TV report card: part one
BROTHERS & SISTERS: I was ready to drop this one initially, but it’s picked up speed. I don’t love Sally Field’s mom—too mired in her self-righteousness to be in any way appealing to me—but I like everyone else. Even Ally McBeal isn’t grating on my nerves: I like the interaction between her and her political show’s costar. I’ll hang on for a while.
DEXTER: I shouldn’t like Dexter as much as I do. He’s a murderous sociopath, but the twist is that he kills other very bad people. He’s like Hannibal Lecter going after the “free range rude,” and I do like to see society’s trash taken out. I love how the show uses its Miami-area setting—it’s very natural and a part of the characters’ lives. And Dexter’s evolving relationship with Rita? Genius.
HEROES: Okay, you might’ve read my blog entry the other day about Hiro’s sword. That should tell you that I am way too concerned with this show. Now, I don’t think about it that much as I go about my everyday habits, but when it’s on, I’m totally hooked. HEROES has absolutely mastered the art of the cliffhanger, even though the characters’ superpowers are old-hat and mainly borrowed from back issues of the X-MEN. I enjoy seeing the characters coming together in a group though. Bottom line? You never know what to expect episode to episode, and that’s awesome.
JUSTICE: I’m wavering back and forth about dropping this show, too. I’m devoted to Victor Garber because of ALIAS, but I’m not buying that none of their accused clients are ever fully culpable. But the reason I know they’re not absolutely guilty is because of the show’s conceit: after the trial, there’s an unbiased, omniscient view of what actually happened. That’s the absolute best part for me, and I’m sticking around because of those few seconds.
STUDIO 60 ON THE SUNSET STRIP: Very mixed feelings about this show, too. I do look forward to watching it, because…well, Matthew Perry. Plus, the dialogue is a culture-lover’s dream, and the pace is never lacking, even if the characters are involved with something I could care less about. But I totally buy that the comedy show within the show is real because of the convincing behind-the-scenes action, even if the sketches aren’t at all funny. And I do feel a bit preached at week by week, but clever dialogue wins me over every time. I keep hearing this show won’t make it to next season, but I’m sticking with it anyway.
30 ROCK: Alec Baldwin. Hilarious. That’s all.
THE NINE: Some people say this show is slow-moving, but I’m utterly transfixed by what happened inside that bank during the robbery. I like how all the hostages have bonded—they’re an odd, touching family. I hope this show makes it to the end of the season, because I’m hearing rumblings about cancellation here, too.
UGLY BETTY: This might be my favorite new show. I love, love, love Betty’s spunk, and it’s interesting how her worst Mode enemies are coming around to appreciating her. I also like the respect she’s earned from her boss, a playboy who’s painfully aware that he needs to change his ways. And Betty’s fashion-and-musical-loving nephew is the best. They should totally make him the Doogy Howser of Mode so he can work there.