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...just as funny as the ones on TV!--"is really just a sentence." In one episode, we meet Joe Mozian, a stay-at-home dad from Old Greenwich, Conn., who seems to have learned how to be a husband and father by watching THE KING OF QUEENS. A relentlessly manic overgrown kid, he opens the episode with the one line you never want a show about a pudgy white man to begin with: "Hey, want to hear the new rap I wrote?" The network brings in a professional comedy writer to observe the Mozians, and she quickly concludes...

Author: /time Magazine | Title: Attack Of The Killer B-List | 1/20/2003 | See Source »

Barris is still manic, running around his Upper East Side apartment trying to document the truth of his life, displayed in the photos of him with celebrities that hang everywhere. In one picture, taken during the period when, in the book and movie, he lived in a hotel as a hermit, he lies in a well-decorated party room watching a basketball game with John Cassavetes. "Peter Falk was in the bathroom," he explains...

Author: /time Magazine | Title: Lying to Tell the Truth: CHUCK BARRIS | 1/13/2003 | See Source »

...rich. Then, in 1948, the Tuesday-night Texaco Star Theater exploded like a shtick of nitro, with an assault of vaudeville skits, ancient gags and a man who often dressed as a woman. Suddenly everybody had to have a television--all because a middle-aged comic with manic energy and a desperate need to please was making a fool of himself, live, in America's living rooms. Subtle as a spray of seltzer, Berle dominated the young medium's ratings for years, at his peak winning 80% of the viewing audience. Eventually, TV grew up--anyway, it grew older...

Author: /time Magazine | Title: The People Who Left Us In 2002 | 12/30/2002 | See Source »

...ROLE Manic actor Peter Sellers, who played Inspector Clouseau in the Pink Panther films...

Author: /time Magazine | Title: People: Oct. 21, 2002 | 10/21/2002 | See Source »

Anderson, working for the fourth time with cinematographer Robert Elswit, uses Sandler’s flashes of animalism to great visual effect; the film’s most lyrical image is of a silhouetted Sandler charging down a dark city street with the manic panic of a rabid cheetah, his tie flapping behind him in hypnotic rhythm. Following through on the theme is composer Jon Brion, who delivers a stripped-down, percussion-heavy score that flowers into a harmonium-accented love theme whenever Lena crosses Barry’s path...

Author: By Benjamin J. Soskin, CRIMSON STAFF WRITER | Title: Love's Labors | 10/10/2002 | See Source »

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