Sunday, January 1 1995
Seems to regard the '80s as a convenient frame to put around their snooze-inducing, standard sitcom plots.
Hoping to reintroduce refinement to the average household menu, Curtis Stone has come to America (he is currently a top restaurateur in the UK) to prove that being an epicure can be easy and exciting.
Unfortunately titled to call up memories of a couple of Sidney Poitier's most famous films.
Charlie, Alan, and their friends and family may be like hamsters, but it's great fun to look inside their box and watch them squirm.
All that remains, I suppose, is the question of whether or not Fox will ever conceive another relationship-testing reality show.
Come on contestants, get tempted or get off the island.
Although Scrubs' consistency is somehow comforting, it also runs the risk of monotony by giving audiences exactly they expect week after week.
In Smallville, Clark's parents manage to convince him that he isn't from this planet -- just what every insecure high school freshman needs to hear.
No longer merely a television show conceit, the idea of survival has now taken on a new and frightening immediacy to viewers.
While its premise and execution are overtly derivative, Slayer works through an illuminating politics concerning U.S. military actions and local populations.
Abernethy looks at the current state of the soap opera genre, altruistically subjecting himself to a solid month of watching 10 soap operas to give us the low-down on the soaps in the age of Dubya.
Underneath its slinky-gown allure, 'Sex and the City' is starting to resemble a bare-assed 'Friends' sliding into the flabby ennui of a post-millennial 'thirtysomething'.
. . . provides an encouragingly fresh take on a genre that has been re-hashed numerous times.
Punctuated by whip-smart, often salty humor, The Sopranos is also permeated by violence, uncertainty, and dread. By Season Six, Tony Soprano's fear seems realized.
Like the notoriously funny 'Mad Magazine', Stern holds nothing sacred; everything and everyone's susceptible to parody and verbal attack, which is a breath of fresh air at a time when the First Amendment seems in mortal danger.
Like her former gal-pal Madonna, Bernhard is now a 40-something working mom: just how 'hip' and 'edgy' she is in the world of Eminem and the Insane Clown Posse is open to debate.