New York Magazine (Vulture)'s Scores

For 731 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 0.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Better Things: Season 1
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 427
  2. Negative: 0 out of 427
427 tv reviews
  1. As always, The Americans does complex work that never calls attention to its complexity. The associations and connections are there if you care to make them, but the show maintains plausible deniability as a good spy should, walking briskly from scene to scene as if it’s just here to get the job done and get out.
  2. Time After Time is not an amateurish show; it’s actually quite polished.
  3. Like all good time-travel stories, Making History is smarter when it acknowledges the divide between the way things were than versus the way things are now, or, sometimes, the ways in which things haven’t progressed at all.
  4. The rise of the new TV anthology, in which the unit of measure is the season rather than the episode, could encourage filmmakers to pore over the cultural history of Hollywood in granular detail. Murphy’s Feud deserves credit for getting there first, but that’s about it.
  5. As it progresses and its narrative deepens, viewers are left with plenty of substantive matters to ponder, especially after its conclusion.
  6. It’s less an action drama than a droll, often gleefully random comedy about deception, family, and the complexity of the human personality. It sets a distinct narrative path for itself but then departs from it early and often. Over time the digressions don’t just subsume the show’s main plot, they become the main source of its specialness.
  7. Nearly every frame of it is about strengthening our ability to connect individual experiences with bigger, more universal outlines. It is the rare message that’s both pointed and strikingly understated, which, right now, feels like a balm.
  8. While its early episodes are still working through a few kinks, it’s engaging enough to belong in the well-done category, too.
  9. It is clear that The Good Fight is a very, very good show that’s worthy of commitment. If CBS wants its broadcast audience to also become habitual users of All Access, this smart spinoff makes for a pretty enticing gateway drug.
  10. At first glance, it seems like just another glossy, TV exploration of law and order, with Heigl in the role of fireball attorney crusading for justice while click-clacking through courtrooms in high heels. In a lot of ways, that’s exactly what Doubt is. But it also happens to be a solid showcase for Heigl and her fellow actors, including Laverne Cox.
  11. There are times when you get so wrapped up in the private despair and public pettiness of Madeline, Renata, Celeste, Jane & Co. that when the series reminds itself to tend to its crime-puzzle elements, it suddenly seems less special. Big Little Lies is still a must-see because of its extraordinary actors, all of whom bring either new shadings to the sorts of characters they’ve played brilliantly before or show new sides of their talent.
  12. Humans has delivered a second season that demonstrates a full, imaginative expansion of its narrative.
  13. The first three episodes of season six, all written by Dunham, suggest that Girls will go out as it came in: lancing its characters’ pretensions and delusions while demanding that we care about them as people, and working in a storytelling mode that’s lightly serialized with stand-alone plotlines and structural stunts mixed in.
  14. The first three episodes of this X-Men-styled mutant melodrama are superb, and the pilot in particular is an all-timer, but the whole thing is so aesthetically fresh that I could see myself continuing to watch it even if it suddenly became dumb as hell, just to see what new storytelling trick showrunner Noah Hawley and his collaborators have up their puffy magicians’ sleeves.
  15. What sells the antics is the chemistry between its leads and the fun they’re so clearly having together.
  16. The show seems to lack the courage of its minimal convictions. A lot of the creative choices are either half-baked (the sets are backlot-bland, practically bold-facing “The Tedious Sameness of Suburban Life”) or overly cute (weirdly so, given all the TV-MA bloodletting).
  17. It is too bad, and you--all of us, really, including Bill Paxton--deserve better.
  18. As uniformly talented as the cast is, the characters feel quite thinly sketched at this stage.
  19. Z: The Beginning of Everything tries to capture the many facets of this complex and conflicted woman, and does so with some success. There are moments when it’s exhilarating to be immersed in the 1920s with Great Gatsby author F. Scott Fitzgerald (David Hoflin) and his wife/muse (a fierce, focused Christina Ricci).
  20. While you watch--which you will, since this show is addictive--it’s as if Riverdale is growing up fast before our eyes, like a clever, winking teenager who’s already grown-up enough to know she should keep her deepest secrets to herself.
  21. The energetic and musically talented cast elevates the project by several notches. ... It’s weirdly not detailed enough--Brown’s relationship with Houston is barely acknowledged, and, dammit, they don’t even show one second of the “Cool It Now” video being filmed--and too bloated for its own good, especially in its overly padded third act.
  22. There is little motivation to keep track of it all, partly because creators Rob and Peter Blackie, who co-wrote two of the season’s six episodes, and Brad Peyton (San Andreas), who directed the first two, hopscotch so often from place to place and moment to moment that it becomes challenging to settle into or invest in any aspect of the story.
  23. The series has such a strong command of tone and pacing that, like any good con artist, it persuades you to overlook the parts that might not add up.
  24. It’s a perfectly fine series, and offers much for fans of historical drama to savor, including heavy doses of romance; costumes rife with voluminous skirts and elaborate tiaras; political and dramatic intrigue; the subtext of actual events, with which, naturally, some liberties have been taken.
  25. You’re better off spreading out the Unfortunate Events, the same way you did when you read these stories as a child, or perhaps when you read them now with your own kids.
  26. This is, in many ways, one of the weirdest, most counterintuitive programs ever to get a green light from HBO, and that alone merits the benefit of the doubt for now.
  27. Unfortunately, Peak TV bloat saps much of the tale’s effectiveness. Taboo ambles along, drinking in the sooty urban vistas and foggy waterfronts and treating us to close-ups of decayed corpses, sick flesh, vermin, and filth.
  28. The entire thing feels too canny, too much the result of a marketplace gamble, and that’s especially dispiriting in light of the fact that all ten episodes are directed by Tarsem Singh, an extravagant visual stylist whose work tends to have a music-video-fashion-show-nightmare vividness even when the story makes no sense and isn’t trying to.
  29. Viewing it is therapeutic and wonderful, but also like going through an additional step in the stages of grief.
  30. This is the sort of series that makes difficult things seem easy, so easy that you often don’t realize how artful it is until you think back on it.

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