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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: 150922" data-attributes="member: 22"><p><u>26 Apr 89: DYNASTY: Here Comes the Son v. 27 Apr 89: KNOTS LANDING: The Perfect Opportunity v. 28 Apr 89: DALLAS: The Sound of Money</u></p><p></p><p>The past comes back to haunt several characters on DYNASTY and DALLAS this week. For starters, there are the two skeletons Blake discovers in his basement. Then there’s the appearance of Roger Grimes’s long lost wife, Emily, who reveals that Roger also has a long lost son, Dennis. “Good-looking, isn’t he?” she says to Dex and Jeff, showing them a photo. “Just like his father. Unfortunately, too much like his father.” As well as Roger, Dennis also resembles Tommy McKay — long hair, a prison term and a proclivity for leather jackets. And in the same way that we have just learned, two decades after Roger’s death, that he fathered a son, so we’ll find out the same thing about Tommy, twenty-something years after <em>his</em> death, on New DALLAS. Back on Old DALLAS, it emerges that Afton has a secret child of her own, a five-year-old daughter called Pamela Rebecca. She vehemently denies that Cliff is the father, but he’s not listening. “Another Pamela Barnes!” he crows to Bobby over the phone. “Isn’t that great?” Fast-forwarding twenty-three years to Julie Gonzalo sitting at the Southfork dinner table, I can confirm that yes, it <em>is</em> great. (Dex Dexter, meanwhile, is kept in the dark about his own child-to-be after Sable confides her pregnancy to daughter Monica instead. Monica reacts much the same as Diana Fairgate and Vicky Gioberti did to their mothers’ late-in-life pregnancies. “You can’t keep it!” she insists.) The most intriguing of all of these “long losts”, however, is the woman who approaches JR during his late night stroll in Vienna. “Vanessa, I don’t believe it!” he exclaims. “It’s been so long, my love,” she replies.</p><p></p><p>Vienna is this week’s stop on the DALLAS—goes-to-Europe tour. It’s less John Le Carre and more Timothy Dalton-era James Bond than Salzburg. There are some handsomely mounted scenes, the most atmospheric of which takes place in the catacombs of St. Stephen's Cathedral. They evoke a similar subterranean creepiness to the Carrington basement.</p><p></p><p>When Carter McKay “just happened” to find himself in Salzburg at the same time as the Ewing boys last week, he suggested they call a truce. JR, though highly sceptical, played along. This week, both parties “just happen” to find themselves in Vienna and so the charade continues. “That is a little lesson in business and politics,” Bobby explains to April as they observe JR and Mack chit-chatting at a swanky reception. “Each one knows the other is lying and no-one is giving an inch.” In contrast, Zorelli’s attempt to bury the hatchet with Blake is utterly sincere, but Blake makes no effort to hide his disdain. “My daughter may buy that line of crap but I sure as hell don’t,” he informs him with the withering contempt he saves for special occasions.</p><p></p><p>While DYNASTY opens with Zorelli quitting the police force for love (”It came down to a choice between my job and you,” he tells Fallon), KNOTS closes with Abby firing Paige from the Sumner Group for “misappropriating funds.” It’s a frame-up on Abby’s part, except for the bit about Paige “living in a Sumner Group apartment and charging it to the company” — the innocent and devious sides of her personality dovetailing neatly. It’s also the end of the road for Johnny Rourke after he ripped off Michael Fairgate’s computer vaccine and sold it to Greg. Greg offers him a deal: “$10,000 and I never wanna hear from you again.” I didn’t think I’d ever say this, but I’m kinda sad to see the back of old Johnny. As late ‘80s Soap Land conmen go, he was smarter than Casey Denault and less self-destructive than Tommy McKay. Heck, he even manages to leave town with ten grand in his pocket, which is more than you can say for the other two.</p><p></p><p>Each of this week’s soaps is dominated by one overarching storyline involving most of its major players: the European oil deal on DALLAS, the Collection on DYNASTY and Murakame on KNOTS. In each case, one or two characters are left out in the cold and are therefore given a comparatively minor subplot in which to justify their existence: Sammy Jo listens to Tanner McBride talk touchingly about his priestly vocation on DYNASTY, Val proves endearingly klutzy during her first date with Danny the computer guy on KNOTS, and Miss Ellie hovers anxiously as Clayton wrestles with a random case of amnesia on DALLAS.</p><p></p><p>As Clayton forgets, Fallon starts to remember. While moving into a cottage on the Carrington estate, she is haunted by a weirdly eerie childhood lullaby — ‘Don’t Worry Be Happy’ it ain’t. She also thinks she sees Roger Grimes peering through the windows. Zorelli assumes it’s her imagination, but we can see the figure too. No, it’s not Tommy McKay on the run from those angry Dallas drug dealers, but Roger’s son Dennis, pulling Soap Land’s first mobile phone out of his pocket. (It’s not quite the size of a brick, but close enough.) There is a further blurring of the real and unreal on KNOTS where Mack keeps lapsing into daydreams in which Paula comes onto him and he is unable to resist. It gets to the point where he sees her in his living room but can’t tell if she’s really there or not — until Karen appears to inform him that “Paula’s water heater broke and flooded her apartment … she’s gonna be with us for a couple of days.”</p><p></p><p>Back on DYNASTY, Jeff and Monica are headline news, thanks to Adam. “Are Colby Brother and Sister Too Close For Comfort?” asks the <em>National Inquisitor</em> next to a doctored photo that makes it look as if they’re about to kiss. Sammy Jo’s concerned reaction leads Tanner to point out the obvious: “We’re not talking about the <em>New York Times</em> here. These rags make up stories all the time.” Mack makes a similar point on KNOTS when a TV news report that Mr. Nagata’s death “may be reclassified as a homicide” sends Paige into a panic. “These stations, they overplay a story just to get viewers … It happens all the time,” he assures her. Paige nervously pacing the Mackenzies’ living room floor while telling everything she knows about Murakame recalls an equally anxious Laura pacing the same floor five years earlier while spilling her guts about another of Abby’s dummy corporations, Apolune. Then, Mack rushed in to save the day. Now, he insists there is nothing to worry about.</p><p></p><p>Shooting on Sue Ellen’s movie commences. During previous such storylines, Maggie Gioberti and Val Gibson met with the actresses who’d been cast to play them in the screen versions of their lives, but neither of those movies ever reached the filming stage. Here, we are asked to accept that JR’s bedroom at Southfork is now a facsimile of same. We then watch, along with Sue Ellen, Don and the rest of the film crew, as two competent if somewhat generic actors recreate the final scene from “New Beginnings” (a DALLAS Season 3 episode that originally aired eight years and one week before this one), in which a tentative reconciliation between JR and Sue Ellen is interrupted by the news that Kristin has given birth to JR’s son. Prior to this, the closest Soap Land has come to such a reenactment is when Jack Coleman and Emma Samms replaced their predecessors in flashback scenes on DYNASTY.</p><p></p><p>Between takes, Don reminds Sue Ellen that “we’re not making a documentary, this is a movie” — only the scene being filmed doesn’t look like either a documentary or a movie: it looks like a soap opera. DALLAS follows this fiction-within-a-fiction scene with a sequence filmed at the real-life Spanish Riding School of Vienna where exotic Lipizzaner horses are shown ... doing whatever it is Lipizzaner horses do. This scene might as well be from a documentary, save for the Ewing brothers chipping in with some characteristic queries. “Say, how much are these horses?” JR asks. “Any chance I could ride one while I’m here?” enquires Bobby. The woman in charge who turns down both their requests is clearly a real person as opposed to an actor. You can tell this because she exudes the flat, muted quality of someone who is self-consciously <em>not</em> acting. Paradoxically, this makes her the least convincing person in the scene. From Vienna, DALLAS cuts to the cardboard Southfork patio where Clayton is trying to figure out what’s real and what isn’t. “I am really confused. I don’t know where the hell I am,” he admits. It's understandable.</p><p></p><p>And this week’s Top 3 are …</p><p></p><p>1 (1) KNOTS LANDING</p><p>2 (2) DYNASTY</p><p>3 (4) DALLAS</p></blockquote><p></p>
[QUOTE="James from London, post: 150922, member: 22"] [U]26 Apr 89: DYNASTY: Here Comes the Son v. 27 Apr 89: KNOTS LANDING: The Perfect Opportunity v. 28 Apr 89: DALLAS: The Sound of Money[/U] The past comes back to haunt several characters on DYNASTY and DALLAS this week. For starters, there are the two skeletons Blake discovers in his basement. Then there’s the appearance of Roger Grimes’s long lost wife, Emily, who reveals that Roger also has a long lost son, Dennis. “Good-looking, isn’t he?” she says to Dex and Jeff, showing them a photo. “Just like his father. Unfortunately, too much like his father.” As well as Roger, Dennis also resembles Tommy McKay — long hair, a prison term and a proclivity for leather jackets. And in the same way that we have just learned, two decades after Roger’s death, that he fathered a son, so we’ll find out the same thing about Tommy, twenty-something years after [I]his[/I] death, on New DALLAS. Back on Old DALLAS, it emerges that Afton has a secret child of her own, a five-year-old daughter called Pamela Rebecca. She vehemently denies that Cliff is the father, but he’s not listening. “Another Pamela Barnes!” he crows to Bobby over the phone. “Isn’t that great?” Fast-forwarding twenty-three years to Julie Gonzalo sitting at the Southfork dinner table, I can confirm that yes, it [I]is[/I] great. (Dex Dexter, meanwhile, is kept in the dark about his own child-to-be after Sable confides her pregnancy to daughter Monica instead. Monica reacts much the same as Diana Fairgate and Vicky Gioberti did to their mothers’ late-in-life pregnancies. “You can’t keep it!” she insists.) The most intriguing of all of these “long losts”, however, is the woman who approaches JR during his late night stroll in Vienna. “Vanessa, I don’t believe it!” he exclaims. “It’s been so long, my love,” she replies. Vienna is this week’s stop on the DALLAS—goes-to-Europe tour. It’s less John Le Carre and more Timothy Dalton-era James Bond than Salzburg. There are some handsomely mounted scenes, the most atmospheric of which takes place in the catacombs of St. Stephen's Cathedral. They evoke a similar subterranean creepiness to the Carrington basement. When Carter McKay “just happened” to find himself in Salzburg at the same time as the Ewing boys last week, he suggested they call a truce. JR, though highly sceptical, played along. This week, both parties “just happen” to find themselves in Vienna and so the charade continues. “That is a little lesson in business and politics,” Bobby explains to April as they observe JR and Mack chit-chatting at a swanky reception. “Each one knows the other is lying and no-one is giving an inch.” In contrast, Zorelli’s attempt to bury the hatchet with Blake is utterly sincere, but Blake makes no effort to hide his disdain. “My daughter may buy that line of crap but I sure as hell don’t,” he informs him with the withering contempt he saves for special occasions. While DYNASTY opens with Zorelli quitting the police force for love (”It came down to a choice between my job and you,” he tells Fallon), KNOTS closes with Abby firing Paige from the Sumner Group for “misappropriating funds.” It’s a frame-up on Abby’s part, except for the bit about Paige “living in a Sumner Group apartment and charging it to the company” — the innocent and devious sides of her personality dovetailing neatly. It’s also the end of the road for Johnny Rourke after he ripped off Michael Fairgate’s computer vaccine and sold it to Greg. Greg offers him a deal: “$10,000 and I never wanna hear from you again.” I didn’t think I’d ever say this, but I’m kinda sad to see the back of old Johnny. As late ‘80s Soap Land conmen go, he was smarter than Casey Denault and less self-destructive than Tommy McKay. Heck, he even manages to leave town with ten grand in his pocket, which is more than you can say for the other two. Each of this week’s soaps is dominated by one overarching storyline involving most of its major players: the European oil deal on DALLAS, the Collection on DYNASTY and Murakame on KNOTS. In each case, one or two characters are left out in the cold and are therefore given a comparatively minor subplot in which to justify their existence: Sammy Jo listens to Tanner McBride talk touchingly about his priestly vocation on DYNASTY, Val proves endearingly klutzy during her first date with Danny the computer guy on KNOTS, and Miss Ellie hovers anxiously as Clayton wrestles with a random case of amnesia on DALLAS. As Clayton forgets, Fallon starts to remember. While moving into a cottage on the Carrington estate, she is haunted by a weirdly eerie childhood lullaby — ‘Don’t Worry Be Happy’ it ain’t. She also thinks she sees Roger Grimes peering through the windows. Zorelli assumes it’s her imagination, but we can see the figure too. No, it’s not Tommy McKay on the run from those angry Dallas drug dealers, but Roger’s son Dennis, pulling Soap Land’s first mobile phone out of his pocket. (It’s not quite the size of a brick, but close enough.) There is a further blurring of the real and unreal on KNOTS where Mack keeps lapsing into daydreams in which Paula comes onto him and he is unable to resist. It gets to the point where he sees her in his living room but can’t tell if she’s really there or not — until Karen appears to inform him that “Paula’s water heater broke and flooded her apartment … she’s gonna be with us for a couple of days.” Back on DYNASTY, Jeff and Monica are headline news, thanks to Adam. “Are Colby Brother and Sister Too Close For Comfort?” asks the [I]National Inquisitor[/I] next to a doctored photo that makes it look as if they’re about to kiss. Sammy Jo’s concerned reaction leads Tanner to point out the obvious: “We’re not talking about the [I]New York Times[/I] here. These rags make up stories all the time.” Mack makes a similar point on KNOTS when a TV news report that Mr. Nagata’s death “may be reclassified as a homicide” sends Paige into a panic. “These stations, they overplay a story just to get viewers … It happens all the time,” he assures her. Paige nervously pacing the Mackenzies’ living room floor while telling everything she knows about Murakame recalls an equally anxious Laura pacing the same floor five years earlier while spilling her guts about another of Abby’s dummy corporations, Apolune. Then, Mack rushed in to save the day. Now, he insists there is nothing to worry about. Shooting on Sue Ellen’s movie commences. During previous such storylines, Maggie Gioberti and Val Gibson met with the actresses who’d been cast to play them in the screen versions of their lives, but neither of those movies ever reached the filming stage. Here, we are asked to accept that JR’s bedroom at Southfork is now a facsimile of same. We then watch, along with Sue Ellen, Don and the rest of the film crew, as two competent if somewhat generic actors recreate the final scene from “New Beginnings” (a DALLAS Season 3 episode that originally aired eight years and one week before this one), in which a tentative reconciliation between JR and Sue Ellen is interrupted by the news that Kristin has given birth to JR’s son. Prior to this, the closest Soap Land has come to such a reenactment is when Jack Coleman and Emma Samms replaced their predecessors in flashback scenes on DYNASTY. Between takes, Don reminds Sue Ellen that “we’re not making a documentary, this is a movie” — only the scene being filmed doesn’t look like either a documentary or a movie: it looks like a soap opera. DALLAS follows this fiction-within-a-fiction scene with a sequence filmed at the real-life Spanish Riding School of Vienna where exotic Lipizzaner horses are shown ... doing whatever it is Lipizzaner horses do. This scene might as well be from a documentary, save for the Ewing brothers chipping in with some characteristic queries. “Say, how much are these horses?” JR asks. “Any chance I could ride one while I’m here?” enquires Bobby. The woman in charge who turns down both their requests is clearly a real person as opposed to an actor. You can tell this because she exudes the flat, muted quality of someone who is self-consciously [I]not[/I] acting. Paradoxically, this makes her the least convincing person in the scene. From Vienna, DALLAS cuts to the cardboard Southfork patio where Clayton is trying to figure out what’s real and what isn’t. “I am really confused. I don’t know where the hell I am,” he admits. It's understandable. And this week’s Top 3 are … 1 (1) KNOTS LANDING 2 (2) DYNASTY 3 (4) DALLAS [/QUOTE]
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DYNASTY versus DALLAS versus KNOTS LANDING versus the rest of them
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