Salon's Scores

For 674 reviews, this publication has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 0.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Atlanta: Season 2
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 424
  2. Negative: 0 out of 424
424 tv reviews
  1. This raucous show is, and has been, a real gift.
  2. A conclusion that feels true and honorable, that isn’t necessarily a happy ending but a right one that satisfies.
  3. [Narrator Matthew Hoffman's] blithe commentary on everything happening before our eyes makes the show. ... Frothy, goofy, blunt and cynical, “Love Island” is the summertime reality bimbo of series America deserves — hot, temporary, and yet cognizant that it embodies every assumption about the genre's dumbness.
  4. Carter’s characterization in “I Love You, Now Die,” is left to psychiatrists, reporters, her defense attorney Joseph Cataldo. But here, as in her past documentaries, Carr excels in extending a touch of humanity to characters whose stories otherwise would be defined by what can be splashed on the cover of a tabloid.
  5. At points like this [he recalls a “Parks and Rec” episode in which his character, Tom Haverford, installs a nanny cam in a teddy bear, which he then gives Ann Perkins (Rashida Jones)] “Right Now” feels like an intentional comeback-slash-apology — an earnest, if at times clunky, one. It's notable that his reflections on the jokes he would no longer perform today are infinitely more interesting than the jokes Ansari actually delivers.
    • 84 Metascore
    • 60 Critic Score
    "No Direction Home" offers little that is new and much that is already grindingly familiar to fans of His Bobness. And yet it is tremendously watchable and occasionally rewarding, even if it's apt to leave most viewers with the feeling that they have been served appetizers and dessert without getting so much as a glimpse of the main course.
  6. The sweetness is clumsy and the studio audience’s reactions blaringly false. If this multi-generational comedy were on ABC in the late ‘90s it would be torturing us for years. And it may yet. Despite all of its saccharine artifice “Family Reunion” is precisely the kind of utterly harmless, family friendly comedy that barely exists anywhere and on any platform, and at the very least it’s an earnest depiction of blackness that remains rare on television.
  7. As much as the series relentlessly depicts the struggle against poverty and the skewed impact on money and dominance at all cost, “Snowfall” never fails to crackle with an intensity and intellect palpably lacking in most of the season’s schedule at the moment.
  8. “Harlots” skips with a rebellious sense of joy this season, even though would-be pimps led by Isaac Pincher (Alfie Allen) descend on their tiny gynocracy intent upon stealing from these female entrepreneurs by threatening violence. ... But if the message must be harsh, at the very least the writers and directors help it go down with attitude and elegance.
  9. To some this may stand as evidence of a series relaxing into its baroque period, and depending on how much love a viewer has for the show, that’s probably fine. Kid fans are going to love it, although the frights have escalated this season. Adults yearning to be seduced by memories of a past injected into our brains by Hollywood will be amply satisfied. .. A summertime treat built for the broadest range of tastes.
  10. “Years and Years” is a gripping, highly entertaining and beautifully written family drama first and foremost. The performances are extraordinary, and though Thompson toplines the cast (and does a brilliant job as an ignorant but charismatic candidate) the largest portion of the series' success rests on the strong work of the rest of the cast, with Madeley’s and Reid’s performances producing the most sparks.
  11. There are no complaints about the performances in this piece, particularly from the principals and Amanda Clayton, who lends a grimy steel to the role of Frankie’s beautician wife Cathy. Even so, it isn’t as if the kind of story in this “City” hasn’t been told elsewhere and many, many, many times on television and in other places such as New York, Chicago and, hint hint, Baltimore.
  12. The series calms somewhat from its brash start into an empathetic portrait of what it means to be a kid born in the shadow of disaster and growing up in an era informed by it.
  13. Cuffe lends a scruffiness to Seg-El that’s well matched by Shawn Sipos’ Adam Strange. We’re not in want of superhero stories, but this is a well-done prequel that adds some dirty layers to the history of a comic book icon primarily known as a Boy Scout.
  14. "Claws" balances its sudsy operatics with plenty of comedy as well as ample commentaries about women and power.
  15. The spectacle of “Pose” is a meticulous construct, one dazzles the beholder while concurrently prioritizing the humanity of its players. And in this new season the writers, including the creators along with Our Lady J and Janet Mock, who also directs, cash in some of that currency the show has built in popular culture by emphasizing visibility.
  16. Linney and Dukakis shoulder the weight of these new hours, although Morelli writes an edged selfishness into Mary Ann that would be irritating if not for Linney’s lithe, comedic handling of her self-absorption. ... The fact that this new San Francisco doesn’t invade “Tales of the City” is one of the show’s greatest attractions. That inevitability lurks around the periphery, but the timeless nature of Barbary Lane and the city’s loyalty to its mother figure somehow defeats its incursion. That in itself makes this series worth savoring.
  17. I am of the opinion that season 1 was basically an overly long Lifetime movie with a much more expensive cast. Season 2 has yet to move my position on that, although I will say that David E. Kelley, who pens each episode’s, ahem, teleplays, corrects some of the first season’s nagging stumbles mostly because he has to.
  18. This new season maintains a consistent tension throughout its run and even when the creeps are familiar, series creator Neil Cross frosts them with a layer of sinister that feels impossible to duplicate or, if not that, at least would be tough to attempt.
  19. The visual is the story here, and it does a brilliant job in telling its own part. Through the careful ministrations of Young, DuVernay and a superlative case, this is a series that makes previously erased people seen and known. Art has few greater purposes than that.
  20. There’s too much life, color, beauty and music in “She’s Gotta Have It” for any solo annoyance to completely detract from the pleasure it gives, and it’s still worth your time, if not necessarily by way of a speedy consumption.
  21. These are still the same characters we've laughed with dressed in other people’s movie clothes, save for Pam Poovey (Amber Nash), who is literally built like a rock in this 10th season. This just goes to prove that the best TV delights can put on any old clothing; as long as they remain true to the core of what makes us adore them, we’ll keep our eyes on them.
  22. Having established that Margulies does a fine job leading “The Hot Zone,” neither she nor her impressive list of co-stars, including Liam Cunningham, Noah Emmerich and James D’Arcy, are given many opportunities to chew scenery. They don’t need to, because showrunners and executive producers Kelly Sounders and Brian Peterson built the script to make fear of infection the centerpiece.
  23. There’s about 50% too much content distracting from the core strength of Neil Gaiman’s latest series: the glorious onscreen chemistry shared by David Tennant ("Doctor Who") and Michael Sheen ("The Good Fight").
  24. If Waller-Bridge failed to deliver a follow-up to her aggressively wonderful first season of “Fleabag,” in which she stars on top of writing, one might wonder what the point was in having two great series suffer. But there’s no such need, given the absolutely masterful execution of the comedy’s sophomore run, an example of brilliance slathered on brilliance.
  25. Without Clooney stealing all the sunlight Chandler’s forceful performance deserves some Emmy notice. But the lack of effectively written and delivered humor in “Catch-22” downgrades it from a flawless flight to merely a very good one. The adaptation misses a few of Heller’s main targets, but hits enough of the notes to make it a worthy undertaking.
  26. With “Wu-Tang Clan: Of Mics and Men” Jenkins honors the mythological aura the group constructed around itself and each individual member but refrains from being utterly seduced by it, which goes a long way toward securing its place as a classic.
  27. A breezy, shallow comedy about an angry, grieving woman searching for her husband’s killer and the friend she makes along the way. Across its ten half-hour episodes creator Liz Feldman connects one watchable moment on top of another, hanging everything together curiously, if not altogether successfully. It helps that the series is constructed around a pair of brilliant performances by Christina Applegate and Linda Cardellini
  28. One cannot commit to watching “Chernobyl” without understanding how tough this viewing experience is. At the same time, the performances turned in by Skarsgård, Emily Watson and Jared Harris are passionate and nuanced enough to compel the tough viewers to gut out the squeamish parts. And this story is vital enough to make one hope the world has a lot of tough viewers.
  29. Despite the frequent indulgence of made-for-broadcast dramatic swells--the premise of the show leads characters to just happen to cross paths with one another at defining, transformative moments--“The Red Line” displays much more empathy and intelligence than design. Its handling of the racial and political elements of the story are particularly skilled.

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