Slate's Scores

For 493 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 5.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Good Wife: Season 6
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 240
  2. Negative: 0 out of 240
240 tv reviews
  1. Yet for all the horror of the show, I did not find watching it to be an entirely hopeless experience. The miniseries does not come with the novel’s stress-relieving framing device but Offred, with her sardonic asides, her sense of humor, the disobedience in her soul, if not her manner, is bracing company: She’s in this to survive.
  2. The bleakest (yet somehow still extremely fun to watch) season of the show yet.
  3. Patrick’s moment of light self-flagellation didn’t feel boring to me. Like the rest of his show, it felt real.
  4. It’s not just that Broadchurch demonstrates that it is possible to reinvigorate something as tired as the hunt-for-a-killer genre with solid, engaging craftsmanship--though it does--but that unlike so many in the genre it is inordinately emotionally generous.
  5. High Maintenance is impressively unruffled by its lengthened format or its move to HBO.
  6. The show gets under the skin, somehow, with its loose Web-clip vibe and looser philosophy of life.
  7. Their new show has both the nerve to link up twentysomething malaise and 21st-century terror-angst and the good nature to make the proposition look endearing.
  8. UnReal is darker than a locked box inside a lightproof cube sitting on the bottom of the ocean at midnight. It is an ice cream sundae laced with ipecac, delectable and poisonous all at once.
  9. The tempo, thus far, is notably deliberate; the show's got mortality on its mind.
  10. Too jaded to lament the backroom maneuvering of politicians, the creators of House of Cards instead take that state of affairs as a given, tart it up, and fashion a wry piece of escapism--a backstabbing procedural delivered in a sophisticated style.
  11. It offers memorable looks at rehearsals, auditions, ballet-company competitions, and dreams of names in lights.
  12. Doors are opening. Mind the gap.
  13. BoJack is perhaps a little more clever than it is uproariously funny, but it is often very clever, and, moreover, well-tuned to the ludicrousness of the sort of low-level fame that surrounds BoJack.
  14. The series is a robust and satisfying experience, one that doesn’t skimp on the story’s world-spanning political and religious intrigue, but keeps at its center one man whose calm gaze focuses the sweeping material and makes it feel manageable.
  15. The new season is shiny and sharp, a neon-colored candy with a puckish and puckering quality.
  16. Last Man on Earth is well-made, polished, odd, surprisingly funny.
  17. Mom is more than what it appears. The hectoring laugh track grates, but don’t let it fool you, this show’s got brains.
  18. It’s almost as impossible to believe, without seeing it, that such a show could be both very funny and occasionally uplifting without ever resorting to cheap sentimentality. But it is.
  19. A brisk film extracted from the campaign-trail saga of that title--has delivered to Julianne Moore the meatiest role of her career.
  20. If Full Frontal were going to be on every night, I would say, unreservedly, that it had a fantastic beginning. It seamlessly did in its first episode what The Daily Show With Trevor Noah has had a hard time doing for more than four months: altering Jon Stewart’s M.O. to reflect the interests and passions of a new host, while maintaining enough of Stewart’s intelligence, fire, and aggravation to keep the show urgent and scathing.
  21. The show is so dense with verbal, visual, and structural jokes, in fact, that it resists binge-watching; after an episode or two, you stop laughing and start just murmuring “funny” like a road-weary comedian. Its glossy surface and ingratiating performances make the show go down easy, but the best parts are the ones that stick in your craw.
  22. The first four episodes fly by in a blur of cheeky maxims, convoluted plot twists, and storylines about the deep Web.
  23. Humor, terror, sex, death, camp, karaoke: No show on television has all these ingredients but American Horror Story.
    • 95 Metascore
    • 80 Critic Score
    The fourth season of FX’s Cold War spy drama is a bit of a step down, especially from the near-perfect second and third seasons.... But noting that The Americans is showing some signs of wear isn’t to say that the show is no longer stylish, delightfully off-kilter, panic-attack-inducing entertainment.
  24. Appropriate to the pace and the space of series television, it welcomes you into its intrigues at a walking pace.
  25. As is The Americans way, ideas and ideologies—Philip and Elizabeth’s soft- and tough-love approaches--start to ping-pong off each other, and contemporary mores, in satisfying ways.
  26. The relative tameness of Swingtown makes the unease it provokes more inviting: You tune in to see the bodies and stick around for the minds.
  27. Even the most ardent fans of 30 Rock will concede that it doesn't look its sharpest as its third season opens. Only the most churlish will be much put out by this, though. A relatively flat episode of Tina Fey's backstage farce is still the fizziest thing in prime-time comedy.
  28. A fine summer show is launched, slick but with feeling, and all the orange-and-red football-season foliage on-screen contributes to a diverting brisk breeziness.
  29. Thankfully the greatest love story no one ever wanted to be a love story is not the focus of the first two episodes, which illustrate the power and punch Homeland can still muster when freed from its more Hallmark-ian tendencies.

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