{"id":548,"date":"2005-10-11T08:36:27","date_gmt":"2005-10-11T12:36:27","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2005\/10\/unmarried_supreme_court_judge\/"},"modified":"2005-10-11T08:36:27","modified_gmt":"2005-10-11T12:36:27","slug":"unmarried_supreme_court_judge","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2005\/10\/unmarried_supreme_court_judge\/","title":{"rendered":"UNMARRIED SUPREME COURT JUDGE RULES ON PROCREATION"},"content":{"rendered":"

LET US NOW PRAISE THE RETURN OF<\/B>


\nAnnabella
\nSciorra<\/A>, on the revamped CRIMINAL INTENT, opposite Chris Noth, relieving D’Onofrio and Erbe every other week. D’Onofrio’s always worth watching, but his character swallows most plot finales with his confrontations.


\nSWEET HOME CHICAGO<\/B>


\nER<\/A>‘s web site still features Dr. John Carter (Noah Wyle), and with its numbers in the cellar it could be looking at its final season. Whichi s a pity, because it’s never worse than when it’s getting all loopy with frenetic chopper explosions or stalker nurses to spike ratings. Balance is where it finds its voice, between last week’s “Man With No Name” burn victim and Sam’s pitiless flakeout on Kovac. There’s a great unwritten book of cultural commentary on how this prime-time smash confronted the militaristic hypocrisy of medical culture, the limits of science, and how we all want hot docs and nurses whenever we’re admitted.
\n


\nLINK OF THE WEEK<\/B>

from something called beatnikpad:
\nMusicians Who Blog<\/A>
\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

LET US NOW PRAISE THE RETURN OF Annabella Sciorra, on the revamped CRIMINAL INTENT, opposite Chris Noth, relieving D’Onofrio and Erbe every other week. D’Onofrio’s always worth watching, but his character swallows most plot finales with his confrontations. SWEET HOME CHICAGO ER‘s web site still features Dr. John Carter (Noah Wyle), and with its numbers […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-548","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/548","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=548"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/548\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=548"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=548"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=548"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}