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.

“Everyday People”

"Everyday People" managed to trailblaze in two different ways -- it was one of the first pop hits to deal with the subject of racial harmony, and it utilized Larry Graham's "slap" technique on the bass guitar, which would soon be copied by countless other bassists. Graham once said about his pulsating style, "I'd never done that before … that's where the freedom of creativity came in for the band, that we'd be allowed to do that." In 1978, the song's line "Different strokes for different folks" would be borrowed for the title of the hit television show Diff'rent Strokes.