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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.
8 PROFIT (Fox) In the year’s stupidest programming move, Fox canceled this strikingly original series after a scant four episodes.5 THE SIMPSONS (Fox) Unappreciated now because the media celebrated Bart-mania years ago, The Simpsons continues to be the most reliable satire on network TV.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.As he proved with the brief, terrific South Central (1994), producer-creator Ralph Farquhar knows how to bring African-American life to television without disguising or cheapening it.THE FIVE WORST 1 ARLI$$ (HBO) A lot of sitcoms contain no laughs, but arid Arli$$ isn’t just mirthless, it’s the year’s most pathetic rip-off.The ongoing theme — alien invasions in the time of the Kennedy administration — manages to be boring, trite, and tasteless all at the same time.
4 THE JEFF FOXWORTHY SHOW (NBC) The redneck routines that brought Foxworthy fame were pleasant, innocuous bits, but in retooling the comic’s flop ABC sitcom, the NBC version turns his material into marathons of joke-free vulgarity.
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.
This season, Anthony La Paglia replaced Benzali and offered a hero who was prickly and arrogant in a more engaging way.
The Waltons’ Ralph Waite has been a marvelous skunk of a baddie, and Missy Crider’s work as a hapless murder defendant who also happened to be, as one character puts it, ”a major hottie,” gave One a fresh jolt of energy.
I’m thinking not only of the racism embedded in the soul of Andy Sipowicz (the earthshakingly good Dennis Franz) but of the increasing complexity of Bobby Simone (Jimmy Smits).