The New Yorker's Scores

For 121 reviews, this publication has graded:
  • 33% higher than the average critic
  • 4% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Breaking Bad: Season 5
Lowest review score: 10 Ghost Whisperer: Season 1
Score distribution:
  1. Positive: 72 out of 72
  2. Mixed: 0 out of 72
  3. Negative: 0 out of 72
72 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. A TV series that makes revolutionary art seem both irresistible and inevitable.
  3. The new episodes start well, then keep improving, with narrative clarity and a fresh visual beauty.
  4. 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.
  5. It’s a daring, difficult project, a chewy story about a family from much the same privileged world as “Afternoon Delight.”
  6. Wide-ranging and genuinely funny.
  7. 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.
  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. 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.
  10. [A] soaring, inventive miniseries.
  11. Rock is able to find humor in every aspect of his childhood.
  12. The Americans can be wrenchingly emotional, and it’s terrifically well paced. But it doesn’t take itself overly seriously, and while the show looks pretty good it’s not the most cinematic series on the block.
  13. It's a big production-the first episode alone cost nearly twenty million dollars-and it looks authentic in a way that, paradoxically, seems lifeless. You're constantly aware that you're watching a period piece, albeit one with some vivid scenes and interesting details.
  14. 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.
  15. Whatever the length of the show’s much admired tracking shot (six minutes, uncut!), it feels less hardboiled than softheaded. Which might be O.K. if True Detective were dumb fun, but, good God, it’s not: it’s got so much gravitas it could run for President.
  16. There’s no question that the creators of The Pacific set out to honor the marines’ experience; they haven’t exactly failed to do that, but neither have they succeeded in leading viewers to a deeper appreciation of this--then and now--faraway war.
  17. 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.
  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. The dialogue isn’t always subtle, but it’s often sharp.
  20. Only a fool would deny Fargo’s polish and verve, its stylized razzle-dazzle. But, for me at least, after a year of gulping down chili peppers, it takes more to make a meal.
  21. The first four episodes of this season, though skillfully directed by Miguel Arteta, vary in effectiveness, but the third is pretty perfect, particularly Rhea Perlman’s performance as a double-amputee convict determined to escape from her hospital bed.
  22. 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.
  23. Eastbound & Down holds together so well that it's worth looking past the ugly for the solid performances and the charcoal-black humor beneath, particularly in the final episodes, which delve into Powers's family history.
  24. A gorgeously living thing.
  25. The British series, about the aristocratic Crawley family and their titular home, goes down so easily that it's a bit like scarfing handfuls of caramel corn while swigging champagne.
  26. Sondheim’s frequent collaborator James Lapine directs, and he does an excellent job of stitching together interviews from more than four decades, including ones with Mike Douglas and Diane Sawyer, to form a portrait of the composer as both a young and an old man.
  27. The show is well structured, with blunt but effective sitcom beats, and, refreshingly, it isn’t an “Entourage”-tinted fantasy.
  28. Each episode intensifies, emotionally, suggesting the long arc of a story that’s just beginning.
  29. 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.
  30. At six episodes, Happy Valley is satisfyingly compressed.

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