Word: sweets
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Dates: during 2000-2009
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...going to complain about the environment, you're not going to start with chocolate," she says. Of course, not everyone finds the sweet smell so enticing. Laura Jacobson, 22, who works about a mile east of the factory, says the chocolate odor can be foul in summer, when temperatures rise and "it mixes with the river smell. Ugh. It's nauseating," she groans...
WHAT SOUNDED LIKE A tasteless dating show--a squad of socially challenged nerds paired with intellectually challenged hotties--became TV's most sweet-hearted reality series. In the platonic pairings, the guys teach book smarts and the women teach their partners social skills while competing for a $250,000 purse. (A version with smart chicks and beefcake studs is in the works.) Both groups build confidence and learn what they have in common. It's a rare series that, by playing to stereotypes, ends up disproving them...
...makes for an even more refreshing and exhilarating program when it is featured. With sweeping satin dresses and glittering jewels, select members of RCS displayed a refinement of tone and maturity of timing in this small showcase, a performance matched only by their sound as an ensemble. After the sweet, yet eerie, intervals of Debussy’s “Beau Soir” (“Beautiful Night”), sung by Jaclyn B. Granick ’08, the first half of the evening ended with a feisty rendition of Brahms?...
...Searchlight Pictures Directed by Ol Parker 3 stars I’m always hesitant to trust movies that take their titles from the lyrics of popular songs. Mediocre romantic comedies especially have notoriously abused this trend with less-than thrilling results (“Sweet Home Alabama” comes to mind). Writer/director Ol Parker develops “Imagine Me & You” around the Turtles’s oldie “Happy Together.” Although borrowing lyrics is a standard fixture of romantic comedies, “Imagine” posits an unexpected love triangle...
...country music’s old-hands. Unfortunately, the transplant doesn’t take. It appears that Ms. Marshall was meant to be a city kitty, not a country cousin. Instead of her previous idiosyncratic and intensely appealing emotional girl-chants, here she turns in some faceless performances. Sweet, yes, but far too discreet. There’s little passion in her voice, and as a result, the tracks float by without distinguishing themselves. Part of the problem is Marshall’s slightly husky baritone. Within the structure of her higher-pitched and more rock-like previous work...