Salon's Scores

For 544 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Review: Season 3
Lowest review score: 0 So You Think You Can Dance: Season 1
Score distribution:
  1. Mixed: 0 out of 321
  2. Negative: 0 out of 321
321 tv reviews
  1. May be the most riveting and the most haunting drama to air this fall.
  2. While I realize my entire description makes the show sound hopelessly shallow and unrealistic (which it is), it's also smart and well acted and at times, funny.
  3. Season 2 makes room for Jimmy’s relationship with Kim, and to my mind, it gives the show a jolt of emotional resonance.
  4. The only bad thing about Summer Heights High is that it makes a lot of American comedies look pathetically unoriginal and lackluster by comparison.
  5. More than a worthy inheritor to its network progenitor, Grown-ish takes full advantage of Shahidi’s presence and energy to realistically explore what the undergrad experience is like in the modern age, without ginning up a cautionary tone or diluting the honesty of its plot points.
  6. Skilled chefs, great dishes, a few doomed nervous Nellies and lots of petty squabbles ahead? What more could a loyal Top Chef fan ask for?
  7. Rather than break down each episode into sketches, each episode is its own, contained sketch, focusing on one particular set of characters and their stories. It makes Portlandia a lot easier to watch--and a bit more profound, too.
  8. The Assassination of Gianni Versace hangs together imperfectly, and its lines don’t quite flow with the level of unified elegance of its predecessor. Calling to mind the designer’s signature medallion, it is its own Medusa, beauty and horror in one long, complicated gaze. It doesn’t match its predecessor’s power to transfix the audience, but it is definitely worth seeing.
  9. Adam Reed--creator, showrunner, voice actor, and writer--seems to have composed Archer both as a love letter to douchebags and as a set of instructions for destroying them. Having a baby might be the final nail in the coffin. Then again, maybe not; Sterling’s the resilient type.
  10. Metatextual commentary aside, the third and final season of Kroll Show starts off strong.
  11. Master of None is about grappling with a specific kind of privilege, and figuring out how to live with it; in that sense, it is the definitive millennial comedy.
  12. Although Banks has a bad habit of tooting her own horn endlessly while the cameras roll, she may be justified in doing so, since, from the opening graphics to the hip-hop soundtrack, her show has been undeniably imaginative and engrossing.
  13. The roads that Altered Carbon takes to its destination aren’t new to us but enough of us have enjoyed previous versions of these trips to appreciate this version of the ride.
  14. Narcos uses the downfall of the Cali syndicate in the late 1990s to rectify some of the first and second season’s more significant flaws while indulging in other over-the-top tendencies that make it a mainstay of the gangster drama genre. ... Pascal grants Javier a tangible earnestness and common grit Holbrook’s cowboy lacks, immediately making him a more captivating guide.
  15. Ultimately, though, “Black Lightning” fulfills its most important role of providing fun escapism that stands out in a genre flirting with the upper limit of saturation. Part of the credit for that is due to Williams’ charisma and the winning dynamic displayed between his character and Adams’ Lynn, in addition to the strong familial chemistry they have with Williams and McClain as their daughters.
  16. Watching Dexter endure the bubbly, enforced cheer of family life may make this the best season of the drama series to date.
  17. The two Mindhunter episodes provided to critics have more going for them than mere atmosphere, largely thanks to robust performances by Jonathan Groff and Holt McCallany, who embody the familiar rookie and veteran cop partnership with a taut crackle. Together and individually these actors elevate dialogue that comes across as contrived and stilted, particularly in the first episode.
  18. Veep remains one of the most rapid-fire and linguistically playful shows on TV— neologisms created in just the first episodes include “exhuastipated,” “procrasturbate” and “gestictionary.” But in the new season, the physical comedy is just as strong.
  19. One of the major strengths of "The Unit" is its ability to tackle the blurry ethical lines and confusing behavioral codes of the military during a time of war.
  20. The Americans is delightfully cunning, exactly the quality, along with fight scenes and ridiculous disguises, one desires in a spy show.
  21. This is a sumptuously produced, beautifully executed show, and if the story doesn’t always make sense, the metaphysics always does.
  22. Carefully crafted performances balance the hilarity with notes of trauma lurking within, adding a winning sincerity to People of Earth.
  23. Making a Murderer doesn’t have that arresting peg of the audience surrogate, which can so often be a galvanizing force in and out of a dense journalistic tale. But it’s worth observing that while Making a Murderer is more detached than those other docuseries—with a very uncinematic, nonfiction, brass-tacks style—the series also can’t help but evoke some other critically acclaimed series of the past few years.
  24. You'll find an important (and rare) thing: an off-kilter show that's at once smart, outlandish and very funny.
  25. Although every second of this comedy is far from genius, the disturbed mood and unique mean-spirited flavor of it all points to what the network comedies are so often lacking: bold choices that border on the absurd.
  26. Perhaps this third one will exhaust the audience’s desire for sharks sliced in half by chainsaws; perhaps not. (Oh hell, no.)
  27. Even if it slices and dices art into something consumable and therefore disposable, I love the audacity of Bravo's Work of Art: The Search for the Next Great Artist. This show takes all of the petulance and nastiness and passion of "Project Runway" or "Top Chef" and applies it to the rarefied realm of fine art.
  28. Happily Star Trek: Discovery strikes a balance between what diehard Trekkies love about Roddenberry’s universe and what J.J. Abrams injected into its theatrical resurrection. Ethical dilemmas and a clash between cultures and traditions comprise the fore of the narrative, but the hours don’t skimp on phaser blasts and broadcast-appropriate carnage.
  29. Literally everything in the show is ridiculous, in a way that is not even necessarily funny, just confusing; what eventually makes it work is how seamlessly it all fits together, from the cold opens in each episode to the completely absurd situations that Todd gets himself into.
  30. A show that grows more confident with each new outing but never loses its sense of heart.

Top Trailers