Pittsburgh Post-Gazette's Scores

  • TV
For 1,467 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 John Adams: Season 1
Lowest review score: 0 Momma's Boys: Season 1
Score distribution:
  1. Mixed: 0 out of 675
  2. Negative: 0 out of 675
675 tv reviews
  1. Sophomoric and crude, The Life & Times of Tim may be a viable alternative for fans of Cartoon Network's Adult Swim.
  2. The lighthearted "Psych" charms even as it duplicates the structure and tone of "Monk."
  3. Privileged has the potential to be a largely positive, female-skewing series.
  4. It’s entirely possible The Last Ship could turn out to be a cruise to nowhere, but in its first three episodes, it’s at least a fun ride.
  5. The emphasis on kids makes From Script to Stage a safe glimpse behind the curtain that's cute and sometimes informative but dramatically sanitized.
  6. There's a casual, informal, willing-to-take-chances tone to The Writers' Room, which works most of the time but in the second episode, devoted to NBC's "Parks & Recreation", the show suffers from too many people trying to be funny.
  7. Where "Studio 60" takes a scathing and indignant tone toward television, "30 Rock" offers a more sarcastic, less hackles-raised critique. It's also funnier and goofier.
  8. If you enjoy complex, murky dramas about morally ambiguous characters, played by a talented cast of newcomers, then enjoy "The Black Donnellys" while it lasts.
  9. A lively comedy.
  10. The show remains a chilly affair, which will probably limit its acceptance but for viewers who appreciate satire, particularly of a modern workplace, it's difficult to imagine a show on the subject that's funnier than Ted.
  11. It’s not a revolutionary show but at a certain level it is a step away from the angst and a return to the positive, uplifting feelings evoked by the 1978 Christopher Reeve “Superman” movie.
  12. It is a well-made little show of horrors that's likely to scare and thrill its target audience.
  13. Kings begins with a refined approach and grows more pedestrian in subsequent episodes. Still, there's plenty to love about this series that dances with symbolism--the butterfly on the Gilboa flag is not a mere adornment--and replaces clandestine backrooms with windowed board rooms.
  14. Fortitude, which was originally slated to air on Starz, doesn’t feel quite as urgent a viewing experience as “Broadchurch,” but the first two hours (of the 12-part series) introduce enough intriguing characters and relationships that it’s worth watching for fans of murder-mystery dramas just as long as the show doesn’t introduce too many red herring suspects (the show appears to be pointing to one already by the end of the premiere).
  15. The mix of characters works well and provokes a fair number of laughs.
  16. Of the couples comedies to debut so far this midseason--NBC's "Perfect Couples" in January, Fox's "Traffic Light" last week--CBS's "Mad Love" (8:30 tonight, KDKA-TV) is probably the best. That's not to say it's a great show, but it is the least groan-inducing.
  17. Hung remains less of a comedy than HBO presents it as, but it's certainly more platable in season two.
  18. Mr. Garcia’s style of humor tends to be sophomoric--sex jokes, overweight stripper sight gags and broad comedy predominates--but this style manages to blend well with the show’s unique format.
  19. Unlike "Monk," which is essentially warmed-over "Columbo" with a more interesting character in the lead, In Plain Sight augments its plain premise with a full cast of colorful characters.
  20. Better than average.
  21. Riverdale shows off a heightened visual look that sometimes calls to mind “Pushing Daisies” in its ambition. Whether it can maintain that high level of production design, we’ll see, but in its early episodes, Riverdale positions itself as one of the more ambitious teen dramas to come along in several years.
  22. It no longer feels like you're watching a dozen different TV shows now that the main characters actually interact with one another. And the show's pace seems more brisk, less stodgy.
    • 68 Metascore
    • 70 Critic Score
    Even if this strikes a cynical adult as too syrupy-sweet, it's refreshing to have a too-nice role model.
  23. Girls grew on me. As annoying as the characters can be, they also evince recognizable traits in absurdly realistic situations.
  24. A cute half-hour that capably introduces new characters and sets the table for the new series.
  25. Sweden is a quiet, gently amusing comedy.
  26. Nothing in Dracula is as unique or as wonderfully weird as "Twin Peaks," and Dracula plows through plot more quickly, introducing and then writing off several intriguing plots and characters within its first three episodes. It's too soon to say whether that will turn out to be wise or foolhardy, but Dracula at least gets off to a mildly promising start.
  27. Mercy Street remains strictly middlebrow fare, but it’s well-done for what it is and better than in its first season.
  28. Raising Hope is not for the easily offended and humorless but the pilot is consistently entertaining for viewers willing to embrace Garcia's universe of downtrodden characters.
  29. The Jane pilot whips through story quickly while setting up all kinds of potential entanglements for the characters. Whether subsequent episodes can maintain that breakneck pace, which helps accentuate the comic absurdity of the show’s premise, remains to be seen, but Jane certainly gets off to a strong, entertaining creative start.
  30. All-American Muslim [may be] a bit dull for viewers conditioned to expect ginned-up drama but given the potential sensitivities of the subject matter, it seems appropriate.
  31. For fans of the original, which is only a few years old, this Americanization may be a bit like going to see a road company version of a Broadway show: It's pretty good but definitely less morose (for some viewers that will be an improvement, for others it will be a betrayal).
  32. TV Land continues its foray into original scripted programming with The Exes, the network's best sitcom effort since "Hot in Cleveland."
    • 72 Metascore
    • 70 Critic Score
    None of the songs really stand out the way they did in the original. Kenny Ortega's lively choreography, however, is once again top-notch.
  33. A zippy, fun update.
  34. This fast-paced Titanic miniseries gets better as it goes along.
  35. There are some terrifically funny lines and it’s intellectually funny, but not often ha-ha funny and the situations are dark and depressing.
  36. A fairly standard family sitcom that rises above its pedestrian premise thanks to star Cristela Alonzo, a comedian who makes a favorable impression in this series about an Hispanic Texas family.
  37. "Related" won't be for everyone, especially viewers lacking estrogen, but it is a quality weekly "chick flick" for TV.
  38. Stylista is a guilty pleasure thanks to its cast of catfighting, bickering characters, including one who is hospitalized following a panic attack in episode two.
  39. In its early going, it's a fun, summer TV frivolity--an entertaining enough hour of TV that sneaks in moments of social satire.
  40. That quest to crown a new king at Lyon’s Empire Music gave the show a goal to drive toward, something that’s lacking through the first three episodes of season two now that Lucious’ condition turned out to be a misdiagnosis.
  41. "Mrs. Harris" is interesting but not intimate. It's cold, aloof and distant, much like the relationship it depicts between the principal characters.
  42. "CSI: Miami" is a carbon copy, for sure, but it's a copy of an efficient show millions of people enjoy watching. [23 Sep 2002]
    • Pittsburgh Post-Gazette
  43. After suffering through too many poorly written, dramatically empty episodes of "Star Trek: Voyager," I was dreading the launch of UPN's "Enterprise" precisely because it came from "Voyager" executive producers Rick Berman and Brannon Braga. Maybe it's the diminished expectations or maybe they've actually come up with something decent, but tonight's two-hour "Enterprise" premiere is surprisingly satisfying. [26 Sep 2001]
    • Pittsburgh Post-Gazette
  44. The first half of Sharknado 3: Oh Hell No! takes itself too seriously with return appearances by minor characters from the first two films and the destruction of Washington, D.C., landmarks that viewers have seen before with better special effects.... But halfway through--right about the time a character loses his limbs one by one while trying to take heroic action--the mojo that makes these absurd movies a hoot kicks in and Sharknado 3 becomes the insane event viewers anticipate.
  45. It's a pretty good introduction but there's no guarantee future episodes will live up to that positive first impression.
  46. The premiere feels a little overly long--it clocks in at 53 minutes--but it capably creates the show’s insular world of blood, sweat and cheers, ending in an inevitable fight that features Nate as Ryan and Jay offer encouragement from the sidelines.
  47. The pilot has all the markings of a winner. [26 Mar 1999]
    • Pittsburgh Post-Gazette
  48. The pilot is a pretty solid hour of television, setting up the show's premise and in several instances defying TV norms with plot twists viewers won't see coming.
  49. In such rare instances [in the second episode], Breaking Bad achieves a perfect moment of nerdy believability, but too often the series fails to provide details that would help explain its characters' illogical choices.
  50. The first episode runs two hours and sets up all the characters, their relationships and backgrounds. It presents a serialized show with a lot of potential for growth and interesting plot possibilities, especially considering a scene at the end of the premiere that raises a whole host of questions.
  51. While the flashbacks deepen the characters, some elements are smack-you-in-the-head obvious. Still, the stylization of the story is impressive as is the way Rodriguez, who wrote and directed the premiere, introduces the robber characters, the more level-headed Seth Gecko (D.J. Cotrona) and his possibly crazy/possibly prescient brother, Richie (Zane Holtz).
  52. The show remains a not-terrible throwback to the kinds of sitcoms the broadcast networks used to make.
  53. The Hour looks fantastic but it moves at a snail's pace that's sure to irk impatient viewers.
  54. At times Dirk Gently feels like one long, never-ending tease but the show is so strange and consistently surprising and unpredictable it seems likely to find some sort of a cult audience.
  55. There's a cool, no-nonsense attitude about Southland that may make it more challenging for viewers to embrace than some other shows, but this cop drama has so many strong performances and enough nuanced writing that it remains one of the better dramas currently in prime time.
  56. Against the Wall is not nearly as ambitious as "Chicago Code" was but there's a warmth to the characters and their relationships that should satisfy Lifetime's core audience.
  57. As a loyal "Homicide" viewer, for me Munch is the best part of SVU, especially in tonight's scene where he explains his departure from Baltimore. [20 Sept 1999, p.B-1]
    • Pittsburgh Post-Gazette
  58. Writer Josh Safran (season two of “Smash”) allows Quantico to bubble with questions and craftily gives all the characters motives. It’s a crackerjack, character-driven mystery that showcases a uniformly attractive, United Colors of Benetton cast.
  59. Writers Dannah Phirman and Danielle Schneider clearly know the source material they’re mocking and do a great job of getting laughs out of the absurdities of the “Real Housewives” shows. But sometimes the humor is dulled by the realization that while mockery can be fun, Hotwives still requires viewers to sit through “Real Housewives”-style inanity.
  60. USA's Royal Pains is an amusing, enjoyable addition to basic cable.
  61. Restless could benefit from a little more development of the characters Eva works with--it would make their stories more meaningful and poignant--but overall this four-hour miniseries is a strong entry.
  62. Curb is filled with uncomfortable comedy, as always, but its humor stems from the relatable minutiae of everyday life, not unlike what viewers watched on "Seinfeld."
  63. Girlfriend remains stubbornly weird, including in an avant garde musical number (pictured above and after the jump) that proudly proclaims it busted the show's budget.
  64. Entourage offers a reason for fans to be encouraged about the quality of its last episodes.
  65. A dark character drama, it’s a show for viewers who enjoy a deep dive into a culture, one that, in this instance, happens to be ugly and exploitative.
  66. Manhunt, clocking in at eight hours total, makes for fine if unexceptional storytelling. It’s a scripted true crime drama that may hook fans of psychological thrillers but lacks the panache and visceral punch of FX’s “The People v. O.J. Simpson: American Crime Story.”
  67. When Atypical keeps its focus on the teen characters, including Sam’s ready-to- leap-to-his-defense younger sister, Casey (an outstanding Brigette Lundy-Paine), the series is at its best if sometimes most familiar. The show turns more annoyingly soapy when it turns to Sam’s father, Doug (Michael Rappaport), and mother, Elsa (Jennifer Jason Leigh).
  68. Comrade Detective certainly has its moments, but its one-joke premise may make it a tough sell for all six half-hours.
  69. Virtuality is a fascinating, over-stuffed pilot episode, and as intriguing as its concept is, you can see by the end of tonight's two-hour premiere why Fox passed on making it a weekly series.
  70. It's not a great show but it's not a terrible teen drama, not by a long shot.
  71. The Grey's Anatomy writers acknowledge last season's ratings decline by offering a parallel plot that finds Seattle Grace's ranking as a teaching hospital suffering in tonight's entertaining and ridiculous-in-the-regular-Grey's-ways two-hour season premiere.
  72. Creatively, the show seems to be in pretty decent shape.
  73. "The Winner" may not be able to go the distance, but it's a fun little show in the here and now.
  74. Whatever the politics of it, The District is a decent drama. Not great, but certainly interesting, especially if it actually deals with issues of race and politics. [7 Oct 2000, p.B-8]
    • Pittsburgh Post-Gazette
  75. Rescue Me needs rescusing from itself and deliverance will soon come. Until then, fans of the series can enjoy the ride--even if it sometimes feels like a rerun.
  76. It's not the worst way to spend a half-hour, but Red Oaks also doesn't feel like essential viewing.
  77. Despite the cliched sitcom trappings... it's an amusing, if slight, diversion.
  78. The original French version of The Returned embraced spooky stillness, and the American version attempts to do this, too, but succeeds to a lesser extent. And while there’s at least a language barrier reason for remaking the French version of “The Returned”--unlike Fox’s “Gracepoint,” a remake of BBC America’s English-language “Broadchurch”--that’s still not enough creative justification for this identical, second version of the same show to exist.
    • 55 Metascore
    • 60 Critic Score
    A pretty family entertainment, lit by Ullman's energy and just small flashes of the Burnett we love.
  79. On a scale of TV series that shoot for the high end of mediocre, USA's Suits fares far better than the recently introduced TNT legal drama "Franklin & Bash." The guys in Suits are more likable, and the legal stories a little more grounded in reality.
  80. The show conjures the most laughs when Mr. Gervais is on screen, but his presence doesn't mesh naturally with Warwick's world.
  81. Episode one spends an awful lot of time on digging a huge hole in the ground with fairly predictable results. And in episode two there’s a lot of wandering around a greenhouse buzzing with insects that’s supposed to be ominous but instead comes off like a homage to “The X-Files.” ... The third episode moves all the stories forward at a better clip.
  82. Ultimately, Hannibal is a mixed bag. It’s a more complex show than many programs in prime-time but it’s still finding itself in early episodes, particularly with regards to plotting.
  83. L.A. Shrinks is another Bravo guilty pleasure show. When the cast members aren't saying outrageous things, it can get kind of dull, but most of the time the dialogue is crazy enough to keep viewers entertained.
  84. So, the dialogue is cliche, the characters are cliche, the situations are cliche. What is there to recommend about this show? In the end, it's the twists that had me popping episodes into the VCR until I'd watched the first six. There's just enough of a thread -- whether it's clues that endanger Falcone's undercover operation or threats to his family -- to keep you wondering what will happen next.
  85. In Treatment is fascinating TV, but it's not a pleasant experience. Watching these therapy sessions is akin to eating your TV broccoli.
  86. When We Rise feels a little rote and predictable in its main characters’ trajectories but given its subject matter and airing on a broadcast network, that also works to the program’s benefit.
  87. The Royals is pretty much the entertainingly trashy prime-time soap you’d expect.
  88. "Painkiller Jane" doesn't soar to the dramatic heights of "Battlestar," but it is a step above some of the network's other programs, a procedural thriller with a sense of humor and stylish action scenes.
  89. He's dashing, she's beautiful, and the show is fairly entertaining. But Undercovers adds nothing to the spy show genre.
  90. There’s an odd-couple vibe to Vicious, though it’s also a big, broad comedy reminiscent of Frasier if Niles and Frasier were a bickering gay couple instead of brothers.
  91. It’s amiably crude and fairly funny, too, but the show will leave some viewers clutching their pearls with jokes tied to masturbation, testicles, defecation, the scent of private parts and oral sex--all in its first episode.
  92. It's an entertaining enough diversion if you're not expecting much.
  93. Animal Kingdom, based on a 2010 Australian film of the same title, won’t be to everyone’s taste, but fans of dark, family criminal enterprise shows (think: “Sons of Anarchy,” “Outsiders”) might be intrigued.
  94. While it's fun to see what happens in Total Blackout once, it seems like it will grow old.
  95. Ridiculous, and somewhat predictable. [4 Aug 2005]
    • Pittsburgh Post-Gazette
  96. [A] cute wisp of a series.
  97. It is the definition of a slow-burn series, a program that should be exciting rendered as kind of dull.

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