75
Based on 10 Critics
83
Based on 124 Users
  • Any fears that the departure of series creator Armando Iannucci would result in a diminishment of quality are immediately allayed. New showrunner David Mandel demonstrates a firm command and light touch in keeping the new episodes centered around Louis-Dreyfus and Selina’s bursts of anger, her deflations of despair, and her reactions to both the stupidity and shrewd mendacity of her staff. Show More

  • The show is smart--smarter than most on network television--and it has life. Show More

  • With Louis-Dreyfus inhabiting the central role, the writing shines. Show More

  • Veep simply isn't particularly fresh or funny, and most of its jokes are telegraphed from a long way away. Show More

  • One of the most difficult things a sitcom can do is to monkey with its basic premise, scattering characters here and there, while retaining its quality (and its audience). This usually happens with shows whose casts are aging--when a series set during high school must graduate its class to college, for example--and the results are frequently dire, or at the least, second-rate. Not so with Veep. Show More

  • Veep is a show, though, that finds great comedy in the space between that idealism and the reality they face every day. Show More

  • Tossing Meyer into the election fray was a great idea, particularly since it gets away from the well-worn path she strutted last season. Now, out of her comfort zone, she’s bobbing and weaving with the best of them. Show More

  • Depending on the situation, Louis-Dreyfus brings various combinations of excessive zeal, profane rage, piteous desperation, and unwarranted arrogance, all of it never less than beguiling. Show More

  • Louis-Dreyfus can still sell an uncomfortable political smile like no one else. I will say that the tone this season seems somewhat unnecessarily darker at times than in the first two. Show More

  • 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. Show More

  • The series isn’t striving for reality, although it reflects a dysfunctional one. It’s going straight for laughs, and there are plenty of those. ... It’s Louis-Dreyfus’ presence, though, that makes Veep top-notch. Show More

  • The series reserves its most blistering humor for the universal narcissism on display, always distracting from the real work at hand. For all the brilliant, tossed-off insults and uniformly excellent performances, including Patton Oswalt as a "hands-on" aide to the vice president, the season's through line is its treatment of politics as a con artist's medium. Show More

  • The show works because all of its actors seem so human, so likeable, despite the words coming from their mouths. Show More

  • The show’s fifth season is still sharp, well-plotted, and peppered with laugh-out-loud moments of obscenity. But like so much current satire—from SNL to The Daily Show to Scandal’s Donald Trump analogue--it’s struggling to match the unpredictable political pulse of the moment. Show More

  • Mandel gets to keep the show as blisteringly funny and fearless as before without any unwanted or unwarranted comparisons. Show More

  • While there are far too few Veep episodes each season, the ones that begin this, the sixth, are jewels to treasure. Unimpeachable, Veep remains the best comedy on television. Now, more than ever. Show More

  • Veep starts with four episodes as perfectly conceived and executed as ever. Show More

  • 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] Show More

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