By the 1985-86 TV season, 'Dynasty' attracted a weekly audience of 100 million viewers in 90 countries. While "watching dailies", Esther Shapiro revealed, "There are men in high political places, tycoons and men of power - I can't reveal their names - who watch the show ('Dynasty')…" When 'Dynasty' began in 1981, an episode would cost $700,000 to produce. By the 1988-89 season, 'Entertainment Weekly' noted, an episode of 'Dynasty' would cost over $1.5 million to make.
"It was the height of the Republican years, the age of glitz and greed," Esther Shapiro explained. "It just seemed to work, just seemed to capture what the '80s were all about." Douglas Cramer was said would go to the ends of the earth for the right caviar and caviar dish. "That attention to detail is one of the things that makes 'Dynasty' - 'Dynasty' … It was our intention from the start that 'Dynasty' would look different from all other television shows," Douglas Cramer told 'New York' magazine in 1985.
Esther Shapiro added, "We wanted to do something that would be fun, an American fantasy. We wanted a strong, 19th-century sort of family where people were in conflict but loved each other in spite of everything. 'Dynasty' came on the air just a few weeks after Reagan's inauguration, and there are certain similarities. A powerful executive married to a devoted woman, with a difficult ex-wife, a sensitive son, a rebellious daughter ... And beyond that, the idea that having money and flaunting it, enjoying it, is okay – they have that in common, too."
The 'Dynasty' merchandise reportedly grossed $400 million retail - with the most popular being the 'Forever Krystle' perfume; the ball gowns and tuxedos. The 'Dynasty' products were said mostly manufactured in the United States. Robert Pollock reminded, "She (Esther Shapiro) has a very good story instinct; she's not as good at story creation. She knows what is going to turn on audiences, what is going to light up the skies, what is contemporary, what is current - and what is going to be dreary on television."
'Dynasty' finished the 1985-86 season with an average of 21.8% households ratings and 33% audience share. 'The Colbys' averaged 16.0% households ratings and 24% audience share. On reflection, John Forsythe acknowledged, "We had some very bad story lines that I think have been corrected. Amanda married some prince from Moldavia and no one has been able to figure out where Moldavia is. We think somewhere east of Peoria (Illinois). But we got back to what the audience expects and wants, which is stories about the family."
One time John Forsythe was approached at an airport by a fan who thought he was Blake and made known she disapproved of the way he had treated Krystle. John Forsythe pointed out, "That's what I mean when I say audience involvement. I mean it's pretty damn silly, that kind of involvement. People take this whole thing so seriously and that's insane."
One time John Forsythe was approached at an airport by a fan who thought he was Blake and made known she disapproved of the way he had treated Krystle. John Forsythe pointed out, "That's what I mean when I say audience involvement. I mean it's pretty damn silly, that kind of involvement. People take this whole thing so seriously and that's insane."
As she was approaching her 73rd birthday in 2001, Jeanne Moreau told Alan Riding of 'The New York Times', "No, I don't fall in love (at that age). I love differently. The word 'fall' is meaningless. Perhaps a 'coup,' to be hit by love, yes. But I'm more generous now. Passion is blind and being blind you only see your own reflection in the eyes of others. Passion creates obstacles and pain that block what love is about. Love opens you up. It's more generous, more fun. It's less dark."
Speaking to Emma Brockes of 'The Guardian' on the subject of love interest, Jeanne Moreau answered, "Of course. But not in the same way as I had when I was 30 or 40. I need, absolutely, to be alone. I think more and more people want to live alone. You can be a couple without being in each other's pockets. I don't see why you have to share the same bathroom. Even if you have two bathrooms."
In 1986-87, 'Dynasty' finished the season with an average of 17.2% households ratings and 26% audience share. 'The Colbys' averaged 11.9% households ratings and 18% audience share. 1987 also marked the final year of the daytime drama, 'Capitol'. 'Soap Opera Digest' observed, "'Capitol' is a throwback to the old days of 30-minute soap operas with each theme and focus crisply defined.
"Every storyline, every event, is rooted in the familial, romantic and political entanglements of the McCandlesses, the Cleggs, and the Dennings. Because of this clear focus, as well as the colorful back story of 'Capitol's' characters, viewers have a handle on why these people act or feel as they do. Wally McCandless and Brenda Clegg, the youngest in their respective families, are least affected by the reasons behind the McCandless-Clegg feud and therefore most vocal about ending it.
"Motivation has seldom been a problem on 'Capitol'. Its problem is story direction. When a segment reaches a logical conclusion, there are many choices a writer can make. The key characters remain happy for a while and lend support to other story lines, there may be something in a character's history which can be dredged up to rekindle a dying story, or a brand-new character can be introduced to threaten a couple that mistaken believed they would live happily ever after, their problems finally behind them.
"'Capitol' often makes the wrong choices. Instead of exploring plausible, historically-rooted possibilities which could provide months of complexities, this show often settles for momentary hope. With that hype comes dead ends. Nevertheless, 'Capitol' is one of the most brilliant productions in daytime. Sy Tomashoff's flawlessly-crafted sets shine, and are aided by an immense studio and clothing of consummate good taste. The stunning cast includes Constance Towers, Marj Dusay, Julie Adams, Nicholas Walker, Jess Walton and Deborah Mullowney. 'Capitol' has several ingredients for success including a host of dramatic possibilities. Let 's see those possibilities come to fruition."
Speaking to Emma Brockes of 'The Guardian' on the subject of love interest, Jeanne Moreau answered, "Of course. But not in the same way as I had when I was 30 or 40. I need, absolutely, to be alone. I think more and more people want to live alone. You can be a couple without being in each other's pockets. I don't see why you have to share the same bathroom. Even if you have two bathrooms."
In 1986-87, 'Dynasty' finished the season with an average of 17.2% households ratings and 26% audience share. 'The Colbys' averaged 11.9% households ratings and 18% audience share. 1987 also marked the final year of the daytime drama, 'Capitol'. 'Soap Opera Digest' observed, "'Capitol' is a throwback to the old days of 30-minute soap operas with each theme and focus crisply defined.
"Every storyline, every event, is rooted in the familial, romantic and political entanglements of the McCandlesses, the Cleggs, and the Dennings. Because of this clear focus, as well as the colorful back story of 'Capitol's' characters, viewers have a handle on why these people act or feel as they do. Wally McCandless and Brenda Clegg, the youngest in their respective families, are least affected by the reasons behind the McCandless-Clegg feud and therefore most vocal about ending it.
"Motivation has seldom been a problem on 'Capitol'. Its problem is story direction. When a segment reaches a logical conclusion, there are many choices a writer can make. The key characters remain happy for a while and lend support to other story lines, there may be something in a character's history which can be dredged up to rekindle a dying story, or a brand-new character can be introduced to threaten a couple that mistaken believed they would live happily ever after, their problems finally behind them.
"'Capitol' often makes the wrong choices. Instead of exploring plausible, historically-rooted possibilities which could provide months of complexities, this show often settles for momentary hope. With that hype comes dead ends. Nevertheless, 'Capitol' is one of the most brilliant productions in daytime. Sy Tomashoff's flawlessly-crafted sets shine, and are aided by an immense studio and clothing of consummate good taste. The stunning cast includes Constance Towers, Marj Dusay, Julie Adams, Nicholas Walker, Jess Walton and Deborah Mullowney. 'Capitol' has several ingredients for success including a host of dramatic possibilities. Let 's see those possibilities come to fruition."
