Sunday, January 1 1995
The real bright spot on 'NYPD Blue' as of last season, is the addition of Danny Sorenson, played by an all-grown-up Rick(y) Schroeder, to replace the sainted Simone. Who knew that the little kid from 'Silver Spoons' could handle a complicated adult role so well?
No doubt MTV feels good about itself right now, pleased with the kick-off to its year of anti-hate programming.
Yes, their fame is being 'handed' to them, but only if they commit to a whole lot of work. Is that really any worse than someone who gets to be a star because his brother needed a bass player?
The real problem is that 'Murder in Small Town X' can't decide how 'real' it wants to be.
To capture such a 'whirlwind' would be impossible; but 'Marcus Garvey: Look for Me in the Whirlwind' provides a provocative introduction to this compelling, complex man.
As unfair as it may seem, a wealthy, handsome single architect with a commitment to monogamy and an Irish accent simply would not have that much trouble getting a girlfriend. Hell, 'I'd' date him.
What's puzzling is why they didn't just call the thing 'Cosmo Kramer, P.I.' That's what audiences wanted, and that's essentially what the show turns out to be.
In much the same way that the Conners of 'Roseanne' exploded the myth of the unified, dad-centered sitcom family, the Wilkersons are a unit in which the siblings really do try to kill each other and the parents maintain control through guerilla strategy rather than homespun aphorisms -- just like real families. Radical notion, that.
Because Goren's intellect and intuition never fail, Criminal Intent's narratives never consider the presumption of innocence as a legal (or dramatic) standard.
Part of the problem is that the 'Law & Order: Special Victims Unit' writers haven't given Ice T much to do: he's Munch's Yes Man, and it doesn't become him.
It's difficult to believe that six people can be so self-absorbed and shortsighted, let alone gathered in the same workplace.
Though 'Law & Order' frequently, and most chillingly, tells tales of true crime -- the monstrous pit bull is the most recent example -- it also treats them with the dread, indeed, the disgust they deserve.
Lost survives because its mix of fantasy and mystery, character development and plot twists, predictability and sharp twists -- in short, its mix of cleverness and crap -- is like nothing else on TV.
Lucky Louie's preoccupation with the prurient threatens to turn a promising spin on the sitcom into a one-note novelty.
But this isn't the first time viewers have been asked to watch a plot they already know well.
Unlike Federal Agent Fox Mulder, these guys, sitting penniless in a warehouse laden with powerful computers and espionage equipment, are true subversives.
'The Laramie Project' gives the townspeople a voice, an opportunity to respond to the murder and the trials that put them in the national spotlight.
The juxtaposition of the innocent Kyle with such tainted youth indicates the show's attitude regarding 'kids today': they're irresponsible, confrontational, and selfish.