Slate's Scores

For 326 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 Louie: Season 4
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 132
  2. Negative: 0 out of 132
132 tv reviews
  1. The show's an entertaining provocation, but it's also only skin-deep.
  2. Dancing With the Stars is an improbable, goofy delight, more fun to watch than the bombastic American Idol for at least two reasons. The first: Unlike Idol wannabes, contestants on DWTS know they're amateurs. ... The second reason DWTS makes for better watching than American Idol is purely kinetic: Bad dancing is simply more fun to watch than bad singing is to listen to.
  3. So far, American Horror Story isn't the great American horror story but rather a pretty good fright night.
  4. The production's appeal is all on the surfaces--in a moment where a killer's image is reflected in a fresh pool of blood, say, or a megalomaniac catches his own eye in the mirror.
  5. The Honey Boo Boo clan often transcend the narrow condescension of the series’ producers--between-scene interludes include shots of humping dogs and the sound of a toilet flushing--with a deep familial affection and a rousing, Amelia Bedelia-esque esprit de corps.
  6. We bailed after the first of these dudes entered the frame, jolted by his frankly cheesy display of torso--"infomercial abs" was the damning phrase. But, until that moment, The Ex List had commanded our full attention in a way that the previous shows hadn't.
  7. The series' approach to violence against woman is the only complex thing about it. Otherwise, you cannot even call Rizzoli & Isles run of the mill, it being that mills usually run more smoothly.
  8. When the show talks about crime literature, it's quite dull, but when it shows instead of tells, it's something to see.
  9. The Bond stuff is, on the whole, more enticing than Ann and Ian’s psychological pas de deux, which skirts up against real issues--and rape fantasies--before giving them a gauzy gloss of true love.
  10. 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.
  11. The show's success may depend on whether the public's fascination with Slater trumps its collective attention-deficit disorders.
  12. Despite this highly dramatic premise, Turn feels small and dull: if you want to have some fun learning about the Revolution, wait until Fox’s cheeky Sleepy Hollow returns.
  13. Late Night with Seth Meyers felt totally professional and not at all embarrassing--which means it also felt standard and boilerplate.
  14. The success or failure of Little Britain USA will depend on the prevalence of a particular strain of Anglophilia.
  15. 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.
  16. The show works only because Woods is a honey-baked ham playing a character who lives to be a showman.
  17. Diggs has considerable magnetism, but it would take the charisma of a cult leader to disguise the fact that this show sometimes reads like a '70s conspiracy thriller as interpreted by the makers of Bad Boys II.
  18. 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.
  19. Phil Spector--potentially a camp classic about self-aggrandizement and megalomania--is simply a self-satisfied vanity project.
  20. While the two shows both contain bereft parents, law enforcement officials with personal agendas, pastors with painful backstories, quiet and sometimes spooky small boys, and newly reanimated criminals, the atmosphere in which Resurrection places them is thinner than Mt. Everest’s. Compared to The Returned, Resurrection’s performances, eeriness, themes, its production values, storylines, and opening credit sequence are all similarly weak.
  21. [A] serviceable heist drama.
  22. 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.
  23. Madam Secretary is just really, really dull, as if someone tried to make a counterweight to Scandal with only the boring parts--plus one shamelessly ripped-off conspiracy theory.
  24. What makes the show something better than a guilty pleasure is the way that, after introducing its subjects as borderline-reprehensible cartoons, it allows them flickers of self-awareness or shows them trying their damnedest to be terrific parents.
  25. 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.
  26. Storage Wars--trivial and magnetic, sociologically peculiar and elementally creepy-gives the reality-show treatment to a class of merchants slinking beneath the radar of many a solvent citizen.
  27. The Voice (NBC) is a horrifically entertaining vocal competition produced by Mark Burnett.
  28. Back to You doesn't have a mandate to be inventive--to try new comedic beats or to attempt daring flights of absurdity. It just needs to be uninventive in a snappy way, a feat readily accomplished.
  29. 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.
  30. BoJack is perhaps a little more clever than it is uproariously funny, but it is often very clever, and, moreover, well-tuned to the ludicrousness of the sort of low-level fame that surrounds BoJack.