The Daily Beast's Scores

  • TV
For 152 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 5.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 71
Highest review score: 100 Rectify: Season 2
Lowest review score: 10 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 112
  2. Negative: 0 out of 112
112 tv reviews
  1. The series continues to exploit hot-button issues for pulse-pounding fantasy--albeit in a manner that, when contrasted to the more modern (if equally silly) Homeland, comes across as clunky and outdated.
  2. Santa Clarita Diet is gross. It’s also very good.
  3. It was a nice, easy watch, and they didn’t bastardize anything--which, honestly, in today’s world of awful reboots is the highest praise.
  4. It’s the kind of blank canvas needed to host Sorrentino’s compelling strangeness, making The Young Pope alternatingly addicting and infuriating, like the most interesting ambitious dramas competing to make noise in the age of #PeakTV.
  5. It’s all very big and bold, and boring.
  6. It’s all warm and lovely and cozy and caustic and motherly and daughterly.
  7. Throughout the entirety of the first task, the editing makes the women look like deranged, useless hens clucking over each other to the detriment of progress, while the men’s manliness and how they harness it--“but I’m a manly man…” is a phrase uttered once every 10 minutes—become the episode’s running theme.
  8. It unfurls slowly (so, so slowly, especially in its early episodes) into a cerebral sci-fi mystery not quite as compelling as it’s convinced it is.
  9. Pick through that mess, and even the biggest Daniels skeptic will find a fierce commitment to progressive social issues; a knack for writing showcases for actresses of color that are so often slighted by Hollywood; and a kind of Shakespeare-meets-camp delight for dialogue that is as operatic as it is silly--though only effective about as often as you’d expect with that kind of ambition.
  10. This, folks, was a very good production of Hairspray!
  11. The show retained enough of its integrity and beauty to make us want to follow again.
    • 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.
  12. The storytelling, clearly, isn’t the point. It’s about the feeling of Rocky Horror and, as the film took on this cult second life, the audience who is feeling it. But with this Fox production, it’s unclear who the intended audience is.
  13. Katy Mixon is a star. It’s honestly her intense likability that makes this show so watchable, for of all of the non-fat joke-related mistakes it makes (chiefly its Alex P. Keaton knockoff older son character).
  14. Even if occasionally baffling and a little disjointed, the very idea of the show and the production value is worthy of investment, even if there’s a lack of feeling to provoke intense passion for it.
  15. The experience of being special needs and loving someone who is special needs isn’t exploited here. It’s illuminated here--and humanized, satirized, and, most importantly, laughed along with.
  16. It’s a lot of exposition, sure, but it goes by breezily. The scenes are all incredibly short, packing emotional jabs in rapid sequence all of which, after an hour of using your heart as a punching bag, leaves its intended bruise.
  17. My Roanoke Nightmare is a fascinating new direction in that mission. We’re not sure quite yet if we’re applauding the new direction; to be quite honest, we found the premiere to be so heavy on explanation that we were slightly bored.
  18. It’s a story at once familiar and unique, and most captivating in its portrait of amateur athletic life as a series of constant challenges--in and out of pads--and a gauntlet of ever-present uncertainties.
  19. 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.
  20. Orange Is the New Black itself, which has grown richer, more surprising, and ambitious in its fourth season. That doesn’t always mean it’s better than ever--often it isn’t--but is just as admirable as ever.
  21. In its second and third episodes, the material periodically drags to a crawl while laying the bedrock foundation for forthcoming action. And its habit of leaving key details and interpersonal dynamics vague borders on irritating. Though it resumes building momentum by the end of its fourth chapter, there’s a sense that the show requires somewhat more vigorous storytelling.
  22. Cranston delivers a titanic fill-the-screen turn, capturing the man’s bombast and sincerity in equal measure. In the process, he dwarfs his castmates.... Though it presents a captivating look at the nuts and bolts of high-stakes politicking, it suffers in such inevitable comparisons, in part because Roach’s direction is so stifling that the film feels small at the very moments it should be grand.
  23. It was overstuffed with some awkward introductions and anxiety over first impressions, and because of that sometimes a little boring. ... The premiere is often very fun, especially when Handler’s eye-roll-driven plain-talking sense of humor slips in off the cuff. (At one point she laughs directly into Pitbull’s face.) But it didn’t probe in the way we’ve been sold, and still expect from future episodes.
  24. That balance of gimmicky and profound undulates throughout the season. ... But the cuckoo is stitched together by the heft of Fonda and Tomlin’s performances and the intimacy of the writing when the show manages to take a step back and give the characters a beat for self-analysis.
  25. Like many classic sitcoms, it has taken Silicon Valley until its third season to truly hit its stride.
  26. We’ve seen this all before. The good guy’s descent into darkness, the cat-and-mouse thriller, the escapist action series, the on-location porn. Does The Night Manager do it any better than we’re used to? Sure, quite often. But at least it almost never does it any worse.
  27. Fear’s second season flattens its characters, stifling much of what made them interesting in the first go-round.
  28. The Americans itself has never been better.
  29. It has matured, but it is still dark and funny, its characters flawed, and its depictions of sex and friendship startlingly but refreshingly bleak.

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