Line #40 CriticalDissonance/LiveActionTV


1	----
2	* ''A Little Late With Lilly Singh'' has an 82% from critics on Rotten Tomatoes and a pitiful 15% audience score, with a similar 1.6/10 on IMDB.
3	* The third season of ''Series/AmericanHorrorStory'', ''[[Series/AmericanHorrorStoryCoven Coven]]'', is usually ranked among the worst by most professional critics and reviewers. However, the season has easily the most vocal and passionate fanbase of any season (if not necessarily the biggest), as a quick perusal of places like Tumblr and Vine will indicate.
4	* ''Series/TheBigBangTheory'' is frequently bashed online, ridiculed for relying on outdated nerd stereotypes for jokes, undergoing perceived SeasonalRot after the guys all entered relationships, {{Flanderization}} of the cast, supposedly promoting "{{adorkable}} misogyny", or simply because ItsPopularNowItSucks. There are even edited versions of episode clips with the laughter from the studio audience muted in order to "prove" just how unfunny the show actually is. Yet, it is one of the most-watched shows on cable television even after it ended in 2019, Creator/JimParsons won four Emmys for his performance as Sheldon and critics usually gave it favorable reviews. It even did well enough to warrant a spin-off in ''Series/YoungSheldon''.
5	* ''Series/BigBrother'' is one of the biggest TV phenomena and most successful formats in the world, yet you won’t find any critic who’ll say anything good about it. It’s the show that makes Creator/GeorgeOrwell turn in his grave and turned voyeurism and reality TV into a leading genre.
6	* ''Series/BillNyeSavesTheWorld'' was well received by critics with a 78% on Rotten Tomatoes, but audience reception has been more negative due to content perceived as politicized and preachy, with a 26% audience rating on Rotten Tomatoes and a 3.4 rating on IMDB. %% As per the Rule Of Cautious Editing Judgment, please do not elaborate on this.
7	* ''Series/{{Chuck}}'' was a critical darling and perennial contender in many viewers’ choice awards categories. Unfortunately, it received only a cult following and ratings dwindled throughout its five-season run in what many fans viewed as a bizarre combination of [[NetworkToTheRescue Saved By The Network]] and ScrewedByTheNetwork.
8	* ''Series/{{Dads}}'' received almost universally negative reviews from critics (15 on Metacritic), though audiences responded more positively (5.4 rating on Website/IMDb). That did not keep it from dying after its first season ended.
9	* ''Series/{{Disjointed}}'': Critics were at best neutral to the show, and a lot thought of it negatively. The audiences, however found it a bit better, but it was still not enough and the series as cancelled within its sole season.
10	* ''Series/DoctorWho'':
11	** The series is a ''very'' {{Long Runner\|s}} (since the 1960s and still going!), and for a very long time (home video not having been invented) there was simply no way to find out the quality of stories you had missed (due to ''not having been born when they aired'') save for: (1) buying one of the [[PragmaticAdaptation heavily altered]] and variable-in-quality Target novelisations, or (2) buying a book written by someone who had seen the episode in question summarising what it was about and, more importantly, saying whether or not it was good. Both these methods led to serious distortions of truth in the fandom.
12	** 1983's MilestoneCelebration tome ''Doctor Who: A Celebration'' contained reviews of every story, which in some cases had to be based on guesswork (looking at the general quality of actors playing guest stars, etc.). These were taken as gospel by people who had never actually seen the stories, hence [[Recap/DoctorWhoS3E8TheGunfighters "The Gunfighters"]]’ reputation as an absolute disaster and [[Recap/DoctorWhoS3E7TheCelestialToymaker "The Celestial Toymaker"]]’s reputation as a classic — there is an anecdote about a woman who stood up at a ''Who''-con to announce that the two aliens she definitely didn’t want to see return were [[SpecialEffectsFailure the Zarbi]] and the Gunfighters! Now that all the surviving footage is widely available thanks to the Internet and [=DVDs=], fans nowadays (such as ExpandedUniverse and new series writer Creator/PaulCornell) tend to find that “The Gunfighters” is a clever, self-referential, funny comedy episode and “The Celestial Toymaker” is slow-paced, badly plotted, [[YellowPeril racist]] garbage — but “The Celestial Toymaker” had the benefit of a quality actor (Michael Gough) playing the villain and a quirky premise, while “The Gunfighters” had no-names and a very straightforward "the Doctor in the Wild West" premise.
13	** The book also panned comedy episodes simply ''because'' [[ComedyGhetto they were comedic]] and the author felt they had no place in a serious science-fiction show, causing comedy episodes to fall out of fashion amongst the fanbase for a while. Many of these are now extremely popular with the modern fandom, in part because the highly popular revival series incorporates strong elements of a sitcom.
14	** [[Recap/DoctorWhoS14E3TheDeadlyAssassin “The Deadly Assassin”]] (today placed somewhere between "really good" and "best Creator/TomBaker story ever") got a negative contemporary review in the ''Doctor Who'' Appreciation Society’s fanzine, which focused overwhelmingly on TheyChangedItNowItSucks outrage about [[FanDislikedExplanation Robert Holmes’ depictions of Time Lord society]] and [[SeriesContinuityError the continuity problems]], only mentioning that the plot, acting, costuming, storytelling and set design were all good [[SkewedPriorities as a casual aside]]. To this day, the review is mocked by ''Who'' fans who share it around as a reminder that fanboy criticism is usually garbage and that fandom is always terrible.
15	** Professional reviewers loved Series 2's LowerDeckEpisode [[Recap/DoctorWhoS28E10LoveAndMonsters “Love & Monsters”]], but the fanbase does not — it's probably the least-popular episode of the revival to date.
16	** The Twelfth Doctor era (Series 8-10) is this for the revival. The bulk of professional critics, as well as hardcore fans (especially those well-versed in the classic series), are favorably disposed to Creator/PeterCapaldi's tenure as the Doctor. But it wasn't ''nearly'' as popular with mainstream viewers as Ten (Creator/DavidTennant) and Eleven’s (Creator/MattSmith) tenures were, with the revival's ratings bottoming out in the U.K. as Series 10 was wrapping up. Much of this stemmed from Twelve being a CreepyGood[=/=]DarkIsNotEvil protagonist with NoSocialSkills and a grumpy streak played by a noticeably older actor; audiences weren't patient enough to follow his gradual, positive CharacterDevelopment. Ten and Eleven were youthful, amiable, and OfficialCosplayGear and T-shirt catchphrase-ready from the start; merchandise sales ''plunged'' with Twelve's first season because he wasn't any of those things and never became such (he became ''empathetic and courageous'', rather). On an episode by episode basis, [[Recap/DoctorWhoS34E7KillTheMoon “Kill the Moon”]] seems to be a BrokenBase for fans, but critics loved it.
17	*** That said, this can be considered a DownplayedTrope, as even on nights when the Capaldi era was hitting record lows, it was still the most watched programme of the day across all channels, suggesting that it was less of a decline in the popularity of ''Doctor Who'', but rather a decline in British television as a whole.
18	** Series 11 was highly contested by fans. While the amount of viewers (mostly amongst a certain group of [=YouTubers=]) unhappy about the Doctor's [[SexShifter regeneration into a woman]] was inevitable, even a large portion of the fanbase who were fine about the gender change were not happy about the resulting episodes. This was mainly due to accusations that it prioritized {{Anvilicious}} morals and {{Author Tract}}s over plot, with shots at political targets which were viewed as cliché[[note]][[FranchiseOriginalSin This wasn't actually new for the series, but it has been accused of becoming more explicit.]][[/note]], as well as complaints about the villains getting the KarmaHoudini treatment and the finale being viewed as underwhelming. As for professional reviewers? They loved it just as much as the earlier series (due to its accuracy on historical events, Bradley Walsh's emotional performance as Graham, and an overall feel reminiscent of the classic series), and the first episode of the series attracted some of the highest ratings the revival ever had. This is best demonstrated by its Rotten Tomatoes rating, which has a 91% approval rating from critic ratings but a mere ''21%'' (a 70% difference) for the user rating.
19	* When ''Series/{{ER}}'' premiered, reviews, while not poor, were not particularly flattering, deeming its storylines hackneyed. Most critics deemed its [[DuelingShows competitor]] ''Series/ChicagoHope'' the better show and predicted that it would win the ratings battle. But ''ER'' was a smash hit, forcing ''Hope'' to change its time slot very quickly in the hopes of surviving. Today, ''ER'' is the one more people remember, for better or worse.
20	* Ever since the ''Series/EurovisionSongContest'' introduced the 50/50 split voting system in 2009 this trope has come into play with many entries. Contestants that score well with the professional juries can find themselves being rejected by the public televote while an act overlooked by the juries earns a much higher score from the public. Several artists who were considered the favorite to win have failed to secure a victory because they ran into this dissonance. This has become even more pronounced since 2016, when the professional and public votes have been counted separately, with neither set of votes affecting the other.
21	* Creator/JossWhedon’s ''Series/{{Firefly}}'' was met with generally positive reviews, but (1) the professionals didn’t write nearly as glowingly about it as fans did, and (2) thanks to heavy doses of ExecutiveMeddling and ScrewedByTheNetwork, it couldn’t find an audience until [[BetterOnDVD after its cancellation]].
22	* [[VindicatedByHistory As hard as it may be to believe now]], ''Series/{{Friends}}'' wasn’t exactly a critical darling during its run. While the show got generally good reviews, it never garnered the acclaim of other ’90s NBC sitcoms like ''Series/{{Seinfeld}}'', ''Series/{{Frasier}}'', or even ''Series/NewsRadio''. Fans of ''Seinfeld'' in particular hated it, dismissing it as lightweight fluff versus ''Seinfeld''[='=]s more cynical and experimental humor, with a bitter FandomRivalry developing between the two shows. Nevertheless, it was a pop-culture ''phenomenon'' and is, to this day, still one of the most fondly remembered shows of its era. Even many of the critics who dismissed the show during its run now rank it as one of the greatest sitcoms of all time, simply for its enormous popularity, cultural impact, and a great cast.
23	* ''Series/FullHouse'' and many other "T.G.I.F." family sitcoms had a large amount of this. Critics despised ''Full House'', yet it was a ratings smash, and kicked off the Olsen twins’ career (which also had Critical Dissonance — Creator/RogerEbert once stated that they had no talents any normal person could have).
24	** Its SequelSeries ''Series/FullerHouse'' got the same reaction. Critics hated it, while the audience loved it. It was popular enough that a second season was announced a few days after the show premiered on Netflix.
25	* Game shows have long been anethema to TV critics. ''Series/ThePriceIsRight'' has been at the top of critical hated lists since it first premiered in 1956, as they saw it as the end of civilization as we know it. The CBS edition, described by ''Entertainment Weekly'' critic Ken Tucker as "a vulgar orgy of crass consumerism," continues its merry way to this day. Its myriad Emmy wins certainly don't hurt.
26	* Critics like Creator/{{HBO}}’s ''Series/{{Girls}}'', but it polarizes Jim and Jane Public. The show receives extensive coverage with lengthy reviews and feature articles on many TV review websites, such as ''The Website/AVClub'', to the point where they often cite ''Girls'' in reviews for other shows. Despite this, the highest-rated episode got just upwards of one million viewers, which is fewer than even NBC’s lowest-rated show. It doesn’t help that many Americans don’t subscribe to its host channel.
27	* Critics adored ''Series/HappyEndings'', but that didn’t translate into a ratings success. Creator/{{ABC}} started their ''own'' [[http://screenrant.com/save-happy-endings-abc-canceled/ “Save the Show” campaign]]; that may or not be a good thing.
28	* The fifth-season ''Series/HowIMetYourMother'' episode “The Rough Patch” exemplifies this on a single-episode scale. It was the culmination of the writers’ attempts to break up Robin and Barney throughout the entire season after the entire fourth season had been spent getting them together. Critics lauded the episode for the exaggeration by future Ted’s narration in the form of Barney’s fat suit and Robin’s haggard appearance. This undid over a season’s worth of CharacterDevelopment for Barney and broke up what many fans considered the FanPreferredCouple because the writers wanted to prove that the relationship wouldn’t work, despite the chemistry Creator/CobieSmulders and Creator/NeilPatrickHarris displayed.
29	* ''I'll Fly Away'' was a ''massive'' critical darling, winning two 1992 Emmy Awards[[note]]Eric Laneuville for Outstanding Individual Achievement in Directing in a Drama Series for the episode “All God’s Children,” and for series creators Joshua Brand and John Falsey for Outstanding Individual Achievement in Writing in a Miniseries or a Special.[[/note]] and 23 nominations in total, three Humanitas Prizes, two Golden Globe Awards, two NAACP Image Awards for Outstanding Drama Series, and a Peabody Award. However, it had terrible ratings, and it was canceled by NBC in 1993, despite widespread protests by critics and viewer organizations. Most seem to blame it on its AudienceAlienatingPremise — it was about a small Southern town in the late 1950s and early 1960s, at the height of the UsefulNotes/CivilRightsMovement. It was also treated poorly by NBC during its run; writer and executive producer Creator/DavidChase noted that the network advertised the show using Music/LouisArmstrong's "What a Wonderful World". After the program"s cancellation, a two-hour movie, ''I'll Fly Away: Then and Now'', was produced, in order to resolve dangling storylines from Season 2 and provide the series with a true finale. The movie aired on October 11, 1993 … on Creator/{{PBS}}.
30	-->'''[[https://books.google.com/books?id=ZiZPc6nyds8C&pg=PT38&lpg=PT38#v=onepage&q&f=false David Chase:]]''' If I’d had a gun, I would have killed somebody. What fucking wonderful world? UsefulNotes/KuKluxKlan, Mississippi civil rights workers being murdered, housewives from Detroit being gunned down in their car, black kids being lynched? They were trying to sell a series about human pain as a cute story about some cute little boy and his nanny. And it fucking made me want to puke.
31	* ''Series/ImportantThingsWithDemetriMartin'' got poor ratings and was cancelled after two very short seasons, yet critics were very fond of it.
32	* ''Series/TheJerrySpringerShow'' had very high ratings in the 1990s, but only among people who liked trash television, which happened to be the majority of daytime-TV viewers. Critics have frequently ranked it among the worst TV shows ever put on air.
33	* ''Series/{{Jessie}}'' on Creator/DisneyChannel is almost universally panned by critics as not just being one of the worst TV shows in Disney Channel’s history, but also one of the worst tween/teen-marketed shows ever made. It’s gotten to the point where it’s become almost a go-to punching bag for critics looking to highlight the awful state of tween/teen sitcoms or how far Disney Channel has fallen from its golden days. Yet it was one of the highest-rated and most renewed shows on the network when it ran.
34	* ''Series/LastManStanding'' got mostly negative reviews: critics argued the show didn’t bring anything new to the table and had too much of a nineties feel compared to modern sitcoms. However, the show has maintained a steady audience, with its fans feeling the show is a great throwback to the old sitcom format.
35	* The final episode of ''Series/{{Lost}}'' received mixed, but mostly positive, reviews from critics, and various polls on fandom sites suggest most hardcore fans were at least satisfied with the conclusion. Mainstream/casual audiences loathed the episode, though, and within three years, ''Lost''’s "confusing" ending became a pop-cultural punchline. Mere mention of the show or its co-creators, Creator/JJAbrams and Creator/DamonLindelof, in an Internet article attracts hordes of hateful ex-fans in the comments section.
36	* TheSeventies sitcom ''Series/LoveThyNeighbour'' was considered utterly appalling and beyond the pale by metropolitan critics even at time of first broadcast, and was utterly loathed by those who considered themselves to be opinion-formers and arbiters of good taste. If anything, critical opprobrium and vitriol has hardened over the decades since, largely because the show made racism and race relations a topic for comedy. Yet it was a smash-hit comedy series, has been exported to many overseas markets, and archived episodes on [=YouTube=] and other platforms have hundreds of thousands of hits.
37	* ''Series/MarcoPolo'' was trashed by critics, with a 30% critical score, but received 93% from the audiences who did tune in during its two-season run.
38	* From the ''Franchise/MarvelCinematicUniverse'':
39	** ''Series/{{Iron Fist\|2017}}'' was absolutely mauled by critics before its general release. The critic score on Rotten Tomatoes is 17%, while Metacritic lists nine negative reviews, ten mixed reviews, and zero positive reviews. Yet the audience score on Rotten Tomatoes is 87%, and the IMDB rating is 8.2. Part of the reason for this is that the show has a SlowPacedBeginning that lasts the first six episodes, and those were the only ones critics had access to when they wrote their reviews.
40	** ''Series/{{The Punisher\|2017}}'' had a polarizing reaction from critics, with some liking it and others hating it, with the biggest points of contention being its pacing, [[SlowPacedBeginning particularly in the first half of the season]], and the way it tackles issues like gun control which came off as {{Anvilicious}} to many reviewers, with the show just barely received a "Fresh" certification at a low 68% on Rotten Tomatoes. Casual viewers have received the show much more warmly and have found it to be one of Marvel's best TV shows yet, with the Audience Score getting a 94%. However, both critics and audiences agree that the second season was a step-down from the first one.
41	** Though ''Series/SheHulkAttorneyAtLaw'' is the lowest-rated of Marvel's Creator/DisneyPlus series so far among critics, it still received fairly positive reviews and a "Fresh" critic score of 75%, while the first season is "Certified Fresh" like the rest of them at 80%. Viewers have received it much more coldly, and it currently sits at an Audience Score of 33%, the lowest in ''the entire MCU'' (falling below even the universally-panned ''Series/{{Inhumans}}'').
42	** Downplayed with another Disney+ series, ''[[Series/MsMarvel2022 Ms. Marvel]]'', which is currently sitting at 100% overall on Rotten Tomatoes, with the first season getting a Certified Fresh 98% rating; this makes it not only the highest-rated Marvel TV show by critics so far, but also gives it the highest critic score in the entirety of the MCU. While it was still received fairly positively by audiences, its 80% audience rating is actually the second-''lowest'' out of Marvel's Disney+ series so far, only beating out the aforementioned ''She-Hulk''. ''Ms. Marvel'' is also the second-lowest-rated show on [=IMDb=]--again, above ''She-Hulk''--by a very large margin.
43	* ''Series/TheMaskedSinger'' is a downplayed example, as audience reactions tended to be rather split on whether it was enjoyable or not, while critics were generally negative about it. Either way, it proved to be an unexpected hit in the ratings, indicating that it has a significant viewer base.
44	* The comedy ''Series/MrsBrownsBoys'' was slated by critics, who hate its bawdy humour and what is perceived as its often maudlin, mawkish, sentimentality, yet is very popular with the viewing public.
45	* ''Series/{{Mulaney}}'' was at one point the “#1 Comedy” despite ratings for the show ranging at 3 out of 10 on average.
46	* Entertainment journalists really seem to hate ''Series/MyKitchenRules'', and the episode recap articles posted on the ''Sydney Morning Herald'' almost invariably contain scathing jibes at the show’s format, throwing around unpleasant terms to describe the judges and contestants’ words and actions. Despite these critiques, the show continues to rank #1 in Australia in terms of viewing numbers.
47	** The trope also occurs in-universe during the Fifth Redemption round of Season 6, with Kat and Andre’s ''ile flottante'' dessert. Both Pete and Manu adore the dish, but none of the other teams liked it, as they claim that it was too sweet and sugary.
48	* ''Series/Nurses2020'' was not well-liked by critics in the U.S. during its first season (released during the UsefulNotes/COVID19Pandemic in late 2020) and [[https://decider.com/2020/12/07/nurses-nbc-review/ one review advised people to skip the show]], and IMDB had a mixed reception. In general, despite criticisms of the extensive ArtisticLicenseMedicine and accusations of it being a Frankenstein of other MedicalDrama series, the public seem to like it. In its native Canada, it got a similar sort of reception, but the public largely seem to enjoy the series.
49	* ''Series/TheOrville'' met a chilly critical reception during its first season, largely because many critics expecting a parody of ''Franchise/StarTrek'' (as one might expect from the show's creator and star Creator/SethMacFarlane) instead got a mostly affectionate GenreThrowback, albeit with a humorous streak... something that caused Trekkers, by and large, to embrace the show, with many finding it more faithful to the spirit of ''[[Series/StarTrekTheOriginalSeries The Original Series]]'' than many modern, DarkerAndEdgier ''Star Trek'' shows like ''[[Series/StarTrekVoyager Voyager]]'', ''[[Series/StarTrekEnterprise Enterprise]]'', and the concurrently running ''[[Series/StarTrekDiscovery Discovery]]''. To wit, while ''The Orville''[='=]s season one critics' rating on Website/RottenTomatoes is only 21%, its average audience score is 93%, and it became one of Creator/{{Fox}}'s biggest hits when it debuted (no small feat given its large budget). Critics warmed up to it by the second season, fortunately, having by that point recognized it for the more character-driven sci-fi dramedy that it actually was.
50	* Critics absolutely hated ''Series/PunkyBrewster'', which ostensibly was created for kids. But that didn’t stop it from getting a loyal young fanbase, a four-season run (two on NBC, two in first-run syndication), a Saturday-morning cartoon edition, and a 2013 webcomic.
51	* The Netflix series ''Richie Rich'' has been called the worst show ''in history'' with its super-low production values and sometimes blatantly unpolished final release (the ninth episode of the first season has audio sync issues). Yet it maintained stable ratings and was able to win a second season (though it may have been planned from the start).
52	* ''Series/RuPaulsDragRace'' has a semi-in-universe example: More than once, the judges will harshly critique a contestant's runway outfit, but then the episode airs and a majority of viewers end up liking it and voicing their disagreement. For instance, in Season 8 one episode had a neon runway theme, and Chi Chi [=DeVayne=] wore a [[https://cdn.poll-maker.com/228020/kcicay8.jpg hot-pink bodysuit]] that the judges ''hated'', calling it "basic." But Chi Chi turned out to be one of the more popular queens of the season, and most of her fans cite this look as one of her most memorable, saying they have no idea what the judges were smoking to put her in the bottom for it.
53	* ''Series/SamAndCat'' was panned by critics, even those friendlier towards this type of genre, calling it a pale imitation of ''Series/ICarly'' and ''Series/{{Victorious}}'' from which it was spun off. Yet it also gained very high ratings, in some cases higher ratings than its parent shows. Even though it was canceled after only one season, this was due less to failing ratings/reviews than to still-not-fully-disclosed backstage issues.
54	* ''Series/SavedByTheBell'' was mostly trashed by critics during its heyday, yet went on to become one of the most popular kid shows of the early ’90s. The show’s success was largely because, until then, Saturday-morning television was dominated mostly by [[AnimationAgeGhetto cartoons]] and other shows aimed at young children, and many families didn’t yet have cable. Nonetheless, the series is fondly remembered by those who watched it in the early ’90s, albeit mostly for its NarmCharm.
55	* ''Single Ladies'' on Creator/VH1 is generally critically reviled, but is generally well-received by female audiences. It also has [[TestosteroneBrigade some appeal to male viewers]] thanks to the cast of Lisa Raye, Denise Vasi, Charity Shea, and formerly Stacy Dash.
56	* ''Franchise/StarTrek'':
57	** ''Series/StarTrekDiscovery'' was embraced by critics, but among longtime ''Trek'' fans it met a bitterly polarized reception due to its DarkerAndEdgier tone and many don't even consider it a real part of the Star Trek canon.
58	** This same treatment was given to ''Series/StarTrekPicard'', which was also praised by critics, but polarized among the fans, many of which did not care for the portrayal of the Federation, or the handling of Picard as a character.
59	* BBC's 2018 miniseries ''Series/TroyFallOfACity'' got a 71% from the critics on Rotten Tomatoes, but 24% from viewers, as well as a 3.8 on IMDB.
60	* Chuck Lorre has acknowledged the extent of ''Series/TwoAndAHalfMen''’s haters, as the series received mixed reviews from critics throughout its run, with some disliking the misogynistic undertones of the show. However, no one can deny how beloved it was by audiences, as it was one of the highest-rated shows in its era and one of the most successful shows in Television History. Its sucess would also pave the way for Lorre's other sitcoms like ''Series/MikeAndMolly'' and ''Series/TheBigBangTheory''.
61	* ''Series/{{Undateable}}'' was thrashed by critics, but viewers who watched it fell in love with it. It has a critics’ rating of 38% on Rotten Tomatoes while the audience rating is currently at 91%.
62	** ''Series/HomicideLifeOnTheStreet'' suffered similar problems but, unlike its SpiritualSuccessor ''The Wire'', it did win a few notable awards and lasted a good seven seasons on the network’s faith alone.
63	* ''Series/TheWitcher2019'' met mixed reviews from critics, with many comparing it unfavorably to the early seasons of ''Series/GameOfThrones'' and saying that [[ContinuityLockout it didn't do much to keep viewers unfamiliar with the source material from getting confused]] -- a problem that didn't affect fans of [[Franchise/TheWitcher the books]] or [[VideoGame/TheWitcher the games]], who made it Creator/{{Netflix}}'s highest-rated show on Website/IMDb and gave it an audience Tomatometer of 93%. [[https://www.themarysue.com/the-witcher-high-fantasy/ This article]] by Kaila Hale-Stern for ''The Mary Sue'' points to another possible reason for the dissonance, which is how [[{{Troperiffic}} unashamed it is]] of its HighFantasy trappings even at risk of sliding into {{camp}}, often feeling like a big-budget GenreThrowback to the fantasy adventure shows of TheNineties like ''Series/XenaWarriorPrincess'' -- something that would [[SciFiGhetto rub professional critics the wrong way]], but which the average viewer would have a blast with.
64

Context CriticalDissonance / LiveActionTV