Sunday, January 1 1995
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.
The truth is that a typical Simpsons episode today does not stack up to one picked at random from a decade ago.
'Survivor' redux is very similar to 'Survivor' number one, meaning that it features a cast of predominantly white, semi-attractive adults engaged in a bizarre mix of 'Lord of the Flies' and 'Days of Our Lives'.
Survivor's tone is very difficult to locate, and while this elusiveness may be more than the producers intend, it's just as possible to surmise that they know what they're doing and that teasing the audience with its own naivete is their way of undermining the medium even as they exploit it so well.
'Grosse Pointe' is a mean, mean show -- and nobody escapes the knife. For me, mean is good.