Slate's Scores

For 291 reviews, this publication has graded:
  • 37% higher than the average critic
  • 2% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 9.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 55
Highest review score: 100 True Detective: Season 1
Lowest review score: 0 Dance Moms: Season 1
Score distribution:
  1. Mixed: 0 out of 116
  2. Negative: 0 out of 116
116 tv reviews
  1. By far the dumber and hammier of the two shows ["Saving Grace" is the other].
  2. Guide to Style is too glazed and slick for its own good, too clinical and forensic to be any fun.
  3. Why didn't HBO just go ahead and cut each episode of the hour-long Tell Me You Love Me to 50 minutes? The trims would have gone some way toward relieving the boredom inspired by the show's inchworm pace, and the shrink's-hour format would have made an exact fit for the spirit of the exercise.
  4. As confected by ABC, the gayest and girliest of the big networks, Cashmere Mafia is the brighter of two ["Lipstick Jungle" is the other], with an "Ugly Betty" flair for color and a "Desperate Housewives" air of camp.
  5. Paul Weston's (Byrne) nonadventures straddle the realms of the scarcely credible and the incredibly boring.
  6. The one redeeming factor here is Laura Dern, who puts that elastic jolie laide mug of hers to memorable use as Katherine Harris. The performance makes you wish that Recount--which does contain a few fine moments of wild farce--had instead been created as a seven-episode sitcom playing out from her point of view.
  7. Secret Diary of a Call Girl is a series of sketches, and its eight episodes do not trace an arc or advance a narrative.
  8. Knight Rider arrives tricked out with just enough eccentricity to avoid utterly craven stupidity.
  9. This doesn't feel mindless, just unmindful, and the best way to honor its late creators is to look away from it.
  10. When I say that The RH of NJ is the most synthetic installment of the show yet produced.
  11. It seems a statement of the obvious to call the new Melrose trash, but a reviewer must observe certain formalities--and at least it is trash we can dig into and learn something from,
  12. Too superficial to be insincere, the show never even pretends to care about her interests or her character.
  13. MTV is milking the culture clash to the emptiest.
  14. Where the two leads are fledgling performers at the start of the careers, the actors playing their older relations have no such excuses for appearing herein.
  15. If you caught a snippet of Whitney unawares, you would be forgiven for assuming that it's one of those shows-within-a-show that exists to caricature bad television.
  16. There is--beneath the stale crust of the new Beavis and Butt-head, baked in with the program's existential outlook--a special grimness.
  17. At points, Bag of Bones plays less like a horror story than a fond parody of one.
  18. They [the producers] have failed to uphold their usual high standards, having not mastered the calculus of delivering the boorishness for which Sheen loyalists thirst while simultaneously tinkering with themes of redemption.
  19. Will need defibrillator paddles applied to its thorax, stat, if it hopes to survive the season.
  20. Phil Spector--potentially a camp classic about self-aggrandizement and megalomania--is simply a self-satisfied vanity project.
  21. Any way you look at it, it doesn’t quite scan--which is the point, probably. The show’s not meant to be dissected; it’s meant to be watched as the makers intended: more than half-blazed.
  22. It is almost unbearable sober. If I have to watch a cartoon featuring a bad guy made of zombie poop named Dr. Doodoo 16 years after South Park debuted Mr. Hankey, the Christmas poo, I need to have whatever the dudes from Yo Gabba Gabba! are on.
  23. It tries to make up for what it lacks in originality with unending bleakness--Malick shots of a mangy dog running through the streets with a rat in his maw, characters who never smile--as if being relentlessly somber were proof of quality. The results are beyond claustrophobic. All the characters want out. So did I.
  24. Perhaps for fear of alienating people who don’t agree with her, McCain presents as many aspects of a topic as she can, offering up factoids and interviews without context or heft, giving viewers little bits of information about way too much. This strategy gets ludicrous in the second episode, about feminism.
  25. Super Fun Night has the distinct feel of being taken out of the network oven only half-baked.
  26. One of the worst shows of the new season with its very best performance [by Margo Martindale].
  27. It’s an uninspired melding of Lifetime movie and biopic, with none of the virtues of a Lifetime movie (not campy enough) and none of the virtues of a biopic (it is egregiously fictionalized).
  28. Rake is a little bit like the bad Sundance movie version of a procedural, a sturdy genre project tricked out with twee and antic detailing, in the hopes you will find all the appended doohickeys sharp and adorable and not notice how predictably the story is chugging along.
  29. Memo to network execs planning an all-forensics programming slate for fall: Watching attractive people poke at skull fragments is not inherently interesting.
  30. Despite an abundance of painfully suggestive one-liners, Hot Properties feels tepid and static. What's worse for a show designed to appeal to female audiences, it feels misogynistic.