Slate's Scores

For 312 reviews, this publication has graded:
  • 36% higher than the average critic
  • 2% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 8.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 56
Highest review score: 100 The Office (UK): Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 127
  2. Negative: 0 out of 127
127 tv reviews
  1. 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.
  2. 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.
  3. Once you get past the fact of the producers' milking more than the usual volume of pathos from scenes of pre-elimination anxiety and post-dismissal distress, More To Love is much the same as its slimmer sisters.
  4. A tolerably flavorsome ball of crimson bubblegum.
  5. With the drama so thin, it must be the richness of Alicia's situation that makes 13 million people a week want to enjoy her company.
  6. 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.
  7. 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.
  8. Naturally, Happy Town is excessively sudsy in its soap-opera aspect, just as its atmosphere is a bit too atmospheric.
  9. 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.
  10. 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.
  11. 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.
  12. The show--a sporadically excellent adaption of a British teen drama--is superlative teensploitation, enabling youth to rejoice in the fantasy of their corruption, among other things.
  13. 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.
  14. Ambiently amusing but generally inert, the show is badly in need of a hard-edged producer to tell the series' creators that they cannot get by on charm, no matter how much of that precious quality is imported by such guest stars as Lily Tomlin, Rashida Jones, and Bob Balaban.
  15. A middling documentary about a major actor-director-buffoon.
  16. The illustrated title sequence of Comic Book Men depicts these guys as musclemen in tights, but the scenes that follow are strictly mild-mannered.
  17. This is a goofy docu-reality show about the sex lives of settled married couples.
  18. Common Law, with its storylines moving forward in broad strokes and an airiness in its exposition, does not demand too much of you or of anyone, beyond its own efficient technicians and unshowily inventive actors.
  19. Hit & Miss has so many ups and downs that it cannot dodge the critical judgment any hack might deliver by quoting its title.
  20. Boardwalk Empire is as good-looking and well-acted as ever, but it still has bullet holes where its head and heart should be.
  21. CrazySexyCool is a not a particularly well-constructed biopic, hopping from moment to moment like moviemaking was just a matter of checking scenes off a list, but it does everything that Tionne “T-Boz” Watkins and Rozonda “Chilli” Thomas, the two surviving members of TLC, could ask for: It will absolutely convince you that TLC was amazing.
  22. It’s just adequate, but adequate noir can really enliven an otherwise tedious gangster story.
  23. The show makes Granthams of all of us: content with what we have now (a middling costume soap opera) because we can still remember its glorious past (that first season). It’s safer and cozier than a show about open class warfare.
  24. Late Night with Seth Meyers felt totally professional and not at all embarrassing--which means it also felt standard and boilerplate.
  25. Crisis needs to lean more Blacklist: If you’re going to be dumb, at least be a good time about it.
  26. All of these characters and all of these stories frequently add up to something handsome, funny, and weird. But Fargo is missing the spark of originality that would make it great.
  27. 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.
  28. 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.
  29. The show was pleasant without being particularly funny or memorable, odd without being urgent or edgy, scattershot without taking any big swings.
  30. For all of Tyrant’s big themes, it can feel oddly small.

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