Word: cuting
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...slate of new programs is the most uninspired, creatively bankrupt set of debuts in several years. There are the shameless knockoffs, like CSI: Miami, a less imaginative product extension than Vanilla Coke. There are the retreads, like the WB's remake of Family Affair, with kids so saccharinely cute and a laugh track so obtrusive that the new series really could have been made in the '60s. Then there are the garden-variety, playing-it-safe choices that make up the bulk of the lineup: another lumpy guy is married to a hot woman on a CBS Monday-night sitcom...
...first solution, a few years ago, was battery-powered electric cars, like Ford's cute little Think model. But electric cars have less range than gas-powered cars, and it's hardly convenient to recharge the batteries. The newer gasoline-electric hybrid cars, like the Toyota Prius and Honda's hybrid Civic, recharge themselves and go much farther on a gallon of gas than do conventional cars, but they aren't pollution free...
During her breaks from the series, Aniston has journeyed to the big screen, usually in romantic comedies, but like the five other Friends, she has had trouble convincing the world she can play something beyond her cute TV persona. "Yeah, keep your day job," says Aniston, laughing. "If we didn't have that pressure of being the Friends cast, we'd get away scot-free...
...found a drink that bridges generations: Vanilla Coke reminds the baby-boom-and-older crowd of the days when soda jerks would spritz your glass with a shot of vanilla from the fountain. And kids like the sweet taste. The launch has also been helped by strong bottler distribution, cute Chazz Palminteri ads and single-serve-only packaging that attracts impulse buyers. The strong sales may encourage further innovation in a busy market: Dr Pepper's Red Fusion debuted in July, Pepsi Blue rolls out this month, and Coca-Cola has reintroduced grape and orange Fanta. Expect a diet version...
...describes a familiarly stealthy boogie-woogie figure, creeping up and down the lower register. We're back into the bridge, Jerry Lee's enunciation more forceful, and rampaging through the final verse. At "C'mon, baby, ya drive me crazy," the chugging bass figure is briefly counterpointed by a cute hearts-and-flowers, silent-movie piano flourish, as if sentiment not sex were the theme of the story - he's lying with his right hand, telling the truth with his left. A last "Goodness gracious! Great balls of fire!", a final four-note blast, and it's over...