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  1. Yep, I'm afraid the days of a soap trying to revolutionize, to any extent, are long gone. Younger viewers are avoiding these shows like the plague, and older viewers are tuning out or dying off. No one is interested in taking a chance on anything new (not even a new character); they're just regurgitating the same old dinosaur characters and the same old dinosaur storylines, attempting to hang onto the status quo. Soaps have really become, unfortunately, an "alternate reality" that don't remotely resemble the real-life that most of us inhabit.
  2. Lord, these are some terrible ratings. Blackout or not, the bottom is clearly falling out for Y&R, and I suppose that's been on the horizon for quite a while. With it's half-hour format, you'd think B&B would be performing a LITTLE bit better than it is, but obviously the low-quality writing isn't helping much. As for the other two, they're so bad off that they're barely worth discussing. When we (generously) allow a 5-year life span for the genre to survive on daytime, I think we're being overly optimistic.
  3. Yes, Victor Newman had been on the show for months and months, before he ever crossed paths with Kay Chancellor. In February of 1980, Victor and Julia Newman's Rolls Royce was stolen and taken for a joyride by Cathy Bruder, a girl that Brock Reynolds was assigned by the court system to defend. Brock met the Newmans when it was time to take their depositions. Julia wanted Cathy Bruder to be tried as a minor, while Victor wanted the girl to be tried as an adult. There was no suggestion that the Newmans were new arrivals in Genoa City. It was presumed they'd lived on their ranch for many years. (We found out a year or two later, in backstory, that the Newman ranch had once belonged to Kay Chancellor and her first husband, Gary Reynolds, and that Kay had sold the property to Victor without ever having met him personally.) With Victor having a Rolls-Royce, Bill Bell seemed to be hinting that Victor Newman was extremely wealthy, possibly a billionaire or at least a multi-millionaire. Kay Chancellor had always been portrayed as being very upper-crust, but certainly not a billionaire. I thought it was absurd when Kay died, and her estate was divided up, and they were talking about Devon getting two billion dollars or whatever. That's not how Mrs. Chancellor had been written in the past. She was just a wealthy lady --- presumably far wealthier than the upper-class Brooks family, but certainly not an internationally known billionaire.
  4. What killed me about the 1986 episode (which I thoroughly enjoyed) was that Bill Bell seemed to continuously toy with the idea of creating some kind of love triangle among Paul, Faren, and Andy. (Paul was always running to the Rendevous and pouring out his heart to Faren, who was supposed to be Andy's girlfriend. In this episode, he went to the Rendevous to whine to Faren about ending his marriage to Lauren Fenmore.) It was pretty clear that Paul's BEST chemistry was with Stephanie E. Williams, but I guess you just couldn't go there in 1986.
  5. No, Josh Morrow ain't the greatest actor in the world by a long shot, but he's ok. He does well at certain things, and not-so-well at others. To me, he'll never be very realistic as a high-powered businessman or as a world-renowned playboy. But as a middle-class Dad playing with his kids, working in a coffee shop or a bar, pining after Sharon, and being slightly spoiled by his trust fund background, he's just fine. The problem seems to be that Josh Morrow sometimes seems to lean on the writers to make his characters more "high-powered" or whatever, and it just doesn't work for him as an actor OR as a character.
  6. Yeah, the Brooks & Foster families desperately needed to bite the dust, and Bill Bell knew it. By 1982, after all the recasting, there were only TWO of the characters that Bell truly seemed to be interested in --- Snapper Foster, played by David Hasselhoff, and Lorie Brooks, played by Jaime Lyn Bauer. And unfortunately, both of those actors had been expressing readiness for quite some time to move on from the show. Plus they were "aging out" of the early to mid-20s age range that Bell preferred writing for in those days. David Hasselhoff was about to turn 30, and Jaime Lyn Bauer was already 32. Bell didn't seem interested in writing for a bunch of characters in their 30s, especially when he was about to lose his favorite two. It just made MUCH better sense to shift the storyline to focus on the younger and charismatic Melody Thomas, Doug Davidson, Terry Lester, Eileen Davidson, Lilibet Stern, Stephanie Williams, Steven Ford, and even Michael Damian. They seemed to offer a fresh start to Bell, and he evidently couldn't WAIT to sweep out all those bland recasts in tiresome stories and reboot his show. It was a very risky decision -- one that nobody would have the guts to do today -- but it paid off for Bell. Within a year of rebooting, he was winning an Emmy for best show, and within a few more years, he was at number one in the ratings.
  7. Regarding "Edge of Night", I tend to agree with J Swift that it was always the intention of Henry Slesar to reveal Jefferson Brown was a con man impersonating his friend Schuyler Whitney. Since Slesar's genre is mystery (and it's difficult to get inside his head and re-create his thinking process), it appears that he drafted a storyline in which a poor man named Jefferson Brown would benefit from the death of his wealthier friend Schuyler Whitney by impersonating Schuyler Whitney after Whitney's death. Gunther Wagner was simply the henchman that Jefferson Brown hired to help carry out his nefarious plans. All of Jefferson Brown's schemes would unravel because of the tell-tale birthmark which Dr. Bryson failed to conceal. As Jefferson Brown's misdeeds mounted, it was too late to turn course and try redeeming the character. The storyline seemed to be "set in stone" that Brown would betray his henchman and murder Gunther, and then be revealed as an imposter. What Slesar and P&G had NOT counted on was the growing popularity of Larkin Malloy and David Froman in the roles of Schuyler and Gunther. The two actors had a strange and bizarre chemistry, not to mention the chemistry between Larkin Malloy and Sharon Gabet. The only "re-write" seemed to come at the story's conclusion when a New Schuyler (the real one) came onto the scene with the Real Gunther. This seemed devised simply to satisfy the audience's desire to see the two characters continue even after the planned storyline concluded. And it DID result in some classic scenes. I'll never forget Raven's line to the Real Schuyler when he appeared on the scene. "I wouldn't marry you even if you were the last millionaire on earth!" lol.
  8. I dislike it when Adam hogs up the entire show (as he's sometimes done in the past), but with the current Victoria being such a lifeless sap, I think Adam is an essential character. I always felt Bell's intention with the Newman kids was to create a fiery Little Female Victor Newman (with Victoria), and a Dimwitted Male Nikki Newman (with Nicholas). Josh Morrow has lived up to his end of the bargain (playing Nikki's dumb pampered little prince), but the poor girl playing Victoria hasn't been able to generate any "Victor" in her performance because (a) she's an extremely dull actress and (b) she's been given stupid storylines such as making reliquaries out of construction paper. You really need Adam to fill the Victor gap among the kids. The Nekkid Heiress can't do it, the brain-dead Frat Boy can't (and shouldn't) do it, and neither can the sleepwalking dullard Victoria.
  9. And a strange whistling sound emanating from his wooden teeth that transformed the word "booze" into "booosh".
  10. I think that's exactly what happened. When Thom Bierdz was on the show in the late 1980s as PCIII, he had a "lost look" on his face and an awkward, stilted line delivery that truly suited a character who'd been shipped away to boarding school as a child, hadn't had a relationship with his mother at all, didn't know much of anything about his father, and didn't feel loved or wanted by anyone. But when he was "resurrected from the dead" circa 2009, his acting was FAR WORSE than it had been before and didn't compliment the "comfortable, out-and-proud" character he was now being described in the script as being. It just didn't work. Plus the writing itself was terrible. (The two women who'd fought tooth and nail for custody of him in the 1980s -- Kay and Jill --- barely seemed touched by his reappearance, and seemed reluctant even to embrace him. Mrs. Chancellor had spent years carressing and fondling him, fawning all over him, and would do anything to win his favor. When he returned from the dead, she was like, "Oh well.") The whole storyline was just a complete dud. The only thing accomplished, on a positive note, was that it established once and for all that Cane Ashby wasn't Jill's son. But then the writers opted to have Jill marry Cane's father and become Cane's stepmother, so that the one positive development was undone. The story would've only worked if Bierdz had played the "reborn character" for a while, and then replaced by a smoother, more polished performer who could've had some genuine fun with the role. (Jacob Young, who was being squandered on B&B, came to my mind immediately. He's a lot younger than Beirdz, but plays a little older than his real-life age, and it would've given the writers an opportunity to de-age "Chance" as well, and reboot that entire family.)
  11. I did the hand wave on Billy Abbott too. But it still kinda bothered me that Jill's older son, Phillip Chancellor III, grew up (thanks to SORASing), developed a drinking problem, and allegedly died from a car crash years and years before Billy Abbott was ever born. And then when Phillip was magically resurrected, he appeared to be about 10 years older than Billy, which begged the hypothetical question, "Did the two boys now KNOW each other when they were younger, since their ages suddenly overlapped." That was never explored, since Mrs. Bell shipped Phillip away as soon as she dragged him from the crypt.
  12. Glad to hear from Josh Griffith that Phyllis is gonna be "everything I know and love." Since I can barely stand her version of Phyllis, I'm not quite sure what that means.
  13. Seems like there was an image in the credits of "Fame" of Stephanie E. Williams jumping up in the air with her legs wide open, lol. Is that the one we're talking about?
  14. Yeah, Susan Walters really "toned down" the quirks of Diane, just as Aunt Jack muted the spoiled brattiness and quirky explosiveness of Terry Lester's Jack.
  15. Definitely. I really learned to appreciate Brenda Epperson's sweet, soft-spoken soap heroine called "Ashley", but she was never the same character as that aloof, ballsy, assertive, take-charge, eye-rolling, exasperated Daddy's Beauty that Eileen had played.
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