Slate's Scores

For 468 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 5.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 O.J.: Made in America
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 224
  2. Negative: 0 out of 224
224 tv reviews
  1. [A] serviceable heist drama.
  2. [Love is] a perfect example of an OK show that gets better the more of it you watch.
  3. On average, the viewer must wait through two tossed-off fart jokes in order to savor one lovingly crafted one. Bob's Burgers is done medium well.
  4. Ding ding ding went the bell, and up went an agreeing groan, six minutes in. Perhaps this was less a judgment of Kath & Kim's general quality--it was one of the better shows we screened, or at least one of the not-as-bad.
  5. Comfort food to its core, the show is a retro casserole tapping into a popular appetite for leftovers.
    • tbd Metascore
    • 60 Critic Score
    The premise involves a few too many levels of meta humor, perhaps.... So yes, the plot is sparse and the jokes are old, but, honestly, if you’re watching this Samsung ad disguised as a Web series, you don’t really care about the plot.
  6. This is a civil servant who has yet to be jaded, and the show is just good enough to keep you turning back in to see her unwarranted optimism curdle.
  7. Sure, the re-enactment technique is cheesy by its very nature, but at the heart of this show is the ancient art of storytelling. The verbal accounts of the survivors are so vibrant, their evocation of extreme experience so precise, that the viewer huddles before the TV like a child listening to ghost stories around a campfire, undistracted even by the indignity of commercial interruptions.
  8. Watching these post-Lost sci-fi-mytho-mystery series, you also watch yourself watching, and the thrill of alertness passes for decent entertainment even when other pleasures are in short supply. When Sean returned from a day trip to find that his girlfriend had vanished as if redacted from the file of life, I was kind of glad to see her gone. With her murky disappearance out of the way, we were on our way to achieving clarity-or at least toward failing to achieve it.
  9. The show would probably be too ponderous to enjoy if Braugher weren't an actor of tremendous restraint.
  10. Judged by the standards of the form, it is totally OK. There is a soothing mundanity to it, and voyeurs will come away gratified. Though this is hardly an intimate portrait.
  11. The show's an entertaining provocation, but it's also only skin-deep.
    • 74 Metascore
    • 60 Critic Score
    While the new series isn't Angels in America, neither is it entirely without merit. It, too, is capably acted and competently shot, and its main conceit—that proceeds from the global drug trade serve as liquid capital for global villains—strikes you as less far-fetched than it might have three or four years ago.
  12. It plays, for better and worse, like a slightly elevated version of one of those issue-of-the-week telefilms of the old school, with their teen traumas and kitchen-sink melodramas.
  13. Appetizingly pulpy and yet not at all crass, the series presents a new angle on the phenomenon of shows-so-bad-that-they're-good: It sucks hard and thus plays very well.
  14. [Scott's] playfulness is essential to making this show a pleasurable trifle instead of a sodden one.
  15. A perfectly serviceable, occasionally adorable, utterly predictable period drama.
  16. The prep-school soap opera Gossip Girl is not as good--that is, not as bad, not quite so fabulously trashy--as the best-selling series of young-adult novels on which it's based.
  17. Not content to exploit their subject's inherent themes, the series' fraternal creators, Joe and Tony Gayton, have adhered them promiscuously, pasting neon Post-it indications of symbolic import in a way that obscures moments of straightforward drama.
  18. This is up-to-the-minute celebrity kitsch--zippy, knowing, and joyfully hollow.
  19. As one would expect from a Seth Meyers cartoon, The Awesomes can be knowing and clever, with a positive attitude that skews a bit arch.
  20. The Fairy Jobmother, adapted from a British show of the same name, follows the model of Supernanny--that child-rearing-rehab spectacular--with a diligent slavishness.
  21. Celebrities interviewing celebrities is a promising concept, in that it upsets the power balance of the typical suck-up interview. But the downside is that once people get past a certain level of fame, they seem to lose the internal monitor that reminds them that not everything they do and say is worth recording.
  22. For a smart take on a dumb summer dating show, join the millions tuning into Dating in the Dark.
  23. The show is at its worst when straining to be provocative and, in so doing, incorporating various Hollywood clichés (Hogwarts meets Gossip Girl, one review blared). But in terms of establishing a world and getting the plot going, the show’s first episodes are actually pretty promising.
  24. The early episodes are a mix of lesser world-building and sometimes dull, sometimes trite, sometimes appealing fish-out-of-water tales as Claire’s knowledge of the future gets her into and out of scrape after scrape.
  25. Everybody already knows everything there is to know about this maverick make of stock figure and the ready-made tone of cop shows where all the barroom jukeboxes play only electric blues.
  26. The very special scheduling is one of several ways the network has been signaling that it means serious business with this light and passably witty supernatural drama.
  27. While You’re the Worst is eventful, its emotional beats are not exactly original. It feels like watching the first 20 minutes of a rom-com over and over again, a notion that I find not entirely unpleasant.
  28. It’s a competent and cute drama that benefits from being served up after a fall of horse meat.

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