Jump to content

All My Children Tribute Thread


Toups

Recommended Posts

  • Members

The summer of 2001 is when a little kid in Louisiana (me) first got into the show. The main thing I remember about the Gabriel story was how he freaked out when Bianca offered him pâté because he thought it was dog food and that she was trying to be cruel.

I know JP's stint as HW is not popular, and looking back, I can obviously see why, but I'll always have a soft spot for the simple fact that I honestly would have never become a soap fan had I not stumbled upon the show at that time.

This is exactly the type of stuff that changed daytime for the worse. Once characters stopped existing as people with whole lives outside of whatever storyline was going on at the time, it was much, much harder to feel any kind of emotional connection to them. And it's crazy because you'd think once soaps doubled in airtime, they would have made more room for scenes like this, but that space was just filled with more plot plot plot.

In recent years, people have started referring to this as "filler," and it frustrates me to no end.

Link to comment
Share on other sites

  • Replies 10.4k
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Posted Images

  • Members

I remember Becca was just a trope and not a character.  Although Abigail Spencer did infuse Becca with personality and a bit of a backbone.. she was able to hold her own against Greenlee and she did have chemistry with Leo.  I think the choice to have Becca be uncomfortable with Bianca coming out was the final nail to the character because by the early 00s... you couldn't present naunce when writing social issue storylines unlike back in the earlier years of AMC.

In regards to 'vertical scenes', TPTB were trying to get rid of those types of scenes as far back as the 80s.  I remember Pam Long in an interview in 1984 said that she had so many requirements/mandates to provide plot that she would try to fit in a 'vertical scene' whenever she could in order to just show characters having a conversation.. but P & G was pushing to do away with those.

That could explain why Pratt kept Nixon out of the writers room because she was probably insisting that those types of scene be included in the show.

 

Link to comment
Share on other sites

  • Members
Posted (edited)

Yes, and I think there might have been a cameo from Ray Gardner (trying to sneak in from Hell?) 

Unlike One Life to Live's Heaven as some sort of spaceship, AMC had it as some weird all white garden party or something--complete with swings and Commedia dell'arte circus performers.  I mean I know these people had to envision Heaven on a budget, but, OK...  (Though if I had to choose which Heaven to end up in, I guess I would choose it over the austere cult/spaceship of OLTL

Please register in order to view this content

)

Like I said, at the time I think fans WERE happy to see all the past characters.  The problem was the story went on too long and started to effect the fabric of the "realistic" non Heaven stories (Actually didn't the angel from Vicki's OLTL story briefly go down to Llanview too?)

Please register in order to view this content

 

Edited by EricMontreal22
Link to comment
Share on other sites

  • Members

Did Ray Gardner return in 2001? I just remember him from Tad's 1994 visit to Heaven, when he was knocked unconscious after being hit by the Martins' front door, which blew off in the tornado. The 1994 visit, if I remember right, had Jenny, Jesse, Nola Orsini, and Ray.

A while back, I joked that the 2001 visit should have had Lauren-Marie Taylor as an extra. A little Easter egg for Loving fans, showing that people from Corinth made it to Heaven, too.

Yup, Viki's angel Gilbert (John Fiedler) made some earthly appearances, as late as 1992.

Link to comment
Share on other sites

  • Members

Sadly, I don;'t think she was willing to commit to a long lead story by this time though there are a few (mostly comic) gems still in store for you.  Her last real main one I remember I wanna say was near the end of McTavish's first run (so 94-95?) involving a scam on a high end retirement community, though they'd still use her when they could--later on when Marian Colby tries to enter PV "society" for example.  (One good thing about AMC, and I suspect this had to do with Agnes Nixon always being present with the show--well except when Pratt was HW and had her physically locked out of the writer meetings--was how they treated their vets.  Ruth Warrick, Eileen Herlie, James Mitchell, etc, all were kept on contract until they passed away, and brought in when they were able to and wanted to work.  Which during that era the other shows were NOT doing with their vets...)

Link to comment
Share on other sites

  • Members

Well the fact that i made you specifically a fan is all the reason to be thankful for her run, I guess!  Even though you were new to soaps, it wouldn't be long after Summer (September 2001 in fact) when one of the more awkward transitional eras for AMC was happening with Culliton finally coming in.  As a newbie viewer were you aware of that--or were the behind the scenes stuff just completely off your radar?  (I was a weird kid--even at 11 getting into AMC in 1991, very soon on I wanted to know more about how it was made and started watching the end credits--I found it frustrating that they only had them sometimes--to look for changes, etc.)

Completely agree with you, no surprise, about vertical storytelling and how missed it is in soaps.  Of course it also has to be well scripted, but that's a slightly better issue.  It's ironic--Harding Lemay first pushed for AW to expand to an hour (and then disastrously 90 mins) for this very reason--he wanted the opportunity to have longer scenes and to not need every scene to be pushing plot (as he said he wanted to be able to write a short Broadway drawing room drama every day.)  So the expanded length WAS done for this reason, and I think, at least, Nixon (by this time already with Wisner Washam) were well aware of trying to use the expanded hour with AMC in similar ways, when she reluctantly gave in to demands to expand it.

I also love how Passanante says at this time Nixon was no longer even required to give in detailed story outlines etc (and even in the 80s I find this true--I have copies of a few of her 6 month soap outlines and boy are they vague by that era--often saying "well we might go in this direction, or we might go in that direction") 

As soap fans we often find it frustrating when it's clear that a writer is making up a storyline as they go along(especially a problem with mysteries.)  But I think this speaks to how some soap writing can be way TOO goal oriented instead of really living in each character and story moment.

Link to comment
Share on other sites

  • Members

I'll take what I can get

Please register in order to view this content

I'm up to June 22nd. Melanie's prom.

I liked Erica's talk with Jackson where she told him about her father. She was fragile and raw. Not the usual I'm going to take on the world attitude. I liked seeing that... more complicated part of her.

Adam got Tad beaten up for attempting to spy and record him. Bad for Tad. Karen was smirking non stop while seeing Adam enraged. God I love Ellen Wheeler in this role. It's like they took all the wickedness they didn't give Cindy, bottled it up and gave it to Karen.

The show is very good right now. A lot of the pet peeves I had months ago are gone. It's flowing nicely. I like that they slowed down the pace a bit from the action. My head was spinning somewhere mid April. I like slower pace.

And yes... I don't like Cecily and Niko. They are annoying and their arc - not my type of humor. It's like it's supposed to be veeery funny and cute at times which irritates me. Only the fake audience laugh and claps are missing and it will be a perfect sitcom. I hate sitcoms. And Cecily's voice is like hearing nails on a chalk board. I just don't like it. That a personal preference. Niko... is a charming guy, but nothing in comparison to some of the other guys in the show. Again... Personal preference.

 

Link to comment
Share on other sites

  • Members

Right, 1994 would have been when I was introduced to the character via that sequence.  I am 99% somehow he made a nightmare/Hell cameo in an episode from 2001.

Actually this 1993 nightmare sequence is probably when I first saw Ray because at the time I was watching (very secretly--we were forbidden at 12--) the Nightmare on Elm Street movies and I remember thinking how ray was like a toned down Freddie Krueger, even having his victim strung up as a marionette like in Nightmare 3 (OK, in a far less gristly fashion for those who know that film...)
 

Please register in order to view this content

 

Link to comment
Share on other sites

  • Members

That was great! I was too young to see it originally (it would have given me nightmares BITD, that's for sure). On the other hand, I vividly remember Janet's This Is Your Life nightmare the following year. (Someone at AMC was fond of surreal dream sequences.)

Link to comment
Share on other sites

  • Members

You're spot on about Becca.  I'm a huge Agnes Nixon fan and, I fully realize, sometimes too much of a defender and I think the problem with her return as HW/co-HW at this time was for whatever reason (one, I think being, the health of her husband) while she very much wanted to remain a part of her beloved show, she didn't really want to be a HW again and all the time committed to that.  So, like Becca as I said was a throwback to past characters, but maybe especially 1970 Tara when really, unless you did MORE with that type of character, in 1999 the character was a pretty archaic and out of touch trope.  Even nearing 80, I suspect Nixon would have been able to make her less so, but I don't think she was invested enough to do so.

(AND yes, if Nixon had more time to devote but also was working in the soap world of 20 or really even 10 years earlier, they could have made an interesting and workable storyline with Becca's homophobia--remember in when they had "good" characters like Tom picketing the abortion clinic?  Or even in the Kevin Sheffield storyline we had some good characters express homophobia and more morally questionable characters like Palmer stand up for it--something James Mitchell, an out gay man of course, requested of his character)

Among the many things the execs didn't realize about soaps when they became more involved (and saw just how much of an audience stuff like Luke and Laura could attract) was that if you want sustained long term ratings you have to build audience rapport with the characters.  I know as a teen why I loved AMC (and OLTL and, yes, Loving) was honestly at least as much for the remaining scenes of just character interaction we got (of course I was also huge into theatre already, and that was the closest tv got to theatre.)

And yeah, I think Pratt is the extreme example of a writer who simply doesn't do vertical storytelling.  This was why he did relatively very well in primetime soaps (Melrose Place's success was really due to when he took it over, for example) where, especially in his brand of primetime soaps, you really just plow through story story story.  That doesn't work for the longterm on daytime (I did always find it interesting that there was a very Agnes Nixon element introduced on the show during his run with the character of Brock, played by a real life disfigured army vet, which even included at least one scene at a support group for other real life vets--AMC would do this once again with the... not great but I suppose still somewhat groundbreaking for its time, Zarf/Zoe trans storyline which also had a suppoirt meeting scene something that always makes me think of the infamous youth drug centre sequence on early One Life to Live--which I so wish had been saved somewhere.)

I remember that!  It was still when she was in bandages, I think?  I wonder if that was really McTavish's doing?  Because yeah, AMC at that time was filled with surreal dream sequences and let me tell you, I LOOOOOOOVED them

Please register in order to view this content

Link to comment
Share on other sites

  • Members

I think it was a shame that they chose to kill her off rather than find a place for her on AMC, as I think Lauren-Marie Taylor would've blended very well with AMC's cast.

Link to comment
Share on other sites

  • Members

I couldn’t watch in the fall of ‘01 after going back to school and not having the means to record it just yet. I got back into it the following spring, but I didn’t notice or pay attention to behind the scenes goings-on until Culliton was let go, actually. I spent a lot of time on SOC, and I can still see the picture of him they used for the article on his firing. I was vaguely aware of Gordon Rayfield being the new writer and then Anna Theresa Cascio joining him, but I didn’t really start paying attention until McTavish came back. I originally joined SON that same summer, so at that point, I was watching the show with completely different eyes.

Culliton’s show was enough to draw me back in after months away, and I think that summer of 2002 is when I started to dig into the show more and learn more about its history, other soaps, etc. Kendall’s return played into that bc I knew she had been a major character in the 90s.

Rayfield/Cascio’s show was bland as hell, and I have a hard time thinking about their stint without comparing it to the first year or so of McTavish’s return, which was a massive improvement in so many ways. It’s funny how many future stars passed through the show at that time - Amanda Seyfried, Alex Daddario, Jonathan Bennett, early MBJ, etc. And most of them were dull as dishwater on AMC.

Link to comment
Share on other sites

  • Members

Yup, Janet was recovering from the experimental plastic surgery and dreamt of Trevor, Dixie, Hayley, etc. (and Harold!) recounting her misdeeds.

I feel like Stacey could/should have taken Laurel's role on the canvas.

Link to comment
Share on other sites

  • Members
Posted (edited)

I think that's the major difference between daytime and primetime soaps.  In daytime, you have the luxury of writing and playing scenes that don't necessarily advance the plot but do go deeper into the characters, revealing their mindsets AS they're dealing with their circumstances; whereas, in primetime, the only real way you can know who or what the characters are is through their outward, plot-dependent actions.

Peter Dunne and Richard Gollance, though, were masters at crafting scenes on KNOTS LANDING that, on the surface, seemed very vertical, yet were also pushing the plot along at the same time.

I, myself, might have tried pairing her with Tad, and Philip Brown's Buck with Dixie.

All I really remember about Rayfield/Cascio after so many years is their Asian-American character, Henry, and how many scenes with him seemed to take place in his family's Chinese restaurant.  (Better a restaurant, I guess, than a donut shop or the dry cleaners, lol).

In general, I'm leery of stories that take place in Heaven (or Hell, for that matter), simply because nobody stays dead on soaps anymore; and if an actor were to return to their show as their presumed-dead character, you have to pretend like you didn't see them before as a ghost intervening in their loved ones' lives (hi, Darnell/Jesse!).

Edited by Khan
Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Unfortunately, your content contains terms that we do not allow. Please edit your content to remove the highlighted words below.
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Recently Browsing   0 members

    • No registered users viewing this page.



  • Recent Posts

    • How did I never notice how tall Colton was?

      Please register in order to view this content

    • They didn't need to have some slutty gay dude as their representation. Just a 'normal' guy getting involved with another guy or two (or three). Just like the straight characters. Thinking about it, they missed the boat by not having a few other single charcters at the beginning. Maybe Naomi or Ashley could be shown meeting Derek/Jacob and  we could follow their romance. Too many characters were coupled up at the start. As a tattoo hater I was surprised to see Tomas so inked. Don't find it attractive or sexy. I'm surprised an actor would do that as it's definitely a statement and may not be appropriate for some roles. Suppose they can cover if necessary. I didn't buy Kat being all girly and then paying off Darius to get into Eva's room. Way too cliche. She should have just come along when the housekeeping was leaving and breezed in saying it was her room. And her smug looks in the hotel room and 'Now I've got you!!' talks to herself at Orphey Gene's...no.  
    • Omg I was so annoyed. Like girl calm down. Coming on way too strong. Omg I forgot about this

      Please register in order to view this content

    • I thought it got stale before Jocks death lol. His death picked things back up for me.
    • 1976 Pt 5 Tony is summoned to the reading of the will in the Llanfair library,as he’s a principal in the will. He tells Joe there’s not a chance of coming to terms with Dorian, as he is sure she brought about Victor’s death by torturing him emotionally when he was her helpless prisoner after his stroke. Ironically, Chapin hand delivers to Viki a letter her father wrote before his stroke, praising Dorian and asking Viki to befriend and support his widow when he was no longer there. Viki feels a responsibility to her father’s wishes and vows to try with Dorian. Victor’s will leaves the expected amounts to members of his family and staff, with the lion’s share of his stock and property going to Dorian. Victor’s will explains that his son Tony expressed the desire that he not be “bought from the grave,” and, in keeping with his son’s wishes, the only bequest to him is the knowledge of his father’s love and respect. Tony is deeply moved. Dorian’s first attempt to use her new power is the recommendation of Peter as head of the Merideth Lord Wolek hospital wing, claiming that naming Larry would be virtual nepotism. Peter, who has devoted considerable time and effort to helping Jenny get over Tim’s death with gentle, affectionate support, is happy at this suggestion, but Jenny points out Dorian is merely using him to hurt Larry. Viki disregards Dorian’s ingenuous assurances that she’s not trying to wield her new power but is merely putting Peter up for consideration for a future opportunity, if not this one, and tells her she won’t be able to fulfill her father’s desire that they be friends unless Dorian stops interfering. Larry, fully understanding Dorian’s personal motives, warns her he’s going to fight for the appointment no matter what. Realizing that she has made a tactical error, Dorian announces that she won’t even attend the board meeting but will give her proxy to Jim. She admits to Matt McAllister, still her confidant, that this was humiliating, but it was a necessary protective tactic. Dorian manages to win her next round at Joe’s office when, after he praises her decision to yield on appointing Peter, she expresses concern for Viki “at a time like this.” Joe, of course, jumps on her words, and Dorian, pretending great distress at having mentioned something she shouldn’t have, is “forced” to explain that she knew about the congenital heart condition Megan had and that any child of Joe’s is likely to inherit it. She overheard the doctors discussing it at the time of the accident, she continues, and naturally assumed that Joe already knew.  Joe arranges a meeting at home with Viki and asks her how she could live a lie like this; how she could go through their lives as if everything were fine while every moment was a lie. He is further upset when, in trying to explain that it was out of her love for him that she kept the truth from him, she mentions that Jim and Larry also know but Cathy still hasn’t been told. Viki tells Joe that Dorian deliberately told him this way to hurt their marriage, and she is very upset when he starts toward the door, pleading that they have always talked things out in the past. Joe coolly points out that she didn’t do that when she learned about Megan and continues out the door.  A tearful Viki is shaken and when Joe later returns, having spent several hours in a bar drinking only soft drinks,she breaks down, crying that she was convinced he’d left her. Joe assures her they can get through this despite everything, because their relation is based on love and mutual respect. 
    • If you think about it, DALLAS and DYNASTY grew stale right about the same time, even if the ratings were slow to reflect that.  FC and KL, on the other hand, tried to stay fresh, but KL was way more successful at it, I think, than FC.  (That [!@#$%^&*] with The Thirteen does not hold up well, lol).
    • GH 1976 Pt 8 Heather takes advantage of the situation by asking Jeff to come and look at Tommy. She uses sympathy, compassion, and her own feminine wiles, together with his misery and his pills, to lure him into bed. Later, sober, he apologizes. Learning from Pearson that Monica has seen a divorce lawyer, Jeff confronts her, and she insists it’s a lie. Avoiding his attempts to kiss her, she musses her hair and tears her blouse, then rushes to Rick’s, claiming that she can’t stay with that maniac any longer. They wind up in Rick’s bed, and after making love he confesses he always loved her. Rick replies to her question of whether he wants to marry her by saying he has to talk to Jeff. Monica insists that Jeff not bear any pressure from their problems. As she leaves, Rick gives her a key to his apartment. Jeff, having spent the night drinking, misses his surgical assignment, and Steve, informing him that his personal life can’t interfere with his profession, puts him on suspension. Rick can’t persuade Steve to reverse his decision, but Mark, sensing what’s at the heart of Jeff’s problem, convinces Steve to lift Jeff’s suspension and transfer him to Mark’s service. Rick asks for his key back, telling Monica they can’t do anything as long as she’s under Jeff’s roof. So she has a duplicate made and moves into intern’s quarters, explaining that Jeff’s violence drove her out. She tells Jeff she needs privacy to work things out, and tells Rick Jeff wanted her out. Thinking that this is the preliminary to a divorce, Rick tells her she can come to his place. In New York, Leslie’s abortion is delayed by a mix-up in scheduling, and she calls Terri to commiserate. Rick overhears Terri’s conversation and forces the whole story from her. He flies to New York to stop Leslie, feeling responsible for pointing out how evil Cam was, and arrives to find that she has decided she can’t deny her child the right to live. Monica, meanwhile, expecting that Rick will be home, uses her key to let herself into his apartment and is shocked to find Mark there; knowing that Mark was uncomfortable at the hotel, Rick offered Mark use of the apartment in his absence. Monica is upset to learn that Rick is in New York with Leslie, and Mark doesn’t know why. Mark does advise Monica to play fair with Jeff, but she resents his interference. The next day, while covering for Leslie at the clinic, Monica discovers Leslie’s lab test report and jumps to the conclusion that the baby is Rick’s. When Rick and Leslie return, Monica wastes no time in accusing him. He is dismayed to see that she is still as suspicious and possessive as she was before he went to Africa, and points out that her making a duplicate  key proves she hasn’t changed. Terri encourages Leslie to see Rick in a romantic light and then suggests to Rick that Leslie is interested in him. Rick likes this idea and tells Mark he’s growing ‘unwilling to cope with Monica’s unreasonable demands. But Monica immediately recognizes the threat Leslie represents and decides to attack. She goes to Leslie and tells her flatly that she and Rick are having an affair and he’s her exclusive property. Leslie, who realizes she has been falling in love with Rick, is hurt, and Rick is mystified when he feels Leslie pulling away from him. Monica’s big moment comes when she brings Rick a housewarming gift and seduces him into letting her stay overnight. She is in the bedroom when Leslie stops by to apologize for refusing his dates, and makes a dramatic entrance into the living room draped in Rick’s bathrobe. Leslie turns and runs out. Rick later informs her he’s disappointed in her, because she prejudged Monica and him rather than giving him the benefit of the doubt. Heather tries to arrange another tryst with Jeff, but he replies that he still loves his wife. Heather decides there’s only one way to get Jeff to be pregnant with his child. She manages to overhear Monica putting Jeff down by telling him he no longer turns her on and should look for someone he does. Heather goes to Jeff and tells him that she heard Monica and that she is the one he’s looking for. She manages to get him into bed again, and sweetly assures him this is right. She then sets the stage for future meetings. Steve, meanwhile, offers to help Monica and Jeff work out their problems. Jeff is willing, but Monica turns the idea down. Instead, she presses Terri to convince Jeff to end the marriage. Terri now knows that Monica isn’t a good wife for Jeff and promises to try. But Jeff makes it clear to Monica that he still loves her and won’t let her go. She is bitter and upset, as she has already implied to Rick that she will soon be free. Audrey is upset to find that Florence Andrews has been inquiring about Tommy and herself. She goes to Florence’s home and finds she’s away now. Florence has gone down to Mexico to sign a sworn statement that she purchased a false death certificate for Tom, to protect his son after his wrongful conviction. Tom, learning from her that Steve and Audrey are to be married and Steve is planning to adopt Tommy, tells  Florence not to do anything, as there’s still no assurance that he’ll ever get out. But the judge does accept the statement, and, ironically, on the day that Steve  and Audrey are married, Tom is released from prison.
    • 1976 Pt 12 Final part Laurie agrees with Stuart that Peggy is rushing into marriage to prove that the rape didn’t ruin her life.  She points out that the only way Peg can be sure is to make love with Jack before the wedding. Stuart admits she’s right but points out that he can’t suggest that to Peggy. As the wedding approaches, Peg seems happy that Jack’s become close to the family. However, her happiness is shattered by a nightmare in which her loving bridegroom turns into a leering Ron Becker, forcing her to cancel the wedding. Jack reassures her he’ll wait as long as it takes, and Chris confides that she and Snapper didn’t consummate their marriage on their wedding night because of her own rape experience, but Peggy tells Chris she might never be ready.  Despite her desire to keep Karen as her own daughter, Chris helps a police artist create a sketch of Nancy so it can be printed in the newspaper as part of a search for her. When the attempt proves fruitless, however, Chris asks Greg to file application for permanent custody of the child. Greg points out that adoption is the only way to prevent Ron from returning and claiming the child, and that it will take quite a while. Meanwhile, a nurse in the psychiatric ward sees a resemblance  between the newspaper drawing and her autistic patient, Mrs. Jackson, but since “Fran” doesn’t respond to the name Nancy and no one else sees the similarity, she fears she’s mistaken. Jill is horrified to overhear Kay, when brihging baby Phillip a Christmas gift, telling the child she remembers the night he was conceived. Kay has to then admit to Jill she saw her with Phillip in the bunkhouse that night. Jill is aghast to realize that Kay new the truth all along and put her through such agony in spite of it, denying her baby his father’s name. Lance tells Laurie they’ll marry on Valentine’s Day. He laughs that it’s corny but agrees, secretly wishing it were sooner, as Vanessa has vowed to prevent it. Indeed, Vanessa makes an unprecedented venture out of the house to visit Brad, telling him to rebuff any advance Leslie might make to him, as she’s reaching out to him only from a sense of duty. But Laurie then makes a concerted effort to reach Vanessa. Without being sure why she’s trying so hard, she tries to assure the woman she’s not losing Lance and she, Laurie, will help her find a plastic surgeon somewhere who can help her. Grudgingly, Vanessa seems to be reconsidering her view of Laurie, and Laurie is delighted when Lance offers her a choice between two diamond necklaces, explaining that her preference will be Vanessa’s Christmas gift. Learning from Les about Brad’s blindness, Stuart tells Brad he could have turned Leslie away only out of great love. Knowing that Les is going to see Brad again, Laurie warns him not to bring the baby into their discussion, as Leslie will come back only she’s convinced he loves her, not for the babies sake. Leslie finds Brad disheveled and sloppy, and proceeds to straighten the apartment, stating that she can't respect him if he lets himself go. Realizing that neither Brad nor Les will make the first move, Laurie hurries things along by refusing to help Brad with his grooming, saying he should ask his wife. Then, having learned  that Brad offered Les the use of their piano, Laurie untunes the Brooks' piano forcing Leslie to accept his offer. By refusing to cater to his  blindness, Les manages to get Brad to stop wallowing in pity, and by the time Leslie’s Christmas braille message of her love and her need for him arrives, they are husband and wife again Lance takes Laurie on a business trip on New Year's Eve, and tells her, on board his plane, she won't be  won't be able to call him “Mr. All Talk and No action” after tonight. When Laurie protests that waited this long and will continue to wait until married, Lance delights her by instructing his pilot to land in Las Vegas, where they are married immediately.
    • Yeah, not sure why Jack and Jen didn’t rush to Marlena - or even Carrie - to offer their condolences. A few flashbacks would've been a nice touch too. Instead, we got a whole episode of them talking about Chad and Abby? Come on. On the bright side, I loved Anna’s scenes with Marlena and Carrie - sweet and heartfelt, felt like a real 80s throwback.
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use and Privacy Policy