For 400 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.6 points lower than other critics. (0-100 point scale)

Willa Paskin's Scores

Average review score: 64
Highest review score: 100 Transparent: Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 40 out of 400
400 tv reviews
    • 85 Metascore
    • 90 Willa Paskin
    What I’m really trying to tell you is that it’s good for you, instead of that it’s good. I May Destroy You, though, is fantastic, in ways that both do and do not have anything to do with its multivalent treatment of rape and trauma.
    • 67 Metascore
    • 80 Willa Paskin
    As the show more or less transforms in flight, each episode becomes a more fitting showcase for Rhys, an actor who projects square decency even when he’s neither square nor decent. ... As Perry becomes his superhero-lawyer self, as he assembles his newly diverse supporting team, the detective show gives way to the more straightforward pleasures of a courtroom drama, where the system can work, even if it’s just barely, because there’s a lawyer to believe in.
    • 49 Metascore
    • 30 Willa Paskin
    Space Force is unhelpfully sprawling, taking place on a vast base in the middle-of-nowhere New Mexico, with a sneakily huge cast. ... The show wants to be acid and cutting but there’s a streak of toothless gentleness that turns the whole thing, unwelcome as a dash of sweet cream in a jar of pickle juice. ... Space Force is not exactly embarrassing—everyone involved is too talented— but it is shockingly unfunny for a show made by people who are so talented.
    • 41 Metascore
    • 50 Willa Paskin
    No one on BFF is tossing tables, but there is a dull kind of friction. ... The challenges are so overwrought and specific they deny the contestants the chance to do what is most satisfying, for them and us: make something truly inventive from a simple prompt. ... The Big Flower Fight isn’t as lulling as GBBO, but it’s not as jaunty, propulsive, or technically impressive as other competition shows either. Don’t get me wrong, it’s edible, but it’s someone else’s comfort food.
    • 84 Metascore
    • 80 Willa Paskin
    [Normal People] is so faithful to the letter of the novel (Rooney co-wrote the first six scripts) that it winds up being different in spirit—swoonier, not that swoony is a bad thing. Despite the care and attendance to just about every scene, beat, and glance in the 266-page novel, it has become a proper knee-buckling romance, the sort of show that lodges in one’s mind as if it were filmed in soft focus.
    • 87 Metascore
    • 90 Willa Paskin
    Mrs. America has zip to spare, bounding along on a ‘70s soundtrack, limning complex history, ideas, alliances, and personal dynamics with assuredness, tact, and insight. ... The concise episodes are more effective than the diffuse treatment the show gives Steinem, who is by far the most famous figure but who never comes quite into focus. ... Ullman, Paulson, and Martindale all stand out, but Blanchett most of all. She brings all of her tremendous skill to bear on Schlafly, with a level of precision that makes her ring as clear as a bell.
    • tbd Metascore
    • 10 Willa Paskin
    It’s hardly a show. It’s a bunch of reality TV players in search of a drama. ... The Circle is a simulacrum of a reality show, which was itself a simulacrum of real life. I’m not saying it’s not telling us something important; I just couldn’t bear to watch.
    • 83 Metascore
    • 80 Willa Paskin
    What it lacks in rom-com purity it makes up for in substance. I found myself rooting for the couple to stay together and also get the hell apart. It’s a buoyant, bingeable comedy that’s worth arguing about. Trust me when I say: It feels good enough.
    • 70 Metascore
    • 30 Willa Paskin
    Bad television that’s striving to be great, that’s got ideas and style but sinks under the weight of its own oversize ambition—a sheep with a 50-pound weight tied to its forelegs and dropped in a river. ... Except in Devs, multiple versions of the same sheep inhabit multiple realities. It sinks like a stone in every single one.
    • 70 Metascore
    • 70 Willa Paskin
    High Fidelity has many charms. But it does also have a recurring dissonance, a bunch of vestigial generational and dude behaviors that make the record skip.
    • 40 Metascore
    • 60 Willa Paskin
    Goop Lab’s six episodes generally skirt the most eyebrow-raising of Goop’s nonsense, while mixing up the far-out and the less so. ... Don’t let The Goop Lab’s other experts fool you. Paltrow is the most expert of all: Self-aware, self-actualized, self-improving, and beyond self-reproach, she’s what Goop is actually selling.
    • 77 Metascore
    • 80 Willa Paskin
    The new version of Party of Five, which premieres on Freeform on Wednesday night, is a timely reinterpretation of the original, a remix with meaning. ... Sadder and more wrenching then the original. Unlike the Salingers, the Acostas are not awfully, simply without their parents. They are in an excruciating limbo.
    • 84 Metascore
    • 70 Willa Paskin
    Colman intuits that Elizabeth, at the height of her powers and in the middle of a calm stretch, is content. The performance is both believable and emotionally astute: Elizabeth would be settled and comfortable. But this, along with the equilibrium in her marriage, snuffs out some of the little tension there used to be. ... That the show remains appealing through this relatively slow going is largely thanks to the more high-strung characters surrounding Elizabeth.
    • 65 Metascore
    • 50 Willa Paskin
    Stately and extremely boring.
    • 66 Metascore
    • 80 Willa Paskin
    While it’s hard to imagine this Emily is introspective enough to be any kind of poet, let alone Emily Dickinson, the show is unassuming and charming, mixing things up to convey the jarring weirdness of being ahead of one’s time. I think it would be a hit on Netflix.
    • 37 Metascore
    • 20 Willa Paskin
    Violent, grim, and exceptionally silly. It’s Bird Box meets Game of Thrones, but stupider.
    • 61 Metascore
    • 50 Willa Paskin
    It’s not good, but it’s bad in an extremely satisfying (to me) way. Like The Newsroom and Smash before it, it is an earnest, mediocre, insider-y look at an insular entertainment world of extreme interest to New York media types.
    • 85 Metascore
    • 80 Willa Paskin
    He’s packing a punch. Watchmen is a show that will be scoured for clues about yet-to-be-birthed fan theories, even as it’s an intrinsic provocation of the sorts of genre fans who were angered by Star Wars centering women and people of color, or outraged by the suggestion that certain superheroes, James Bond, or Hermione Granger might be black. It’s not just that Watchmen’s main character is a black woman, it’s how the new show reframes what came before it.
    • 66 Metascore
    • 40 Willa Paskin
    A baroquely yet dully overstuffed series that hides what makes it genuinely new for Murphy—the focus on a single character—in a familiar-for-him form: a histrionic teen melodrama.
    • 55 Metascore
    • 70 Willa Paskin
    [Transparent] finishes not with a whimper but a choreographed musical number titled “Joyocaust.” It’s the climax of a movie-length “Musicale Finale” that works its way through various stages of OK-ness to crescendo with something so enthusiastically, earnestly nuts it achieves a kind of transcendence.
    • 68 Metascore
    • 50 Willa Paskin
    For a show that is both thoughtful and appropriately cynical about Israeli intelligence services—the Mossad’s concern for the nation turns even its most effective and devoted citizens into expendable cogs—it is surprisingly gentle to Cohen, a gentleness that becomes indistinguishable from shallowness, a spoiled sort of kindness.
    • 78 Metascore
    • 60 Willa Paskin
    The series doesn’t minimize the internees’ hardships, even if it somewhat underplays them. But it’s also a little strange to see the only major piece of pop culture about Japanese-American incarceration imply that its characters have even scarier things to worry about.
    • 89 Metascore
    • 80 Willa Paskin
    The new season is less funny than the first but more urgent.
    • 64 Metascore
    • 40 Willa Paskin
    There are a lot of spinning plates, and while none of them come crashing down, they wobble, slowly. Watching the first two episodes made me nervous: I kept expecting the whole thing to tip over into catastrophe. Instead, it stays in mediocrity.
    • 50 Metascore
    • 40 Willa Paskin
    Blander, more hackneyed and less memorable, it’s also four times longer.
    • 27 Metascore
    • 30 Willa Paskin
    Dull. ... Everything is fake, except for the part where everyone really is hustling. ... When you think about what’s driving The Hills, its emptiness becomes almost hilarious.
    • 61 Metascore
    • 70 Willa Paskin
    The series begins as full-steam-ahead entertainment, an Aaron Sorkin–ish explication of history, in which the past plays out with the buzzwords of the future. ... It’s packaged as a biopic and not some larger condemnation of “our times.” As I watched it, I kept wondering if something so relatively understated that aspires—unlike Ailes—to come across as relatively unbiased was too subtle for the world that Ailes created.
    • 68 Metascore
    • 30 Willa Paskin
    Euphoria has all the elements of a juicy teen soap, but the high school antics are curdled into their most sickening formulations, the fun sanded off till the skin is raw. Everywhere you look is only sadness and debasement. Euphoria has plenty of antecedents, other teen incitements that push a frenzied kind of emptiness—Kids, Skins, Less Than Zero—but there’s an especial dullness to Euphoria’s provocation.
    • 82 Metascore
    • 80 Willa Paskin
    Streep is the real wonder in this scene, but I did also admire the finesse with which the show has worked out a Streep-time-sharing scheme. ... Kidman’s Celeste would obviously get time with someone playing her mother-in-law, but the actresses and the series’ writer David E. Kelley had to come up with something a little more creative for Witherspoon’s Madeline. The solution, like the entire second season, works better than it has any right to, a compromise—to create more content, to get Reese and Meryl acting together—that doesn’t feel compromised at all.
    • 86 Metascore
    • 100 Willa Paskin
    Impassioned, worthy, and at times very moving. It is also regularly excruciating. A particularly pointed example of a new kind of Must-See TV, When They See Us appeals not to our pleasure centers but to our higher minds, our civic responsibility, our duty to watch for the greater good. It challenges TV’s mandate to be fun.

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