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allmc2008

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  1. Were does it list the writing staff titles? Also, what is a storyliner? I somehow hadn't heard that term before.
  2. I am basically doing what you are doing. I downloaded all of the episodes that were posted over the years and now I'm in 1988. I noticed that the show had a lesser amount of stories going on between 1983-1987 then it suddenly started taking root again. I think it started around the introduction of Nina. Then, Leanna kinda accelerated the growth. Currently, I am on the episodes were Jessica and John Marry. I agree about the pacing. The stories lasted a long time but there was constant movement. A lot was going on. It is War and Peace as opposed to Gone With the Wind. There is a difference between dragging out a story and a long story. He told long stories.
  3. Oddly, he said that quite a bit but I remember him saying in that interview he feels Melodrama is 'dropping bombs' (literal bombs) while his stuff was psychological.
  4. A really long time ago I read an interview, I think here, with Bill Bell. I believe in the interview he mentioned not liking Melodrama. Anyway, does anyone know of such interview? If so, can someone repost it? In any case, I am trying to hunt down as many interviews with him as possible. Thanks in advance.
  5. Darn basically said it. I'd like to add that CBS was slower while ABC had humorous characters. Also, ABC seemed to be more experimental.
  6. Two things are coming to mind. I feel the struggles with Lola/Kyle is that SHE wants to feel the satisfaction of being able to pay off her loan. If they showed her side more, assuming that is the point, I think it would be a dynamic story. Having fantasy sequences of family 'cheering her on' for making it one her own. That 'Kinda' resonates with Lorie vs Leslie. That sorta stuff. I think, in all honestly, that would be PURE Bill Bell/Kay Alden. That psychological element is missing. Further, starting it out slow but showing the fantasies, at the start, would allow for the store to write itself. Its too late now. The other thing is the characterization of Nick Newman. I always felt that he were Daytime's Elliot Roosevelt. In essence, the son of a rich kid who is constantly trying to make a name for himself but winds up giving up when the first sign of trouble shows. I feel if one had that historical person as a reference point, along with some gilded age types, I feel the writing for him would be far more compelling.
  7. Honey, if you show an effort of posting that 1977 episode I will post the full script. Yes, that is Erica Kane's first scene (not sure why her name, or Mona's and Nick's, isn't on the cover).
  8. I can see why the writers may find almost-incest hot though. I find the idea of Eileen Fulton torn between two adopted granddaughters (played by Robin Strasser and Judith Chapman) HOT AS [!@#$%^&*]. Oh, and them doing a 'Marge' story with Eric Braden/Victor. In this case, Victor's doppelganger being a leather-daddy. Soon after his arrival, Nick finds out he is bisexual and they form a polly relationship with Phillip AND Chance. Hell, they could do pup play. Maybe they could even do some piss play or scat or blood? JUst an idea on what I mean. Most of what I see that shouldn't be done are these basic-ass ones. We need daytime to reflect the world at large, tbh.
  9. I have had the honor and the privilege of meeting and talking at great length with his protege, Kay Alden. Kay mentioned a few things: They tried using an outline during the 1st season years when the show was half-hour long. Bill gave up. Literally, they wrote the show a script at a time. 10 hours, she said, for each of them alone to work on a script. That increased to 30 hours to complete one script. She mentioned that she shadowed his work on Days very early on. Again, this was shadowing. He did write bibles with Days. He got away with not on CBS because of his clout (although they continued to demand bibles) Bibles, by the way, in this case, is synonymous with 'Long Term Outline'. When the show expanded to an hour they did use Bibles. I've gathered that it was to keep track. But, the day-by-day atmosphere still held up--that is why during his tenure, and hers, the show felt like 'bubbles'. Rather, that is why certain characters didn't meet up. That is why everyone was in their own orbit. That was the nature of his style. Bell loved hearing from other writers. He hired Kay because she was a good critic. They worked on the show and he would have her tell him if it was 'good'. She gave constructive criticism. She functioned the same way when they added the other writers. Further, during the first 7 years, Kay and Bill mostly alternated between scenes. Like, "Kay, you write acts 2 and 4. I'll do the others". That is why Kay mirrors his writing style so much. Another tidbit is that Bill hated confrontation. He'd bottle it up then...yeah. Or, he would just have others deal with it. I 'think' she said that was in part because of Irna Phillips, his mentor. Irna was confrontational. Her confrontations were bad. He was afraid to confront, in fear, he'd act like " Kay mentioned he was successful during his years as an Ad Man. He brought in what he learned from that experience (Using sexual psychology and color-study) to craft his storytelling. It seems, to me, he was aiming for the 'Pulp fiction covers' of the 40s/50s. Bill gave credit. She mentioned a time when they were eating and Agnes Nixon walked by. He maid a POINT to say to Aggie "This is my protege, Kay Alden." He seemed to be weary of certain things. They tried to do a homosexual story with Katherine. As soon as it was mentioned, the study (in mid episode) was flooded with hate mail. The ratings that day dropped considerable and it was traced to that moment. After the controverse was a horror story. It was hell. Cosntantly, they were bombarded by hateful people. He made it CLEAR he didn't want to try that again, purley, out of fear of another outcry. He convinced himself that incident didn't happen as a way to cope with the memories. On that note, the chaos surrounding the hour explansion was Hell. She still has legit nightmares about that transition.
  10. Young and Restless A scene with: Shelley Winters as Kay Joann Worley as Esther Paul Lynde as Brock Divine as JIll
  11. I went to see Aggies archive in Illinois and she had a tape of a 1972 David Frost special in her collection. The tape, the video and audio being in perfect condition, featured two segments. The first was the actors only: Mary Stuart/Eileen Fulton/James Prichet/Ruth Warrick/Ed Zimmerman and one other. I forgot who. On the 2nd half Irna/Aggie walk in. Mary looked like she was going to have a stroke. Eileen spent the whole time deliberate pissing of Irna. Like, she would poke her and do the 'bunny ears' above her head. In the audio Irna says something like 'Lisa, please stop. This is serious'. Sorry for only having audio. Further, I'm not sure if posting this is even allowed so I do hope I wont get in trouble with the University. I'm there to do research on my book I only recorded the 2nd half. Irna's quibble at the beginning is in reference to what the actors were saying during the first portion (if you watch her body language she blatantly blames actors for bad storytelling and a bad production all around) https://drive.google.com/file/d/1RbBR-cYcSar6OoaNsUNZhIITyiNIVlCO/view?usp=sharing
  12. I just imagined Victor at the center of a Bukkake. Could you imagine him taking in all those c@ck$ ?
  13. I see we completely milked every conceivable topic as we are now resorting to best hair.
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