United States of Tara Critic Reviews

Toni Collette has multiple personalities, all of them written by Diablo Cody.

This review, written by Troy Patterson and on Slate.com, was the first review I found. Although the vocabulary is not too extensive, there is an air of professionalism in this writers tone. Although professional, he uses long narrative sentences to make the read feel more like a conversation than a television show review. Patterson likes to add to the informal approach by occasionally asking his readers a rhetorical question. He is snarky and has somewhat of an attitude in his writing, so much so that most of the article I was unsure if he was praising or condemning the show. Overall I enjoyed the read and will try to imitate this writers style.


Me, Myselves and I: Disparate Housewife

This review was written by a female writer named Alessandra Stanely in the New York Times. Unlike Patterson above, Stanely uses short sentences to make her point and add emphasis to key information in her article. She is much more to the point about how she feels about the show and its characters, and she is very detailed in her explainations. Because it is a New York Times article her style is not as easy going as Patterson's, however it is not as complex as you might suspect from the highly talked about News paper. She is big on the use of hyphens and she makes it a point to refer to many other shows or characters, some including others created by the director and creator Diablo Cody.


ALTERED STATES

Right from the beginning female writer Nancy Franklin of the New Yorker, hits you with all of her sas. In the first sentence of her review of the United States of Tara, she refers to numerous other popular Showtime programs and does not even start talking about Tara until the end of the paragraph. Franklin's review has an air of sophistication to it and it is very apparent that she has done her research on the creator and her past works. Her vocaulary is pretty intense but I expect nothing more from a someone who writes for The New Yorker