Washington Post's Scores

For 1,002 reviews, this publication has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 10.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 54
Highest review score: 100 Orange is the New Black: Season 1
Lowest review score: 0 Hidden Hills: Season 1
Score distribution:
  1. Mixed: 0 out of 409
  2. Negative: 0 out of 409
409 tv reviews
  1. Lie to Me seems an unusually meaty, thoughtful and thought-provoking crime drama--another police procedural, yes, but one with a dramatic and mesmerizing difference. The strength of the premise combined with first-class production make this easily one of the season's best new shows.
  2. Boardwalk Empire is doing what I wish Prohibition had done--it's tempting me to stick around for one more.
  3. Cleverly constructed and invigoratingly ambitious in design ... '24' has tension and density that set it well apart from the pack. [6 Nov 2001]
    • Washington Post
    • 86 Metascore
    • 90 Critic Score
    Scenes fold into themselves and mutate with a chaotic precision not seen since Python. [23 Oct 1997]
    • Washington Post
  4. Community stands on its own intangible excellence.
  5. The fact that Barr's show seems cut so authentically out of middle-class experience gives it a solid familiarity from first encounter. ... "Roseanne" is really different and really funny. [18 Oct 1988]
    • Washington Post
  6. So much in the Freaks and Geeks premiere is shrewdly, tenderly and sagaciously observed that one wonders whether there'll be enough material left for additional episodes. Probably. [25 Sept 1999, p.C01]
    • Washington Post
  7. Dharma & Greg goes beyond merely funny all the way to enchanting. There's nothing momentous or groundbreaking about the new ABC sitcom, but it's good-hearted, lightheaded and delightful, a kind of miracle cure for the blues -- especially the blues you might get from most of the other new sitcoms this season. [24 Sept 1997, p.D01]
    • Washington Post
  8. Mike Judge, creator of "Beavis and Butt-head," made a darn good try at a seriously funny workplace comedy with his 1999 film "Office Space," but Gervais and Merchant have even greater success. "The Office" is hilarious in a very hip and flippant way. [30 Jan 2003]
    • Washington Post
  9. It’s a precise, sharply executed sendup of the high-tech, billionaire-making culture and economy of Facebook/Google/Apple/Amazon/Yahoo that has infiltrated (“disrupted,” as they say) contemporary life. Better still, Silicon Valley is also here to make you laugh.
  10. As full of wit and mischief as it was last year. [11 Oct 1990]
    • Washington Post
  11. The lovingly and imaginatively produced pilot has to be the most gorgeous piece of television airing anywhere tonight.
  12. Great Migrations lets us be amazed rather than telling us to be, and the amazement quotient is, yes, amazingly high.
  13. Another satiric triumph from Matt Groening. [27 Mar 1999]
    • Washington Post
  14. Former fans of "Twin Peaks" who feel that show has become too ridiculous to bear may find the snowy terrain of Northern Exposure a pleasing substitute. The series seems to have struck a happy balance: just ridiculous enough. [8 Apr 1991, p.C2]
    • Washington Post
  15. Big Bang is the funniest new sitcom of the season.
  16. Elementary exhibits enough stylish wit in its mood and look to quickly distinguish itself from the latest British "Sherlock" series.
  17. The instant the duct tape is ripped off his mouth by his captors, a certain Saul-ness kicks in and Odenkirk’s talent is on full display as Jimmy delivers a pleading, philosophical monologue on--among other things--the awful nature of revenge.
  18. Judging only the pilot episode, the banter between them (Dean Winters and Josh Duhamel) can be fun and Gilligan’s influence lends a nice, creepy sheen to the notion that menace lurks anywhere, even (or especially?) in the upper Midwest.
  19. Gotham respectfully riffs on the DC canon, but it’s a whole lot better when it experiments with--and even subverts--the oft-trod territory of Batworld.
  20. Bartha and Rannells's characters display yin/yang neuroses that keep their characters interesting, but as Goldie, the would-be surrogate, Georgia King is unfortunately bland.
  21. Depending on how far it’s willing to press and poke at the issues it raises, Black-ish displays a welcoming sense of humor that might be illuminating in the present context.
  22. Cristela resembles past attempts to graft multiculturalism onto the vanilla-fied vapidness of the American sitcom format. But Cristela wins the day with its easygoing attitude and superbly smooth cast. Alonzo has a bite to her wit that is reminiscent of the earliest, best days of “Roseanne.”
  23. “House” comparisons will surely abound, but Rake is easily one of the more confident network dramas to come our way of late.
  24. The cast is terrific, and some of the lines are screamingly funny, but there’s also an empathetic, moral undercurrent to the story--the usual cautionary tale about having all your dreams come true.
  25. The pilot (the only episode made available to critics at press time) has some difficult scenes, including an act of marital rape (or something like it), yet the acting is strong and the story is compulsively intriguing. The first thing you want from The Affair is to see where it leads.
  26. Although Jane the Virgin could easily devolve into a frenetic sendup of telenovela cheesiness, it is a remarkably sure-footed, enjoyable dramedy full of strong performances, particularly from Rodriguez.
  27. It's a beautiful downer of a show that becomes more revealing and absorbing as it moves along.
  28. Overdoing things is one of Murphy's trademark flaws, but this show has a captivating style and giddy gross-outs.
  29. "The Knights of Prosperity" is knee-slappingly and side-splittingly funny stuff, or as close to that as TV gets these days.

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