The sad truth is that 2002 will go down in history much as 2001 did–as an underwhelming, derivative, lackluster year for TV. Sure, there were big moments, perhaps even a few that don’t involve Anna Nicole Smith’s derriere. We were able to scrape together a best-of list, but mostly that’s because we were forced into it. Given the choice, we’d rather just flip the switch, turn the whole thing off and hope for something better next year.
“The Osbournes”
Sharon throwing the ham at the neighbors. Ozzy’s lectures on tattoos, alcohol and the importance of going to the gynecologist. Kelly’s ever-changing hair color. Jack’s endless fights with Kelly. The dogs’ shrink. Everyone’s cussing. When was the last time television was as fun as “The Osbournes”? No one will ever be able to replace America’s most adorably wacky family. Now if the other networks–E!, VH1, ABC, etc.–would only stop trying.
“American Idol”
At first, it sounded like another attempt to do “Star Search.” And then we met Simon Cowell, a Brit who makes Howard Cosell look like a pussycat. Say what you will about our obsession with talent shows, the unvarnished drama that comes from watching youngsters sing their hearts out–or Paula Abdul’s cleavage. People tuned into “Idol” to hear Cowell deliver an endless supply of nasty, mean-spirited, dead-on critiques to America’s tone-deaf wannabe masses. Long after Kelly whatshername has faded into obscurity, Cowell will still be reigning as television’s foremost Dr. Evil.
“The Bachelor”
The first installment was a little bit slutty and a little bit nutty. But by the time Alex and Amanda gave way to Aaron and Helene, “The Bachelor” had become the newest reality-show craze. Why? No, seriously–why? There has been more written about the sociological appeal of “The Bachelor” than just about any show on television. The truth is very simple: we like to watch pretty people making out almost as much as we like to watch pretty women in catfights over men. The novelty is bound to wear off eventually. In the meantime, party on, ladies.
“The Shield”
In a world that has long been overstuffed with cop shows, “The Shield” made the genre feel fresh again. Well, fresh is probably not the right word for a show as raw and rancid as this. Vic Mackey is probably the fiercest, nastiest, most complicated cop to ever walk the TV beat–he’ll make a deal with a drug dealer just as quickly as he’ll shoot one of his own men, if it suits his purposes. With Michael Chiklis’s fearless (and Emmy-winning) performance, “The Shield” is the first true heir to “The Sopranos”–a show that dares to show repulsive characters with so much charisma and complexity, you begin to think it may change television forever.
“American Dreams”
This was supposed to be the year of gritty cop shows like “Boomtown,” “Hack” and “Robbery Homicide Division.” Instead, the most compelling new drama turned out to be a decidedly more homespun program about a Philadelphia family wending its way through the 1960s. “American Dreams” can reach for the sentimental at times–did we really need a kid with polio on top of all the family’s other challenges?–but it tackles so many topics with so much warmth and energy, it’s hard to complain. And no show since “I’ll Fly Away” has explored the issue of race with as much depth and nuance. Perhaps Trent Lott should tune in.
“Curb Your Enthusiasm”
We like to limit our best-of list to programs that have actually debuted in the last year, but we’re making an exception for “Curb Your Enthusiasm.” No one has ever humiliated himself more than Larry David. He has a knack for saying, doing, wearing and eating the wrong thing at the wrong time, each incident more hysterically than the last. It’s no wonder that the networks are now all interested in talking to the former “Seinfeld” creator about spinning his black magic for them (again). If David’s smart, he’ll stay right on HBO.
Conan O’Brien
If you’re like me, you’ve hardly ever seen “Late Night with Conan O’Brien” because you have to take a nap to stay up for it. Maybe that’s why O’Brien’s inspired performance as host of this year’s Emmy broadcast was such a wonderful surprise. Quick without being mean, smart without being smarmy–and the best use of the Osbournes since “The Osbournes.” Keep it up, and Conan could well land in the Billy Crystal/Steve Martin class of A-list award show hosts.
The “Friends” Emmy
After eight years on the air, “Friends” finally won an Emmy for best comedy. It was a well-deserved moment–the story line about Rachel’s baby somehow elevated the show’s comedy and pathos. And now that that’s finished, let’s hope “Friends” fades away after this season as planned. The show is already showing signs of post-Emmy letdown this fall. If it stays around too long, it may go down as one of the most popular sitcoms off all time, but not one of the best.
“Everwood”
Sure, it’s a bit gloopy–a family drama about a widower who moves his two children from the big city to the rural bliss of Everwood, Colo. What makes “Everwood” one of the season’s particular pleasures are the performances of Treat Williams and Gregory Smith, as the father and son who love each other but can’t always live together. They make the everyday ebbs and flows of life and death feel real and, more often than not, important.
“The Anna Nicole Show”
Don’t worry–we’re not going to even suggest that Anna Nicole’s show is anything but the embarrassing, sad, loopy program everyone loves to hate. The only thing sicker about the way the show exploits Smith’s addled mental state is the way it occasionally drags her poor son, Daniel, into the cesspool with her. But there’s some value in “Anna Nicole.” At least we know now that reality TV can’t sink any lower than this. Can it?
