Entertainment Weekly's Scores

For 2,719 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 6.6 points higher than other critics. (0-100 point scale)
Average TV Show review score: 73
Highest review score: 100 Murder One: Season 1
Lowest review score: 0 The Pauly D Project: Season 1
Score distribution:
  1. Mixed: 0 out of 2108
  2. Negative: 0 out of 2108
2108 tv reviews
  1. [The Upshaws] juices the multicamera-family-sitcom model with fresh dynamics, depth, and genuine laughs.
  2. King and Garris’ Shining improves on Kubrick’s in its emotional depth and quality of performances. De Mornay pulls off the tricky role of Wendy, a loyal doormat who proves to be no pushover, and it’s a testament to Weber’s skill that Jack comes across as a sympathetic, even tragic, figure. As for young Mead, his Danny perfectly captures the mute terror of a child, for whom an angry parent can be as traumatizing as a house full of ghosts.
  3. The show excels in these small moments of discovery. And Smart, the reigning Meryl Streep of tough broad types, excels at absolutely everything. ... Einbinder, an LA-based stand-up comic tackling her first leading role, is immensely appealing as Ava.
  4. Jenkins excels at a dreamy state of intimacy, but the allegorical setting can turn distancing. ... The better later hours veer into an all-Black community, so utopian it's on a vineyard, where personal dramas turn political. There's suddenly a large supporting cast, which adds a new depth to the dramatic complexity, as different characters struggle against racism and oppression in diametrically opposed ways.
  5. The show generally succeeds with its throw-everything-at-the-wall mentality, and the season finale is a triumph of ridiculousness and pent-up emotion.
  6. In addition to It‘s slow pace, I found the ending a big letdown — unimaginative special effects animate the monster in its final incarnation. But the cast is terrific, Curry’s cackle is chilling, and King’s usual buried theme — about the pain adults inflict on children without even realizing it (It?) — is always worth pondering.
  7. While the specter of AIDS hangs over the whole season, Pose leaves a significant milestone in the history of the virus until the 90-minute finale. It's a lot of ground to cover, and some of the dialogue trends toward overwrought speechifying. But this was a time when ACT UP literally had to throw the ashes of their loved ones on the White House lawn to get the government to pay more attention to the AIDS crisis, so perhaps a little melodrama is called for.
  8. The writer’s achievement here is to have provided us with the video equivalent of a good summer read — Golden Years is entertaining and substantial at the same time.
  9. When Cohen taps into King’s greatest theme — families in peril from forces beyond their understanding — The Tommyknockers can be moving. The rest of the time, it’s never less than an entertaining goof.
  10. New things, things we've waited for, start to happen in episode 6. A few of these moments are genuinely cathartic and moving, but others feel underplayed and dulled by such a long delay.
    • 67 Metascore
    • 75 Critic Score
    An ambitious comedy series about the lingering tensions surrounding the story of America — as we tell it, and as it really was. ... It feels a little disappointing that the show is built around a somewhat clueless, borderline-annoying white dude. This isn't to say that Nathan is a bad guy.
  11. Nifty. ... It's a solid season of television, disappointing only in the context of the expansive terror that immediately preceded it.
  12. I don't know whether to credit the series for ambient atmosphere, or criticize it for so obviously hiding final twists in plain sight.
  13. If The Stand itself isn’t the perfect King adaptation, that doesn’t really matter, because perfection isn’t what a pop-culture omnivore like King aims for anyway. He’s after glorious excess, and The Stand has that in spades.
  14. For now, Cruel Summer is addictive and fresh — and with any luck, viewers won't get burned.
  15. The three episodes provided for review set up a reliably pleasant structure: Coach Korn's single-minded approach clashes comedically with the emotional intricacies of teenage girlhood; bristling and push-back on both sides ensues; by the end of the hour, compromise is achieved, and everyone learns a little bit about themselves in the process. Stamos is the ultimate utility player, capable of delivering dry wit and sweet sentiment in equal measure. The other adult characters aren't as well-defined.
  16. The Nevers stumbles even more awkwardly as it juggles overt social themes with flat-out silly plot developments. ... The Nevers gets better when it embraces its wild side. ... Right now, it's all steam and no punk.
  17. If you're getting the sense this is a rather bleak comedy, it's important to underline just how breezy the tone of Back is. The ensemble faces their regular miseries with humor and hope, the latter even funnier because it seems so unjustified.
    • 67 Metascore
    • 67 Critic Score
    Today, the story feels disappointingly familiar — but Milioti is worth hanging on for, even though the show may not be the partner that she, or we, deserve.
  18. Bracingly honest. ... Dancing raises a host of thorny, complex issues — too many for its brief runtime of four 22-minute episodes.
  19. Pedrad captures the many contradictions of early adolescence. Chad moves stiffly through the world, swinging from bouts of loud hyperactivity to a muttery, almost physical self-effacement. The actress is so natural in the role that it's not long before the device is overshadowed by the character, a kid coming to terms with his identity.
  20. This franchise remains invigorating, though, matching no-look-pass thrills with telling little moments.
  21. The Globes made a valiant (if not always successful) effort to deliver some awards show glamour. ... If you squinted a bit, Fey and Poehler almost-not-really looked like they were on stage together, though that split-screen technology didn't help much with their toothless monologue.
  22. Underneath Ginny & Georgia's patina of cutesy quirk lies a somewhat depressing story about two unhappy children who repeatedly suffer the consequences of their mother's broken moral compass.
  23. What makes Allen v. Farrow all the more devastating is that it isn't packed with explosive revelations — it just puts all the evidence together and lays it at our feet. At times the series meanders and would have benefitted from a tighter edit.
  24. After the joy-to-horror onslaught of the first three episodes, the latter parts struggle to balance big speeches with one absolutely ridiculous (if quite cheeky) bit of anti-Thatcherite rebellion. ... At its best, though, It's a Sin brings a unique mix of poignant enthusiasm and simmering sorrow to its tale.
  25. I enjoyed a lot of things about the premiere, even if one final twist left me baffled. The second episode offers promising routes forward — and bends the larger serialized story in a dispiritingly familiar direction.
    • 66 Metascore
    • 75 Critic Score
    The show made me laugh, and a few times it even dropkicked me right in the feels. Future me may regret this, but I'm giving Young Rock my endorsement. [Kristen's Grade: B+] Khan is definitely working hard to squeeze her co-creator/subject's wandering biography into a fast-paced sitcom format. As much as I enjoy Constant, a lot of the high school and college material has a bland origin-of-the-hero self-help quality: How I Got Great, by Me. [Darren's Grade: B-]
  26. Firefly Lane would be entirely forgettable without Heigl and Chalke — which is both a compliment and a disappointment.
  27. Everything about Clarice has been done, successfully and terribly and constantly, by a whole generation of CBS procedurals. ... I don't mind gross extremity, but Clarice wants shock value to cover up its sins against basic narrative sense.

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