USA Today's Scores

For 1,354 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 3.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Public Speaking
Lowest review score: 0 Heathers (2018): Season 1
Score distribution:
  1. Mixed: 0 out of 822
  2. Negative: 0 out of 822
822 tv reviews
  1. "Bear" is nerve-wracking and a delight. The frenzied pace and the shouty, freewheeling dialogue create an intense, stressful atmosphere that reaches out from the screen and practically tenses your shoulders. But it's also about (mostly) likable people trying to do their best, and that striving energy is as addictive and satisfying as a really good sandwich.
  2. "Mankind" is the most thoughtful and thought-out show on TV, so nuanced and exquisite that you forget where and when you're living and who’s president. It’s in a class all its own; it’s a new frontier of just how good TV can be.
  3. Directed by Deborah Chow (“The Mandalorian”), “Kenobi” feels more like old-school “Star Wars” than its Disney+ predecessors, from the credits to John Williams’ rousing new theme. It also embraces the sci-fi weirdness of strange creatures and odd aliens around while firmly planting the storytelling in a time of haves and have-nots.
  4. The writers don't balance the series' plots well or make each of these three (eventually four, as Eleven ventures off on her own journey of self discovery) feel vital. It leaves you with the feeling that half of what you've just invested time watching was utterly pointless. But the bigger problem is the wild departure in tone.
  5. "Lincoln" is so pleasing in its unpretentiousness. It's not trying to answer big questions, besides whether Mickey's biggest client is innocent. Garcia-Rulfo is a bit stiff at first as the charismatic lawyer, but he quickly grows on you.
  6. The darkness is deeper and sometimes more despairing this year, but the jokes are just as frequent, and maybe even a bit more cathartic.
  7. Firth feels a bit too handsome and wholesome to play a potential murderer at first, but he effectively imbues Michael with sleaze. He’s fascinating to watch it only because it’s such a departure for him.
  8. Earnest, playful and hilarious with a bit of cringe, "Love That" is Bayer's coming out as a leading actress. ... Bayer is a joy to watch, and she's complemented by a strong supporting cast, especially Shannon and Lewis.
  9. Although later episodes lose their way a bit, the majority of "Gaslit" is a surprisingly fun romp through a dark period of American history that also manages to avoid being too light-hearted.
  10. The comedy is still there, as are some cringe-inducing moments and head-scratching decisions, but there is also a more serious, introspective tone to the new episodes.
  11. "Doll" is the rare show to come up with two seasons worth of good ideas.
  12. So many individual scenes are engrossing and superbly acted, but they're often undercut by the time jumping and editing. There's never quite enough from any one first lady, which leaves a sense of disappointment. It's unfortunately a show that is lesser than the sum of its Emmy- and Oscar-winning parts.
  13. For all its visual pleasures, “Tokyo Vice” is guilty of sidelining its most fascinating characters.
  14. Jordan may be many things, but nothing about it is interesting.
  15. Season 2 proves that there's more than one Bridgerton worth rooting for, and considering future seasons will follow the romantic escapades of other siblings (artsy Benedict is up next), these new episodes pass an important test. "Bridgerton" wasn't just a one-hit wonder.
  16. The new episodes live up to the ones that came before, although only two were made available for review. Both run the gamut of what "Atlanta" can be: Bold, experimental, and allegorical; comedic and astute examinations of the mundanities and oddities of Black life. They remain singular, exceptional and thought-provoking in the way only "Atlanta" episodes can be.
  17. The series sags in the middle episodes after an exciting start. The propulsion returns at the end, but viewers have to get there to enjoy it. ... Even if you know how the WeWork story ends, it's an enthralling ride to the inevitable implosion.
  18. "Beth" is complex and layered, and a departure for Schumer in the best way. ... There is so much more to "Beth," and to Beth. There is something refreshing about the series, and how it resists neat categorization.
  19. The seven-episode second season retains the first's ability to simultaneously present a cynical outlook on the future and also argue that love can conquer (almost) all. It's a tricky tone to perfect, but the sharp acting and sharper scripts help immensely. "Upload" has also developed a distinctive visual language.
  20. "Pieces of Her" is most interesting when it wrestles with questions of identity and transparency. ... Unfortunately, creator Charlotte Stoudt ("Homeland") merely pricks those sharper edges, leaving us a grab bag of set pieces that never come together.
  21. Sharply written and played (expect for bland Tim Matheson as Cybill's latest flame), Cybill flirts dangerously with a cruel edge - an off-camera joke about a cat devoured by a coyote seems a misstep. But at least this has an edge, a style, a genuine star. [30 Dec 1994, p.1D]
    • USA Today
  22. "Severance" is at its best and most revealing when it grapples with the more existential issues of its brainwashing technology, especially in how it affects relationships.
  23. Pinchot, given little to work with, is like Mork on Prozac, a quart-low Jerry Lewis. The trouble with Larry is it thinks it's a riot. Think again. [25 Aug 1993, p.3D]
    • USA Today
  24. The most annoying presence yet in a fall season full of saddle burrs, Mr. Rhodes is classroom claptrap of the lowest order. [23 Sep 1996]
    • USA Today
  25. "Euphoria" ultimately leans into its best and worst impulses in Season 2: It's grating, but intoxicating; implausible but grounded; severe but deeply emotional whenever it cedes the spotlight to Rue and Jules. And like the show's glitter-covered miscreants, we just can't help but keep chasing that high.
  26. Everything’s played a lot straighter, and it’s missing the hot-blooded camp quality the series initially embraced. The show at its core is still pretty enjoyable for a dark fantasy, and the reappearance of rock-star tunesmith Jaskier (Joey Batey), plus new characters like the flame-conjuring rogue mage Rience (Chris Fulton), help in that regard.
    • 68 Metascore
    • 63 Critic Score
    While “American Auto” feels like it’s having some early engine trouble, it's worth taking this new ride into the shop for a tune-up.
  27. Despite its faults, there's nothing quite like seeing our old friends back in the concrete jungle. ... Miranda, Charlotte and Carrie are just as sharp, vibrant and chaotic as they ever were, and it's impossible not to get invested in their sky-high emotional stakes this go-around.
    • tbd Metascore
    • 80 Critic Score
    The core “Facts” cast – which also included Kathryn Hahn and Gabrielle Union (as classmates Jo and Tootie) and Ann Dowd stepping in as their housemother Mrs. Garrett – was unimpeachable, with the adult actresses summoning their best teen selves (notably Hahn’s huffy performance as boy-phobic Jo). But it was Aniston who reminded us that her true place is on a situation comedy. ... There was decidedly more there there when it came to the “Diff’rent Strokes” episode, titled “Willis’ Privacy.”
  28. What it lacked in style, "Annie Live!" ultimately made up for in heart, with indelible showtunes and a winning lead performance that left us grinning. And after all, you're never fully dressed without a smile.

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