New York Magazine (Vulture)'s Scores

For 607 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Atlanta: Season 1
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 340
  2. Negative: 0 out of 340
340 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. 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.
  3. The pilot for the musical drama Vinyl is one of Martin Scorsese’s best films, an explosion of amplifier feedback, nose candy, wide-lapeled shirts, and borderline chaos; the next four episodes are almost as good, and on the basis of the first half-season, it already feels like the first new must-see series of 2016.
  4. Atlanta and Better Things take C.K.’s refinements to a new level, merge them with worldviews that you rarely see represented on TV, and tell their stories with such economy and grace that you might feel as if a new language were being worked out before your eyes.
  5. Every shot and cut seems timed for maximum impact; you get a little bit of beauty here and there, but for the most part it's go, go, go, comrade, onto the next thing, and don't look back.
  6. Atlanta and Better Things take C.K.’s refinements to a new level, merge them with worldviews that you rarely see represented on TV, and tell their stories with such economy and grace that you might feel as if a new language were being worked out before your eyes.
  7. I think it’s easily one of the best shows of the year, and a major work by everyone involved, for reasons that I’ll allude to momentarily--though not in detail, because The Girlfriend Experience is actually four or five shows rolled into one, and a big part of its specialness resides in those moments where it morphs from one thing into another.
  8. The show’s version of machismo is hilarious, and feels new. Silicon Valley captures the pack-wolf preening of guys whose muscles are located mostly above their necklines.
  9. Scene for scene, it feels more attuned to the daily realities of life in 2016 America than any other drama on network TV. And because it’s a self-contained story that bears no relation to season one, you can jump right into it. I urge you to give it a shot if you aren’t already a fan. Just be patient. It’s one of those shows that needs a bit of time to work its peculiar magic.
  10. Rectify is such a quiet, patient series that it takes awhile to realize how radical its storytelling is. Near the end of season two it seemed to rethink itself, and the first couple of episodes of season three suggest that the show is about to reinvent itself and shift its focus while trying to hold on to the qualities that made it so special--and frankly, peculiar.
  11. The best of the new fall sitcoms.
  12. I was riveted--I highly recommend watching this show on the largest screen possible, in dark room, with no interruptions. But I didn’t see much evidence that the new Twin Peaks is going to pivot anytime soon and turn into the show that people remember, or think they remember.
  13. I suspect it might be a classic that deserves a spot in the pantheon of great, long-delayed follow-ups, though I need to watch the whole thing again and live with it and then write about it again to be sure. That I’d want to rewatch the whole season immediately is, of course, another, possibly higher compliment.
  14. The physicality of the visuals and the performances helps power Game of Thrones past any rough patches--not that there have been that many.
  15. It is extraordinary. ... The whole experience is so absorbing that I now regret having made my top TV shows of 2016 list so early in December. The OA belongs, if not in my top ten, then certainly highly ranked among the honorable mentions.
  16. The level of craft and intelligence is so high here that Thrones earns the right to think of itself as doing for sword and sorcery what Coppola's Godfather trilogy did for the gangster picture: taking it seriously as modern myth without sapping it of old-fashioned entertainment value.
  17. Oh My God is animated by deep skepticism and an appreciation of joy, qualities that don’t normally mix in comedy and that might seem, in a different context, incompatible. But they aren’t incompatible--not here, anyway.
  18. With its mix of curveball innovations and very BoJack elements, season three of Raphael Bob-Waksberg’s cartoon sitcom set in a species-mixed world of humans and animals might be its best overall, though it necessarily lacks the aspect of jaw-dropping surprise that made it so beguiling in its first two outings.
  19. Not since Deadwood has a period-drama production designed to a fare-thee-well and steeped in nasty atmosphere been so politically astute about who has power over whom and why--although the subtler brand of gallows humor and Soderbergh’s fondness for intricately choreographed long takes aligns The Knick with a different TV classic that Deadwood creator David Milch worked on, Hill Street Blues.
  20. The splintering of the group enables the series to open new channels of competitiveness between the principal characters while also continuing to do what it does best: develop admirably intricate story lines about high-tech-sector politics as well as the inevitability that those who either possess or covet power will engage in petty behavior.
  21. The show’s alchemy stems from its skillful use of smartly cast actors whose poker-faced sincerity makes us take whatever version of this story we happen to be hearing as gospel.
  22. It follows the Slow TV template recently perfected by the likes of American Crime and The People vs. O.J. Simpson, giving each scene maximum space to breathe, often more than it needs. But the net effect is hypnotic, like reading a fat crime novel filled with memorable characters and atmospheric details.
  23. Sherlock is a wonderful series. Just thinking about it makes me smile.
  24. The brilliance of the writing and world-building on The Good Place is taken to another level by its cast.
  25. Season two of the show is more enjoyable than season one because, for long stretches, it barely remembers what it's about, plot-wise, and enters that trancelike comedy zone where some of the best sketch comedy resides--a place of one-damn-thing-after-another inventiveness.
  26. The first four episodes sent out for review become stranger and less “realistic” by the hour, not to mention more stereotypically HBO-like (artfully arranged corpses; drug-thug posturing and handgun-waving; gratuitous T&A) and less concerned with the case that Cohle and Hart are allegedly trying to solve. But the show’s time-shifting structure is so painstaking that even when True Detective spirals into lurid madness there still seems to be purpose behind it.
  27. This series is Burns doing Guthrie, bringing a lifetime of experience and craft to bear on a story of people struggling through hard times. He's picking up a guitar and telling us a story--a great one.
  28. 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.
  29. Season three, so far, feels like it’s returning closer to that core mission after a second season that felt slightly less focused. Transitioning, for Maura and those who love her, is a process. Transparent season three shows us that the work is nowhere near done.
  30. It doesn’t just have a setting and a story, it has a philosophy and a vision of life. This is so rare in any art form that the show’s less-than-subtle aspects (and there are many) feel like features rather than bugs. ... Loosely based on Simien’s 2014 same-titled independent film but superior to it in almost every way.

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