Khan

I guess Miss Wyman had not forgotten how much CBS and Lorimar had tinkered with the show in its' last 2-3 seasons? I can't say that I blame her. Seeing how TPTB virtually destroyed a once-promising series is bound to leave a bitter taste in many people's mouths.

More and more, I wish Earl Hamner had been allowed to produce FC as he had envisioned. Maybe it wouldn't have been as outrageous as DALLAS, or as decadent as DYNASTY, but it would've been a fine alternative for those who enjoyed the "family saga" aspects of the other two shows, but who also wanted something that had a little more heft to its' storytelling.

Ah, okay. Yeah, ladies. Take it from Ms. Sullivan: if you try and redeem the bad guy, you only wind up drowning in the pool, lol! Thanks, @kalbir !

I agree! Y&R needed (and still needs) new blood, but it was just too much, too fast.

It kinda lines up with Kathleen Turner's comments about working on TD and how frustrating it was for her because Nola seemed to change with every script (to the point where Turner herself decided to play Nola as if she had had a drinking problem, lol).

As onetime FOX and NBC programmer Preston Beckman (a.k.a. "The Masked Scheduler") always says: "television always reduces to the mean." Other places, such as the U.K., might be accustomed to shorter TV seasons, but the U.S. film and TV industries aren't; and frankly, I don't know whether they ever WILL be. I mean, it takes generations for us to be okay with shows that have less 12 episodes per season, or shows that might wait 1-2 years (or more!) before beginning the next one. I think there might come a point when having shows on streaming that run the same number of episodes per season as their network counterpoint do will be the norm, but it'll take the production companies and streamers learning how to produce these shows for far, far less money than they obviously do now.

I remember that ad! KL's finale was the best of the four. Not just because they tied up all loose ends, but also because they brought back JVA/Val and DM/Abby, two actresses who had been integral parts of its' identity.

Frankly, @bongobong , I don't think Megan McTavish was/is the type to collaborate with anyone, at least not willingly, lol.

Wait, they DROVE to Switzerland?

I'll bet if Frank gets his way, Kristina will realize she was wrong about being a lesbian and goes back to being a heterosexual.

I'm sure Josh Griffith would just shrug and say, "Relax, it's just a soap!"

I, myself, have long wanted to take a battering ram to Britt...and I want to use Brad for the ram. Hantavirus?

I would've cast Celeste Holm on AMC as the oft-mentioned, but never seen, Juanita Ramsey.

Bumping up this thread just to say that I've been re-watching episodes on Pluto TV, that Nancy Oleson is psychotic and that why she didn't end up being the victim in Walnut Grove's first murder mystery is beyond me. Anyways. Carry on.

I wouldn't settle for anything less than this:

That's because the writers don't have real-life experiences to draw from. They don't even read classic literature or watch classic cinema. That's why most half-hour comedies today don't tell real stories anymore, or why most drama shows and movies feel like rehashes of other, better shows and movies. It's sad.

I've always suspected that backstage shenanigans were responsible, and that Felicia Minei Behr's "You don't always end up with your soulmate" comment to Soap Opera Weekly (?) was just a cover.

I don't think I've ever seen Jane Elliot in that kind of hairdo, lol.

"We don't call them 'soap operas' out on the Coast. They're daytime dramas." Right, and I'm not fat, I just have large bones.

That storyline deserved to be criticized. We'd never seen or heard about Jane Eber before; yet, we're supposed to care about her? Why? Because, Viki cares about her? I don't think so. If you want me to care about Jane, Doug and their marriage, you have to give me AT LEAST six months to get to know them before telling me a story about how he abuses her and how Viki is trying her best to save Jane.

A dream project of mine is to cull and publish the best of Marilyn Suzanne Miller's SNL sketches. To me, they weren't just sketches. They were more like one-act plays with very rich characters. You always knew when you were watching a "Marilyn sketch," too, because the actors involved (including John Belushi) seemed to do less mugging and more actual acting.

The Dick Ebersol era (1981-1985) had some very good cast members, I thought, but aside from what Blaustein and Sheffield wrote for Eddie, the writers were creatively bankrupt.

Hey, everybody's gotta start somewhere, lol!

I'm not so sure about that. Maybe, if Stuart Brooks still had been in town when we were introduced to Dina, and Bill Bell had established that the two had been high school sweethearts - which he didn't, AFAIK, but maybe he did? - then I could've gone along with it. But it all seemed so random and tryhard for a newbie who didn't really need the ties to Y&R history.

I'm just talking about the fact that the writers have to churn out so much material in so little time, with no real time to tweak or perfect their scripts. Jean Passanante once referred to soaps as a "first draft medium," and I actually think she was right.