ThatsDarling

In real life, I doubt Dan would be ready for a romantic relationship so soon after the death of his wife of 45 years. That being said, I think The Conners needs a new matriarch if it's going to have a future. Laurie Metcalf and Sara Gilbert are talented actresses, but I don't think the characters of Jackie and Darlene work as leads. Katey Sagal is a compelling, charismatic screen presence, and with the right role she could be the jolt of energy the show needs. A new girlfriend would open up a world of storytelling possibilities; Dan could feel guilty for falling in love with another woman after Roseanne's death, his children could resent him for moving on so quickly, the new girlfriend could struggle to fit into the culture of the family, etc.

In addition to her consecutive Tony wins and Oscar nomination, Laurie was nominated for three Emmy awards in 2016, all for different shows and genres (Getting On, Horace and Pete, and The Big Bang Theory). She's killing it. I think the appeal of a project like The Conners to a Laurie Metcalf or a John Goodman is that they have the opportunity to play roles they enjoy, work with people they like, and earn more money than they probably make doing theater or independent films. Live action sitcoms also tend to have a significantly less grueling production schedule than, say, a single-camera series.

Barb mentioned in an earlier flashback that their mother visits her in prison, but not Carol. That interests me as well, and makes me wonder if the parents place more blame on Carol for Debbie's murder. Even if Barb never flipped on Carol during the investigation and trial, I can see why they might think Carol was the driving force behind the plan. Barb seemed to do a better job of concealing her hatred and thirst for vengeance; she seemed well-liked in her community, and her parents trusted her to be Debbie's sole babysitter on the night of the murder, before deciding Carol had to help out, too. It's also telling that, as the car moved closer and closer to the lake, Debbie was mostly pleading with Barb to save her. With Carol, what you see is what you get, but Barb's betrayal blindsided her.

I, too, was fascinated by Barb and Carol's flashback (and the excellent casting of the characters as young women). Though short, the scene where the entire family was present in the home the night before the move was rich with history. The mother and father were insensitive to the needs of all three daughters; Barb and Carol's feelings and needs were deemed less important than Debbie's burgeoning gymnastics career, a career that was being pushed on her by her parents. Then there was the father's hostile refusal of Barb's plan to stay with her friend's family until graduation so she wouldn't have to change schools again. He came across as very controlling and aggressive, while the mother remained passive. I got the impression that the sisters were raised in a dysfunctional, perhaps even abusive, household, and Debbie's horrific murder was partially a way to express their rage at their parents. There is an entire spinoff's worth of material to explore with the Dennings family, the reaction to Debbie's death, and the murder trial.

This was my favorite season since S2. Barb and Carol were compelling antagonists; I thought both sets of actresses who played them were perfectly cast, and their backstory was engaging and highly disturbing. I would definitely watch a spinoff that further explored their dysfunctional family and their trial for Debbie’s murder.

Red made a disparaging comment about Chevy Chase’s character in the National Lampoon Vacation movies a few episodes back—“What’s so entertaining about screwing everything up?” That is pretty much how I feel about Piper. She’s not a target for the other inmates solely because of her privilege, but because she’s a know-it-all who completely lacks self-awareness and is rather dense. She may be educated, but she is not at all wise, and has spectacularly poor judgment. It’s frustrating to watch her, and I wish the show would move on from her character or have her evolve in some way. I think Barb and Carol are the most interesting Big Bads the show has presented since Vee. That their relationship is so rich in history adds a compelling element to their feud, and last episode’s flashbacks clarified just how legitimate a threat they are to each other and any other inmate who gets in their way.

Laurie Metcalf is now one of only six people in history to receive Oscar, Tony, and Emmy nominations in one calendar year.

She can get the Conners into gardening to help them process their emptiness and sense of loss following Roseanne's demise. “Oh, and just you wait 'til spring, Darlene! You're gonna wake up one morning, walk out, and pow – color coming out of your yin-yang!”

I'm interested in the concept, but I do think The Conners will need a new matriarch if the show lasts more than one season. It's not that the supporting actresses are incapable of leading a series (I would watch a one-woman show starring Laurie Metcalf), but I think their characters work best in smaller doses. I keep imagining Sally Struthers as Dan's new love interest. She could balance out the remaining cast without being an on-the-nose replacement for Roseanne.

She looked gorgeous and her acceptance speech was lovely. Not many actors can say they won a Tony, were nominated for an Oscar, and won another Tony over the course of one year.

This reminds me of when ABC sent Isaiah Washington to "rehab" for homophobia during the early years of Grey's Anatomy. (Washington later claimed that there is no rehab for homophobia, and ABC called it what they did for PR purposes). Still, I'm genuinely curious about what a formal treatment program for bigoted celebrities would look like.

Lecy Goranson did speak out about Roseanne's tweet.

Awards are often given out more due to things like aggressive campaigning, buzz, and popularity. John Goodman and Laurie Metcalf were widely predicted as nominees by the pundits on GoldDerby, not only because of their performances, but because they're well-known industry veterans who have name recognition within the Academy. Also, Laurie was having a spectacular year up until this morning, having scored Oscar and Tony nominations within a few months of each other. That kind of momentum creates the buzz that awards season narratives are made of--she could have been one of a few actors in history to be nominated for all major awards in one year.

ABC has suspended Roseanne's Emmy campaign in all categories.

I understand ABC's decision to cancel the show; there is no way to excuse the highly offensive nature of Roseanne's off-screen comments. It horrifies me that someone who has enjoyed so much success and good fortune in her life can respond by spewing such hateful, ignorant language. Had the show continued despite this, I think it would have done significant damage to the careers and reputations of everyone else involved. People would ask how the supporting actors and crew could associate with someone who said such vile things. In that sense, I am relieved that Laurie Metcalf, John Goodman, Sara Gilbert, etc. are free from this mess, but I will miss seeing them every week. Saddened for the lesser-known names who just lost their jobs and won't bounce back as easily. I am also upset that Roseanne seems hell-bent on destroying the legacy of what was a great series.

It seems you usually have to have an "in" to get any job anywhere these days. Even the competition for minimum wage jobs can be very stiff. Another good Roseanne line from this episode--"I would rather go home than stay here. And if you'd seen my home, you would realize what an insult that is!"

If the revival was going to retcon Andy, resurrect Dan, and make Harris five years younger, I think Jerry could have been forgotten altogether. He was an infant when the original series ended, and therefore was never able to play a significant role on the show. Most casual viewers are probably unaware that the Conners had a fourth child. Overall, I thought this was the strongest episode so far. It tackled weighty subject matter without being didactic, and the acting was less stiff. College-educated, published writer Darlene working as a server at a casino felt very real. I know all too well that higher education and years of experience, especially in a creative field, don't necessarily mean much when it comes to finding sustainable employment. I think the show is doing a good job of showing that economic success is not the report card of life. Favorite exchange of the night was Becky complaining about women with children feeling entitled to special treatment, and Darlene responding by saying something like, "Yes, we single mothers have had it too good for too long."

Bonnie was my favorite of Roseanne's friends and co-workers. Her performance felt very lived-in and her singing was superb. Her departure may have had to do with wanting to prioritize the bigger personalities on the show as the show shifted in tone from being naturalistic to more exaggerated. Moreover, Bonnie Bramlett is primarily known as a recording artist and songwriter (she co-wrote "Superstar," popularized by The Carpenters) and may have chosen to focus on her music career after S4. I would love to see her appear on the next season of the revival, ideally to sing a full-length version of "You Really Got a Hold on Me."

Watching the family have the sleepover in the tent was the first time I felt some of the chemistry from the old series. I'm also very amused by the concept of telling ghosting stories at slumber parties.

With the exception of Becky's surrogacy storyline, plots don't seem to span multiple episodes--it's like each show is a self-contained story. It's telling that they're airing the episodes all out of order and it isn't causing continuity issues. Weird that this episode was the last filmed. I can't imagine it as a season finale. Also strange that they brought Crystal and Nancy back just to say one line each.

Laurie Metcalf earned her fifth (and third consecutive) Tony nomination today for Three Tall Women. Winners will be announced June 10.

I think Roseanne was a better actress than she was given credit for on the original version of the show, especially during the middle seasons. Granted, playing a character based on yourself presumably reduces the difficulty level, but it's an accomplishment to seem so relaxed and natural in front of a television camera. Her lines sound like verbalized thought, and her silent reactions to other characters can be quite powerful--I think of her shifts in expression as Darlene reads "To Whom it Concerns" in Brain-Dead Poets Society, and the precise moment she figures out her daughters have scammed her at the beauty parlor on Mother's Day in "Don't Make Me Over." The latter scene, and the follow-up where she collapses in Dan's arms and asks, "Why did they have to do that today?" I've always found particularly affecting.

It really is, and she's a talented actress in her own right. She appeared alongside her mother in The Other Place on Broadway and was quite good. Laurie had another daughter at 50, who she describes as having a "belting Ethel Merman voice" in an interview. Perhaps there is going to be a full-on Metcalf acting dynasty.

I recall Wanda Sykes making a comment about how writing for Jackie was easy because Laurie can make any line work. I think that perspective might be part of the problem--relying too heavily on an actor's performance to elevate substandard material. If the writing for her character doesn't improve, at least Roseanne will be an opportunity for her to make a boatload of money. Projects like Lady Bird and Three Tall Women are superior outlets for her talents as an actress, but theater and indie movies don't pay like a hit sitcom does, and she has young kids to help support.

I saw Laurie on stage in The Other Place, for which she received a Tony nomination, back in 2013. She played a researcher of dementia who begins to (possibly) show signs of the illness herself. To say she was brilliant would be an understatement. She also had a small but pivotal role as the scorned wife of John Terry's character in A Dangerous Woman. She is a performer who can seamlessly transition from drama to comedy and delivers in all three mediums of acting. She deserves all the success she has been enjoying as of late, and I hope she has many more projects worthy of her talents in the future.