Another look at Season three

Discussion in 'Dynasty' started by Michael Torrance, May 8, 2018.

  1. Michael Torrance

    Michael Torrance Soap Chat Well-Known Member

    Message Count:
    820
    Trophy Points:
    480
    Gender:
    Male
    Location:
    Alexis' studio
    Ratings:
    +1,373
    Gender:
    Male
    Member Since:
    2017 I think (unless it is 2016)
    Yeah, the timing is right. If ever these two had occasion to come together this was it.

    The music is so melodramatic--and there is something about Linda Evans' delivery in that last scene (standing in the corridor and walking back) that is too stilted.
    Which switcheroos are you talking about? I found the way Alexis was treating Adam schizophrenic. Even before he showed his true colors with the toxic panels, she was castigating him for the smallest thing, when she was ready to kill the fatted calf after getting him back a couple of episodes earlier.
     
    • Agree Agree x 1
  2. ArchieLucasCarringtonEwing1989

    ArchieLucasCarringtonEwing1989 Soap Chat Addict

    Message Count:
    963
    Trophy Points:
    682
    Location:
    London
    Ratings:
    +1,494
    Member Since:
    22nd June 2010
    I find season 3 bizarre, its good in some areas, the new characters get alot of screen time this season, where as I did feel.that Fallon and Jeff were in the background, not part of the main action, Adam was definitely the best thing about the season, he filled role of the Carrington son and as the male villain of the series very well.

    Kirby had potential and that potential wasn't realised until years later in the 1991 Reunion sadly, I definitely liked how Blake was losing his mind over Steven, Fallon and Krystle bonding was rushed, I still would have had the sarky remark here and there until season 4 but it would have gotten old them arguing after a while, especially since Krystle was accepted by everyone else at this point.

    For me Season 3 should have stuck to its original storylines concerning Fallon, she was there but at the same time wasn't.

    I prefer season 4 since, while s3 got 40% of it right, s4 got 65% of it right, season 3 had no consistent vibe or feel, seasons 1-2 came of like a light hearted, breezy, 1920s novel, and season 4 seemed more in line with a dark, gothic at times, 1940s film noir, and season 6 had become a heady, Douglas Sirk-esque, camp 1960s melodrama,
    Season 3 seemed to be just there in a way.
     
    • Like Like x 1
    • Winner Winner x 1
  3. Snarky's Ghost

    Snarky's Ghost Soap Chat Oracle

    Message Count:
    4,064
    Trophy Points:
    5,636
    Location:
    Haunting that cozy cellar under Falcon Crest
    Ratings:
    +5,290
    Member Since:
    September 2000
    Can't agree with you here -- like much of Season 3, the timing and pacing were off. What's the point of waiting and stretching it out over several episodes? So it wouldn't feel like something false the writers came up with over the weekend. It was too jarring, and didn't feel very convincing as a result --- and it wasn't the fault of the actors at all, as they did as much with it as they could've.
     
  4. Willie Oleson

    Willie Oleson drilling for soap

    Message Count:
    7,333
    Trophy Points:
    8,250
    Gender:
    Male
    Location:
    somewherie on the prairie
    Ratings:
    +13,897
    Member Since:
    April 2002
    Yes, it felt as if there was some time-jumping going on, here and there.
    I think it's possible for soaps to have these moments. Julia and Angela's spring house showdown turned that storyline 180 degrees in just a few minutes.
    Blake was going mad at that particular time, Krystle was feeling hopeless at that particular time, Fallon (impulsively) reached out to her at that particular time.
    I don't think they could have repeated it (or variants thereof) week after week.
    The animosity between these women was going to end anyway, the only other option was to increase that feud, but Alexis was already taking care of that.
     
    Last edited: May 10, 2018
    • Agree Agree x 1
  5. Snarky's Ghost

    Snarky's Ghost Soap Chat Oracle

    Message Count:
    4,064
    Trophy Points:
    5,636
    Location:
    Haunting that cozy cellar under Falcon Crest
    Ratings:
    +5,290
    Member Since:
    September 2000
    That is totally true. Isn't it weird?
     
    • Agree Agree x 1
  6. Snarky's Ghost

    Snarky's Ghost Soap Chat Oracle

    Message Count:
    4,064
    Trophy Points:
    5,636
    Location:
    Haunting that cozy cellar under Falcon Crest
    Ratings:
    +5,290
    Member Since:
    September 2000
    I think I agree with most of this:

    Welcome to a new Wildcard Wednesday and the continuation of my thoughts on Dynasty (1981-1989, ABC), the gaudy primetime soap that I think defines ’80s drama. Although it would be IMPOSSIBLE to categorize the show as being consistent and well-written, when one thinks about television of the ’80s, among the first shows that comes to mind is Dynasty. Its exaggerated opulence, shallow characters, and larger-than-life storytelling — all seemingly a byproduct of inferior writing — came to define the state of the decade’s TV (at least, as far as dramas go). Furthermore, the series entered the cultural zeitgeist, informing some of the look, sound, and feel of the decade. When discussing both the first and second seasons over the past two months, we saw how the series aimed to cement its identity through the fantastical elements invoked by the Carringtons’ lavish lifestyle and the juicy antics of its characters, particularly the sensational Alexis, who burst onto the scene at the start of the second year and ushered in the “Golden Age” of Dynasty. As the show reaped its new character’s “fabulosity” while reinforcing her broad characterization within the backdrop of a tighter, more focused narrative — that still had a thesis (can Krystle survive in Blake’s world?) — Alexis helped to distinguish the series’ style even further, giving it a palpable joie de vivre.

    [​IMG]

    But when I wrote last month that Season Two was the series’ best, it was inevitable that everything that followed wouldn’t be as good, and I’m afraid that’s the case for Season Three, which despite being fortunate enough to ride some of the “tailwinds” that came from last year’s hearty quality, said thesis sort of deconstructs itself during the season. In fact, many viewers who cite Season Three as a disappointment in comparison to its predecessor try to pinpoint a moment as to where the series goes wrong, but very rarely will you come across two who agree. And the reason for this, in my eyes, is that there is no single point (in this season, anyway) where the show makes a bad decision that fundamentally destroys the season. It’s not so simple. There is, however, a point where the show goes from drama to melodrama (last season’s finale), a point in Season Three where the drama loses steam (discussed below in the list), and another point in Season Three where the show simply can no longer handle itself, but must continue on anyway. I’ll discuss the latter in a figurative moment. But first, I realize that this criticism may come across a bit intangible — what do I mean by “handle itself”?

    [​IMG]

    Dynasty is an ensemble drama, and was so from the beginning (even when there were fewer characters), but with Alexis (Joan Collins) raising the stakes with her arrival in Season Two, the show feels the need to “up” them again in Season Three, with more “OMG moments” (that’s what the network calls them today — seriously), more characters, and more action. In fact, everything is heightened this year, as we begin to see the glamorous Dynasty to which all those ’80s myths alluded. However, much of the discussion about Dynasty and its adoption of those iconic ’80s sensibilities will have to be reserved for next month, because Season Three is an odd transitional year, taking us from the more ’70s Season Two to the definitely ’80s Season Four, and indeed suffering from being stuck in this liminal state. Meanwhile, in addition to style and aesthetics, the stories too become grander. This may not be a surprise, seeing as the series is clearly invigorated by the results of the already inflated season prior, but pride always goeth before a fall, and the show’s ambitious narrative aims prove to be unsustainable by these writers, as the delicious stories they’re so excited about telling begin with a bang… and end with a whimper (or disappear, until the end of the season demands their restored focus). Part of this “start and stop” storytelling is attributable to the overabundance of stories, especially for certain characters. For example, Alexis is not only involved in the storyline with Adam, but the storyline with Mark, the storyline with McVane, etc. It becomes increasingly difficult for the series to satisfyingly play with all of those threads within the same episode, while continuing everything and everyone else with which the show must deal. These writers simply can’t handle it.

    [​IMG]

    But another big part of the inability to juggle these stories stems within the very fabric of the series itself: its characters. More and more, we’re seeing less depth in the figures who were once given the most multi-faceted depictions (and by their position in the series, really needed to have the most depth) — particularly Krystle, Blake, Fallon, and Steven — as everyone is starting to become merely a “good guy” or “bad guy.” Those in the latter group are obvious: Alexis and Adam (Gordon Thomson), the sudsy Carrington son who was kidnapped as a baby and learns his true identity from his dying “grandma,” only to be spurned by Blake and accepted by Alexis. This simple act turns him into a full-fledged villain, as he conspires to get revenge on Blake through Jeff (John James), who has come over to ColbyCo following Cecil’s death (right after the latter’s wedding to Alexis). Long story short: Adam uses poison paint to drive Jeff insane, and in the process, get enough shares of Denver-Carrington so that he and Alexis can stage a coup. It’s soapy and grand, and actually works, for Adam’s inclusion on the series allows Alexis to be less antagonistic and more morally-grounded (well, as morally grounded as Alexis Morrell Carrington Colby can be) than she’ll be from now on, sustaining a semblance of complexity.

    [​IMG]

    Unfortunately, as Alexis thrives, everyone else suffers. First let’s talk Blake (John Forsythe), who’s really pushed into the background during the season. Yes, he’s involved in many storylines and gets plenty to do every week, but so little of it is meaty or memorable, and the reason for this lack of substance is that Blake is no longer making mistakes with regularity — and on the rare occasions when he does morally err, he’s countered by Krystle (Linda Evans), who is by his side unwaveringly, thus robbing the series of the potential conflict stemming from her fish-out-of-water placement and the threat that she could leave at any time. Interestingly, even the series recognizes how much of a rut into which they’ve gotten these two characters, so a contrived break-up occurs in the penultimate episode. But without the proper build, their storyline doesn’t work with any real authority. The same can be said for the notorious lily pond fight, which works because of Fallon’s rejection of Alexis in favor of Krystle (with whom she magically reconciles — we’ll discuss that below), but doesn’t benefit from the mounting tension that had made their encounter from the season prior so memorable. This lack of Krystle/Alexis build goes back to the series’ inability to do everything it wants to do, for the series has a storyline that could allow more acrimony between the two leading ladies: Mark Jennings (Geoffrey Scott).

    [​IMG]

    Although I said there was no pinpointable moment where the series declines in quality, the addition of Mark Jenning’s character comes the closest to giving us a possibility. His arrival was planned since early Season Two, so it’s understandable that the show is finally exploring the story. However, this arc encapsulates (almost) everything that hampers Season Three. First, his character is brought in to put a wedge into Krystle/Blake because he’s still legally married to his ex. But the decision to not have Krystle even slightly tempted by Mark means that his presence is purposeless — no matter how a single script might try to wring out some melodrama (like in the stupid conversation where Krystle demands three months to hammer things out with Mark, naturally angering Blake). Additionally, Mark’s super-objective of winning back Krystle doesn’t seem to motivate a lot of the character’s decisions. Instead, he becomes a pawn that the show uses to create conflict. He goes from having a casual liaison with Alexis, for whom he cultivates some feelings, to becoming platonically — and then, finally, romantically — involved with Fallon (Pamela Sue Martin), for whom he also cultivates some feelings. But no real drama emerges from this scenario either as Mark’s intentions are unclear, and both Alexis’ and Fallon’s come during the year’s out-of-focus final half, remaining trivial. So he’s ultimately, pointless.

    [​IMG]

    But Fallon’s position on the series is the most confounding. At the start of the season, she seems to have her finger in every story. Not only is she engulfed in the crazy kidnapped baby plot (which has Claudia carted off back to the institution and off the show), but the Carrington daughter also decides to go into business running one of the company’s hotels, engages in some flirtation with Adam before she knows he’s her brother, and plays into Alexis’ hands by hiring Mark as the hotel’s tennis pro. She alone drives several of the early episodes, only to disappear into the background in the latter half of the season, during which the character suddenly decides to accept Krystle — which makes no sense, given that there’s been nothing of substance that would change Fallon’s mind about her step-mom’s behavior, and even worse, further robs the show of a source of authentic and thematically centripetal drama. Furthermore, despite being estranged emotionally from Jeff, Fallon’s not even involved in anything that we would anticipate from the entitled but feisty character to whom we were introduced (read: steamy affairs with ill-suited men). Where is Fallon — what happened to her?

    [​IMG]

    As it turns out, Fallon’s arc changed considerably from the original season outline; not only was she to knowingly conspire with Alexis to hire Mark, with whom she was to have an affair before Jeff was ill with the poison, but she was also to turn on her mother and brother when they went after Jeff’s shares of Denver-Carrington, entering into a legal battle that would have livened up the second half of the season (and also maintained the wonderful suspense in the poison paint storyline that ended up abandoned for several episodes until being picked up again in the finale). When Fallon loses the show’s focus and then becomes attached to a character who serves no purpose (Mark Jennings), she in turn loses her spark… and the whole show suffers, because, long before Alexis entered the picture, Fallon was a major source of conflict in Blake and Krystle’s life. Some have suggested her character was indeed diluted as a result of Alexis’ presence, but I think that isn’t the case: I think the show simply didn’t have enough energy to continue the Krystle/Fallon antagonism, while also showing the latter as she ran a hotel and dealt with her attraction to Adam, not to mention the complications of her attraction to Jennings and the residual drama with Jeff. The show simply couldn’t handle all the juicy things they’d thrown at this rich character, and in the end, something had to give — and it was Fallon.

    [​IMG]

    There are two other things that bog down the season — one is tangential, and one isn’t. The first is the introduction of Kirby (Kathleen Beller), a character who often invokes a mixed response from the audience. She’s the majordomo Joseph’s (Lee Bergere) daughter, and she has an attraction to Jeff, even though he’s still stuck on Fallon. Meanwhile, Adam takes a liking to Kirby and rapes her. When Jeff and Kirby finally get together and marry following Jeff’s divorce from Fallon and his recovery from the poisoning, she still has to deal with the ghost of her rape because she’s pregnant — with Adam’s baby. It’s a wonderfully dramatic moment and the whole storyline feeds into the rivalry between Jeff and Adam, one of the year’s better angles, but up until then, we’re just waiting for Kirby to earn full-definition, for while she has a discernible personality, her objectives, like Mark’s, are never clear and seem to be always shifting — never in organic response to the action. While she has feelings for Jeff, her inability to recognize how doomed their relationship will become only seems to negate the integrity of her goal; if she really wanted to be with Jeff, she’d know it wouldn’t be so easy. Kirby has the possibility for complexity, especially in her first few episodes, but that’s soon lost when the character becomes another pawn for story and nothing else. To wit, Kirby’s treatment mirrors the year’s sensibilities: go for the big stories, and contort the characters accordingly.

    [​IMG]

    The final thing with which the season must contend is Steven, who we learn went overseas to work on an oil rig that explodes, leading everyone to believe that he’s perished. But not so — he’s been in a Singapore hospital undergoing extensive cosmetic surgery. When the bandages finally come off after several months, there’s a new actor, Jack Coleman, playing Steven — and he looks much glossier than the old one. Unfortunately, Coleman doesn’t have the same emotional gravitas that Corley, as an original cast member, had inherently mustered, and he comes with a different sense of the character: one that’s been described as more wooden and restrained. However, I think this goes beyond acting choices to a fundamental understanding of the role; instead of playing Steven as a homosexual with heterosexual tendencies (which should be a no-brainer, since the character essentially “came out” at the end of last season), Coleman tends to play the role as a heterosexual with homosexual tendencies. Of course, that’s not so much a problem here in Season Three, when Steven’s only big story constitutes arguing with Blake over the son that he had with Sammy Jo (Heather Locklear), who dropped him off in exchange for more cash, but it’s a disconnect from Steven’s origins, which was an initial arc that, for the most part, had been one of the show’s most rewarding.

    [​IMG]

    On paper, the whole third season Steven arc is a plot that clicks, especially because the cosmetic change is justified within the story. But in execution, we run into some snags. Again, Coleman really can’t pick up where Corley left and be convincing, especially when the show is concocting the custody drama in place of an honest exploration of the tension that still exists between father and son. And while it could be argued that the custody arc, which only works because of Krystle’s emotional bond to the child (remember, she lost a baby last year), is just a means of exploring Steven’s daddy drama, instead, it feels like a means of generating an easily exploitable story. (More next month…) Furthermore, the logic doesn’t work: Steven knows his dad flew around the world to find him, but why is he so quick to charge Blake, per Alexis’ suggestion (even though she was the one who paid off his wife the first time), of acting not in the child’s best interest? It’s contrived and just feels imposed by an outside force independent of the characters and the choices they’re making. Even worse, the addition of this story totally deflates all the other arcs, leaving room for only this and the ColbyCo takeover of Denver-Carrington. This is the moment when the season can officially no longer handle itself, with the bulk of the stories not picking up until the final few entries, when the show realizes that it’s gone off track and needs to recenter itself in order to build to its cliffhanger.

    [​IMG]

    And yet, for all of the big problems with the season, it’s still part of an era marked by higher quality (especially in comparison to that for which the show is generally known — Seasons Four, Five, and Six), and more importantly, it’s still wickedly entertaining. Wickedly.
     
    • Like Like x 2
  7. Willie Oleson

    Willie Oleson drilling for soap

    Message Count:
    7,333
    Trophy Points:
    8,250
    Gender:
    Male
    Location:
    somewherie on the prairie
    Ratings:
    +13,897
    Member Since:
    April 2002
    Where is Fallon — what happened to her?

    They gave her two things she didn't have before:
    1. morality
    2. responsibility

    If it was revealed today that La Mirage was created by a competitor writer who infiltrated the writer's room in order to destroy the show I wouldn't be surprised at all.
    It is Dynasty's Big Evil, or at least Dynasty's season 3 - and this has absolutely nothing to do with the way it looks.

    La Mirage made Fallon enthusiastic which is a positive characteristic, and the original Fallon, although never as fanatically destructive as her mother, was a miserable person.
    A beautiful young woman who had it all, and yet nothing could ever satisfy Fallon Carrington - except for her father's undying love and admiration, and I'm not talking about an encouraging pat on the back.
    Her provocative affairs and interest in men old enough to be her father was a reaction to that.
    Unfortunately, the eighties (and especially mainstream pop culture eighties) didn't take kindly to raunchy - it had to be big and glossy and shine-y.
    When Adam raped Kirby I saw a villain and a victim, a crime, but when Blake raped Krystle it felt scandalous and dirty.
    Dallas, Knots, Falcon Crest and even Flamingo Road had these dirty moments - Paper Dolls, Emerald Point and 80s Dynasty didn't.

    Sometimes I wonder, would it have been possible to combine La Mirage with Original Fallon? Maybe if the project had failed? And why was there no-one else involved, like. oh, Krystle for example?
    It was an impossible entity, a problem that never created a problem, never created drama.
    What it did create was Fallon having "only coffee please" for breakfast because she had to dash. Work, work, work - like a good American should do.

    With these responsibilities (work and a child) came moral standards, and the 70s juicy-raunchy Fallon transformed into an 80s girl (say no to drugs, S4).
    Another missed opportunity was the Divorce From Hell that didn't happen. We saw how that marriage wasn't going to work, we saw how it didn't work and then - poof! - it was over.
    There was no divorce that didn't work.

    But soap isn't just a story, a lot of the pleasure comes from what actually happens on-screen. Therefore I find it difficult to rate the scenes based on the overall feel an perception of a season. To rate a soap is a bit like trying to rate your own life.

    It seems obvious to me that Kirby was created (like the bride of Frankenstein) for no other reason than to give Adam someone to play with. You can't have soap without romance, and it had to be someone living in the same circle, literally. It couldn't be another Carrington, another Colby would have been very difficult at that point, the Carringtons didn't have neighbours or associates anymore (Neal McVane, yoo-hoo!) so the daughter of a servant seemed like the most convenient choice.
    She never was her own character and she just pinballed through the story, if there ever was a motivation then it always felt like an afterthought.
    She did try to reach out to us, with hints of her past full of scandalous pleasures, but these writers had a creepy talent for silencing their own characters. Just say "no"!

    #f**kthe80s
     
    • Like Like x 5
    • Agree Agree x 1
  8. tommie

    tommie Soap Chat Dream Maker

    Message Count:
    1,807
    Trophy Points:
    892
    Location:
    Sweden
    Ratings:
    +2,109
    Member Since:
    I dunno
    I think the issue with La Mirage was that there was no way season one Fallon would've been happy running a hotel. It's pretty obvious that she wanted it all, but her father's conservative views held her back from entering the family business - the original outline of Fallon joining forces with Alexis and Adam makes sense in that way, as does her stabbing them in the back.

    In all honesty, in some ways I think La Mirage happened because they wanted a place to have random characters stay besides the Carrington mansion and it really had nothing to do with wanting to craft a proper storyline for Fallon.
     
    • Like Like x 2
    • Agree Agree x 2
  9. Michael Torrance

    Michael Torrance Soap Chat Well-Known Member

    Message Count:
    820
    Trophy Points:
    480
    Gender:
    Male
    Location:
    Alexis' studio
    Ratings:
    +1,373
    Gender:
    Male
    Member Since:
    2017 I think (unless it is 2016)
    You literally beat me to it. Like @Willie Oleson said, it almost felt like the move of an opponent of the show: take the Carrington woman that is most unconventional as a female and give her to run not any business, but one in the hospitality area: elevate housewife to the arena of a whole hotel and instead of servants like Krystle give her hotel staff. If I were to give Fallon a business to run, using the ones Blake actually owned, I would give her the football team.

    What a waste of plotting--or overplotting-- that was with Jeff. Why make him mad to try and strangle Fallon when they were obviously driving each other crazy without Adam's help? Nobody needed outside reasons for that divorce

    No matter how much I can analyze DYNASTY, it remains my favorite show. I have a list of other, better, shows from other genres (I was not a fan of any other 80s soap) with not even half the flaws it has--but still DYNASTY is intertwined with my teenage self's love for it.

    The ever shrinking DYNASTY universe (compare the dinner party in the first season to later events where the Carringtons do not really interact with any non-characters other than to say hello) was getting smaller as the ratings were getting larger. I think Kirby's arc as a plot was a good one. But the execution (both weekly breakdowns of the story and acting/directing) show how different paper from screen reality can be.
     
    Last edited: May 11, 2018
    • Like Like x 3
  10. tommie

    tommie Soap Chat Dream Maker

    Message Count:
    1,807
    Trophy Points:
    892
    Location:
    Sweden
    Ratings:
    +2,109
    Member Since:
    I dunno
    I was about to put that - did it really matter who ran La Mirage? It didn't really further Fallon as a character at all and hell, in some ways it would've made more sense to give it to Krystle as buying a hotel for her to play with is something I feel Blake would do, especially after the miscarriage. If they had to give it to Fallon I would've had them play it as an ill-advised birthday gift where Fallon pretty much detests the idea and almost delights in making things go wrong, such as creating drama at the opening or just being plain rude to customers.
     
    • Like Like x 2
  11. Snarky's Ghost

    Snarky's Ghost Soap Chat Oracle

    Message Count:
    4,064
    Trophy Points:
    5,636
    Location:
    Haunting that cozy cellar under Falcon Crest
    Ratings:
    +5,290
    Member Since:
    September 2000
    And, of course, Fallon running a hotel was supposed to be a spin-off -- one PSM refused to do and which royally pissed off L'Esther.
     
  12. Willie Oleson

    Willie Oleson drilling for soap

    Message Count:
    7,333
    Trophy Points:
    8,250
    Gender:
    Male
    Location:
    somewherie on the prairie
    Ratings:
    +13,897
    Member Since:
    April 2002
    Interesting idea!
    https://www.imdb.com/title/tt0096647/?ref_=nm_flmg_act_58
    I mainly watched it for Cherie Lunghi, one of my favourite British actresses, and the occasional bare footballer's bum.
    It would take some convincing argumentation on Fallon's part as Blake might see it as "asking the fat kid to guard the pie".
    I like it when seemingly insignificant actions (sometimes by relatively insignificant characters) give the main plots an unexpected twist - and then it's usually only the viewer who's aware of all the details.
    But this kind of overplotting (first time I read that word) sabotages the good stuff that is about to develop in a natural way.
    It's why season 1 worked so well without Alexis - eventhough the absence of this mysterious mother was sort of a script-less force within itself.
    As a young boy I found myself completely bedazzled by the bejewelled divas and their fabulous outfits, and I still like it. But the lack of scenery and supporting actors often made Dynasty look like a theatre play rather than a "rich" tv series. Especially seasons 5 to 8.
    Ha! Like Nellie Oleson's restaurant.
    And so Dynasty suffered from a spin-off that couldn't be, like an infection caused by an abortion-gone-wrong.
     
    • Agree Agree x 2
  13. tommie

    tommie Soap Chat Dream Maker

    Message Count:
    1,807
    Trophy Points:
    892
    Location:
    Sweden
    Ratings:
    +2,109
    Member Since:
    I dunno
    Thinking about it, it's odd that Dynasty never made a storyline surrounding a huge messy public divorce - the show seems to be the perfect to do it and certainly Jeff / Fallon would fit the bill.
     
    • Like Like x 1
    • Agree Agree x 1
  14. ArchieLucasCarringtonEwing1989

    ArchieLucasCarringtonEwing1989 Soap Chat Addict

    Message Count:
    963
    Trophy Points:
    682
    Location:
    London
    Ratings:
    +1,494
    Member Since:
    22nd June 2010
    Fallon we can all agree, suffered the most, while her arc in season 4 was okay, and the fact she was getting some of the karma for the way she treated men in the past was good, I hated her being this dull businesswoman, but Fallon being a Boomer born in the mid 50s who's teen years were the late 60s/early 70s was in hindsight an allegory of those of her generation, hippies becoming yuppies.

    If you watch NuDynasty they are actually using aborted plot lines that were supposed to have been used in the original series but retooling put a stop to those storylines, so perhaps we could get a storyline where Fallon takes Adam and Alexis to court!
     
    • Like Like x 1
  15. Ked

    Ked Soap Chat Dream Maker

    Message Count:
    1,685
    Trophy Points:
    892
    Ratings:
    +1,380
     
    • Funny Funny x 2
  16. GillesDenver

    GillesDenver Soap Chat Active Member

    Message Count:
    134
    Trophy Points:
    174
    Location:
    Moldavia
    Ratings:
    +188
    In the reboot, I'd like Sammy Jo to run La Mirage.
     
    • Like Like x 1
    • Thanks Thanks x 1

Share This Page