The major comedies of the 80s – – gave voice to misfits and social outcasts: suburban battlers and drag queens and plump downtrodden wallflowers all fell under their purview.
The comedies of the 2000s, in contrast, appear less interested in cultural politics and national identity, less significant, and less meaningful overall.
Our young people are increasingly AWOL, many times even enlisting in the enemy’s army.
It’s time to see what God has to say about romance: the who, what, when, where, why, and how of dating.
When the hero of the show and one of the antagonists have a romantic tone right out in the open, as opposed to Foe Romance Subtext.
The same concerns about getting rid of the dramatic tension that fuel Will They or Won't They? Easily overlaps with Villainesses Want Heroes and Trickster Girlfriend.
The home is the ultimate recruitment and training center for the Church. There is no doubt that the changes, of which Satan has surely been the instigator, have been extremely damaging to the Church and this nation.
The foundation of the home is marriage, and marriages in America are the result of our dating practices—practices which have been completely overhauled over the last several decades. It’s time to learn from those who came before us, whose courting practices created solid marriages and passionate Christians.
Personally, I like local comedies just fine, though I’m not naturally predisposed towards them and have only seen the better known ones. Throughout February and March, Down Under Flix will shine a light on thirteen Australian comedies, mostly from the 2000s.
The noughties were a curious period for local comedies, a decade that yielded some big successes – – rejoiced in their newly forged opportunity to present Australian identity on film (even when covertly attacking it, as per Barry Humphries’ work) and embraced the sex and the sauce thanks to the liberal attitudes and censorship of the time.