The Detroit News' Scores

  • TV
For 231 reviews, this publication has graded:
  • 56% higher than the average critic
  • 6% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 The Handmaid's Tale: Season 1
Lowest review score: 20 Big Brother: Season 1
Score distribution:
  1. Mixed: 0 out of 169
  2. Negative: 0 out of 169
169 tv reviews
  1. Even though Loki delivers his usual subservience-is-freedom speeches and has bouts of self-analysis, the touch here is pretty light. Hiddleston is a wonderfully physical comic actor, all twitches and muttered asides, and Wilson offers a casual contrast to Loki’s royal airs.
  2. Despite all the talent, this relentlessly serious endeavor toggles between being dramatically inert and outright silly.
  3. What’s even more impressive is the delicate balance between the laughable and the distressing here. “Sweet Tooth” has some serious and timely bite.
  4. Summer is traditionally the time to turn off your brain. “Panic” is for those who’ve disengaged.
  5. It’s intimate stuff and a clear showcase for the actors, who are uniformly fine. The weak spot is Brooke’s weekly episode — she’s struggling with sobriety, a struggle that’s overly familiar.
  6. Mostly this is see Halston go up, then see Halston go down, a far too familiar story. Just because it’s real doesn’t make it interesting. “Halston” never bothers to go beyond the obvious.
  7. Stephen King should get out more. This latest miniseries offering from the too prolific schlock horrormeister may be the week's big TV event, running Sunday, Monday and Thursday, but it plays like a greatest hits collection: Stephen's Best Spooks . Except, like so many such collections, once you get all the songs next to one another, you realize they sound alarmingly similar. [26 Jan 2002]
    • The Detroit News
  8. The proliferation of characters can be disorienting and super-Bibb is criminally underused, but “Jupiter’s Legacy” works for the most part if your idea of entertainment leans that way. Glittering costumes, eyes that shoot laser beams, explosions and destruction galore. That’s entertainment circa 2021.
  9. Complications ensue, super powers are wielded, all as you’d expect. Actors keep straight faces despite the silliness (possibly a real superpower) and the show maintains a young adult sheen. It flows by, which is all it intends to do.
  10. Winslet elevates everything, but “Mare of Easttown” needs some serious elevating out of its dreariness and familiarity. It’s certainly watchable but also predictable. Look elsewhere for light.
  11. This four-part documentary about the theft of 13 works of art from Boston’s Isabella Stewart Gardner Museum in 1990 is a rambling if entertaining search for the possible culprits in a major real-world whodunit.
  12. The first episode is shaky, but the series stabilizes as it progresses. Nothing’s all that startling or original, but it all flows along until you realize you’ve watched four shows in a row and you’re wondering whether life has any meaning.
  13. The balance of action and story is nimble, and in the series' first episode — only one of six episodes was provided for review — seeds are planted for conflict, team building and drama of the personal and global variety.
  14. "Genius" isn't a dud, and it could never be, not with its subject, Vance's commanding performance or the landmark music it's built around. But while it sings, it's not quite worthy of Aretha's crown.
  15. You’d think “The One” would have all sorts of places to go, and yet it goes to few of them. Instead the show revolves around a murder that’s neither mysterious or terribly plausible.
  16. It was before reality TV, so it was before reality TV became all hot tubs and hook ups. It was about young people discussing issues that matter to them in a frank manner, and "Homecoming" is positioned as the same people — now not-so-young — discussing those same issues and how they matter to them today. The idealism of the project then is what makes this concept, and this cast, worth revisiting today.
  17. Surprisingly, it pretty much all works. The dark secrets (there are many) balance with the apparent fluff, making for an engaging, never-dull series. Maybe the Gilmore Girls should have had guns.
  18. Creator Harriet Warner obviously has no lack of imagination, though she does exhibit a serious lack of restraint. The show does have its own mad energy and if you like crazy content measured by the pound it may be for you. If not, you could end up feeling battered by it all.
  19. Unfortunately the pacing here is too slow and many may abandon the train before it gets where it’s going. “Behind Her Eyes” is the perfect example of a six-part series that should have been four. Its stretch marks are unseemly. Less can be more.
  20. Based on the novel by Kristin Hannah, “Firefly Lane” is so efficient it nearly takes the guilt out of guilty pleasure.
  21. It leaves some questions hanging and spins on a bit when it comes to trans history, but “The Lady and the Dale” is undeniably a gas.
  22. Whatever it is, "WandaVision" is the weirdest entry yet into the MCU, and a significant artistic step forward in its storytelling. It's bold and visionary and also a lot of fun, tweaking sitcoms in a knowing, loving way and playing with their format in a way that turns Americana on its ear. Like any great show, we're hooked.
  23. “Pretend It’s a City,” Martin Scorsese’s six-part documentary appreciation of Fran Lebowitz, is more than merely delightful, although it’s certainly that. It’s also something of a historical document. ... It’s easy to see why Scorsese wanted to put her time in a cinematic bottle.
  24. Mostly this is old news repackaged as a classic sports redemption story. It’s efficient and watchable, but hardly a revelation.
    • 75 Metascore
    • 83 Critic Score
    “Bridgerton” is a blast, an addictive coiffured period romance that turns downright randy while dancing deftly with racism and misogyny.
  25. It’s consistently inconsistent, purposely tacky and piles cliché upon cliché. It is trash TV. It could be a huge hit. ... The term guilty pleasure seems appropriate here. More guilt than pleasure, though.
  26. It's all wholesome and kid-friendly, an ode to Christmas specials of yore and delivered with a knowing wink and a nod.
  27. “Ozark” still has its crazy nooks and crannies — Ruth’s young cousin Wyatt (Charlie Tahan) takes up with the much older deranged opium grower Darlene (Lisa Emery), things like that — and the troubled, still-loving chemistry between Marty and Wendy remains powerful. Plus gangsters, drug cartels, body counts, all the standard pleasures of crime shows.
  28. At first it seems like Daniels is going to mainly satirize our modern world, which the show does reliably and deliciously. But as “Upload” progresses a conspiracy theory pushes forward and the underlying theme of income inequality becomes clear. Still, “Upload” never forgets to be funny.
  29. It’s an intentionally delicious and messy show, born to be binged, although a lot of the name-dropping – Tallulah Bankhead, Noel Coward -- may float right by some. No matter, its glittery blend of the tacky, corny and controversial, while lacking real weight, is an escapist balm.

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