Word: hollywoodizing
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Dates: during 1980-1989
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Goizueta took his first big stride away from soft drinks in 1982 with the $700 million purchase of Columbia Pictures. At a stroke, that gave Coca-Cola control over the last major independent film producer in Hollywood, a substantial movie inventory and a television division that produces such popular shows as T.J. Hooker and Days of Our Lives. At first Columbia churned out movie after movie, as if trying to muscle its way to a bigger market share. That approach led to one smash hit, Ghostbusters, and a string of expensive clinkers, including The Slugger's Wife, Perfect and Crossroads...
Goizueta's second major Hollywood raid came last August with the $485 million buy-out of Embassy Communications and Tandem Productions. Embassy currently has five shows on the air, including Diff'rent Strokes, Silver Spoons and ABC television's surprise hit, Who's the Boss? More important, Embassy, which was formerly owned by Producers Norman Lear and Jerrold Perenchio, holds syndication rights to such shows as Maude, Sanford & Son, One Day at a Time and The Jeffersons. Mike Mellon, a vice president of research for Walt Disney Productions, estimates the value of Embassy's rights at $500 million...
Income from Coca-Cola's entertainment sector reached $161 million last year, a 33% increase over 1984 and equal to about 10% of the company's overall $ 1985 operating income of $1.045 billion. Considering that promising start, no one believes that Coke's Hollywood shopping spree is over. Says Frank Biondi, executive vice president of the company's entertainment division: "We remain, in the vernacular, on the make." Says Disney's Mellon: "Coke wants to take over everybody. The only number they'll be satisfied with...
...intensive care unit. Unless we knew exactly what happened to Pryor, we'd have no way of knowing what has happened to Dancer. Freebasing was reputed to be a dangerously potent high prior to Pryor, but it was not a pyromaniac's delight until Pryor went running through Hollywood Hills in full flame...
...second wife Dawn (Barbara Williams), a radical and intellectual white beauty, we know the couple is a bi-racial conjugal stereotype, but it's clearly a stereotype with some factual basis. And the blow by blow (and blow and blow) of Pryor being lapped into the vortex of the Hollywood scene is painfully compelling. The scenes are nothing if not the typical cinematic version of sex and drugs and rock 'n' roll in the fast lane, but once again the stereotype earns credence from its factual basis...