This week, Knight Rider proved all its critics wrong with a complex look into post-traumatic syndrome for war veterans and the way it can lead them into ever more dangerous situations in search of the adrenaline rush that combat provided, compellingly written and sensitively performed by actors easily transcending their soap operatic roots. No, only joking; really, they just channeled all kinds of gender stereotypes and mixed it with ridiculous action sequences for another weirdly compelling hour of what may be the worst hour on television.Like it or not, there really is something compelling about Knight Rider. After all, what other show dispenses with all but three forms of dialogue altogether (Those being "exposition", "banter" and "attempts at wisdom that sadly fail," in case you're wondering), because it's so safe in the knowledge that no-one watching cares about what anyone is saying? It's that certainty in their audience's expectations - and their desire to meet those expectations - that leads to such scenes as Lead Hot Female Character (Let's face it, no-one really cares about her name) wandering around the show's faux-Playboy Mansion complaining about the objectification of women while Mike uses KITT's surveillance camera feed to zoom in on cleavage and drool (Don't worry too much about that objectification of women thing, though, audience - because not only is said LHFC happy to show off her body just as much as any of the faux-Playmates, she'll also happily tell everyone that she wants to make love on a tropical beach while listening to classical music two minutes later as a thank you to Mike for... something that I'm not entirely sure about). Or the camera's love of women's legs as they walk past, which is almost as prevalent as its love of meaningless shots of KITT speeding about.