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Critic Reviews
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Veep is the single most improved series on television.
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Louis-Dreyfus's performance--which, like Congress, can be divided into two houses, Crackling Charm and Hysterical Ego--still drives the show, but we're getting more realistic sense of political gamesmanship. [22 Apr 2013, p.45]
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The show is smart--smarter than most on network television--and it has life.
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This season is so much more effective that it’s practically a master class in how tweaks can transform a series--and in how hard it is to judge a sitcom early on.
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Veep remains one of the most rapid-fire and linguistically playful shows on TV— neologisms created in just the first episodes include “exhuastipated,” “procrasturbate” and “gestictionary.” But in the new season, the physical comedy is just as strong.
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The cast's highly attuned instincts for knowing when to press complicated dialogue into kinetic banter and when to dial back to find the subtlety in a one-liner joke is what keeps Veep's humor vital.
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The wit is rapid-fire, and keeping up with Louis-Dreyfus as she sprints between appointments, all shaken up like a soda bottle about to explode, is good fun. But the humor is so meta, it's easier to find yourself thinking "This is funny" than actually laughing.
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Veep offers uncomfortable comedy at its most sardonic.
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The satire is vicious, the behaviors of all parties reprehensible, which makes for a bracingly unsavory series but also one that's ultimately sour and predictable.
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Season two yields modest improvement thanks to shrewd cast additions, augmenting the pleasures of Julia Louis-Dreyfus.
Awards & Rankings
User score distribution:
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Positive: 124 out of 142
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Mixed: 8 out of 142
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Negative: 10 out of 142
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Apr 15, 2013
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Aug 17, 2013
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May 6, 2013