Viewership
The streaming aggregator Reelgood, which monitors real-time data from 5 million users in the U.S. for original and acquired content across SVOD and AVOD services, reported that Reboot was the 9th most streamed program across all platforms during the week of September 22–28. [15] [16] JustWatch, a guide to streaming content with access to data from more than 20 million users around the world, calculated that it was the fourth most-streamed series in the U.S. during the week of September 25. [17] Whip Media, which tracks viewership data for the more than 21 million worldwide users of its TV Time app, announced that Reboot ranked among the ten most-streamed original series in the U.S. from October 9–30. [18]
According to market research company Parrot Analytics, which tracks consumer engagement across streaming, downloads, and social media, Reboot had 3.9 times the audience demand of the average show in the United States over the 30 days leading up to January 2024. This level of demand is achieved by only 8.6% of all TV shows, indicating strong performance. Demand for the show increased significantly in January 2024, with a 15.7% growth in audience interest during the month. In the comedy genre in the United States, Reboot ranked in the 89.3 percentile, outperforming 89.3% of all other comedy titles in the country. In terms of global markets, Reboot performed well in the United States and Canada, with demand exceeding the average TV show (1x) in each of these markets. Other markets exhibited solid to moderate demand, consistently surpassing the average performance of other titles. [19]
Critical response
The review aggregator website Rotten Tomatoes reported a 85% approval rating with an average rating of 6.9/10, based on 33 critic reviews. The website's critics consensus reads, "Reboot hardly reinvents the Hollywood satire with its meta jokes that could have used more bite, but its more conventional qualities—namely a delightful cast—make for a mirthful enough watch." [20] Metacritic, which uses a weighted average, assigned a score of 70 out of 100 based on 22 critics, indicating "generally favorable reviews". [21]
Judy Berman of Time said that Reboot channels nostalgia for family sitcoms while exposing their outdated optimism. She praised the show's writing and cast, highlighting its ability to balance humor with a critique of the sitcom industry's recycling trend. Berman found that the series insightfully contrasts millennial perspectives with the older generation's desire for comforting, familiar narratives. She appreciated how it explores the clash between modern social consciousness and traditional sitcom formulas. Berman stated that while Reboot does not aim to resolve generational divides, it successfully blends old and new comedic sensibilities. [22] Saloni Gajjar The A.V. Club stated that Reboot offers a meta-humor-filled critique of Hollywood's reboot culture, praised for its biting commentary on corporate mergers, diversity, and '80s/'90s sitcom nostalgia. She found the ensemble cast, especially Greer, Reiser, and Bloom, to be a highlight, delivering both comedic and emotional depth. Gajjar stated that while the show excels in satire, it falters as it alternates between edgy and sentimental moments, but she appreciated its commentary on Hollywood and its dynamic performances, calling it "Must-See TV." [23]
Lorraine Ali of Los Angeles Times praised Reboot as a sharp, self-deprecating comedy that turns the challenges of remaking a sitcom into comedic gold. She highlighted the show's clever satire of the reboot-obsessed TV industry, particularly its focus on the generational clash between outdated boomer humor and millennial sensibilities. Ali pointed out how the dynamic between Hannah and her father, Gordon adds both comedic and emotional depth. She also emphasized the strong chemistry among the cast, saying it elevates the show from merely good to exceptionally funny. [24] Thelma Adams of TheWrap complimented Reboot for its humor and insightful satire, particularly in addressing generational clashes, workplace dysfunction, and Hollywood's evolving comedy landscape. She found the show consistently hilarious, highlighting Bloom's relatable performance as the anxious first-time showrunner, while also commending the chemistry between the cast, including Key, Greer, and Knoxville. Adams appreciated the series' ability to deftly navigate the tensions between old and new comedy styles, with standout moments that reflect the changing dynamics in the writer's room, and she eagerly anticipated a second season. [25]
