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.
You would be hard pressed to find a sitcom debuting this season with more people rooting for it than Life With Bonnie.
Greetings can't decide if it's comedy because of being Mexican American or in spite of Mexican American -- and that's one thing working in its favor.
Firefly is more complicated in its framing story and moral dimensions than the usual sci-fi or Western fare.
The shots are close (is that her hand in his pants?), the cutting is speedy, the soundtrack is kicking: just above the din of the engine, the Vines wail.
As I watched Everwood, packed with numerous poignant moments, my own strongest feeling was a longing for South Park's biting critique of 'quiet little mountain towns.'