The New Yorker's Scores

For 113 reviews, this publication has graded:
  • 32% higher than the average critic
  • 4% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Behind the Candelabra
Lowest review score: 10 Ghost Whisperer: Season 1
Score distribution:
  1. Positive: 64 out of 64
  2. Mixed: 0 out of 64
  3. Negative: 0 out of 64
64 tv reviews
  1. Breaking Bad [is] a radical type of television, and also a very strange kind of must-watch: a show that you dread and crave at the same time.
  2. Behind the Candelabra succeeds precisely because it doesn’t care much about health or what constitutes a good role model--it shows respect for a complicated marriage simply by making it real.
  3. By the finale, Season 2 is stronger than Season 1, largely because it’s more uncompromising about its characters, at once more nuanced and more damning.
  4. It’s a daring, difficult project, a chewy story about a family from much the same privileged world as “Afternoon Delight.”
  5. A gorgeously living thing.
  6. The new episodes start well, then keep improving, with narrative clarity and a fresh visual beauty.
  7. The show’s deliberately paced six hours turn out to be riveting, precisely because they are committed, without apology or, often, much explanation, to the esotericism of their subject matter.
  8. Smash does a very satisfying job of merging the pleasures of "American Idol" and commercial Broadway, placing the "hummable melody" dead center and prioritizing fun over absolute authenticity.
  9. Freed of the constraints of thirty-minute or one-hour formulas, the episodes are luxurious and twisty and humane, radiating new ideas about storytelling.
  10. Rescue Me is a daring, unflinching show—a worthy companion to FX’s dark-hearted police drama “The Shield”—and it is unafraid to expose the not always pretty particulars of firehouse culture and the more fallible side of those we count on to save us.
  11. [Andrew Haigh & Michael Lannan] collaboration is a real beauty, the standout among several smart series launching in January.
  12. [A] soaring, inventive miniseries.
  13. Broadchurch is beautifully crafted: well filmed, well cast, well scored, atmospheric without being a drag. It also has a striking mixture of cruel insight and sentimental warmth that elevates it above cheaper concoctions.
  14. Rock is able to find humor in every aspect of his childhood.
  15. It’s not that the season was bad--it was daring and often beautiful, emphasizing serial storytelling over episodic one-offs, with many indelible moments, especially those involving Louie’s daughters.
  16. The result, with its strong, complex, funny, flawed central character, feels truer to life than the zillions of one-dimensional (or no-dimensional) nurses on television.
  17. The show is more than tit for tat: it’s sheer pleasure, no guilt allowed.
  18. At six episodes, Happy Valley is satisfyingly compressed.
  19. Well cast, solidly structured, and emotionally stirring, the show is as sincere as the Bruce Springsteen songs that make up its score, a ballad of pragmatism with a passionate heart.
  20. Mad Men is smart and tremendously attractive, and it stirs you more than it probably should.
  21. The dialogue isn’t always subtle, but it’s often sharp.
  22. Episodes has a sly subversiveness that deepens over time, like mercury poisoning: it's an adult farce that is at once frothy and acerbic.
  23. The Jinx is wickedly entertaining: funny, morbid, and sad, at once exploitative and high-minded, a moral lasagna of questionable aesthetic choices (including reconstructions of ghastly events) and riveting interviews (of Durst, but also of other eccentrics, like his chain-smoking-hot second wife).
  24. McBride is comfortable improvising, and in Eastbound there’s a lot of pleasurable tension in watching Kenny create difficult situations with his poor judgment and get out of them with his escape artist’s quick brain.
  25. The result is a warmer story, streaked with satire rather than marinated in it. Perhaps the greatest contribution comes from the performance of someone who barely appears: Rory Kinnear (best known as the Prime Minister in the pig episode of “Black Mirror”), whose Barry is a poignant, meaningful figure, a do-gooder whose loss is real for the town’s most vulnerable residents.
  26. The meanest sitcom in years—and one of the funniest.
  27. The Comeback is as spiny and audacious as the original, but very different, because it isn’t aimed at “celebreality” or network sitcoms, now dated targets.
  28. The show is at its best in such moments, these sequences that capture the semi-virtual, semi-real ways that we think, and feel, and meet, and connect today. It’s a rare attempt to make visible something that we take for granted: a new kind of cognition, inflected by passion, that allows strangers to think out loud, solving mysteries together.
  29. Smart, salty, and outrageous, the series falls squarely in the tradition of graphic adult cable drama.
  30. In a lacklustre fall season, this sweet surprise of a pilot, with its shrewd narration and likable cast, made me cross my fingers that the show can maintain its charms.

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