Godfrey Reggio Powaqqatsi, or "life in transformation," is the second part of a projected trilogy of experimental documentaries whose titles derive from Hopi compound nouns. The now legendary Koyaanisqatsi, or "life out of balance," was the first. Naqoyqatsi, or "life in war," once it obtains funding, will be the third. Powaqqatsi finds director Godfrey Reggio somewhat more directly polemical than before, and his major collaborator, the composer Philip Glass, stretching to embrace world music.
Reggio reuses techniques familiar from the previous film (slow motion, time-lapse, superposition) to dramatize the effects of the so-called First World on the Third: displacement, pollution, alienation. But he spends as much time beautifully depicting what various cultures have lost--cooperative living, a sense of joy in labor, and religious values--as he does confronting viewers with trains, airliners, coal cars, and loneliness. What had been a more or less peaceful, slow-moving, spiritually fulfilling rural existence for these "silent" people (all we hear is music and sound effects) becomes a crowded, suffocating, accelerating industrial urban hell, from Peru to Pakistan. Reggio frames Powaqqatsi with a telling image: the Serra Pelada gold mines, where thousands of men, their clothes and skin imbued with the earth they're moving, carry wet bags up steep slopes in a Sisyphean effort to provide wealth for their employers. While Glass juxtaposes his strangely joyful music, which includes the voices of South American children, a number of these men carry one of their exhausted comrades out of the pit, his head back and arms outstretched--one more sacrifice to Caesar. Nevertheless, Reggio, a former member of the Christian Brothers, seems to maintain hope for renewal. --Robert Burns Neveldine

The British sitcom The Office has the most devoted following this side of Monty Python, so an American remake seemed doomed. Amazingly, the remake actually finds its own enjoyable version of the original's uncanny comedy of embarrassment. Office manager Michael Scott (Steve Carell, The Daily Show, The 40 Year-Old Virgin) believes he's the beloved leader of the Scranton, Pennsylvania, branch of a paper products company--but his relentless and painfully forced efforts at comedy creep out everyone around him, including paranoid Dwight (Rainn Wilson, who had a memorable recurring role on Six Feet Under), nervous receptionist Pam (Jenna Fischer, LolliLove), and aimless salesman Jim (John Krasinski, A New Wave), who's smitten with the already engaged Pam. The pilot episode suffers from closely replicating the British pilot, but after that The Office finds its own footing, turning diversity training, an office birthday party, and a basketball game into excruciating yet hypnotically funny rituals of humiliation. Carell, though clearly talented, can't match Ricky Gervais' unique performance as the aggressively needy British manager (it's hard to imagine that anyone could); as a result, the supporting roles become more prominent, and Wilson, Fischer, and Krasinski quickly create a rapport that matches and may even exceed that of their British counterparts. Be sure to watch the deleted scenes; remarkably, they're as good as the material that made it on the air in this six-episode season. --Bret Fetzer

Thank goodness for second seasons. While the first season of The Office started dubiously with a pilot that was just a poor copy of the original British version, it did manage to provide enough good material to stay on the air and hint that better was yet to come. And here it is. The second season of The Office finds its own footing and manages to do the near-impossible by not only breaking free of the gravity of that excellent BBC version to stand solidly on its own, but establishing it as one of the best comedies on TV. Season 2 starts out strong with "The Dundies," where Regional Manager, Michael Scott (Steve Carell, The 40 Year Old Virgin) hosts the company's annual office-awards event with his signature less-than-perfect grace. Things seem to only get worse for him this season as he bumbles a potential affair with his boss, Jan (Melora Harding), angers his employees by reading their emails ("Email Surveillance"), cooks his foot ("The Injury"), and accidentally destroys the warehouse with a forklift in "Boys and Girls," one of the season's highlight episodes. Always at his side is the clueless paranoid Dwight Schrute (Rainn Wilson), the Assistant Regional Manager ("Assistant to the Regional Manager," Michael always reminds him in one of the show's running jokes).
One of the reasons for the show's improvement in the second season is increased focus on Dwight's character, who's becoming something of a pop-culture icon right down to having his own bobblehead. He in turn provides so much good material for Pam (Jenna Fischer) and Jim (John Krasinsky) to play off of, to their own amusement. But of course, Pam and Jim's simmering relationship is the real meat of the show, as their compatibility becomes more obvious, Jim's feelings for her continue to grow, and Pam struggles with the impending marriage to her less-than-caring boyfriend, Roy (David Denman). Things have to come to a head, and they do nicely in the final episode, "Casino Night." As strong as the leading characters are in The Office, it's the excellent peripheral characters that really make the show hilarious, especially dimwitted office-slug Kevin (Brian Baumgartner), long-suffering intern Ryan (B.J. Novak), office-ditz Kelly (Mindy Kaling), and ultra-conservative Angela (Angela Kinsey). As with season 1, this season contains excellent bonus features to give you an excuse to spend more time at The Office, including the fake PSAs, commentaries, Michael's The Faces of Scranton movie, the ten stand-alone webisodes, and deleted scenes. --Daniel Vancini

He's got it all, a loving wife, good friends, a successful career, a good home... What could go wrong for Larry David?

CURB YOUR ENTHUSIASM stars "Seinfeld" co-creator Larry David as himself in an unsparing, cinema verite depiction of his life. Featuring real life celebrities playing themselves, the episodes are improvised by the actors from storylines by David.
Running Time: 390 min.

Format: DVD MOVIE

Michael Bluth (Jason Bateman), a widower with a 13-year-old son, named George-Michael (Michael Cera), is forced to keep his large and dysfunctional family together after his father (Jeffery Tambor) is arrested for shifty accounting practices at the family-owned conglomerate and the Bluth family assets are frozen, making each member of the eccentric family panicking. Michael's snobbish mother, Lucille (Jessica Walter), finds herself living alone in a penthouse without the financial means to maintain it, while Michael's two brothers, GOB (Will Arnett) and Buster (Tony Hale), and his sister Lindsay (Portia DeRossi) with her husband Tobias (David Cross) and her daughter Mae (Alia Shawkat) also find themselves having to recreate their lifestyles to fit their new financial status.

Episodes:
• The Cabin Show
• The British Bombshell
• Forget Me Now
• Notapusy
• Mr. F
• The Ocean Walker
• Prison Break-In
• Making a Stand
• S.O.B.s
• Fakin' It
• Family Ties
• Exit Strategy
• Development Arrested


Format: DVD MOVIE

David Lynch David Lynch peeks behind the picket fences of small-town America to reveal a corrupt shadow world of malevolence, sadism, and madness. From the opening shots Lynch turns the Technicolor picture postcard images of middle class homes and tree-lined lanes into a dreamy vision on the edge of nightmare. After his father collapses in a preternaturally eerie sequence, college boy Kyle MacLachlan returns home and stumbles across a severed human ear in a vacant lot. With the help of sweetly innocent high school girl (Laura Dern), he turns junior detective and uncovers a frightening yet darkly compelling world of voyeurism and sex. Drawn deeper into the brutal world of drug dealer and blackmailer Frank, played with raving mania by an obscenity-shouting Dennis Hopper in a career-reviving performance, he loses his innocence and his moral bearings when confronted with pure, unexplainable evil. Isabella Rossellini is terrifyingly desperate as Hopper's sexual slave who becomes MacLachlan's illicit lover, and Dean Stockwell purrs through his role as Hopper's oh-so-suave buddy. Lynch strips his surreally mundane sets to a ghostly austerity, which composer Angelo Badalamenti encourages with the smooth, spooky strains of a lush score. Blue Velvet is a disturbing film that delves into the darkest reaches of psycho-sexual brutality and simply isn't for everyone. But for a viewer who wants to see the cinematic world rocked off its foundations, David Lynch delivers a nightmarish masterpiece. --Sean Axmaker

The cover art for HBO's comedy Curb Your Enthusiasm: The Complete Fifth Season implies that the series' star Larry David is Everyman. Larry is not Everyman; in fact, he is far from it. Somewhat of an amalgam of the Jerry, George, Elaine, and Kramer characters he co-created for Seinfeld, yet so uniquely Larry, his socially inept behavior is the basis for and the best part of the show. This fifth season holds no exceptions to the world oblivious to social graces that is Larry David's. Larry tackles some tough issues, his main conundrum being the fact that his close friend Richard Lewis (comedian Richard Lewis playing himself) needs a new kidney. Season 5 slants towards Larry's soul searching: will he take the donor test? Is he a match? What will he do if he is a match? We see how far Larry will go to help his friend in need: staging car accidents, fake marriages, and more. We think we see some depth to Larry when he suspects he may be adopted and cheerfully embarks on a search to find his "real" parents, but are reminded how things really are, when he throws morality out the window, striking up a friendship with the known sexual predator in the neighborhood in order to improve his golf game. Of course there is the very Seinfeld feel to this show in general, the tone, the self-involved lead character--and in the first few episodes there are actual storylines and even spoken lines taken almost verbatim from Seinfeld episodes, so much so that an avid Seinfeld fan may start to lose patience. Stick with it, though, because the Seinfeld-ian similarities wind down through the second half of the season and the Curb your Enthusiasm hilarity revs up. --Rachel Moss

Andy Ackerman, Larry Charles, Bryan Gordon, Dean Parisot, David Steinberg, Keith Truesdell, Robert B. Weide Larry David has it all - money, security, famous friends, a nurturing wife, a devoted agent, a new oceanfront home. So why is he still so intent on making a mess out of his life? Just because you've made it doesn't mean you've got it made. Curb Your Enthusiasm, folks - it's the HBO comedy series starring Larry David...as Larry David!

Episodes:
1 - 1. The Car Salesman
2. Thor
3. Trick or Treat
4. The Shrimp Incident
5. The Thong
2 - 6. The Accupuncurist
7. The Doll
8. Shaq
9. Baptism
10. The Massage


System Requirements:
Running Time 300 Min

Format: DVD MOVIE

David Lynch Pandora couldn't resist opening the forbidden box containing all the delusions of mankind, and let's just say David Lynch, in Mulholland Drive, indulges a similar impulse. Employing a familiar film noir atmosphere to unravel, as he coyly puts it, "a love story in the city of dreams," Lynch establishes a foreboding but playful narrative in the film's first half before subsuming all of Los Angeles and its corrupt ambitions into his voyeuristic universe of desire. Identities exchange, amnesia proliferates, and nightmare visions are induced, but not before we've become enthralled by the film's two main characters: the dazed and sullen femme fatale, Rita (Laura Elena Harring), and the pert blonde just-arrived from Ontario (played exquisitely by Naomi Watts) who decides to help Rita regain her memory. Triggered by a rapturous Spanish-language version of Roy Orbison's "Crying," Lynch's best film since Blue Velvet splits glowingly into two equally compelling parts. --Fionn Meade

Benoît Poelvoorde, Rémy Belvaux This Belgian satire (in French with English subtitles) is dark, dark, dark--but also right on the money in its sly sendup of the media's fascination with violence and its complicity therein. This mock documentary has a trio of filmmakers shooting a cinéma vérité feature about a garrulous serial killer who lets the film crew follow him around as he selects victims and then dispatches them. But at what point does filmmaking become participation? These hapless documentarians soon find out as their subject eventually pulls them into his world, including a gun battle with a rival film crew and their own criminal star. Gruesomely hilarious, with a deadpan wit that's hard to resist. --Marshall Fine

The axe of cancellation dangled perilously over Arrested Development during its second season, but the award-winning comedy fought against fate to deliver a hilarious if scattershot 18 episodes (reduced from the original show order of 22), and stayed alive for the beginning of a third season. Most likely, the creators and actors knew the clock was ticking down, so they didn't hesitate to throw their all into these manic, hilarious episodes, which have only the thinnest of plot arcs but an electrifying energy that makes them hard to resist. Some of the story antics were more of the same: good son Michael (Jason Bateman) tries to keep his company afloat, but is often foiled by older brother Gob (Will Arnett); the precarious marriage of Lindsay (Portia de Rossi) and Tobias (David Cross) undergoes a trial separation; and young George-Michael (Michael Cera) fights his attraction to his cousin Maeby (Alia Shawkat). Other show developments, though, were new and stunningly, uproariously bizarre: Buster (Tony Hale) joins the army, but later finds his hand bitten off by a seal (yes, a real seal), and Oscar (Jeffrey Tambor), the hippie brother of jailed George Sr. (also Tambor), rekindles an affair with sister-in-law Lucille (Jessica Walter), which may have resulted in Buster's conception years ago.
Jokes flew fast and furious, as did guest stars--Ben Stiller, Julia Louis-Dreyfuss, Christine Taylor, Thomas Jane, Ed Begley Jr., Ione Skye, and Zach Braff among them--making it hard to keep straight who was doing what and why. No matter, as each of the episodes was in and of itself was a perfect gem of comedy, strung together by sharp writing and fantastic performances. In addition to the regular cast, both Liza Minnelli, reprising her role as "Lucille Two," and Martin Short, as an, um, eccentric family friend, deserve special mention, with the episode both appeared in, "Ready, Aim, Marry Me," a frenetic exercise in slapstick farce. Typical examples of the show's offbeat humor were found in "Afternoon Delight," in which various members of the Bluth family discover the true meaning of the '70s ballad, "Meet the Veals," wherein the Bluths encounter the conservative parents of George Michael's girlfriend, and "Motherboy XXX," surrounding an unsettling mother-son traditional dance. The entire cast cohered perfectly through this season, and their give and take provided a perfect balance among the actors, all of whom were even better than the previous year. However, it's Bateman who should be singled out as the show's anchor, mixing dry sarcasm with impeccable comic timing. Despite plummeting ratings, Arrested Development didn't just keep its head above water, it swam with grace and hilarity. --Mark Englehart

Kathryn Bigelow An unbelievable movie, and deliriously better for it. Keanu Reeves is a hotshot law enforcement dude--Johnny Utah by name--investigating a series of bank robberies in L.A. Four gunmen, disguised in rubber masks of ex-U.S. presidents, have never come close to being caught, but veteran agent Gary Busey has a theory: The bandits are surfers. This prompts the superb line, "The ex-presidents rip off banks to finance the endless summer!" This movie's full of dialogue like that, but instead of sounding ridiculous it creates its own infectious comic-book energy--ride the crest of it and you'll find the film's giddy zone. Patrick Swayze plays Bodhi, zen-master leader of the surfing clan, humming serenely with the wisdom of the waves. (Alarmingly, Swayze also did his own skydiving stunts.) Director Kathryn Bigelow (Strange Days) stages the action sequences with a visceral snap, and clearly has a gift for orchestrating pulp fiction. Though not a huge hit when was first released, Point Break has a well-deserved cult reputation thanks to its video afterlife. The film's executive producer is James Cameron, Bigelow's husband at the time. --Robert Horton

The second season of Veronica Mars showcases the series' crackling-sharp writing and topnotch acting of star Kristen Bell and the rest of the cast. Veronica still struggles with the class wars in sunny Neptune, Calif., trying to find a balance between high school, love, helping her dad as a private eye, and doing the right thing. The ongoing thread of season 2 is the aftermath of a horrifying tragedy, and as Veronica and dad Keith try to find out what caused it, mysteries only compound. Shifty Sheriff Lamb, town powerbrokers, and various high-school cliques seem to undermine Veronica at every turn. Thankfully, Veronica has more chutzpah than Phillip Marlowe, and the side-of-the-mouth one-liners to match: "Well, actually," Veronica says dryly to a bad guy, "despite popular opinion, you really can't beat the truth out of someone." Some of the show's broad strokes echo the stellar Buffy the Vampire Slayer, yet Bell's Veronica doesn't need the supernatural to tackle a challenge. She's a real girl, conflicted, prickly, lovesick, yearning, sometimes even scared. As Veronica tries to solve the mystery, she must also handle her own heartbreaks, and the moral stumbles of those closest to her. Happily, she's got a great best pal, Wallace (the effervescent Percy Daggs III), and possibly the coolest, most understanding TV dad ever (Enrico Colantoni). The boxed set includes 22 episodes (many with deleted scenes), a behind-the-scenes mini-doc, a cute gag reel, and a short profile film, Veronica Mars: Not Your Average Teen Detective. You can say that again. --A.T. Hurley

The smartest high school drama since Buffy the Vampire Slayer, Veronica Mars is The O.C. as penned by Raymond Chandler. Veronica (Kristen Bell, Deadwood) is Nancy Drew by way of Lauren Bacall, while Neptune makes Peyton Place look like Mayberry. The first season begins in the aftermath of a dizzying array of cataclysmic events: Her best friend, Lilly (Amanda Seyfried), was murdered, her sheriff father was fired over his handling of the case, she was sexually assaulted, and her mother left. Since then, Keith Mars (Enrico Colantoni, Just Shoot Me) has become a private eye and drafted Veronica as his assistant. She may lack Buffy's physical prowess, but the "tiny blonde one" turns out to have a special talent for sleuthing. In the wake of her sophomore year, the popular crowd abandoned Veronica--even boyfriend Duncan (Teddy Dunn), Lilly's brother. (Hence the theme song: "We Used to Be Friends.") Veronica is on her own until she meets Wallace (Percy Daggs III), the only student unfamiliar with her past, unlike Duncan's sarcastic pal, Logan (Jason Dohring), one of her more ardent foes. He was Lilly's boyfriend and his father is movie star Aaron Echolls (Harry Hamlin). By the end of her junior year, Veronica and Logan will make their peace, but it won't be so easy to win over the school--let alone the town. Throughout the season, Veronica will solve several mysteries both big and small--including the murder of Lilly Kane. But a few questions remain. For instance, at the end of the season finale, Veronica opens the door to greet an unseen visitor with "I was hoping it would be you." So who was it? Fortunately, UPN renewed the critically acclaimed (if ratings challenged) teen noir and that tantalizing question will be answered in the second season premiere. --Kathleen C. Fennessy

Winner of the Outstanding Comedy Series Emmy its first year out, Arrested Development is the kind of sitcom that gives you hope for television. A mockumentary-style exploration of the beleaguered Bluth family, it's one of those idiosyncratic shows that doesn't rely on a laugh track or a studio audience; it's shot more like a TV drama, albeit with an omniscient narrator (executive producer Ron Howard) overseeing the proceedings. Holding the Bluths together just barely is son Michael Bluth (Jason Bateman), the only normal guy in a family that's chock full of nuts. Hardworking and sensible, Michael's certain he's going to be given control of his family's Enron-style corporation upon the retirement of his father (Jeffrey Tambor). The fact that he's passed over instead for his mother (Jessica Walter) is only a blip when compared to his father's immediate arrest for dubious accounting practices, and the resulting freeze on the family's previously limitless wealth.
Bereft of money, and even less family love, the Bluths have to band together in their moment of need--not easy when everyone's looking out for number 1. In addition to his scabrous parents, Michael has to contend with his lothario older brother (Will Arnett), his basically useless younger brother (Tony Hale), his greedy twin sister (Portia DeRossi), and her sexually ambiguous husband (David Cross). Michael's only comrade in sanity is his son George Michael (Michael Cera), but then again, the teenage boy harbors a secret crush on his cousin (Alia Shawkat). A peerless ensemble led by the brilliant Bateman (who ever knew he could be this good?), all the actors are pitch-perfect in their roles, delivering the dryly funny, sometimes absurdist dialogue with the speed and flair of classic farce. The unusual tone of Arrested Development takes a bit of getting used to--it's far different from anything you'll see on TV, even HBO--but once you buy in to the Bluths' innumerable dysfunctions, you'll be laughing your head off for hours.--Mark Englehart

Andy Ackerman, Larry Charles, Bryan Gordon, Dean Parisot, David Steinberg, Keith Truesdell, Robert B. Weide The third season of HBO's comedy sensation offers more of the same. "Not that there's anything wrong with that," to quote Larry David's other television series, a certain little sitcom called Seinfeld. Consequently, Curb Your Enthusiasm's junior year means more Larry (Larry David) and more of his hilariously embarrassing mishaps. It also means more of his patient spouse Cheryl (Cheryl Hines), avuncular manager Jeff (Jeff Garlin), Jeff's foul-mouthed wife Susie (Susie Essman), and assorted celebrity pals, including Richard Lewis, Ted Danson, Wanda Sykes, Paul Reiser, and Martin Short, all playing themselves (or, like Larry, versions thereof).
The theme that (loosely) ties these 10 episodes together is Larry's involvement in upscale eatery Bobo's, in which Danson and Michael York (yes, that Michael York) are co-investors. As expected, the restaurant will serve to complicate Larry's life in every conceivable way--and vice versa. But the funniest (and most profane) episode must surely be "Krazee-Eyez Killa," starring Chris Williams (Dodgeball: A True Underdog Story) as the fidelity-impaired gangster rapper to whom Wanda has become engaged. This riotous installment, which sends up Jewish, Italian, and African American gangsters alike, won an Emmy for Robert B. Weide's direction and features that old master-of-direction himself, Martin Scorsese, who first appeared in "The Special Section" (in which Larry bribes a gravedigger to relocate his mother's gravesite). It's also the episode in which Larry gets a hair stuck in his throat. That hair, which once belonged to someone rather close to him, will remain lodged there for the next several episodes, until a "divine intervention" in "Mary, Joseph and Larry" dislodges it once and for all--along with the last of Larry's dignity. --Kathleen C. Fennessy

David Lynch David Lynch's 1990 Wild at Heart is an utterly random and ugly experience with pockets of startling imagery and inspired set pieces. Based on a Barry Gifford novel, the film stars Nicolas Cage and Laura Dern as lovers on the lam whose relationship is tested and who meet some truly dangerous wackos (including an almost-simian Willem Dafoe). Lynch's thoughts seem to be everywhere, and he expects the audience to keep up with a story that seems more a collection of avant-garde whims than a coherent vision with the intuitive brilliance of his Blue Velvet. Cage gives one of his more chaotic performances, but then he was just reading Lynch's signposts. --Tom Keogh

Godfrey Reggio First-time filmmaker Godfrey Reggio's experimental documentary from 1983--shot mostly in the desert Southwest and New York City on a tiny budget with no script, then attracting the support of Francis Ford Coppola and George Lucas and enlisting the indispensable musical contribution of Philip Glass--delighted college students on the midnight circuit and fans of minimalism for many years. Meanwhile, its techniques, merging cinematographer Ron Fricke's time-lapse shots (alternately peripatetic and hyperspeed) with Glass's reiterative music (from the meditative to the orgiastic)--as well as its ecology-minded imagery--crept into the consciousness of popular culture. The influence of Koyaanisqatsi, or "life out of balance," has by now become unmistakable in television advertisements, music videos, and, of course, in similar movies such as Fricke's own Chronos and Craig McCourry's Apogee. Reggio shot a sequel, Powaqqatsi (1988), and is planning to complete the trilogy with Naqoyqatsi. Koyaanisqatsi provides the uninitiated the chance to see where it all started--along with an intense audiovisual rush. --Robert Burns Neveldine

Kool Keith AKA Rhythm X, AKA Dr. Octagon, AKA Dr. Dooom, AKA Mr. Gerbik, AKA Black Elvis is one of Hip-hop's most intriguing and diverse talents. This DVD includes multiple interviews with Kool Keith and Keith's trip through Manhattan discussing all his favorite restaurants, clubs, clothing stores, consumer products and more. An interview portion called "98 Year Old Fridgerator", where Keith discusses why he now drinks Seltzer water instead of tang and why pumperknickle bread is his bread of choice. Soundtrack includes the tracks Baby Baby, Freaks, Robert Perry, Shit Expands and Trying to Talk to You.

Ron Fricke The word Baraka means "blessing" in several languages; watching this film, the viewer is blessed with a dazzling barrage of images that transcend language. Filmed in 24 countries and set to an ever-changing global soundtrack, the movie draws some surprising connections between various peoples and the spaces they inhabit, whether that space is a lonely mountaintop or a crowded cigarette factory. Some of these attempts at connection are more successful than others: for instance, an early sequence segues between the daily devotions of Tibetan monks, Orthodox Jews, and whirling dervishes, finding more similarity among these rituals than one might expect. And there are other amazing moments, as when sped-up footage of a busy Hong Kong intersection reveals a beautiful symmetry to urban life that could only be appreciated from the perspective of film. The lack of context is occasionally frustrating--not knowing where a section was filmed, or the meaning of the ritual taking place--and some of the transitions are puzzling. However, the DVD includes a short behind-the-scenes featurette in which cinematographer Ron Fricke (Koyaanisqatsi) explains that the effect was intentional: "It's not where you are that's important, it's what's there." And what's here, in Baraka, is a whole world summed up in 104 minutes. --Larisa Lomacky Moore

Andy Ackerman, Larry Charles, Bryan Gordon, Dean Parisot, David Steinberg, Keith Truesdell, Robert B. Weide He never learns. In the fourth season of his award-winning HBO comedy series, the quasi-fictional character of Larry David continues to say--and do--whatever he wants whenever he wants. In the first episode alone ("Mel's Offer"), in which Mel Brooks offers him the role of Max Bialystock in The Producers, David offends a doctor, a lesbian couple, a wheelchair user, and Ben Stiller (by not shaking his hand after he sneezes). Then, in the second ("Ben's Birthday Party"), he offends a blind man--by telling him his girlfriend's not as hot as she claims--and pokes Stiller in the eye with a skewer while attempting to show agent Jeff Greene (Jeff Garlin) his new golf move.
Larry continues to offend Stiller until he drops out of The Producers and, in the fifth episode ("The 5 Wood"), David Schwimmer (Friends) steps in. The following episode ("The Car Pool Lane"), in which David attends a Dodgers game--with a prostitute, so he can use the carpool lane--made history when it set an innocent man free. Unused footage from the show, entered into evidence by the defense attorney, confirmed his client's alibi that he couldn't have committed a murder because he was at the game (alas, the Braves still trounced the Dodgers). Other guests include Ted Danson ("The Weatherman"), Russell Means ("Wandering Bear"), and Gina Gershon ("The Survivor") as a Hasidic hottie. In addition, the hour-long season finale ("Opening Night") boasts a bevy of stars, including David's old colleague Jerry Seinfeld, Nathan Lane (Broadway's original Bialystock), and fellow Tony Award winner Anne Bancroft (The Miracle Worker). As they've done since the early days, Cheryl Hines (Cheryl David), Susie Essman (Susie Greene), and Richard Lewis and Wanda Sykes (as themselves) do what they can to keep one-man demolition derby David in check. --Kathleen C. Fennessy