Word: crimed
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Dates: during 1990-1999
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...night, watching over her husband Ron. She had sent him to bed after he had told her the story. Only she and God knew what he had said--and Amy wanted to make sure someone else heard from Ron's own lips the enormity of his crime. He was the only proof she had. Then, the horror story echoing in her head, the words hanging in the air of the house in Franklin, Ind., they had scrimped and saved to buy, she stayed up to make sure he did not do anything to himself. They had loved each other very...
...probably inevitable that the striving impulse would sooner or later reshape kids' sports. But the trend has been abetted by other, less predictable changes in American life: the ascendancy of the automobile, the shrinking of open spaces, the ubiquity of the two-earner family and the pervasive fear of crime. Baby-boomer parents may look back wistfully at their own childhood, when playing sports was a matter of heading to the corner sandlot or the neighborhood park after school for a pick-up game. But the sandlot's been filled in by a four-bedroom Cape Cod with...
...school. Other studies have also shown that American kids have easy access to guns. That kids in the survey feel safe at school may be because school shootings remain rare. The study did find, however, that black and Hispanic children are a lot more worried than whites about being crime victims...
History and horror, crime and war, sci-fi and sexual transgression. He may have made only 13 feature films in the course of his 46-year career, but Stanley Kubrick covered a range that more prolific filmmakers might--and often did--envy. But whether the films were set in the deep past or the near future, whether their prevailing tone was comic or violent, sly or brutish, weary or idealistic, Kubrick really made the same movie over and over again--vivid, brilliant, emotionally unforgiving, imagistically unforgettable variations on the theme that preoccupied him all his mature life...
...Ally McBeal, she's so cute you sometimes want to throttle her. On the New York stage just now--in a 35-min. monologue, the first of three short plays by filmmaker Neil LaBute titled Bash--she plays a woman who confesses to a horrific crime, yet by the end you want to give her a sympathetic hug. Sitting at a starkly lit table, apparently in a police station, Calista Flockhart doesn't take long to shed her Ally affectations. Talking in a flat Midwestern twang, she recounts with grueling matter-of-factness how she was seduced by a teacher...