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'Revenge' is a shameless soap in the style of Eighties shoulder-pad slap-offs like 'Dallas,' 'Dynasty' and 'Falcon Crest.' Yet there's no wink-wink camp.

Rob Sheffield

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Rob Sheffield
Age: 58
Born: 1966
Born: February 2
Journalist
Music Critic
Writer
the United States of America
Robert James Sheffield
Camps
Shameless
Revenge
Pads
Shoulders
Dallas
Offs
Style
Slap
Crest
Like
Camp
Wink
Eighty
Falcon
Soap
Eighties
Shoulder
Dynasty

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Anyone watching '30 Rock' always knew Tina Fey was playing a fictionalized version of herself, a workaholic comedy writer who also plays one on TV. She's the boss Liz Lemon just works here.
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It's always that one song that gets to you. You can hide, but the song comes to find you.
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The hungry feeling and the lonely feeling merged until it was hard to tell them apart.
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Donna Summer would be remembered as a ground-breaking artist today even if she'd retired the day after she recorded 'I Feel Love' in 1977.
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Our amour fou with 'The Sopranos' is headed for long-term parking, like so many of its most memorable characters. We'll never see a show like this again.
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When I started out as a music journalist, at the end of the 1980s, it was generally assumed that we were living through the lamest music era the world would ever see. But those were also the years when hip-hop exploded, beatbox disco soared, indie rock took off, and new wave invented a language of teen angst.
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It was bewildering and humbling to keep discovering how many brave things people can fail to talk themselves out of doing.
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Every moment of my life has a soundtrack, so I never know when some song is going to jump me by surprise and bring the memory alive.
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Morrissey was my Mrs. Garrett, the house mother from the Facts of Life, a soothing adult figure giving me words of wisdom.
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Every American wants a clean slate, but nobody wants to lose what they've got.
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But the rhythm of the mix tape is the rhythm of romance, the analog hum of a physical connection between two sloppy, human bodies.
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When you stick a song on a tape, you set it free.
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But MTV relishes its vestigial role as a star maker, so every year it puts all its clout into making the VMAs the biggest, splashiest, loudest show-biz extravaganza of the year, honoring all this music for existing, after a year of paying barely any attention to it.
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On 'Idol,' Steven Tyler will be sitting at a table with two other judges, and part of his job will be keeping his yap zipped while they talk. This makes no sense at all, since Tyler has zero yap-zipping skills.
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I get sentimental over the music of the ’90s. Deplorable, really. But I love it all. As far as I’m concerned the ’90s was the best era for music ever, even the stuff that I loathed at the time, even the stuff that gave me stomach cramps.
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'The Sopranos' gets praised as novelistic, but it follows the most banal of life patterns, showing the sheer tedium of being a mobster. It has dead spots, boring plotlines, weak episodes. Characters develop slowly, or don't. Like viewers, a gangster might get bored, fade out of the action, then come back to find none of his debts forgotten.
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One nice thing about growing up Catholic is it makes you open-minded about other people's religions, since ours is nuttier than yours.
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Every mix tape tells a story. Put them together, and they add up to the story of life.
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Hometown Aerosmith fans are different from other Aerosmith fans, and that mainly has to do with Joe Perry. It's tough to overstate his strange grip on the local psyche. Tyler is a star who belongs to the whole world, but Perry, that dude belongs to Boston.
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At an incredibly divisive point in pop history, Donna Summer managed to create an undeniable across-the-board experience of mass pleasure - after 'Bad Girls,' nobody ever tried claiming disco sucked again. It set the template for what Michael Jackson would do a few months later with 'Off The Wall.'
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