te.

If Betty is a former singer, then I present to you for your consideration: But jokes aside, I'd like them to cast someone who can actually sing in the role and maybe had at least a few minor R&B hits. Surely, there most be some modern day Diahann Carroll milling about?

To be fair, exec producers need to be experienced enough to be able to run a daytime show, especially with knowing its limitations and control the budget. Like @DramatistDreamer I'm hoping for fresh faces in the writers room though.

Interesting that it changed to a serial a few months before going off the air - I assume it had fallen out of fashion by then since it must've at least been initially popular to have spin-offs? ETA: per the Accused (1958-1959) Wikipedia page the series originated from a local show called "Traffic Court": https://en.wikipedia.org/wiki/Accused_(1958_TV_series) Honestly, with the current popularity of true crime I'm almost surprised no one has taken a stab at it. Divorce Court ended up being revived several times, with the latest incarnation lasting 25+ years.

Well, as you said - it was a middle-of-the-pack show. It was the definition of a reliable player, but also something that they could do away with if they needed the space. And with Dallas and Falcon Crest flying high, I imagine the decision might've been between Knots and Lou Grant, and Knots won out (it was actually in real danger of getting cancelled that season per producers). Similar thing happened with NCIS: Hawaii this season - it was performing well enough for renewal, but CBS essentially had to do away with something for new shows.

Well, networks only pay licensing fees, so they might end up paying a fraction of the cost of production. There's also the fact that once a show goes into syndication it can become very profitable and there's also overseas sales which might spur the production studio to essentially give it away for free (the most infamous example of this was 'Til Death, but Sony in general was for a while well-known for lowering their license fee next-to-nothing in order to get flailing shows to syndication). There's also the issue that there's only so many shows that can launch per season - so if your network is going through a funk like CBS was in the late 80s through the 90s, that might also be an incentive to keep at least the well-known properties going while they try to fix everything else.

While that would be great, the fact that they seemingly waited out Ron's contract instead of replacing him along with Alarr makes me think the budget isn't there to waste 3-4 months of scripts. At best Cwikly and Ford might be able to go back and re-write some stuff to fit with their material better.

The New Class was evidently a huge step down from how Saved by the Bell performed - in hindsight it's sort of amazing it lasted seven seasons.

I've said it before, but I think DAYS's issues are deeper than a headwriter, but maybe with both Alarr and Ron gone we can start seeing a real change? I do wonder about Cwikly though - if she had issues staying on budget over twenty years ago, how long can she survive on the shoe-string budget?

Maybe he'll get to develop his own soap!

Honestly, I wonder if it would've been better to just do something entirely new with The City instead of doing it as a spin-off - it feels like by continuing Loving they alienated both Loving viewers and potential new viewers. Of course, a soap oriented at the 18-34 demographic also shouldn't have aired at noon...

This certainly puts the Body & Soul storyline into perspective. I wonder if he knew his contract wasn't being renewed so now we'll get to enjoy months of him making passive-aggressive jabs at the show. In all honesty, I'm not sure if a headwriter switch will change much, but maybe with both Alarr and Carlivati now out there can be some sort of change. I enjoy Cwikly's early 00s run (with Brash), but if she had issues with the budget then, then I don't imagine what she'll have now. They really need to sit down and watch soaps from the 50s/60s which had similar low budgets and limitations.

A lot of people will also give themselves a time limit - ie if I haven't made it in acting/singing/etc before the age of x I will do other things. That's why you see so many actors who've not quite made it dip out at around 30-ish.

Well, up until CBS demanded they'd ditch the nazi plot that what was they did. After that the show just seemed to be thrown off balance entirely, though I guess Freilich's first season had the Kim Novak plot running through the episodes, but that one felt so separate from all other plotlines.

The last remaining Heather comments on the two fallen Heathers:

I thought that I heard you laughing I thought that I heard you sing I think I thought I saw you try

I also just think the daytime department had a lot more money to throw around at the time - it meant they could develop multiple shows and then decide to go with what they felt was the strongest option. It also meant they could put some of them on hold in case something started failing catastrophically, plus it allowed them to keep creative talent at the network. Compare it to how networks used to do prime time pilot season with a ridiculous amount of shows that ended up not being ordered. I agree and I kind of assume that's why P&G were more miffed rather than at the time slot move. I think they saw the writing on the wall that it was going to end when Bell had his second show ready. Otherwise they would've it once SFT didn't suffer a huge setback in ratings.

Add how fast the news cycle moves anyway - the only thing a "snack" would've provided is probably confusion, because as @Broderick points out a lot of things will probably change between now and the premiere in January. More things will fall into place once they get to filming and even then I'm sure they'll keep fine-tuning. But there's really no point to even start any campaign until October-ish and even then it's just better to do small teases and then increase those as filming progresses and it starts falling into place.

Heartbroken. We all knew this was coming sooner rather than later, but she was so active right up until the end with the podcast and attending conventions. She was scheduled for 90s con in September. RIP Shannen.

In these times, this episode feels even more poignant!

TODAY coverage:

I honestly wouldn't mind if the new reboot would start with Alison opening the door and greeting Amanda - Amanda whispering to whoever she's with (Peter?) that "she's drunk"; Andrew doesn't act anymore so it's Billy's funeral. Amanda feels pity for Alison and remembers she still owns that property on Melrose...

Courtney will never not crack me up - I remember an interview she and Andrew Shue did about a decade after Melrose ended. They were asked what their characters were doing - Andrew gave this whole fantasy about Alison and Billy ending up together, getting married and having children. Courtney? "Nah, Alison's somewhere in Atlanta, getting drunk!"

Lovely, sentimental episode. You just can't get them like this these days!

Premiering now! It's a decent quality transfer. Maybe one to watch on Christmas Eve though. Not the see through hair due to the green screen...