Hook up 519 casual
David Duchovny’s Fox Mulder and Gillian Anderson’s Dana Scully now give off a united glow that says to the world, ”We’re right, you’re wrong, back off.” There’s no denying that The X-Files is more uneven these days (that episode where Mulder was remembering past lives was more heartburn commercial than X-File), but this is one series in which such erratic-ness is less a sign of creative exhaustion than of an admirably heedless faith in flaky flukiness.
3 THE LARRY SANDERS SHOW (HBO) Garry Shandling is TV’s purest artist, quietly yet aggressively laboring over an unmatched portrait of show-business egotism.
And, as if in response to the criticism that NYPD seems unable to create a female character who’s not primarily a foil for the men, there seems to be a breakthrough: new addition Jill Kirkendall (Andrea Thompson), a cop who is already looking like the most resonant crime-solving woman since Helen Mirren’s Jane Tennison in Prime Suspect.
2 THE X-FILES (Fox) The concept most alien to this show — displays of simple human emotions — is what kept The X-Files fresh and intriguing this season.
I laughed at the episode and at the protests — what, from writer-cocreator Larry David you expected warmth?6 FRIENDS (NBC) Overexposure has led to a widespread underrating of this still-excellently written, hilariously performed show.True, Lisa Kudrow’s Phoebe seems stuck in a dumb-chick rut, and David Schwimmer’s Ross is becoming dismayingly sappy.So far, the David-less new season has been uneven but agreeably wacky.
High point thus far: Michael Richards’ Kramer accidentally entering the corporate world and having his entire business career rise and fall in the space of 30 minutes.
You probably don’t remember, but Profit was a wittily bleak show about corporate shark and high-functioning sociopath Jim Profit (the magnificently oily Adrian Pasdar), who’d been raised in a cardboard box and parented by an always-turned-on TV set.