Word: epical
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Dates: during 1980-1989
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...steady escalation in length, sophistication and cost, culminating in ABC's The Winds of War, this week's cover story. "Everything about this show was big, including the number of people who worked on it," comments Los Angeles Correspondent Denise Worrell of the 18-hr. TV epic that is based on Herman Wouk's 1971 bestseller. "I caught Producer-Director Dan Curtis on the Paramount lot, working on the last Winds of War episode. I drove to Montecito, a suburb south of Santa Barbara, to talk with Robert Mitchum, a gifted storyteller who answers almost every question...
...originally agreed to stretched into three." As he began supervising the cover package in New York, Senior Editor Christopher Porterfield, once a television producer himself, screened a large portion of The Winds of War and assessed the context in which it was made. Says Porterfield: "Behind this epic show is an epic competition among the networks for a shrinking share of the audience." Associate Editor Richard Corliss's story analyzes that competition and explores where television is headed. Contributing to that industry story was Reporter-Researcher Peter Ainslie, who interviewed network, cable and advertising executives. "Network television faces threatening...
Martin Luther King saw Black history as the record of suffering, endurance, and change. It was a history of courage and of restraint. Malcolm X presented Black history as the terrible epic of constant war between Black and white. It was a history of conflict. King had accepted Hegel's view of history, namely, that there was a dialectical process of progress and growth through pain. But the dialectical idea for King, the notion of struggle, was also taken over from Gandhi and Thoreau, especially from the latter's essay on Civil Disobedience. King believed in struggle, in a kind...
Thrillers may borrow some tricks from detective stories and some atmosphere from spy fiction, but they are essentially different from both. Such works can trace their lineage directly back through the medieval romances to the classical epic and its archetypal plot: a hero risks his life trying to master overwhelming odds. Modern incarnations of this nonpareil (out of, say, Raymond Chandler, Graham Greene or Robert Stone) have become increasingly antiheroic, their designs questionable and their morality ambiguous. But the trials they must endure, the plot of their quests, remain much the same, as formal and stylized as kabuki...
...Nine. Of all the recent replacements, however, the most interesting may be Morgan Fairchild, 32, who last week joined the cast of the off-Broadway comedy Geniuses. Morgan steps into the role of a leggy, not-so-dumb blond up for a nude walk-on in a grossly expensive epic war film. Fairchild is working for scale ($195.80 a week) to break out of the blitz of vixen parts that Hollywood has offered since her bitchy role on television's Flamingo Road. "All they want you to do is run around in pants and a halter top," says...