Imagine a network news anchor getting pushed off his perch and forced to co-host a morning show featuring idiotic banter and – yikes! – cooking segments. That'll give you a taste of Morning Glory, a tart, terrific comedy that gives Harrison Ford his best and funniest role in years. The iconic Han Solo and Indiana Jones shows real comic chops as Mike Pomeroy, the news diva who resents slumming in the fields of TV fluff. Diane Keaton as Colleen Peck, his co-host on Daybreak, hates sharing her desk with this crab-ass. "Pompous – that's a new look for you," she deadpans just before they go on. Ford and Keaton are delicious together. But Morning Glory, winningly directed by Roger Michell (Notting Hill) from a savvy script by Aline Brosh McKenna (The Devil Wears Prada), loses momentum on a dutiful romance between Becky Fuller (a lively Rachel McAdams), the workaholic producer of Daybreak, and Adam Bennett (Patrick Wilson), a cute news guy. It's the backstage fireworks that sparkle. For ratings, Colleen will submit to an on-camera Pap smear. Mike drowns his disdain with cronies, played by Bob Schieffer, Chris Matthews and Morley Safer. Unlike Broadcast News and its daddy, Network, Morning Glory doesn't go for the jugular by attacking TV entertainment for reducing all of life to the common rubble of banality. You can see that in Ford's eyes as he delivers the film's most memorable laughs, the kind that stick in your throat.

“I Can See for Miles”

A foreboding accusation of lies and deception, "I Can See for Miles" was given a psychedelic hard-rock veneer by Pete Townshend's whiplash guitar riffs and Keith Moon's thundering drums. The song helped break the Who as stars in the United States, giving them a Top Ten hit in late 1967. "I swoon when I hear the sound," boasted Townshend in Rolling Stone. "The words, which aging senators have called 'drug oriented,' are about a jealous man with exceptionally good eyesight. Honest."