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50 Movie Sibling Rivalries, Feature | Movies - Empire

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Then, in The Old Folks, Harvey applies to be a guard at the bank. Next, in The Typists, Carol and her co-workers live their lives in beat with their typewriters. Finally, in Movie Pantomime, Carol finds a friend at the movies, only he's disgusted with her. Guests Sammy Davis Jr. Then, in As the Stomach Turns, Carol is desperate for excitement but can't get her hair styled by the dresser. Guest Maggie Smith In The Ham Actor, three actors attempt to sabotage the others while also trying to impress a big-wig in the audience.

Then, in The Truck Drivers, two hard-nosed drivers prepare for life as divorced and single men. Finally, in Fight to the Finish, Carol and the gang pantomime the fight of the century. Cool, Harvey tries to teach Tim how to charm the ladies. Finally, in Call Me a Doctor, Vicki double-crosses her crook boyfriend, using a naive doctor. Then, in The Hollow Hero, Princess Vicki wants to marry a man who swallowed a grenade, much to her royal parents' dismay.

Then, in Kitchen Commercials, Carol and the gang perform a TV commercial parody about kitchen products. Next, in By the Time I Get to Phoenix, Carol tries to run away from her husband, but every form of transportation fails her. Then, in The Cafeteria, customers steal each other's seats in a crowded lunchroom. Then, in The D.

Finally, in I'll Do the Talking, Carol and Tim talk to each other and over each other, oblivious to what they other is saying. Wiggins, Carol plays a flighty secretary who learns to play blackjack. Then, in Beauty and the Stump, Tim complains about everything.

Wiggins, Carol covers for her boss by lying to his wife, only she turns his night out with the boys into a night out with the girls. Then, in The Guardians, Carol and Steve fake an argument so they won't be named the guardians of their friends' kids.

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Guest Madeline Kahn In The Family, Carol plays Eunice, who is determined to star in a local production, despite lacking the talent of her drama teacher.

Guest Sammy Davis Jr. In The Slave Ship, a carpetbagger stages a revolt against the tough gallery master. Then, in Do Not Disturb, a dog-tired Tim just wants to sleep, but his noisy neighbors fight next door. Finally, in The Comic, Carol cheers up her comedian husband by heckling him.

Wiggins, Carol plays a flighty secretary who can't use a door buzzer correctly. Then, in Medical Documentary, a starry-eyed doctor uses his patient to get famous.

Finally, in The Lift, Carol reunites with an old flame in a series of one-word exchanges. Then, in The Family, Eunice and Mama are mad after they attend the anniversary of her husband's co-worker. The show had a bit of an odd conclusion, as a sexual harassment lawsuit from Tisha Campbell resulted in her being absent through a good portion of the final season.

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You can sum it up in one short sentence: A pair of brothers live in Nantucket and operate a small, one-plane airline. In the vein of Cheers it was produced by the same peoplethe stories revolve around the colorful cast of characters who hang around the airport, such as cellist Helen Hackett or Italian-American stereotype Antonio V.

Scarpacci, amusingly played by Tony Shalhoub. The brothers, Joe and Brian Hackett, basically have the classic Abbott and Costello dynamic going, with Tim Daly playing the straight man and Steven Weber playing his free-wheeling, womanizing foil. It offered a little something for everyone—kids liked the silly voices and characters of Joey, women liked the beefcake that was John Stamos, and families liked the cute kids, especially Michelle, who was turned into a marketing empire by Mary-Kate and Ashley Olsen.

The single biggest heel turn in history took place July 6, when Hulk Hogan did the unthinkable and became a villain, forming the New World Order in WCW and ushering in several of the most exciting, over-the-top and influential years the wrestling world has ever seen. Scheider was particularly unhappy about the direction the show was heading and stepped down before the third season, which was oddly set 10 years further into the future.

The Legendary Journeys Years: This syndicated show was some truly excellent TV comfort food—put it on in the background and devote roughly 25 percent of your attention to it while doing something more important. Plots were minimalistic, but the action was cheesy and fun, although somehow still less over the top than say, Walker, Texas Ranger.

Check your brain at the door and let 30 minutes roll by. The Animated Series Years: As a Saturday morning cartoon it was only mildly successful before blossoming into a cult hit on Comedy Central re-runs.

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The subsequent live-action series returned to Fox but ran for only nine episodes, proving that The Tick was probably best left to a more colorful atmosphere. Nelson, as later evidenced by The Incredibles, was pretty much born to be the harried father. Like any of these shows, you had yourself a few goofball comic relief characters who existed just to give out-of-nowhere monologues like this one.

I mean, just look at the absurdity of the fourth wall-breaking going on here. But still, genocide is a rough way to end a sitcom. The Magic School Bus Years: Frizzle has what, eight or nine kids in her class, tops, right? Is it safe to assume that all the other students were say, eaten by dinosaurs while time traveling or absorbed by white blood cells while fighting viruses inside Ralphie? I just found myself wondering if their parents ever had to sign any permission slips for their children to be exploring deep space or the interior of an active volcano.

Space Ghost Coast to Coast Years: A rather brilliant parody of both late-night TV talk shows and radio programs in the vein of Coast to Coast A. A rare example of a series that carried out the exact number of seasons five it initially planned, it was as such well-planned from the start and featured deep continuity.

Compared to the various Star Trek series of the decade, it most closely resembled Deep Space Nine, which aired its pilot only weeks before Babylon 5 debuted. Unsurprisingly, there were myriad accusations out there of which show had the more original idea, but despite lacking the prestige of the Star Trek name, Babylon 5 more than managed to hold its own.

Katz, Professional Therapist Years: Katz is a pretty lazy one—a crudely drawn psychiatrist listens to a procession of stand-up comedians do their typical material and offers his professional opinion. Katz ends up being fleshed out pretty well as a stressed but well-intentioned guy who is legitimately trying to help his patients. Most importantly, the show gave early exposure to plenty of significant comedians, including Louie C.

Voyager has a particularly cool initial premise—after a freak accident, the ship is stranded 75, light years from home, and even with access to warp drive, its crew is facing an estimated year trip to friendly space. This essentially gave the writers a blank check to embrace any part of the Star Trek mythos they wanted, because any time a new alien species was introduced it was always simply a denizen of the uncharted space lanes where they were traveling.

Likewise, there was always a driving plot point available in their quest to get home—how will the crew try to shorten the journey or take a short cut this week? Unlike so many other Star Trek series that were about exploration, this one was the inverse—exploration gone awry. The show really had a lot going for it—Jon Lovitz was perfect in the role, and it was a completely fresh take on a career that few had ever put a comic spin on before.

Today, the character is probably remembered for his Simpsons crossover as much as anything, but for a few years The Critic was as funny as anything on TV.

It received an absurd 83 Emmy nominations throughout its run, and each of the four main stars won an individual Emmy, making it one of only three sitcoms to achieve that feat. Saved by the Bell Years: As a central character, Zack Morris is like a slightly preppier version of Ferris Bueller, a schemer and philanderer with no shortage of friends. Slater or weirdo geek Screech Powers. One of the nice things about Saved by the Bell is that it felt like a truly ensemble comedy—everybody got their little moments to shine with regularity, except perhaps for Tiffani Amber Thiessen, who was mostly there to be the archetypal idea of hotness.

Its fatalism was deep, dark and often hilarious, and one got the sense that few shows have ever actually captured the zeitgeist of their subjects more accurately.

Running back to back with Murphy Brown for CBS during much of its run, it was thematically similar in its strong, opinionated female characters. The Drew Carey Show Years: Warrior Princess was certainly a deeper show than Hercules: Lucy Lawless was the main reason why, a certifiable badass with an awesome, chakram-like weapon that seemed to delight in defying every known law of motion. Also remembered for giving birth to Pinky and the Brain as supporting characters, Animaniacs functioned as a sketch show of sorts, with segments that touched on the legacy of cartooning, reveled in slapstick violence or were simply absurd for the sake of absurd—it was hard to ever know what you were going to get.

The songs are the undeniable highlight, startlingly brilliant in their conception and performed with deftness by all three voice actors. It might sound like something out of the American Pie years, but this is John Hughes in his directorial debut at the beginning of a heck of a run.

Ringwald cemented a working relationship with the director that later brought the world The Breakfast Club and albeit only Hughes-scripted Pretty In Pink. All driven back into the maternal nest by various crises, they lick their wounds and find a renewed sense of family as they forgive their errant father for past misdemeanours and consider starting a relationship in the case of the adopted Margot and Richie, at least. The rivalry, ironically, is best given voice by clan outsider Eli Cash Owen Wilsonwho always wanted to be one of the Tenenbaums and never quite managed it.

Having a family is hard enough when you only see them semi-regularly.

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But when your brother is attached to you at all times, your differing interests can really put a strain on the relationship. The other becomes President of the United States of America. The rivalry here is mostly off-screen, but it boils down to this: There are only three tiny problems: Of course, Sharaman should have known all along.

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A retelling of the Cain and Abel story, this is fraternal friction on a Biblical level. The stress leads to Adam suffering a stroke, which actually helps knit the family back together. The tension onscreen was created partly through director Elia Kazan encouraging Dean to get drunk for emotional moments, which led to the actor provoking Massey so the father-son conflict had more spark to it.

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This is a Woody Allen film, so here is the sort of sibling relationship that involves a lot of talking and hand-waving rather than the sort that devolves into violence.

That support holds even when she gets pulled into their tangled weave via her philandering husband. In adulthood, this lost brother, Philippe, is stuffed into an iron mask so no-one will see his similarity to the King.

While his brother gets to cut a swathe through the noblewomen of Europe, live in luxury and generally be the King, he is given a permanent ferrous facial and packed off to prison.

But can our hero prove the foul deed? They abandon him on the side of a road. Technically, this is not a sibling relationship at all, but the way in which David is dealt with here serves as a microcosm of many family battles: It all ends tragically for David, abandoned by the woman he considers his mother when she chooses her real son over the robot boy.

The heart-rending ending envisaged by Kubrick and not Spielberg sees David briefly reunited with his mother and finally given his own moment of family love. Dead Ringer finds Edith murdering Margaret and assuming her rich life — so the same basic idea.

Davis seems to have an affinity for playing twins, doing it twice to acclaim. As if mirroring the leads, these two films also have near-identical plots — how thematic!

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Which sibling is your favourite in A Stolen Life? Which sibling is your favourite in Dead Ringer? Akira Kurosawa didn't precisely intend to re-imagine King Lear here - he was inspired by a real slice of Japanese history - but the results were much the same. After his father decides to divvy up his kingdom between his three sons, it turns out that youngest son Saburo was right to denounce it as a bad idea, and the kingdom soon dissolves into war and chaos.

Their father Walter Larry Miller has hit upon a genius idea to stave off teen pregnancy: But then Kat meets the rebellious, charming Patrick Verona the late, lamented Heath Ledger, who could fill lakes with his buckets of charm here and everything takes a turn for the flirtatious.

And terrify a father… Which sibling is your favourite? Once, this pair were inseparable, racing their chariots around the half-built temple and having a merry old time.

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Then Moses learns the truth of his ancestry, accidentally kills an Egyptian guard and runs away into the desert to become a shepherd.

Rameses has different ideas about letting his entire slave population bugger off, and so the stage is set for a quite-literally Biblical confrontation. But what happens when he dies? Robert Redford proved himself as a director with his very first time behind the camera. Cue agony, scalpings, grief, an ill-advised marriage between Susannah and Alfred, guilt, bootlegging and a fight with a bear.

Who will survive, and what will be left of them? This episode is more historically based, however. Richard becomes King but dies young; Geoffrey pre-deceases him, and John eventually takes the throne to Robin Hood-bothering effect. Will these two ever reconcile?