Grey’s Anatomy: Season One (2005) + Arrested Development Season: Two (2004-2005) – DVDs

GREY'S ANATOMY: SEASON ONE
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"A Hard Day's Night," "The First Cut Is the Deepest," "Winning a Battle, Losing the War," "No Man's Land," "Shake Your Groove Thing," "If Tomorrow Never Comes," "The Self Destruct Button," "Save Me," "Who's Zoomin' Who?"

ARRESTED DEVELOPMENT: SEASON TWO
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"The One Where Michael Leaves," "The One Where They Build a House," "Amigos," "Good Grief!," "Sad Sack," "Afternoon Delight," "Switch Hitter," "Queen for a Day," "Burning Love," "Ready, Aim, Marry Me," "Out on a Limb," "My Hand to God," "Motherboy XXX," "The Immaculate Election," "The Sword of Destiny," "Meet the Veals," "Spring Breakout," "Righteous Brothers"

by Walter Chaw A show so odious, so repugnant, that it's impossible not to have predicted its newly-minted role as the most popular program in the land, Shonda Rhimes's "Grey's Anatomy" has the singular distinction of transforming the adorable Ellen Pompeo into a shallow, whorish version of Doogie Howser, practiced in the art of interspersing extraordinary, near-savant leaps of medical intuition with rolling in the hay with her boss, the hipster-dubbed Dr. McDreamy (Patrick Dempsey). When Dr. Meredith Grey meets a new patient, lay you even money that his/her pain and suffering will be used to augment Meredith's face-swallowing, thirtysomething pout, which is one thing–making her brilliant ex-doctor mother a victim of prime time soap opera Alzheimer's for the same ends is something else altogether. Other alternatives include Dr. Meredith babysitting a severed penis in a Coleman cooler and, better, her lingerie model-turned-MD cohort intervening on behalf of a man undergoing erection-threatening prostate surgery. What better way to end the season, then, but to do a whole episode about a syphilis epidemic sleazing like wildfire through the show's Seattle Grace Hospital?

The X Files: Black Oil; The X Files: Colonization; The X Files: Super Soldiers [Four-Disc Mythology Collection] – DVDs

THE X FILES: BLACK OIL – FOUR-DISC MYTHOLOGY COLLECTION (1995-1997)
"Nisei," "731," "Piper Maru," "Apocrypha," "Talitha Cumi," "Herrenvolk," "Tunguska," "Terma," "Memento Mori," "Tempus Fugit," "Max," "Zero-Sum," "Gethsemane," "Redux," "Redux II"

THE X FILES: COLONIZATION – FOUR-DISC MYTHOLOGY COLLECTION (1998-2000)
"Patient X," "The Red and the Black," "The End," "The Beginning," "S.R. 819," "Two Fathers, One Son," "Biogenesis," "The Sixth Extinction," "The Sixth Extinction II: Amor Fati," "Sein Und Zeit," "Closure," "En Ami," "Requiem," "Within," "Without"

THE X FILES: SUPER SOLDIERS – FOUR-DISC MYTHOLOGY COLLECTION (2001-2002)
"Par Manum," "This is Not Happening," "Deadalive," "Three Words," "Vienen," "Essence," "Existence," "Nothing Important Happened Today," "Trust No 1," "Provenance," "Providence," "William," "The Truth"

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by Walter Chaw Even if you're curious, you're probably not curious enough to wade through the sixteen DVDs that constitute "The X Files"' "mythology" (a.k.a. "Oh, no, not another one of these episodes"), compiled by creator Chris Carter in a quartet of four-disc collections that chronologically recap the ostensible "Truth" in the series' "The Truth is Out There" tagline. After the first set, "Abduction", comes "Black Oil", then "Colonization", then "Super Soldiers", the four of them parceling out the vital information that our government's struck a deal with aliens to turn us into human-alien hybrids; that most of the universe has been colonized by a virus that moves around in (or as) a black, oily substance; that some people are transformed by said alien entity into super-beings; and that there are other aliens out there hoping to prevent the spread of this contagion in the universe. That's it. Oh yeah, Scully and Mulder kiss–and it's dreamy. Happy?

The Alan Clarke Collection – DVD

SCUM (BBC VERSION) (1977) ***½/**** starring Ray Winstone, Phil Daniels, David Threfall screenplay by Roy Minton directed by Alan Clarke SCUM (THEATRICAL VERSION) (1979) ***½/**** starring Ray Winstone, Phil Daniels, Mick Ford screenplay by Roy Minton directed by Alan Clarke MADE IN BRITAIN (1982) ***½/**** starring Tim Roth, Eric Richard, Terry Richards screenplay by David Leland directed by Alan Clarke THE FIRM (1989) ***/**** starring Gary Oldman, Lesley Manville, Phillip Davis screenplay by Al Hunter directed by Alan Clarke ELEPHANT (1989) ***½/**** screenplay by Bernard MacLaverty directed by Alan Clarke DIRECTOR: ALAN CLARKE (1991) **/**** directed by Corin Campbell-Hill by…

Leave It To Beaver: The Complete First Season (1957-1958) – DVD

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"Beaver Gets 'Spelled'," "Captain Jack," "The Black Eye," "The Haircut," "New Neighbors," "Brotherly Love," "Water, Anyone?," "Beaver's Crush," "The Clubhouse," "Wally's Girl Trouble," "Beaver's Short Pants," "The Perfume Salesmen," "Voodoo Magic," "Part-Time Genius," "Party Invitation," "Lumpy Rutherford," "The Paper Route," "Child Care," "The Bank Account," "Lonesome Beaver," "Cleaning Up Beaver," "The Perfect Father," "Beaver and Poncho," "The State vs. Beaver," "The Broken Window," "Train Trip," "My Brother's Girl," "Next-Door Indians," "Tenting Tonight," "Music Lesson," "New Doctor," "Beaver's Old Friend," "Wally's Job," "Beaver's Bad Day," "Boarding School," "Beaver and Henry," "Beaver Runs Away," "Beaver's Guest," "It's a Small World"

by Bill Chambers "Leave It To Beaver" was the first TV series to show a toilet. That sort of illustrates a point I want to make that while it may be an idealized portrait of the nuclear family, it's not a lie. Indeed, there's a touch of neo-realism in the show's emphasis on the bathroom, on laundry, on haircuts and making the bed. It's the only series I can think of where the characters are seen grooming themselves on a regular basis, and this almost blithe disregard for fourth-wall etiquette extends to not only frank discussions of hygiene, money, faith, and morality, but also an aesthetic that eventually supports 360º blocking. You won't, in other words, see the standard set-up of four people all sitting on the same side of the dinner table, except in the earliest episodes.

Frankenstein (2004) – DVD

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starring Parker Posey, Vincent Perez, Thomas Kretschmann, Adam Goldberg
screenplay by John Shiban
directed by Marcus Nispel

by Walter Chaw Marcus Nispel's Frankenstein, conceived by schlock-meister general Dean Koontz as the pilot for a stillborn USA Network series, is the very model of style over substance. Would that the style even belonged to Nispel: all of muted greens and bleached yellows, memories of Se7en swim, bidden, to the mind of the genre enthusiast. It's one thing to frame the American backcountry in shades of monumentalized sepia (as Nispel did in his Texas Chain Saw Massacre redux), another altogether to throw a haze of music-video mute over the Big Easy. If the cinematography weren't enough, the title sequence and fauxNine Inch Nails score take it the rest of the way, establishing the picture as a police procedural of a certain kind while the (misleading) title announces a supernatural bent. The real bogeys haunting the piece, though, are the careers of Parker Posey and Michael Madsen, together rattling chains disinterestedly as the former slides into her third decade as someone who's not very good but has managed to continue working based on some misconception of early indie-queen dividends, the latter too comfortable being both cast the crooked cop and mistaken for Tom Sizemore.

Desperate Housewives: The Complete First Season (2004-2005) – DVD

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"Pilot," "Ah, But Underneath," "Pretty Little Picture," "Who's That Woman?," "Running to Stand Still," "Anything You Can Do," "Guilty," "Suspicious Minds," "Come Back to Me," "Move On," "Every Day a Little Death," "Your Fault," "Love Is in the Air," "Impossible," "If It's Brown, Flush It Down," "There Won't Be Trumpets," "Children Will Listen," "Live Alone and Like It," "Fear No More," "Sunday in the Park with George," "Goodbye for Now," "One Wonderful Day"

by Walter Chaw The writing on Marc Cherry's "Desperate Housewives" is astringent and bright for the first dozen episodes or so. For more than half the first season, the show works as an effervescent satire of evening potboilers like "Dallas" or "Falcon Crest": It understands the attraction/repulsion dynamic of venerable bodice-ripping soapers and boils them down to their base elements of women, houses, relationships, and desperation. Eventually, though, the series falls off the tightrope all satires walk between commentary and indulgence–it starts having too good a time pretending to be that which it disdains and, in so doing, reveals its true colours as a drag revue played by women, ultimately freeing it of irony. Just look to the reports of on-set strife and photo-shoot jealousy to see that the tabloid has overtaken the snark, with intelligence and purpose quick to follow.

House M.D.: Season One (2004-2005) – DVD

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"Pilot," "Paternity," "Occam's Razor," "Maternity," "Damned if You Do," "The Socratic Method," "Fidelity," "Poison," "DNR," "Histories," "Detox," "Sports Medicine," "Cursed," "Control," "Mob Rules," "Heavy," "Role Model," "Babies & Bathwater," "Kids," "Love Hurts," "Three Stories," "Honeymoon"

by Bill Chambers The high-concept premise of "House M.D." is, like that of executive producer Bryan Singer's The Usual Suspects, ultimately fraudulent. After all, for us plebes, there's no way of knowing whether the "Sherlock Holmes of Medicine" lives up to his billing, save his addiction to an opiate. (I'm reminded of that inside-baseball wannabe Brown Sugar, in which the characters cringe at the alleged awfulness of a hip-hop act that sounds to the untrained ear exactly like every other hip-hop act.) As the head of "diagnostics" at the fictitious Princeton-Plainsboro Teaching Hospital, unorthodox Dr. Gregory House (Hugh Laurie) uses an informed process of elimination to cure anomalous illnesses (one per week, it's self-reflexively pointed out), but as the patients invariably go from bad to worse to healed, civilian audiences are denied the basic level of interactivity that is the raison d'être of the whodunit. "House M.D." is a "C.S.I." clone–right down to the impromptu Innerspace tours of the bloodstream–with science no longer the pretext but the text itself.

Nick Frost’s Danger! 50,000 Volts! (2002) – DVD

Danger! 50,000 Volts!
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"Alligator Attack!", "Thugs with Baseball Bats!", "High Speed Chases!", "Minefields!", "Fires!", "Being Impaled!", "Lightning Strikes!", "Tidal Waves!", "Hostage Situations!"

by Walter Chaw Locating itself somewhere between "Jackass", "Insomniac with Dave Attell", and "MythBusters", "Danger! 50000 Volts!" is a series of semi-improvisational interviews with people in bad jobs, interspersed with the jocular, rotund Frost putting himself in situations of peril for the bemusement of a bemused audience. More British than terrible, "Danger! 50000 Volts!" reminds of a "World's Greatest Chases" hidden-camera show where Scotland Yard chased down a felon at speeds approaching upwards of ten, eleven miles an hour. So the pacing isn't exactly pulse-pounding, but there's an affability to Frost and his willingness to insert himself into dangerous situations that makes the show an agreeable time-passer. Its apocalyptic tone (shades of "Worst Case Scenario")–the idea that you'll eventually find yourself in a minefield after having fallen through ice and been impaled on a pole the very same day you were attacked by a gorilla and hooligans with baseball bats–is ludicrous, of course (in fact, there's very little about the show that's real-world applicable), but watching a chubby comedic actor endure indignity has sort of an archetypal feel to it. It's the Oliver Hardy school of vaudeville, I think.

The Greatest American Hero: Season Three (1982-1983) – DVD

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"The Price is Right," "30 Seconds Over Little Tokyo," "Divorce Venusian Style," "Live at Eleven," "The Resurrection of Carlini," "Wizards and Warlocks," "Heaven is in Your Genes," "This is the One the Suit Was Meant For," "The Newlywed Game," "Desperado," "Space Ranger," "It's Only Rock 'n Roll," "Vanity, Says the Preacher"

by Walter Chaw Aliens come to earth in a giant metal calamari ring and give a nebbish schoolteacher a red superhero outfit with the Chinese symbol for "centre" on the centre of its chest. They also give him an instruction booklet he promptly loses, leading to a couple of seasons of Ralph (William Katt) trying his best to figure out how to use his special jammies with the help of his attorney girlfriend Pam (Connie Selleca) and rogue FBI agent Bill (Robert Culp). It's on-the-job training, though, as the reluctant crime-fighting trio find themselves, weekly, pitted against a Saturday morning cartoon's rogue's gallery of two-bit hoodlums that reek, somehow simultaneously, of desperate invention and formula contrivance. (How else to explain the second-season search for a sea monster in the Caribbean?) But there's something that remains effective–sticky, even–about a show more at home in the Shazam! posture than in the prime time slot it was asked to fill. (Indeed, I discovered the show in syndication, seeing as I was too busy during its regular run watching "Knight Rider" and "The A-Team" on a rival network.) It's wish-fulfillment of the flavour towards which most superhero creations tend, sure, but it also speaks to what is essential in the American ethos: that the least of us believes we can be heroes under the right circumstances.

The Best of Youth (2003) + Saraband (2003)

La Meglio gioventù
****/****
starring Luigi Lo Cascio, Alessio Boni, Adriana Asti, Sonia Bergamasco
screenplay by Sandro Petraglia, Stefano Rulli
directed by Marco Tullio Giordana

SARABAND
**½/****
starring Liv Ullmann, Erland Josephson, Börje Ahlstedt, Julia Dufvenius
written and directed by Ingmar Bergman

by Walter Chaw Television is the great bogey of the modern era. Newton Minnow’s vast wasteland. Marshall McLuhan’s “massage.” The corruptor of youth and the opiate of the people. The glass teat. Although it’s been excoriated as the prime example of what happens to art when commerce intrudes upon it, when the moneymen at the gates break through to undermine the best intentions of television artists yearning to break free, I think it’s more complicated than that. I think that television, like any other popular medium, is a cathode stethoscope held against the chest of the spirit of the world–a conduit to both what’s good and what’s venal in any culture. There are as many, maybe more, classics being produced for television now as there were during its Golden Age (and the good old days weren’t always good, besides), it’s just that we have more chaff to sift through before we get to the wheat nowadays–but more wheat, too. Say this for TV: it seems more capable of recognizing a hunger for quality than film does. Credit the smaller budgets and quicker turnarounds–something that’s put cinema in the catch-up position in the early years of the new millennium.

Fantastic Four: The Complete 1994-1995 Animated Television Series – DVD

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"The Origin of the Fantastic Four, Part One," "The Origin of the Fantastic Four, Part Two," "Now Comes the Sub-Mariner," "Incursion of the Skrulls," "The Silver Surfer and the Coming of Galactus, Part One," "The Silver Surfer and the Coming of Galactus, Part Two," "Superskrull," "The Mask of Doom, Part One," "The Mask of Doom, Part Two," "The Mask of Doom, Part Three," "Mole Man," "Behold the Negative Zone," "The Silver Surfer and the Return of Galactus," "And a Blind Man Shall Lead Them," "And the Wind Cries Medusa," "The Inhumans Among Us," "Beware the Hidden Land," "Worlds Within Worlds," "To Battle the Living Planet," "Prey of the Black Panther," "When Calls Galactus," "Nightmare in Green," "Behold, a Distant Star," "Hopelessly Impossible," "The Sentry Sinister," "Doomsday"

by Walter Chaw Watching the short-lived "Fantastic Four" animated series from the mid-'90s is a lot like sticking forks in your eyes. It's terribly animated, terribly written, and generally uninspired. The only thing more depressing than hunkering down for a prolonged exposure to this mess is the prospect of actually having to write about it. People who think that what we do isn't a job haven't had the experience of not only being forced to endure something they never would have thought to endure on their own, ever, but also of later having to find the will to write something like an analysis of said experience for the appreciation of the handful of people in the world lonely and pathological enough to start hateful correspondence in defense of it. Think about it: by agreeing to review "Fantastic Four", I'm all but consenting to a conversation with the small tribe of Morlocks who consider this shit gold, mainly because a nine-year-old version of themselves used to like it when they watched it in their footed pyjamas and helmets. So, as a pre-emptive strike (as if it matters): yes, I was a child once; no, I don't hate happiness; no, I don't think that everything has to be Citizen Kane; and, oddly, thinking is not something I believe to be mutually exclusive from pleasure.

The X Files: Abduction (1993-1995) [Four-Disc Mythology Collection] – DVD

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"Pilot," "Deep Throat," "Fallen Angel," "E.B.E.," "The Erlenmeyer Flask," "Little Green Men," "Duane Barry," "Ascension," "One Breath," "Red Museum," "Colony," "End Game," "Anasazi," "The Blessing Way," "Paper Clip"

Xfilesmyth1by Walter Chaw I used to, like every other dork I know, love "The X Files"–used to look forward to its mythology episodes as though series creator Chris Carter actually had something up his sleeve in terms of a long-term plan for his show, never suspecting until the middle seasons that the emperor was nude. (Desperate, too.) See, "The X Files" is guilty of giving the public what it wanted, forgetting that the public never really knows what it wants (would it have asked for a show about two platonic FBI agents investigating UFOs in the first place?) and that once it gets what it thinks it wants, it tends to stop waiting around for it. "The X Files"' slogan "The Truth is Out There" became something of an early-Nineties pop-cultural mantra akin to "Keep On Truckin'" of the mid-'60s to mid-'70s and "Shit Happens" of Reagan-era id suppression (the biggest surprise of "The X Files" may be how creaky and antiquated it is a mere twelve years out of the can)–and like other shorthands for real thinking, it has a bumper-sticker hookiness to it but not a lot of meat upon closer examination. That kind of lack of substance dooms it to cultural specificity, with camp immortality and flea-market coffee mugs its only eternal footmen. In retrospect, "The X Files" couldn't have had a better tagline.

The Bob Newhart Show: The Complete First Season (1972-1973) – DVD

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"Fly the Unfriendly Skies," "Tracy Grammar School, I'll Lick You Yet," "Tennis, Emily?," "Mom, I L-L-Love You," "Goodnight Nancy," "Come Live with Me," "Father Knows Worst," "Don't Go to Bed Mad," "P-I-L-O-T," "Anything Happen While I Was Gone?," "I Want to Be Alone," "Bob and Emily and Howard and Carol and Jerry," "I Owe It All to You… But Not That Much," "His Busiest Season," "Let's Get Away From it Almost," "The Crash of 29 Years Old," "The Man with the Golden Wrist," "The Two Loves of Dr. Hartley," "Not With My Sister You Don't," "A Home is Not Necessarily a House," "Emily, I'm Home… Emily?," "You Can Win 'Em All," "Bum Voyage," "Who's Been Sleeping on My Couch?"

by Travis Mackenzie Hoover Watching old movies, even when they're bad, is like watching our collective hopes and dreams speaking to each other as they drift into history. But watching old television, even when it's good, is like trying to decipher the messages from a distant and very stuffy alien race. I wanted so badly to rise to the level of "The Bob Newhart Show", because Newhart himself is very funny in a non-classical way. Alas, his show is strait-jacketed by an outdated format that current TV viewers (let alone moviegoers) will find utterly incompatible with anything that came after. Despite its self-image as being above the pack in intelligence, it's incredibly limited, to the point that you look at the cinema of the same era and wonder how they could ever be temporally linked.

Best of “The Muppet Show”: Bob Hope, Dom DeLuise, George Burns (1977) – DVD

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by Walter Chaw In a summer whose renewed interest in variety shows has brought us embarrassing spectacles ranging from a peculiar celebrity dance competition where ex-heavyweight champ Evander Holyfield does a Karloff in tuxedo pants to the hard-to-witness disinterring of moldy oldsters and one-hit-wonders croaking out their old hits and covering new ones, look back to the heyday of "The Muppet Show" and wonder how something like it ever made it to the air. The themes that Jim Henson's electric Kool-Aid acid trip tackles through its tacky sketches, instantly-dated guest stars, and cobwebbed musical interludes run the gamut from loneliness (a disturbing rendition of Jim Croce's "Time in a Bottle" in which a Muppet mutilates and pickles himself) to war (a version of Buffalo Springfield's "For What It's Worth" sung by forest animals being terrorized by mad redneck hunters) to exotic burlesques that predict the melancholia lacing The Dark Crystal and the eternally underestimated The Muppet Movie. Running concurrently with Jimmy Carter's presidency (1976-1981), it's the product, as it can only be, of the Carter administration in the United States: all goofy good intentions, bad fashion, rampant hickism, and confusion.

The Dead Zone: The Complete Second Season (2003) – DVD

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“Valley of the Shadow,” “Descent,” “Ascent,” “The Outsider,” “Precipitate,” “Scars,” “Misbegotten,” “Cabin Pressure,” “The Man Who Never Was,” “Dead Men Tell Tales,” “Playing God,” “Zion,” “The Storm,” “Plague,” “Deja Voodoo,” “The Hunt,” “The Mountain,” “The Combination,” “Visions”

by Walter Chaw I’ll say this at the get-go, that “The Dead Zone”, the television series, will never completely escape the shadow of David Cronenberg’s enduring feature film adaptation of the Stephen King source novel, and that Anthony Michael Hall is a pale substitute for Christopher Walken, particularly for Walken at what might be the actor’s finest hour. Luckily, Hall has an easier time shedding his John Hughes days, having doubled in size (he’s still trim, just not Farmer Ted), donned a black leather pea coat (mine found the Salvation Army bin about five episodes in–I never, ever want to look like Hall in Vancouver playing Johnny Smith), and acquired a Vulcan arch to his brow that all but screams “serious actor.” Yet there’s something since “The X-Files” that rubs me wrong about most American shows shot north of the 49th Parallel: the genericness of the setting doesn’t scream Anytown, USA so much as “Canada: it’s cheaper and blander up here.” Lacking atmosphere and vibrancy, “The Dead Zone” is an extrapolation, especially in Season Two, of the further adventures of John Smith, a reluctant clairvoyant who can touch any person or thing (including air, which raises its own set of problems/questions) and summon up visions of past or future that inevitably put Johnny in the position of a powder-dipped saint in a Mexican parade.

Rescue Me: The Complete First Season (2004) – DVD

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"Guts," "Gay," "Kansas," "DNA," "Orphans," "Revenge," "Butterfly," "Inches," "Alarm," "Immortal," "Mom," "Leaving," "Sanctuary"

by Walter Chaw I liked Denis Leary and Peter Tolan's FX network TV series "Rescue Me" unconditionally once I'd seen the first three episodes, the last of which includes a scene of a father and son communicating in a coded language that left me vulnerable in a way I find extraordinarily uncomfortable. But if the show worked for me, after giving some thought as to the whys and wherefores, I like it with a few grave reservations about the types of things that I like and, more relevantly, about the kinds of programs that have found a voice right there along the edge of the mainstream over the past couple of years. I say this having never watched an episode of "Lost" or "Desperate Housewives", but the best new television ("Deadwood", in particular, is without hyperbole like bearing witness to Shakespeare) seems involved in razing civilization in the wake of 9/11 and redefining it in terms of the basest kind of animal logic. "Post-apocalyptic" is one description–science-fiction where men and the politics of living need to reorganize along stringent biological lines. (I'm thinking that "Lost" probably applies.) A scene in the seventh episode of "Rescue Me" ("Butterfly") where firefighter Tommy Gavin (Leary) goes to a union doc and gets three prescriptions–for insomnia, depression, and impotence–speaks concisely to the state of medicated post-modern man: asleep, happy, and erect.

Star Wars: Clone Wars (2003-2004) [Volume One] – DVD

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by Walter Chaw Something tickled the back of my brain as I was watching Genndy Tartakovsky's "Star Wars: Clone Wars", a series comprising twenty vignettes clocking in at roughly three-minutes apiece (save the last, which runs close to eight minutes) meant to bridge George Lucas's Episode II and Episode III: I realized that even though the action rises and falls twenty-three times, that no characters are developed beyond a sketch and a pose, and that the show is essentially the connective tissue between programs on the Cartoon Network, "Star Wars: Clone Wars" is every bit as good as–and sometimes better than–Lucas's current trilogy. (Lucas himself recently admitted that his prequels are approximately 40% substance and 60% filler. I think he was being generous–the first two films combined with the first half of the third film have enough substance for maybe one passable 90-minute feature.) But with most of the sport taken out of pounding on mad King George for twenty-some years now (starting with Ewoks and letting Lando live and ending with midichlorians and the Jedi turning out to be pantywaists and hypocritical assholes), all that's really left to say is that Tartakovsky's "Star Wars: Clone Wars" is what it is. And what is that, exactly? Twenty three-minute vignettes from the creator of "Dexter's Laboratory" and "Samurai Jack" that, set in the new Star Wars universe, come off a lot like a "Dexter's Laboratory" and "Samurai Jack" hybrid.

Dawson’s Creek: The Complete Fifth Season (2001-2002) – DVD

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"The Bostonians," "The Lost Weekend," "Capeside Revisited," The Long Goodbye," "Use Your Disillusion," "High Anxiety," "Text, Lies, and Videotape," "Hotel New Hampshire," "Four Scary Stories," "Appetite for Destruction," "Something Wild," "Sleeping Arrangements," "Something Wilder," "Guerilla Filmmaking," "Downtown Crossing," "In a Lonely Place," "Highway to Hell," "Cigarette Burns," "100 Light Years From Home," "Separate Ways (Worlds Apart)," "After Hours," "The Abby," "Swan Song"

by Bill Chambers SPOILER WARNING IN EFFECT. A little over a month ago I had all of my wisdom teeth plus their four adjacent molars extracted, and I honestly can't decide what I'd prefer: going through that ordeal again, or suffering the fifth season of "Dawson's Creek" a third time. This, friends, is where the shameless apologist who reviewed seasons one through four for this site throws up his hands in defeat–I got nothin'. Interestingly, the series predicted its own fall from grace the previous year by having Joey (Katie Holmes) deliver one of the show's trademark po-mo diatribes:

Curb Your Enthusiasm: The Complete Second Season (2001) + The Anna Nicole Show: The First Season (2002) – DVDs

CURB YOUR ENTHUSIASM…: Image A Sound A
"The Car Salesman," "Thor," "Trick or Treat," "The Shrimp Incident," "The Thong," "The Acupuncturist," "The Doll," "Shaq," "The Baptism," "The Massage"

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"House Hunting," "The Introduction of Bobby Trendy," "The Eating Contest," "The Dentist," "Las Vegas, Pt. I," "Las Vegas, Pt. II," "Pet Psychic," "Cousin Shelly," "The Driving Test," "NYC Publicity Tour," "Paintball," "Halloween Party," "The Date"

by Walter Chaw The way that white people behave badly runs the social gamut from being impolitic to being uncouth–it can be calculated or just the product of bad breeding, but find in a pair of television series that would at first glance seem miles apart dual examples of Caucasians running amuck in their natural upper-class habitat. Larry David's HBO series "Curb Your Enthusiasm" has won critical hosannas and the "Seinfeld" demographic, while Anna Nicole Smith's "The Anna Nicole Show" has been heralded as the dawn of the apocalypse. Both, however, are vignette sitcoms based on slightly fictionalized versions of semi-celebrities positioned as the ass in various Byzantine and embarrassing situations. While David's sense of humour is self-conscious, his "Curb Your Enthusiasm" an example of the self-aware media hybrid, it would be a terrible mistake to presume that Smith is as stupid as, say, Jessica Simpson, and "The Anna Nicole Show" is so carefully calculated that with a little tweaking it could be as post-modern and oppressively-scripted as "Law & Order: Courtney Love Unit".

The Lone Gunmen: The Complete Series (2001) – DVD

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"Pilot," "Bond, Jimmy Bond," "Eine Kleine Frohike," "Like Water for Octane," "Three Men and a Smoking Diaper," "Madam, I'm Adam," "Planet of the Frohikes," "Maximum Byers," "Diagnosis: Jimmy," "Tango De Los Pistoleros," "The Lying Game," "The "Cap'n Toby" Show," "All About Yves"

by Travis Mackenzie Hoover To paraphrase your high school guidance counsellor: respect for yourself is essential for respect from your audience. Let's say you have a show called "The Lone Gunmen". It's a spin-off from the successful (and successfully self-serious) "The X Files", which took somewhat far-fetched material and sold it, most of the time, with a straight face and a stern look. It deals with much the same subject matter but features nerdy misfits John Byers (Bruce Harwood), Melvin Frohike (Tom Braidwood), and Richard Langly (Dean Haglund), to whom you're somehow unwilling to commit total sympathy. So you make excuses by mocking them, as if apologizing for their unworthiness of the attention–which raises the question of why you're bothering in the first place. Complete self-deprecation usually results in discomfort, shunning, and, in this case, premature cancellation.