FrenchBug82

Those spoilers confuse me. Why is there a storyline between Li and Sheila? If Finn is dead, well, yeah she will "never be a mother" to him. Why is Steffy keeping Sheila's secret? Is FInn really dead?

It is not even a twist by any definition of the word. So no, I would bet that's not the twist they are hyping. Now whether it is a good thing on the merits... No.

Ya'll called it.

I sometimes feel headwriters should be given orientation with some very basic rules of soap writing when they start. Stuff that is so obvious to us fans who have been watching for decades and have seen writers make the same mistakes over and over and that should be obvious to anyone with just a bit of common sense but that clearly ego and "creativity" make HW lose sight of. Some things like: Don't introduce a whole bunch of new characters at once and place them front and center. Etc. One of the golden rules that should be so obvious and clearly isn't: if you have to change a basic fact about a character in order to fit them into your story, the problem is with the story, not the character. We know very little about Nate because he has been dreadfully underwritten. And one of the few immutable facts about him - he is a doctor in the footsteps of his mom - is now changed on a whim and Griffith is explicitly boasting that he is doing that to fit his vision for the show, rather than even come up with a lame character-based excuse. There is the incompentence AND whatever it says - either that he feels so secure in his job that he is feeling his oats or that he is that delusional - that he is so comfortable openly telling us he is changing the entire career of a character, just because.

I am confused about this. You are not saying she is only staying a couple of months, right? It is just that by the time he gave the interview they had already filmed two months worth of her return?

I haven't seen today yet but I have to really commend JMW for her acting yesterday. The cliffhanger is her telling Sheila she will never have a place in their lives ever after Steffy tells everyone but at the very last ten seconds JMW very subtly changes her face to determination to a fleeting hint of hesitation/doubt/fear and it was brief but really good.

Sharon does need a story that does not involve a man or lead to a man. It is amazing that she still has a lot of goodwill among the audience considering how consistently awful the writing for her has been since, basically, forever.

This. So much this.

Personally I don't mind people using the Days Thread to talk about whatever they want Days-related, be it old storylines, Marlena fanfic or Zach's facial hair, but from a keeping-things-on-topic POV, it does seem we are getting close to the point where a Zach Tinker Appreciation Thread is warranted

Funny how such a little thing can have such an impact on how a moment on-screen feels. A reminder that modern-day failings are not just down to the writers. Also: I will never prove it but the fact Diane *already* came out to Jack is for me another clue that she was a last minute addition to a story they were already planning to tell and didn't get whoever it was they wanted for. They shoehorned her into something else. Why did she need to buy Keemo's house? There is no evil plan there. If she was just going to come out, she could have knocked on his door. She knows where he lives.

I couldn't care less about 99.99% of these YouTuber videos, especially when it is just folks talking about things but I gotta say I would watch a reel of these YouTubers trying to find the "right" dramatic pose for their thumbnail.

Listen, I want Nick and Sharon to be the endgame. But they need a good decade without attempt at rekindling their relationship again. Give them other things to do. Make us miss them. Nick alternating girl-Sharon-Phyllis-Sharon-girl-Phyllis etc is tiresome at this point.

It is insane because she has never done anything remotely comparable. Worst she did is stealing Victor's sperm and lie quite a bit. Hardly murderer.

OK I haven't watched the episode yet so I guess I withdraw my criticism although in my defense, you know what I just said applied to similar situations in the past.

And if you want to confront her for some reason, TELL THE SECRET TO SOMEONE first not to give her an incentive that "if only you were gone, noone would know". Shout it from the rooftops first.

Remember what I was saying about me being worried about how they'd write Diane this time around based on the misguided way they advertised her return? And now we are speculating Diane is a *killer*? Diane is an antagonist but not a villain or a crazy Patty-style stalker. If they are going to go in that direction I'd rather she had stayed dead.

And they drive their own cars! I remember reading once that Dallas had trouble in Japan because they Japanese picked up on that and had trouble investing in them being rich if they didn't live like it. Another thing Falcon Crest did right - and it is funny how many fundamental elements it got right while being weaker overall - is presenting wealth in a believable manner, unlike Dallas, but at a level that is not completely unrelatable like Dynasty.

As interested in watching those scenes I am, Jack calling her FULL NAME just takes me out of the moment so much. Wouldn't him saying "Diane" not have been enough? If the audience doesn't know who Diane is, they won't know who "Diane Jenkins" is either. So why write this extremely unnatural piece of dialogue this way? It is small but it is one of these myriad little ways in which soaps could better themselves by not working from the assumption the audience needs everything spelled out.

If I recall, Connor was being a little drama queen so Chelsea moved in with Adam to help him together and Nick wasn't into it and her being pulled back into Adam's orbit (sounds familiar?) so he broke it off. And while it hasn't worked out with Sharon who I have long wanted to be paired with a non-Newman relative, Nick needs to date a completely new woman that has no ties to Sharon, Phyllis, Adam or Victor. Those characters are going in circles and the whole brothers-sharing-woman thing is soooo tired when it keeps happening.

That infamous scene where Angela comes back home to find Richard slouching on a chair on the veranda after she told him she was his mother and says "I am glad you don't believe me". I always thought that looked more like a set than it usually did (spacious). I could be wrong Thing is while I believe they did, I don't recall any imagery that made you go "Yep, Dallas". I recall scenes in the downtown streets but that could have literally any US downtown. And the outdoor scenes could have been shot anywhere. There was nothing Texas, let alone Dallas about them besides actors dressed as cowboys - and even that was just about anywhere in the West. There are a huge deal of scenes at recognizable landmarks and specific Napa Valley locales and generally shots of the Valley that were unmistakable (for a local which I am) Napa and San Francisco in Falcon Crest. Dallas had more of an local identity than Knots Landing or Dynasty did but FC still had them beat by a mile.

That is one of my favorite thing about Falcon Crest - and I find it so striking as I watch some old episodes on IMDBTV. Falcon Crest was a considerably more a celebration of its location than Dallas ever was, despite the fact the latter was named for the town. So many pretty backgrounds and a real sense of place beyond the cliche. Dallas relied a bit too much on the stereotypes for me. From what I read they would shoot by block: they would shoot interior scenes for 6 episodes, fk=ly up to Napa to shoot exteriors for 6 while the next 6 are written and then shoot the exteriors for those and then back to LA to shoot interiors for the latter 6. And one of the many things S8 and 9 did wrong is that they were entirely shot in LA.

As I said, I am not talking about the merits of the story, simply making a cold-eye point about why writers write what they write. I am not comparing which story is more or less stupid on-screen. I am saying I understood WHY the writers chanced it with Shadam because of the chemistry and I don't understand what they think Chelsea/Rey is bringing to the table. What's the potential payoff there? There is not even chemistry. So... why?

What a treasure to share. I am fascinated by the choice of font.

Listen, the show pairing characters that should really not be together is an age-old tradition. Christine/Michael was considerably viler. BUT at least SC and MM had really fantastic chemistry as Sharon and Adam. A lot of people still felt strongly against it but it at least made sense based on the chemistry that they went there What could they possibly have seen in Rey/Chelsea that would make it make sense for them to character-assassinate Rey to pair them together? There is nothing. No interesting story potential, no chemistry, nothing.

Again, I hear why others are thinking this way but I feel the same as you do. It would make more sense this way since JMW is leaving soon for her barely-hidden pregnancy. Also so much more drama would come out of Steffy being, say, in a coma because Sheila would be desperate for Finn not to find out she did something to his wife. Etc. I don't think Finn will be around in five years but I'd be surprised if he is killed off so soon - heck I'd be surprised if they make Sheila do something so drastic as murder so soon since it closes off her return pretty quickly when it has been well-received so far and has a lot more potential in it. Yes, it is true that B&B sometimes invests a lot in a story and then wraps it up incredibly quickly but I would be floored if they did that here. But on the other hand maybe Bell was so excited about his new shining object in the "twist" that is also imminent that he was in a rush to wrap up the previous story. I don't know...