Broderick

Googling does tend to ruin it. For those of us who were teens in the late 1970s and early 1980s, you can't imagine how much fun it was to watch the show in the afternoons. (It came on right after school.) There weren't any "spoilers" at the time. We would always try to anticipate how each crime and each mystery would be resolved, and we were ALWAYS wrong, because the stories are filled with so many weird twists and turns. The head writer (Henry Slesar) and his dialogue writer (Steve Lehrman) invariably toss genuine clues directly into your face in the most unlikely ways, but then they provide a host of "red herrings" to completely confuse you and send you off on the wrong path. Once the story reaches its conclusion, all you can think is Why didn't I figure that out weeks ago? lol

It really made Oscar the Doorman seem like an imbecile. I think the show's unusual format & subject manner is what makes EON often seem less "dated" and "old-fashioned" than other shows from that time period. It never attempted to be especially "trendy" or "modern" -- and its film noir style is pretty timeless.

Yep, that scene was at the conclusion of the Derek Thurston vs George Packard storyline, when Kay decided neither of them should run Chancellor. By the time she put Victor in charge, Victor had been on the show for months & months with his Rolls Royce, his ranch, and Newman Enterprises. SONY released some Y&R "trivia cards" in the late 1980s, and one of the questions was "who brought Victor Newman to Genoa City?" The answer on the back of the card is "Kay Thurston, to run Chancellor Industries", and it's a wrong answer lol.

Same here. Anyone who voluntarily left Margo's penthouse set (except to go overseas or to Heaven) was immediately on my blacklist. lol.

The storyline April and Draper are involved in during the summer/autumn of 1979 seems fairly "benign" but soon turns very serious. April has a VERY intrusive, wealthy mother (Margo Huntington Dorn). Margo knows that April and Draper (who've recently had a miscarriage and are theoretically never going to be able to conceive another baby) want to buy a house. Margo hoodwinks them into buying a house they can't afford. The house is listed at $100,000 (about $400,000 in today's dollars). Margo pays the first $35,000 and leads Draper to believe the asking price of the house is $65,000 instead of $100,000. If Draper finds out his meddling mother-in-law paid 1/3 of the cost of the home and tricked him, he'll be mad as hell. Meanwhile, Draper has received a job offer from a prestigious New York law firm. Margo pulls some strings and has the senior partner in the firm rescind the offer, to keep April in Monticello. If Draper finds out about THAT, he'll be even angrier with Margo than he will be about the house trickery. All of that is "bubbling under the surface" in the fall of 1979 but will be the next major story, as everything begins to spiral out of control. Yep, you've got the Karrs and their very basic middle-class house, the Victorian-themed place where Miles and Nicole live, April and Draper's old craftsman house with the exposed beams, the Madisons & their Mission revival house, and Margo with her 1970s-chic penthouse. Each of the sets is completely different. And their budget was like zero, lol.

I don't recall that we ever saw the exterior of the Madison house. BUT the interior is definitely Mission Revival. It has a wrought-iron staircase, and all the doorways & corridors have archways. I watched a few old episodes over the weekend from that period and really noticed for the first time how uniquely Mission Revival the set is.

Except she never worked there at all and barely even knew where the Chancellor Industries plant was located 😂 In 1980, Kay attempted to install Derek Thurston (her third husband) in a position at Chancellor Industries. The show introduced a character named George Packard who'd supposedly been running Chancellor since Phillip's demise in 1975. (George Packard's storyline in 1980 was attempting to keep Derek Thurston from bankrupting the company.) We didn't hear much of anything about Chancellor Industries for the next twenty-five years. Then, at that point, we met Eliot Hampton (?) who'd been running the company for decades and had been embezzling from it. Jill took it upon her herself to oust Eliot Hampton (?) and take control of the company. That's when Kay became actively involved in the management of the company. From 1974 till 2004 Kay Chancellor was strictly a hands-off owner. It was downright absurd that the last ten years of life, she was written as this formidable businesswoman who'd always been involved in Chancellor Industries.

April and her husband (Draper) are the "young leads" who tie all the storyline threads together. They're normally in the center of the action. In this particular storyline, Draper is the attorney who represents Paige Madison. (The district attorney, Logan Swift, has given Paige Madison "temporary immunity from prosecution" if she will lead the police to the members of the Tobias Gang who stole the firearms. But Paige mainly just ducks bullets from various gang members who pop-up to assassinate her.)

If you begin where they suggested (#6077), it's VERY easy to follow because it's right at the beginning of a new storyline. Another story is winding down, but it's fairly easy to catch on. The central characters in both stories (the one that's ending & the one that's beginning) are members of the Madison family. The Madisons have recently moved from Hollywood to Monticello. The father (Owen Madison) is an ex-movie producer. The mother (Nola Patterson Madison) is a washed-up, alcoholic actress who can no longer get a part in a film. Owen has a daughter named Paige Madison, and Nola has a son named Brian Madison. The Madison family left Hollywood primarily because the daughter (Paige) had gotten involved with a group of "renegade" young political activists who stole some guns to furnish to South American revolutionaries. Paige Madison is being targeted for assassination by various members of the group (known as "the Tobias gang"). As a result, Paige has a full-time body guard, a former Monticello policeman who resigned from the police force because he accidentally shot & killed a 14-year-old boy who was armed with a cap pistol. As the new plot (a movie called "Mansion of the Damned") takes shape, the existing plot about Paige, the assassins, and the bodyguard comes to a conclusion. The other characters on the show are all playing supporting roles to these storylines, and it'll be easy to figure out who they are and how they come into play.

Jonathan Kellerman is definitely the most EON/Slesar-like writer in the business right now. Unfortunately, he's almost 80 years old. Interestingly, he has a son (Jesse Kellerman) who's about 45, who's been studying under him. I believe what makes the Kellermans such effective mystery & crime writers is their background in psychology.

When a scene begins with her shouting, "Hey! Hey!", you instantly know she's going to be awful and so is the entire scene.

After Diane's grand announcement that the painting found in the attic was a 1956 gift from Dina to John, I was waiting for her to say, "Oh! And I also found the bloody GOLF CLUB your mother bludgeoned Brent Davis half to death with in 1971! It's now over here in the bookshelf with Traci's novels as well as some classics!"

I would send that new sofa right back to the Double Q Pink Salmon Factory and tell Diane to go get the other one back.

I may be wrong, but I believe they're actually taping the rehearsals now, and if the rehearsal of the scene is error-free, it goes on the reel so they don't have to run it again. Someone (Jeanne Cooper, I think) mentioned that sometimes the rehearsal ends up being the only take.

The way I remember it, everyone's contract expired when the show went to an hour. Their contracts, which included their salary stipulations, stated that they would be appearing on "the 30-minute daytime serial The Young and the Restless". When the show went to an hour, it effectively voided the contract of every actor, writer, producer, and director. Some signed-on for the hour-long show; others didn't.

The ages of the characters (and their parents) still BAFFLE me, lol. But as we get accustomed to seeing them interact, I'm sure we'll get used to it.

It's a mighty pretty-looking show. Lights are maybe a little too bright, and some of the dialogue was kinda "clunky", but they sure do have some charismatic performers. They could've just coasted along with Tamara Tunie and Clifton Davis, but it appears most of the other roles are also cast pretty well. And they didn't overwhelm us with melodrama. It shows a lot of promise.

I'm sure it'll be fine. I only wish it were 1/2 hour instead of an hour, because devoting 60 minutes a day, 5 days a week, is such a big ASK for a brand new product. I think it would potentially reach more new viewers if it weren't requesting 5 hours a week from us when we're not even sure yet if we'll like it.

Is Melissa Ordway back on contract, or did they just forget to erase her name when they took her off contract? (She's listed in the credits as a contract player, although she's been "downgraded" from Abby Abbott-Newman-Chancellor-Winters to just Abby Winters.)

The preview today was mighty entertaining (and mighty touching regarding the "small things", like the name of the diner and the café it's based upon, the symbolism of the crest, the painting of Vernon's father, etc.) I still wish they'd premiered this thing as a half hour instead of an hour, and I wish it wasn't boxed into the "zillionaire genre", but it looks like a polished product for sure.

She always begins these things with, "I was Miss California!" If they dig any deeper, she (reluctantly) admits that she was "Miss California USA", which is evidently a step-DOWN from the Miss America pageant. But if you look at the "Miss California USA" winners in the late 1960s and early 1970s, none of them was named Brenda Dickson.

Sorry to hear that. I've been wondering about Eileen Davidson, as well. Much of the damage they've been showing on TV the past few days is near the area of Malibu where she lives.

She never came across as smolderingly "wicked" as 1983-1987 Brenda Dickson's Jill or as "neurotic" as Jess Walton's Jill. She could be as catty as either of them, but was overtly bold or transparent with it.

Deborah Adair's Jill always tickled me. Her barbs were always more "passive-aggressive" and thinly-disguised than the other Jills.

I watched an hour-long episode of Guiding Light from the late 1970s this weekend, and I was REALLY amazed by how long and involved the individual scenes were. Such a contrast to today's choppy television writing.