Faulkner

And of course, Billy’s being a pissy little bitch to Sally.

Robert Newman is already 3,000 times better than RB, and I’m only 15 minutes in. Burgi was so wooden, as if he were reading his lines. RN makes the stodgy dialogue come alive.

She’s WONDERFUL. And, yes, scary with those big old bulging eyes.

Indeed. Maurice needs to only match his more committed partners. LW and CW blow him off the screen.

Mounds of joy.

@Taoboi

I hate to be that guy who compares sh!t to Shakespeare, but I was watching old episodes of AW and those amazing fights between Vicky Wyndham and Doug Watson (both explosive arguments and more passive-aggressive encounters). Everything is disappointing after that. LW is definitely carrying these Sonny/Carly scenes. MB can be great, but he often lets his scene partners down.

Ugh. That is bad, if true. Instead of immediately putting this story out of its misery, they’re prolonging it and bending themselves into pretzels to get out of it. Rewrites and retcons galore. What a waste of time for all characters involved.

Zanacius in California USA

Oh right. Thanks for that whisper…

I guess at least he has better hair than Stephen Nichols did as Tucker. Yeah, not expecting much out of this.

Well…

Hate to admit it, but this is the best panel The Talk has ever had.

Quincy in Miami 🇺🇸

LOL no. In another thread, we chatted about JG arriving on the scene as a very-much-alive Lexie ready to steal back Abe from Paulina. Sorry about that!

For me, they don’t really nail the tone (which is all over the place). It gives me a new appreciation for how Agnes Nixon balanced social consciousness, family drama, and soapy excess, because this show isn’t navigating that very well. Bellamy Young feels like she’s part of a whole other show.

Billy/Lily couch sex. Again.

It’s just lazy af. This show can bring on Jasmine Guy and Jackée trading barbs and slaps, have Dan Feuerriegel and Paul Telfer butt-booty naked mud wrestling, and have bisexual interracial love triangles out the wazoo, and this show would still be an unsatisfying viewing experience with all this mask bs. It’s all sizzle and no steak.

I hope we see way more of that. It’d be sad if the P&G soaps were a lost cause.

No Gaga in today’s Oscar nominations: Best Picture “Belfast,” Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, producers “CODA,” Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, producers “Don’t Look Up,” Adam McKay and Kevin Messick, producers “Drive My Car,” Teruhisa Yamamoto, producer “Dune,” Mary Parent, Denis Villeneuve and Cale Boyter, producers “King Richard,” Tim White, Trevor White and Will Smith, producers “Licorice Pizza,” Sara Murphy, Adam Somner and Paul Thomas Anderson, producers “Nightmare Alley,” Guillermo del Toro, J. Miles Dale and Bradley Cooper, producers “The Power of the Dog,” Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier, producers “West Side Story,” Steven Spielberg and Kristie Macosko Krieger, producers Best Director Kenneth Branagh (“Belfast”) Ryûsuke Hamaguchi (“Drive My Car”) Paul Thomas Anderson (“Licorice Pizza”) Jane Campion (“The Power of the Dog”) Steven Spielberg (“West Side Story”) Best Lead Actor Javier Bardem (“Being the Ricardos”) Benedict Cumberbatch (“The Power of the Dog”) Andrew Garfield (“Tick, Tick … Boom!”) Will Smith (“King Richard”) Denzel Washington (“The Tragedy of Macbeth”) Best Lead Actress Jessica Chastain (“The Eyes of Tammy Faye”) Olivia Colman (“The Lost Daughter”) Penélope Cruz (“Parallel Mothers”) Nicole Kidman (“Being the Ricardos”) Kristen Stewart (“Spencer”) Best Supporting Actor Ciarán Hinds (“Belfast”) Troy Kotsur (“CODA”) Jesse Plemons (“The Power of the Dog”) J.K. Simmons (“Being the Ricardos”) Kodi Smit-McPhee (“The Power of the Dog”) Best Supporting Actress Jessie Buckley (“The Lost Daughter”) Ariana DeBose (“West Side Story”) Judi Dench (“Belfast”) Kirsten Dunst (“The Power of the Dog”) Aunjanue Ellis (“King Richard”) Best Adapted Screenplay “CODA,” screenplay by Siân Heder “Drive My Car,” screenplay by Ryusuke Hamaguchi, Takamasa Oe “Dune,” screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth “The Lost Daughter,” written by Maggie Gyllenhaal “The Power of the Dog,” written by Jane Campion Best Original Screenplay “Belfast,” written by Kenneth Branagh “Don’t Look Up,” screenplay by Adam McKay; story by Adam McKay and David Sirota “King Richard,” written by Zach Baylin “Licorice Pizza,” written by Paul Thomas Anderson “The Worst Person in the World,” written by Eskil Vogt, Joachim Trier Best Cinematography “Dune,” Greig Fraser “Nightmare Alley,” Dan Laustsen “The Power of the Dog,” Ari Wegner “The Tragedy of Macbeth,” Bruno Delbonnel “West Side Story,” Janusz Kaminski Best Animated Feature Film “Encanto,” Jared Bush, Byron Howard, Yvett Merino and Clark Spencer “Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie “Luca,” Enrico Casarosa and Andrea Warren “The Mitchells vs. the Machines,” Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht “Raya and the Last Dragon,” Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho Best Animated Short Film “Affairs of the Art,” Joanna Quinn and Les Mills “Bestia,” Hugo Covarrubias and Tevo Díaz “Boxballet,” Anton Dyakov “Robin Robin,” Dan Ojari and Mikey Please “The Windshield Wiper,” Alberto Mielgo and Leo Sanchez Best Costume Design “Cruella,” Jenny Beavan “Cyrano,” Massimo Cantini Parrini and Jacqueline Durran “Dune,” Jacqueline West and Robert Morgan “Nightmare Alley,” Luis Sequeira “West Side Story,” Paul Tazewell Best Original Score “Don’t Look Up,” Nicholas Britell “Dune,” Hans Zimmer “Encanto,” Germaine Franco “Parallel Mothers,” Alberto Iglesias “The Power of the Dog,” Jonny Greenwood Best Sound “Belfast,” Denise Yarde, Simon Chase, James Mather and Niv Adiri “Dune,” Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett “No Time to Die,” Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor “The Power of the Dog,” Richard Flynn, Robert Mackenzie and Tara Webb “West Side Story,” Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy Best Original Song “Be Alive” from “King Richard,” music and lyric by Dixson and Beyoncé Knowles-Carter “Dos Oruguitas” from “Encanto,” music and lyric by Lin-Manuel Miranda “Down To Joy” from “Belfast,” music and lyric by Van Morrison “No Time To Die” from “No Time to Die,” music and lyric by Billie Eilish and Finneas O’Connell “Somehow You Do” from “Four Good Days,” music and lyric by Diane Warren Best Documentary Feature “Ascension,” Jessica Kingdon, Kira Simon-Kennedy and Nathan Truesdell “Attica,” Stanley Nelson and Traci A. Curry “Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie “Summer of Soul (…Or, When the Revolution Could Not Be Televised),” Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein “Writing With Fire,” Rintu Thomas and Sushmit Ghosh Best Documentary Short Subject “Audible,” Matt Ogens and Geoff McLean “Lead Me Home,” Pedro Kos and Jon Shenk “The Queen of Basketball,” Ben Proudfoot “Three Songs for Benazir,” Elizabeth Mirzaei and Gulistan Mirzaei “When We Were Bullies,” Jay Rosenblatt Best Film Editing “Don’t Look Up,” Hank Corwin “Dune,” Joe Walker “King Richard”, Pamela Martin “The Power of the Dog,” Peter Sciberras “Tick, Tick…Boom!” Myron Kerstein and Andrew Weisblum Best International Feature Film “Drive My Car” (Japan) “Flee” (Denmark) “The Hand of God” (Italy) “Lunana: A Yak in the Classroom” (Bhutan) “The Worst Person in the World” (Norway) Best Makeup and Hairstyling “Coming 2 America,” Mike Marino, Stacey Morris and Carla Farmer “Cruella,” Nadia Stacey, Naomi Donne and Julia Vernon “Dune,” Donald Mowat, Love Larson and Eva von Bahr “The Eyes of Tammy Faye,” Linda Dowds, Stephanie Ingram and Justin Raleigh “House of Gucci,” Göran Lundström, Anna Carin Lock and Frederic Aspiras Best Production Design “Dune,” production design: Patrice Vermette; set decoration: Zsuzsanna Sipos “Nightmare Alley,” production design: Tamara Deverell; set decoration: Shane Vieau “The Power of the Dog,” production design: Grant Major; set decoration: Amber Richards “The Tragedy of Macbeth,” production design: Stefan Dechant; set decoration: Nancy Haigh “West Side Story,” production design: Adam Stockhausen; set decoration: Rena DeAngelo Best Visual Effects “Dune,” Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer “Free Guy,” Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and Dan Sudick “No Time to Die,” Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould “Shang-Chi and the Legend of the Ten Rings,” Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver “Spider-Man: No Way Home,” Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick Best Live Action Short Film “Ala Kachuu – Take and Run,” Maria Brendle and Nadine Lüchinger “The Dress,” Tadeusz Łysiak and Maciej Ślesicki “The Long Goodbye,” Aneil Karia and Riz Ahmed “On My Mind,” Martin Strange-Hansen and Kim Magnusson “Please Hold,” K.D. Dávila and Levin Menekse

Tom May from London 🇬🇧

That “daytime soap experience” is completely lost to time and changes in technology, and I’m not sure there’s a huge groundswell to create an equivalent that would placate those nostalgic soap fans, especially with all of the variety we currently have on streaming and the fact that most of us are just *old* now. I think DAYS has a solid opportunity to find an off-ramp on Peacock, and it feels like they’re prepared for it, even beyond the spin-offs. But a move to streaming might come with some changes that’ll unnerve a lot of longtime fans. They’ll have to suck it up if they want their soap to survive, but the flip side of that is DAYS on streaming might need more adaptable fans to survive as a day-in, day-out soap. (OT: I’m curious about Peacock’s future and if Comcast will soon acquire/merge with another company to shore up its library and make it more broadly attractive, aside from seasonal spikes from the Olympics and other sporting content. There’s still not a bunch of Peacock “must-watches,” even as certain shows get critics on board. Maybe DAYS could be the start of that? I dunno.)