Polygon's Scores

For 37 reviews, this publication has graded:
  • 72% higher than the average critic
  • 0% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 6.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 74
Highest review score: 100 The Underground Railroad
Lowest review score: 30 Tiger King: Season 2
Score distribution:
  1. Positive: 31 out of 31
  2. Mixed: 0 out of 31
  3. Negative: 0 out of 31
31 tv reviews
  1. It’s hard not to appreciate the sheer amount of work that went into crafting this threefold fever dream, and the directors’ sheer effectiveness at creating such instantly believable fantasy worlds. They set out to make these stories vividly oppressive and claustrophobic, and they certainly succeeded.
  2. It’s refreshing to see a high-schooler who’s a smart, driven academic success and is also universally liked, and who’s popular but not a queen bee or mean-girl type. Naomi is mighty wholesome, with its pansexual flirtations and warmly supportive, non-competitive central female friendship. But that also makes Naomi feel a bit too perfect to be real.
    • 70 Metascore
    • 85 Critic Score
    The series shows Gunn is invested in interrogating and investigating how people adopt extreme and harmful beliefs, and how they might change, not just on their own, but with other people’s help.
  3. The show has earned a sizable amount of goodwill in an impressively short time, and even if we can no longer see the destination, The Witcher still feels like a hell of an adventure.
    • 70 Metascore
    • 86 Critic Score
    Although it meandered a bit on its way to the finale, I still ended the 10th episode feeling like the show had been reborn.
  4. For everyone but the most extreme Beatles fanatics, Jackson’s Get Back lacks urgency and storytelling, and is too besotted with merely watching the group, in all their mundanity. For the group’s most dedicated scholars, though, Jackson’s Get Back is a fitting, expansive interrogation and celebration of their waning days.
  5. In adapting seven installments of his own Webtoon comic, Choi is able to build a dynamic world, constantly and cleverly laying out the groundwork for the next step, and in the execution, Yen never lets up.
  6. This adaptation of Aja and Fraction’s Hawkeye is smart, silly, and wonderfully shot, and it manages to reframe the worst Avenger in a way that works. Plus, it promises us a new generation of heroes who might just be able to be better than the ones who came before. And isn’t that just what the world needs?
  7. The Tiger King sequel is a frustrating mess, with none of the gripping storytelling that made the original run such a guilty pleasure.
    • 55 Metascore
    • 87 Critic Score
    After so many years of waiting, there’s certainly a lot for fans to chew on with this adaptation. The Wheel of Time is a very strong start to a much-awaited series and created by someone who has a clear understanding of how adaptations can soar when complementing their source material rather than just copying it.
  8. As much as the live-action Cowboy Bebop attempts to create its own identity and take on its characters and universe respective to the Cowboy Bebop anime, the strongest parts of the show are not what it adds in, but rather what it lifts wholesale from the original.
  9. In repeating many of the familiar beats from the previous series, Dexter: New Blood demonstrates the same inertia Dexter and Dexter Morgan suffers from. Nothing has changed here. Some monsters are not that complicated. Maybe it’s foolish that we ever thought they were at all.
  10. Blade Runner Black Lotus amounts to a worthy addition to the Blade Runner series that’s as much of an entertaining individual story on its own as it is a prequel further embellishing the groundwork for the world glimpsed in Blade Runner 2049.
    • 68 Metascore
    • 68 Critic Score
    The double-sized premiere of Prodigy seems to be entirely in its own lane, refreshingly unconcerned with previous Star Trek series until two minutes before the closing credits.
  11. Like This Is Us, Invasion is mostly interested in an emotional connection with its characters, rather than in the trappings of science fiction — and it isn’t afraid of doing a little manipulation to get there.
  12. Start watching Maya and the Three for the action-packed and visually creative fights, but stay for the poignant character arcs that build up to a satisfying ending.
  13. Through the first four episodes, Mancini’s most impressive feat is balancing Chucky between serious topics and ridiculousness, while always keeping it fun to watch.
  14. Hwang and his team take immense care with all of the players, laying out how they’re stuck in a horrible system, and just trying to make it through, at any cost. Squid Game is exciting, and startling, and tense, but that care is what really makes it worth watching.
  15. Midnight Mass goes further than tension or thrills, presenting a dense and somehow hopeful epic that leans into the existential terror of being alive.
  16. For now, what’s most compelling is Y’s specific lens on one of the most familiar post-apocalyptic tropes: how disaster not only brings out the best in us, but also the worst. Or, put another way: Maybe men had it coming, and maybe we all did.
  17. While The Chair is a smart, hysterical critique of the arbitrary politics in academia that have worked against women and people of color for decades, it struggles to shape a complete world beyond that limited scope.
  18. It is downright bizarre to see Titans so thoroughly move away from what made it work so well in its previous seasons, which was the tricky tonal balance between dark and violent superhero drama, and fun teen angst.
  19. Like a lot of great art, Reservation Dogs challenges its audience with wit and style to look in spaces that have long been ignored, and identify with experiences that are outside their own.
  20. Most of its imagery recalls better projects like Mulholland Drive or eXistenZ, but Antosca and Zion’s commitment to telling a deeply unsettling occult story is, for lack of a better word, bewitching.
  21. The show tries to mesh silly content and serious ideas, with varying results. But the clever use of stylistic animation differences, as well as the unique approach to music for an animated show, makes it worth a watch — at least for viewers with a high tolerance for fart jokes.
  22. Ted Lasso’s emotional arcs are like a shot in a cup of hot chocolate — they provide a little bite that makes the whole experience warmer. The show’s lighthearted charm was exactly what many viewers needed last summer, but a more stable world is allowing the writers to take more risks and raise the stakes.
  23. Masters of the Universe: Revelation is simple, fun and efficiently told. Its action is slightly more violent than that of its predecessor, though it’s never unpleasant, so younger viewers will have a blast.
  24. The show is must-see TV, an incisive look into the psyches of the rich and the damage they leave in their wake.
  25. Infinite Darkness is doing its own thing. Unfortunately, that thing isn’t terribly compelling, given all the study prep Infinite Darkness expects viewers to do.
  26. For those who want the world to be an orderly place where cops solve crimes and keep everyone safe, Wellington Paranormal notes that law enforcement would probably be just as bad at stopping werewolves and vampires as they are at preventing real crime. Those ideas might not be particularly empowering, but they are absurdly funny.

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