DramatistDreamer

I'm sorry but every time I think of that storyline, I keep hearing Helen and Christian Slater yelling "Fair is Fair!" 😂

The writer who came up with the idea for the "Oakdale Three (or Four)", now that's youth obsessed.

Being that P&G, like most soap production companies, seemed to be chasing the youth demographic, I think most writers on the daytime dramas could be said to prefer to write for young love, because if you don't (or of you seem not to), you might find yourself looking for a new job. In Still, with Bob and Kim having some of the most consequential storylines in the mid to late 80s, Lisa not hurting for romantic pairings, it's hard for me to say that Marland preferred writing young love.

Every time I read about how much Liz liked to play fast and loose with scripts, the more it floors me that she is the same woman who once dated Paddy Chayefsky, who was notoriously controlling over his work in a way tha Marland could only dream of being.

Welcome From what I have been able to glean, it seems as though some interviews may have been out there years before the reunion live stream, but I admit, much of the talk recently stemmed from discussion that came specifically from those reunion live streams.

Maybe she would have? I could see La Hubbard believing somehow that being written as a bipolar kleptomaniac might have made for a sympathetic portrayal. Sometimes an actor's POV can differ drastically from that if a writer's.

Just the other day, I was reading a post complaining that Melody Thomas Scott was practically being shunted off to the background on Y&R these days-- I think MTS would probably appreciate a role that gave her something legit to do, something that showed more than one superficial side to her character. Something that showed some type of complexity or depth. Lucinda never wanted for complexity. Also, would Hubbard rather have the type of writing that Sharon Case had to endure a few years ago?

For as much as I like Susan Flannery and appreciate the class she brought to early B&B, the show positioned "Stephanie" as a cold, calculating, somewhat asexual woman "of a certain age, which could've been Lucinda's fate, under someone else's pen. That was usually what women in that age group had to work with on soaps.

That's fair, it's probably not the easiest task to keep the writing fresh material for a character that had so much screen time for at least half a dozen consecutive years. Liz did get a really juicy, meaty role that many actresses half her age will never get. If anyone has a true reason to genuinely complain about a character trajectory, it is Eileen, whose character would get crumbs toward the end.

Did Sofia Kenin get dumped by her management company? After the type of year she had, it seems quite unusual that a company would want to cut ties unless the company somehow found it borderline impossible to work with her. Her father seems like he makes a lot of issues wnd might be thoroughly unpleasant.

Perhaps Liz really wanted to be regarded as a heroine of some sort but the show was already chock full of those, Lucinda would've been lost in the crowd, lol. Also, there was no way that Lucinda would've been able to wrest the title from one Kimberly Sullivan, lol. Hays was fantastic at her portrayal of a heroine of a certain age by the time Lucinda came along. Lucinda had some of the spiciest dialogue and scenes in the show's history. It escapes me ad to why she fails to see it that way. Eric Braeden doesn't waste time saying "Well, they made Victor look very mean when they had him feed that guy rats". In her defense, Barbara had been a heroine of sorts prior (so maybe that was what she was comfortable with?) but, by the looks of the character trajectory, the heroine characterization had sort of run her course after Gunnar departed. Hillary Bailey Smith agrees with me that the transformation of Barbara to a vixen was one of the best transformations of a character on a soap. It strikes me as unfortunate if she doesn't want to embrace such a memorable part of the show and character.

Perhaps not. I mean, Eileen Fulton seemed to embrace her early 'bad gal' status. She was a pioneer!

Whereas Liz Hubbard and Colleen Zenk seem to look back at their characters' periods as vixens/vamps with ambivalence, Melanie seems to embrace her character's unabashed sexuality, which I appreciate. When men play 'bad boys', I never remember any mentioning regret or hesitation at taking on the role, why do so many women seem to do this? Perhaps it's a generational thing?

Speaking of Z-A-Z, Lee Bryant is unforgettable in Airplane!

+1 same from me.

The AstraZeneca is one dose, I believe. Also, it is said that it only needs regular refrigeration, unlike the Pfizer and Moderna vaccines, although there has been some debate over the efficacy rate of the AstraZeneca.

I have been saying this for a long time-- directors matter, lol. Coming from the theater world, I know all too well that an effective director can really coax the best performance from an actor or an ineffective director can encourage the worst impulses from a performer. It may not seem as though they are needed on a fast paced television series but they are, perhaps even more so but that is when it becomes critical to have a director adept at communicating a clear vision for each scene and each character within it. Not just telling the actors where to stand (which I am not even sure they'd do these days). I was under the impression that Melanie really wanted to leave, though don't quote me on that, lol. During the late 80s/early 90s, it seemed like, at times, ATWT was a victim of its own success. Actors hit their strides and demonstrated their talent and appeal in compelling stories,which made them prime targets for casting agents and producers who came calling, which gave the actors more options, which they often wanted to pursue. I also wonder if the production department of some of these soaps believed that, since they had found such talent in the past, there would always be a pipeline of talent waiting and readily available. By the end of the 90s however, that no longer seemed to be the case, at least where ATWT was concerned.

Meanwhile in Georgia-

Please, make it staaahp, this is so much loss!

Never have I ever considered trying to write a letter or call a television show to try to get an actor fired. As much as I critique these show, never have I ever tried to threaten or harass an actor, writer or producer-- that seems extreme. When I wanted to "voice" my displeasure with a show, my response was always to simply stop watching (which I did on occasion, sometimes for several months). For the most part, I rarely read the soap magazines (which likely explains why I knew so little about BTS gossip, etc. until I ventured onto this messageboard, lol.), and I only started going on soap messageboards in the very early '00s, and even then, it was only two (before I took a good 2.5 years' break from posting, visiting any soap related boards) before venturing onto this one. Critique the character portrayals, how the characters are written, directed, lighting, wardrobe, etc. but I will never understand spending hours on end insulting a person's looks. If I thought someone's acting was unbearable, there is a simple, relatively painless solution to this-turn off the television or turn the dial. Having said that, I agree with@DRW50 KMH was severely miscast for the role, and for most of her run in the character, the writing/direction for her character did her absolutely no favors.

A follow-up to the earlier posted news item about the Colorado COVID-19 variant case.

KMH's Emily seemed so fragile, imo. What a contrast to Smith's more stoic, unapologetically voluptuous portrayal.

The man has no travel history either. Here's to hoping that there will be some type of effective contact tracing but so far, the U.S. has been abysmal at contact tracing overall.

V.P. Elect Harris got the vaccine today.