Word: soaped
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Dates: during 1980-1989
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American studies who could not make a dissertation of all that deserves to work for a living. As for De Lorean himself, there is an oversized, modern soap-opera quality about him (Who shot J.Z.?), enough at least to make us wonder where the plot hops next. All of which satisfies normal, healthy prurience, but hardly seems reason for De Lorean to have grasped the public imagination so strongly. The case is oddly troublesome, like a low buzzing in another room...
...Triffids. This is American everydaydom, the casual course of events. Alarmed, the mind skates hurriedly to the ifs: If Tylenol, why not aspirin? If drugs, why not food? October is the month for Halloween, after all. The razor blade in the apple? The lamb chops, the soap, the Pepsis? We already had an eyedrop scare. Hasn't the water tasted funny lately...
...analytic code for a type of humor she never defines, but which can be deduced to be the sober, questing, wistful quality in Allen that sends him harking after illusions. Likewise, the Take the Money and Run gag in which inept crook Virgil Stark well whittles a soap gun in jail, only to have it dissolve in the rain, becomes the officiated symbol of Allen's early humor, heavily based on such lively incongruities. To suggest a more subtle gagging which marked Allen's work from the earliest, there is The Moose (1965), a weird parable of hunting and anti...
...traditional curriculum, such as it was, virtually disintegrated during the campus upheavals of the 1960s, when millions of students demanded and won the right to get academic credit for studying whatever they pleased. There were courses in soap opera and witchcraft. Even more fundamental, and even more damaging, was the spread of the "egalitarian" notion that everybody was entitled to a college degree, and that it was undemocratic to base that degree on any differentiations of intellect or learning. "The idea that cosmetology is just as important as physics is still with us but is being challenged," says Curtis...
...alive!" So spoke Jimmy Porter, the cold, cauterizing antihero of John Osborne's 1956 play Look Back in Anger. And so might an American viewer today appraise the three major TV networks, where the individual voice tends to get lost in the Valium murmur of a hundred soap sellers, newscasters and tough private eyes. For the unique noise of a writer's whirring mind or an actor's seductive rhetoric, one could only turn in gratitude to PBS and its Great Performances and Theater in America series. Now there is another venue: cable. In their early years...