25 FRIDAY PRINCESSES (CBS, 8:30-9 p.m.) Georgy (Twiggy Lawson) befriends a down-and-out theatrical agent who promises to put her career on the fast track-if she lets him move into the penthouse.
THE DREAM IS ALIVE: THE 20TH ANNIVERSARY CELEBRATION OF WALT DISNEY WORLD (CBS, 9-10 p.m.) Skits and songs honor the birthday of Florida's most famous theme park. Among the celebrants: Tim Allen, Garth Brooks, Carol Burnett, Whoopi Goldberg, Goldie Hawn, Steve Martin, Robin Wil-liams, Dolly Parton, Patti LaBelle, and Billy Joel. Head mouseketeer and Disney CEO Michael Eisner is host.
26 SATURDAY
MOVIE: RED HEAT (CBS, 8-10 p.m.) This 1988 buddy movie about a Soviet narcotics agent (Arnold Schwarzenegger) and a foulmouthed Chicago cop (James Belushi) was the first American production allowed to film in Red Square. That's pretty much its only distinction-otherwise it's a real snoozer. C-
HBO COMEDY HOUR: MAMBO MOUTH (HBO, 10-11 p.m.) This film of John Leguizamo's award-winning stage piece, Mambo Mouth, presents the young actor-writer- comedian as a Latino version of Eric Bogosian or Lily Tomlin-a performer who embodies char-acters for long stretches of time, permitting us to see the tragedy beneath the ridic-ulousness that provokes laughs. Leguizamo leads off with his best creation, Agamemnon, a genially sleazy sex machine who hosts a low-rent cable show called Naked Per-sonalities. Agamemnon reads love letters from female viewers and tries to turn them on by gazing into the TV camera and mur-muring lines like ''The only things you can count on me for are satisfaction, gratification, ecstasy, passion, decadence, debauchery... and maybe kissing.'' Other Leguizamo characters include Loco Louie, a 13-year-old New York street kid who delivers a monologue about losing his virginity, and Manny the Fanny, a viciously sarcastic transvestite who works as a prostitute. Each character sketch lasts about 10 or 15 minutes, and Leguizamo's powers of impersonation are formidable. His writing, however, is a lot weaker; he settles too often for cheap laughs (referring to an overweight Latin woman as having ''tortilla chins'') and cheaper sentimentality (his segment as a detained illegal alien is excruciatingly soppy). There's also a pattern in Mambo Mouth: Every character Leguizamo embodies loathes women. He'd probably say this is satire; I'd say it's dismaying and annoying. C+
27 SUNDAY
MOVIE: WHITE PALACE (NBC, 9-11 p.m.) A 1990 melodrama about a lonely young yuppie (James Spader) who falls in love with an older, working-class woman (Susan Sarandon). Some sex appeal, but a real stretch in the plausibility department. C
A STRANGER IN THE FAMILY (ABC, 9-11 p.m.) It's pretty obvious why Doogie How- ser's Neil Patrick Harris took the starring role in A Stranger in the Family: This is one of those all-out, emotional roles that give a sitcom actor a chance to stretch long-constrained acting muscles. The problem is, an actor's showcase is frequently too one-sided to make for good drama. So it is with Stranger, in which Harris plays a teen who suffers from amnesia after a minor car accident. This isn't just your ordinary ''Gee, what's my name?'' TV- style amnesia: Harris' Steve Thompson has forgotten how to talk, how to dress and feed himself, how to read and write-he's a perfectly healthy, normal-on-the-outside, incapacitated person. A Stranger in the Family centers around Steve's rehabilitation and how it affects his family-particularly his mother, played by Good & Evil's Teri Garr. In the early scenes, as Steve's mother discovers the extent of her son's disabilities, Garr is terrific-emotional yet contained, furious at the doctors who speak to her condescendingly yet abruptly tender with her son and husband (Randle Mell). Most of the movie, however, revolves around teaching Steve to speak and the ways in which his parents coax thoughts and feelings out of him. Harris never overdoes it, even when the screenplay by Rene Balcer and Hal Sitowitz leads him into tear-jerk territory with scenes of him staring blankly while a doctor asks, ''Do you know what love is?'' Despite admirable restraint from both Harris and Garr, Stranger devolves into wet melodrama. C-
