The Daily Beast's Scores

  • TV
For 142 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 5.2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 71
Highest review score: 100 The Americans: Season 4
Lowest review score: 10 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 102
  2. Negative: 0 out of 102
102 tv reviews
  1. It’s a breathtaking work of immense beauty and a thought-provoking meditation on the nature of crime and punishment, of identity and solitude, of guilt and absolution. It is, quite simply, the best new show of 2013.
  2. A perfectly mixed cocktail equally parts menacing and suspenseful, washed down with surprising notes of hilarious satire and pulpy violence, FX’s version of Fargo is most certainly not a pale imitation of the gruesome dark comedy.
    • 99 Metascore
    • 100 Critic Score
    Rectify is the best series I have ever seen on television. Not may be. Not might be. It just is.
  3. Judging by the initial installments, it's not only one of the most riveting and provocative series I've seen in the last few years; it's one of the most riveting and provocative series I've ever seen. Period.
  4. What it accomplishes in its third season is a triumph of concept, entertainment, provocation, cinema, acting, and often even fun that trumps any and all genre- and content-related turn-offs.
  5. A gorgeously realized and emotive thriller.
  6. It is--and continues to be in Season 4--a total storytelling masterclass.
  7. The Americans itself has never been better.
  8. Season 4 is just as brilliant as the seasons that preceded it.
  9. Much like with Louie, we’re in uncharted territory with Rectify. Each episode offers up wondrous new surprises, whether it’s a dream sequence, a stunning revelation from a new character, or a sly moment of levity from an unexpected source.
  10. The result is something extraordinary and compelling, a first-rate drama for Showtime.
  11. This season is more concerned with continuing to make its way through the lives of the women who occupy Litchfield Prison, and, with a few misses here and there, is so lived-in in its narrative voice and settled in its “Backstory of the Week” format that you’re quickly at peace and on board with the season’s new direction and slightly more upbeat tone.
  12. Most importantly, the show is terribly funny this season. Louie is back at the top of its game.
  13. Numerous story strands--Robin’s dark past, the venomous Mitcham and his ne’er-do-well sons, a New Age women’s camp run by the mysterious guru GJ (Holly Hunter)--all coalesce into a taut and provocative thriller about damage, vengeance, and escape.
  14. A beautifully realized and dazzling re-creation of our collective past and a glimpse of the infinite and unknowable.
  15. Like many classic sitcoms, it has taken Silicon Valley until its third season to truly hit its stride.
  16. Southland remains one of the most morally complex and insightful dramas on television today.
  17. The plot itself isn’t particularly complex.... The satire, on the other hand, is exquisite.
  18. It’s better than the breakout first season, even, finally equalizing the wildly--though thrillingly--undulating tones and sprawling cast of characters into a streamlined and balanced, but just as original and bracing, mode of storytelling that makes the 13 episodes more bingeworthy than ever.
    • 74 Metascore
    • 90 Critic Score
    It’s even more beautiful watching two women of color, black and Asian, navigate a realm that traditionally hasn’t included them. It honors sci-fi’s history while giving it a bold new future to stake claim in, making Star Trek essential television for the first time in decades.
  19. The Fall is a top-flight mystery that taps into political tensions in Northern Ireland and the troubling undercurrent of violence against women.
  20. Its power comes from its electric inventiveness and gleeful inscrutability. An inimitable stew of the romantic and the demonic, the cartoonish and the crazy, it is, in the purest sense of the term, Lynchian. Peak TV, indeed.
  21. In a summer that’s offered new programs that pretty much all sit on the spectrum from “silly, but still curious” (Extant, The Strain) on one end to “just plain silly” (Dating Naked) on the other, Manhattan is the most grown up, worth-watching new series we have.
  22. It’s been a subculture critique of a decidedly hilarious sort. That hasn’t changed for its fourth season, which once again locates the dark, ridiculous heart of the tech industry through the saga of its clownish wannabe-moguls.
  23. Sunday night’s premiere featured some of the best writing the show has produced. More and more, Hannah Horvath is resembling a character we no longer identify with, but so clearly recognize. She’s annoying and hard to tolerate, but grounded enough to be endearing.
  24. Though its title screams Christmas flick, HBO’s absorbing new miniseries is a pitch-black procedural that combines the system-is-broken outrage of Making a Murderer, the menacing atmosphere of Oz, and the shameless topicality and plot twists of Law & Order: SVU. And the first of its eight hour-long chapters plays like an elegant, extended version of the first three minutes of SVU.
  25. It uses the creative breathing room to dial up and embrace the show’s inherent weirdness--this is a comedy about a cult survivor, after all--and then have the luxury to bring things back to a relatable, human level again.... [Fey and Carlock] solidified themselves as not just bravura comedy writers--which we already knew they were--but industry risk-takers, too.
  26. The Americans is already reinventing itself. Why? Because it has the confidence to know that it's about more than the relationship between two specific characters. Rather it's about the idea of relationships in general, in all their intricacy and weirdness--the secrecy they require, the comfort they create, the confusion they entail, the danger they can unleash. And that never gets old.
  27. It's richer than ever. It's more nuanced. Whereas it used to be buzzy and contentious, it's now simply good.
  28. While House of Cards has always explored both the personal and political sides of life in Washington, D.C., my early sense is that, in Season Two, it’s gotten better at both.

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