Slate's Scores

For 417 reviews, this publication has graded:
  • 38% higher than the average critic
  • 3% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
Highest review score: 100 Louie: Season 4
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 190
  2. Negative: 0 out of 190
190 tv reviews
  1. The Returned is very good. Let it have your brains.
  2. A gorgeous period drama that swiftly establishes its risqué themes.... Masters of Sex is the best new show of the fall season.
  3. To call it Amazon’s first great series, or the only great series of the new fall season--both of which are true--is to damn it with faint praise.
  4. The Good Wife, a delectable, invigorating series of unprecedented depth and cynicism, is the best drama on TV.
  5. This series is its own idiosyncratic, unexpected, and wonderful thing--and one of the best works of art I’ve experienced in any medium so far this year.
  6. Creepy, gorgeous, unsettling, and searching, it has--for lack of a better word--a literary quality, an accretion of meaningful detail. You can push on any aspect of the show--every line, every shot, every bruise--and it bears up.
    • 98 Metascore
    • 100 Critic Score
    As viewers, because of the incalculable talents of the actor Gervais, who also helped create the show, we must choose to humor David or to loathe him—and that choice is exciting, somehow, and challenging.
  7. There’s nothing programmatic about Louie, which idiosyncratically, unevenly explores C.K.’s ideas and instincts without trying to advance an argument. It’s not a joke you’ve heard before. It’s a great shaggy dog story.
  8. A particularly sharp fourth season.
  9. Unexpectedly sweet-spirited.
  10. Wwhat it lacks in fun, it makes up for in intelligence, complexity, and boldness.
  11. Almost every woman is a good person who made or was forced to make a bad decision, instead of something more sinister, more evil, or even more banal--as if these too were not human characteristics.... But if this sentimental streak is a little soft-headed, it springs from the series’ huge heart and its expansive humanism.
  12. Like its heroine, Olive Kitteridge, the four-hour miniseries airing this Sunday and Monday on HBO, is quietly indomitable, more admirable than easily loveable, more likely to get under your skin than send a shock through your system.
  13. The third season is looser, funnier, more emotional and also significantly less logical than what has come before.
  14. Murphy directs with straightforwardness and sincerity and none of the camp fireworks of Glee or American Horror Story.
  15. Watching, it is almost impossible not to root for these two Communists as they do any and everything they can to undermine America. In this regard, The Americans works its American audience as effectively as its heroes work their marks: It makes double agents of us all.
  16. Using new audio-only interviews with the Stones as invisible tape, [director Brett Morgen] splices 50 years of footage into a 110-minute education, remixing the work of earlier filmmakers with splendid editing and a critical eye.
  17. A return to classic form.
  18. Even if Extras never accedes to The Office's heights of comic sublimity, it's still a rare find on American TV: a series that combines the ascendant genre of cringe comedy with Gervais' rich comic gifts, and his trademark humanism.
  19. In the context of other television, American Horror Story is perverse and refreshing, proof that a great show doesn’t have to be self-serious to be smart.
  20. The most engrossing new drama of the fall season.
  21. It smoothly toggles between working as a crime melodrama and a coming-of-age tale, as a harrowing piece of social commentary and a gentle bit of farce.
  22. At the outset, this show aimed for hilarity and hit the mark, consistently and cathartically, while also trafficking in provocative sidewalk philosophy, achieving moral seriousness amid masturbation jokes.
  23. Catastrophe, You’re the Worst, and The Mindy Project have proved that long-term relationships can be funny, sexy, enduring, and volatile all once. Master of None joins their ranks: the sweetest, realest, and most poignant of the bunch.
  24. There isn't a scene in the two-hour pilot of Paul Haggis' crime drama EZ Streets that hasn't been done in movies, but perhaps because EZ Streets is on television... its cinematic brio feels unconventional, even startling.
  25. It's a breath of fresh air even for those of us who find our allergies stimulated by the countless particles of whimsy suspended in its thick atmosphere.
  26. It’s not self-serious, but it is serious--about being more entertaining, more emotional, more garish, and more gonzo than so much on television.
  27. The story is muddier and more complex than last season’s, full of halfway nice and semi-awful people rather than the purely good and bad. Every episode starts with a ’70s jam and a jaunty split screen. The Midwestern accents are inconsistent and strange, but that only makes them funnier.
  28. Four adults, tied together by blood, marriage, or friendship, all begin living under one roof, where they filter the sexlessness of marriage, the awkwardness of friend-zones, and the dread of potential spinsterhood through their very specific personalities--which just so happen to be winning enough to make the show addictive.
  29. Fear The Walking Dead, like The Walking Dead before it, does a stupendous job of establishing an eerie tone. (Hopefully it will do a better job than its forebear at maintaining that tone without forsaking character development and inventive plots.) Early on, there are the requisite B-movie beats where camera angles, pacing, and the soundtrack combine to promise very zombie developments that, psych, don’t arrive (until they do), but the real chills come from well-chosen details.

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