Chris B

Wow! I'm stunned! I LOVED her as Heather and remember being confused when her screentime dwindled before she left. Later finding out why she left was sad, but I'm glad she's turned her life around and is back! I hope this becomes a long term thing. Heather and Adam were a great couple and could be revisited as well.

She mentioned that they like dopplegangers, swapped babies, back from the dead and obvious tropes like that and she wasn't interested in telling those type of stories.

I'll try to give some cliffs: - First of all, she said the show has been absolutely awful since 2006 and is a shell of itself. She doesn't feel like anything can improve the show because of the heavy interference of CBS. - The full story of her getting hired is that Angelica McDaniel called for an interview. She wasn't looking for a soap job and was working on a documentary. When they met she gave vague ideas of what she'd like to do, but she told them she hadn't watched since she left in 2006 so she'd need time to prepare before creating a story bible. She was told she'd be able to have six months without interference to write the show she wanted to write. They gave her two months to create a story bible, but Chuck Pratt suddenly quit when he got a primetime gig and she got a phone call saying she had to start in one day. She told them that was impossible, but they said she had to do it because they didn't have any other options and she already accepted the gig. - The Devon/Cop/BLM inspired story was her first big story and when they shut it down, that set the tone for her stint. She really wanted to tell this story and when they decided she couldn't do it, it soured the experience for her. She mentioned that the network interference is extreme and Sony has completely turned over creative control to CBS so you literally just have to do as they say. - She felt like Michael and Lauren were neglected so a focus of hers was giving them a story. - She wanted to make Jill's heart attack a bigger storyline, but it was difficult to schedule Jess because she didn't want to work as much as they needed her. - Tessa/Mariah was a big problem for the network. She had to fight for them to kiss, but the network was very upset and pushed back expecting a big backlash. In the end there was no backlash, but the network still wouldn't support the storyline. She said this was the story she was most proud to get on screen. - She wanted to expand the male canvas because too many characters were related. She loved telling the Cane/Juliet storyline, but it was another storyline that had a lot of interference that she couldn't tell the way she wanted to. - She had a great story idea for a "Who Shot Hilary" story, but they wouldn't approve the story. - She watched Y&R from day one and she was part of a writer development storyline and wrote a bible which got her hired. She wrote her bible based on what was airing and Bill Bell picked certain stories directly from her bible: the creation of Lauren and Dina's return both came from her bible. She had a great story for another family, but Bill Bell couldn't use it because he'd already written them off. - When Michele Val Jean headwrote General Hospital, she was hired as a consultant. She was excited to work there, but Wendy Riche was fired and Jill Farren Phelps wanted to take the show in a different direction so she didn't last past her first 13 week cycle. - She's written a one hour project she'd like for streaming and has a treatment for Generations as a one our series. The Generations reboot is something she mentioned she's really going to try to make happen. I feel like the conversation about Days on Peacock clicked with her because she brought this back up multiple times. She said that Days on Peacock is a blessing in disguise and it doesn't surprise her that their audience migrated. She said she feels Y&R would struggle the most if it went to streaming because the audience is so old. - For Days, she said working with James Reilly was amazing. He was one of the nicest people she ever worked with. She hated the Sci Fi and outlandish stuff he did, but respected the mark he left on the show. She tried to ground the show more and she used Mike/Carrie as an example of why a writer should watch the show. She said that relationship was developed as a fluke when she noticed the actors had chemistry when watching the show. - Some of the co-hosts kept bashing Brad Bell really harshly, but she wouldn't take the bait. Ultimately they asked if she'd be willing to write for the show and she said no, but that's all they could get out of her on that subject. Side Note: I get Brad is a mess, but it was cringe constantly saying such negative things about her, knowing she can't co-sign or comment on stuff like that.

I enjoyed Do Revenge. I remember watching it and being surprised it was on Netflix, but then I remembered we don't really get teen movies on the big screen again. Although she wasn't featured much, I liked having Sarah Michelle in it because it felt like passing the torch in a way. Kinda like how Molly Ringwald showed up as an adult in teen projects.

This reminds me of something I dealt with years ago when Television Without Pity was a thing. I'll never understand it, but there was someone who would take my posts from here and repost then there, as if it was them making the posts. It was so bizarre because it wasn't actual articles, but just me talking about my feelings about a particular show. I'll never understand why people do things like that.

I struggle with that show because some of the hosts can be very...crass and inarticulate, but I managed to make it through most of this and found it to be an interesting interview. I love hearing more about her 2016 return because the more I hear, the less sense it makes. I don't understand how they reached out to her, hired her with no bible, then gave her one notice to start writing the show, yet still didn't give her at least a full year to prove herself. How do you knowingly hire someone who is telling you they haven't watched the show in 10 years and has ZERO story written and expect it to work right off the bat? It's just insane. Then to hear the extreme level of network interference is just bizarre to me. I feel like at NBC they just don't care because Days seems to tell whatever story they want to tell. It amazes me that there are still people behind the scenes nitpicking Y&R and GH. You'd think at this point they wouldn't care as long as the shows are underbudget. I feel like in her last stint she completely transformed the canvas and made the characters feel like their true selves. Had she been allowed to actually write, I do think it would've been a great show. I haven't enjoyed the show day-to-day since she left. Even in those early periods where not much was happening, it was just so nice seeing different characters interacting and talking like you know they should. I also think her choice of exits made perfect sense. I liked the love she gave Days and hopefully she has a good manager who can pitch her Generations reboot to Peacock. They got their biggest hits with Bel Air and The Best Man, so I'm sure they're open to shows with Black casts. I'm not sure if she knows that, but now would be a good time to reach out and pitch to them.

Oh you're in the Peter season. This was a very odd year for the show. It had some good episodes, but I don't understand what the overall point of it was. The Peter storyline was just bizarre and although I liked Katherine, I never felt the story lived up to the characters potential. Now season 8 is one of my favorites. I loved the introduction of Jamie and the way she was originally written. Had they not been such a male-centered show, she could've been a valuable asset at Ewing Oil who actually made sense in that environment. She had great chemistry with JR and Sue Ellen. I also am one of the people who enjoyed Donna Reed. She was a different Miss Ellie, but you knew that when you cast her. She did the best she could in a horrible position. I'm glad Dorothy Malone turned them down, but the fact that those are the types of actresses they were going for, shows they wanted to take the character in a new direction.

@VeeAm I right to think you're watching the Holly Harwood season? That was a messy season, but the final three episodes are classics, so I'd recommend those.

I agree that SMG doesn't always appear to pick the right projects and I feel her career could've been much bigger if she wanted it to be, but I have to respect the fact that she only does exactly what she wants. I'm sure she's turned down some big projects, but clearly leading a more low-key life and focusing on her family was more important to her. I have to respect that.

I'm in the second month of Robert Cenedella's run and so far so good. I noticed a bit of crossover with him and the Pollock's credited together so it looks like it was a smooth transition. I do think the show is slower and already seems different, but I like the changes. The Pollocks were very plot driven so most of the show was centered around whatever A plot they were running. With Cenedella, I notice it feels more character driven and each episode we get all sorts of different characters interacting together. Althea and Steve, MJ & Penny with Carolee and Steve, Penny and Maggie, Greta and Mike having actual substantial scenes, Hank and Mike. It's good to go into the episodes and be surprised by who is featured together. I always find that mixes up the canvas in that way is the best way to stretch a story on a soap without it feeling slow. I do like that the canvas has more characters in general. The newbies like Stacy, MJ and Rico all have solid connections to the foundation of the show. I like that they're using more sets and beginning to create a balance of work and home life scenes. So far I'm seeing smart changes that were needed and it still feels like The Doctors.

Seasons 4 and 5 in HD would probably be breathtaking! Knots took a lot more chances when it comes to the look of the show and the directing so I feel like a remaster would be more interesting than it will for Dallas.

I'm in the final month of The Pollocks and finally Mike has been reunited with his family. Penny is also back after a short hiatus. It's interesting that they've seemingly SORASed her a couple years, but kept the same actress. It somehow works though, likely because Duffy was already over 18 when she got hired. They've given her a more mature look and personality. Armand Assante is great as Mike. He actually makes more sense as a replacement for Peter Burrell, more than the previous guy. He can be a hot head, but very gentle as well and has strong chemistry with everyone. I also was feeling impatient about seeing the changes and watched a couple episodes from 78 and 79. Sadly, I see why Hank was phased out after seeing those episodes. The hospital was hardly featured in the episodes I saw and there was much more focus on the Powers, Aldrich and another family whose name I'm not sure of. It was Nola's family. With Hank being Black I can see how they wouldn't want to introduce a family for him at that time which is a shame. I noticed a lot of recasts in the few episodes I saw. A new Carolee, Jim Storm as Mike (just awful and horribly miscast from what I saw) and a new Billy who wasn't very memorable. The episodes were different, but not terrible. It'll be interesting to see the again in context. I also think they did a good job recasting Carolee compared to other recasts. She was different, but similar enough and put her own spin on the role.

I wasn’t excited for Dallas’ remastering until I saw it. Knots getting the same treatment would be a DREAM! I will settle for streaming, but I hope my dream of owning a complete box set in high quality comes true.

My biggest problem with Michael and Willow is that they complain all the time and it doesn’t feel earned. They’re scorched earth when it comes to Nina and Sonny, but they literally are together as a result of an affair. Why that is never brought up is beyond me, but it makes their anger and Michael’s revenge plot fall flat. This cancer story is probably one of the worst I’ve seen on a soap and the fact that rhis show is set in a hospital makes it even worse. For one, I don’t think Willow should have stage four cancer since we know she’ll be magically cured and it’ll be forgotten. Secondly, we really haven’t seen much of a progression. She doesn’t even seem pregnant. I feel like the next couple of weeks we’ll get some good performances out of it, but the writers absolutely failed.

Oh no! That is such sad news!

It really makes me question the people in charge. To fire people so soon tells me they didn't do their job when it comes to approving the story the new HWs projected. I mean, I get you can make a mistake here and there, but the amount of HWs The Doctors has from 1975 until it ends is just insane. I wonder what the deal is with Nick. It's such a shame he left because he was such an important character. In 1975 he appears maybe once or twice a month so far. I can't tell if he's off contract or maybe he had another job at the time, but it is odd to see him going from one of the stars to barely appearing.

I'm so nervous, but excited for this lol. It's been so long without a writing switch and I just can't imagine how you can go through three HWs in a year.

I think the show is well worth continuing. The Lechowick's I thought were fantastic on the show. They were given the option to go to any of the Lorimar soaps and picked Knots. After David Paulsen's very masculine season, the show needed a reset and I thought they did a good job of doing that while keeping it Knots. They experimented a lot with style, but I thought it mostly worked. I also thought they did a good job of introducing new characters. The biggest issue for them was the writing for Val which you'll either love or hate. Joan hated them because she felt like they turned her into the village idiot. The big writer swap is season 7. David Paulsen went to Knots and Peter Dunne went to Dallas. I feel like Paulsen was more successful than Dunne was at Dallas, but I still don't think it would've worked long term. Paulsen's Knots was very masculine and I felt like he came on at a time when the show had become so big and tried to continue that with more outlandish storylines, but without the heart. It's a very watchable season, but one is enough. Now Peter Dunne at Dallas? I like a lot of that season, but the show changed so much that it's completely understand tha many didn't like the show. It was nice to see the female characters showcased in the way Bobby and JR was, but it could get a little too sentimental at times.

I'm finishing up March 1975 and it's a mixed bag. Two stories I LOVE: Tom and Althea's romance and the Karen/Steve/Carolee story with Erich. Nick is pretty much off canvas and much like with Alan/Mike, he is a clear recast of Nick, but with a new name. Nick and Althea had gotten to such a nice place so it's nice seeing the romance somewhat continued with this new character. The Karen story is enjoyable because they've finally allowed her to grow out of that villain role. Granted, I don't agree with her being a villain considering Steve raped her, but I'm glad opinions are more balanced amongst the other characters when it comes to her. The stories that are just awful is this medical mystery involving a new character named Iris. It's obvious Iris and her witch doctor won't be integrated in the cast and it's just a silly, vague story about some mysterious virus she picked up in Africa. It's hard to get invested in this. The other big stinker remains Mike's returns. It's been MONTHS since they recast and he still hasn't made it back to town. I can't imagine how tiring this was when it first aired. I checked the episode guide to see when he comes back to town and it's something like 8 months after we first learned he was alive. Why would they do that? There is only so much story you can tell by isolating a character in another location with only one person to talk to. It's extremely repetitive and the fact that the story is on so much is draining because absolutely nothing has happened. It's the same conversations over and over again. I wanna say the Pollocks leave in August or September. When I get closer to that date I'm going to start monitoring the comings and goings with the writers because I know this is the point when everything changes. I know it's not all good, but I'm ready for the ride.

This is DAYS so it's hard to take anything seriously, but is it safe to assume Kate is alive and this is just one of their many fake death plots?

That's interesting about Rita Lakin. I found her writing to be the strongest the show ever had. It's a shame they didn't have full writers rooms back then so she could potentially have stayed longer. I don't think they ever reached the heights they did when she was writing.

I just realized the actor playing the return from the dead story for Mike Powers is Michael Landrum. I just assumed it was Armand Assante because I've heard his name so many times in the role, but I think he is the next Mike. I wonder why they recast as he seems like a good actor. It looks like they went for a more mature, leading man type that looks like his father. It's a big contrast to Peter Burrell, but I feel like he'll make sense standing next to Matt. Also, I hope I don't regret asking in case its a big spoiler, but how do Hank and Laurie get written off? I know they don't stay until the end, which is a shame, but I really enjoy them. I had no idea a soap (other than OLTL with Ellen Holly) in the 70s had long running Black characters, especially ones that seem to get good screentime like Laurie and Hank. They're better written than most of the Black characters in 2022.

Paul and Christine were always an awful couple so I hope they fix the mistake of sticking her with him for so long. I'm excited to see Danny and Cricket back together even though we know it won't amount to much. Personally, I've been longing for them to put Cricket with Nick and reignite her feud with Phyllis. That would have more milage than the mess they have with Nick/Sally/Adam.

That may have been the wrong choice of words, but they’d gotten rid of the baggage of her Y&R stints and based off her previous B&B return, she was in good shape to stick around long term had they not had her going around shooting people. She could still scheme and cause trouble, but to immediately jump into a plot like that was short sighted.

It was obvious they had to figure out a way to keep Sheila after the ratings boost she gave them, but why play it off screen? It’s not like she or Bill were doing anything important enough that they couldn’t show us. The biggest problem though is that Brad doesn’t get Sheila’s importance and he’ll write her into a corner the moment he needs another buzz moment. I still can’t believe he had her shoot Steffy and Finn after working so hard to redeem her. Such a waste.