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6 FRIENDS (NBC) Overexposure has led to a widespread underrating of this still-excellently written, hilariously performed show.
2 THE X-FILES (Fox) The concept most alien to this show — displays of simple human emotions — is what kept The X-Files fresh and intriguing this season.
1 NYPD BLUE [PROGRAM of the YEAR] (ABC) TV’s most varied, humane, and exciting drama took more chances this year than a hit show needs to, and became a deeper, richer series for the effort.
Earlier this year, cocreator Steven Bochco told EW: ”This is now [cocreator-producer] David Milch’s show; if I disappeared tomorrow, the quality of that show would not suffer for a second.” And a key to Milch’s production work this season is his knowledge that once you’ve set up a character people care about, that creation can do questionable, even bad things, and the viewers won’t merely accept the behavior but feel that badness in their bones.
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.
But Matt Le Blanc’s Joey and Courteney Cox’s Monica have flourished anew, while Jennifer Aniston’s Rachel and Matthew Perry’s Chandler are steadily becoming comic creations of remarkable intricacy. Look at this show with an open mind and try not being beguiled.
7 MURDER ONE (ABC) By the end of last season, Daniel Benzali had become known in my house as ”the boring bald guy.” But that debut run of One also pulled off the show’s then-central conceit — keeping you engaged in a single trial over 21 episodes.Representing a final flourish of ’90s irony, it’s a deconstruction of talk shows that’s now even better than David Letterman’s.4 NEWSRADIO (NBC) Former Sanders collaborator Paul Simms has managed something Shandling has opted not to try: an iconoclastic sitcom that nonetheless adheres to the strictures of network TV.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).Whether Bobby was cruelly slapping around that squirrelly little creep Henry (Willie Garson), or finding himself unable to resist the little-boy selfishness that’s been mucking up his relationship with Diane (Kim Delaney), Smits somehow managed to make every flicker in Bobby’s mind register on his stoic face.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.