Category Archives: Television
True to the reality it portrays, the series begins and ends in Brentwood. Over the course of a very long 16 months, we’re taken– or rather, retaken– on one sadly unforgettable ride.
The brilliant portrayals of prosecutors Marcia Clark and Chris Darden, by actors Sarah Paulson and Sterling K. Brown respectively, culminate in the glaring illumination of an American legal tragedy and its immediate gut-wrenching aftermath. Thus concludes the insightful yet disturbing 10-episode run of American Crime Story, Season 1: The People vs. O.J. Simpson.
As dramatic imagination and creative effect work in unison to stitch together large swaths of stark actuality, never throughout the entire series comes a dull viewing moment– or I should say almost never, if you count most any scene with Judge Lance Ito, spineless and celebrity stricken as Kenneth Choi accurately plays him to be. Thankfully, comic relief regularly intercedes in the form of a salaciously smug Nathan Lane as legal mastermind F. Lee Bailey, not to mention my unmatched personal favorite: the almost cartoon version of defense attorney Robert Shapiro, perfectly re-created by a fittingly comical John Travolta.
But I digress. Ten weeks of a reproduced “trial of the century” ends with more than 30 minutes to go in the final episode. Anticipating some sort of post-verdict wrap up, we definitely get it, painfully yet completely, leaving us to wonder– all the way from Courtney B. Vance as Johnnie Cochran sipping office champagne, to Cuba Gooding Jr.’s O.J. slowly realizing his “party of the century” is proving smaller than he expected– when all this is finally going to end.
Altogether, we’ve been treated to a solid 10 weeks of 21-year-old history revisited, briskly yet as thoroughly as limited television time will allow. In the oh-so long-in-coming end, our minds– those old enough to recall the real deal– are left to once again ponder the unfortunate colossus of trial-based events, discoveries, developments and maneuverings that delivered O.J Simpson home to Brentwood a free man on October 3, 1995.
What began and ended in Brentwood leaves me contemplating that same sense of injustice now as I did that very day. All the while, shifting to terms of present-day production and talent, more than one Emmy nomination is most certainly in order.
Clark Photo Credit: POO/AFP/Getty Images; FX
Shapiro Photo Credit: Lee Celano/WireImage; Ray Mickshaw/FX
Photo Credit: Hal Garb/AFP/Getty Images; FX
So comes a spellbinding walk down memory lane for any American over– let’s say– 50? Seeing as this number sits far in my future, who am I to talk? Naturally, yours truly being old for his age, I remember, appreciate and truly adore nearly all the moments featured in episode one of CNN’s The Seventies, aptly titled “Television Gets Real” — of which the above clip is a part.
What we have before us is one outstanding look back at what once was in the world of broadcasting, and what– sadly and ever the more painfully– now is not. Simply put, they don’t make TV like this anymore. Nevertheless, while loving every minute thus far, I can’t wait for episode two, no matter how unflattering Mr. Nixon will inevitably emerge.
The first time I watched this “behind-the-scenes” montage, late in 1987 I believe, it was a private piece for which you needed a connection to know it existed– which fortunately at the time I happened to have. Now all these years later, available online to the public, it’s just as funny. If you too are a “Knots Landing” fan and have never seen this, you’ll certainly appreciate it!
Needless to say, the passing of Thanksgiving leads us right into Christmastime. This means as trees go up and lights get strung, while parties kick into swing and egg nog flows, so comes the annual playing of my favorite classic Christmas duet performance. Here’s to old-school shtick, Dean-and-Frank style! Enjoy some other versions too, if you’re so inclined. 😉
And so it happened. Minus one more it is for the Ewing family, given the sudden demise of a character whom original-show fans have known since birth. A big surprise to us viewers and a great loss to the cast it is no doubt, but at this point we’re left to ask, will it matter? This is to say, another season remains to be confirmed. Meanwhile, at least storyline plans appear well underway, while everything I’ve had to say before now stands. Nevertheless, should “Dallas” return, and despite the level of unbelievable insanity sure to ensue, I’ll certainly be watching– with even more interest if Patrick Duffy again directs. We know anything could happen after all. Christopher could always show up taking a shower one day, like father like son of course.
Well, that was a first. I forgot to watch “Dallas” this week. (What?! Me?! Allow the Ewings to slip my mind? My oh my, how the decades do change us.)
Seeing as the latest episode was on my DVR, I did see it the following day. In so doing, I reminded myself just how my initial forgetfulness came about. Let’s simply say it’s about time for “Dallas” to be forgotten altogether. Oh but wait, I think I’ve already said this before, more than once even. I’ll therefore rephrase: It’s well past time for the Ewings and company to go. I know, I hate saying this more than you might dislike reading it. Nevertheless, the writing is on the wall, as they say– more and more with each passing episode, I myself regret to say.
We’ve had all the nostalgic cameos we’re likely going to get, Larry Hagman is still dead, and the plot convolutions continue to get more confusing, ludicrous and exhausting. Still, curiosity, coupled with low expectations, will continue to get the best of me for the duration, whether at airtime or via DVR. At least Ken Kercheval, who remains very much alive, will be back next week. Amid my overall forgetfulness, I’m happy to realize one living classic character is not forgotten.
J.R. is still dead, and– unlike his brother– unfortunately always will be. The latest story arcs are just now beginning to bloom. We the audience are thus braced for what you might call more of the same, within an epic franchise that never will be quite the same, after all. Season three of the new “Dallas” is off and running.
By “more” I’m referring to yet another dose of convoluted yet shallow plots involving attractive though dim villains, complete with a brand-new one this time around to add to the long list. By “never” I raise the question most loyal fans are surely asking: Just how long will the revived series carry on without Larry Hagman?
I said it already at the end of season two. It’s time– or least it was then following the death of Hagman, the burial of J.R., and the ultimate explanation of his demise– to say goodbye for good. However, TNT did indeed bring the show back for a third season. So of course I’m watching, thinking: “Alright. Once more, try me.”
It’s always a pleasure to see Patrick Duffy and Linda Gray in their 36-year-old characters. And with rumors of the latest in a string of classic comebacks, I’ll be ready! Still, without J.R. “Dallas” is not the same and never will be, despite the continued references to him and any unused footage we’ve yet to see.
Meanwhile, at least the new opening credits deserve honorable mention, nostalgic element they do of course convey. Otherwise I’m continuing to feel a degree of exhaustion, sort of like a party that’s gone on too long. But then, I may be surprised yet! As the Ewing’s biggest yet most realistic fan, I’d sure like to be.
Three in a row, is it? True enough, this marks the third consecutive year of Super Bowl commercials that’s leaving me, on the whole anyway, unimpressed. Not since 2011 have I been altogether razzle-dazzled by a steady stream of spirited spots. Oh sure, it’s great to see Arnold Schwarzenegger having fun in a long wig, as well as brief glimpses of Erik Estrada and Mary Lou Retton when the ’80s come calling, while Hyundai’s steadily improving body styling definitely deserves another check mark, somewhere. Still, I’m fairly certain I’ll remember little if any of this annual coveted-yet-costly ad time in a day or two. As such, my top three favorite 2014 Super Bowl Commercials are as follows, for my own reference as well as yours:
3) Audi A3: “Doberhuahua”
2) Jaguar F-Type Coupe: “It’s Good to Be Bad”
1) Chrysler 200: “America’s Import”– starring Bob Dylan!
Wouldn’t you know it– my three “winners” are all car-related, again! While there will be scads of recaps, analyses and opinions flowing hither and yon in the coming days, for the final score alone I’d think there’s much more to say about this year’s one-sided game itself. Then of course there’s Joe Namath’s absolutely fabulous fur coat to save the evening– now that’s impressive!
With the 50th anniversary upon us, all sorts of questions remain. New and old, sensible and outlandish, each is propelled by a keen and unyielding fascination surrounding the assassination of President John F. Kennedy.
Now feeding our collective, unsatisfied appetite is a captivating series of National Geographic documentaries once again dissecting the already-dissected moments of November 22, 1963, including JFK: The Lost Bullet, The Lost JFK Tapes and JFK: The Final Hours. Each of these productions turns out at least a few morsels of related and not-so-related facts that we might not have heard before but still find interesting. (I for one never knew eight-year-old actor-to-be Bill Paxton saw and photographed the president in Fort Worth that morning.)
Then we have the newest and much-promoted dramatization of Jack & Jackie Kennedy’s presidential life and final moments together, in NGC’s film adaptation of Bill O’Reilly’s novel Killing Kennedy. While the often-predictable Rob Lowe manages to pull off a decent portrayal of JFK, Ginnifer Goodwin’s re-creation of the first lady comes across– to me at least– as weak and unconvincing. (I’ve seen better “Jackies” over the years, thank you.) Altogether, the apparently common sentiment holds its ground, that this movie tells us nothing new, and definitely nothing outside the boundaries of the official yet increasingly disputed lone gunman theory.
Nevertheless, Killing Kennedy is worth watching for the sake of another welcome trip along that same old path of nostalgia that most Americans have traveled once, twice or 100 times over the past half century. The “newest” element to this so-called bland and unimaginative account comes in the powerful portrayal of Lee Harvey Oswald, played by the talented Will Rothhaar. In my initial opinion, he carries this film.
Watch and consider for yourself. Take in the sprinklings of history atop everything you no doubt already know. And watch the documentaries first, for this is where the real quenching of our fascination lies after all, even as all those questions– under whatever descriptor they fall– stack up faster than they might ever have answers.
Any TV commercial that makes me laugh out loud simply has to be good, and this one takes the lead– starring one of my all-time favorite fictional comedy characters in a series of such spots. Not to mention, to my satisfaction there’s an automobile involved here of course, while perhaps these new laughs will indeed trigger some sales– we’ll see. Meanwhile, if only I can figure out where to score myself that fantastic suit!
If the question were: “Is ‘Modern Family’ the funniest new show on television?”, then indeed the answer would be a solid yes! (“30 Rock” is no longer, after all.) This might not be the promo’s pressing question, however, but rather a fan’s obvious takeaway. In any case, it seems we’ll be hearing a lot of “yes” this season!
Two out of three’s not bad, so I contemplated in reaction to these words in The New York Times.
The “new” audio-visual elements are indeed revealing, launching any interested viewer onto a potentially addictive historical journey. Shocking, no. Still, despite its expected and obvious editorial slant coupled with some peculiar musical selections, “Our Nixon” is well worth the watch.
Then, what Ben Stein has to say seems well worth the read. After all, there’s of course more than one viewpoint to consider along the journey, whatever descriptive terms one might employ.
Actress Jean Stapleton reached her 90th birthday this past January, a fact of which I was aware well before her death last Friday. Check out this helpful source to see if any of your classic favorites are still with us!
“Really? So THAT’S how it happened?! What a letdown.” At least this was my first line of thought. Moments later my second mental train departed, leaving me reassuring myself: “Oh, ok. Maybe this really was the right way to do it after all. I suppose this season finale does make sense when you think about it.”
And now– dare I say– it makes even more sense to call it quits. While certainly the last person to want to say this, I must be realistic, as too should any true series follower. Larry Hagman is dead, and so now is J.R. Ewing. The villains have been rounded up if not eliminated. Points of peace have been reached, at least among the principal players. And speaking of Principal, Victoria will not be stopping by. J.R. executed his masterpiece while voluntarily extinguishing himself. Ultimately slipping past any killer’s hands, he dictated the manner of his death– and with justifiable reason. While a disappointment this long-in-coming revelation initially seemed, the most fitting sendoff it settled in to be.
After 35 years, it’s time now for “Dallas” to be done, for good. J.R. and all that comes with him have been laid to rest, so it seems. How could it– and why should it– go on? There’s only so much nostalgia to be milked, which could soon wear painfully thin. Unfortunate as it is to have to say, I believe we best lay all the Ewings to rest on this momentary high note.
The much-anticipated cameos came, and respects were properly paid. The scheduled demise of the character appropriately trailed the unscheduled death of the actor. Now comes yet another new chapter of the saga, as the plot of present-day “Dallas” charges full speed ahead in his memory. J.R. Ewing may be as dead and gone as Larry Hagman in body, but even from beyond it appears he’s steering the course for his family. Thankfully his “work” is living on, at least through the remainder of season two! I for one am looking forward to the grand revelation of J.R.’s so-called “masterpiece,” pieces of which any “Dallas” nostalgist might be able to predict.
At least now I know a new member of the family is on the way. Naturally the spot for the 2014 CLA grabbed and held my attention. Otherwise, with nods to a band of mischievous senior citizens, a supremely confident young Audi driver, and the indelible words of the late great Paul Harvey, the entire lot this year struck me as rather lackluster. While Tide did amusingly remind us that “no stain is sacred,” my overall impression remains.
So comes and goes another colorful installment of Super Bowl commercials. I’m left with just about as little to say as last year, with nowhere near as much to applaud as two years ago. This time around the game itself proved the more interesting show, close but not close enough as it turned out for San Francisco!
Who’d have thought two or three decades ago that we’d be watching a brand new episode in January 2013? Then, who’d have thought such an event would be happening after the death of the show’s iconic star and irreplaceable centerpiece?
Season two of “Dallas” is off and running. Of course Larry Hagman passed away last November, midway through production of this second round of new episodes. As such tonight’s premiere is bittersweet. We get to see a severely aging J.R. a few more final times, knowing there’s no negotiation on his departure.
As the latest storylines rapidly spin beyond the point of even remote belief, and as we dare not blink in keeping up with exactly who’s one-upping who among the entire corrupt lot, the biggest question will certainly keep all true “Dallas” fans tuned in over the course of the next few weeks: Just how exactly will J.R. exit?
Blink I did not, as in paying close attention to the series of quick frames during the closing credits, my eye caught precisely what was placed there to be found. Apparently we’ll be seeing some more “old” faces this season. J.R.’s swan song, which began tonight, looks like it will grow into a well-attended event. While I could have waited, now under the circumstsances I can’t wait.
There’s a big difference between involvement and commitment, and J.R. Ewing once spelled it out. “Like ham and eggs. The chicken who laid the egg is involved, but the pig the ham came from is committed.”
And now, the eldest Ewing brother has died. I learned this late last night. Upon awaking this morning, unlike for Pam with Bobby, I realized to my dismay that what has just occurred is not a dream.
How fitting that Larry Hagman passed yesterday not only in the city of Dallas, but during a time of reprising his legendary character so many people know and even more of us love. In the final year of his life he had the rare yet celebrated privilege of resurrecting his iconic TV role, that which secured his unmatched place in the world while leaving diehard fans yearning for more of their favorite mischievous-yet-endearing schemer.
In 2012 he was back. Now in the same year he’s left us. This ironic timing seems the most comforting and appropriate way for him to make his long-in-coming exit. Hagman died on Friday, November 23, much to our collective sadness, taking with him of course the one and only J.R. Ewing.
When he lived to see his 80th birthday in September 2011, I was delighted. In fact I breathed a sigh of congratulatory relief, mindful that his serious health challenges over the years rendered this milestone quite a feat. Then when the new “Dallas” finally premiered last summer, seeing Larry Hagman as J.R. Ewing once again after so many years was no less than amazing. Who’d have predicted that a longtime smoker and hard drinker a few breaths from death upon his 1995 liver transplant would live to reprise his infamous role in 2012?
Of course Larry Hagman had aged, almost sadly so. While his tongue continued to lash out those fantastic “J.R.-isms” in this year’s “Dallas” episodes, his body clearly was not keeping pace with his revered wit. Though trying not to admit it, I had a sneaking suspicion he was not long for this world. Like all his fans, I was thankful he had made it this far and managed not just the involvement, but commitment, to give it another go.
And one more round– the now-certain last round– is yet to come. Again, Larry Hagman died in Dallas while bringing J.R. back to season two of the new “Dallas” series. Exactly how prepared for his death the writers and producers of the show were– and just how smoothly and acceptably J.R. will make his final exit— remains to be seen once the series returns in January. Perhaps an appropriate contingency plan was already in place. Maybe J.R.– and Larry– thought ahead to this inevitable moment. After all, while I’m far from the only fan to mourn his death, I certainly can’t be the only one unsurprised.
No doubt he will be missed terribly while remembered wonderfully. Personally, I will always cherish my good fortune of meeting Mr. Hagman professionally in 2003. No other individual figure holds a candle to him, decorated bon vivant that he was, realistically and fictitiously speaking. Likely no one ever will.
More than involved, Hagman remained committed to his work, his role and his unsurpassed persona, leaving us a timeless gift under his mantra, “Vita Celebratio Est.” For this we celebrate one great life. After all, like J.R.’s daddy used to say: “Where there’s a way, there’s a will.” Larry Hagman found and mastered both.
Following my initial review, I watched and waited. And I was surprised and satisfied. The 2012 “Dallas” season finale seized nostalgia and hit it out of the park, at least for those of us who might see what’s really happening.
The heated exchanges between Bobby and J.R. took us back, while the sight of alcohol before Sue Ellen’s eyes triggered memories. We were even treated to but one extended scene with a very aged Lucy. Still, the final “surprise” twist of the season trumped it all, which for true “Dallas” fans should be no surprise whatsoever.
It’s all in the name, and this name is Rebecca. The coincidence sat in my mind throughout the season, as the name of actress Julie Gonzalo’s character did not go entirely unnoticed. As it turns out of course, there was never any coincidence at all. If this sort of gasp followed by thought followed by understanding is what producers of the TNT series intended, then I’m here to say they did one hell of an excellent job.
For those of you in need of a quick refresher: Rebecca was the name of Pam and Cliff Barnes’ mother; she died in a plane crash in 1983. In 1984 Cliff’s girlfriend Afton gave him the heave-ho and left town, returning in 1989 with a young “secret” daughter revealed to be Cliff’s. In the 1996 “Dallas” reunion movie, Cliff and Afton were reunited, and at this time Cliff finally met his now teenage daughter (her age accelerated just a bit), named Pamela Rebecca after her aunt and her grandmother. Are you still with me?
Sixteen years later, a character appears on the new “Dallas” series, named Rebecca. Low and behold, the season ends with the revelation this Rebecca is, yes, Cliff’s daughter. So again, if we think it out, there’s no coincidence and no surprise. The nostalgia by now is spinning out of control!
Naturally it gets more complicated, leading me to wonder what we the viewers are supposed to remember, and what the new show’s producers might want us to conveniently forget. Take that 1996 movie for one: Then-teen Christopher spent significant time with then-teen Rebecca, all the way to knowing that his uncle Cliff is her father, making her his cousin. And if he knew this in 1996, he would know it in 2012. So why would he marry his cousin? Or does Cliff have more than one daughter, if not more than one named Rebecca? Or is Gonzalo’s character merely impersonating someone named Rebecca, as was suggested in this season finale? Or are we supposed to forget the 1996 movie ever happened? Have I lost you?
If this all seems hard to follow, rest assured: The newest “Dallas” plots have been very hard for even me to follow. With layer upon layer of deceit and manipulation packed into a mere ten-episode story arc, there’s been no moment throughout the new series to blink without missing something. Unlike the old days of the 30-episode season with plenty of time for character and plot development, now everything happens fast. Then it gets either resolved or advanced even more quickly.
Storylines get rushed, various performances prove unconvincing, and the overall flow leaves something to be desired. This is the essence of “Dallas” in 2012. At the same time, as with any new ensemble the actors thankfully grew into their roles throughout this first season, while the overall energy ramped up as I grew a little– just a little– more comfortable with the overlapping complexities coming at us.
All the while we’re hooked by that damn nostalgia proving itself the driving force. From Miss Ellie’s gravestone to the former Ewing Oil offices, from John Ross mastering the ways of his father to a 63-year-old Bobby on his near-death bed (as opposed to a 36-year-old Bobby on his complete-death bed), we the viewers have been generously peppered for a second season of modern-day Ewing shenanigans, come January 2013. Perhaps Afton will appear to deliver us some answers, Rebecca’s mother after all. Among all else I can’t wait to hear how Cliff transformed from a cheap skate eating Chinese takeout in his average condo, into a high roller flying around on his own jet with a team to dispose of a body at a moment’s notice.
May the nostalgia continue, again for those of us who really know ‘Dallas” history and can manage to keep up. If you can’t, then why watch? At the end of the day, this series really is for us, the longtime all-knowing fans. And now we have the name “Rebecca” to lead the way into the next exciting chapter.
The focus… is on a younger generation, and the stories of the younger Ewings aren’t as captivating initially as catching up with J.R. and Bobby.” (Porter, zap2it.com)
It’s like The CW has moved into Southfork, and while they look good, they haven’t quite mastered what it means to be Ewings.” (Yeoman, screenrant.com)
“The new Dallas isn’t perfect – it certainly takes a little while to find its feet and not everything clicks straight away.” (Jeffrey, digitalspy.com)
“We could easily have before us any cheesy, unrealistic, poorly acted show made up of yet another generic collection of attractive-yet-dull, scheming-yet-scattered 30-something amateurs.” (yours truly)
My sentiments seem to fit right in among various others. As a lifelong follower of all-things-Ewing, I’ve both anticipated and questioned the premiere of this new TNT series for quite some time. And naturally I have a few things to say about it thus far, now three episodes in with episode four airing tonight.
I’ll of course be watching, and waiting– that is, waiting to see how my initial impressions develop and my overall outlook evolves. Answers to my questions would be helpful, but then non-answers keep us tuned in, right?
Watch the new “Dallas” for yourself and form your own opinion, either before or after reading my first review.
As speculation became anticipation over the course of several months– if not years– the big day is now just weeks away. Ole J.R. is on his way!
“With ratings not taking off, the show’s future is hitting some turbulence.”
The clever line quickly captured my attention during a news broadcast this morning. Suffice to say, I’m not all that surprised to now be hearing the current buzz surrounding the possible cancellation of ABC’s first-season prime-time show “Pan Am.”
Many of us appreciate historical period pieces, for the nostalgia factor certainly if anything else. In this case, an over-glamorized portrayal of air travel its 1960s heyday often captures the fascination of viewers born after, while likely churning a multitude of memories for those who lived through it. However, the initial question I had at the show’s premiere remains: Can this catchy program really build and sustain season-long story arcs, or will the show’s structure quickly reach its limits?
In any event, “Pan Am” is not cancelled, yet. Meanwhile, the power of social media could yet determine its fate, while I know fans who would be sorry to see it go. If the show does “crash” however, I’m sure the network has a few other threads of nostalgia it could pull to gain our viewership. Television is nothing if not turbulent!
He made it! J.R. Ewing has hit his latest milestone, as Larry Hagman today turns 80 years old.
Now 16 years since Hagman’s well-publicized liver transplant, and 31 years after his character Ewing’s world-famous (though of course fictitious) gunshot wounds, the TV icon enters his new decade in the midst of reprising his infamous role. That is, a new version of “Dallas” is coming our way in 2012, as Hagman celebrates a big day he once thought he’d never see. I’m certainly thrilled that he is indeed here for it.
The eldest Ewing brother lives, in more ways than one. Happy 80th J.R.!
I’m sorry to see them go. At the same time, I’m not all that surprised. As storylines grew increasingly silly and often confused, key cast members dropped off while others appeared inconsistently. For the past year it’s been clear to both me and many others that the show was on the decline. How many more deep-seated family secrets could possibly be revealed? And how many more times could one’s paternity be questioned? By the season-ending episode one week ago, it seemed all the clearer that the Walkers have run their course.
Now it’s official. ABC announced last Friday the cancellation of “Brothers & Sisters” after a five-year run. Granted, various plots of late seemed rushed and certainly eye-roll inducing. The unpredictable appearance of various family members often proved disappointing. And the ongoing scattering of scandals, conflicts, revelations and “big” decisions, typically yielding a collection of “horrified” facial expressions, were growing tiresome.
Still, I would like to have seen where the Walkers went next, as this last season did turn out at least a few stronger moments. However, perhaps herein lies the problem: There may very well be no where more for them to go, at least not without further redundancy and ridiculousness. Five seasons and more than 100 episodes is an impressive run in television these days, while some famous programs in history have no doubt stayed around TOO long. This said, perhaps it’s better we’re saying farewell to the Walker clan before they’re completely ignored and forgotten.
Farewell, Walkers. For better or worse, you clearly brought a unique and distinct style to prime-time television that will be missed.
And that’s my faithful-viewer opinion.
Not that I’m disappointed or in any way affected. It’s certainly worth a mention, however, along with a moment of reflection on a long era coming to an end. This is to say, the world of daytime soap operas is soon to suffer severe and debilitating loss, if not meet its demise altogether.
ABC’s announcement yesterday that it’s cancelling two daytime programs on the air for more than forty years comes initially as a surprise, but then as less of a surprise the more I think about it. “All My Children” and “One Life to Live” have existed since 1970 and 1968, respectively, both MUCH older than I am after all!
Times are changing, of course, in broadcast as much as anywhere else. Then too, nothing lasts forever, not even Susan Lucci’s job, as she’ll soon be out of one for the first time in 41 years! Of course she already has something to say about this.
All I can say is that I can’t recall the last time I watched an episode of either show, as I’m not one to sit around watching daytime soaps. (I’ll sit around watching nighttime soaps anytime.) Nonetheless, I realize this will certainly be a painful loss for many faithful viewers, as they’ll now have to rely on “General Hospital” for their daytime fix of tacky melodrama.
Nothing lasts forever, except perhaps the memories of a chronically drama-stricken Erica Kane! A very different daytime programming world is clearly, and not-so-surprisingly, upon us.