Khan

With all due respect, @chrisml, I'd have to disagree. I loved both "Sisters" and "thirtysomething," but as far as the writing goes, I never thought "Sisters" was in the same class as "thirtysomething" (or "My So-Called Life" or "Once and Again"). To me, it's like the difference between "Family" and early KL. Again, I loved both shows, but I don't think early KL was on the same level as "Family."

This reminds me of the time when one of the other members at my mom's former church printed a quote from Nietzsche in the program for some church-related event (can't remember which atm). Of course, the difference here is that Sister Patrice was just ignorant as hell, lol.

I've noticed they even tried to make a big deal out of his brother being an alleged Trump supporter, which is country-ass dumb, frankly, because who doesn't have a MAGAt or two in their family at this point? My take: the GOP and the MSM know that Walz appeals to a lot of older, white constituents who'd otherwise vote third party/independent, or for Trump, or would stay home, so they're doing all they can to take that advantage away from the Democrats.

I hate Leslie Moonves for a lot of things, but I really hate how he (among other creeps) screwed her out of a career in primetime.

Something I've said about every project that the Lechowicks were involved with. I'd really love to know what their thought processes were whenever they were casting for one of their shows, lol.

Obviously, if I were rebooting DYNASTY today, I'd lean hard into making Steven a sexually fluid character, with both male and female love interests. Just as I'd give Fallon a sort of "daddy complex" that compels her to pursue much older men.

Sela Ward definitely made the right decision in choosing Teddy over Frankie. Not only did she win the Emmy, but her career really took off because of that role.

The fact is, there were millions who supported Adolf Hitler and the Nazi party and they were - pardon the pun - dead wrong. In the end, the NYT (and the rest of the MSM) have an obligation to nothing and no one except the truth. Point blank, period, end of discussion, thanks for stopping by.

"The Drew Carey Show" at number one? WTF?? I'd like to think that David Jacobs (RIP) would be delighted to see his baby become a hit again all these years later.

Re-airing the episode where Kristina loses the baby on LABOR Day? Well, GH, that's certainly a choice!

ICAM!

In retrospect, I should have attended an HBCU after graduating from high school.

TBH, I don't think OLTL ever found the right actor to play Joey or Kevin.

For sure, Larry Hagman/J.R. could have returned after DALLAS was finished. They didn't even need to address the fact that Bobby was still alive on the mothership! And if I've said it once, I've said it a thousand times: J.R. returning to Knots Landing and asking Val to co-write/ghost write his memoirs is a story that writes itself, lol.

I am as well. IIRC, he left for "ER," so - like you said, @chrisml - he was leaving, no matter what.

Say whatever you like about Tim Walz and his (not exaggerated) military record, but you'd never catch him creating a national incident at our nation's most revered burial place for veterans!

Exactly. She left her first husband, because she was tired of being a PTA mom who sat and clipped coupons all afternoon while her husband went off to work and controlled everything. What she saw in Gary - aside from the Ewing name and the millions he stood to receive - was the potential to be big fishes in a very big pond. But I loved the fact that Abby had some kind of business/accounting background that accounted for her ability to move up the corporate ladder. A far, far cry from Paige, whose ascendance at the Sumner Group (and at a relatively early age) remains a mystery to me. Abby would have HATED having to start over, but she'd know that she had what it took. Like she famously intimated to Paige, Abby knew how to survive without a trust fund.

Seriously, why do some folks hate LW so f'ing much? I mean, she's not exactly one of my faves, but I swear - reading this stuff in regards to her and KM's dismissal - there are peeps just waiting for the opportunity to shiv her in public.

Whose idea was it to give Jackie Mason his own situation comedy anyway?

Of course, I absolutely think you're correct in that Abby had strong ties to all of the original characters...but I also see DM's POV as well. Not that a (used?) car dealership can't provide grist for the conflict mill - if you can wrench drama from a real estate contest (hi, "Glengarry Glen Ross"!), you can wrench drama from anything - but on the face of things, a setting like Knots Landing Motors isn't glamorous as Ewing Oil, or the Channing/Gioberti vineyards, or even that ad agency on "Melrose Place" that no business in its' right mind should have hired. For the most part, the Lechowicks maintain that balance - expect to hear and see a lot of scenes of parents dropping off/picking up their kids from school or daycare! - but as with everything else, the motives are different. When Ann Marcus or Peter Dunne write those slice-of-life moments, it's to reveal character. When the Lechowicks do it, it's to push along the plot. She's not wrong. As a matter of fact, I could see Karen and Val watching "Desperate Housewives" and laughing at how absurd it all is without ever realizing the irony, lol. IMO, it was harder to keep Abby human, because Abby had accomplished what she'd set out to do, which was to have power. Once you have power, what else is there to do but to acquire more power; and in order to do that, you have to go over and above what you've done before. At a certain point, you stop rooting for someone like Abby. Instead, you're rooting for her to fail.

Kinda...puts the whole "dead baby bear" scandal in perspective.

The implication that she lied about working at McDonald's is peak human stupidity. I mean, who would lie about working at McD's, lol?

Ain't that the g-ddamn truth! Even my onn Roku TV that I bought at Walmart is better than Vizio, which exists solely to [!@#$%^&*] with people, lol. You're not wrong. Subsequent seasons have their moments, but nothing matches the brilliance of S6, or the Peter Dunne-produced seasons in general. In a perfect world, Dunne, and not Ann Marcus, would have been asked to return and fix the show at the end of S13 (and I say that as one who thinks Marcus did a better-than-expected job). What Greg Sumner/William Devane's introduction does for KL - besides beef up their male presence in order to compete with "Hill Street Blues" - is allow the show to expand the kinds of stories it could tell, especially as KL itself is morphing into true soap opera. The backyard BBQ's and afternoon assignations from seasons 1-3 are nice to watch, but if KL has to compete not just with HSB but with DALLAS and DYNASTY in order to survive, then it has to get a little more...ambitious, which it can't do otherwise with Richard Avery, Kenny (and Ginger) Ward, or even Sid Fairgate.

For me, the problem with Wheeler is that, even if she had a vision for GL that was true to the show's spirit, she simply lacked the experience or skill to pull it off even a lil' bit. It's really as if she was learning how to produce on our time. As for the rest... Kobe brought GL into the DALLAS/DYNASTY era, but at terrible expense to the Bauers and other core families. Nevertheless, the acting, the direction, the day-to-day writing and production values remained as top-notch as ever. Willmore, IMO, was like GH's current EP, Frank Valentini. There was no vision or heart to anything Willmore did on GL; he just kept the trains running on time. Plus, he was the only EP who couldn't make Pam Long's writing "pop" in any way - and that's including stuff she has written for other shows. Robert Calhoun certainly could; Kobe could, too (that is, when she wasn't interfering or being flat-out petty); even Paul Rauch and JFP could produce great stuff with her work at SaBa and OLTL, respectively. Long's writing under Willmore, however, just lays there. JFP might have coasted on her predecessor, Robert Calhoun's, vision for much of her run, but she was arguably GL's last, successful EP. Other EP's that came after her could have been as successful as she'd been, but the proverbial stars weren't aligned for them the way they had been for her for the majority of her time there. Laibson could have been a real shot in the arm for GL after the abysmal way JFP's regime had ended - his time at other shows (specifically, at ATWT and AW) is marked by strong performances and solid, if occasionally uninspired, storytelling - but he had the misfortune of working with Megan McTavish, a writer who had no affinity for GL (and certainly not as HW) and who clearly took the gig as a means of avenging her being dismissed from her last job at AMC. Rauch brought GL into the JER era with its' gimmicky, OTT storylines and two-dimensional characters. He also was (IMO) the last EP who might've understood the common thread of the "brotherhood of man" running through all the eras and regimes that preceded his, even if that thread was often at odds with the stories that the show was telling atm. (IOW, Rauch's GL was the last time that GL felt like GL to me, even if it still was a shell of its' former self). Conboy was like Kobe, in that both aimed to make GL more upscale. The difference, however, was that Kobe had a stable of associate writers (Nancy Curlee, Stephen Demorest, Trent Jones, etc) and a solid cast to smooth over the rougher edges. Plus, even if many longtime favorites were no longer on the show, Kobe's GL still felt like GL to me, with the core themes laid by Irna Phillips and others still intact. Conboy's GL was the first time in all my years of watching the show that I felt like I was watching something other than GL. Hardly anything about it was recognizable, or even made sense. Simply put, Conboy was the wrong man at the wrong show at the wrong time. But, hey, at least that baseball field set turned out great!

I tend to blame the darker storylines in seasons 4 and 5 on network interference. It's clear NBC wanted "Sisters" to be edgier in order to grab a wider audience. By comparison, season 6 feels lighter, but between Charley being recast by an even weaker actor (and not really filling the hole left by Frankie) and all the tumult that has gone on in Georgie and Teddy's lives, it also feels like a letdown. I think what I remember most fondly was Beatrice always telling her girls: "Husbands come and go, children grow up and leave you, but you will always have your sisters." If you want to know what the show's overall theme was, look no further, lol.