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DYNASTY versus DALLAS versus KNOTS LANDING versus the rest of them
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<blockquote data-quote="James from London" data-source="post: 97246" data-attributes="member: 22"><p><u>01 Apr 87: DYNASTY: Valez v. 02 Apr 87: KNOTS LANDING: Our Secret v. 03 Apr 87: DALLAS: War and Peace v. 03 Apr 87: FALCON CREST: Body and Soul</u></p><p></p><p>Last week, aliens landed in Soap Land for the first time. This week, FALCON CREST’s Melissa declares that “You really can’t believe everything you see on television,” which seems like a timely observation. Following that intergalactic interlude, it’s reassuring to hear characters debating more traditional Soap Land themes. “Power and sex, what else is there?” challenges Dirk Maurier on DYNASTY. “There’s love,” counters Alexis Colby, “and power and sex can never replace that.” While Alexis's idealism is newly acquired, the discussion that takes place between Pam and Cliff on this week’s DALLAS could easily have occurred at almost any point in the past nine years. However, knowing that it comes so close to the end of Pam’s tenure gives it an extra significance. “You’re obsessed with revenge,” she accuses her brother. “You’re a Barnes. You should understand that,” he argues. This allows Pam to restate the position she has held since the DALLAS saga began: “I was raised to hate the Ewings just as much as you were, but from the day I fell in love with Bobby, things were different for me. Why can’t you understand that I don’t want to live my life in the middle of a battlefield?” From the day Pam fell in love with Bobby to the first time Richard Channing saw Maggie Gioberti. “When did you get so damn romantic?” Maggie asks him on what might be regarded as their first official date. “I think it was about five years ago at Angela’s house when I first saw you,” he replies. While Richard and Maggie tentatively acknowledge the changing nature of their relationship (“I don’t know what the future holds, but I do know that right now there is no one else I would rather be with,” he tells her), Ray and Jenna do much the same on DALLAS. “Ray and I are not little kids setting up house,” insists Jenna to Miss Ellie. “This isn’t a romance, it’s a friendship — a friendship that no one seems or wants to understand.” Later, she admits to Ray that, “when I was busy defending us to Miss Ellie, I wasn’t thinking about Bobby. I was thinking about you.” “Does that mean you’re finally getting over Bobby?” he asks her. There is no easy answer to this. Instead of replying straight away, Jenna pauses and is then distracted by the baby — <em>Bobby’s</em> baby — kicking inside her. Similarly, back on FALCON CREST, Richard realises that Maggie still has feelings for Chase. “It’s OK. You’re allowed,” he assures her. Things are a little clearer for DYNASTY’s Clay Fallmont. “Something tells me the new you is finally over me and in love with someone else,” Sammy Jo tells him. “It’s as if you had the word Leslie tattooed across your forehead.”</p><p></p><p>In fact, it’s almost as if every character on this week’s DYNASTY has their true feelings tattooed across their forehead. No one (with the possible exception of supporting bad guys Dirk Maurier and Neil McVane) says anything they don’t mean. Everybody's dialogue is as literal as three-year-old Krystina’s when she confides to Sarah Curtis that Raggedy Ann is the favourite of her dolls but that she is worried that her other toys will be upset if they find out. (“I don’t like them to be sad.”) Even Sarah herself isn’t so much duplicitous as deluded in the scenes leading up to her kidnapping of Krystina. It appears as if the part of her that tells Krystle and Blake that she is planning to return home to Wyoming has no idea that another part of her has secretly rented an apartment in Denver where she intends to live with “her” daughter.</p><p></p><p>“I didn’t realise how desperate she was,” says Mack following Anne Matheson’s suicide attempt on KNOTS LANDING. Equally, neither Blake nor Krystle realises how desperate Sarah is until they discover she’s snatched their daughter — just six days after Krystina’s big sister Fallon was abducted by aliens on THE COLBYS. To paraphrase Oscar Wilde, to lose one Carrington daughter in the space of a week might be regarded as a misfortune; to lose two looks like carelessness. As an increasingly paranoid Ben Gibson rants on KNOTS: “What is it gonna take…? Does somebody have to come in here in the middle of the night and slit your throats or kidnap our children?”</p><p></p><p>While the characters on DYNASTY are largely transparent, the atmosphere on KNOTS is decidedly enigmatic. Recurring throughout this week’s episode are dreamlike interludes set in a kind of ethereal ice palace. These appear to be taking place either in Anne’s mind, as she lies unconscious following her overdose, or in some sort of afterlife antechamber where her soul is waiting for the fates to decide if she should live or die. (Heck, following Fallon’s extraterrestrial encounter, this seems as viable a Soap Land scenario as any other.) Each of these scenes is accompanied by the strains of ‘Künstlerleben - Walzer, op. 316’ by Johann Strauss II. We first see Anne sitting peacefully alone gazing into a tunnel of light, then waltzing with an invisible partner and then with Mack in slow-motion. As the dance continues, Anne and Mack slowly turn into younger versions of themselves as seen in the 1967 flashbacks earlier in the season. (Young Anne is, of course, played by Paige who is also Future Alexis, but let’s not think about that now.)</p><p></p><p>The walls between cul-de-sac reality and Anne’s dream world dissolve in the scene where Mack, in heroic slow-motion, smashes his way through her living window and takes her unconscious body in his arms. What could be a more classically romantic image? It’s literally a dream come true. Of Soap Land’s three recent suicide rescue missions — Krystle preventing Sarah from gassing herself in her car, Jeff diving into the ocean to save Frankie — this is by far the most dramatic and visually impressive.</p><p></p><p>Anne is taken to Soap Land Memorial Hospital where, in addition to the usual anxious-relatives-in-the-waiting-room scenes, there is a very striking shot of Paige walking slowly down an empty corridor towards her mother’s room. She carries a bouquet of flowers, out of which she selects a single rose before allowing the rest of the flowers to drop to the floor and then carrying on her way. There is no music to underscore the scene, just the sound of Paige’s reverberating footsteps (underlying the sense that this is a real corridor rather than a traditional Soap Land set). The sequence feels symbolic of … <em>something</em>, but as this isn’t an episode overly concerned with spelling things out, the viewer is left to their own conclusions.</p><p></p><p>The characters’ motives are likewise shrouded with ambiguity. “You don’t think she intended to die, do you?” Paige asks Karen with regard to Anne’s overdose. “Mother is a pro at exhibitions like this.” Anne neither endorses nor refutes this interpretation of events, but her reaction when another bouquet is delivered to her hospital room speaks volumes. “The envelope, please,” she smiles knowingly, as if onstage at the Academy Awards. There’s another theatrical metaphor later in the same episode, again related to deception. “Time for your performance, maestro,” Paige tells Peter Hollister, referring to his seduction of Olivia. “She is ready and tuned. All you have to do is pluck.”</p><p></p><p>Unlike the enigmatic Anne or the archly ironic Paige, Olivia is as sincere in her feelings and behaviour as the cast of this week’s DYNASTY. Indeed, the futility of her crush on Peter, a man to whom she is fundamentally unsuited (not only is he much older, but he’s also sleeping with both her mother and her best friend), resembles Sammy Jo’s feelings for Steven, a man with whom she might be sharing her bed, but who can never truly be hers. “Part of me is never going to change, Sammy Jo,” he tells her. “I can’t be the kind of man you want me to be and I can’t lie to myself about it.” “Then what <em>do</em> you want?” she asks. “I don’t know, but it can’t be this,” he replies. Within the heteronormative confines of ‘80s Soap Land, Steven can only be defined by what he <em>isn’t</em> and what he <em>can’t</em> be, rather than who he is and/or might be in the future. This inner turmoil leads to a riding accident that leaves Steven’s son’s favourite horse with a broken leg and being put out to pasture. “I was riding him hard, too hard!” Steven laments. “No one blames you,” Sammy Jo insists. “No one except me,” he replies. This is the one scene in this week’s DYNASTY that can be read metaphorically — it’s clear that by blaming himself for the accident, Steven is really blaming himself for his inability to fulfil the role of a traditional family man. </p><p></p><p>Back on KNOTS, Peter’s interest in Olivia is prompted by the news of his fake mother’s off-screen death. Sylvia Lean is the third Soap Land character of the season whose passing we learn of after she has already been written out of her respective show. The circumstances of her demise (“She drowned in a bathtub,” Greg informs him matter-of-factly) might be more prosaic than those inflicted upon Constance Colby Patterson’s (a plane crash in the Far East) or Jamie Ewing Barnes (an avalanche in New Mexico), but the dramatic consequences are no less juicy. Just as Jamie’s death has led to various characters fighting over the ten percent of Ewing Oil she left behind (a fight which reaches its courtroom climax this week), Sylvia’s death has Peter desperate to get his hands on the letter she gave to Olivia before leaving town, to be opened only in the event of something “unusual” happening to her. And in order to get his hands on the letter, Peter must first put his hands on Olivia.</p><p></p><p>There are interesting references to a couple of long-departed, rarely mentioned Ewing-verse characters this week. Firstly, in an effort to make Abby take Olivia’s feelings for Peter seriously, Karen recalls her own estrangement from daughter Diana in terms that, in a roundabout but satisfying way, help explain why so little has been heard from Diana since she moved to New York almost three years earlier: “You know how close Diana and I once were … I’m not sure we completely fixed the damage that was done.” Then on DALLAS, after Pam admits to Bobby that she is unable to forget his past relationship with Jenna (“Every time you kiss me, I see you kissing Jenna”), he reminds her of her own involvement with Mark Graison. It’s the first time Mark has been mentioned since his resurrection was obliterated by the dream solution. Since then, we have been no clearer about his fate than we were when Pam went looking for him in Hong Kong. “Oh Bobby, Mark is gone,” she says simply in this ep, which kind of tells us all we need to know about him in the present.</p><p></p><p>Towards the end of KNOTS, we return to Anne’s otherworldly ice palace. Strauss is still playing, Young Anne is still waltzing with Young Mack -- until he turns, surprisingly, into Young Greg. Then as the dance reaches its climax, there’s a blurring whirl where Young Greg, Old Mack and Young and Old Anne all seem to be dancing with each other — but the couple we are left with at the end is the present day Anne and Greg. We then fade back to an inscrutable looking Anne in her hospital bed and then to Paige walking back down that same hospital corridor, just as haughty but now also strangely vulnerable.</p><p></p><p>The court hearing on DALLAS is one of two in this week’s Soap Land this week. The other is Tony Cumson’s arraignment over his arrest for the murder of Roland Saunders on FALCON CREST. The DALLAS sequence is an enjoyably unruly affair with Jack Ewing (in his final appearance) and Cliff Barnes hurling insults at each other across the courtroom and much gavel-banging from the judge (“Any further outbursts and I will instruct the bailiff to remove both of you from this courtroom!”). While the judge’s decision to award April 5% of Ewing Oil comes as no surprise, the twist is that Cliff is allowed to keep the other 5%. There’s also an unexpected outcome in the Cumson hearing — instead of the case being thrown out, “recently acquired evidence” leads to Tony being charged with first-degree murder. Despite being the end of episode cliffhanger, this is probably Soap Land’s dullest murder investigation to date.</p><p></p><p>The final scene of DALLAS and the penultimate scene of FALCON CREST are almost identical this week. On DALLAS, JR is being interviewed by a TV news crew as he leaves the courthouse. “Justice was not served in this case,” he declares. “Not by a long shot.” On FALCON CREST, Maggie is making a televised appeal for information about the whereabouts of her and Chase’s child. Each character is being watched on TV by a woman holding baby who feels no sympathy for their plight. “Oh, justice will be served, Mr Ewing. I can promise you that,” murmurs Nancy Scotfield thrillingly on DALLAS. “You see that lady right there? She and Chase did a terrible thing by sending your little brother Joseph away and they’ve just begun to pay for it,” Melissa tells Maggie’s baby son on FC.</p><p></p><p>Speaking of babies, following the longest-spanning pregnancy in Soap Land history (two full seasons), Donna Krebbs finally gives birth on this week’s DALLAS. As befits her character, she does so in a thoroughly no-nonsense manner — there’s no falling down the Colby staircase or going into labour on Angela Channing’s doorstep for Donna. The one moment of dramatic irony takes place after the blessed event when she calls Ray’s house to give him the news. Jenna, herself heavily pregnant, answers instead. “I really wish you the best,” Donna tells her erstwhile rival, gracious to the last. “You too,” Jenna replies. And thus the two women — who in the alternate universe of Pam’s Dream shared the most intense of friendships — bid each other a low-key, bittersweet farewell. There’s a far less civilised scene on FALCON CREST between Maggie and the woman who has moved into <em>her</em> husband’s life, Gabrielle Short. Frantic with worry about the missing baby, Maggie turns up at Chase’s looking for help. “I really admire the way you’re handling this,” Gabrielle tells her somewhat patronisingly. “What an incredibly stupid thing to say,” responds Maggie contemptuously. It’s a hugely satisfying moment and one of the few times this episode really comes alive.</p><p></p><p>And this week’s Top 4 are …</p><p></p><p>1 (1) KNOTS LANDING</p><p>2 (-) DALLAS</p><p>3 (3) DYNASTY</p><p>4 (4) FALCON CREST</p></blockquote><p></p>
[QUOTE="James from London, post: 97246, member: 22"] [U]01 Apr 87: DYNASTY: Valez v. 02 Apr 87: KNOTS LANDING: Our Secret v. 03 Apr 87: DALLAS: War and Peace v. 03 Apr 87: FALCON CREST: Body and Soul[/U] Last week, aliens landed in Soap Land for the first time. This week, FALCON CREST’s Melissa declares that “You really can’t believe everything you see on television,” which seems like a timely observation. Following that intergalactic interlude, it’s reassuring to hear characters debating more traditional Soap Land themes. “Power and sex, what else is there?” challenges Dirk Maurier on DYNASTY. “There’s love,” counters Alexis Colby, “and power and sex can never replace that.” While Alexis's idealism is newly acquired, the discussion that takes place between Pam and Cliff on this week’s DALLAS could easily have occurred at almost any point in the past nine years. However, knowing that it comes so close to the end of Pam’s tenure gives it an extra significance. “You’re obsessed with revenge,” she accuses her brother. “You’re a Barnes. You should understand that,” he argues. This allows Pam to restate the position she has held since the DALLAS saga began: “I was raised to hate the Ewings just as much as you were, but from the day I fell in love with Bobby, things were different for me. Why can’t you understand that I don’t want to live my life in the middle of a battlefield?” From the day Pam fell in love with Bobby to the first time Richard Channing saw Maggie Gioberti. “When did you get so damn romantic?” Maggie asks him on what might be regarded as their first official date. “I think it was about five years ago at Angela’s house when I first saw you,” he replies. While Richard and Maggie tentatively acknowledge the changing nature of their relationship (“I don’t know what the future holds, but I do know that right now there is no one else I would rather be with,” he tells her), Ray and Jenna do much the same on DALLAS. “Ray and I are not little kids setting up house,” insists Jenna to Miss Ellie. “This isn’t a romance, it’s a friendship — a friendship that no one seems or wants to understand.” Later, she admits to Ray that, “when I was busy defending us to Miss Ellie, I wasn’t thinking about Bobby. I was thinking about you.” “Does that mean you’re finally getting over Bobby?” he asks her. There is no easy answer to this. Instead of replying straight away, Jenna pauses and is then distracted by the baby — [I]Bobby’s[/I] baby — kicking inside her. Similarly, back on FALCON CREST, Richard realises that Maggie still has feelings for Chase. “It’s OK. You’re allowed,” he assures her. Things are a little clearer for DYNASTY’s Clay Fallmont. “Something tells me the new you is finally over me and in love with someone else,” Sammy Jo tells him. “It’s as if you had the word Leslie tattooed across your forehead.” In fact, it’s almost as if every character on this week’s DYNASTY has their true feelings tattooed across their forehead. No one (with the possible exception of supporting bad guys Dirk Maurier and Neil McVane) says anything they don’t mean. Everybody's dialogue is as literal as three-year-old Krystina’s when she confides to Sarah Curtis that Raggedy Ann is the favourite of her dolls but that she is worried that her other toys will be upset if they find out. (“I don’t like them to be sad.”) Even Sarah herself isn’t so much duplicitous as deluded in the scenes leading up to her kidnapping of Krystina. It appears as if the part of her that tells Krystle and Blake that she is planning to return home to Wyoming has no idea that another part of her has secretly rented an apartment in Denver where she intends to live with “her” daughter. “I didn’t realise how desperate she was,” says Mack following Anne Matheson’s suicide attempt on KNOTS LANDING. Equally, neither Blake nor Krystle realises how desperate Sarah is until they discover she’s snatched their daughter — just six days after Krystina’s big sister Fallon was abducted by aliens on THE COLBYS. To paraphrase Oscar Wilde, to lose one Carrington daughter in the space of a week might be regarded as a misfortune; to lose two looks like carelessness. As an increasingly paranoid Ben Gibson rants on KNOTS: “What is it gonna take…? Does somebody have to come in here in the middle of the night and slit your throats or kidnap our children?” While the characters on DYNASTY are largely transparent, the atmosphere on KNOTS is decidedly enigmatic. Recurring throughout this week’s episode are dreamlike interludes set in a kind of ethereal ice palace. These appear to be taking place either in Anne’s mind, as she lies unconscious following her overdose, or in some sort of afterlife antechamber where her soul is waiting for the fates to decide if she should live or die. (Heck, following Fallon’s extraterrestrial encounter, this seems as viable a Soap Land scenario as any other.) Each of these scenes is accompanied by the strains of ‘Künstlerleben - Walzer, op. 316’ by Johann Strauss II. We first see Anne sitting peacefully alone gazing into a tunnel of light, then waltzing with an invisible partner and then with Mack in slow-motion. As the dance continues, Anne and Mack slowly turn into younger versions of themselves as seen in the 1967 flashbacks earlier in the season. (Young Anne is, of course, played by Paige who is also Future Alexis, but let’s not think about that now.) The walls between cul-de-sac reality and Anne’s dream world dissolve in the scene where Mack, in heroic slow-motion, smashes his way through her living window and takes her unconscious body in his arms. What could be a more classically romantic image? It’s literally a dream come true. Of Soap Land’s three recent suicide rescue missions — Krystle preventing Sarah from gassing herself in her car, Jeff diving into the ocean to save Frankie — this is by far the most dramatic and visually impressive. Anne is taken to Soap Land Memorial Hospital where, in addition to the usual anxious-relatives-in-the-waiting-room scenes, there is a very striking shot of Paige walking slowly down an empty corridor towards her mother’s room. She carries a bouquet of flowers, out of which she selects a single rose before allowing the rest of the flowers to drop to the floor and then carrying on her way. There is no music to underscore the scene, just the sound of Paige’s reverberating footsteps (underlying the sense that this is a real corridor rather than a traditional Soap Land set). The sequence feels symbolic of … [I]something[/I], but as this isn’t an episode overly concerned with spelling things out, the viewer is left to their own conclusions. The characters’ motives are likewise shrouded with ambiguity. “You don’t think she intended to die, do you?” Paige asks Karen with regard to Anne’s overdose. “Mother is a pro at exhibitions like this.” Anne neither endorses nor refutes this interpretation of events, but her reaction when another bouquet is delivered to her hospital room speaks volumes. “The envelope, please,” she smiles knowingly, as if onstage at the Academy Awards. There’s another theatrical metaphor later in the same episode, again related to deception. “Time for your performance, maestro,” Paige tells Peter Hollister, referring to his seduction of Olivia. “She is ready and tuned. All you have to do is pluck.” Unlike the enigmatic Anne or the archly ironic Paige, Olivia is as sincere in her feelings and behaviour as the cast of this week’s DYNASTY. Indeed, the futility of her crush on Peter, a man to whom she is fundamentally unsuited (not only is he much older, but he’s also sleeping with both her mother and her best friend), resembles Sammy Jo’s feelings for Steven, a man with whom she might be sharing her bed, but who can never truly be hers. “Part of me is never going to change, Sammy Jo,” he tells her. “I can’t be the kind of man you want me to be and I can’t lie to myself about it.” “Then what [I]do[/I] you want?” she asks. “I don’t know, but it can’t be this,” he replies. Within the heteronormative confines of ‘80s Soap Land, Steven can only be defined by what he [I]isn’t[/I] and what he [I]can’t[/I] be, rather than who he is and/or might be in the future. This inner turmoil leads to a riding accident that leaves Steven’s son’s favourite horse with a broken leg and being put out to pasture. “I was riding him hard, too hard!” Steven laments. “No one blames you,” Sammy Jo insists. “No one except me,” he replies. This is the one scene in this week’s DYNASTY that can be read metaphorically — it’s clear that by blaming himself for the accident, Steven is really blaming himself for his inability to fulfil the role of a traditional family man. Back on KNOTS, Peter’s interest in Olivia is prompted by the news of his fake mother’s off-screen death. Sylvia Lean is the third Soap Land character of the season whose passing we learn of after she has already been written out of her respective show. The circumstances of her demise (“She drowned in a bathtub,” Greg informs him matter-of-factly) might be more prosaic than those inflicted upon Constance Colby Patterson’s (a plane crash in the Far East) or Jamie Ewing Barnes (an avalanche in New Mexico), but the dramatic consequences are no less juicy. Just as Jamie’s death has led to various characters fighting over the ten percent of Ewing Oil she left behind (a fight which reaches its courtroom climax this week), Sylvia’s death has Peter desperate to get his hands on the letter she gave to Olivia before leaving town, to be opened only in the event of something “unusual” happening to her. And in order to get his hands on the letter, Peter must first put his hands on Olivia. There are interesting references to a couple of long-departed, rarely mentioned Ewing-verse characters this week. Firstly, in an effort to make Abby take Olivia’s feelings for Peter seriously, Karen recalls her own estrangement from daughter Diana in terms that, in a roundabout but satisfying way, help explain why so little has been heard from Diana since she moved to New York almost three years earlier: “You know how close Diana and I once were … I’m not sure we completely fixed the damage that was done.” Then on DALLAS, after Pam admits to Bobby that she is unable to forget his past relationship with Jenna (“Every time you kiss me, I see you kissing Jenna”), he reminds her of her own involvement with Mark Graison. It’s the first time Mark has been mentioned since his resurrection was obliterated by the dream solution. Since then, we have been no clearer about his fate than we were when Pam went looking for him in Hong Kong. “Oh Bobby, Mark is gone,” she says simply in this ep, which kind of tells us all we need to know about him in the present. Towards the end of KNOTS, we return to Anne’s otherworldly ice palace. Strauss is still playing, Young Anne is still waltzing with Young Mack -- until he turns, surprisingly, into Young Greg. Then as the dance reaches its climax, there’s a blurring whirl where Young Greg, Old Mack and Young and Old Anne all seem to be dancing with each other — but the couple we are left with at the end is the present day Anne and Greg. We then fade back to an inscrutable looking Anne in her hospital bed and then to Paige walking back down that same hospital corridor, just as haughty but now also strangely vulnerable. The court hearing on DALLAS is one of two in this week’s Soap Land this week. The other is Tony Cumson’s arraignment over his arrest for the murder of Roland Saunders on FALCON CREST. The DALLAS sequence is an enjoyably unruly affair with Jack Ewing (in his final appearance) and Cliff Barnes hurling insults at each other across the courtroom and much gavel-banging from the judge (“Any further outbursts and I will instruct the bailiff to remove both of you from this courtroom!”). While the judge’s decision to award April 5% of Ewing Oil comes as no surprise, the twist is that Cliff is allowed to keep the other 5%. There’s also an unexpected outcome in the Cumson hearing — instead of the case being thrown out, “recently acquired evidence” leads to Tony being charged with first-degree murder. Despite being the end of episode cliffhanger, this is probably Soap Land’s dullest murder investigation to date. The final scene of DALLAS and the penultimate scene of FALCON CREST are almost identical this week. On DALLAS, JR is being interviewed by a TV news crew as he leaves the courthouse. “Justice was not served in this case,” he declares. “Not by a long shot.” On FALCON CREST, Maggie is making a televised appeal for information about the whereabouts of her and Chase’s child. Each character is being watched on TV by a woman holding baby who feels no sympathy for their plight. “Oh, justice will be served, Mr Ewing. I can promise you that,” murmurs Nancy Scotfield thrillingly on DALLAS. “You see that lady right there? She and Chase did a terrible thing by sending your little brother Joseph away and they’ve just begun to pay for it,” Melissa tells Maggie’s baby son on FC. Speaking of babies, following the longest-spanning pregnancy in Soap Land history (two full seasons), Donna Krebbs finally gives birth on this week’s DALLAS. As befits her character, she does so in a thoroughly no-nonsense manner — there’s no falling down the Colby staircase or going into labour on Angela Channing’s doorstep for Donna. The one moment of dramatic irony takes place after the blessed event when she calls Ray’s house to give him the news. Jenna, herself heavily pregnant, answers instead. “I really wish you the best,” Donna tells her erstwhile rival, gracious to the last. “You too,” Jenna replies. And thus the two women — who in the alternate universe of Pam’s Dream shared the most intense of friendships — bid each other a low-key, bittersweet farewell. There’s a far less civilised scene on FALCON CREST between Maggie and the woman who has moved into [I]her[/I] husband’s life, Gabrielle Short. Frantic with worry about the missing baby, Maggie turns up at Chase’s looking for help. “I really admire the way you’re handling this,” Gabrielle tells her somewhat patronisingly. “What an incredibly stupid thing to say,” responds Maggie contemptuously. It’s a hugely satisfying moment and one of the few times this episode really comes alive. And this week’s Top 4 are … 1 (1) KNOTS LANDING 2 (-) DALLAS 3 (3) DYNASTY 4 (4) FALCON CREST [/QUOTE]
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