Word: fatalities
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Dates: during 1980-1989
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...Drexel's very success led to its comeuppance. As in a Greek tragedy, the company seemed to suffer from an overabundance of hubris that concealed a fatal flaw. In Drexel's case, it was Milken's growing appetite for power and control. The turning point came in November 1986 when Ivan Boesky, a notorious Wall Street speculator, pleaded guilty to a single count of securities fraud and agreed to pay $100 million to settle SEC charges that he had used insider information to buy and sell stock. Boesky, who is serving a three-year term in a minimum-security prison...
...opening game features a well-devised trap. But the lad is too slithery to hold, and he is soon en route to maman, with fatal consequences for her. From that fiery shoot-out until checkmate, the contest becomes increasingly taut, vicious and engaging. At each turn, Laemmle edges closer to his goal. At every escape, Thomas becomes a little wearier, a trifle more dependent on a cast of peasants, restaurateurs, shopkeepers and devious intelligence operatives. None are so devious or inventive as he is. The most adept, of course, proves to be Quartermain, flown in to rescue the child...
...what the publishing business calls a "true crime" book. Such a product should feature a victim and killer, preferably related to each other, who share the same demographics and conventions as the middle-class readership. The appeal of this sort of thing is obvious, as Joe McGinniss proved in Fatal Vision (1983), the best seller about U.S. Army Captain Jeffrey MacDonald, a physician convicted in 1979 of murdering his wife and children...
...hard to imagine more odious citizens than some of those portrayed in Blind Faith. The villain of Fatal Vision had a perverse stature and a demonic intelligence that are totally lacking in McGinniss's Robert Marshall. His fabrications and the entreaties recorded on love cassettes to his mistress suggest a ludicrous absence of self-awareness. Marshall's low animal cunning hits bottom when he exploits his sons' conflict between filial loyalty and the truth about their mother's death. McGinniss makes the Marshall boys' loss of innocence the emotional center of an otherwise lurid and coldhearted book...
...vengeful princess Amneris, is past her prime at 53 (she made her Met debut in the same part 20 years ago). And the omnipresent Domingo serves up his familiar blend of pathos and bathos without seeming to care where one stops and the other starts. It is a fatal -- but typical -- blend of age and inexperience that even Levine's elegant conducting cannot ameliorate...