Khan

I've said it before, and I'll say it again: Quibi was foolish not to develop a 10-to-15 minute soap opera.

Esme and her awful-sounding name are leaving. It's a good day.

To this day, I remain pissed over how CBS and Les Moonves treated that show. MSW literally kept CBS afloat for years. No show lasts forever, but MSW and Angela Lansbury deserved to go out on their terms.

I would argue that the "The Jeffersons" did. Its' first season (1975-76) ranked fourth in the ratings. The next two seasons, the show still finished within the Top 20. However, by the end of the 1978-79 season, "The Jeffersons" had fallen out of the Top 30 entirely. Then, at the start of the 1979-80 season, CBS moved the show to Sunday nights, where it rebounded, finishing at #8, I believe, as part of CBS' comedy block that also included "Alice," "Archie Bunker's Place" and "One Day at a Time." Meanwhile... What NBC did to "A Different World" in its' last season (changing its' time slot frequently and without much heads-up, lack of promotion for new episodes, including the series finale; pre-empting episodes that weren't even aired until after the network already had cancelled the show, etc.) could only be described as a "hit job." NBC was always nervous about ADW and its' eagerness to tackle controversial issues, but I think the fact that "The Cosby Show" had ended the previous season gave the network license to do whatever they could to bury it. Even if you were to argue that ADW was fading creatively after 5-6 seasons and probably didn't have that much life left in it - and I would say that that would be a fair argument - I think a series that had been a reliable performer for several seasons on the network's biggest night every week deserved better treatment. Two more examples of tank jobs: 1. NBC moving "The Golden Girls"'s time slot up an hour (from 9/8c to 8/7c) at the beginning of its' seventh and final season. The previous season still finished within the Top 10, but NBC likely saw the proverbial handwriting on the wall. 2. CBS moving "Designing Women" from Mondays to (I believe) Fridays for its' final season. Ironically, the previous season was the show's highest-rated, but I think that was due mostly to the controversy surrounding Delta Burke and the Thomasons. The truth is, with Burke and Jean Smart no longer in the cast, DW lagged creatively; and once Burke's replacement, Julia Duffy, decided not to return, I think the network just decided they had had enough.

I would say split the younger categories in two: have one younger category for actors who are, say, under age 12; and the other for actors between 12 and 17. Then, once an actor turns 18, they're disqualified from entering those categories.

I agree with you, @Vee, and with @marceline as well.

I agree!

I'd say it's a toss-up between DARK SHADOWS and PASSIONS.

Now, how were they going to explain how Collinwood existed that long ago, lol?

So, now we could have some tyke competing against the likes of Eric Braeden in the Lead Actor category??

Because [v.o.]Brady Black is here to sex up your DAYS on Peacock[/v.o.]. (With "I Wanna Sex You Up" playing in the background, of course.)

That's the thing to remember, @Juliajms: there really wasn't a "border crisis" until Republicans created one with these forced busings in order to fit their narrative; and IMO, it's way past time for people to call them out on it, too.

Mine wouldn't! You could turn CL into the modern-day equivalent to the stateroom scene in "A Night at the Opera" and I'd still be campaigning for it to be burned to the ground.

3/4ths of the DAYS and GH casts, for sure.

Or the other way around: stay at GH and let Shelley Curtis produce PC. You could tell that PC was a bit of a rush job by the fact that not enough effort was placed into making the spinoff more distinct from the mother show. PC might have been centered more around the hospital than GH was by that point, but that was about it. Otherwise, in terms of storylines, characters and even production aesthetics, watching an episode of PC was no different from watching another half-hour of GH, and we all know only too well what 90 minutes a day of AW did to that poor show. Of course, when I said back then that PC needed an identity that wasn't just "GH2," time travel and vampires was not exactly what I had in mind, lol. In retrospect, ABCD should have gone with the Labines' Ned-and-Lois-centric spinoff instead. To me, that series had more "legs" than "GH: The Intern Years."

I think that's what he meant as well. It seems like Riche wanted to minimize, if not eradicate, the violence that had become a GH trademark, while Guza was intent on focusing GH on Sonny, Jason and their ilk - which, of course, meant that violence would be a necessary part of the storytelling. But I could be wrong.

I'm convinced that DAYS hired Charity Rahmer because she was sleeping with one of the powers-that-be so that viewers would be more accepting of Martha Madison as Belle.

He'd be killed off in my first scene. In fact, the show would open with Leo's body laying on the ground. "What the hell happened to Leo?" "I dunno. Pizza?" "Sounds good!"

And then there would be the question of their baby's health, since the risk of Mack and Karen's child being born with Down Syndrome would be enormous. Now, if I were writing the show, Mack and Karen's child would have Down Syndrome, because I do think a lot of good, character-driven material could have come from the challenges they would have faced as two older parents raising a "special needs" child. I also might have used Karen's pregnancy as an opportunity to bring back Diana (either w/ a returning Claudia Lonow or w/ a recast) as she would want to be there to support her mom.

I want to thank @AdelaideCate007 and @JaneAusten for sharing their thoughts and information as well. I agree with @AdelaideCate007: this is an almost impossible situation, with neither party, IMO, willing to forge some sort of compromise that, if nothing else, would bring a halt to the carnage and allow for the release of all hostages, as well as allow for ongoing humanitarian aid to Israeli and Palestinian citizens who remain in Gaza. And I definitely agree with @JaneAusten that the parallels between what's happening now over there and what happened here in the U.S. in the aftermath of 9/11 are striking, too. In many ways, 9/11 and its' aftermath set the stage for the political turmoils that engulf our nation to this day. And to me, that's part of the problem with our country's response to this crisis: thanks to forces both on the far-right and the far-left, we've become so polarized that we've reduced everything to a level of, "You're either with us, or you're against us;" while those who are in the middle and are seeking consensus and compromise in the name of preserving peace wind up being ostracized altogether, spat upon and labelled as sell-outs and traitors. I agree.

Unfortunately, "smug" is the only thing TSJ can play.

All I can say about the non-up-and-pumping black story on GH is, "Help us, Obi-Wan Mulcahey, you're our only hope."

With names like "Stephanie" and "Wendy," you'd think we were talking about SFT. There's a real "Donna Martin graduates" vibe to all the talk about Stephanie's love life.

I'll never stop missing Heather Tom as Victoria either.