No one knows what effect the introduction of commercial fares will have on air travel in the former Soviet Union.

Shiel was caught between his desire to write high art and his need to produce more commercial fare.

With few exceptions, the '94 group have gravitated wholeheartedly toward highly commercial fare, rather than films of any critical importance.

One understands the need to satisfy a gamut of affiliated public stations, and to compete with popular commercial fare.

Senator Paterson reimbursed the developer for the highest available commercial fare.

Next we priced the commercial fare somewhere in the area of $2,000.

And he consistently dismissed the more naturalistic, commercial fare found on Broadway.

Just file the Asia trip under "source development," flip them a couple thousand to cover a token commercial fare, and kick back with the big boys.

Is it the fault of the studio system and its emphasis on high-paying, mind-numbing commercial fare?

No, obviously there needs to be a balance between what would be considered arthouse and more commercial fare.