Salon's Scores

  • TV
For 494 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Score distribution:
  1. Mixed: 0 out of 289
  2. Negative: 0 out of 289
289 tv reviews
  1. For now, the bias towards boring is definitely at work. Cherry should look at “Scandal,” a show in which everyone of every color gets to be troubled and naughty and still expect our sympathy, to see how to improve.
  2. The bar fight--which made the rounds of the Internet this past September--elevates the series's voyeuristic satisfactions to the next level.
  3. Helen now has a perspective, which adds a lot of necessary depth (and gives us the added benefit of seeing Tierney do more things on-screen, which is never a bad thing). But the show is paralyzed by its own vision, at times; the problem with making a show about singular perspectives is that those people are necessarily self-absorbed.
  4. Aside from being a vehicle for a fascinating performance, Nightingale doesn’t quite satisfy as more than a very well-executed student film--a one-trick pony whose trick we’ve seen before.
  5. Dates is a tad precious--a little too smart for its own good.
  6. The show isn’t great yet, though it has potential.
  7. As a character study of one man, "Thief" works, but it's going to take a lot more than that to pull us into this very dark, very unforgiving story.
  8. The second episode is much cheesier and less suspenseful than the pilot -- nothing quite beats those mushroom clouds in the distance, let's face it.
  9. Revenge might sound enjoyably soapy in the abstract, but its execution is problematic.
  10. It’s a lot of unwieldy plot points--borrowing indiscriminately from “Alias,” “National Treasure,” and “John Doe.” What keeps it together is Alexander’s performance.
  11. Even though the second episode of the season isn't structured very well, with lots of rambling talk about nothing, even though the show lacks the tightness and the natural momentum of "Six Feet Under" (and the weight and the intensity, for that matter), True Blood is still odd, unpredictable and off-kilter.
  12. Johnson himself is the best part of Ballers, a charismatic, mostly responsive force that is our window to the precarious world of retirement from football. His perspective on the life of the partying ball player is one of nostalgia. But in the absence of forward momentum, the camera turns to looking for shock value anywhere it can.
  13. Chicago Fire a predictable but pleasantly familiar throwback that could have been on TV a decade and a half ago.
  14. As we head into Season 2, it's becoming increasingly clear that they [the actors] can't make these characters interesting, because they're too thinly conceived.
  15. If the characters and conflict of My Big Fat Greek Life continue to feel true to life, while regaining some of their edge, things might just turn out OK. Nia, at least, has learned to trust that they will.
  16. It is less accidentally ridiculous, and more knowingly, willfully campy, less pretentious, but also, for better and worse, less likely to include a Bollywood dance number.
  17. Not every episode of High Maintenance feels groundbreaking or perfect; despite being a set of loosely connected short films, few stand alone entirely. The second season--which is now funded by Vimeo, who will be charging a nominal fee for the six episodes--lets the show experiment with better production values and bigger casts. At times that gets in the way of the show’s quiet, intimate charm.
  18. Push Girls is not as edifying as it might be, but it's not sanctimonious either.
  19. A Very Murray Christmas is ruminating over its own mingled loneliness and disillusionment and occasional flights of whimsy; mostly, it’s busy laughing at its own jokes.
  20. We don't really learn anything new about the military or its operations, of course, but with the slick scenes and snappy one-liners coming in rapid succession, who really cares?
  21. The writers are in no hurry to speed up the trio’s rise to celebrity, though, and if your taste aligns with Daniels’ brand of saucy escapism, you may want this ride to last as long as possible.
  22. As entertaining as In Treatment can be at times, the third season may be the most grueling of them all. It's tough to see how any of these characters will find anything remotely resembling a sense of happiness before the season is over. Unfortunately, this season may also be the most simplistic so far.
  23. "The Tudors" takes all of the intrigue and power struggles and tomfoolery of the House of Tudor and gives it six-pack abs and a rock-star swagger
  24. The miniseries reaches for the sweep and heft of a theatrical effort, although an excess of earnestness prevents it from fully taking off.
  25. The series hikes through that strange territory where objectification and empowerment meet and are rebranded as modern feminism. ... The charm of The Bold Type is in the way it illustrates the role that these magazines play in the modern woman’s life, for better or worse.
  26. Like the millions of other emotionally unstable imbeciles who tuned in, I found myself strangely drawn to the idiotic flair of the whole thing. Watching this show is like traveling back in time, to a simpler era, when most of our pop culture was considered foolish and sad.
  27. If you used to be a “Burn Notice” devotee, and have re-watched every “Breaking Bad” and “Better Call Saul” episode to the point that the episodes have lost their sheen, you may find something enjoy here. That something may be Donovan’s performance. The actor lends a remarkable sensitivity to what could be an entirely odious character.
  28. What saves the show is that even when the humor doesn’t quite land--usually because it gets trapped in the tortured egos of the protagonists--the story of these flawed people attempting to be better is engaging.
  29. The experience looks very difficult, but also a little boring, which explains the need for the in-your-face title: “Filthy and Exhausted” just doesn’t have the same ring.
  30. Unfortunately, when you take Canterbury's admirable vim and vigor out of the picture for a second, this is just another courtroom drama, limited to the same old overdramatic courtroom scenes that we've seen a hundred million times before

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