Word: soaping
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Dates: during 2000-2009
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...Kiss Me Kate and Seven Brides for Seven Brothers. Keel rocketed to stardom as sharpshooter Frank Butler in Annie Get Your Gun, the first of a string of musicals he made for MGM. In 1981 he landed the role of oil-rich widower Clayton Farlow on the nighttime TV soap Dallas...
...floor plans, daily schedules and sartorial options. Food turns into a fascinating preoccupation throughout the book, with frequent asides on the exact menu of prison meals, as well as coveted snacks and sweets. Hanawa also introduces memorable characters, such as the Momma's boy, a neatnick who "holds the soap dish with his pinky extended." Hanawa recreates this alien world with laser-like detail, bringing us right into the very mindset of a prisoner. Astonishingly, he has done so completely from memory, having been prevented from drawing while in prison. Displaying the greatest artistic versatility of the nouvelle manga group...
Little more than a month later, ABC had two brand-new Top 10 dramas--both textbook examples of what viewers in the CSI era supposedly don't want to watch. Lost, an X-Files-like supernatural chiller about plane-crash survivors on a spooky island, and Desperate Housewives, a soap about lust and secrets in upscale suburbia, are stories with complicated serial plots that viewers have to follow closely. And they're following gladly...
Desperate Housewives is an even bigger hit. One week it outdrew CSI in the coveted 18-to-49 viewer-age category. But creator Marc Cherry's dark-comic soap was rejected by six networks before ABC bought it. Cherry actually describes himself as a big fan of the CSI and L&O franchises--at least, until they each hit their second spin-off. "Certainly," he says, "ABC's experiment with Who Wants to Be a Millionaire taught everyone something about killing the goose who lays the golden...
...whining falsetto, a trend that holds up throughout the disc. This tendency toward wild fluctuations gives an effect of purposely pathetic overextension (see the absurd choir-boy-to-demon shift in “Among Dreams”), as if he’s playing every part in a soap opera. He’s shooting for the platonic ideals of theme songs and television commercials, and hitting upon something far darker. In fact darkness is the only real unity, other than production values, that holds the disc together. Most every track is saturated with ghostly echoes and reverb, making...