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Given that 1983's "A Christmas Story" only continues to grow in popularity with each passing year, one of my favorite party tricks to use when a relative or friend is in the throes of TNT's annual 24-hour marathon of the heartwarming holiday comedy is explain how it and 1974's "Black Christmas" — a bitter, bleak, and uncompromising horror classic — were made by the same director, Bob Clark.

It's a fun bit of trivia because both movies are so diametrically opposed in tone, with each exploring very different facets of Christmastime. Yet when examined closely, "A Christmas Story" and "Black Christmas" have a surprising amount in common, with the films containing a streak of knowing cynicism when it comes to the trappings of the holiday.

As it turns out, this isn't by coincidence. While Clark was never really an auteur director, careening as he did between numerous genres and budgets, his...

Teresa Wright and Matt Damon in 'The Rainmaker' Teresa Wright: From Marlon Brando to Matt Damon (See preceding post: "Teresa Wright vs. Samuel Goldwyn: Nasty Falling Out.") "I'd rather have luck than brains!" Teresa Wright was quoted as saying in the early 1950s. That's understandable, considering her post-Samuel Goldwyn choice of movie roles, some of which may have seemed promising on paper.[1] Wright was Marlon Brando's first Hollywood leading lady, but that didn't help her to bounce back following the very public spat with her former boss. After all, The Men was released before Elia Kazan's film version of A Streetcar Named Desire turned Brando into a major international star. Chances are that good film offers were scarce. After Wright's brief 1950 comeback, for the third time in less than a decade she would be gone from the big screen for more than a year.

Neither of us is old enough to have been fooled by the Trojan Horse (see Wikipedia). But we each have been working in public television decades enough to remember the days when distribution was handled by physically transporting bulky 2-inch videotapes from station to station -- "bicycled" was the word -- and much of the broadcast day and night was devoted to blackboard lectures, string quartets and lessons in Japanese brush painting: The old educational television versions of reality TV.

Yet it also was a time of innovation and creativity. As the system evolved we saw bold experiments like Pbl - the Public Broadcasting Laboratory and Al Perlmutter's The Great American Dream Machine, each a predecessor to the commercial TV magazine shows 60 Minutes and 20/20. The TV Lab, jointly run by David Loxton at Wnet in New York and Fred Barzyk at Wgbh in Boston, nurtured and encouraged the first generation...