Khan

I agree!

I agree. Phyllis' "death" has to backfire on her in some glorious way, or it's just going to make her look crazier than she already does; and instead of showing everyone how dangerous Diane is, she'll end up having everybody side with Diane against her! (And if that's how Diane is playing things, then, well played, girl!)

More than that, they never slowed down and built that character or gave her layers. She just blew in, had crazy, lip-biting sex with Ned, and then started shooting people. As I've said before, I liked Faith's unpredictability, but gurl, why you rushin', lol?

I just would like to understand Phyllis' goal in faking her own death. Obviously, she's doing it to punish Diane, but...wouldn't that mean Phyllis would have to STAY "dead"? Or, am I missing something? To me, what Phyllis is doing is hurting herself and her kids more than it's hurting Diane. I could be wrong, but I don't think she has thought this all the way through, lol.

Sadly, @Faulkner, I agree. I should be waiting on proverbial pins and needles for the big moment when Phyllis reveals herself to be very much alive to all of GC. Instead, I'm just waiting for it all to be over.

Going gray was the best decision Drake Hogestyn ever made. #silverfox #moveoverdoc

“We were sitting in his apartment doing a Fourth of July episode. Our fans love holidays. And we had the ‘evil woman’ come in, and she was trying to get the good guy. And we came up with this idea that there’s a little girl with a baby doll, and the evil woman is pregnant with the good guy’s baby, so she goes, ‘I guess I should practice.’ And she holds the doll and goes, ‘Ew! It wet on me!’ And she throws the doll on the grill and it explodes. That was one of my favorites.” That's...not funny.

Unfortunately, I don't think Charles Pratt, Jr., who was likely handling Faith's storyline, is capable of slowing anything down in his work. He always burns through too much story on every show he's worked on.

Thanks, @Soaplovers! Perhaps it was because the first two-thirds of season thirteen were so awful by comparison, but I've really come to appreciate what Ann Marcus did with the last third of season thirteen and with season fourteen, too. So much of the Lechowicks' writing had become overly campy that it was nice to see KL come back down to earth.

Although what Joan Van Ark has done to herself is unfortunate, I think Michele Lee and especially Donna Mills look very good for their ages. Whoever did their work did a good job.

ICAM, @Soaplovers. So, Mary Robeson wasn't really Laura's mother? Because, to tell you the truth, I was never entirely sure.

Aaron Spelling could've pitched ABC videotaped footage of his colonoscopies and they would've put it on Wednesday nights opposite "Magnum, P.I." He had made so much money for the network over the years that they would've bought just about anything and everything from him, regardless of any similarities between shows.

I agree. All J.R. cared about was money and power. Having his ex-sister-in-law air out all his family's dirtiest laundry didn't matter one bit to him as long as it didn't affect his control of Ewing Oil. Now, if J.R. had found out he had been switched at birth and that he wasn't Jock and Ellie's child after all....

D. L. Brock was one nasty piece of work. I could be wrong, but I don't recall him ever being nice to anyone.

For sure, the opening titles for "Finder of Lost Loves" needed more pep. It might have worked for a glossy miniseries, but not for a weekly series.

The six people who had planned to watch will be crushed.

If I ever meet Ken Olin - and I doubt I ever will - the very first thing I'm going to say to him is, "Loved you on FC," just to see his reaction, lol.

Perhaps it SHOULD have been about her 5000th pantsuit instead, lol.

I agree. I rather like David Jacobs' original interpretation of Bobby as a modern-day Brick from "Cat on a Hot Tin Roof."

Best part of the "Glitter" opening credits: KNOTS LANDING's Joan Van Ark (Val) doing her best impression of a DYNASTY cast member. (The trick is to look stoned.) I think Spelling would have been better off developing "Glitter" as a straight-ahead soap opera rather than as an anthology series in the same mold as "Hotel" and "The Love Boat."

That kitchen set looks like something out of "Three's Company." Any minute now, Mr. Angelino's going to bust in, yelling for "TRIP-PER!," while Felipe stands in the corner, stirring his mixing bowl while tee-heeing.

Whoever once said in this or another thread that the opening credits for "Glitter" seemed to go on forever wasn't exaggerating. As a matter of fact, it doesn't feel like an opening credits sequence so much as it feels like a compilation of opening credits from several different TV shows.

It's a shame they chose to waste bringing up Gordon Grey on a PITA like Cyrus Renault.

Here's one good example: Douglass Watson's final scene as Mac Cory on ANOTHER WORLD. In it, Mac's with Rachel, remarking that the past twenty-five years have been among the happiest, as they look ahead to the upcoming anniversary for Cory Publishing. Sadly, both actor and character will be gone by the time of the actual ceremony. But, strangely fitting: Watson happened to pass away JUST as Mac had learned that his own daughter, Iris, had been "the Chief" behind the hostile takeover that nearly destroyed him and the company he spent so many years building. Of course, it wasn't planned for Mac to die before forgiving Iris for her misdeeds; he was supposed to go away to Maine to think things over, then return. But the fact that he died without reconciling with his daughter forever haunted Iris, who spent the rest of her years in Bay City seeking forgiveness that would never come.

My favorite part is how she obliquely references said scandal with: "Sometimes the journey is long and full of obstacles, twists and turns, and even some pitfalls. But if you keep going, never lose hope, and follow your heart, it will take you to a wonderful destination." But, in the meantime, it'll also take you to the E.R., the plastic surgeon, the police station and the superior court for the county of Los Angeles. Because, true love.