Word: marge
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...fastest-growing cities in America. That may come as a surprise if you watch CSI (CBS, Thursdays, 9 p.m. E.T.), which kills off a few Sin City denizens each week in a fashion bizarre enough to interest America's newest favorite geeks: Gil Grissom (William Petersen), Catherine Willows (Marg Helgenberger) and their fellow crime-scene investigators--forensics wizards who can see a culprit in a speck of blood. Despite having a high-profile godfather in movie blockbuster-maker Jerry Bruckheimer, CSI made its debut in fall 2000 with little notice. In some recent weeks, though, the stylish crime show...
...victims of the terrorist attacks in New York and Washington. The Iranians - mostly young and middle class - held candles in the air and defiantly sang Iran's pre-revolutionary anthem as Mirdamad Street flickered in a sea of candlelight. Then, emboldened by growing numbers, they began to chant, "Marg bar terrorist (Death to terrorists...
Where Dragnet satisfied a yearning for incorruptible cops, CSI evinces a longing for incorruptible machines, "Just the facts, ma'am" taken to its logical extreme. The CSIS (led by William Petersen and Marg Helgenberger) are bland, undistinguished types, as if to indicate how secondary the human factor is in this fantasy world of justice by the numbers. When you're guilty on CSI, you're guilty all the way; the computer says so. There is no relativism, no my truth and your truth. It's science. It's nothing personal. And we never have to see the cases go through...
...Norma Rae Takes a Civil Action. (Her teary phone call alone will guarantee an Oscar nomination.) But does the film, written by Susannah Grant, have to be both heckling and truckling? Everyone in it has one job: to endure Erin's ballsy superiority. Real actresses, like Cherry Jones, Marg Helgenberger and Veanne Cox, must play victim or scapegoat as the star flashes her scalding stare, her money-shot smile...
...really, the end of the world is what "Purple Noon" brings to mind, a desperate era in which violent hatred and adoration amount to the same thing, where one person is interchangeable with any other, and most characters are, like Marg, the helpless victims of the machinations of stronger or more clever people. Yet "Purple Noon" never seems gloomy or disapproving of it's protagonists' mutual assured destruction. The potency of the film is undiluted by moralizing or even the sense that the story is being "told" from a certain point of view at all. The story of Philipe...