j swift

Thank you for laying out your perspective so clearly—it’s an important conversation and one where the language around “contracts” can understandably cause some confusion. Just to clarify: yes, actors can and do break contracts. The key thing to remember is that a contract isn’t an unbreakable chain—it’s a mutual agreement that outlines terms, including potential penalties for breach. When someone breaks a contract, the consequence is usually reputational or financial—not legal incarceration. That’s why most actors who break a contract only do so when another opportunity has been secured, and they’re willing to face the fallout (e.g., a damaged relationship with the producer, or financial penalties). It’s not chaos, it’s calculus. You’re absolutely right to bring up the Robin Wright example—she *did* extend her contract. But that wasn’t because she couldn’t leave; it’s because she and the production found a mutually agreeable solution with her management that she hated. She played out her contract, presumedly, to protect her reputation early in her career with New World that co-owned the movie studio that produced her debut film. In Melissa Reeves’s case, the lawsuit you mentioned underscores that exit consequences are case-by-case—not automatic and not always prohibitive. Lastly, while producers certainly can approve a release, it’s not always at their “discretion” in the sense of full control. Soaps aren’t gulags. Actors are not indentured—they're workers in a collaborative industry with fluid movement, especially across networks and platforms. If someone wants to leave, they can. The question becomes what consequences they’re willing to accept—and what bridges they’re willing to burn. Soap contracts are fascinating, but we might want to leave the labor law analysis to actual attorneys. What is clear is what played out on-screen, which is the only part we’re meant to interpret as viewers. Making inferences about a second soap that is going on behind the scenes is purely fiction, as this article shows. And that fiction is rarely close to the truth (see Charles Mesure for a recent example of fan speculation (he couldn't handle the pace) versus his actual truth (he hated his work environment). Which is why, I believe, promoting those myths makes us seem foolish. For example @Paul Raven, you appear to be a bright person, but I don't think you truly believed that Robin Wright was forced to work on TV against her will, while living in America in the 1980s. I think you are restating an oral history of fan myths that are rarely subjected to logical reinterpretation. However, once you apply your human experience of employment, you can easily get to the truth.

Ari and Theo were charming. I'm calling a personal moratorium on questioning the age gap of couples on DAYS. At some point, it gets as hacky as a comedian making jokes about airplane food.

I think today's confusion shows there was never a plot. Sophia thought the baby would be adopted at birth, so it didn't matter who the father could be. Tate chose of his own free will to stick by her. She wasn't actively trying to come between Tate and Holly, and everyone was honest about the situation. Sophia's romantic focus on Tate seems to only have developed in August, postpartum. To me, it feels like that all happened in that one episode where they all played minigolf. Also, Holly's got to work on those maternal instincts. She was so close with Rachel on her first day of school. Now, Holly's going to ghost her and move to Europe.

I would restate my defense that the character of Sophia calls for such a whiplash of heightened emotions that it makes the actress look nuts. For example, she felt nothing toward Tate over the summer. Then he abandoned her in her time of need. And, then two months later, she had to illustrate that she was suddenly obsessed with Tate. She played the birth well, and the immediate aftermath. Then, they tag on this adoption BS, so Sophia can be blamed for something (besides giving birth). And suddenly she's a schemer. I could understand a young actress, given such poorly written motivation, having a tough time pulling it off.

By the way, I’m fine with the reset. I never thought Tesoro was going to make it to birth, and honestly, the sooner we retire the baby doll in the toy carriage, the better. Still, it’s a shame this turns into yet another reason for Chanel and Johnny to cry. They’ve been stuck in the belly of the whale for too long. They deserve a moment to just live. And yes, the clues were there. Today confirmed that Sofia never considered Aaron could be the father, so it wasn’t like she was trying to deceive anyone. I appreciated that. Her confusion felt genuine. And now that we can blame Sophia for hurting Holly, rather than blaming her for abandoning her baby, it feels like that story is headed for a conclusion on Friday. What’s most striking is how clearly we’ve hit a reset. Everything tied to the writer transition has been quietly shelved, and we’re back to familiar territory. It’s not a time jump—it’s a hard reboot. The Dimeras own Dimera again. Titan is back with the Kiriakis family. Tate’s not the father. And Brady still doesn’t understand how babies are made.

I had the exact opposite reaction to that Baby Gap story. It was horrifying.

It’s a real logic hurdle for me to accept that Aaron wouldn’t have told Tate he also slept with Sofia. The Salem High 2025 graduation and the merger storyline felt more like a burden than a payoff for the writers, and this episode played like a soft reset. Between Dimera being casually handed back to Tony and Sophia no longer being a virgin when she slept with Tate, the vibe was very “Forget what you’ve seen.” Honestly, they could’ve titled the episode that. It reminded me of that moment when Obi-Wan uses a Jedi mind trick on the stormtrooper: “These aren’t the droids you’re looking for.” That’s the energy—just wave away continuity and hope the audience follows. Anyway, moving on... My only quibble was Maggie's costuming. The Chanel-ish jacket and denim was cute when she was picking up Holly from the hospital. But, for the confrontation with Tony, I wish Maggie was given a power suit. PS, does this mean Mr. Shin, and the rest of the board of directors, are also no longer cannon? Because although they needed government approval for the merger. The dissolve of the merger seemed to happen without regard for shareholders. PSS, If EJ paid for the hospital with his part of the capitol from the merger, plus Gwen's investiment, wouldn't Tony need that money to buy Dimera back? The math isn't mathing, but again, I'm OK with moving on.

Of course, people can quit. I'm certain you recall that Charles Mesure, Jamie Martin Mann, and Madelyn Kientz have all quit recently. Thankfully, @Paul Raven we still live in a country that a contract doesn't imply forced servitude. My point, is that this article is a classic example of clickbait. An editor used a provocative title for an article. The actor is saying he thought about suing. Al Rabin reminds him how contracts work. Then, he says he regrets quitting because he mistakenly believed they would pay out his contract for work that he did not complete. So, six years later, when given the opportunity, he returned and quit again.

He quit, thus voiding his contract. He did the classic dumb employee move of giving lots of notice. But, once you quit, you have voided your contract. His calculation is based on the number of episodes he should've expected if he stayed on contract. But, he quit. So, once again, the math analogy fits. If you are contracted to work 50 hours, and you quit after 10 hours, and tell them you'll be leaving in 10 hours. Your employer doesn't have to offer you 30 more hours before you leave. That is not how the world works.

Let's break this "scoop" down: He gives notice. They reduce Chis's time on screen, and don't give the character a proper goodbye. He's hurt, and thinks about suing for the times he wasn't on-screen, after he quit. Al Rabin, and probably his attorney, tell him that's not how contracts work So, he says that he won't sue. In response, Al Rabin calls him very professional. It's all headline, no story. Ultimately, the math just makes him look dumb. If an actor was contracted to appear on 100 shows, and after filming 30 shows, he quits, the production isn't suddenly committed to film 70 more episodes before he leaves. It's not like PTO. That seems like basic knowledge.

😎

@AbcNbc247, I totally agree with your speculation. @DynamiteKiddo & @Michael , thanks for reminding me about the specifics of the original scene. I went back and watched the JJ-stand alone episode, which, out of context, does not hold up well. Although the performances were engaging, the message was very off-putting. It goes without saying that it is hard not to watch without thinking of visual comparisons to other young white guys crying over feeling falsely accused of racially motivated hate crimes, rather than expressing remorse for their actions. That being said, I only recall minor concerns from Gabi when JJ went back to the force. One would think she'd put up the biggest red flags. But, she was busy with Ari's return. Doesn't Chad have a place for JJ at The Spectator? From a storytelling perspective, I get that JJ needed to tell someone he was quitting. My question pertains to why, many years later, they didn't include more nuance for Jada in those scenes as a Black woman. Logically, if an employee says they can't do their job, you would take them at their word. So, what is Jada's motive to ask JJ to take more time to consider an issue that should be of major concern to her, as a manager of an urban police force? If they had two cents more in the budget, the whole thing could have played out in a scene between JJ and Shawn as partners. Thus avoiding making Jada seem blind to obvious concerns. Also @Michael , here's my take on the texts. Johnny could see the photo had been taken the night before, because it was time stamped (remember he has expert digital forensics knowledge from the trial). Sofia sent the text with the photos the next day -- which will be important because Holly now knows she didn't have her phone when the text was sent. And Sofia's plan was to say that Johnny and Holly were having an affair for a while in the letter, and then show proof of it by sending the text during the meeting. I'm probabaly giving too much credit. But, I like that Sofia's plan is dumb, because this is her first scheme. I expect Kristen or Sarah to be good at scheming, due to their involvement in dozens of schemes. But, Sofia did not plan for the risks, due to her lack of experience. Speaking of returns, one of the many arguments against too many Hortons is that biology reduces the possibilities for romantic entanglements. Unless they bring one with them. And when was the last time DAYS cast two characters at once since Rex and Sarah? Although, from Addie and Tommy to Max and Stephanie, inter-familiar relationships have not been taboo in Salem.😉

The thing with streaming, for me, is that DAYS so easy to digest daily, that I forgot how slowly soaps progress. As a result, I tend to get ahead of myself and feel outraged about what might happen, as opposed to just sticking to what is on laptop screen.

My completely uninformed, only watched the will episode, after not watching for months, prediction.

I genuinely don’t understand Jada’s reaction to JJ’s resignation. Are we supposed to believe she’s so short-staffed that she’s willing to overlook her own lived experience as a Black woman? JJ openly acknowledged that implicit bias has shaped his ability to serve as a peace officer. Why would that not be taken seriously? If Roman or even Rafe were commissioner, I could see them responding with personal sympathy, framing JJ as a good cop trying to do better. But coming from Jada, the reluctance to accept his resignation felt disconnected from everything we know about her. None of her dialogue in that scene tracked. It was as if JJ’s self-awareness and accountability were being brushed aside, and that’s a strange choice for a character who’s usually written with more nuance. I'm trying not to get ahead of things, but if we are being set up for a story where Theo is trying to get revenge on JJ, rather than justice, I may scream. It is one thing to have a Black mayor, and a Black chief of police, who only mention their race on Juneteeth. It would be crossing a line of bad taste to have a Black man use his race to get revenge on a white policeman. I also don't think the writers are responsible if some in the audience choose to interpet it that way. But, I am giving DAYS a chance to play this story out a bit more, because the consequences could be interesting. I am hoping this is simply setting the stage for an Ari/Theo/JJ triangle with a bit of Holly and Tate sprinkled in. Because Holly can run all around the square, and I won't believe that she's leaving Salem. Everyone knows the airport only allows people from Salem to leave if (1) their contract expired, or (2) they're taking that direct flight from Salem to Alamania that's so popular.🛫🛬

Doug3 definitely made me question my hopes for next-gen returns from core families. So for now, I’m holding off on drafting my Horton wishlist and giving this guy more than two episodes to settle in. 😉 As for Jeremy, I don’t think it breaks canon to reboot a character. We’ve seen plenty of reintroductions—some with recasts, some with personality overhauls—and often in far less time. While I suspect his "true self" will resurface eventually, it feels premature to saddle this version with every misdeed from nearly twenty years ago. Characters evolve, and sometimes the show lets them. For example, Chad was not cool to Mia, but I think he can still be a nice father to Thomas. That said, one detail did stand out: Jeremy was clearly trailing Stephanie during the High Holidays, which doesn’t quite align with the religious values of his mother Robyn. I hope we aren't seeing erasure of the only Jewish Horton in the family. Also, Nathan, and most of the other candidates mentioned don't have history with Steve or Kayla. And clearly this is a Johnson family story. A core family, that seems to get short shrift in terms of nostalgia, given how Kayla's wedding is a historic ratings high point.

I keep hoping Cat and Rafe will develop more genuine friendship chemistry. They’re constantly trading personal confessions in that cramped little office, but the scenes rarely build toward camaraderie. We’ve seen the actor handle lighter moments well. His work during the Arnold storyline showed he can lean into playful beats. And while I like the idea of Cat’s quirky peanut butter and licorice habit, the execution feels more like a character sketch than a lived-in trait. If they were given space to joke around and solidify a platonic work rhythm, those scenes would feel more grounded. Right now, Rafe mostly serves as either the exposition dumper—or the one being dumped upon. As for the Stephanie and Jeremy scene, there’s a subtle retcon worth noting. And I’m not just referring to the fact that their shared history was almost twenty years old. Back then, Steve played a key role in exposing Jeremy’s illegal operation. So when Stephanie says her parents had “limited awareness,” I assume she’s referring specifically to the emotional toll and abuse she experienced; not the broader facts of Jeremy’s criminal activity. But Steve has known about that part for decades, so the phrasing felt a little off. Lastly, just to clarify: Kayla, Steve, and Marlena don’t live in the same building as Jada, Alex, and Stephanie, correct? The establishing shots suggest otherwise, but I’m trying to keep my mental map of Salem somewhat coherent. I'm also trying to recall if Mike ever lived with Tom and Alice. Because, it's a bit of a stretch to assume that Julie would let him bunk in the Doug3 suite. Even Gwen figured that out quickly.

I hope Greg Vaughn going to BTG means that Eric and Nicole's marital problems in France are no longer cannon. Just let them be happy in the City of Lights.

It’s always fascinating how some fans expect Theo to simply move past being shot, yet insist Sami should never have forgiven EJ. The way we measure pain and redemption seems to shift depending on whose story we’re watching. The “just get over it” rhetoric doesn’t hold up under scrutiny. Yes, Theo made peace with JJ and even worked alongside him in South Africa. But he’s also been clear: JJ’s immediate return to the police force felt like a betrayal. Expecting a victim not only to forgive their shooter but to endorse their career choices without hesitation? That’s a strange standard to set. I’m not calling out any one post. This is more a reaction to a particularly tone-deaf Facebook comment. But I genuinely don’t understand why the distinction between forgiveness and unconditional support is so hard to grasp. They’re not the same thing, and they never have been.

Kale Browne and Nancy Allen’s son popped up on a rerun of Chopped, which I caught on a plane, so it could’ve aired anytime between last spring and Taylor's last era. That show exists in a time loop. Anyway, if you ever need a visual aid for the Punnett square, just Google Nicholas Browne. Genetics did not play coy. Also, whenever someone’s listed as a “private chef,” I assume it means they can cook and needed a reason to be on TV. It’s the culinary version of “freelance creative." Technically true, but his other IMDB credit is for costuming, so he's a renaissance guy.

Doug3 left with that mini-backpack, he couldn't fit all those Varvedos leather jackets he wore.

There's a fitting irony that for Bill Bell's daughter's wedding episodes, we get one of his great naming conventions to return. We may no longer call her Cricket, but she will have rhyming attendants in Nina and Gina. Which, to me, is very Bill Bell coded, (i.e. four L's in a quad, Lorie, Lance, Leslie, Lucas). Snapper, Ridge, Thorne, the guy had a flair for character naming.

Meanwhile, justice for Charlotte, where is she? Thomas is being played a fool by Rachel. And, Charlotte is still "upstairs". I hope Charlotte doesn't get Bobby Martin-ed, and the next thing we see is a pair of skis in the Horton attic. Also, just to clarify the in-universe cannon, in Salem, it is harder for the son of the richest man in town, and the daughter of the richest woman in town to adopt a child, than for an escaped convict, who ran drugs and beat his girlfriend to be an elementary school teacher? Furthermore, @AbcNbc247, I believe Doug3 left some of his leather jacket collection behind for Jeremy.

I liked the idea today that he was channeling his father in order to suppress his dumb impulses. His new mantra, "what would John Black have done?"

Agreed, but it clearly makes Brady look dumb, and once again something that Rafe could've mentioned to him..