Khan

Now that is ironic as hell. Wasn't Lindsey the one who took those photos of Terry Lester's Jack and Brenda Dickson's Jill getting all hot and steamy in front of that roaring fire? The same photos that Kay later turned into a puzzle?

dp

I'd go along with bringing back Natalie Minardi Slater, except that it would mean BTG losing one of their most valuable writers, and at a time when they could use all the help they could get.

When I was a kid, I thought it was corny. Just as I thought "Little House on the Prairie" was corny. As I go kicking and screaming into my fifties, however, I've come to appreciate the feel-good message that Landon was trying to impart (even though I still think the werewolf episode was stupid, lol).

LOL!! I'll be fascinated to see who they pick to play Jonathan Smith and Mark Gordon. Like you said, @Spoon , Michael Landon and Victor French will be a tough duo to beat.

I was always glad to get a break from hearing "Hold on to Love." Oh, how I hated hearing that song. Reminded me so much of something John Williams uses in one of Steven Spielberg's movies.

The mop that stood in for comatose Laura served more purpose.

That's what happens when you de-fund Planned Parenthood.

All I can say is I'm glad they haven't hooked up Liz with Valentin (...yet).

Whenever I think of Ted Turner, what comes to mind is the controversy that sprang from his decision to "colorize" many classic films that he had acquired from the MGM library. (I think there was even an SNL sketch that had Turner, or an actor playing Turner, flossing his teeth with the original negative from "Gone with the Wind"?). IIRC, Turner argued that film colorization would allow stations to charge higher advertising rates and that younger audiences would be more inclined to watch films that weren't in black-and-white. Many from within the film industry decried his decision, calling it a form of vandalism. Eventually, Congress intervened and passed the National Film Preservation Act, which led to the creation of the National Film Registry, with the intent of preserving films in their original state.

Which is more than you could say for DYNASTY, I guess. That show could've ended one of their seasons with a nuclear blast and all it would've done was knock John Forsythe's toupee askew.

Random observation: a lot of characters died on this show. I mean A LOT. In fact, you could've renamed it FATAL CREST and it wouldn't have been a lie.

Morris Day and the Time would've been a bigger draw than that chick! And once again, I was like, "What the ever-lovin' [!@#$%^&*] does any of this have to do with the damn vineyards!"

IDK what made FC's producers think Dollar Store Vanity would lure the "Miami Vice" crowd, lol.

I love the angle on Lana Turner from over Ralph Bellamy's shoulder. Reminds me of classic Y&R. Thanks, @SoapDope78 !

That's how I'd write it - with the twist of Fake Cancer Girl and Chase sexing it up in front of Blinky.

BREAKING NEWS: Karen Valentine IN As B&B's New Beth Logan!

She would've been fantastic as Maggie, playing opposite Ron Hale as Roger.

That's why I tend to believe those on here who've said that Peggy, and not Holly, was the love of Roger's life, despite latter-day efforts to say otherwise.

My GL would center around almost too many families: the Bauers, the Reardons, the Spauldings and Chamberlains, the Lewises and Shaynes, the Marlers, Norrises and Thorpes. From everything that I've read, it seems like Stanley Norris and his family were a change of pace for the show. Before their arrival, GL was definitely a Midwestern soap, rooted in the middle class and not prone to telling stories about dysfunctional, real people who ended getting murdered.

I appreciated that moment as well. It kinda makes up for the fact that it's still a story about an angel who fell from grace (which isn't rewarded with a life here on Earth but eternity spent in The Other Place, lol).

The problem with DYNASTY, IMO, is that there comes a point in the show's run when the producers don't even PRETEND to tell stories anymore. It's just hours and hours of beautiful women and fey, young men tossing verbal grenades at each other in Nolan Miller originals. IOW, it's strictly for the drag queens. We should warn @vote4llama , though, that FR gets very weird toward the end. Like, Dr. John "Walk on Guilded Splinters" weird, lol. DALLAS, I think, appeals to anyone who loves epic storytelling, such as the Arthurian legends, or Tolkien's "Lord of the Rings" trilogy. Characters on DALLAS aren't so much characters as they are archetypes. If you want to enjoy the show, you have to go into it with that mindset, or else you won't understand its' appeal. You're welcome - and good luck if you ever get around to watching FC. I, myself, have tried so many times to watch it all the way through. I never make it.

That's where the trend of serializing primetime shows started, but I believe what kicked it into high gear and made it fashionable for the rest of the television was "Cheers." People were OBSESSED with Sam and Diane and whether or not they would get back together - even though S2 made it clear that the two together would never be anything but a total disaster - to the point where creators/EP's Glen and Les Charles have apologized for just about every other show on TV becoming serialized, lol. The whole "Ewings vs. Barnes" legacy always appealed to me. What didn't appeal to me, though, was how DALLAS ultimately was reduced to "J.R. vs. The Rest of the Free World," with J.R. coming out on top. Every. Single. Year. To me, that gets old (just as Blake and Alexis' constant fighting on DYNASTY always gets old). Yes. Jacobs' initial pitch to CBS was "Scenes from a Marriage" x 4. Michael Filerman, on the other hand, wanted to do "No Down Payment," a forgotten 1957 pot-boiler starring Joanne Woodward and Tony Randall that, if you watch it, bears a lot of similarities to early KL. As Jacobs often said, "I wanted to produce art, [MF] wanted to produce trash; and together, we made television." Same here. I love "Family." That show could cut so deep. From a creative or narrative standpoint, today's shows don't hold a candle to shows like "Family" or the MTM dramas from the late '70's and '80's. That's another issue I've always had with DALLAS: the women never are as important to the show and its' producers as the men are (except when Peter Dunne is producing, and then it's all dismissed as Pamela's dream). As someone who believes TV is, at heart, a women's medium, I find that level of misogyny to be very reductive, for lack of a better word. I've tried naming one FC storyline that I enjoyed from beginning to end...and I can't. For me, most FC stories either began well enough but soon went off the rails, or they started off badly and just got worse. If I watch the show at all, it's because of Jane Wyman, who had the good fortune to play an antagonist who, IMO, had more layers to her than either J.R. Ewing or Alexis Carrington Colby. You're not kidding, lol! I stayed up last night to watch some of it, in fact, and...words just fail me big time, it's so incredible. Like, am I nuts, or did Genele just show up to where Frank THINKS he's gonna dig up her sister/his wife's remains, and Genele's still in her NEGLIGEE - IN THE WOODS, Y'ALL! AND IN THE MIDDLE OF THE NIGHT! - as she teases Frank about where she actually buried poor Renee!? SAY WHAT!?!?!?!? Yeah, FC's last season ain't great TV, but it's great TRAINWRECK TV. Peter Dunne was very good at taking storylines that might've gone off the rails on other shows and basing them in character. Very rarely do I watch his stuff on KL or DALLAS and feel like I don't understand what the characters are doing or why. I still think FC made a big mistake in not doing more with Emma suddenly gaining control of the vineyards. Emma had always been the one trying to appeal to Angela's better angels. But, what if Emma surprises even herself, not only by being competent enough to run the vineyards, but by proving she had inherited her mother's deviousness as well; playing Richard, Michael Sharpe and Lance against each other as each tries to take Falcon Crest from her? Even Angela would've been like, "Gee, I didn't know the girl had it in her!"

I thought Chris Chapin's death was such an odd thing to happen at that point. You want to show that Carl Hutchins has reverted to his former self, so you kill off someone who hasn't been on the show since, what, '85? HUH??

Don't get me wrong, there wasn't a time throughout the '80's when I didn't love watching AMC. But I'd have to agree about 1990 (or whenever Agnes Nixon and Wisner Washam returned full-time to the writers' table) being a good place to start or restart. Between them and FMB, AMC seemed to get its' second wind. It's just a shame that it didn't last for long.