Kay Gardella of 'New York Daily News' reported in March 1988, "In the post-Reagan Era, not only will the political scene change, so will TV programs, according to Esther Shapiro, the woman who, with her husband, Richard, created the long-running ABC prime-time soap opera 'Dynasty'.
From the glitzy (then) 8-year-old series, designed to satisfy women's fantasies and reflect the money, power and style of the Reagan Era, Shapiro is moving into a more realistic arena to reflect the changing times."
Esther Shapiro, known for her sharp sense of trends, told Kay Gardella times were dictating a change in TV direction, "Eight years ago (in 1981) the time was right for 'Dynasty'. Krystle's relationship with her husband satisfies her and who am I to judge her. But it's time now (in 1988) to present a different perception of women, and for men to understand the problems of working women."
From the outset, John Forsythe maintained, "I hate to go out on a limb, but I think the series will put some real distinction in the nighttime soap operas. A lot of care and devotion are going into the writing and acting. I have no illusions about it being another 'Upstairs, Downstairs'; 'Forsyte Saga,' but I think 'Dynasty' can be a high-ranking series of distinction with, of course, an eye to the commercial market."
However by the start of the 1986-87 season, John Forsythe conceded, "(Last season 1985-86) we went astray ... We had kings and queens, Joan Collins in a nun outfit, Linda Evans in a closet with George Hamilton … Then there was the fact that we literally gave birth to 'The Colbys'. It's hard enough to keep a (then) 6-year-old show alive and fresh without shuffling actors back and forth between two series."
In February 1987, Isobel Silden of 'The News/Sun-Sentinel' reported, "For the most part, your favorite stars do not eat the luscious-looking food on the set. Lack of appetite? No. Vanity. They cannot look good on-camera munching mouthfuls of food. Still, stars do have preferences, and the property masters responsible for providing food on sets do their best to keep their high-priced talent content.
"Lance Dodson, the property master on 'Dynasty', speaks of that show's high-priced stars as though they were members of his own family. He does everything possible to keep them content, including having caviar and papayas ready whenever Joan Collins wants a snack, whether it is in the script or not." Lance Dodson disclosed, "We spend more on caviar than any other show on television. Joan is a fussy eater and she doesn't eat shellfish. So when the script calls for lobster thermidor, it's chicken. She plays with her food, so I often give her an artichoke just to toy with in a scene."
Isobel Silden continued, "Dodson keeps salads and fresh fruit available for the actors in his tiny kitchen on a Hollywood sound stage. He prepares the food himself for small breakfasts, but when the scene has stars dining at La Mirage or other posh spots, he summons professional caterers. 'A very elaborate party can cost around $2,000 for the food. Dinner at La Mirage runs around $300 for the catering service.'
"John Forsythe pays meticulous attention to his diet, a result of his open-heart surgery a few years ago. 'He just picks at his food,' says Dodson.
'Linda Evans eats only what's required in the script. Gordon Thomson really goes for steaks. Jack Coleman eats well, and Diahann Carroll loves caviar, too. Kate O'Mara requests a strict vegetarian diet. When a scene called for her to eat caviar, I served her chopped ripe olives. Heather Locklear gets to eat all the junk food because that's in keeping with her character. Heather doesn't like to eat it, but she can play a funny scene eating a corn dog.'
"All too often, production schedules have the stars of any given show facing dinner first thing in the morning. It takes true acting skill to look enthusiastic about lobster or calamari at 8 a.m., property masters agree. Why does this happen? Because it's often easier to set up the dining scene first, then move to other action as the real mealtime approaches.
"This, too, is show business.
No scene, of course, is done in one take. As a result, actors must deal with the same food time after time, with the prop man making sure it looks the same each time: half a steak on one plate, a partially eaten salad on another.
'They often eat cold steaks or potatoes, because it's hard to keep food warm while the lights are being changed,' Dodson says."
