Vee

Episode 14 (Cricket): So this one introduces Stephen Macht as Karen's brother Joe. Macht, another in KL's long line of legendary character actors, who famously passed on or lost the role of Captain Picard on Star Trek: The Next Generation and is known to me best for his wonderfully insane turn in the hilariously silly Stephen King adaptation Graveyard Shift, where he plays a tyrannical mill foreman who is a Mainer by way of Jamaica by way of Scotland by way of Mars. Exhibit A: That being said, soap fans may know Macht better for his run on GH as Ric Lansing's scheming father Trevor, consigliere of the Zacchara family in the late 2000s. GH didn't get nearly as much use out of him as they could've, and soaps should still be using him today. Anyway: He's been around the block all over film and TV and is amazing, but is a bit wasted on KL thus far. Anyway, Val's old flame Rusty is played by another well-known character actor, Don Stroud, who I remember best from a very different role as one of the hapless priests in the original and terrible Amityville Horror. The moment with her and Rusty alone at the house when he surprises her is pregnant with tension, as Val seems uncomfortable and awkward re: Rusty's attentions but not entirely unwelcoming of them - perhaps because she's already begun sensing the undercurrents with Gary and Abby. Meanwhile, Gary is using supposed jealousy over Rusty as a way to defuse his own guilt (and Val's suspicion, perhaps) re: Abby. I also noted Lilimae condescending to Val's writerly ambitions in the opening scenes - ambitions which I know take fruit soon. The entire Cricket plotline was incredibly tedious despite a great performance by Don Stroud at the end, but I did love Laura once again having no time for bullshīt from anyone, anywhere, seeing through Cricket and instantly dismissing her. As soon as Laura got her job she went from being a wilting doormat to having a will of steel, but it's always felt organic, because it's always felt as though it was just below the surface of her once-expected role in life as Richard's little woman of the '70s while all the while she knew in her heart her husband was inadequate. The intellect was always there. What is smart about this episode's A-plot is that the writers tied Cricket being an orphan to Val's own pain over Lilimae turning her back on her, and had her invoke Gary's banishment from the Ewing fold. This justifies Val's commitment to Cricket, which thrillingly ended ASAP. But the resentment from Val to Lilimae is still very much there so far, week after week. Nice continuity - Olivia's broken arm getting hurt again. This is what I like with background neighborhood/family stuff (like Michael's ADD) being consistently carried over week to week, a la daytime soaps. Eric apparently does not want to go to college, which Uncle Joe talks him out of - Saint Sid would be rolling in his grave. And Eric's misbegotten attempt at a stache is back. Think twice, Eric! Episode 15 (Best Intentions): This one's again written by James Houghton (Grinnin' Kenny and future longtime Y&R scribe) as well as his sister Mona. It's very solid, with the Richard/Laura story culminating in her finally leaving him just as he once again gets his act together. But that's a cycle for Richard, as we now know - bad behavior due to bad circumstances in his own work life causing him to mistreat Laura at home, then an attempt to course-correct involving lovebombing, overbearing 'good' behavior, etc. We have seen Richard get his marriage on track before in mid-late Season 2 and IMO it was wonderful for awhile, but it didn't last because when things got bad at his new job he just took it all out on Laura and drove her away faster than ever before. Here, Laura tells him she's pregnant and he instantly moves to micromanaging their lives, something the matured Laura can't tolerate. And when abortion is mentioned, he hits her (and she's hit him before) - a terrible moment, but he's not hearing her afterwards, where she's clearly just done. Because he can't read Laura at all anymore, Richard remains convinced they're able to get back on track and he's ready to commit to bettering himself as a husband (which, again, he's done before). The scene with him and Karen is heartbreaking, as she watches him cycle through the best and worst of himself and back again in front of her eyes at their lunch table - watches him reexamine his bad behavior and critique himself honestly - but can't bring herself to tell him Laura is probably done with him anyway. And it's true, because he gets home and Laura is gone, which leads to the wonderful end shot of the episode with him sitting in the darkened kitchen next to an envelope left for him. They've done two quiet, slow shots pulling out on the Averys as their marriage disintegrates this season and both were wonderful. The tragedy is it didn't have to go this way if they'd both been a bit more open with each other earlier, and John Pleshette's performance is consistently both heartbreaking and unsparing for Richard while Constance McCashin is fully committed to Laura's integrity and evolution. This is apparently the last episode for my beloved Allan Miller as Scooter, where Laura tells him she wants to put the brakes on things but he has yet to be written out. I wonder how that'll happen. As for the equally important B-plot, Val's book is ready to roll. Abby seems to have decided it's a good way to crowbar her way into things with the Ewing marriage even more, by distracting Gary further as Val's star rises (on a book that is a roman a clef about the Ewing family, something that appears to have escaped Gary's notice but is likely to stir his ire). And hey, as Abby's mind often seems to work with these things thus far, if both people get something they want - Val gets published, Abby gets her husband - doesn't that all work out? The stuff with JVA and Shackelford as Gary is dismissive of her writing talent and she bristles at it was very good. He just can't seem to comprehend (yet) that his wife could have ambitions and drives akin to his rapidly-rediscovered own. We're cruising rapidly towards what I am apprised is a very strong home stretch for Season 3, following the next episode (Silver Shadows) which very few people seem to like. (I know @DRW50does so I will reserve judgment)

The last Joey was a terrible actor.

This seems like a (controversial) first. @DRW50 I wondered if @Errolmight have an article on this, but I can't remember if he does those for foreign soaps.

Here's a question: How insane or OOC would it be if Jack and Diane actually, legitimately got back together?

No, that's the dumbest tool in the book and is used constantly to excuse people sleeping around on soaps today. For the last 20+ years daytime soaps have increasingly shied away from making 'good' characters have affairs just because they want to fúck someone.

Nikolas has been made into an idiot, it's absolutely true. With Tyler in the role (and Coloma is capable of some of this though he's not as good an actor) he would play it partly the way it really is: Dirty, horny, and appealing to Nik's baser instincts, which he does have. The show is just playing Nikolas very stupidly, when Coloma first came on as Nikolas running a scheme. As we've said for years, almost no one on American soaps today [!@#$%^&*] or has an affair because they want to. There is always some idiot reason or trickery to try and absolve them to what is viewed by the network or shows as solely a puritanical, aging reactive audience. The last time I can remember it happening on GH, other than the Michael/Willow affair I don't care about - and which they've been sanctified for - and I guess Sonny and Carly fúcking behind Franco's back, is with Nikolas himself, and Elizabeth, which trashed the characters in the late 2000s because it was intended to.

Same here. Nikolas fùcking his son's scheming ex is a soap story as old as the hills.

On the one hand, DAYS has been leaning into its Black cast and audience over the last year (thanks in large part, I suspect, to Ron's fetish for '80s nostalgia via Jackee when he never bothered writing for Black characters much on either of his prior soaps) and that's fantastic and long overdue. Loretta Devine is a legend, and DAYS' place in the NBC/Peacock hierarchy seems to be ascending towards the streaming future in a way that no other daytime soap in America has managed to sustain. OTOH, the show is still a terrible mess creatively and it's a bit of an embarrassment.

In fairness, as I'm watching Season 3 the fractious tension is still there with Val all the way along, at least so far. She goes back and forth and is consistently less amused with her mother than anyone else.

Karen Allen did Animal House, Cruising and Raiders of the Lost Ark in rapid succession both right before and right after the Knots pilot, she was not coming back to TV.

Laura and the writers are high on their supply to say some shít like that. Ava is who she's always been - a high-toned mobbed-up bitch queen who came to town murdering people and leaving them to bleed out choking on their own blood. Nikolas (especially TC's Nikolas, who was much more about the intellect even at his worst moments vs. the recasts) likes her, likes her mind, likes her lust for power because he shares some of the same dark instincts she does. In being with Ava, an older, calculating partner, Nikolas has fully embraced the Cassadine aspect of himself, without having to apologize for it as he would with Emily or others. That's always been my take and it's always been who they are. When they try to mold these two into a romantic fantasy or largely heroic couple who good characters give acceptance to, the show is fooling itself; Nikolas and Ava are grey at best. And that's okay! That works for them, and they have had chemistry under two different Nikolases. But you are correct that Coloma's Nikolas has been made very stupid in the last year at least, and his merely decent skill is not enough to salvage it. If he wants to fùck Esme - as I knew he would - then he should just do it. Nikolas has embraced the shadow side by committing to life with Ava, and cheating on her with a young girl is just the next step.

I've said it before and I'll say it again: The only reason they don't bring back Hilary is to keep the Black storylines in their place. They know it would bringing her back the delicate balance of mediocrity, but they still want something 'like' Hilary so now you have this chick I don't care about.

tbh I think Season 3 has dragged midway through a bit just like Season 2 in the middle (both had strong starts), and hopefully will begin to pick up again just like S2 did. But I'm still very much enjoying.

This has been percolating for a month or two now online.

Episode 13 (Reunion): "Oh, cut the motherhood stuff, wouldja, Karen? It's a biological function, not a holy calling!" That's bold as hell for '82, and an amazing teaser. This week: The late, great Jessica Walter! Fairly fresh off Play Misty for Me but long before Arrested Development, fascinating to watch here as Karen's old college chum. Victoria's reactions to the cul-de-sac and Karen's neighbors were hilariously stricken, especially when she turned away from them to enter the house. The conversation between them over wine in the living room late at night is another great, deep beat of simple, soulful candor from Michele Lee - she seems to come up with these very real, very fresh moments episode after episode after episode and is always spellbinding to watch. Another fascinating moment in this episode is when Abby tries to work Gary on her plans for converting the dealership by turning on the charm, and he shuts her down completely: "Do you know what you're doing or does it just come so naturally to you, you don't realize you're doing it? Are you trying to be persuasive or seductive? You talk about a business venture as if it were a tryst. Your idea of being convincing is to stand very close and wet your lips. I'm getting a little tired of you thinking you can manipulate me by being sexy." This would not happen on basically any other primetime soap I am familiar with, especially with a man skating the edge of actually falling into bed with Abby. Gary knows what is there between them, knows it's real and still pushes back on her vs. what most men on soaps (at least primetime soaps, but often daytime as well) would do at this juncture, namely refuse to confront it and in doing so, become even more subject to her wiles. And the great capper on the scene: Abby: Gary. Do you want me to stop? Gary: I didn't say that. Does Claudia Lonow have any other volume and tone to her voice? Asking for a friend. There's a bit of a shock as we find Laura and Scooter finally in bed together in this episode - we didn't see them finally consummate things after many close calls, and it came as a surprise. And now of course she is pregnant. Welp. The bit where Abby comforts Eric who is clearly overcome and about to break down on the lawn next to the for sale sign is lovely, and I think people may overlook it assuming Abby is just happy to get Karen out of her life. Firstly because I don't think that's how Abby feels about Karen at this point; I think she does regard Karen as a moralizing irritant, but also cares for her because of their bond through Sid, just as Karen does the same for Abby, and I think she truly believes it's best for both herself and Karen for the move and sales of the business and house to happen. Secondly and most importantly, she's truly kind and encouraging to Eric, trying to buck him up as Steve Shaw seems very much on the verge of tears over potentially leaving the family home. Again, these facets to Abby are shades many soap bitch queens, especially those on primetime and especially in the '80s, simply are not given. A quick throwaway guffaw for me: Abby greeting Laura as she crosses the cul-de-sac to talk to Eric and Laura striding past without a word. It's not a studied moment or given any kind of beat or pause for the audience to process the snub, Constance McCashin simply keeps walking and the scene keeps going, which makes it so much funnier. The fashion show predictably descends into glorious camp as Jessica Walter immediately begins treating Karen like a serf, snapping 'if you can't take the heat, get back in the kitchen!' and then proceeds to slather hilarious, pretentious plot-relevant narration over the whole show as only she can. "Fashions that will live forever!" she crows as Ginger appears in a literal turban. "Young and hip, and out for fun!" And oh my God, Diana's outfit complete with Bolshevik cossack hat! And what is Laura wearing? Lilimae's beehive and subsequent fire mime prance? Olivia's Swiss Miss smock?! Sweet Christ. We're just lucky Eric and Michael didn't come out in chaps. "Dare to express your femininity in all its profusion!" Jessica howls. The blow-up between Karen and Victoria feels a bit kludged together in that I was not really feeling the beat about Victoria being childless and insecure about not having a family. I felt it was cliche and came a bit out of nowhere, but Walter sells the hell out of all of it and is a rare intense match for Michele Lee. I would like to see the character return, though I doubt she does. There's a brilliant essay on KL Season 3 here - one of many about various seasons - and I've only read part of it so far but I highly recommend it.

Episode 11 (Power Play): Karen: Abby is just Abby. Val: I know. Well, here we are. This episode is directed by legendary character actor Bill Duke (stone cold Mac in Predator, among many other classic films) who also is an impressive director in his own right, having shot a ton of TV including several eps of Knots but also films such as Deep Cover, Hoodlum and Sister Act 2. Let's refresh your memory! Abby invoking Sid to make Karen understand her ambition and drive was both strikingly modern for its time - the show again refusing to paint her as just a vixen and schemer - and poignant. I dunno why I thought Sid's engine was going to come back into this with the methanol story, but I could've sworn I read somewhere that it did. Shouldn't they be expecting a big payday from that if Abby did successfully swing a deal with J.R. on it last season? The look of gratification and triumph on Abby's face as Gary headed upstairs to pack for Mexico was animalistic. Fascinating also was how Val could see Gary's manic ambition rising - as she tells Lilimae, she's seen it before in their youth. He's supercharged by new enterprise, and it's a addictive drive for him: "If I were still a drinking man, I'd be smashed." It's intriguing to see the true depth of what drives Gary. Despite past humble promises to the contrary, even the black sheep Ewing can't truly imagine staying a 'wage slave' in Knots Landing, whereas for Val a happy suburban home and family is all she's ever dreamed of. Together, Gary and Abby are the rising '80s incarnate, where the simple post-'70s happy houses by the California dreamin' beachside of S1 and S2 are not enough. And Abby's exultant, quasi-sexual reaction to being together in their methanol still facility - 'feel it, Gary! I can feel it inside of me!' - feels genuine to her, not just calculated to seduce. We're welcomed inside the bones of these characters into what fuels them beyond simply sex and schemes against one another, unlike many primetime soaps. Richard warns Gary off Abby in a great little scene which, again, is deftly handled by Duke like many of the two-handers throughout this episode. Kenny's only worthwhile moment in this series thus far was his exchange with Lilimae about her music, and her brilliant response. Kenny: Lilimae, your voice is never gonna make it. Lilimae: [pause] So what's the bottom line? The encouraging reaction of Kenny's secretary when Lilimae shrugged off his criticism was equally hilarious, as was his reaction to seeing her among the backup singers. It's not lost on me that a Bill Duke-directed episode has several choice roles for Black actors, basically the first in the series that I can recall. Episode 12 (Possibilities): The dreaded Kenny and Ginger-centric episode (written by James Houghton himself) and it's actually not half bad! Ginger's voice (if that's Kim Lankford) is cute and her song was neat, Kim Lankford is winning when she sings, whereas Kenny continues his powerful streak of having the same 1-2 expressions and foul character beats for three seasons strong. Given his backstory, these days he's probably been cancelled faster than Dr. Luke. tbh though I think the whole thing with the Wards and the LA music scene is prime material for hot story, and it's crazy it's taken this long for the show to begin to take real advantage of it beyond tacky, dated single episode setpieces. (I know next season the Wards get involved with Lisa Hartman's Ciji, whose legend precedes her) I did like Lilimae at Kenny's office in the previous episode, stirring things up; it actually showed a comic faculty for James Houghton, much better known today for writing on daytime vs. his extremely banal acting. Anyway, it's fine for Kenny to fùck anything that moves but God forbid Ginger have a career beyond sort of volunteer kindergarten teacher and brood mare. Typical. I was glad Ginger put him in his place and told him he'd say anything to get his way, then told him to leave. And I did like the beat where Val mentions Lilimae abandoning her for her own musical dreams. The dating plot for Karen was solid enough. The moment where Eric asks Karen to make sure her date doesn't drive too fast was small and heartbreaking. I did like Karen's very strong, firm kiss-off of Charles after that rough dinner with the kids and all his overbearing behavior, but not too mean to what was otherwise a staid but decent guy. Putting Kenny with Lilimae again is cheating. Houghton works best in comedy when playing opposite people who can torment Kenny. The wonderful Knots Blogging site points out in their commentary on this ep that at this point in the series, contrary to where it began in S1 at the end of the '70s, all the women on the show have gone from being housewives to having either jobs, careers, or career aspirations percolating and growing from week to week. The slow, natural and timely change in the characters is earned, organic and exhilarating to watch unfold. I knew it was going to happen but not how or when, and I love seeing it. Even with Ginger! They're really gonna keep calling this baby a whole "Erin Molly," huh?

Is it me or is Imani basically Xerox Hilary?

Kruse is an attractive man and I am all for more frontburner AAPL representation on these shows, but putting aside his latest online drama he is thus far a C-player at best, and I am just not interested in watching the superior Trina recast be fobbed off on a side player to keep Frank's white teen female lead in the prime seat and to make Dubuque more comfortable. I think Ali's exceptional, I think she has great chemistry with Chavez and I think the course should be stayed on that popular romance, period. If they keep Kruse and he works out, he can develop separately. There's no reason Asian characters can't thrive on their own terms.

Death knell, dear.

JFP was dethroned as a showrunner when her GH run with Megan McTavish in 2001-2002, where they were in full control, tanked the show. Guza, who had quit/was fired due to creative clashes with previous EP Wendy Riche in 2000, only agreed to come back in '02 if he was given a co-producer credit and associated control/autonomy. All of JFP's favored leads fell by the wayside or were fired outright, and it was well known from then on in the 2000s that Guza had creative control just below Brian Frons, who believed Guza was the only writer who understood GH. After his battles with Riche, Guza was never going to be left stymied by an EP again. JFP was reduced to the show facilitator for Guza's stories and glorified line producer, and could no longer creatively control the show or its storylines. The only time JFP got her own vision back onscreen in full was during the 2008 writer's strike, when Guza was out of the building. Suddenly Rick Hearst had a frontburner story for the first time in aeons, as though he was back on Jill's GL circa 1993. This was all well known at the time, it's not some big secret.

Season 3, Ep 9 (The Rose and the Briar): Monkey's paw time for me: A Lilimae-centric episode, but it's really tiresome! Written by longtime Y&R, PC etc. scribe Scott Hamner, son of the legendary Earl Hamner who I clearly don't need to educate anyone on this forum about, this is not one of the show's best. The friction with Lilimae and Val continues, which is a strong thread at least - I LOLed at Val sliding down the wall, exasperated, as Lilimae once again strummed one of her cornpone songs. I worship Julie Harris but a little of Lilimae's songs goes a long way. I'm amazed she didn't get kicked off the bus to Vegas. The entire A-plot was a test in endurance for me, with the con artist and the overall silliness. I just couldn't be bothered, I prefer Harris and JVA digging into meatier material, or I'd prefer to see Lilimae mixing it up in the cul-de-sac and making mischief more. The Avery B-plot was far more interesting. Scooter was unusually aggressive with Laura about ending her marriage. And poor Richard, the company pimp. Things were going so well for the Averys so recently, and now it's a rapidly spiraling train wreck again. Rosemary Prinz is back! I do really like Val and Abby's friendship as two very different women here, though I know where it ends up. There's a fun moment where Karen twigs what Abby is up to with Gary, and the ending finally brings things a bit more focus after the incredibly irritating Lilimae/Jackson follies of the main plot as Val takes one look at Abby with her husband and can see it all coming - before blinking it away. Ep 10 (The Three Sisters): I've heard a lot about this one, and I was pretty excited for it. The ethereal pans across the empty house with the voice-over of our heroines was great stuff, sleekly shot and cut. The women of the ensemble all together as a unit clicked beautifully, even Ginger if you squint. The camerawork prowling around after them inside the haunted house at various crooked angles was brilliant work by Kim Friedman. And those creepy dolls! Let's not and say we did. The shot of Valene and the ghosts in the basement was pure horror movie, and the synthesized ghost voices were creepy stuff. It's such a bizarre episode but I would've liked them to continue a sort of Halloween tradition with eps like these (though I'm pretty sure this did not air at Halloween) - I have no idea if they did more like it. I was glad they tied it all back to Valene's core issues. Laura's dry wit and disengagement with the entire mess was great; she's looking for a commission. Karen's pragmatism was also refreshing in this environment; I loved her throwing up her hands in confused exasperation after Lilimae and Val both stuck by the ghost story at the end. And Abby slinking about getting off on it all was great. Playing the creepy lullaby over the end credits was wholly unnecessary. Props to Lorimar for that! I hear the season is about to kick back into high gear and I am more than ready. Any distraction is welcome after the past week in America.

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