mainstream public.
  2. Mindhunter is compelling purely as a well-executed, smart, and suspenseful work of crime drama, but it is necessary viewing because it so deftly provokes a conversation about that very same crisis.
  3. The show carries itself as a blast of revelatory fresh air. But everything about it is stale.
  4. There are times when Crazy Ex-Girlfriend overreaches, struggles to do justice to the choices it has made, or strains inventiveness while trying to figure out how to escape the corners it paints itself into. But the high bar that Bloom, McKenna & Co. have set for themselves folds the creative process into the show’s ongoing, multifaceted spectacle.
  5. For those already weary at the prospect of more episodes rife with frustrating mind games, know that in season three, Mr. Robot is much more consistently assured and compelling than it was in its uneven second season.
  6. The worst thing you can say about this show is that it knows exactly what it is; the best thing you can say about it is that it goes above and beyond that realization. It has hints of wanting to build on one of TV’s biggest soapy fortunes, rather than leech off it like a trust-fund brat.
  7. It is a studied consideration of what his extraordinary body of work tells us about him, and why it speaks to so many.
  8. The problem is that there is so much stone-skipping across tones in the first episode that it’s hard to settle in and get a feel for what kind of show Kevin (Probably) Saves the World, co-created by former Agent Carter showrunners Michele Fazekas and Tara Butters, is going to be. ... For now, based solely on the pilot, I’d say Kevin (Probably) Saves the World is (probably) not worth the space it’s going to take up on your DVR.
  9. One of the most promising new network shows of the fall season.
  10. There’s a lot to admire here, though whether the show can build on its initial promise remains to be seen.
  11. On paper, I love the idea of Larry becoming an American Salman Rushdie by trying to tell his story in the form of a stage musical. It’s got a shamelessly metafictional kick. ... But the fatwa that’s declared against Larry is too predictable and half-assed. ... [Episode five is] not great, either, but it’s much better and funnier than this debut.
  12. Hour for hour, it’s one of the best things I’ve seen on TV this year--but because it frequently comes so close to becoming not just impressive but important, challenging, even agenda-setting. But it never quite pushes itself over that line.
  13. The new Netflix series Big Mouth is a frank, very funny coming-of-age story.
  14. It’s more than a little forced and weird to see Karen holding up a curtain swatch in the Oval Office while Grace pairs it with a Cheeto. ... What is not forced or weird at all, though, is the comedic chemistry between the four leads. Messing, McCormack, Hayes, and Mullally haven’t lost a single sassy step in their years out of each other’s orbits. ... Will & Grace is cleverly written and directed with crisp polish by veteran James Burrows.
  15. There’s nothing stylish or even particularly inventive about the direction, or for that matter the dialogue, the photography, or the editing. In fact, nothing feels entirely right here: not the structure, which shoehorns brief expository flashbacks into the timeline for no clear reason; not the look, a desaturated, blue-gray palette characteristic of clichéd, East Coast–based TV crime thrillers; not the script or its presentation, which fail to exploit elements of black comedy and social satire that are so innate to the tale that they seem to lunge at the camera, crying, “Notice me! Do something with me!”
  16. There’s a lot going on here; too much, really. Like so many TV pilots, this one is auditioning for our attention and trying to cram every key character, theme, and backstory into that first tryout. It’s possible that once the show settles in, it could improve. ... Its two leads, Highmore and Schiff, are both excellent and manage to make some very heavy-handed dialogue sound less didactic than it otherwise might.
  17. Me, Myself & I is mostly endearing, and it wins bonus points for adopting a structure you don’t see every day. But at the same time, the middle-aged and senior-citizen versions of Alex serve as human narrative markers, removing a certain amount of suspense from the story.
  18. There are few jokes to speak of, just situations that are funny or awkward--mostly awkward. ... The accents are spot-on and the lead performances are excellent, in particular Zoe Perry as the hero’s mom (a role played on the flagship series by Laurie Metcalf) and Lance Barber as his father George.
  19. This is light years removed from being a perfect TV show, but it already shows signs of being a great one.
  20. The acting on Transparent remains superb. ... When a show reaches its fourth season, it can start to hit notes that sound overly familiar, and that does happen in this case. ... Worthwhile, even with those aforementioned hiccups.
  21. After delivering one of last fall’s most assured, instantly delightful debuts, in take two, the series solidifies its status as the most intellectually engaging comedy on television.
  22. Its packaging notwithstanding, Jerry Before Seinfeld doesn’t feel much different than any other Seinfeld concert or talk-show appearance, except for the old photos, Seinfeld family home movies, and archival footage of young Seinfeld doing stand-up. ... Luckily, it’s a good collection of jokes and stories.
  23. Everyone involved with this show really commits to the format. That’s what makes American Vandal more compelling than I would have suspected, even though it does have some significant flaws.
  24. Of the two parallel narratives that unfold in the first five episodes, Jamie’s is the more eventful and, because of when and where it unfolds, the one that feels more in keeping with the Outlander sensibility. ... Both of their [Balfe and Heughan's] performances feel deeper and more emotionally resonant than they have before.
  25. This one lacks the original’s intuitive sense of rhythm and organization, and often seems more scattered and digressive than multilayered. And instead of letting feminist themes emerge organically from its situations, it stuffs them into every nook and cranny of every scene, mostly via dialogue instead of the sorts of hypnotically intense, even primal images that distinguished the original.
  26. Despite the best efforts of the writing staff and Gyllenhaal (who became a producer on the series partly to make sure that her character was well served), there are moments when The Deuce seems to lose its grip on the leash of its worldview and the situations take on a hypnotic power that is presumably not meant to be exploitative but comes across that way anyhow. ... Its most salient virtue is its stubborn refusal to serve up any character who represents a supposedly enlightened, 21st-century-liberal point of view.
  27. This show is trying to do a lot. Some may find that approach excessive and the idea of Grand-Guignol–ing what’s happening in our country a little crass, especially since the show takes some pretty pointed jabs at progressives. Others, especially those well-versed in the series’ over-the-top sensibility and drily snarky humor, will dig into it all with complete relish ... The whole cast is terrific, but the series is (no surprise) a real showcase for Paulson, who’s a bundle of jangled nerves and teary-eyed fear.
  28. Halt and Catch Fire has officially shifted into the early 1990s, exploring the days when the internet was still being invented and, in the process, cementing its place as one of the most confident shows on television. ... Like its four protagonists, it is damn good at what it does. If you don’t take the time to appreciate it while it’s still here, you might regret it.
  29. Edlund’s latest run at the big blue lunkhead and his nebbish sidekick Arthur isn’t quite a “dark and gritty” reboot, thank jumping Jehoshaphat, but it’s tonally and structurally unlike any other.
  30. Based on what I have seen, Disjointed is a series that takes some minor risks but more often caves into the laziest of sitcom clichés. The degree to which you appreciate it will depend largely on how much you’ve enjoyed other previous Lorre works.

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