Salon's Scores

  • TV
For 536 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 Rectify: Season 4
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 316
  2. Negative: 0 out of 316
316 tv reviews
  1. McBride celebrates the Southern-fried dirtball culture of flyover America like some "Red State Diaries"; it's a veritable HBO "Hee-Haw."
  2. Each related subplot plays out over the course of the first three episodes of season 4, finding three of the show’s characters grappling with existential crises. And as their stories progress, O’Malley, who penned the first two episodes, and fellow producers Luther M. Mace and Paul Oakley Stoval exercise the show’s ability to solidly walk a fine line between aching tragedy and dark, legitimately funny slapstick.
  3. Happily, Nashville, with its unexpected intelligence and surprisingly low-key attitude, not only met all my cockamamie expectations, it exceeded them.
  4. Witty, airy, convoluted Lady Dynamite is no exception, showcasing a brilliance of concept and bizarre execution that would be hard sells on many other networks.
  5. Where the series really shines is in using its established characters to tell the same story from an array of angles, informed by a medley of experiences.
  6. Originally scheduled to premiere in March, Bright Lights is a mirthful portrait of Reynolds’ and Fisher’s extraordinary connection above all else, even as it reminds viewers of the toll attachment can take on a body and spirit.
  7. The acting on this show is so incredible that it's hard to remember that there's any acting going on at all.
  8. The drama is not perfect, but the ambition behind it is breathtaking.... As if the scope of the show weren’t enough, American Crime ups the ante with surprisingly affecting directorial choices.
  9. Naturally some Broadchurch fans are bound to be disappointed if this mystery’s resolution doesn’t deliver a gut punch that feels as impactful as the Latimer case; such is the way of series endings. But it’s tough to find fault in Colman’s and Tennant’s portrayal of partnership.
  10. It carries a stronger sense of artful engagement with the viewer, through both direction and tone.... It’s still not exactly an easy watch, but it’s a far more engrossing one than in season one.
  11. 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.
  12. It’s fantastically made--a clearly written, beautifully rendered story of misdirected energy, bad science, megalomaniacs, and the many good intentions on the way to hell.... Still, it’s odd: In many ways, Going Clear is a collection of alleged abuses that have been reported on many times in the past; it’s revealing little to no new information on the church. Instead, it’s really an exercise in effective packaging.
  13. Samantha Bee’s Full Frontal debuted last night with an acerbic, bracing premiere that felt like, in the best way possible, a much-needed slap in the face.
  14. As adapted, produced and written for the screen by Veena Sud (creator of "Cold Case"), it's a subtle piece of work.
  15. I’m not entirely on board with all of Fuller’s operatic, bloody vision, but if it’s hard to watch, well, that’s the point.
  16. From scene to scene, Treme is novelistic in the best sense--a long, complex, involving story that takes a while to settle into, but that you can't put down and don't want to end.
  17. Breaking Bad has so many redeeming qualities, from its low-key, almost mean-spirited sense of humor to its stark, artistic shots of the Albuquerque sky to the patient pace with which its story unfolds, that it seems a shame to miss any of it just because we're accustomed to more sugary, cheerful tales.
  18. Girls has matured leaps and bounds, comedically and structurally, but it has jettisoned some of its ambiguity, its sweetness, its own affection for its characters. It's more coherent, but it's also safer.
  19. Even though Party Down features a steady flow of absurd jokes and funny situations, it still offers more of a consistent, realistic, lively story than dramedies like "Weeds," "The United States of Tara" or "Glee."
  20. 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.
  21. Its larger accomplishment of showcasing Rae’s talents and underrepresented characters in a sublime comedy is worth celebrating.
  22. Objectively, Downton is not that good and certainly not as good--well-made, well-wrought, reasoned, executed--as it once was. But objectivity only has a little do with it.
  23. Review gets a solid rating. Forrest MacNeil’s life? Zero stars.
  24. This season has done a much better job at focusing on the characters and stories that really pop, and sidelining or writing out the relationships that were boring.
    • 83 Metascore
    • 70 Critic Score
    One thing is certain, it’s going to be another long day on '24.' At least early indications suggest it won’t be boring.
  25. 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.
  26. As the story draws toward its end, it reframes its original questions about the power and consequences of creation by adding new wrinkles to ponder that echo current conversations about feminism and a woman’s right to choice. ... The relationships between the various clones and the people around them are what grant Orphan Black a level of humanity other science fiction series lack.
  27. It’s like all the ingredients for a sugar rush of a dessert have been assembled and instead mixed together to make something surprisingly sensible, but not exactly delicious.
  28. The ‘60s pop art-inspired style with which Hawley initially presents “Legion” speaks to an extraordinary level of creative intricacy and care in his storytelling. Aesthetically adventurous and candy-colored as the drama’s opening hours are, they’re also part of a compelling TV experiment.
  29. The story hits the gas immediately in season two, immediately juicing up the excellent comedic chemistry between Campbell, DeLorenzo and Santiago while taking the story into fraught emotional spaces for Ash.

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