B.J. Ewing
Telly Talk Active Member
But pray tell - what accent did Stanwyck had?
For some reason I can just imagine her yelling "whoooooooooooooooooooooooreeeeeeeeeeee" in my head and I don't know where that came from.
The Thorn Birds maybe?
But pray tell - what accent did Stanwyck had?
For some reason I can just imagine her yelling "whoooooooooooooooooooooooreeeeeeeeeeee" in my head and I don't know where that came from.
The image maker tells Alexis the support of her children is important in season eight: 'They are Adam, Steven, and Fallon, correct?'
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I don't blame Alexis for not wanting to claim as her own anything from THE COLBYSConversely Alexis did a similar thing in the Season 7 opener. Triumphant in the mansion, she looks at photos of Amanda (new), Steven and Adam, saying something like all mine. No mention of Fallon.
In all honesty - I wonder if the supposed "boat accident" scenes were ever filmed and just scrapped as they (obviously) went in a different direction after episode 13. Cellini's final scene is so abrupt and yet so Dynasty.
I don't think they shot the scenes but the scripts were ready. The productions had to throw away like they did in seasons 4 (when Helmut Berg was fired) and 6.In all honesty - I wonder if the supposed "boat accident" scenes were ever filmed and just scrapped as they (obviously) went in a different direction after episode 13. Cellini's final scene is so abrupt and yet so Dynasty.
Depends on the actor, obviously, but British actors seem better at capturing the various American accents than vice versa.
With Joan Collins being the exception. I've been watching excerpts from lots of her movies and TV appearances recently and her American accent is so bad, it's actually shockingly bad, to the point I can hardly believe she was let get away with it. She fluctuates between completely forgetting to do it and just speaking with an English accent, to just doing the occasional word, to speaking in a weird old Hollywood Betty Boop meets Mae West voice. And she's consistently bad, pretty much every time she attempts it.
I don't know, I saw her in "The Opposite Sex" and thought her American accent was alright... although I did think she sounded kinda funny... but then again, a lot of women during the '50s sounded a little weird. They all spoke a different way back then.
They messed up season 7 worse than season 6--yes in season 6 they had some horrible storylines (Moldavia, Rita/Krystle) and they had to seriously revise them, but both the first and revised versions were at least consistent plots. Season 7 feels like a set of writers are bumping the scripts as in a pinball machine, going in a different direction every few episodes, and the changes are not only narrative but tonal as well.
I don't think they shot the scenes but the scripts were ready. The productions had to throw away like they did in seasons 4 (when Helmut Berg was fired) and 6.
Unfortunately, Lawrence Heath did not give his production documents to some university like Camille Marchetta or Diana Gould did so I guess we will never be able to find out what was the original story of Amanda's murder.
Supposedly it was set to be a boating accident that might or might not be an accident and Michael was set to be accused of it. It's funny that Amanda seemed to be constantly on the verge of being killed off though - first in the fire until they found Cellini, then the original plan was to have the season 7 cliffhanger involve Michael and Amanda's limo being shot at by mobsters, potentially killing her and finally the boating accident that was scrapped.
It speaks more to the quality of writing at the time and especially the short-sightedness of producers (the fire death was due to Oxenberg raise demands) ; while I have a big problem with the premise of Amanda (Alexis siphoning her away to England for 18 years when she claimed she wanted to be a mother), once on screen the character and Oxenberg had the same capture of lightning effect that Steven/Corley Fallon/Martin and Adam/Thomson had.
I had reported this as an error and asked it be deleted, but now I don't wanna lose my creative points.
Are you claiming that Dynasty wasn't a well-written show with consistent plots and a strong vision of what it wanted to be?
Rude xoxo
DALLAS had Katzman (and Paulsen) and KNOTS had Jacobs. FALCON CREST had McCullough thru S3.
But DYNASTY rarely had any clear-headed spirit guide. S1 had the Shapiros working diligently, but we're not sure why S2 worked or who made it work (I'm reluctant to credit the Pollocks for that), and then Paulsen came in for S9.
Otherwise, if any of DYNASTY's writer/producers were up to the challenge, they were neutralized by the Pollocks' rock-solid banality.
But Season 7 is a kind of distilled Dynastic experience: they're just throwing anything against the wall to see what sticks, and then using what doesn't... The mid-season shift to everyone becoming nicey-nice was a deliberate response to the re-ascension of TV sitcoms in the mid-'80s, and the brass decided that DYNASTY's ratings crash was because the Carringtons were "too mean" and not cuddly like The Cosbys.
But what made Season 2 work -- despite the racing arc, or Logan Rhinewood, or Dr Toscanni's bipolar diagnosis -- was smoothness of execution. And the fact there was more structure underneath the surface than it appeared.I don't mind believing the Pollocks brought a lot to S2--also because I think there are some obvious problems with S2 (Steven going NASCAR and straight, the Toscanni mess who was changing motivation and character every few episodes) which are also theirs. I think they were more reigned in during S2 and then were progressively left to their own unbalanced devices. Season 3 is still solid plot-wise, but the characters are losing credibility, because the Pollocks did not care for that. I think the Shapiros' lack of engagement was the show's Achilles' heel.
Oh, I know. She turned 90 yesterday.Michael Torrance said:When I read that Esther would be "involved" with the new show I just could not stop laughing.
I didn't really see the shift in DALLAS myself, just writing making a downturn as Paulsen was leaving.Michael Torrance said:Though it turns out one Cosby was too cuddly.
I remember reading an article that it was the zeitgeist of prime time soaps at that time to turn nicer, and that DALLAS and DYNASTY were changing tone as a result. I did not stick with DALLAS that long to have an opinion, but I know for DYNASTY it just didn't work. The main reason it didn't work is that these characters HAD real feelings and emotions back in the early seasons, and then they turned into caricatures, and trying to turn them back to real humans made them somehow more grotesque.
I don't think they shot the scenes but the scripts were ready. The productions had to throw away like they did in seasons 4 (when Helmut Berg was fired) and 6.
Unfortunately, Lawrence Heath did not give his production documents to some university like Camille Marchetta or Diana Gould did so I guess we will never be able to find out what was the original story of Amanda's murder.
To me, it seems as though the decision to change the Amanda story came quickly, and with the next two episodes being the "Love Remembered" episodes, that heavily focused on Blake, Alexis, Krystle and Dex, Amanda didn't need to appear at all. After those two episodes the whole tone of Season 7 changed, and Amanda's storyline ends with nothing more than a mention that she has gone back to Europe never to be seen, heard, mentioned, or thought of again.
Again, it just adds to the slap-dash handling of the show in Season 7. From start to finish, the handling of the Amanda situation, from firing Catherine Oxenberg, to hiring mis-cast Karen Cellini, to giving Karen no guidance in how to approach the character, to having no clear idea on what direction the character was to go in Season 7, to deciding to kill the character mid-season, setting it up as such, then not following through, then she just disappears from the series as though she never existed.... just incredible and just a slap in the face to the show, and it's fans.