Slate's Scores

For 496 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 5.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 High Maintenance: Season 3
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 243
  2. Negative: 0 out of 243
243 tv reviews
  1. In the suspenseful early hours of The Killing, Rosie's family goes about its bereavement in muted tones, and a subplot about a mayoral candidate drawn into the crime's eccentric orbit flashes with potential, and, primarily, our expectations for cop shows are teased, gratified, and artfully upended.
  2. There isn't a scene in the two-hour pilot of Paul Haggis' crime drama EZ Streets that hasn't been done in movies, but perhaps because EZ Streets is on television... its cinematic brio feels unconventional, even startling.
  3. Party Down, which is funny, would seem even funnier if it were not so heavily indebted to the funniest TV shows of recent years. It's also problematic that the show is so highly inconsistent.
  4. What stands out most about Insecure is not its matter-of-fact approach to race but its matter-of-fact approach to wanting a romantic partner.
  5. 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.
  6. [A] sharp, very funny new HBO comedy.
  7. Justified is slumming it: not nearly as sharp or rich as it has been or could be, but still much more clever and enjoyable than its procedural peers. It’s begging to be graded on a curve, when it should be setting it.
  8. Three seasons in, just about everyone on the show is loveable. This makes for a thoroughly enjoyable, but not particularly varied or gripping viewing experience: the show tugs the same heartstrings, works the same funny bones.... Orange would rather make prison look good than make its characters look bad, a jarring streak of timidity.
  9. An hour or so into the new version, as we see Mandinka warrior Kunta Kinte (Malachi Kirby), so recently a free man, shackled in the hold of a slave ship, it becomes clear that the current version doesn’t have to best the original to be worthwhile.
  10. The new Cosmos starts slowly and reverently enough: deGrasse Tyson, a warm, avuncular presence, standing on the same cliffs Sagan did, talking about the universe, our place in it, and preaching the gospel of the scientific method in a glossy episode, which, scientifically speaking, doesn’t advance much beyond middle school.
  11. [A] gritty and entrancing British import.
  12. Black Mirror leaves you feeling like you should turn all your screens off while making you incapable of doing anything but hitting “play next.”
  13. It’s handsomely shot, and smartly acted, and ingeniously constructed enough to suggest there’s something mind-blowing lurking at its center. But as Hawley pushes from jazzed-up origin story to psychodrama, it starts to feel like a show with a Rubik’s cube where its heart should be.
  14. Each episode of Kimmy Schmidt is so dense it’s like a binge-watch unto itself. Watch one and be full.
  15. The Honorable Woman is in many ways, most of them cerebral, an extremely impressive piece of work.
  16. The Night Manager is concerned with the complications and accommodations made to cope with man-made, humanitarian disasters. But all the permutations of its plot, however grisly and threatening, never dominate the show in the way they are meant to.
  17. The writing is as crisp as Brooks' perfect raincoat, and the partners share a father-son chemistry unseen elsewhere in the franchise, and anyone exhibiting the faintest traces of Anglophilia will delight to see the crown prosecutor and the defense counsel talking trash in the changing room while donning and doffing their barristers' wigs.
  18. Feud is not nearly campy enough.
  19. It will scratch your period drama itch--and leave you itchy for action.
  20. As with last year’s My Week with Marilyn, Burton and Taylor avoids retreading familiar material by picking a relatively quiet, unexplored interlude in a celebrity’s life--the stuff of tasteful restraint, but not exactly scintillating story. And it only scans as tasteful restraint if the audience can fill in all the salacious history for themselves. For those who can, Burton and Taylor is much more effective.
  21. The two-hour Season 2 premiere, airing Wednesday night, is as stylish and well-performed as any in Season 1, but it is also confusing, burdened by the series’ dense backstory and intricate, time-skipping structure. The new season will surely rev up: Malek’s performance remains excellent.
  22. Even if Extras never accedes to The Office's heights of comic sublimity, it's still a rare find on American TV: a series that combines the ascendant genre of cringe comedy with Gervais' rich comic gifts, and his trademark humanism.
  23. It’s dark, funny, edgy, spooky, and through the first seven episodes, there’s barely a whiff of capes or costumes. The second thing that jumps out is that it’s really, really good.
  24. GLOW is packed with an excellent ensemble cast that includes Alison Brie and Marc Maron, sharp commentary on gender and racial stereotypes, and an awesomely ’80s soundtrack. It’s also just plain fun, aware of (and sometimes shamelessly indulgent in) the inherent silliness of wrestling, while never looking down on it.
  25. Perhaps it's best to consider The Hour as a kind of retro Broadcast News that is most alive when Freddie and Bel banter like Beatrice and Benedick and especially when getting inside of Hector's talking head.
  26. High Maintenance is impressively unruffled by its lengthened format or its move to HBO.
  27. Lindelof’s work has never been better than it is in this first hour. He seems freed, not only from Perotta’s imagination, but from some of his own ticks.
  28. It plays like it's been built for antisocial boys--mchair heroes in love with guns and in search of demented adventure.
  29. It’s not self-serious, but it is serious--about being more entertaining, more emotional, more garish, and more gonzo than so much on television.
  30. Judging from the first three episodes of this fifth season, Harmon is vindicated and triumphant, but also still pretty torn up about everything. Community is no longer a zombie, but the new episodes feel plenty funereal.

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