Slate's Scores

For 493 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 5.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Transparent: Season 2
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 240
  2. Negative: 0 out of 240
240 tv reviews
  1. The most engrossing new drama of the fall season.
  2. It smoothly toggles between working as a crime melodrama and a coming-of-age tale, as a harrowing piece of social commentary and a gentle bit of farce.
  3. At the outset, this show aimed for hilarity and hit the mark, consistently and cathartically, while also trafficking in provocative sidewalk philosophy, achieving moral seriousness amid masturbation jokes.
  4. Catastrophe, You’re the Worst, and The Mindy Project have proved that long-term relationships can be funny, sexy, enduring, and volatile all once. Master of None joins their ranks: the sweetest, realest, and most poignant of the bunch.
  5. 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.
  6. Nathan for You, Comedy Central’s brilliant, fascinating, and uncomfortable interrogation of manners, capitalism, and the manners of capitalism.... As ever, Nathan, an awkward guy in an oxford, doggedly attempts to obey the rules, invariably demonstrating just how absurd and broken those rules are.
  7. UnReal uses its seemingly frivolous setting to stage one of the darkest, most incisive shows on television.
  8. It's a breath of fresh air even for those of us who find our allergies stimulated by the countless particles of whimsy suspended in its thick atmosphere.
  9. 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.
  10. The story is muddier and more complex than last season’s, full of halfway nice and semi-awful people rather than the purely good and bad. Every episode starts with a ’70s jam and a jaunty split screen. The Midwestern accents are inconsistent and strange, but that only makes them funnier.
  11. Four adults, tied together by blood, marriage, or friendship, all begin living under one roof, where they filter the sexlessness of marriage, the awkwardness of friend-zones, and the dread of potential spinsterhood through their very specific personalities--which just so happen to be winning enough to make the show addictive.
  12. Fear The Walking Dead, like The Walking Dead before it, does a stupendous job of establishing an eerie tone. (Hopefully it will do a better job than its forebear at maintaining that tone without forsaking character development and inventive plots.) Early on, there are the requisite B-movie beats where camera angles, pacing, and the soundtrack combine to promise very zombie developments that, psych, don’t arrive (until they do), but the real chills come from well-chosen details.
  13. Nashville feels fresh because it catches a different tone. The few ironic winks it makes do not disfigure its straight face for quality pulp, nor does the sincerity harden into hokum.
  14. Downton Abbey manages to be reassuringly familiar and yet surprisingly fresh.
  15. Like the many, many sitcoms about the affluent white experience, this is a show that is meant to be seen and enjoyed by everyone.
  16. Falco has the strength to sell the overwrought cliches and to force each important moment to its crisis.
  17. Valerie remains as indefatigably inane as ever, and so does the show business world around her.
  18. 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.
  19. Girls and its girls are funnier and more cartoonishly sociopathic than ever. The show continues to engage with and undercut criticism about its characters’ myopia and flaws by owning it.
  20. The best competition show on television stars 11-year-olds.... Like the Scripps National Spelling Bee, MasterChef Junior is a celebration of talent, precocity, merit, obsession, and, above all, losing.
  21. Better Call Saul is a good yarn. It is also exactly the sort of show it is hard to imagine getting greenlit on its own merits. It’s great, but its arc--a working stiff who becomes a shadier working stiff, and then, when things get really exciting, the show ends, because the exciting part already happened on another show--is not the sort that sells in the room.
  22. When Boardwalk Empire is dealing with the consequences of the 18th Amendment, it plays like a sound and steady drama. When addressing the energy around the 19th, it begins to jazz things up.
    • 77 Metascore
    • 80 Critic Score
    To be fair to the actor [Ricky Whittle], the script doesn’t give him all that much to work with early on, and Shadow will eventually become more than just Wednesday’s bodyguard. American Gods is a long, slow burn, but if it stays so true to the novel it’s based on, the bang, when it comes, will be unforgettable.
  23. The Honorable Woman is in many ways, most of them cerebral, an extremely impressive piece of work.
  24. Over three nights and five and half hours, Prohibition provides a very fine analytic survey of the noble experiment, and most criticisms of it are quibbles.
  25. Costello, unlike public television, asks viewers like you for nothing but your attention, which he rewards with intimate assessments of songcraft and the underappreciated architects of modern pop.
  26. Sarah Corvus has arrived to haunt and to taunt, to give our plucky heroine a sinister contrast that the show can't do without.
  27. The Last Panthers is dense and can be hard to follow, jumping around not just in location but in time, introducing more and more characters and complications as it goes. But it pays off.
  28. [A] sharp, very funny new HBO comedy.
  29. In the new season, the characters’ personal politics continue to be satisfyingly complex.

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