Word: knighting
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TIME has chronicled the cultural phenomenon of television's mini-series from their beginnings ten years ago with The Blue Knight, a four-hour police drama. Since then, through Roots (1977), Holocaust (1978) and Shogun (1980), the magazine has noted the miniseries' 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...
...many of his old MTM employees to develop relatively sophisticated new series, like the sitcom Cheers and the hospital drama St. Elsewhere. With these shows NBC has asserted its image as the "quality network," though the one new NBC show to perform reasonably well against tough competition - Knight Rider, in the suicide slot opposite Dallas - is just another burning-rubber melodrama, a CHIPS of Hazzard...
...heaviest symbolism, however, is Freudian, understandable in an opera about a sacred fraternity of chaste knights who guard the Holy Grail against a lustful, profane world. Syberberg revels in the obvious sexual metaphors of the spear and the wound that will not heal; the wound, which is supposed to be in Amfortas' side, is a disembodied thing that lies ulcerating on a bed next to the suffering knight. Most startling of all is the changing of Parsifal from a man (Michael Kutter) into a woman (Karen Krick) at the moment he rejects the erotic advances of the temptress Kundry...
...Selleck, sounds a lot like James Garner and apparently borrows his wardrobe from J.R. Ewing. Houston has all sorts of technological niceties at his fingertips, from a computer to a whirlybird. At least he has the good taste to not get caught up in the futuristic excesses of Michael Knight (David Hasselhoff), who, in Knight Rider (NBC, Fridays, 9 p.m. E.S.T), plays second banana to a talking black supercar...
...Knight Rider may demonstrate a certain brazen, even desperate, retooling of stock elements that have already become television cliches. Remington Steele (NBC, Fridays, 10 p.m. E.S.T.), on the face of it, hardly seems more promising. But on prolonged acquaintance, it shows every sign of being the brightest, freshest television caper since Columbo. Laura Holt (Stephanie Zimbalist) is an ambitious, adventure-hungry private eye whose phone never rang until she invented a partner who was, naturally, male (she got his name from marrying an electric shaver to a football team) and who would nominally solve all her cases. Clients flocked. Then...