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25 Apr

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).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.So far, the David-less new season has been uneven but agreeably wacky.High point thus far: Michael Richards’ Kramer accidentally entering the corporate world and having his entire business career rise and fall in the space of 30 minutes.

And I can’t think of another sitcom that repays taping and repeated viewing as well.

Luzon Brokerage Corporation (LBC) was founded in the 1950’s as a brokerage and air cargo provider.

LBC initially operated as an air cargo forwarding service provider and was the first to introduce 24-hour air cargo delivery service in the country.

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.