was everything this isn't: it had pace, pop, actors who weren't afraid to chew the scenery, and a decent script. This one had me scratching my head. If Farrah isn't serious about a career, why does she have a manager (and why is he wasting his time)? If Kate and Barney are "artists," why do they sign up for The Mother of All Jiggle Shows? They weren't industry bigwigs, but they weren't exactly starving, either. And while they got the history right (the poster was released before Farrah got the show), Silverman rejecting pitches for "Funniest Home Videos" and "American Idol", and Spelling promising his baby girl Tori that he'll create a show for her someday obviously did not happen.
What bothered me was how Spelling's role is distorted. He's shown as the show-runner and creator when he was neither. And how he "comes up" with the "idea" for Charlie's Angels is laughable!
How were Spelling and Goldberg allowed to enforce Farrah's oral contract when the others were signed? Why didn't Farrah or Bernstein tell them she was leaving not because she discovered her Inner Diva, but because Lee Majors wanted her to? This is why, when it tries to created conflict by setting Farrah up as the "bad girl" (like Suzanne Somers), it fails because the groundwork was never laid -- that was where the "Three's Company" pic delivered.
What bothered me was how Spelling's role is distorted. He's shown as the show-runner and creator when he was neither. And how he "comes up" with the "idea" for Charlie's Angels is laughable!
How were Spelling and Goldberg allowed to enforce Farrah's oral contract when the others were signed? Why didn't Farrah or Bernstein tell them she was leaving not because she discovered her Inner Diva, but because Lee Majors wanted her to? This is why, when it tries to created conflict by setting Farrah up as the "bad girl" (like Suzanne Somers), it fails because the groundwork was never laid -- that was where the "Three's Company" pic delivered.