Entertainment Weekly's Scores

For 2,876 reviews, this publication has graded:
  • 66% higher than the average critic
  • 12% same as the average critic
  • 22% lower than the average critic
On average, this publication grades 6.3 points higher than other critics. (0-100 point scale)
Average TV Show review score: 73
Highest review score: 100 Superstore: Season 6
Lowest review score: 0 Drawn Together: Season 1
Score distribution:
  1. Mixed: 0 out of 2227
  2. Negative: 0 out of 2227
2227 tv reviews
  1. The story proves persistently unpredictable until the end. True crime is a genre that often lives in the black-and-white, but Burden of Proof exists largely in the grey, as a compelling and poignant portrait of the unsolvable mystery of grief.
  2. Adapted from Gene Luen Yang's beloved graphic novel, American Born Chinese presents an inviting blend of heartfelt coming-of-age humor and exhilarating martial-arts action.
  3. Platonic mainly serves as a showcase for the considerable rapport between its leads, both of whom are clearly having a blast razzing each other like sarcastic siblings.
  4. Bupkis' ever-shifting tone sometimes leads to long lulls between the laughs, and the premiere leans too hard on lazy, lewd antics that aren't representative of the show's evident ambitions. But even when Bupkis fails to be funny, it's consistently interesting — sometimes weird and sad, but interesting.
  5. It feels strange to root for a brand extension, but young Queen Charlotte's is a universe worth exploring further.
  6. White House Plumbers thus tells a clear, coherent story about a famous event in American history, and at just five episodes there's not much bloat to complain of (though it probably could've been made as a movie in an earlier era). But those viewers looking to cackle as they did with Veep probably won't get more than an occasional chuckle.
  7. Anchored by arresting performances from Joshua Jackson and Lizzy Caplan, Fatal Attraction is a solid thriller about a man felled by hubris and handsome-white-guy privilege — but the show undermines its entire message with an infuriatingly dumb ending.
  8. A wonderfully wackadoodle work of meta — featuring a spectacular performance by Betty Gilpin — that never stops winking as it unspools a story about mothers and daughters, forgiveness, faith, and free will.
  9. The hopeless hitman takes his atonement efforts to the extreme in the fourth and final season, a pensive and beautifully peculiar deconstruction of our need for redemption and the (im)possibility of true change.
  10. Just as it seems that Beef is going to go full misanthrope in its chaotic, surreal final episodes, the show pulls itself back from the brink of utter hopelessness at the end.
  11. Rise of the Pink Ladies is built to appeal to as vast an audience as possible, from musical buffs to neo-Gleeks to olds like me who fell in love with the original as a kid. That may not be the most interesting approach, but as far as prequels go, there are worse things they could do.
  12. Very important things happen, none of which would be right to spoil, but it's fair to say these events inform and propel the family's interactions in ways we have not seen before.
  13. Yellowjackets still hasn't shed any light on what it means, though the new episodes nudge the explanation ever so slightly toward the "supernatural" end of the spectrum.
  14. Quibbles aside, UnPrisoned is the type of show that's still a rarity on TV: An intimate, heartfelt comedy about one family's piece of the Black experience.
  15. Olyphant's costume-rack theatricality signposts Daisy Jones' excessive charm. The 10-part miniseries starts absurd, turns sneakily profound, and lands in schmaltz so soapy I had to wipe tears from my eyes.
  16. Basgallop, who regularly packs an hour's worth of supernatural suspense into under 30 minutes with Servant, keeps the story momentum humming over the eight half-hour episodes. And it helps that said story is marvelously weird and darkly funny.
  17. You kinda look like your younger self. That's the best thing I can say about Party Down, an amazing show that returns just fine. It's attractive, familiar, a bit flatter, not quite as emotional.
  18. Documentaries about cults are never breezy affairs, but Stolen Youth is a particularly tough watch. ... What keeps Stolen Youth from being unbearably grim is its final hour, "Larryland," which follows Isabella Pollack, and Felicia and Yalitza in the aftermath of Ray's 2020 arrest.
  19. In season 2, Tracy Oliver's terrific comedy about four friends in the titular NYC neighborhood elevates its keen wit, engrossing relationship drama, and sly cultural commentary with even more confidence.
  20. Natasha Lyonne comes off like the last pack of cigarettes in a world of vape pens. ... Poker Face rehumanizes and re-weirds TV crime, carving a third way between network franchises and prestige gloom. ... Here's a detective with no home, no gun, no phone, no supporting cast, a past to escape, and a doomed future. Hell of a hand, I'm all in.
  21. This is a promising and unique venture, blending highbrow (shout-out to Carl Jung!) and lowbrow (projectile vomit humor!). The sharp writing offers poignant feels, and the cast seems up for anything.
  22. The banter is cheerful; the will-they-or-won't-they is bit cutesy. But American Auto feels like it's closing in on something edgier.
  23. Accused offers well-cast, engrossing mini-mysteries with twists viewers (mostly) won't see coming. In the Dark Ages of broadcast TV, that qualifies as a glimmer of light.
  24. The program is, as expected, a tawdry and slight exercise in misery porn, a rehash of tragedy told largely by talking heads, crew members, and people who call themselves friends of the deceased.
  25. Abby is a relentless, cat-blouse wearing optimist who pushes everyone to realize their full potential. It is a testament to Rauch, an adept and amiable comedian, that the character comes across as endearing instead of annoying. Larroquette brings a new warmth to the now-widowed Dan, but he still serves as the needed bitter to Abby's sweet — and he still gets all the best lines.
  26. The scope is vast, for better (soaring vistas, extensive cityscapes) and for worse (one of the premiere's two prologues is pointless). There are big-deal guest leads. The action is fine, functional. One episode completely shifts the game's canon, but some scenes get recreated shot-for-shot. That may work best for newbies, or fans who prefer adaptations barely adapted. It contributes to the feeling of watching someone else's replay.
  27. As Nikki, Ramirez offers a stalwart, no-nonsense balance to Jason's off-kilter energy, and she handles a showy stunt sequence in the premiere nicely. And Caan, reliably, is the everything bagel seasoning that keeps Alert from being just another bland lump of procedural dough.
  28. Beyond the conceptual wow of half-century-old characters suddenly having definable traits, Velma plays out like any other prequel.
  29. The six-episode series starts as an imaginative twist on the overworked true crime genre, but it eventually devolves into a Threat Level Midnight-style endeavor that lands somewhere between enabling and exploitation.
  30. It's not something one expects to binge breathlessly in a weekend. But this gripping adaptation, developed and exec produced by Branden Jacobs-Jenkins (Watchmen), expands Butler's groundbreaking exploration of America's racist history into a profound puzzle-box thriller. ... Newcomer Johnson is absolutely mesmerizing as Dana.

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