Slate's Scores

For 514 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 5.5 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 255
  2. Negative: 0 out of 255
255 tv reviews
  1. Like its heroine, Olive Kitteridge, the four-hour miniseries airing this Sunday and Monday on HBO, is quietly indomitable, more admirable than easily loveable, more likely to get under your skin than send a shock through your system.
  2. Doors are opening. Mind the gap.
  3. 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.
  4. Unexpectedly sweet-spirited.
  5. Watching, it is almost impossible not to root for these two Communists as they do any and everything they can to undermine America. In this regard, The Americans works its American audience as effectively as its heroes work their marks: It makes double agents of us all.
  6. The third season is looser, funnier, more emotional and also significantly less logical than what has come before.
  7. The tempo, thus far, is notably deliberate; the show's got mortality on its mind.
  8. It is glorious, and hilarious to watch.
  9. Like Peter Jackson’s Heavenly Creatures, the paranoid screenplays of Andrew Niccol, and the absurdist horror of Black Sheep (an ovine analog of The Birds), it gets beneath the skin by examining the state of isolation at the bottom of the world.
  10. 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.
  11. UnReal uses its seemingly frivolous setting to stage one of the darkest, most incisive shows on television.
  12. Cautiousness, propriety, and dowdiness have never seemed more soothing. Elizabeth remains the commonsense counterpoint to the flibbertigibbets around her, but she is now comfortable in her authority. Each episode is not a lesson in personal abnegation; instead, the new season mixes episodes about contained political events--an encounter with the Kennedys, a crisis caused by a vocal critic, the Duke of Windsor’s Nazi affiliations--with the really good gossip
  13. Creepy, gorgeous, unsettling, and searching, it has--for lack of a better word--a literary quality, an accretion of meaningful detail. You can push on any aspect of the show--every line, every shot, every bruise--and it bears up.
  14. 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.
  15. The series is a robust and satisfying experience, one that doesn’t skimp on the story’s world-spanning political and religious intrigue, but keeps at its center one man whose calm gaze focuses the sweeping material and makes it feel manageable.
  16. The pacing of the show's jokes, which heralds a welcome respect for the quickness of the audience, helps all the humor pop. Of course, good-old dumb physical juxtapositions don't hurt, either.
  17. 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.
  18. A gorgeous period drama that swiftly establishes its risqué themes.... Masters of Sex is the best new show of the fall season.
  19. 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.
  20. We are brought into the story when the housing case has already been battled over for years, by dozens of political and legal players who are introduced to us in rapid-fire succession. But if you stick with the show, the confusion clears, not with the help of expository chunks of dialogue, but through a lifelike repetition of names, issues, and stakes.
  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. 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.
  23. It is part showbiz satire, part alt-comedy showcase, part plaintive character sketch, and all ambitious gonzo, a show that feels like nothing else on TV, a cult classic that, in the age of Netflix, may appeal to a horde.
  24. Appropriate to the pace and the space of series television, it welcomes you into its intrigues at a walking pace.
  25. Murphy directs with straightforwardness and sincerity and none of the camp fireworks of Glee or American Horror Story.
  26. The Affair is a great first date that has the makings of a great series: pleasurable, provocative, insightful, and with the promise of sexiness.
  27. Wwhat it lacks in fun, it makes up for in intelligence, complexity, and boldness.
  28. If Full Frontal were going to be on every night, I would say, unreservedly, that it had a fantastic beginning. It seamlessly did in its first episode what The Daily Show With Trevor Noah has had a hard time doing for more than four months: altering Jon Stewart’s M.O. to reflect the interests and passions of a new host, while maintaining enough of Stewart’s intelligence, fire, and aggravation to keep the show urgent and scathing.
  29. 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.
  30. 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.

Top Trailers