New York Magazine (Vulture)'s Scores

For 576 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Hannibal: Season 2
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 315
  2. Negative: 0 out of 315
315 tv reviews
  1. Practically every moment of its seven-and-a-half-hour running time is thought-provoking, astonishing, sobering, hilarious, tragic, and sometimes all of those at once.
  2. Season two is one of the better TV dramas of an already excellent year, and that series creator Noah Hawley, his filmmaking team, and his cast have perfected what was already a promising spinoff of the Coen Brothers’ 1996 classic.
  3. 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.
  4. Contemporary TV is suddenly filled with shows starring charismatic yet ostentatiously flawed heroines: Homeland, The Mindy Project, Girls, Don't Trust the B---- in Apartment 23. Enlightened stands out because its vision is so much wider.
  5. It has a knack for creating metaphorically or symbolically rich situations that never strut about announcing themselves as such. It’s all there if you care to delve into it, but it’s never in the foreground and affixed with a tag; often you catch it hiding behind, or within, the characterizations and plot twists, as spies hide in plain sight.
  6. The storytelling seems to have hit a new peak of relaxed confidence. In every scene you get a sense of steady forward motion. New characters are introduced and old characters deepened, and devious new plots are laid out so deftly that it's not until midway through episode three that you look back over everything that came before and laugh at yourself for not having seen a particular surprise coming
  7. 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.
  8. Louie is the anti–Anger Management: bizarre, inventive, and bold.
  9. Splendid television.
  10. Best of all, we seem to be done with the weakest element of the series, those abusive-hillbilly flashbacks. Instead, we've been left with a Madonna-whore set of blondes: all-embracing Anna and her icy counterpart, Betty of the Little White Nose in the Air.
  11. 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.
  12. Transparent's major achievement is putting itself on the map.
  13. Some of the encounters evoke the returned abductees in Close Encounters of the Third Kind, while others have the nasty, bone-deep chill you associate with John Carpenter’s stalk-and-kill classics. Beneath it all is an air of existential dread. The universe is out of order. Life itself has gone haywire.
  14. 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.
  15. 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.
  16. Broadchurch excels at showing the awkward moments between the briskly delivered plot points, and the small details of voice and gesture that define communities in mourning (or guilty panic), and it has the good sense not to overdo anything.... And yet there's something fundamentally unsatisfying about the whole thing, as smart and intricately structured as it is--and it has nothing whatsoever to do with any writing or acting or filmmaking issues, and everything to do with the fact that we've just been to this particular narrative well too many times in 2013.
  17. Sherlock is a wonderful series. Just thinking about it makes me smile.
  18. The physicality of the visuals and the performances helps power Game of Thrones past any rough patches--not that there have been that many.
  19. 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.
  20. For all its gore, gunfire, and criminal nastiness, it's a joyous show; even when the characters are scowling, the show seems to be grinning at you.
  21. 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.
  22. 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.
  23. 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.
  24. For the most part, Murphy & Co. are content to mine this familiar material for pathos and corrosive satire. There isn’t a bad performance anywhere in this production, and while a few of them fail to rise above the level of a very good imitation (Travolta’s Shapiro is all sculpted eyebrows, puckered smirks, and constricted body language), most of them go far beyond that.
  25. Is Game of Thrones one of the great HBO series? It's too early to tell, though judged purely as an immense yet improbably graceful narrative machine, I'd have to say yes.
  26. Louis-Dreyfus is her usual Swiss-watch self, so confident that she seems to glide through her scenes.
  27. 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.
  28. The problem isn’t the sentiments but the clunky way they’re expressed--as if the writers are reserving the good dialogue for the regulars, along with the empathy.... The missteps are easy to forgive because, in content as well as form, ­Orange is a modestly revolutionary show.
  29. Raylan Givens is off his game, but Justified is as sharp as ever.
  30. 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.

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