Slate's Scores

For 536 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 5.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Masters of Sex: Season 1
Lowest review score: 0 Dance Moms: Season 1
Score distribution:
  1. Mixed: 0 out of 266
  2. Negative: 0 out of 266
266 tv reviews
  1. For a show about sex and attraction, Masters of Sex is very cerebral, measured, distanced. But so are its characters, who use their intellects to protect their vulnerabilities.
  2. [A strange, zany, funny, and very star-studded six-episode series.
  3. What Surburgatory lacks in novelty, it compensates for with a steady stream of gags, splashes of nuance (and nuance's vivid opposite), the comedic flow of Ana Gasteyer and Chris Parnell as the Altmans' neighbors, and an undercurrent of sweetness.
  4. Atlanta is ambitious and atmospheric and adolescent, skeptical of seemingly easy pleasures.
  5. [The first episode] seems to prefigure a humdrum season of more conventional, gag-based humor, but beneath its self-contained farce the episode actually complicates C.K.’s pet themes in small, potent ways. And it’s ultimately a perfect setup for the story arc that follows in the next few episodes.
  6. Veep is still Veep, which is to say outrageous, brash, and very funny in promulgating its convincing vision of democracy as running on nothing but inertia. But ... Outfunnying a Trump administration on absurdist terms might be impossible, but it’s a letdown that Veep hasn’t, at least through three episodes, given it a real try.
  7. The ramifications of [Richard's] death drive all of the substantive storylines in the new episodes, storylines that mostly make up for all the obligatory reunion doohickies--endless, pointless cameos; the kitschy, cutesy antics of Stars Hollow, the most irritating faux–small town in all of fictional America; and Rory’s new boyfriend, Paul, who no one, including the audience, can be bothered to remember.
  8. Maslany’s performance is, however, a bit like truffle fries arriving in a Happy Meal: It is much more sophisticated than everything else around it.
  9. The new episodes--sordid little dopamine bursts, each as gratifying and wrong as a dirty campaign contribution--feature some delicious writing, parceled out in typically sharp one-liners and asides.
  10. [A] gritty and entrancing British import.
  11. It is glorious, and hilarious to watch.
  12. The Leftovers is overwhelmingly, existentially serious, without succumbing to the relentlessly violent and masculine clichés of so much “serious” prestige TV.
  13. The divide between the public face of American perfection and what really goes on when the doors are closed won’t earn The Astronaut Wives Club any points for originality, but it wouldn’t be the last time a summer show on network TV won viewers over with modest ambitions and likeable characters. And to appreciate it, we don’t even have to pretend it’s anything like Mad Men at all.
  14. The first season of The Knick occasionally gave these characters too little to do, while the second season--at least through its first four episodes--feels like the writers have overcompensated and thrown a few too many balls in the air.... It’s easy to treat the past as a cozy prequel to the present; The Knick treats it as a ghost story. I don’t know if that makes for more honest history, but it makes for amazing television.
  15. The show is sometimes sweet and wry, sometimes crass and vicious, and, though often subtle, it embraces that embarrassing title and flings itself boisterously into a hacky premise
  16. 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.
  17. The bleakest (yet somehow still extremely fun to watch) season of the show yet.
  18. Patrick’s moment of light self-flagellation didn’t feel boring to me. Like the rest of his show, it felt real.
  19. Killing Eve is an escapist show, but it demands you take your brain with you.
  20. 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.
  21. The show is a meant as inspiration, as corrective, as empowerment, as a cri de coeur, as proof of struggle, as proof of survival, as validation, and as a PR strategy, and it is pretty successful at all of those things at once.
  22. High Maintenance is impressively unruffled by its lengthened format or its move to HBO.
  23. The show gets under the skin, somehow, with its loose Web-clip vibe and looser philosophy of life.
  24. 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.
  25. 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.
  26. Their in-ring roles reduce complicated women to simplified cartoons. In this way the wrestling personas are the exact opposite of the roles on Netflix’s GLOW, which are the kind of rich, meaty, more-than-just-likeable parts that actresses always wish they could find.
  27. The tempo, thus far, is notably deliberate; the show's got mortality on its mind.
  28. 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.
  29. It offers memorable looks at rehearsals, auditions, ballet-company competitions, and dreams of names in lights.
  30. Doors are opening. Mind the gap.

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