The New Yorker's Scores

For 143 reviews, this publication has graded:
  • 35% higher than the average critic
  • 4% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Breaking Bad: Season 5
Lowest review score: 10 Ghost Whisperer: Season 1
Score distribution:
  1. Positive: 91 out of 91
  2. Mixed: 0 out of 91
  3. Negative: 0 out of 91
91 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. Fleabag is an original. ... By the final episode, which I won’t spoil but which touches on themes of forgiveness, her story feels richer than many dramas.
  3. 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.
  4. A TV series that makes revolutionary art seem both irresistible and inevitable.
  5. It’s a smart wartime drama that’s gripping precisely because it takes sex so seriously, treating it as life’s deepest joy and its most terrifying risk, as dramatic as any act of violence.
  6. It’s heartbreaking, provoking literal nausea, with a psychic hangover unlike any other show. Believe it or not, that’s a recommendation.
  7. 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.
  8. The series is not, in the first six episodes sent to critics, crude or cartoonish but ideologically and emotionally nuanced, with each episode providing a shift in perspective, as if turning a daisy wheel of empathy.
  9. It’s a daring, difficult project, a chewy story about a family from much the same privileged world as “Afternoon Delight.”
  10. A gorgeously living thing.
  11. The new episodes start well, then keep improving, with narrative clarity and a fresh visual beauty.
  12. 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.
  13. It’s smartly plotted, with characters that deepen in the course of the show. But, refreshingly, in our era of homework TV, it’s also a joyride, all roller skates and mousse-claw bangs, synthesizer jams and leopard-print leotards, home pregnancy tests and cocaine-serving robots. By the final episodes, I was whooping at my computer screen, fists in the air, like a superfan.
  14. 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.
  15. Freed of the constraints of thirty-minute or one-hour formulas, the episodes are luxurious and twisty and humane, radiating new ideas about storytelling.
  16. The third season of the show isn’t a masterpiece like the second: a few plot gears grind. But it lands powerfully, with an earned tragedy that’s as potent as anything on TV this year.
  17. David Simon and his frequent collaborator, the novelist George Pelecanos, together with writers such as Megan Abbott, have made a show that is quietly transformative. ... In many ways, The Deuce is a classic David Simon.
  18. 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.
  19. [Andrew Haigh & Michael Lannan] collaboration is a real beauty, the standout among several smart series launching in January.
  20. [A] soaring, inventive miniseries.
  21. 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.
  22. The result is a series that is shrewd, emotional, and impolite, with a style that veers toward pretentiousness but never crosses over. Atlanta has quiet craftiness and the power of precision.
  23. Rock is able to find humor in every aspect of his childhood.
  24. 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.
  25. 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.
  26. The show is more than tit for tat: it’s sheer pleasure, no guilt allowed.
  27. Each episode intensifies, emotionally, suggesting the long arc of a story that’s just beginning.
  28. The first two episodes of the new season struggle slightly, now that Gretchen and Jimmy are living together--there’s a risk of tilting into hipsterism, like a sour West Coast riff on “Mad About You.” And yet your fingers are crossed for the show to make the leap.
  29. At six episodes, Happy Valley is satisfyingly compressed.
  30. This is astoundingly efficient storytelling, eight hours that pass in a blink, with even minor characters getting sharp dialogue, dark humor, or moments of pathos.

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