Critic Reviews

It’s a cunning portrayal of an increasingly common disconnect between what people present to the world (on social media or elsewhere) and what their lives are actually like. ... Robinson has more than enough charisma and the right comedy chops to carry a show (she is an executive producer here as well) and the writing is full of the kinds of jokey random detours that made me laugh.

Despite its narrative foibles, the show’s supporting cast and their rapport is really strong, especially the banter between Phoebe’s work wife Malika (Toccarra Cash) and her college best friend Michael (Moses Storm).

We’re excited about what Robinson is developing, right from the first half-hour. It’s going to be a hangout show, sure, but a hangout show where Phoebe and her friend group are going to comment on everything they think is trash, which is pretty much everything. So social comedy, fun hangout situations, and character-driven jokes… The formula seems to obvious, we wonder why more current sitcoms don’t do this.

Like Phoebe Hill, Everything's Trash is still figuring things out — so it makes sense that things are a little messy.

Her [Phoebe Robinson's] saucy-sweet voice is the show’ greatest strength, lending it the sunny, easygoing vibe of a catch-up session with your funnest, funniest friend — although it’s not always clear, in the five half-hour episodes sent to critics, what exactly Robinson and her team (which includes executive producer Jonathan Groff of Black-ish) want to say with it.

If, based on the five episodes out for review, “Everything’s Trash” is not always as fizzy or funny as Robinson can be just talking, it’s a friendly place, intriguingly populated and full of possibilities.

“Everything’s Trash” is less steady [than "Single Drunk Female"], defining Phoebe often through relationships and problems rather than intrinsic qualities, and giving those around her a single note to play. ... Robinson is easy to root for, and her charisma and skill as a performer make scenes work as well as they can. But if “Everything’s Trash” is to have a long run, it needs to find ballast for its nihilism, or at least better evidence for it.