Tuesday, October 15 2002
You have to hand it to 'Robbery Homicide Division'. It knows just where it comes from.
While the two MDs modeled on Pierce and McIntyre lovingly call their hospital 'the Mish' and claim to help those exploited by HMOs, the show mostly focuses on wealthy white doctors and administrators.
Rhea may not have come on with the same bombast that O'Donnell did, but, in a way, that's what makes her a winner.
By playing safe, they might just as easily be playing dead.
Follows neither the super-crip model of disability perception, where an individual's 'triumph' over disability is celebrated through public tokenism, nor the common perception of disability merely as an object of pity.
Monday, October 7 2002
Perhaps What I Like About You will be a little cultural barometer, mirroring X and Y tastes and giving both generations one more home in primetime.
In John Doe, suspense takes a backseat to certainty.
Even more problematic is the moment when it's time for the episode's moral message, delivered with the subtlety of a bumper sticker.
American Dreams recognizes an important point: rock and roll was deeply dependent on television in its early days. And that hasn't really changed.
Monday, September 30 2002
Insofar as it depicts agents who think and verify before acting, Without a Trace unexpectedly provides an antidote to the current media crime-fighting frenzy.
The most recent tales from the Zone suggest it can again become a venue for investigating contemporary cultural and moral dilemmas.
Ever helpful, Jeff Probst reminded everyone that, on Survivor, assumptions are always wrong.
Diverges from ER in that it is, oddly, more conservative.
It's life-changing redemption all the way, at the hands of a flawed saint who can instruct us all.
Dealing with complicated familial history, rather than relying on man-chasing for every plot, will set Half and Half apart.
Focuses on an irresistibly cute couple whose lives are complicated by their hormones and their over-the-top coworkers.
What makes the show slightly twisted is the knowledge that only a few years ago, John Ritter would have been playing one of his daughters' sex-obsessed suitors.
Monday, September 23 2002
While reality hounds might say that this is exactly how banal contemporary mob life is, they might also remember that a stamped certificate of authenticity doesn't inoculate drama against tedium.
In Push, Nevada, producers Ben Affleck and Sean Bailey have come up with a show that is, oddly, both original and formulaic.