Slate's Scores

For 518 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 5.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Louie: Season 4
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 257
  2. Negative: 0 out of 257
257 tv reviews
  1. All the pieces are here, not just for a real potboiler, but a satisfying character piece, the sort of show that can flood my living room anytime.
  2. It feels like 30 Rock. There’s the same deadpan, high-octane pacing, penchant for the completely silly, love of weird names, and passion for bizarre pop-culture reference.... But Kimmy Schmidt has a bigger heart than 30 Rock.
  3. Steadfastly crass in content, The League is generally subtle in execution.
  4. The Path is not a rollicking Scientology takedown but a more measured, slow-building dismantling of the insidious accommodations required to maintain absolute religious certainty.
  5. Preacher is flashy, funny, searching, and unpretentious.
  6. 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.
  7. Each episode of Kimmy Schmidt is so dense it’s like a binge-watch unto itself. Watch one and be full.
  8. Shots Fired has melded commercial and artistic impulses to create a highly entertaining series about entrenched racism.
  9. A charming, ambitious, utterly singular show about a slightly nuts, but loveable woman who regularly breaks into song has made it onto TV.
  10. While American Crime surely is an impassioned and clear-eyed assessment of America’s socio-political dysfunction, the show it reminds me of is HBO’s far more metaphysical The Leftovers, another series questioning the mandate that TV be a good time.
    • 66 Metascore
    • 80 Critic Score
    The premiere of The Bachelorette was good!...Appealingly, Trista is also filled with desire herself. Nothing about her is aloof; she's upfront about her lifelong loneliness, her wish for a husband, her fantasies of motherhood. [9 Jan 2003]
    • Slate
  11. One of the virtues of getting to make a TV show out of a movie is the opportunity to expand the world of that movie, to give each character his or her due. In She’s Gotta Have It, Lee does that, giving time not only to Nola but her lovers, her friends, her family, and her neighbors—ultimately giving us a sense not only of a woman but a community in flux.
    • 74 Metascore
    • 80 Critic Score
    For those who can get comfortable with all the director’s imponderables, the series’ spell soon becomes immersive. This may not be the Twin Peaks we grew up with, exactly, the show that changed television forever by proving how far the medium could reach. Instead, it’s the Twin Peaks we’ve grown into, the one we’re finally ready for, wherever it plans to take us.
  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. Created by Ava DuVernay, Queen Sugar is an intelligent and atmospheric family drama about the Louisiana Bordelon family.
  14. 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.
  15. The episodes unfurl in an excess of good-natured silliness.
  16. 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.
  17. It’s a stylish, fun show that is neither punishing nor idiotic, an escape from reality that is tethered, ever so lightly, to reality.
  18. The new season of Stranger Things isn’t as good as the first. The Empire Strikes Back and The Two Towers notwithstanding, sequels hardly ever are. Though, as with so many sequels, what happened before happens again only more so, it is somehow more than the sum of its disparate parts.
    • 70 Metascore
    • 80 Critic Score
    However sensationally the show has been marketed, it focuses, like the designers, on the work itself-which, perhaps surprisingly, is as riveting as the few catfights.
  19. Boss is electric with self-importance, and that is in itself is a hoot, given its particular combination of thematic pomp and expressionistic pulp.
  20. 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.
  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. Now comes Grey Gardens, largely enjoyable in spite of being almost entirely superfluous.
  23. Season 5 of Game of Thrones pulls even further away from the novels (the Sansa plot will drive some fans crazier than King Aerys) and I’m fairly sure it’s better for it.
  24. 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.
  25. 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.
  26. [A strange, zany, funny, and very star-studded six-episode series.
  27. 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.

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