The Detroit News' Scores

  • TV
For 280 reviews, this publication has graded:
  • 56% higher than the average critic
  • 5% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 2.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 70
Highest review score: 100 Run (2020): Season 1
Lowest review score: 20 George Lopez: Season 1
Score distribution:
  1. Mixed: 0 out of 206
  2. Negative: 0 out of 206
206 tv reviews
  1. “Chloe” is an intriguing tangle of lies and obsession, a well-made striptease of a show that slowly reveals all over six episodes of cringey psychological suspense. Heads don’t explode, super-heroes don’t save the day and nobody hires a hitman. Instead “Chloe” is that rarest of birds, an adult drama, albeit one stuffed with odd turns and awkward encounters.
  2. “For All Mankind” is simply one of the best things on TV. Aside from being uncomfortably prescient — the Russia/U.S. tensions induce cold shivers of recognition — it balances what might be with what is, mixing the not-all-that-fantastic with well-grounded human drama. Prepare for blast off.
  3. It’s heavily populated, extremely well cast — whoever found the chiseled Antony Starr deserves either a raise or an Emmy — and never boring. The third season has a lot of moving parts but the show wisely keeps its focus on Homelander. There are a lot of jerks here, but it’s the jerk at the top, the jerk with the most apocalyptic power (like that jerk in Russia), who’s scariest.
  4. Unfortunately, the positives are overwhelmed by so many disjointed things going on at once. For the most part it doesn’t matter that these are 20-year-olds playing 14. What matters is there’s simply too much that feels like plot fodder for a show stuffed with too many characters.
  5. The real cement here is two Oscar-winning actors painting a portrait of aging lovers staring down their eventual demise. There is no greater dilemma or darkness. And “Night Sky,” to its credit, knows and shows this.
  6. Stars Rose Leslie and Theo James have an easygoing bicker-banter chemistry that lets this fantasy rom-com slide past its many ridiculous and overtly sentimental moments. No, it’s not a show for the ages, but it works as a ray of empty-headed spring-summer sunny optimism.
  7. Kirby's nobody's girlfriend and even if she is constantly on the verge, she perseveres. Good stuff.
  8. “City” is based on a nonfiction book by Justin Fenton and somewhat weighed down by its solemn intent. It doesn’t have time for humor and it doesn’t have the space for subtlety. Too many scenes are plain explanatory and grim business simply leads to more grim business. Still, Simon has always excelled at capturing specific cultures and their contradictions.
  9. “Outer Range” is a complete mess: Senseless, pretentious, purposely obscure and wasteful.
  10. While still elaborate, feels a bit slight, tepid and drawn-out compared to the first season. For many it won’t matter — look at those gowns! But let’s be frank: Next season, turn up the heat.
  11. verybody apparently abandons their jobs without explanation, little irritants that add up, making for a sloppy and fairly obvious story. What’s odd is that so much talent — the fine young actress Jessica Barden plays an earlier version of Laura — is involved in what is basically this week’s content.
  12. “Winning Time” is an Adam McKay (“Don’t Look Up,” “The Big Short,” “Anchorman”) production and it’s a rowdy mix of quick cuts, famous names, salty scenes and frenetic energy. The casting is just delicious. ... This one’s got a lot of bounce in it. Again, Big fun.
  13. Blessed with a sharp cast that includes John Turturro and Christopher Walken as senior innies, “Severance,” which is produced and mostly directed by Ben Stiller, manages to adeptly juggle the grim and the giggly (melon ball party, anyone?). More importantly, it never fails to entertain. In the end it leaves you begging for more. Always a good sign.
  14. "Pam & Tommy" doesn't make fun of them or their relationship, but shows it for what it is: a match made in the stars. James' physical transformation is astounding (she's aided considerably by prosthetics), and she finds the warmth within Pam, the naïve small town girl with dreams that perhaps outweighed her talents. Stan is clearly going for it in the role of Tommy, and he softens some of the rocker's harder features and less desirable traits; he makes him lovable.
  15. "jeen-yuhs" is a vital document on how we got this far.
  16. Rhimes brings in familiar faces from other Shondaland shows, travels to exotic places, has Anna strut about in all manner of glitzy outfits — Anna loves to shop — and generally offers up solid modern TV entertainment. But a tighter, more succinct work would have lived up to Garner’s performance.
  17. "The Woman in the House..." suffers from pacing issues and is stretched painfully thin at eight episodes (some as brief as 22 minutes), although it might have worked better as a movie, with the absurdity heightened, the fat trimmed and a more clear comic tone.
  18. “The Afterparty” runs in too many directions at once and as a result never gets anywhere in particular.
  19. Baranski is a goddess of acerbic condescension, but that can only go so far, and Coon’s quest to become as big a snob as her neighbors doesn’t exactly qualify as inspirational. Still, it sparkles and is highly watchable.
  20. "Peacemaker" is guilty of taking itself not seriously enough. At least it has a sense of humor, too bad it's limited to the level of limericks scrawled on the inside of bathroom stalls.
  21. "Cheer" depicts the turmoil of high competition and the double-edged sword of fame. And it lays out what makes the world of cheerleading so addictive, both for its participants and for viewers.
  22. Creator Sam Levinson always pushes further than most, shoving the desperation and disillusionment of a young and apparently mostly hopeless generation right in front of the camera. It’s strong stuff. It’s meant to be. “Euphoria” is its own kind of twisted high.
  23. It’s “Veep” at a car company. You could do worse. The cast is strong and the characters become clear in the opening episodes. ... Early episodes are a bit loose, but creator Justin Sptizer knows workplace comedies.
  24. "Yellowstone" has always been the kind of show that it seems like Sam Elliott should be in — in the series, Forrie J. Smith plays a senior ranch hand who looks like he could be Elliott's stunt double — so it's fitting that Sheridan has found a way to weave him into "Yellowstone's" DNA. "1883" is expansive enough to stand on its own, but its ties to the original series give it grounding. We know where it's eventually headed, but that doesn't take away from the journey of getting there.
  25. Cavill remains fine as Geralt, with his absurd physique and long white hair. He has mastered the art of the humorous grunt and it’s still fun to watch him handily slaughter dozens of men at a time or take on some comic-book looking creature. But there was an audacity to this show’s first season that now seems buried beneath plot complications.
  26. Mostly it’s a showcase for Colman, for that endlessly expressive face and her perfect line readings, for the humanity she draws on so easily. Watch it and marvel.
  27. "Get Back" isn't for everyone, nor is it meant to be. But to Beatles obsessives, and they're a group that numbers in the millions and spans generations, "Get Back" is a holy grail, and it delivers.
  28. A quick six-episode arc that’s fittingly preposterous and fully satisfying.
  29. This is all in the name of torch-passing, handing off the role of Hawkeye from Renner to Steinfeld, and it's more exciting, one supposes, than doing it in a press release. But just like Hawkeye himself, nothing here feels essential.
  30. John Cho deserves a better show. Not that “Cowboy Bebop” is awful. It isn’t. It’s just typical. ... It also doesn’t help that the dialogue is uneven and stilted at times. Smooth talking characters need to talk smoothly.

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