Slate's Scores

For 482 reviews, this publication has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Masters of Sex: Season 1
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 229
  2. Negative: 0 out of 229
229 tv reviews
  1. Poldark has no patience for dramatic tension. It is always in a rush. It turns what should be a deliciously drawn-out love story into a fait accompli.... It is too in love with Poldark.
  2. A tolerably flavorsome ball of crimson bubblegum.
  3. This Countdown isn't terribly televisual and might gain in force and intimacy if it were transferred straight to radio, though it would suffer from the loss of light-hearted video clips that serve to cleanse the palate of bile.
  4. Each of them rolls the creative process, the finished work, and her public performance as an artist into an eager consumer package. They're all operators with soundbites on line one.
  5. A typical episode of Terriers jolts abruptly from cutesy escapades to head-cracking fights, from loud escapism to misty tenderness, from easygoing comedy to strained seriousness. The tonal unevenness feels less like the conscious product of an ambitious design than the unplanned consequence of an exceedingly ambitious one.
  6. The only original thing about Rosewood is that the flashy, genius pathologist with a dark secret is, in this case, a black man, and the tough yet vulnerable cop playing across from him is a Hispanic woman.
  7. Though the seeming intent of Lock 'N Load is to glorify firearms--in one scene, a pastor takes target practice to the tune of "Amazing Grace"--it's sometimes tough to tell which consumers are motivated by valid concerns and which are unreasonable fruitcakes. Consequently, the show is something an ink-blot test.
  8. The ER is crowded with cases familiar from House, Grey’s Anatomy, Chicago Hope, and ER, and the doctors perform many near-miracles. And yet Code Black has a heartbeat. Gay Harden is fierce and vital even when spouting clichés.
  9. In a time span shorter than a T.G.I. Friday's commercial, we saw a pungent contrast between two sets of cultural values. This was all very funny and more than a bit embarrassing.
  10. Late Night with Seth Meyers felt totally professional and not at all embarrassing--which means it also felt standard and boilerplate.
  11. Diggs has considerable magnetism, but it would take the charisma of a cult leader to disguise the fact that this show sometimes reads like a '70s conspiracy thriller as interpreted by the makers of Bad Boys II.
  12. "Six Feet Under's" Peter Krause plays the role with a sense of detachment that represents either the artistic choice of an actor playing it straight amid interminable clowning or the weary resignation of a dude who didn't know what he was getting into.
  13. Hit & Miss has so many ups and downs that it cannot dodge the critical judgment any hack might deliver by quoting its title.
  14. Boardwalk Empire is as good-looking and well-acted as ever, but it still has bullet holes where its head and heart should be.
  15. Eleventh Hour is ambitiously shameless in patterning its counterintuitive crank of an ill-socialized hero on the Hugh Laurie character. We sent it down after nine minutes as yet another generic detective drama.
  16. The show is almost good, or at least exactly the sort of emotional drama networks should be trying to make these days. But it is so sure it is special, so convinced it has something to say that it sullies its basic achievements with self-satisfaction.
  17. The results are scattershot. A few of the storylines work beautifully.... But Dorian Gray’s tryst with a tubercular prostitute (Billie Piper) reaches no such heights, delivering the nudity that pay cable customers apparently require, but not much else.
  18. The show's success may depend on whether the public's fascination with Slater trumps its collective attention-deficit disorders.
  19. It plays like it's been built for antisocial boys--mchair heroes in love with guns and in search of demented adventure.
  20. The first few episodes meander by, full of too-long dialogue and not enough action, while all the best moments are precise. ... Crisis gets better as it goes on, perhaps because a climax is not so different in film and television.
  21. Indeed, if the show is to have the symbolic import that we expect from a science-fiction story, this is the only possible way to read V as a coherent text. The only problem with this analysis lies in its generous presupposition that the text is, in fact, coherent.
  22. What 24: Legacy lacks in nail-biting excitement, it makes up for in head-spinning politics. For all the fears of a looming Muslim attack on American soil that 24: Legacy fans, its values are not entirely predictable.
  23. The prosecutors on this new show--led by actor Peter Coyote, who hauls loads of Adam Schiff gravel in his voice--are given to putting whole systems on trial, metaphorically and otherwise....Though [Detectives] Rex and T.J. do, in fact, dig for clues, it somehow feels that they're just watching them erupt.
  24. NBC’s Rosemary’s Baby, which premieres Sunday night and finishes up on Thursday, is a not-great remake, but it is also a not-entirely-horrible miniseries, a beneficiary of the soft standards of low expectations.
  25. Better Off Ted, which feels more devoted to establishing its cool than earning some laughs, is hardly so bad to deserve a bleh from halfway-discerning viewers. Eh or meh would be closer to the mark.
  26. A middling documentary about a major actor-director-buffoon.
  27. The illustrated title sequence of Comic Book Men depicts these guys as musclemen in tights, but the scenes that follow are strictly mild-mannered.
  28. For all of Tyrant’s big themes, it can feel oddly small.
  29. Underground’s provocative premise is shortchanged by a corny and anxious tendency to goose the narrative. It is hard to imagine a more inherently gripping premise than escaping slaves, but Underground tosses in pop music, lurid sex scenes, and a breakneck pace, undermining its own ambition.
  30. It will scratch your period drama itch--and leave you itchy for action.

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