Sunday, January 1 1995
What's puzzling is why Davis would return to television in this paint-by-numbers sitcom in which she plays a nearly brain-dead career woman-slash-stepmother.
Not that insisting that one's child be educated and aware of the consequences of sex is surely a bad thing, but in the case of 'Gilmore Girls', never-wed single parenting falls into the 'mistakes were made' category, while Murphy Brown made an active choice.
It's a shame that Gotham Girls' creators don't realize the potential of either these characters or the medium of web animation.
It's true that 'A Girl Thing' concerns girls, or more accurately, women of various ages and backgrounds.
Imagine a world of people living side by side with puppets.
Early rumors labeled the show 'Ally McBeal Goes to College', and it's taken two full seasons to grow into the designation.
In the end, 'Friends' has become the epitome of 'Must-See TV' -- not because it's in our best interest to watch it, but because without us, these people have no reason to be together.
What we're left with is a string of TV-caliber action sequences, like Kimble jumping off a building, that only serve to remind us how cool it was when Harrison Ford plummeted off that dam.
[Reality television] is truly a dead horse, and MTV is beating it.
In 'First Monday', even more than in 'The West Wing', religious belief functions as a dramatic (and heavy-handed) shortcut.
Right off the bat, 'Freakylinks' annoys.
Even if 'Frasier' does continue to fade, many viewers will maintain their emotional and intellectual investment in the show, motivated by nostalgia rather than the hallmarks of the first seven seasons -- originality, wit, and superb ensemble work.
'Fear Factor' perfectly plays off the voyeurism we've become used to with TV -- looking without being caught.
'The Education of Max Bickford' has yet to strike the right balance between outspoken politics and a desire not to offend.
Entourage's depiction of the delicate symbiotic relationship between the talent and their support staff is often perceptive and revealing, elevating the series above pure fantasy or self-parody.
As much as the lines between 'independent' and 'mainstream' movies seem impossibly blurred, the impulse to mark their difference appears irresistible.