Washington Post's Scores

For 1,174 reviews, this publication has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 9.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 55
Highest review score: 100 Orange is the New Black: Season 1
Lowest review score: 0 Saint George: Season 1
Score distribution:
  1. Mixed: 0 out of 507
  2. Negative: 0 out of 507
507 tv reviews
  1. Henderson gives a lunky, forgettable performance, coming nowhere near anyone's idea of a stronger, meaner version of J.R. Thanks to the rest of its ensemble, however, the new Dallas gains some traction and kicks up a little dust.
  2. Foster makes for an energetic and engaging lead, never missing a beat; the rest of the cast is equally snappy-snippy, thanks to scripts and story lines that keep everyone prancing along like trained poodles.
  3. Do we ever feel as if we're really there, in Henry's court, half a millennium ago? Perhaps not, but a splendid cast and sumptuous production details make "The Tudors" a rollicking and resplendent show, if never a deeply affecting one.
  4. This is by no means the first Comedy Central show about a guy comedian in Hollywood engaged in convenient pseudo-sketches about the rain clouds hanging over him. But it’s the first one in a long time that feels like it has something real to say.
  5. Most of the actors make their characters zesty and likable, if on occasion too glib for their -- and our -- own good.
  6. This new drama has bad dialogue to spare, too, which mars an otherwise distinctive, better-than-average police show.
  7. It’s a well-meaning, good-humored, hospitable hour of television, reminiscent of the nascent days of cable reality shows in the early 2000s, before everyone figured out that ratings success meant being nasty, famous and selfish.
  8. It sounds gimmicky and visually tedious, with most of the so-called action taking place in a conference room. It's all those things, but the moments of misery make it memorable.
  9. A wickedly entertaining show.
  10. Viewers are in for another high-powered pulse-pounder. [29 Oct 2002]
    • Washington Post
  11. While it's not perfect, Bunheads is a happy find, a ray of authenticity on a summer TV schedule filled with so much artificial light.
  12. Remarkable for one reason only: It achieves levels of warmth that are rare for such shows. It may not make everybody laugh, but a decent human being would have a hard time not smiling. [22 Sept 1989, p.B1]
    • Washington Post
  13. The plot and subplots of the premiere eventually deteriorate into pandemonium, but McCormack remains the steadying center that makes the show intelligible and, more important, involving. And, perhaps more important still, fun.
  14. Just a dose of the show leads to sweaty palms and heightened anticipation--always a good sign. It's funny how little it takes: Everything about the way Million Dollar Money Drop is built relies on one modern game-show trope after another.
  15. If it’s even partly a put-on, Seduced and Abandoned is nevertheless a fun, larky travel essay and commentary on the film biz, an exquisite wallow in the most rarefied sort of first-world problems.
  16. The show makes an admirable effort at transcending gayness without compromising it. Groff is fine but not fascinating as the naive yet manipulative Patrick, and Alvarez gives Agustin a certain bohemian flair. The real standout--and best-realized character so far--is Bartlett’s Dom. Actually, the more I think about it, the show’s real standout is San Francisco itself.
  17. In the first two episodes, the show has enough momentum to offer some promise, even if Cherry’s vehicles tend to start strong and go off the rails quickly.
  18. It’s good to know there’s something more to Baskets than a creep in greasepaint. The delicious misery here is evenly spread.
  19. All of which is to say that even for the most open minds, Game of Thrones can be a big stein of groggy slog. On the plus side, the first six episodes are impressively free of sorcery and special effects, and instead rely on the stuff of any deeply dark HBO epic: corruption, deceit, illicit sex (incest in this case), unflinchingly gory violence, and a willingness to kill off a prominent character or two in the service of plot.
  20. National Geographic Channel’s sullen but entertaining two-night miniseries Saints & Strangers earnestly underlines our most American principle, telling a warts-and-all story of that hodgepodge of passengers on the rickety English ship known as the Mayflower.
  21. Shows like those lean more toward seriousness and away from the colorfully ridiculous old comic books. Although this often strikes non-fanboys and non-fangirls as woefully atonal, it mostly works here, but it would be nice if No Ordinary Family had more humor about it.
  22. It's rather a bold, retro step for CBS to attempt this kind of show in the era of reality television and domestic fights that appear to be actual and spontaneous rather than cooked up by a writer. But the airwaves are so choked with reality that a return to fantasy seems strangely refreshing and, ironically, even more realistic.
  23. Everything that’s excellent about The Normal Heart--including compelling performances from its stars, Mark Ruffalo and Julia Roberts, with an especially strong turn from "White Collar’s" Matt Bomer--is also merely just fine; very good but not great; a tear-jerker but not a bawler; and probably beyond reproach.
  24. Even when the transition from music to drama seems abrupt, or the staging of a number a bit too prosaic, "Cop Rock" has the audaciousness and energy of a true original, plus moments of brilliance that are almost blinding. [26 Sep 1990, p.C1]
    • Washington Post
  25. Every detail has been attended to, every format and traditional segue honored; there is absolutely nothing to quibble over with the show's tone and pace. Which is, itself, a quibble.
  26. Tennant is once again terrific at juggling a lot of emotions from one moment to the next. The supporting cast is also sufficiently fine, including a steely performance from Sophie Okonedo.... Plodding on too far, The Escape Artist becomes a revenge story. And yet, for the ineffably eurocentric reasons I was describing earlier, you keep watching and waiting for the surprise.
  27. Viewers who like to tiptoe over to the dark side now and then--at least once a week--are bound to find Walt White's wonderland of woes worth a visit or two, or many more.
  28. Margulies rises so grippingly to the challenge that whatever else it is, "just another" courtroom show Canterbury's Law most definitely is not.
  29. Steinberg... appears to be having a good time, and that helps a lot.
  30. With an efficient and alternately clumsy and eloquent screenplay by Walon Green, Killing Jesus does not vary much from the Via Dolorosa. As a result, the lavish NatGeo treatment works a lot better than it did on the channel’s adaptations of O’Reilly’s earlier books, “Killing Lincoln” and “Killing Kennedy.”

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