Khan

That's what GH needs: a young Terry Lester. Someone who generates heat (and story) just by walking into a room. Someone who could share chemistry with just about every woman in Port Charles (and even a few men, lol). Because, hunny? Cameron Mathison? Ain't it.

Proof that the '80's were a messed-up decade: More people watching Silver. [!@#$%^&*]. Spoons than were watching "Newhart."

I learned that the day you first raved about Chandler Massey. (I'm sorry, but as far as young leading men go, he isn't fit to clean young Larry Lau's shoes, lol).

I guess I'm just "old school," for lack of a better word, when it comes to my favorite daytime hunks. Roscoe Born, Philip Brown, David Canary, Terry Lester, Mark LaMura, Larkin Malloy, Richard Shoberg - to me, those were MEN. Josh Swickard is a boy. A cute boy, but a boy nevertheless.

I love how Susan Lucci basically dismisses the PP revival and how it resolved the ABC cliffhanger, lol.

Honestly, I think the British dude in those Thomas English Muffin commercials has more goin' on than Swickard, lol.

No, I'm okay with never seeing Jason and Britt have sex, lol! RE: GF's 50th anniversary next year - I'd love to know WEHT Stacey Baldwin (a.k.a. the first Laura) and whether she'd be up for a cameo appearance if/when we get to that milestone.

I swear, I've seen snuff films that took more care in their production and gave their actors more to work with than what Frank, CVE and Korte keep giving GH and its' actors everyday. (Yes, I've seen a few snuff films. I was a freshman in college, everyone on my dorm floor was bored one night and, well, you can fill in the blanks yourself.)

Yep. I'm not suggesting Peter Porte is the second coming of Roscoe Born, but like most actors on soaps today, he could be so much better if he had actual rehearsal time with the other cast members and directors.

Chase is hot?

And she wouldn't have so much as blinked, too, lol! I think your last sentence should be applied to every scene, even the ones that could be knocked out in no time at all. The truth is, if you're watching a show for the plots, then you're watching a bad show, because a GOOD show, and a good soap in particular, isn't about the plots; it's about the relationships between the characters, and what they say about our own relationships. You don't need characters spouting off reams of clunky exposition just to keep the audience abreast of everything (and believe me, that's about 80% of GH these days, lol). Just write the hell out of the relationships between or among the characters, give the actors some subtext to play with, and the exposition will take care of itself.

I mean, you're not wrong, lol.

To think: so many Y&R sets have come and gone in such a relatively short period of time...yet, like the heartbreak of psoriasis, Crimson Lights persists.

Ah, one of the big stories from my long-cherished GL long story document, lol. (And to answer the question: yes, she'd be viable. After a period of mourning, of course.)

Yep. Along with the librarian from St. Louis, the movie executive's wife from California and the lesbian dairy farmer from New Hampshire. Seriously, they could do a spinoff all about those damn clones and I'd totally watch, lol.

"Webster" in the Top 20!?!?! Jesus. We were doing entirely too much cocaine back then.

She's Marlena's alter ego, a trashy broad who works at a roadside diner in Fort Worth, TX.

You know that much is true when even a blizzard - a catastrophic event that Gloria Monty could've produced in her sleep - generates little to no suspense for the audience, lol. It's like what Shelley Curtis said on Maurice Benard's podcast about needing to find the emotional spine of a screen even under tight circumstances. Under Valentini, scenes don't have emotional spines. They start and then they stop. Nothing is illuminated. Nothing is shared with the audience other than plot - and as slowly as most plots have moved under his watch, that ain't saying much. Say what you will about Monty or JFP, but at least those two know how to edit scenes in such a way that it fools you into thinking the scenes have a spine or an arc when they otherwise don't. Does Valentini even EDIT his shows, or does he just compile them digitally and then email 'em to whoever needs 'em?

Exactly. I disagreed wholeheartedly with their point of view, but at least their GH looked and felt more "alive." It's as if Valentini and his team just point-and-shoot scenes without any regard for emotional arcs. (In fact, what I love overall about BTG, despite some minor reservations on my part, is the fact that someone there apparently gives a damn about putting on the best show possible everyday).

IA. It took Frank Valentini for me to (kinda) appreciate Bob Guza's work on this show. It was dark and ugly and nihilistic af, but it wasn't bland!

I think it was more than the fact that FOX spared MP from cancellation, though. Locklear's addition to the cast gave MP a creative shot in the arm. The stories had some energy for once; and if nothing else, her presence forced the rest of the cast - who had been very bland up to that point - to up their collective acting game. And I say all that as someone who never really enjoyed MP, lol.

IIRC, Carroll O'Connor was furious for two reasons: 1) CBS moved production of "Gloria" from CBS Television City to Universal Studios (which, to me, was a mistake, as it seems most of the Lear/Embassy shows suffered once they relocated to Universal with their cheap-ass lighting and canned-sounding laugh tracks); and 2) he, along with the rest of the "Archie Bunker's Place" staff, including Norman Lear, was shut out, in favor of Dan Guntzelman and Steve Marshall, who had worked previously on "WKRP in Cincinnati." All that, plus CBS' decision to cancel ABP without giving them an opportunity to tape a proper series finale, had O'Connor vowing never to work again for CBS (although, he would, years later, when CBS picked up "In the Heat of the Night"). In a way, Linda Lavin was right: "Alice" was aging and probably lasted a season or two longer than it should, but all those scheduling changes did weaken the show, too.

I wonder if both storylines were inspired by the real-life Heidi Fleiss scandal, lol. In any case, I feel like Cowen/Lipman told that story just because they wanted to, and not because they thought it was right for Reed (either incarnation).

ICAM. I, for one, am not in the business of saving folks from themselves. Not anymore.

I'm with @DRW50 : those rankings look pretty good to me, too. I think 1982's finale has to be very high on the list, because of its' importance to the show overall. The implosion of Gary and Val's remarriage is the first sign that KL is shifting gears from average family show or "straight" drama/soap hybrid to full-on soap opera. The transformation isn't complete yet - that won't happen 'til Ciji's body washes up on the beach - but we're getting there.