Consequence's Scores

For 59 reviews, this publication has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 9.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 76
Highest review score: 100 Lovecraft Country: Season 1
Lowest review score: 0 Space Force: Season 1
Score distribution:
  1. Positive: 51 out of 51
  2. Mixed: 0 out of 51
  3. Negative: 0 out of 51
51 tv reviews
  1. The power of Them lies in the fact that it has no ambiguity in this regard. The permission structure Betty has created to enable her racism is a lie that harms her as well.
  2. A captivating lead performance by Milioti and an intriguing sci-fi premise enable Made For Love to successfully overcome its occasional tonal missteps. In its depiction of domestic abuse and gaslighting, the series is ultimately too slight, but as a comedic diversion Made For Love is another good addition to HBO Max’s stable of unique dramedies.
  3. Invincible will have you sucked in by the end of the first episode with great action set pieces, but will really hook you in with the human elements. Rest assured, this is so much more than just another superhero cartoon. No, this is humor, mystery, drama, romance and science fiction, all rolled up into one absolutely addictive treat.
  4. Game Changers is breezy, escapist television, the kind that should help us all stop quacking for 30 minutes.
  5. While gut wrenching and potentially triggering, Dancing With the Devil is brutally honest and admirably resists putting a rosy filter on a life-or-death issue.
  6. We’ve only got the first of the series’ six episodes to work from, but so far Spellman and director Kari Skogland have something winsome, if slightly average, in store for our heroes.
  7. Perfectly-paced, devastatingly written, and played to perfection by an ensemble cast that doesn’t miss a beat, It’s a Sin is a near-flawless piece of television, and an unmissable portrait of both queer youth and the tragedy of the AIDS crisis that will leave you gutted in the best way possible.
    • tbd Metascore
    • 75 Critic Score
    The production value and acting are far better than anything we’ve seen before, and the return of Sardo, if written and performed well, should balance out the screams with some chortles. Pacing may be a bit of an issue, though.
  8. Sophisticated, gripping, and full of perspectives usually absent in the genre, Crime Scene: The Vanishing at the Cecil Hotel is an expertly-paced mystery and a thought-provoking discussion on classism, mental health, and the ethics of true crime. It’s also remarkably cinematic in terms of aesthetics, thriving with atmospheric visuals and clever pacing that create a murky, engrossing atmosphere. You’ll finish it in one sitting.
  9. What we get is a nuanced portrait of trauma and survival.
  10. Though the show’s first three episodes don’t make a ton of headway in terms of plot development, WandaVision is so dedicated to being its own bizarre entity that it’s difficult to be upset that nothing Marvel-y is going down. Wandavison merges the disorienting and the mundane so effortlessly.
  11. This is Search Party’s most-morbid season to be certain. It’s recommendable to die-hard enthusiasts of the show’s willy-nilly grotesqueries, but people looking for this fan fave’s true-crime comedy may feel like they’re searching for something missing themselves.
  12. While Night Stalker does many things well, namely its insistence on presenting the victims with compassion, the docuseries fails to answer the question, “Why?” What was Ramirez’s motive and how can we use this knowledge to prevent future crimes? What lessons can we take from community involvement in policing from this story and use it to make our neighborhoods safer? What is the purpose of telling this horrendous story if not to make a statement about it that can be used going forward?
  13. Three seasons in, creators Heald, Hurwitz, and Schlossberg preside over a scorching hot sandbox that’s as complex as it is cluttered. Characters keep emerging from the shadows, beats zig and zag at a rapid clip, and the action gets more and more ludicrous. But, clutter can be good for a series, particularly when it’s maintained, and the three showrunners happen to keep a clean dojo.
  14. The Stand is still blockbuster television, and when it’s good, it’s damn good. Despite the aforementioned limitations, Boone and Cavell still thrive in their sequestered sandbox. The performances are strong, the set pieces are cinematic, and, most importantly, the commitment to King’s prose is stonier than a man’s heart.
  15. This reboot of the Animaniacs is still a ton of fun. While it stumbles at times and doesn’t quite capture the magic of the original, there is enough wit to remind fans of the heyday of Saturday morning cartoons.
  16. While Season 4 offers magnificent opulence, magnetic performances, and flawless execution, it’s underlying theme asks if the time for change has finally come.
  17. Krisel and the cast delight in finding ways to mine subtle comedy from the folly of earnest but bumbling men who’ve got the spirit, but not the talent, to escape their own gravity.
  18. While the season premiere feels like a story even the show has already tackled in its scant eight episodes, the show’s stripped-down space adventures are still here in fine form.
  19. It wants to read like Hot Fuzz and Shaun of the Dead, but forgets to include what made those such show-stopping game-changers in genre comedy. Like the ghosts the Truth Seekers seek, this show feels half-alive, translucent, and intangible.
  20. Flanagan explores these relationships while delivering a powerful and poignant message about moving on in the face of grief. Bly Manor is not Hill House, but left to its own devices, this Haunting offers a beautiful examination of love and the ways we hold onto what we’ve lost.
  21. Too early to call, but Season 4 may be Fargo’s best run yet given its larger scope and more ambitious message. It helps that Fargo never preaches to its audience; instead, it embraces its strengths and trusts viewers to connect the dots on their own.
  22. If there’s one thing Guadagnino knows how to do, it’s capture the feeling of characters in limbo, whether by age or circumstance; if spending eight hours in that kind of gorgeously fitful purgatory appeals to you, there’s a lot to appreciate in We Are Who We Are.
  23. Put simply, it’s the purest expression of the classic 1960s science fiction allegories of Clarke, Amisov, and Walter Miller Jr.: show us the inevitable destruction of mankind in the unimaginably far future, and dramatize its last gasps at survival. It may not be for everyone, but if you like your sci-fi more thoughtful than spectacular, Raised by Wolves is ready to scratch that itch.
  24. Season 2 shows a greater willingness to sit down with its characters, and its presumably bigger budget makes for more assured effects and a slightly wider scope than before. There’s plenty of fun to be had in the chunky crimson mess; that is, if you have the eight hours to spare to look for it.
  25. Green’s characters are not perfect. Bolstered by fantastic performances across the board, they are living breathing humans who often struggle to do the right thing. Because when power is reclaimed, there’s a temptation to become the oppressor rather than to reset (or finally achieve) balance. Lovecraft Country expertly lets its characters wrestle with this complexity, exploring competing narratives and balancing justice with the understandable desire for revenge and need for catharsis.
  26. The Umbrella Academy feels like it’s found its footing in season 2. ... It’s easier to follow, and far less dour — actors like Page, Gallagher, and Sheehan get to ply their trade in entertaining fashion.
    • 68 Metascore
    • 75 Critic Score
    For The Muppets, putting on the show has always been as entertaining as the show itself (often more so), and this format loses much of that element. ... Luckily, the characters, even those that have been entertaining us for decades, are so fleshed out and timeless in their personalities and quirks and silliness that they can make a project like Muppets Now work for both old fans and, hopefully, a few new ones.
  27. Out of the three, the only one we’d take with us is “Meet Me in the Middle”. Chang and Amini make every minute count in this story about a man (Simpson) who connects with another woman (Gillian Jacobs) subconsciously. ... Elsewhere, Perkins gives a messy sequel to “To Serve Man” (and a modern twist on “The Monsters Are Due on Maple Street”) with “You Might Also Like”, while Rosenfeld tries on too many faces in the aforementioned “The Who of You”.
  28. Legalize Everything isn’t the complete success the best of Andre’s work is, but as a first look at what Andre can do to this format, it’s a breath-taking experiment, and more often than not, painfully hilarious.

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