Word: classics
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Dates: during 1980-1989
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...clans have never gone completely out of style, but they have changed over the years. The genre's archetype -- stable, well-scrubbed, usually small- town families that deal with minor domestic problems that are always resolved, gently, before the final credits -- was established in such classic series of the 1950s and early '60s as Father Knows Best, Leave It to Beaver, Ozzie and Harriet and The Donna Reed Show. In the early 1970s, under the influence of Norman Lear (All in the Family, Maude, The Jeffersons), TV families became more realistic and contemporary, their problems more substantial and socially relevant...
Under the Cosby spell, family shows have reverted to classic form. Though divorced mothers and one-parent households are far more common than they once were, the old-fashioned two-parent model has staged a comeback. Indeed, the circle of kinfolk is expanding: grandparents are central figures in several of TV's newest households. Superficially, these shows have kept pace with the times; the teenage daughter's boyfriend is likely to have a punk haircut and be named Lash. But the uplifting message has changed little. Children still need firm, loving guidance, but will ultimately do what is right...
This contradiction is a familiar problem to political analysts. Says Phillips: "People will support the cuts in general as long as they affect someone else's programs and not theirs." To Democratic Pollster Paul Maslin "it's a classic case of people wanting their cake and eating...
History will no doubt be on the minds of the two teams when they take the field for today's 1:30 kickoff. But once things get underway, the memories are bound to vanish--just like most of the heroes of the '85 classic...
EROTIC, BRUTAL, horrifying, and singularly comic, Blue Velvet marks an awesome return to form for director Lynch. In the course of his relatively brief career he has given us Eraserhead, an unsung underground classic, The Elephant Man, a bittersweet beauty-and-the-beast parable, and Dune, a $40 million dollar turtlewaxed Edsel. In Blue Velvet Lynch demonstrates with grace and the sheer momentum of genius that he is our most valuable, audacious and unabashed cinematic exorcist. He takes fear, his and ours, and smears it on the big screen. His canvas is dazzling, replete with hyperorganic imagery and an almost...