Rolling Stone's Scores

For 250 reviews, this publication has graded:
  • 28% higher than the average critic
  • 4% same as the average critic
  • 68% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 66
Highest review score: 100 Brockmire: Season 4
Lowest review score: 20 Chad: Season 1
Score distribution:
  1. Mixed: 0 out of 144
  2. Negative: 0 out of 144
144 tv reviews
  1. Every now and then, the miniseries finds a burst of inspiration. ... But Halston the TV show feels like something you’d find on the clearance rack at Penney’s, rather than the bespoke tribute that such a singular vision deserves.
  2. The episodes move briskly, though Run the World suffers a bit from the protagonist problem, where Ella’s stories tend to be less compelling than what her friends are dealing with. But even that’s not a huge issue, since Davenport largely treats it as an ensemble, with Ella simply our initial way into the story rather than our guide throughout.
  3. Hacks really sings when it puts its two leads together to annoy, insult, and occasionally learn from each other. Would it help if the jokes the two work on were stronger? Sure, but Hacks also talks a lot about how hard good joke-writing is. It gets everything else right, so it deserves the extra time to figure that last part out.
  4. The Underground Railroad is an imperfect take on a painful, sprawling subject. But its emotional highs and lows are stronger than anything you are likely to find on TV this year, just as those images are more gorgeous and nightmarish. Don’t look away.
  5. It is a stultifying mess of a show on pretty much every level. It’s meant to be viewed with utmost seriousness, yet it feels like a parody where someone forgot to insert the jokes.
  6. Sitcoms, [unlike dramas] though, have more of a learning curve, which is why the second seasons of shows like Always Sunny or The Office are so much better than their first. Mythic Quest fits neatly into that tradition, having translated a lot of its potential energy into real, kinetic laughter.
  7. It’s all endearingly daffy, even if keeping up with the logic behind each joke can sometimes feel like work. ... But the show nicely scratches a particular comic itch, even before Fey herself pops up for a cameo, doing a celebrity impression that rivals her best SNL work. Fey didn’t create Girls5Eva, but it feels enough like her work to get by.
  8. The Mosquito Coast mostly left me impatient for the show it’s eventually going to be, rather than the one it is at the moment.
  9. Rutherford Falls feels like it’s still figuring itself out in these early episodes provided to critics. But until it gets there, Reagan’s best friend may try your patience as much as he does hers.
  10. Big Shot, while perfectly amiable in most respects, often fails to sweat the details in the way that a tough coach would demand.
  11. Mare mostly does well treading over territory as well-worn as the fictionalized Easttown itself, but without that extra creative spark that’s elevated similar projects like True Detective and Top of the Lake above the grim story at their hearts.
  12. Them: Covenant, on the other hand, has a lot of promising things going for it, including strong lead performances and unnerving atmosphere in every scene. But it’s hard not to notice that the show spends 10 episodes dragging out a nearly identical story to what Lovecraft efficiently told in one. And after a while, the new show’s individual strengths crumble under the weight of its sheer size.
  13. [Chad] seems to have nothing but contempt for its title character, who says and does the wrong thing in very situation, then find ways to keep doing that again and again. [Apr 2021, p.75]
    • Rolling Stone
  14. The Nevers still feels like a Joss Whedon show, for good and for ill, with most of the downside that comes from his work and only occasional glimmers of what made him beloved before he became toxic.
  15. The real question with Gangs of London is just how much loyalty should be engendered by one fabulously orchestrated bit of ultraviolence in each hour. Because outside of those big set pieces, it’s a competent but unremarkable crime drama with a pretty good cast.
  16. Magnussen and Romano are fun, too, and the show does interesting things with depicting how terrible the world has gotten under the shadow of men like Byron (in one scene, Hazel walks past a wall with the graffiti message, “Every morning, I wake up on the wrong side of capitalism”). But Milioti is the main attraction.
  17. Graham is charming as always even with thin material, and it’s not hard to see that Game Changers is just slow-playing Gordon’s emergence, in the same way that Cobra Kai treated Daniel LaRusso as a minor character when it began. These early episodes are pleasant if a bit dull.
  18. While Amazon is billing this as an “adult” animated series, that’s only in the sense that there’s ample gore and profanity. The designs (modeled on Walker’s art from the comics) and most of the characterization and plotting feel more suited to an all-ages show — a very good one, at that — but then someone’s head will burst onscreen. ... Still, it’s fun, and Yeun, Simmons, and Oh make for a strong central ensemble.
    • 66 Metascore
    • 70 Critic Score
    Erivo does a more than credible job of imitating Franklin’s voice, and producer Raphael Saadiq recreates the sounds of those records, too. But the ongoing unhappiness shown in adult Aretha threatens to turn her into someone you’d hardly want to spend too much time with, which is the exact opposite of the impression Franklin always gave.
  19. Generation is comfortable just following the kids around and letting them exist. It’s a bit more uneven when things get plottier or when the focus shifts to the grown-ups.
  20. The differences in narrative style and tone between Gilmore Girls and Ginny & Georgia are striking enough that the attempt to feed the algorithmic beast could backfire. But for those who don’t mind their heaping spoonfuls of small-town drama mixed into a much pulpier stew, this new series may satisfy as much as the older one.
  21. Tragedies in theory shouldn’t be much fun, but with It’s a Sin, the parts that will make you smile are at least as important, if not more so, as the ones that will make you cry.
  22. Some of Behind Your Eyes makes a bit more sense once you get to its ridiculous conclusion, but it largely takes meaning away from what came before rather than adding new depth and excitement.
  23. Like Fresh Off the Boat, Young Rock isn’t wildly funny in the early going, but feels as if the laughs will grow bigger the better we get to know the characters. That there are so many actors playing our hero, not to mention different supporting casts in each era, complicates matters.
  24. The characters feel more specific and three-dimensional now, which in turn makes the long swaths focusing on interpersonal dynamics more interesting than they were a season ago.
  25. Clarice is a slightly above-average CBS crime procedural, distinctive less for anything it does than for its associations with better, more famous material. The fact that the show works at all — and on some occasions, thanks mainly to Breeds, truly succeeds — is on one hand a relief, given how easy it would be to screw up this material.
  26. Where This Is Us at its best (or Lost, for that matter) uses developments in one timeline to complement or explain what’s happening in another, Firefly Lane too often feels like it’s bouncing around at random. And with few exceptions (the teen timeline has an effective sexual-assault storyline), nothing feels like it matters.
  27. It may be that complexity would get in the way of the uplift, which Brooklyn Saints provides early and often, down to several comeback sequences that seem straight out of a scripted underdog sports film. But the end result feels more generic than it could, especially given how many other docuseries are chasing the same dream.
  28. The story bounces around in time, not only showing us Assane’s childhood before and after Babakar’s death, but revisiting aspects of each heist afterward to reveal exactly how he pulled it off. (In that respect, Leterrier’s experience directing the first Now You See Me film comes in very handy.) This kind of fractured narrative could easily get confusing, but the story itself has so much energy that it all flows together nicely.
  29. The look and feel of each episode is true to the spirit of its respective sitcom era as much as to any one show, as it’s clear everyone did their homework. ... But at least for now, WandaVision shares a problem with all those defunct Defenders-adjacent shows (even if it’s livelier than all of them): Some inspired moments start to lose their effectiveness because there’s less story than there is time to fill. But a new regime brings with it a greater chance that the payoff will justify the patience, especially since there’s such a bounce to things along the way.

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