Word: screen
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Dates: during 1980-1989
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...Republic, commentators still cluck with disapproval each time the ads reappear, while candidates employ euphemisms to avoid using the N word. Television has made the strategy riskier. Because of the medium's power and unpredictable effects, candidates have been reluctant to use the small screen for political sallies. But the flurry of so-called comparative ads during last week's primary showed that restraint has been cast aside. The tone and character of much of the TV advertising for the rest of the primaries may be tough, accusatory, even mean...
...risk of stirring controversy, insurance executives have been perfectly forthright concerning their policies toward potential AIDS victims. Responding to a survey conducted by the Congressional Office of Technology Assessment, 51 of 61 insurance companies admitted that they screen or plan to screen health- insurance applicants for signs of the AIDS virus. Half the firms give blood tests for the presence of AIDS antibodies, a sign that the applicant could be stricken with the disease...
...Crimson power play unit--a middling sixth in the ECAC with a 20.6 percent efficiency rate--showed uncharacteristic poise with three minutes left in the opening period. Defenseman Josh Caplan took advantage of a screen and fired a shot from the point past Fletcher for a 2-1 Crimson advantage...
Worst of all, Julius' "voyage of discovery" is tortuously boring. Where Dorothy meets sympathetic souls on her way to Oz and shares adventures with them, Julius just keeps bumping into rock stars who stay on screen long enough to do quick, generally wooden cameos. Thus Julius meets Tom Waits, who plays Elmore's sleazy brother, for about five minutes, or long enough to get ripped off by him. Then Julius meets Dr. John, who plays Elmore's sleazy brother-in-law, for another five minutes and is again ripped off. Leon Redbone gets about six minutes as a silent Canadian...
...movies. Death's shadow dogged a boy's heels; responsibility came early, and guilt tagged along. Kids grew up faster, tougher, with fewer fantasies and more urgent everyday nightmares. In wartime or in uneasy peace, childhood was no romp in the meadows of innocence; the evidence is on the screen. Two top contenders for this week's Oscar nominations focus on English boys growing up during World War II. In Steven Spielberg's Empire of the Sun, a lad gets shanghaied into maturity at the cost of his old principles; in John Boorman's Hope and Glory, a boy finds...