BetterForgotten

I could maybe understand going to Kristina alone, but I don’t buy that she would bare her soul to Sonny 5 minutes after meeting him. I don’t care if that is Kristina’s dad.

Poor Agnes tried so hard to make it happen too, coming in and out at various times (more than she did at her other shows really), pressing ABC hard to take RH’s timeslot, and it still couldn’t get itself together for very long. But strangely, this and The City are the only shows she maintained ownership over and never sold to ABC. Bless Millee Taggart, who came in and out of this show as well. Never a brilliant writer by any stretch, but a safe one that’s enjoyable enough without being offensive.

For Actresses, yes, but Justin Deas already accomplished that feat before. And technically, Ellen Wheeler has won 3 different Daytime Emmy’s for 3 different categories. Younger Actress for Vicky/Marley on AW, Supporting Actress for Cindy on AMC, and as EP of GL when they won Outstanding Drama Series.

The whole scene felt unnatural, and the premise is ridiculous that Natalia would have a conversation like that with people who she literally just met.

I agree, it felt very clunky and preachy - just for the sake of checking a box, which is not what you want when exploring a socially relevant topic. TBH, even the scenes with Eva LaRue’s character and Sonny and Kristina felt that way.

Agreed - the soaps were pretty bare bones from the 50’s through the late 70’s - it was really the writing that kept people tuned in - despite what the likes of John Conboy and Gloria Monty would have you believe.

I think the hybrid production model that was used on The City should be relooked at. Particularly if the show does end up being produced in Atlanta.

I don’t think it’s fair to give their work a fair assessment until May sweeps and definitely not until the Summer storylines. If it’s more of the same by then, you definitely will know the direction they’re going in. Improved scenes and character moments only matter if they pay off over time and inform future character development, and yes, future plots. Right now, they’ve inherited D&C’s crappy plots, but in some ways, they don’t seem to be in any rush to move on from them. When they’re able to put their own stuff in motion in the next 3 months or so, it will be more telling in terms of where they’re going.

I love Jane Elliott, and I would be very sad if GH loses her again.

Frank produces his shows to look and be staged in a very sterile way, and I hate it. Yes, I know some of it is budget, but I think it’s also a lack of imagination and creativity. I really loved what Shelley Curtis mentioned in her State of Mind episode with Maurice Benard about the people producing daytime today having a lack of expertise and that there are ways of producing these shows with more imagination even with the limitations on them. I wish she was EP of GH, but Y&R could also use someone like that as well since Griffith and his producing team also have a severe lack of executional skills.

The trading places happened with Dan and Chris too. It just means Korte and Mulcahey are equal HW’s - not that one is secondary or the Co-HW of the main HW.

Oh wow, Petronia still looks great. Amelia is equally stunning as well.

I enjoyed the one he did with Shelley Curtis (and separately with Wendy Riche, but so much is known about her). It’s too bad someone like Curtis isn’t EP at GH right now, she’d probably infuse a lot more heart and sincerity into the often sterile way Frank Valentini produces that show. While most of it is about how supportive Curtis and Riche was to him while he was battling his issues, they did touch upon the way soaps are produced today a bit. While Shelley acknowledged that there are budget limitations today (Mo tried to praise Valentini and how he works under such constraints), she’s right that the people producing soaps today don’t have the talent and expertise to work around that and how to really savor all the key moments between characters in scenes and build episodes around that. Come to think of it, she’d be great at a show like Y&R right now too - Griffith and the way he manages that producing team are terrible with scene execution, and he’s the damn HW too!

She really needs to get caught in the crossfire and die in a mob hit…

One other thing from this week - Sam and Carly work better as adversaries. I never needed them to “mature” and become friends. That never made any sense to me, even if they both shared a common grief in Jason.

Who can explain why Nina has lasted almost a decade on this show? I sure as hell am struggling.

It’s a situation where everything about the character that’s interesting is purely because of the actress alone. There is no other justification for her on this show. My feeling is Valentini wants Carly/Nina to be his GH version of Nora/Lindsay, if he intends to keep Nina on for a long time.

I’d personally have Willow’s boring and unnecessary ass die in a mob hit and have that as the catalyst for Nina’s rampage and descent into pure insanity.

They should just do a Loving Murders type story with Nina being the murderer - that way, they can gradually kill off the dead weight characters in this cast over time and then either Nina is sent off to jail/mental institution or dead too in the end.

Strangely, other than Alexis on the verge of getting her law license back, the most noticeable reset I see in EK/PM’s first episode is with that nothing character, Nina. Maybe it’s because I find Joselyn to be a vapid character played by an extremely limited actress, but Nina was unapologetically nasty right back at Joselyn with no f.ucks whatsoever to give. That’s quite different than the doormat Nina constantly on the verge of tears that we usually see. She’s downright neurotic and barely hinged - and Watros played it with joyful glee as she did back in the day on GL with Kim Zimmer.

Michele Val Jean retweeted this article/post as well. So, it appears the creative mind behind this show is feeling supported by the network/production company - at least for now.

At least they seem committed to not rushing the writing and production to get it on air. That’s key to really give MVJ time to develop a good Bible, and pre-production to get ahold of the finances and things like casting. Every new soap takes some time to find its groove, but a commitment to the show and giving it time in advance of airing to work out some of the kinks should hopefully go a long way.

Me right now:

Please Mulcahey/Korte, I beg you, kill Drew so we don’t have to suffer through Cameron Mathison’s “acting” any longer….

Agreed, I feel like it was just an easy working title to feed to the press when this news broke, and it tied into the supposed premise of the show being about a gated community of sorts.