J.R. Ewing, a Texas oil baron, uses manipulation and blackmail to achieve his ambitions, both business and personal. He often comes into conflict with his brother Bobby, his arch-enemy Cliff Barnes and his long-suffering wife Sue Ellen.
The residents of Knots Landing, a coastal suburb of Los Angeles, deal with various issues such as infidelity, health scares, rape, murder, kidnapping, assassinations, drug smuggling, corporate intrigue and criminal investigations.
Blake Carrington has just been released from prison and he is trying to reclaim his empire. And he is also reunited with his beloved Krystle, who until recently was in a coma for sometime. ... See full summary »
A wealthy mystery man named Charlie runs a detective agency via a speakerphone and his personal assistant, John Bosley. His detectives are three beautiful women, who end up in a variety of difficult situations.
The saga of a wealthy Denver family in the oil business: Blake Carrington, the patriarch; Krystle, his former secretary and wife; his children: Adam, lost in childhood after a kidnapping; Fallon, pampered and spoiled; Steven, openly gay; and Amanda, hidden from him by his ex-wife, the conniving Alexis. Most of the show features the conflict between 2 large corporations, Blake's Denver Carrington and Alexis' ColbyCo.Written by
Producers tried to conceal Pamela Bellwood's real-life pregnancy in season 6 as it was not written into the script, but it was sometimes apparent on-screen that she was pregnant. Bellwood also missed five episodes in mid season 6 when she had her baby, and then left the show altogether at the end of season 6. See more »
Ooh, the suspicious Mrs. Colby. Sleep with a man but don't ever trust him.
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When it was good, it was very good--and when it was bad, it was painful
Dynasty was in its heyday when I was in high school, so it was inevitable that we'd grow up together. Originally conceived to take on the CBS juggernaut Dallas, the show originally focused on the ultra-rich Carringtons, the middle-class Blaisdels, and the link between them, secretary-turned-socialite Krystle. After half a season, however (it was a mid-season replacement), the creative team decided to take the show in a different direction. They also brought in Joan Collins as Alexis Carrington. Originally intended only to appear in a few episodes, Alexis became such a hit with the viewers that the character quickly became central to the action.
The show, early in its run, was at its best when it nodded to classic Hollywood. The Steven-Claudia storyline, for example, was Dynasty's riff on the film Tea and Sympathy, and the sheer opulence of the show (and some of Claudia's crazier moments) were straight out of Sunset Boulevard. The writing was sharp, incisive, and not afraid to be funny. A brief implosion late in the second season got rid of half the cast, but one role (Steven) was recast, and another (Sammy Jo) would return sporadically for a couple of seasons before finally returning full-time. By the time the show had four seasons under its belt, it was a solid top ten hit that actually showed a lot of quality as the writers tackled then-borderline taboo topics such as abortion and homosexuality.
Then it started to go wrong.
The first blow was the departure of Pamela Sue Martin as Fallon, and the subsequent miscasting of Emma Samms in the role. Worse, the writing took a significant turn for the worse, and Samms had the double handicap of trying to compete against the memory of Martin and having distinctly inferior scripts to work with. Next, whereas previous cliffhangers had involved danger to one or two characters apiece, starting with the infamous fifth season cliffhanger, the producers decided that the majority of the cast had to be endangered in every cliffhanger - the Moldavian massacre, the fire at La Mirage, the siege of the Carrington mansion - which strained credulity to the breaking point. Once-promising characters, like Dominique and Leslie, were marginalized to the point of invisibility and eventually jettisoned with little fanfare.
Worst of all, the writers began to ape ratings bonanzas from previous seasons without seeming to understand why they worked in the first place. Krystle and Alexis' first catfight, for example, came at the end of slowly-increasing tension between the two over the course of the second season. Towards the end of Dynasty's run, the catfights had become almost ubiquitous, as if the writers felt that they weren't doing their job if they didn't include one every season, regardless of whether the scenes made sense from a storytelling standpoint.
The show enjoyed a brief renaissance in its final season, largely due to the addition of Stephanie Beacham to the cast, but with Linda Evans leaving the show in the middle of the season, it was more or less doomed at that point - the triumvirate of Blake-Krystle-Alexis, once broken, could not be repaired or replaced.
All in all, though, Dynasty was a pleasant way to spend an hour every Wednesday (later Thursday), and I'm glad I got to know the Carringtons.
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