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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.
The season opener, in which Homer and family left Springfield to work and live in a happy-faced, fascist corporate community was such a dead-on critique of the Disney empire, I swear I heard Rupert Murdoch chuckling.
Dave Foley, as the radio station’s put-upon news director, is probably the subtlest actor in sitcoms, whereas Phil Hartman and Andy Dick thrive on reckless excess.
And it’s apology time: A while back, I tagged Joe Rogan as a Tony Danza wannabe; Rogan’s smart work this season as dim fix-it guy Joe made my remarks seem churlish.
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.
Less a dig at big business than a fulmination against all media culture, Profit was the funniest scary drama of the year.
5 BAYWATCH NIGHTS (syndicated) All-powerful producer and bathing-suit wearer David Hasselhoff has turned Nights into X-Files with Plan 9 From Outer Space F/X.